WIWS Banner

The Second Disc

Expanded and Remastered Music News

  • Home
  • News
    • Classic Rock
    • Rock
    • Pop
    • Jazz
    • Popular Standards/Vocal
    • R&B/Soul
    • Country
    • Folk
    • Cast Recordings
    • Soundtracks
    • Everything Else
      • Classical/Opera
      • Disco/Dance
      • Funk
      • Gospel
      • Rap/Hip-Hop
  • Features
    • Release Round-Up
    • Giveaways!
    • Interviews
  • Reviews
    • Classic Rock
    • Rock
    • Pop
    • Jazz
    • Popular Standards/Vocal
    • R&B/Soul
    • Country
    • Folk
    • Cast Recordings
    • Soundtracks
    • Everything Else
      • Classical/Opera
      • Disco/Dance
      • Funk
      • Gospel
      • Rap/Hip-Hop
  • Release Calendar
    • Coming Soon
    • Now Available
  • About
  • Second Disc Records
    • Full Catalog
  • Contact

/ News

Do The (Salsoul) Hustle: Big Break Celebrates Salsoul Records Legacy with Four Reissues

October 15, 2012 By Joe Marchese Leave a Comment

By 1975, Philadelphia soul had become too big even for the City of Brotherly Love.  In the first half of the decade, Kenneth Gamble and Leon Huff had, along with the third member of their Mighty Three, Thom Bell, reinvented the sound of soul music.  The Pennsylvania city had become synonymous with sweeping strings, punchy horns and the hi-hat cymbal of drummer Earl Young, offering up music that could be dramatic, sweet and funky, sometimes all within the same three-minute song!  Bell had long kept a foot outside the Philadelphia International Records offices with his productions for Atlantic, Columbia, Avco and other labels, even while contributing arrangements for Gamble and Huff, especially in PIR’s early years.  The crème of the Philly crop, though, could be found at Joe Tarsia’s Sigma Sound Studios playing in MFSB (Mother Father Sister Brother).  PIR’s house orchestra, MFSB backed the likes of Billy Paul, The O’Jays, Harold Melvin and the Blue Notes, and the Three Degrees for Gamble and Huff, and The Stylistics and The Spinners for Bell.  Eventually, though, individual musicians and arrangers desired to step out of the Mighty Three’s shadow.  Norman Harris, Ronnie Baker, Earl Young, Bobby Martin, Bobby Eli and a certain Vincent Montana, Jr. all began to strike out on their own, bringing their individual spins to the already-familiar orchestral, proto-disco sound.  Enter Joe, Ken and Stan Cayre, the three brothers behind New York’s Mericana Records label.

What happened next is currently being surveyed on CD by Cherry Red’s Big Break Records imprint.  The Cayres went on to form Salsoul Records, still one of the most beloved labels in dance, disco and R&B circles.  Yet, until now, the mightily impressive Salsoul catalogue has never gotten the same kind of lavish treatment on CD as PIR’s for any number of reasons.  Likely high among those reasons is the fact that the label hasn't always had a major distributor, as the Cayres were initially turned down by CBS, Atlantic and Polydor!  The existing CDs hardly seemed aimed at collectors, lacking deluxe packaging and fidelity to the original albums.  Finally, though, this new reissue series aims to restore Salsoul to its rightful place in the soul music pantheon.  Big Break has just launched its Salsoul campaign with four classic titles from the company’s catalogue, from The Salsoul Orchestra, First Choice, Instant Funk and Double Exposure, respectively.  Each title has been definitively expanded with bonus tracks and new liner notes, allowing this music to be explored and enjoyed once more.  (It’s no coincidence that Big Break has also been reissuing a number of PIR titles, including last month’s Love is the Message from the original MFSB line-up, featuring many of the players who went on to form the Salsoul Orchestra.)

After the jump: we pick up with the Salsoul story and take a look at all four titles!

The Cayres had poached artist Joe Bataan from the competing Fania label for their Mericana roster.  Bataan named his 1973 Mericana debut Salsoul, meaning a blend of Latin/salsa and soul music.  The name, in turn, inspired Mericana’s ambitious owners, who launched an entire Salsoul label with Bataan’s CBS-distributed Afrofilipino in 1975.  (CBS was also the label distributing Philadelphia International.)  Like everybody else in the music business, the Cayres took notice of the Gamble and Huff formula.  How could the Philadelphia sound migrate to New York?  When Vince Montana, vibraphonist par excellence with MFSB, approached the Cayre brothers about signing a new Latin act he’d discovered, they had other ideas for him.  How about creating an orchestra for Salsoul?

Montana cannily took advantage of the financial and credit disputes occurring over at PIR.  By the end of 1975, MFSB had morphed into The Salsoul Orchestra.  Montana booked Sigma Sound and enlisted many of MFSB’s top players including Jack Faith (flute), Earl Young (drums), Ronnie Baker (bass), Bobby Eli, Norman Harris and T.J. Tindel (guitars), Ron Kersey (keyboards), Larry Washington (percussion) and Don Renaldo (strings), plus the Sweethearts of Sigma, vocalists Carla Benson, Barbara Ingram and Evette Benton.  He filled out the orchestra with percussionists specializing in Latin styles, including salsa, and altered the makeup of the brass section to create a sound that was, at once, utterly similar to MFSB yet substantially different, too, and more explicitly aimed at the burgeoning disco market.  Not all of the orchestra members burned their bridges with Gamble and Huff permanently; in fact, Faith came into his own as an arranger in the PIR period that spawned MFSB Mk. II, as the second iteration of the group is informally known.  But Salsoul certainly made waves.

The Salsoul Orchestra (1975) explodes with the vibrancy of “Salsoul Hustle,” Montana’s funky answer to “T.S.O.P. (The Sound of Philadelphia).”  In addition to that potent, instrumental mission statement, the bandleader also composed three other pieces, while Ronnie Baker offered “Get Happy” and “Tale of Three Cities.”  The album was rounded out with two reinvigorated standards, “Tangerine” and “Love Letters.”  Baker arranged his own compositions while Montana handled orchestration duties for the other songs, all of which are unified by their immense sound (42 musicians!), up-tempo groove and enormous spirit.  You might have a hard time denying the sung request to “Do the bus stop!” in “Chicago Bus Stop,” and once you do give in, you’ll likely agree, “Ooh, I love it,” as the song goes.  The dance beats only briefly slow down when Montana’s soft vibes take center stage on “Love Letters,” a fitting coda to a non-stop, energetic fest of orchestral R&B.  Big Break adds a generous five bonus tracks, all single versions, including the single and disco mixes of “Salsoul Hustle.”

Though the ladies of First Choice never called Philadelphia International home, they too were surrounded by some of that label’s most illustrious talents.  MFSB/Salsoul Orchestra guitarist Norman Harris had produced the girl group over at Stan Watson’s Philly Groove label, and when he formed Gold Mind Records under the Salsoul umbrella, First Choice lived up to their name for Harris!  (Harris, of the Baker-Harris-Young production triumvirate, had previously set up Golden Fleece records under the PIR aegis.)  1977’s Delusions was the Gold Mind debut of First Choice (then consisting of Rochelle Fleming, Annette Guest and Ursula Herring) and today remains the group’s most beloved album.  The sly “Doctor Love” became an R&B hit, while “Indian Giver” – both arranged and produced by Harris himself – had the same sophisticated sheen as Thom Bell’s best work, with Vince Montana contributing sparkling vibes and Jack Faith a mellifluous flute part.  This isn’t a “disco” album proper, though it has many elements of that genre.  Heavy funk is offset by strong balladry, including “I Love You More Than Before,” written, produced and arranged by another talent coming into his own, Ron Kersey.  He was the mastermind behind a sassy, reinvented version of Stevie Wonder’s “Love Having You Around,” with some dazzlingly jazzy vocals from Ursula Herring.  Another triple threat, Bruce Hawes, also made an impression.  The co-writer of such Spinners hits as “Mighty Love,” “Games People Play” and “Love or Leave” wrote and arranged two songs, and arranged a third.  Though Salsoul’s difficulty placing pop hits on the charts might have hindered the impact of Delusions, the LP nonetheless became an oft-sampled dance classic, expanded here by six bonus tracks (three original singles, and 12-inch mixes by Tom Moulton, Shep Pettibone and Frankie Knuckles).  Delusions compares favorably both to First Choice’s earlier output and to the sophisticated R&B of PIR’s premier "girl groups" The Three Degrees and The Jones Girls.

Another Baker-Harris-Young charge was Double Exposure.  The Philly foursome had actually begun their recording career at Stax’s Volt subsidiary, recording enough material for an album but releasing just one single.  Another 45 followed for Branding Iron Records before Double Exposure caught the ear of Norman Harris.  The busy Harris secured the group (James Williams, Joseph Harris, Charles Whittington and Leonard “Butch” Davis) a contract with Salsoul and ushered its members into Sigma Sound for a date with many MFSB/Salsoul Orchestra veterans including Ron Kersey, Bobby Eli, Vince Montana, Don Renaldo, Larry Washington and Baker, Harris and Young themselves.  The extended, deliciously danceable “Ten Percent,” penned under hurried conditions by Allan Felder and T.G. Conway, made it all the way to No. 2 on the disco charts with its quintessential Harris groove.  Mixed by DJ Walter Gibbons, the 12-inch disco release was one of the earliest commercially released 12-inch singles.  Double Exposure’s debut album was titled after the hit song which preceded it, and Ten Percent the long-player flaunted the versatility of its members.  The album is steeped not just in disco, but in pure soul.  Bruce Hawes’ “Gonna Give My Love Away” is draped in lush strings and harmony vocals, with Hawes’ own production showing that he learned a few things from Thom Bell’s production of his Spinners tunes.  Co-writer/arranger/producer Vince Montana’s “Just Can’t Say Hello” is another lovely, straightforward R&B throwback showcasing the balladeers’ vocal chops.   A Gamble and Huff trademark was keenly felt on Allan Felder and Bunny Sigler’s “Everyman.”  Its socially-conscious lyrics, grafted to a rousing melody and upbeat disco track, emphasized personal responsibility.  On the cover of the album, Double Exposure looked a bit like the Motown acts of yore, dressed in natty suits and mid-step in choreography.  Well, they even paid tribute to the Motor City in their music with Ron Kersey’s pulsating makeover of The Four Tops’ “Baby, I Need Your Loving,” with the Sweethearts of Sigma cooing in the backgrounds.  “My Love is Free” is another Felder/Conway stomper in the same spirit of “Ten Percent.”  The reissue’s six bonus tracks include that original, storming disco mix of “Ten Percent” plus the standard single mix, single versions of “Everyman” and “My Love is Free,” and 12-inch mixes from Joe Claussell and Tom Moulton of those two aforementioned songs, respectively.

Instant Funk migrated to Salsoul from Philadelphia International along with composer/producer Bunny Sigler.   The nine-person band had cut an unsuccessful album at PIR but didn’t quite fit into the Gamble and Huff enterprise.  Once cut loose, the group pursued its recording career at Salsoul.  Sigler recognized their talent.  The gritty unit also worked as a backing band for other artists including Sigler himself, and Salsoul labelmates Double Exposure and Loleatta Holloway.  Instant Funk’s eponymous debut was slated for Norman Harris’ Gold Mind label, but in early 1979, Gold Mind was absorbed into Salsoul following mounting losses.  Salsoul couldn’t have minded taking over the imprint’s roster when Instant Funk, the LP, went to No. 1 Disco, No. 2 R&B and No. 12 Pop!  It’s the greasiest of the four Salsoul albums in this initial batch from Big Break, and the least traditionally in the “Philadelphia soul” bag (though it was cut at Sigma along with Philadelphia Music Works and Alpha International Studios).  The breakout hit was the erotically-charged funk of “I Got My Mind Made Up” (with its memorable exclamations of “Say whaaat?”), a Top 20 Pop hit that reached pole position on the disco and R&B charts.  Public Enemy, De La Soul and Tupac Shakur all drew on the song in the hip-hop/rap era.  The album recalls James Brown in some places, Parliament in others, even Earth, Wind and Fire at times.  There are quieter moments such as the ballad “Never Let It Go Away,” but Instant Funk’s debut is characterized by steamy disco-funk.  “Wide World of Sports” is a brassy instrumental with machine gun drums and jazzy interplay, while “Dark Vader” may be the biggest and baddest Star Wars tribute record of them all.  The theatrical opus riffs on the George Lucas film with its opening rap, before launching into the tale of a “tall black man” who’s “left his mark on the universe”: “Dark Vader’s comin’/He’s comin’ back/He said he would!”  Meco, eat your heart out!  This high-octane record is rounded out by five bonuses including the 12-inch remixes of “I Got My Mind Made Up” (of course!) and “Crying,” plus other singles and extended versions.

Nick Robbins has remastered each album for BBR.  All four titles feature comprehensive new essays, as well.  Rico “Superbizzee” Washington has annotated Ten Percent, J. Matthew Cobb has done the honors for Instant Funk and Delusions, and Christian John Wikane has handled The Salsoul Orchestra.  Liner notes are always an integral part of the BBR package, and the work by these gentlemen lives up to the label’s usual high standards.   Their superlative work is even more valuable because information on the Salsoul legacy isn’t as readily available as that of, say, PIR.  The booklets are also lavishly illustrated with memorabilia scans, album artwork and photographs.  One minor quibble: whereas all other aspects of BBR’s booklets excel, discographical information is frequently omitted for the 12-inch remixes (though not for the album and 7-inch singles).  Especially when remixes are so important to the Salsoul catalogue, the discographical annotation for these seems essential.  Finally, in a loving touch, original rainbow Salsoul labels are replicated on the face of each CD.

If you’re ready to dance your ass off (as the old slogan went!), the four Salsoul titles are available now.  You'll find order links just below.  Hopefully this quartet is just the beginning of a full series from BBR.  If you had ever boarded the love train but wondered just where it headed, these joyous reissues are meant for you.

The Salsoul Orchestra, The Salsoul Orchestra (Salsoul LP 5501, 1975 – reissued Big Break CDBBR 0101, 2012)

  1. Salsoul Hustle
  2. Get Happy
  3. Chicago Bus Stop (Ooh, I Love It)
  4. You’re Just the Right Size
  5. Tangerine
  6. Tale of Three Cities
  7. Salsoul Rainbow
  8. Love Letters
  9. Salsoul Hustle (Single Version) (from Salsoul single 2002, 1975)
  10. Tangerine (Single Version) (from Salsoul single 2004, 1975)
  11. You’re Just the Right Size (Single Version) (from Salsoul single 2007, 1976)
  12. Chicago Bus Stop (Ooh, I Love It) (Single Version) (from Salsoul single 2007, 1976)
  13. Salsoul Hustle (Disco Version) (from Salsoul single 2002, 1975)

First Choice, Delusions (Gold Mind LP GZS-7501, 1977 – reissued Big Break CDBBR 0103, 2012)

  1. Dr. Love
  2. Indian Giver
  3. Love Having You Around
  4. Gamble on Love
  5. Chances Go Around
  6. I Love You More Than Before
  7. Let No Man Put Asunder
  8. Do Me Again
  9. Jimmy “D”
  10. Dr. Love (Single Version) (from Gold Mind single 4004, 1977)
  11. Love Having You Around (Single Version) (from Gold Mind single 4009, 1977)
  12. Indian Giver (Single Version) (from Gold Mind single 4009, 1977)
  13. Dr. Love (12” Tom Moulton Disco Mix)
  14. Let No Man Put Asunder (12” Shep Pettibone Remix)
  15. Let No Man Put Asunder (12” Frankie Knuckles Remix)

Double Exposure, Ten Percent (Salsoul LP 5503, 1976 – reissued Big Break CDBBR 0109, 2012)

  1. Ten Percent
  2. Gonna Give My Love Away
  3. Everyman
  4. Baby I Need Your Loving
  5. Just Can’t Say Hello
  6. My Love is Free
  7. Pick Me
  8. Ten Percent (Walter Gibbons 12” Disco Mix)
  9. Everyman (Has to Carry His Own Weight) (Joe Claussell 12” Disco Version)
  10. My Love Is Free (Tom Moulton 12” Disco Mix)
  11. Ten Percent (Single Version) (from Salsoul single 2008, 1976)
  12. Everyman (Has to Carry His Own Weight) (Single Version) (from Salsoul single 2013, 1976)
  13. My Love is Free (Single Version) (from Salsoul single 2012, 1977)

Instant Funk, Instant Funk (Salsoul LP 8513, 1979 – reissued Big Break CDBBR 0121, 2012)

  1. I Got My Mind Made Up (You Can Get It Girl)
  2. Crying
  3. Never Let It Go Away
  4. Don’t You Wanna Party
  5. Wide World of Sports
  6. Dark Vader
  7. You Say You Want Me to Stay
  8. I’ll Be Doggone
  9. I Got My Mind Made Up (You Can Get It Girl) (12” Remix)
  10. Crying (12” Remix)
  11. I Got My Mind Made Up (You Can Get It Girl) (Single Version) (from Salsoul single 2078, 1978)
  12. Crying (Single Version) (from Salsoul single 2088, 1979)
  13. Dark Vader (Pat Stapley Remix)

Categories: News, Reviews Formats: CD Genre: Disco/Dance, Funk, R&B/Soul Tags: Double Exposure, First Choice, Instant Funk, Salsoul Orchestra, Vince Montana

Avatar photo

Joe Marchese

JOE MARCHESE (Editor) joined The Second Disc shortly after its launch in early 2010, and has since penned daily news and reviews about classic music of all genres. In 2015, Joe formed the Second Disc Records label. Celebrating the great songwriters, producers and artists who created the sound of American popular song, Second Disc Records, in conjunction with Real Gone Music, has released newly-curated collections produced by Joe from iconic artists such as Johnny Mathis, Bobby Darin, Laura Nyro, Melissa Manchester, Chet Atkins, and many others. He has contributed liner notes to reissues from a diverse array of artists, among them Nat "King" Cole, Paul Williams, Lesley Gore, Dusty Springfield, B.J. Thomas, The 5th Dimension, Burt Bacharach, The Mamas and the Papas, Carpenters, Perry Como, Rod McKuen, Doris Day, Jackie DeShannon, and Andy Williams, and has compiled releases for talents including Robert Goulet and Keith Allison of Paul Revere and the Raiders. Over the past two decades, Joe has also worked in a variety of capacities on and off Broadway as well as at some of the premier theatres in the U.S., including Lincoln Center Theater, George Street Playhouse, Paper Mill Playhouse, Long Wharf Theatre, and the York Theatre Company. He has felt privileged to work on productions alongside artists such as the late Jack Klugman, Eli Wallach, Arthur Laurents, Betty Comden and Adolph Green. In 2009, Joe began contributing theatre and music reviews to the print publication The Sondheim Review, and in 2012, he joined the staff of The Digital Bits as a regular contributor writing about film and television on DVD and Blu-ray. Joe currently resides in the suburbs of New York City.

Connect With Joe: FacebookTwitter

You Might Also Like

  • Vincent Montana Goody GoodyYou Know How Good It Is: BBR Expands Vincent Montana's "Goody Goody" For CD
  • Salsoul Orchestra StoryHeat It Up: Groove Line Tells "The Salsoul Orchestra Story: 40th Anniversary Collection"
  • gold cdThe Year In Reissues: The 2014 Gold Bonus Disc Awards
  • jhRelease Round-Up: Week of September 16

Comments

  1. Mike Williams says

    October 15, 2012 at 10:16 am

    Joe
    "has never gotten the same kind of lavish treatment on CD as PIR’s"??
    PIR, despite the rather idiosyncratic 10CD release on Harmless (nothing chronological - just the world according to Ralph Tee) with questionable sonics due to a lack of remastering has just been routine box set releases with Sony's typical re-re-re-re-releases of certain albums and Essential Collections - simple commercial gain (hey Legacy how about releasing Backstabbers again??) - Nothing approaching lavish here. Nothing even approaching the care and attention of the Stax/Volt collections and the still incomplete Motown Singles sets. What would really be interesting would be the long awaited "Roots of PIR" that Harmless seems unable to follow through on. Lavish would be a boxed set on the Intruders.
    Mike

    Reply
    • Joe Marchese says

      October 15, 2012 at 10:29 am

      Mike,

      Legacy's "The Philadelphia Sound" and "Love Train" boxes (the latter extending the scope beyond PIR, of course) both are pretty lavish in my book. As is the 10-CD Harmless box, regardless of one's feelings about the sequencing and/or presentation. As are all of the PIR reissues that have come our way from Big Break in recent years, not to mention the rather comprehensive series of two-fers from Westside and later, Edsel.

      Would I love to see something like the Motown Singles boxes or the Stax/Volt sets for the PIR catalogue? Or a box set on the Intruders? Heck yeah! I do understand where you're coming from. But compared to Salsoul's treatment, PIR's certainly has been downright lavish, as far as I'm concerned. Thanks for reading!

      Reply
      • Mike Williams says

        October 15, 2012 at 11:17 am

        Joe
        Lavish in my book are the new BB King boxed set and many of the Dust To Digital sets. As Sean points out, Hip-O does a great job and I fully agree with him that PIR has been "bush league" although Tony Rounce's Westside/PIR releases were excellent and value for money. I think the issue has been Mighty Three's top priority being $$ rather than their soul music legacy.

        Reply
    • Sean says

      October 15, 2012 at 10:32 am

      I had a similar reaction to reading that- PIR's reissue campaign has been woefully bush league.

      Reply
      • Joe Marchese says

        October 15, 2012 at 10:41 am

        To each his own, but shelves upon shelves of PIR CDs have been released, many with bonus tracks and even more with extensive liner notes - not to mention three box sets. I understand the impulse to want everything...if I didn't, I wouldn't be writing here every day. But taking into account all of the releases since the dawn of the CD, the PIR catalogue has been treated rather well - and comparably speaking (as I was), lavishly. Do I hope that much, much more is coming? Absolutely.

        Reply
        • Sean says

          October 15, 2012 at 11:06 am

          Fair enough. Motown's singles boxes remain the gold standard (in my opinion) and Hip-O Select's treatment of albums is superb. The Stax singles boxes suffer from lack of b-sides (on the first box anyway) and the Stax albums reissues have been decent. The massive 10-disc PIR box is just bewildering- why not release a proper complete singles box and then embark on an album reissue campaign.

          Reply
  2. RoyalScam says

    October 15, 2012 at 4:41 pm

    The mastering on virtually every BBR release is EAR BLEEDINGLY LOUD. I don't expect these to be any different. I wish another reissue label with more care toward sound quality did these releases

    Reply
    • Joe Marchese says

      October 15, 2012 at 4:57 pm

      Have you heard any of the more recent titles, RS? BBR has been utilizing Nick Robbins to remaster, who is also responsible for many of Ace's recent releases. It's always hard to say, as I find mastering styles to be largely a matter of personal taste, but I think you might be pleasantly surprised.

      Reply
      • J Matthew Cobb says

        October 16, 2012 at 4:39 am

        Joe,

        Thanks for the warm reviews on the Salsoul reissues by bbr. Each of your summaries are locked and loaded with sharp details. Means a lot.

        J Matt

        Reply
        • Joe Marchese says

          October 16, 2012 at 1:20 pm

          Thanks, J Matt! Your kind words are very much appreciated, as well.

          Reply
  3. DARYL says

    February 4, 2013 at 9:57 pm

    I'AM A BIG FAN AND PROUD OF IT THE SOUND THAT CAME FROM THAT HOUSE BAND USE TO OR SHOULD SAY, STILL DO MOVE MY BODY WHILE I'AM SITTIN IN MY SEAT EVERYTHING I HEARD WAS AWESOME FROM DON RENALDO STRING AND HORN SECTION VINCE MONTANA VIBES RON BAKER'S BASE EARL YOUNGS DRUMS RON HAVE MERCY KERSEY KEY'S BOBBY ELI GUITAR AND MISTER LARRY WASHINGTON HITTIN THEM BONGO'S OH AND I CAN NOT FORGET ZACK ZACARY I HOPEI SPELLED HIS NAME RIGHT BLESS HIS SOUL.

    Reply

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

This site uses Akismet to reduce spam. Learn how your comment data is processed.

Upcoming Releases

  • Darlene Love Live 1982
    Live 1982
    Darlene Love
    April 07, 2023
  • Love is the Message Box
    Love Is the Message: The Sound of Philadelphia Vol. 3
    Various Artists
    April 07, 2023
  • Dionne Warwick Complete Scepter Singles
    The Complete Scepter Singles 1962-1973
    Dionne Warwick
    April 14, 2023
See Full Calendar

Connect

  • Facebook
  • RSS
  • Twitter

Subscribe to Blog via Email

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 4,573 other subscribers

Popular

  • Elton John Honky Chateau Cover
    Release Round-Up: Week of March 24 posted on March 24, 2023 | under Release Round-Up
  • Miles Davis The Electric Years
    Miles Runs The Voodoo Down: Vinyl Me, Please Collects Davis' "Electric Years" on New Box Set posted on March 28, 2023 | under News
  • Rush Signals 40th
    Chemistry: Rush Revisits "Signals" For 40th Anniversary posted on March 22, 2023 | under News

Comments

  • small faces here come the nice2
    Return To Itchycoo Park: Small Faces' "Here Come The Nice" Deluxe Box Set Arrives In January [UPDATED 12/3] 84 comments | by Joe Marchese | posted on December 3, 2013 | under News
  • the beatles u s albums box2
    British Invasion! The Beatles Unveil "The U.S. Albums" Box Set in January 69 comments | by Joe Marchese | posted on December 12, 2013 | under News
  • Rolling Stones in Mono
    Out of Their Heads: Stones Plan Mono Box Set 47 comments | by Mike Duquette | posted on August 10, 2016 | under News

Music Resources

  • Addicted to Vinyl
  • Crap from the Past
  • Discogs
  • Film Score Monthly
  • IMWAN Forum – From the Vaults
  • MusicTAP
  • Musoscribe
  • Pause & Play
  • Popblerd
  • Popdose
  • Record Racks
  • Slicing Up Eyeballs
  • Steve Hoffman Music Forums
  • Ultimate Classic Rock
  • Vintage Vinyl News
  • Viva La Mainstream
  • Wolfgang's Vault

Labels of Note

  • Ace Records
  • Analog Spark
  • Bear Family
  • BGO Records
  • Big Break Records
  • Blixa Sounds
  • Cherry Red Label Group
  • Craft Recordings
  • Demon Music Group
  • Friday Music
  • Funky Town Grooves
  • Iconoclassic Records
  • Intervention Records
  • Intrada
  • Kritzerland
  • La La Land Records
  • Legacy Recordings
  • Light in the Attic
  • Masterworks Broadway
  • Now Sounds
  • Omnivore Recordings
  • Real Gone Music
  • Resonance Records
  • Rhino Entertainment
  • Rock Candy Records
  • SoulMusic Records
  • Sunset Blvd. Records
  • Supermegabot
  • Varese Sarabande
  • Vinyl Me, Please
  • Wounded Bird
Copyright © 2023 The Second Disc. All rights reserved. · Site by Metaglyphics

The Second Disc is a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to amazon.com, amazon.ca and amazon.co.uk.

Terms and Conditions - Privacy Policy