07/24/14 Contests/Events/News

Salsoul Records, the preeminent label of iconic disco, is being reissued by U.K.’s Big Break

Catch the Salsoul disco experience at NYC's Summerstage and win copies of classic vinyl!

Salsoul RecordsFor sheer quantity of iconic dance music released, there are few record labels that can top Salsoul Records. Between its founding in 1974 to its dissolution ten years later, the New York–based label introduced so much of the classic disco canon that it can be difficult to keep track of just how many landmark tunes it was responsible for. Read on for a few great ways to remind yourself and get familiar with the legacy.

On August 6, Mobile Mondays!, Salsoul, and RBMA Radio are partnering up to bring a classic NYC dance experience to Summerstage 2014 at the East River Park Bandshell in Lower Manhattan. The evening will feature performances by boogaloo godfather and coiner of the term “Salsoul,” Joe Bataan, three-piece female disco group First Choice, Salsoul ambassadors Double Exposure, ’70s disco wonder Instant Funk, vocalist craftswoman Carol Williams and the Ladies of Skyy. Check out the Facebook invite.

Joe Bataan Rap-O Clap-O

Later that night, the party continues with the Mobile Mondays All-Stars DJ crew at the Hotel Chantelle.

Mobile Mondays and Salsoul will also be issuing a special 7-inch single containing two of the biggest breakbeats to originate on the label, Instant Funk’s “The Funk Is On” and Gaz’s “Sing Sing.”

Those outside of New York City, don’t despair, because U.K. label Big Break Records has been steadily reissuing many of the best Salsoul titles in expanded, remastered, and generally top quality packages. Wax Poetics is proud to be partnering with BBR to offer our faithful readers a chance to win several handpicked releases, chosen by the Wax Poetics editors to represent the finest of the Salsoul stable.

Joe Bataan’s 1974 LP Salsoul was ironically not on the eponymous label at all. Bataan coined the title to signal his breakaway from Fania Records and the explicit combination of Latin rhythms with Black R&B he was formulating. Buoyed by strong performance of the two singles “Latin Strut” and “Aftershower Funk,” the LP did well enough that its financiers, the entrepreneurial Cayre brothers, would immediately inaugurate a new label to exploit this new avenue of dance music. That label was Salsoul.

The Salsoul Orchestra was admittedly inspired by MFSB, the group responsible for the Philly Sound that ruled early discos via the Philadelphia International label and artists like the O’Jays, Billy Paul, and Harold Melvin & the Blue Notes. In fact, the Salsoul Orchestra actually used many of the same session players, augmented by more extensive Latin percussion and the prominent placement of bandleader Vince Montana’s vibes. Their first album remains a powerhouse of funky disco, from the relentless “Salsoul Rainbow” and “Salsoul Hustle,” cuts that were enormous at the time and made sure the Salsoul term was embedded in dancers’ minds, to “Chicago Bus Stop” and “You’re Just the Right Size”—funky rewrites of Philly International jams “Love Is the Message” and “Do It Anyway You Wanna,” respectively.

The Salsoul Orchestra’s Getaway LP contains one of their signature tunes and one of the most beloved disco classics, “Runaway.” The soaring vocal by Loleatta Holloway is still heard echoing from clubs around the world, usually accompanied by crowds blissfully singing along. Other highlights are the group’s cover of Earth Wind & Fire’s hard-edged “Getaway” and the funky rare groove workout “Journey to Phoebus.” BBR demonstrates their bona-fides on their reissue by including Danny Krivit’s expertly extended edit of “Runaway” and the Walter Gibbons “Magic Bird of Fire” remix from the Disco Madness LP, notorious as one of the most avant-garde mixes of its day.

Loleatta Holloway is a powerhouse vocalist who stands out even in the upper echelons of that diva-filled realm. She debuted on the Salsoul subsidiary Gold Mind with two strong singles, “Dreamin’” and the down and dirty “Hit and Run.” A third single, “We’re Getting Stronger Together,” had enough juice that thirty years later it was lifted wholesale for Whitney Houston’s last great hit, “Million Dollar Bill.” Holloway’s output for Gold Mind/Salsoul remained on a consistently high level through the early ’80s, and included monster club anthems like “Love Sensation” and “Relight My Fire” (with Dan Hartman). BBR’s two-disc Holloway anthology touches all the bases and includes a booklet of reminiscences on the sadly departed icon from folks like Tom Moulton, Bobby Womack, and Patrick Adams.

We’ve chosen BBR’s Skyyhigh: The Skyy Anthology to represent the later era of Salsoul. Produced by Randy Muller at the peak of his creative powers, Skyy was a Brooklyn-based band who perfectly embodied the archetypal sassy female New Yorker and her slick male counterpart in a style of irresistible, smart, modern funk that would later come to be known as “boogie.” The two-disc set begins with the space disco nugget “First Time Around” (synth lasers galore), and touches on massive cuts like “High,” “Call Me,” “Let’s Celebrate,” and the absolute perfection of “Here’s to You,” while also including under the radar favorites like “Superlove,” “Get into the Beat,” and the breakbeat teaser “No Music.”

 

Five different lucky winners will receive one of these releases, but there is much more to choose from on the Big Break Records site, who have no plans to stop putting out deluxe packages of the finest Salsoul material as well as other choice gems from the golden era of disco and modern soul.

Click here to enter the contest.

For those in the New York area, the riverside party on the evening of August 6th promises to be as funky a good time as they come, and a rare chance to see some of the original Salsoul artists in person.

 

Read Randy Muller’s “12×12”

Read Oliver Wang’s interview with Joe Bataan

 

 

07/09/14 Guest Blog

Polysom is Brazil’s most popular—and only—vinyl pressing plant

DSC09229

Around the Praça Tiradentes in downtown Rio de Janeiro, used vinyl abounds. Vendors haul crates in with wheelbarrows and prop records up on building façades, lazily keeping an eye out for customers while they chat with taxi drivers and doormen. Start showing some interest they will quickly point out the organizational scheme of the day: pricier imports vs. bargain domestics, an economic equation that holds for most goods in the Brazilian economy (appliances, clothes, beer).

07/07/14 The Nod

Respect the Classics campaign reissues LL Cool J’s Radio, N.E.R.D.’s In Search Of…, and Redman’s Whut? and Muddy Waters on vinyl

Enter to win a batch of vinyl!

LL Cool J Radio

It would have been hard to imagine in 1985 that LL Cool J would still multimedia force 30 years later. Of course, James Todd Smith has never lacked confidence, but one wonders if he would have seen himself hosting major awards shows while also being a centerpiece on a popular network TV show. Radio spawned hits like its title track and a remix of “I Need a Beat.” He also gave props to Cut Creator on “Dangerous.”

A decade later, Def Jam was on to another star with Redman who came up with the assistance of Erick Sermon and EPMD. Although his debut album Whut? Thee Album was released on Rush Associated Labels, by the mid-’90s he’d be a consistent force for Def Jam, releasing an album every two to three years, including Muddy Waters.

Also making a big splash in the ’90s were a couple of guys out of Virginia named Pharrell Williams and Chad Hugo. After making hits for nearly everyone under the sun in the hip-hop, R&B, and pop markets, Virgin extended their leash and let them make an album under the guise of N.E.R.D. in the early 2000s. When first released in Europe, an all-electronic version of their debut In Search Of… hit shelves. However, months later when it came to the USA, the album had been completely reconstructed with the help of a live band named Spymob. The new readings were much more amplified (and better). Guests included both members of Clipse, Kelis, Lee Harvey, and Vita.

Aside from the music being reissued on vinyl being a huge draw, Universal/Respect the Classics has added some exciting features. Redman’s Whut? Thee Album is being pressed on red vinyl, while Muddy Waters has a lenticular (think 3D) cover. The N.E.R.D. album is pressed on white vinyl and also features the original version of “Run to the Sun” as a bonus track.

 

The contest is now over.

 

N.E.R.D. In Search Of Redman Muddy Waters Redman Whut? Thee Album

07/07/14 Events

The Decoders perform free tribute concert to Minnie Riperton

Win a pair of tickets for VIP seating!

The Decoders Minnie Riperton

 

On Saturday, July 12, in the heart of downtown Los Angeles, the Decoders will be joined by a 20-piece ensemble that will include very special guest vocalists to celebrate the life and music of female soul icon Minnie Riperton. The event is entitled Adventures From Paradise and will feature a live remixing and reinterpretation of her music, which has never been done before.

 

Wax Poetics is giving away two pairs of tickets for VIP seating! Click here for details!

 

This unprecedented concert will be honoring contributors to her music such as Richard Rudolph (her husband and cowriter), Leon Ware, Charles Stepney, and the psychedelic soul sounds of his multiracial ’60s super group the Rotary Connection (of which Minnie was also a part of), as well as highlighting her work with Stevie Wonder and other great producers/songwriters like Stewart Levine and many more. July 12 marks the date of her transition into the infinite. Falling victim to breast cancer at the young age of 31, Minnie spent her last days on earth in Los Angeles; paying tribute to her musical greatness in the last place she called home is an honor which the Decoders do not take lightly. It will be a magical night under the stars at Grand Performances, a historic outdoor live music venue in downtown L.A.’s Califronia Plaza. The event is free and open to the public.

 

07/02/14 The Nod

Sam Cooke Portrait of a Legend gets a double-vinyl reissue

Sam Cooke Portrait of a Legend

It turns out that Sam Cooke’s Record Store Day reissue of Ain’t That Good News was just a warmup for ABKCO. On June 24, the label, which controls a sizable portion of his catalog, released a double-LP 180-gram issue of possibly the greatest single collection of Cooke’s catalog, Portrait of a Legend 1951–1964. Thirty-one tracks from throughout his secular and gospel careers are found on the collection, which is seeing its first release on vinyl after being released a decade ago on a CD/SACD hybrid format.

As the press release states, “The songs included in Portrait of a Legend collectively logged 273 weeks or five years and three months on Billboard’s Pop Chart and a mind boggling 508 weeks (nine years and nine months) on the Pop and R&B charts, combined,” which is an astounding factoid. A Discogs member has even posted other photos of the release such as the sheet showing the musicians featured on the tracks.

To close out this collection of hits, the compilation producers wisely selected a snippet of an interview with famed DJ Magnificent Montague where Cooke is asked to hum eight bars of soul. The results are breathtaking. You can hear the full interview from 1963 over at the official Maginificent Montague website. As a side note, the Montague biography is an excellent read.

 

This contest is now over. Please see our other contests 

 

Portrait of a Legend Tracklist

LP1 Side A
1) Touch The Hem Of His Garment
2) Lovable
3) You Send Me
4) Only Sixteen
5) (I Love You) For Sentimental Reasons
6) Just For You
7) Win Your Love For Me
8) Everybody Loves To Cha Cha Cha

LP1 Side B
1) I’ll Come Running Back To You
2) You Were Made For Me
3) Sad Mood
4) Cupid
5) (What A) Wonderful World
6) Chain Gang
7) Summertime
8) Little Red Rooster

LP2 Side A
1) Bring It On Home To Me
2) Nothing Can Change This Love
3) Sugar Dumpling
4) (Ain’t That) Good News
5) Meet Me At Mary’s Place
6) Twistin’ The Night Away
7) Shake
8) Tennessee Waltz

LP2 Side B
1) Another Saturday Night
2) Good Times
3) Having A Party
4) That’s Where It’s At
5) A Change Is Gonna Come
6) Jesus Gave Me Water
7) Soul (Hidden Track)

06/26/14 Guest Blog

Michael Jackson Is Still the King

Michael Jackson

Five years ago, the untimely passing of Michael Jackson sent a shockwave through the entire globe. Many tears were shed by his adoring fans. Impromptu celebrations transpired across the world to honor his grand memory. Jackson was one of the very few artists, who transcended the world of music and the world as a whole through his irrevocable influence.

And we dearly miss him.

The world first became intrigued with the precocious nine-year-old prodigy singing the affectionately tinged record “I Want You Back” in 1969. Jackson and his brothers instantly became an extension of our families. The way they danced and sang was infectious from the very beginning. Songs like “ABC,” “The Love You Save,” and “I’ll Be There” left a lasting impression on your soul. Their soulful and heartfelt melodies gave the world a reason to dance and smile in unison.

As the Civil Rights movement came to a close, the 1970s embraced the Jackson 5 and the hits kept coming by the boatload such as “Got to Be There,” “Ben,” “Dancing Machine,” “Rockin’ Robin,” and “I Am Love.” One of Motown’s most bankable groups succumbed to the harsh reality of being a boy band outgrowing their record label. Due to conflicts within the Motown hierarchy, they requested to be released from their record deal in 1975.

During their stint on CBS Records, Jackson became the lead songwriter for the group and penned the hits “Shake Your Body (Down to the Ground),” “This Place Hotel,” and “I Can’t Help It.” As he grew into his late teenage years, he yearned to branch out on his own to become a mega superstar. In 1978, he starred as the scarecrow in the musical, The Wiz. It would be here where he would meet the man who would launch his stardom into another realm.

Quincy Jones was hired to arrange the movie score for The Wiz and, on set, Michael and him became mutually acquainted and agreed to work together on his debut solo album, Off the Wall. The partnership quickly paid dividends for the two as the album achieved record status as it produced four Top 10 hits including “Don’t Stop ’Til You Get Enough” and “Rock With You.” It was also during this time where Michael broke his nose during a dance routine and he required his first rhinoplasty surgery to fix the problem, but he would suffer with breathing problems for the rest of his career as well as having multiple surgeries.

Off the Wall sold seven million copies in the United States and eventually 20 million worldwide. It also yielded three American Music Awards, two Billboard Music Awards, and a Grammy award for the single “Don’t Stop ’Til You Get Enough.” Jones and Jackson grew to become very close and decided to go to work on Jackson’s follow-up, Thriller. This would be the album that would define Jackson’s career and, ultimately, elevate him into iconic status throughout the world.

Thriller remained in the top slot of Billboard albums for 37 consecutive weeks and 80 weeks in the Top 10. Seven singles from the album landed on Billboard‘s Hot 100 Top 10 list, and it has sold an astronomical number of over 100 million copies worldwide making it the best-selling album in music history. The album also received an unprecedented eight Grammy awards, eight American Music Awards, and three MTV Video Music Awards.

Thriller reshaped the whole musical landscape by revolutionizing the artistry put into music videos and helping to revive MTV during the early 1980s. His music forced MTV to place a Black artist on its network for the first time, which opened to the doors to other Black acts. Jackson single-handedly resuscitated the music industry with one emblematic album during a time where the record industry was struggling to survive.

Around 1986 to ’87, he started working on his seventh studio album, Bad. This would be the last album that Jones and Jackson worked on together as a tandem. Although this album didn’t reach the heights of Thriller, it was still a critically acclaimed success. It sold eight million copies in the United States and 30 million copies worldwide and it spawned seven hit singles, five of which hit number one on the Billboard 100 Charts more than his previous two albums.

At the beginning of the 1990s, Jackson renewed his contract with Sony for an astounding $65 million. In 1991, he released his eighth studio album, Dangerous. This album was a change from his rock/R&B influenced roots. He chose to work with an equally prodigious talent by the name of Teddy Riley. At the time, Riley had the industry in a chokehold with his groundbreaking “New Jack Swing” sound and Dangerous once again showed that Jackson’s gifts reigned supreme.

Dangerous sold over 32 million copies worldwide. Jackson was nominated for three Grammy awards. Around this same time, he founded the Heal the World Foundation, which brought underprivileged children to his Neverland Ranch and outsourced millions of dollars to children affected by war and disease. He was one of the first artists to publicly demand research and aid for HIV/AIDS research through his foundation. Unlike many of his peers, he understood his obligation to his artistry and fellow man.

For the rest of the decade, Jackson was marred in controversy alongside releasing his ninth album, a double CD, HIStory. He was involved a string of highly publicized events. His sexual abuse case, which he was cleared of any wrongdoing, his marriage and divorce to Lisa Marie Presley and Debbie Rowe, numerous lawsuits, alleged drug addictions, and the birth of his first two children.

By 2000, Jackson was determined to get his music career back on the right track, but he was at odds with his record label Sony, in particular, the head of Sony Entertainment, Tommy Mottola. As a result, his last studio album, Invincible failed to achieve the success of his prior albums. It was still very successful selling 10 million albums worldwide despite the lack of promotion and a tour. In 2002, he welcomed his third child into the world.

For the most part, he stayed out of the public eye until 2009, when he announced that he would participate in 50 sold out concerts in London’s 02 arena from July 13, 2009 through March 6, 2010. The money he would have grossed from ten of these performances is estimated at $50 million. Unfortunately, Jackson never had a chance to complete his last hurrah. He succumbed to cardiac arrest and there are still questions surrounding his death.

It’s truly remarkable the legacy Jackson left behind for future generations. Many of his groundbreaking accomplishments will never be duplicated again. He was a true once in a lifetime artist. The world watched a precocious nine-year-old grow up to become the greatest entertainer that ever lived. He discussed at lengths about not having an opportunity to have a real childhood and this may have placated his childlike behavior as an adult.

Nonetheless, his genius as a musician and an artist is undeniable and his influence on every facet of popular culture is incomparable. His numerous charitable gifts should never go unnoticed. At the time of his death, he was involved with 39 different charities. He epitomized what it meant to be a humanitarian. He understood that giving back is what makes the human character complete. We all owe him a big thank you for the contributions he gave us while he was here. From this day forward, he will always be affectionately known as “The King of Pop.”