It's Good for the Soul: The Vince Montana Years 1975-1978 collects all the music made by the first incarnation of the legendary
Salsoul Orchestra, made after vibes player and arranger
Vince Montana broke off from the
Gamble and
Huff-sponsored
MFSB band and moved to
Salsoul Records. Not surprisingly, his concept for a group was similar to that of
MFSB, a large orchestra of excellent players making lush and danceable disco, and since he took many players with him, the sound was comparable too. One big difference was
Montana's backing in jazz, which often led to songs having long instrumental solos in them. Alongside albums released under the
Salsoul Orchestra name (1975's
The Salsoul Orchestra, 1976's
Nice 'n' Naasty, 1977's
Magic Journey, and two records from 1978,
Up the Yellow Brick Road and
How Deep Is Your Love) the collection also includes albums where the orchestra backs
Carol Williams (1976's
'Lectric Lady) and
Charo (1977's
Cuchi-Cuchi), along with tons of remixes and extended versions, many of them by legends like
Tom Moulton and
Walter Gibbons. (Note to the completists -- it does leave out the 1976 album
Christmas Jollies.) The set is a treasure trove for fans of lush and lively disco with strings and vocal choruses; the
Orchestra's basic sound nicely splits the difference between sweaty dancing and smooth sailing. They do take the occasional excursion into easy listening territory, especially on later albums where they do versions of the hits of the day, but even those are well done enough so as not to detract from the genius of the dance tracks. The
Charo album is a fun novelty that's worth a spin for the adventurous disco fan, but on the other hand, the
Carol Williams album is something of a lost gem of smooth disco. Her sultry vocals pair extremely well with the
Orchestra's lushness, especially on the classic single "Love Is You." There are plenty of other songs that rank as classics on the set -- "Salsoul Hustle," "Chicago Bus Stop (Ooh, I Love It)," "It Don't Have to Be Funky (To Be a Groove)," "Nice 'n' Naasty," the
Loleatta Holloway-sung "Run Away" -- to name a few, and the extended version of many of them show off the skills of early innovators. To pair with these, there are some wonderfully overblown moments of disco daring that work despite the odds being stacked against them, namely the
Orchestra's take on
Igor Stravinsky's Firebird Suite titled "Magic Bird of Fire." It's one of the best examples of a disco orchestra taking a big swing and hitting it smack in the center; the dazzling string work, the pulsing beat, blaring horns, and incessant percussion all come together to make something magical. The
Walter Gibbons mix is even more inventive. There are discoveries like this to be had throughout the collection; it presents one of the most important self-contained disco groups in the full spotlight they deserve and is a delight from beginning to end. ~ Tim Sendra
