Real Gone Music is moving to the sound of a disco beat! In conjunction with SoulMusic Records, Real Gone has tapped the vaults of RCA Records to present two world-premiere CD reissues, both with rare bonus tracks. Perhaps no other genre has inspired as many songs imploring listeners to suppress their inhibitions and put their dancing shoes on as disco has. “Let’s Go to the Disco/’Cause I feel like dancing tonight/Let’s go to the disco/Where the music is outta sight!” The call to arms “Let’s
Love Is: Carol Williams, The Salsoul Orchestra Make Sweet Music on “‘lectric Lady”
Carol Williams signed to New York’s Salsoul Records label in 1975 for one single, but stuck around for one memorable album. That lone long-player, titled ‘lectric Lady, paired the New Jersey-born vocalist – Salsoul’s first female contract signing – with the label’s premier musical outfit, The Salsoul Orchestra, for an alluring blend of disco and sleek soul. Cherry Red’s Big Break Records imprint is now feeling electric with an expanded and remastered reissue of ‘lectric Lady. Williams came to
The Salsoul Orchestra Goes “High,” “Up the Yellow Brick Road”
Big Break Records' non-chronological series of remastered and expanded reissues for The Salsoul Orchestra has already taken listeners from 1975's eponymous debut to 1982's farewell release Heat It Up. With the recent releases of 1978's Up the Yellow Brick Road and 1979's How High, the label has filled in the gaps of its lavishly produced program of the Orchestra's classic non-holiday studio albums. (No fear, however - there are other collaborative albums and even a collection credited to The
Hot Shots: Big Break Relights Dan Hartman’s “Fire,” Expands Sheryl Lee Ralph’s Solo Debut
Talk about fusion! For "Hands Down," the opening cut of his 1979 album Relight My Fire, Dan Hartman enlisted rock and roll great Edgar Winter to weave his alto saxophone licks throughout the Latin-flavored disco track, and Stevie Wonder to provide his instantly recognizable harmonica. Hartman wasn't just a dilettante, but a regular musical renaissance man. A veteran of the Johnny Winter Band and the Edgar Winter Group, he wrote the latter's smash hit "Free Ride," and successfully completed
Dance a Little Bit Closer with Charo and The Salsoul Orchestra, Loleatta Holloway
Cuchi-cuchi! Charo, or María del Rosario Mercedes Pilar Martínez Molina Baeza, burst onto the cultural radar with her goofy, slightly suggestive catchphrase during the late-sixties run of the television phenomenon Rowan and Martin’s Laugh-In. Once a frequent passenger on The Love Boat, the comedienne-bombshell still is a familiar face today on television (Dancing with the Stars, RuPaul’s Drag University) and onstage – on land and on sea, even on the good ship Disney Magic. In 1977, Charo
She Will Survive: BBR Reissues, Expands Gloria Gaynor’s “Love Tracks” and “Park Avenue Sound”
The very first release on Big Break Records, early in 2010, was an expanded reissue of the very first solo album by Gloria Gaynor. Never Can Say Goodbye spun Clifton Davis' title track into disco gold and pioneered the sidelong disco mix with a nearly 19-minute suite from Tom Moulton consisting of "Honey Bee," "Never Can Say Goodbye," and another Motown revival, "Reach Out I'll Be There." Big Break followed that landmark 1974 album with an expansion of Experience Gloria Gaynor, from 1975. It
Heart and Salsoul: BBR Reissues First Choice, Loleatta Holloway, Baker-Harris-Young and Love Committee
One could call bassist Ronnie Baker, guitarist Norman Harris and drummer Earl Young unsung heroes, but it’s not quite accurate to describe the triumvirate of musicians, songwriters, producers and arrangers as unsung. Individually or collectively, Baker, Harris and Young helmed productions by Blue Magic, The Trammps, First Choice, Ben E. King, Eddie Kendricks, The Whispers, The Persuaders, and so many more. As part of its ongoing series restoring the Salsoul Records catalogue to R&B
It’s Good For The Soul! The Salsoul Orchestra’s “Nice ‘n’ Naasty” Arrives In Expanded Edition
The third song on the first side of The Salsoul Orchestra's second album proclaims "It Don't Have to Be Funky (To Be a Groove)." But under the leadership of vibraphonist Vince Montana, Jr., the grooves were most certainly funky...as well as soulful, jazzy, and above all, danceable. 1976's Nice 'n' Naasty, just reissued in an expanded edition by Big Break Records, is an even more eclectic collection than its predecessor. It continues Big Break's top-flight program celebrating all aspects of
Let’s Celebrate: Big Break Goes Deep Into The Salsoul Groove with Candido, Skyy
Following last year's releases from The Salsoul Orchestra, First Choice, Instant Funk and Double Exposure, Big Break Records continues its exploration of the Salsoul Records catalogue with two new reissues from Skyy and Candido. These discs can be said to offer another side of the Salsoul legacy as neither are locked into the Philly grooves of Vince Montana or Baker-Harris-Young. Instead, they show just how far the New York label could push the dance/R&B envelope in the waning days of
Dance A Little Bit Closer: Gold Legion Uncovers “The Salsoul Records Story”
Just in case you didn’t already know, there’s plenty of gold to be found from the Gold Legion label. Since its inception, Gold Legion has reissued and remastered classic disco records from master tape sources, adding copious annotation and bonus tracks to flesh out the stories behind the music. Some of Gold Legion’s previous releases have been dedicated to iconic singer-actress-model Grace Jones, “Turn the Beat Around” diva Vicki Sue Robinson, The Emotions as produced by Maurice White and
Do The (Salsoul) Hustle: Big Break Celebrates Salsoul Records Legacy with Four Reissues
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