(c)Ian Dewhirst is an English DJ who did the first Mastercuts compilations, then went on to compile for DEEP BEATS. He now works for simplyvinyl.com.
Reprinted from Mastercuts Classic Salsoul volume 1 sleevenotes. (CUTSCD 10)
New York's Salsoul Records was created and financed by three brothers who had already independently established their mark in the business via their expertise in the Latin-American music market. Joe, Ken and Stan Cayre have a world-wide reputation for running a tight ship, so it seemed inconceivable that they would gamble on traditional music business areas like artist development, national distribution, promotion etc. etc. In all, we're talking too expensive, too risky and a probable loser IN THEORY. But somewhere along the line legendary Afro-Filipino musician Joe Bataan must've zapped the Cayre brothers with his sizzling version of Gil Scott-Heron's dancefloor anthem "The Bottle". Plus, being a red hot muso, he was probably bubbling over with enthusiasm over his description of a new sound - a natural fusion of South America's historic rythms, infectious feel and hot temper - Salsa, together with North Amerca's most unique legacy and consistent export - Soul. Salsa and Soul - Salsoul. Geddit! Anyway "The Bottle" hit big, Salsoul was born and the rest is dance music history.
Records like these are simply not made anymore.
Reprinted from Mastercuts Classic Salsoul volume 2 sleevenotes. (CUTSCD 13)
Complete orchestras can now be replaced by one person with a
decent synthesiser and computer, consequently reducing costs by an
average 4,800%. Drummers and bassists have generally been replaced by
beat perrfect and digitally faultless machines which are 100%
accurate, much cheaper, more convenient and much less temperamental!
All those occasional lucky creative 'mistakes', irrational musical
suggestions and SPONTEANEOUS musical inspirations which CREATED the
music of this scentury are now becoming slowly redundant. Even the
Traditional Music Biz occupations and skills like lyric writing,
melodic song writing, musical arranging and conducting are becoming
generally less relevant with each passing year and every new machine.
After all, if you're a record company accountant, the bottom line
never lies, right? And none of us could doubt that one person or even
a FEW people would have to be less expensive than sixty people. Plus
machines generally do what you tell 'em with deadly accuracy, very
few mistakes, excellent time efficiency and obvious cost
effictiveness. So using humans simply does not make econonomic sense
these days. For instance, why pay an eight piece classically trained
string section, when a synth and programmer will KIND OF, NEAR
ENOUGH, GENERALLY do the same job for a fraction of the outlay?
Please believe us - Mastercuts does not have a downer on the recent
technological revolution in music. We only have a downer on the sort
of MENTALITY that current technology creates ... from the top level
to the bottom!
(...) So hold tight, 'cos we are about to experience the exuberance,
enthusiasm, expertise and excellence of a tiny New York record label.
A label that has undoubtedly been the most influential and
INSPIRATIONAL example to today's new producers, and remixers. A label
that is generally considered to be the TRULY ACKNOWLEGDED LEADER of
modern dance music's early commercial success and popularity in the
'70s. And a label whose catalogue has consistently provided the raw
fuel which contiunes to stock todays massive GLOBAL DANCE MARKET.