SALSOUL ENCORE.
SALSOUL ENCORE.
As regular readers of this blog will realized by now, I’m a huge fan of all things Salsoul and really pleased that soon, BBR Records will be releasing their first batch of rereleases of Salsoul’s back catalogue. In the lead up to Salsoul’s back-catalogue received its overdue rerelease, I’ve been revisiting several of Salsoul’s albums and compilations. One of these was Saloul 30th, a compilation released in 2005 to celebrate Salsoul Records 30th Anniversary. The idea was quite straightforward, with thirty DJs asked what their favorite Salsoul track was. Many DJs chose real Salsoul classics like Loleatta Holloway’s Dreamin’, Inner Life’s Ain’t No Mountain High Enough, Double Exposure’s My Love Is Free and First Choice’s Doctor Love. Other DJs however, chose some more leftfield choices, with hidden gems like Joe Bataan’s The Bottle and Gaz’s Sing Sing. Now given how fond of sequels record companies are, I wasn’t surprised when, a year later, in 2006, came the sequel, Salsoul Encore. Like Salsoul 30th, Salsoul Encore saw another thirty DJs were asked what their favorite tracks were. This was fair enough, but I foresaw a problem. Surely, many of these DJs would want to choose tracks that were on Salsoul 30th? After all, what would the odds of asking thirty DJs what their favorite Salsoul track was, and it wasn’t on Salsoul 30th? Even though I’m not a mathematician, I’m pretty sure they’d be pretty high. Apparently the odds were defied. Luckily, or should I say very luckily, the thirty DJs all chose tracks that weren’t on Salsoul 30th. These thirty tracks feature on Salsoul Encore. So, will Sasoul Encore follow in the footsteps of Salsoul 30th by combining Salsoul classics and hidden gems or will this be the best of the rest? That’s what I’ll now tell you?
DISC ONE.
Disc One of Salsoul Encore sees DJs like Kenny Carpenter, Greg Wilson, Arthur Baker and Keb Darge asked to choose their favorite tracks. Their choices are a mixture of some known Salsoul tracks and quite a few surprising choices. Some artists you’d expect to feature. They’re had to be a couple of tracks from The Salsoul Orchestra, at least one from Loleatta Holloway, Instant Funk, First Choice and Inner Life surely? Well, all these artists feature except Inner Life, which is something of a disappointment. Among the tracks that I’d have expected to see are Loleatta Holloway’s We’re Getting Stronger (The Longer We Stay Together), Skyy’s Call Me and Instant Funk’s Crying. I wasn’t expecting Jimmy Williams’ All My Loving or Rafael Cameron. There are also tracks from Logg, Aurra and Jimmy Castor. This means some of these tracks are later period Salsoul. Will that affect the quality of the music on Disc One of Salsoul Encore?
My first choice from Disc One of Salsoul Encore in Skyy’s Call Me. It was released in 1981, when disco was developing into boogie and the personnel at Salsoul was changing. Call Me written by Randy Muller and produced by Randy Muller and Solomon Roberts. This was a track from Skyy’s 1981 Skyy Line album. It’s a track that marries elements of funk with a disco beat. Above the loping bass line, crisp driving beats and chiming guitars sits a dramatic vocal accompanied by backing vocals. Later, bursts of keyboards and rocky sounding guitars give the track a quite different sound to earlier Salsoul tracks. Although quite different from earlier Sasoul tracks, Call Me has one thing in common its…quality.
Instant Funk’s Crying is a track from their 1979 album Instant Funk. Rolls of pounding drums, a funky bass line and cascading backing vocals combine to build and build the drama. The rhythm section are key to the track’s sound, while guitars and keyboards play their parts. Blazing horns signal the arrival of tight, soulful harmonies. Then the growling, emotive vocal enters. It’s a mixture of power and passion, with soulful harmonies accompanying it. By now, you realize a Salsoul classic is unfolding. The next few minutes literally fly by, with swathes of keyboards, punchy, blazing horns and not forgetting that pounding rhythm section. The final piece in the jigsaw is that glorious, emotional vocal, and those tight, soulful harmonies. Together, they create a track that’ll have you Crying with joy.
While many compilers always plump for one of Loleatta Holloway’s better known tracks, it makes a pleasant change to hear We’re Getting Stronger (The Longer We Stay Together). Released in 1977, but a track Loleatta’s 1976 album Loleatta. Produced by Norman Harris, the track reveals a really soulful side to the Queen of Salsoul. Again the Baker, Harris, Young rhythm section are key to the track’s sound and success, combining with keyboards and rasping horns, before the track takes on melodic, hooky sound. Cascading strings enter, before Earl’s dramatic drums signal’s the Queen’s entrance. Her voice is emotive, impassioned and deeply soulful. Sizzling guitars, a pounding rhythm section, lush strings and braying horns accompany Loleatta’s vocal as she veers between tenderness and power. This is an irresistible combination, as Loleatta demonstrates her Southern Soul roots.
Although Jimmy Castor never released an album for Salsoul, several of his tracks became favorites of remixers. Probably his best known is It’s Only Just Begun. Stabs of keyboards, bursts of braying horns and the rhythm section give the track a loose, funky sound with a Latin twist. Then when Jimmy’s vocal enters, he delivers it with a swing, perfect for the arrangement. Backing vocalists are added, helping percussion, handclaps and growling horns, creating the loose, catchy sound. This results in a quite un-Salsoul sounding track. There’s neither the big production of other tracks, nor the vocal that grabs your attention. However, it still works, and still results in a catchy, some might say irresistible sounding track.
Given how important a role in Salsoul Records’ success The Salsoul Orchestra played, then it would almost be remiss of me not mentioning Getaway, a track from their 1977 album Magic Bird. Getaway was released as a single in 1977 and this is The Salsoul Orchestra at their very best. Percussion opens the track, before The Salsoul Orchestra kick loose. Bursts of blazing horns, a pounding rhythm section, percussion and cascading strings combine. It’s glorious combination, with the blistering, growling horns and the Baker, Harris, Young rhythm section key to the tracks sound and success. As The Salsoul Orchestra fuse funk and soul against a disco beat, they create a timeless classic, that thirty-five years later, still has a contemporary sound.
While Disc One of Salsoul Encore wasn’t as chock full of Salsoul classics as Salsoul 30th, there’s still plenty of great music on Disc One. With tracks from some of Salsoul’s biggest artists like Loleatta Holloway, Instant Funk and The Salsoul Orchestra, plus tracks from Skyy, Logg, Jimmy Castor, Aurra and Candido, then there’s plenty of familiar faces on Disc One. A couple of the artists on Disc One aren’t as well know. Sly Cabell and Rafael Cameron won’t be known to many people, except those of us who love Salsoul’s music. In a way, that’s part of the fun of compilations like Saloul Encore, discovering new music, music that might start on you a lifelong musical journey through Salsoul Records’ back-catalogue. However, what will journey through Disc Two of Salsoul Encore be like?
DISC TWO.
When you look at the track-listing for Disc Two of Salsoul Encore, you’re immediately drawn to the first four tracks. Carol Williams, First Choice, Loleatta Hollaway and Double Exposure. Then there’s tracks from Instant Funk, The Salsoul Orchestra, Bunny Sigler and Skyy. So there’s quite a few of Salsoul’s big names. After that, artists like Edwin Birdsong, Skip Mahoney, Joe Bataan, Rafael Cameron, Lemon and Vaugn Mason aren’t as well known. So, for anyone looking for a compilation full of Salsoul’s best known tracks will be disappointed. Having said that, there could be a few hidden gems among these tracks. Will that be the case on Disc Two of Salsoul Encore?
Carol Williams’ Love Is You, released in March 1977, is a track I’ve always loved, and for far too long, it was an underrated and overlooked track. Thankfully, Carol’s track has come back into “fashion,” and is one of the hidden gems in the Salsoul back-catalogue. Produced and co-written by Vince Montana Jr., who fuses the sweetest, joyful vocal with a stunning arrangement. This results in five minutes of majestic, magical music. When the track opens, it’s just Earl Young’s drums that you hear, before literally, the track explodes into life. Suddenly, you’re greeted by sweet, cascading strings, blazing horns, percussion and the rhythm section. They give way to Carol’s sweet, beautiful vocal. She’s accompanied by a backdrop of quivering strings, flourishes of guitars and bursts of horns as the track reveals its irresistible sound. Later, Vince adds just the finishing touch to the track with his vibes, playing a lengthy and glorious solo. This is just the perfect way to close this gorgeous track, one with a hook-laden, feel-good sound.
First Choice, who featured the vocals of Rochelle Fleming were one of Salsoul’s biggest groups. Double Cross, was a track from their Hold Your Horses album, released in 1979. Written by Norman Harris and Ron Tyson, and produced by Norman Harris this is a classic from First Choice. Just the dramatic soaring vocal opens the track, before grand strings cascade, blazing horns and the rhythm section enter. They provide the perfect backdrop for Rochelle’s vocal, while tight, soulful harmonies accompany her. As her impassioned vocal drops out, a bass pounds, horns rasp, and flourishes of strings are joined by a wistful flute and jazz-tinged guitars from Bobby Eli. All this makes Double Cross tracks on Disc Two of Sasoul Encore. Mind you, with Rochelle’s stunning vocal and Norman Harris’ peerless production that isn’t a surprise.
Although I’ve already chosen one Loleatta Holloway track on Disc One, I make no apology for choosing another. To me, All About the Paper is vintage Loleatta Hollaway. It’s a track from her 1979 album Loleatta Hollway. Written by Clarence McDonald and Lorell Simon, arranged by James Mack and produced by Floyd Smith. Loleatta Hollway literally struts her way through the track. Her vocal is a powerful, passionate and sassy vamp. Chiming guitars, punchy horns and cascading strings accompany her, while the Sweethearts of Sigma add cooing harmonies. A pounding bass anchors the track, while horns respond to Loleatta’s call. The Salsoul Orchestra surpass themselves, with the arrangement a myriad of growling horns, pounding rhythm section and sweeping, swirling strings. They accompany the undisputed Queen of Salsoul, on another of her classic tracks. In fact, Loleatta Holloway wasn’t just the Queen of Salsoul, but the Queen of Disco, with no equal.
Bunny Sigler had moved from Philadelphia International Records to Salsoul after M.F.S.B‘s dispute with Gamble and Huff over payment. Let Me Party With You was the title-track to his 1977 album Let Me Party With You. After what sounds like a party in a studio, Bunny’s joyous, soaring vocal is accompanied by a funky rhythm section, rasping horns, keyboards and percussion. Tight soulful, doo wop styled harmonies and handclaps augment Bunny’s vocal. For nearly four minutes, this slice of good time, soulful party music unfolds. It’s certainly catchy, soulful and more than a bit funky. What more could you ask for?
The last track I’ve chosen in The Salsoul Orchestra’s Nice ‘N’ Nasty. Nice ‘N’ Nasty was the title-track from The Salsoul Orchestra’s second album, released in October 1976. This track was written, arranged, conducted and produced by Vince Montana. Pounding drums and hissing h-hats give way to a sizzling guitars, before horns blaze, strings swirl and breathy female vocals enter. From there, you’re swept away, atop lush strings, while horns serenade you. Later, Norman Harris lays down a peerless guitar solo. A proliferation of percussion, backing vocalists, punchy horns and dancing, shimmering strings are key to the track’s success and its joyful, uplifting sound.
Disc Two of Salsoul Encore is similar to Disc One, with a sprinkling of Salsoul classics, sitting side by wide with well-known tracks, hidden gems and leftfield choices. Artists like Loleatta Holloway, First Choice, The Salsoul Orchestra, Double Exposure, Skyy and Instant Funk provide some of the best tracks on Disc Two of Salsoul Encore. Carol Williams provides one of the real hidden gems from Salsoul’s back-catalogue with More, a track from her stunning album ‘Lectric Lady. However, some of the DJs have chosen to dig deep into Salsoul’s back-catalogue, introducing tracks from Edwin Birdsong, Skip Mahoney, Joe Bataan, Rafael Cameron, Lemon and Vaugn Mason. While Salsoul Encore is a compelling collection of tracks, it won’t appeal to someone whose looking for a compilation crammed full of Salsoul classics. If that’s what you’re looking for, then I suggest that you try The Definitive Salsoul Remixes. Talking of remixes, there aren’t many extended remixes on Salsoul Encore. Instead, the thirty tracks are mostly album tracks, to fit the fifteen tracks onto the disc. To me, Salsoul Encore will appeal to people who want to dig deeper into Salsoul’s back-catalogue. For them, this will be a good starting point. In digging deeper into Salsoul’s back-catalogue, then occasionally, the quality occasionally suffers. There’s the odd track on Salsoul Encore which doesn’t quite match the quality of other tracks. As a result, while Salsoul Encore isn’t the best Salsoul compilation I’ve ever heard. Mind you, it’s still well worth considering. Part of the problem lies in the concept. Having asked thirty previous DJs to choose their favorite tracks on Salsoul 30th, this restricts the choice of the DJs on Salsoul Encore. With many of the classic tracks having already been chosen, many people would say this is the best of the rest. That’s not the case. There’s much to commend Salsoul Encore, as it allows you to hear some of the greatest artists and music of the disco and boogie eras, from the greatest disco label ever…Salsoul. Standout Tracks: Instant Funk Crying, The Salsoul Orchestra Getaway, Carol Williams More and Loleatta Holloway All About the Paper.
SALSOUL ENCORE.
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