Disco Delivery: Vincent Montana Jr.

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Tuesday, August 04, 2026

Disco Delivery Mix #16: Guest Mix for Disco Dose SOCIETY, Vol. 43

Was recently invited to make a guest mix for one of my favourite Instagram disco accounts, Disco Dose and their SOCIETY mix series.

Many thanks to Øhm Sweet Øhm for inviting me to contribute! Kept things mostly in the realm of funky, American disco with some forays into Eurodisco, boogie and soul.

Take a listen below...

Disco Dose SOCIETY Vol. 43: Thomas del Pozo (Disco Delivery)

Tracklist:

The Dells - Face To Face
The Escorts - Make Me Over
Crown Heights Affair - Dance Lady Dance
The Supremes - You're My Driving Wheel
Tommy Tate - Let Me Entertain You
Tschai Prender - I Wanna Dance Forever
Asphalt Jungle - Freakin’ Time Pt. 1
Spirit Band - Keep Your Love Alive (12" Long Version)
Carte Blanche - Get Up Get On Your Feet (12" Version)
Jimmy Maelen - Spirit In The Flesh
Sunny Gale - I Wanna Know
Prince Phillip Mitchell - Star In The Ghetto
Claudia Polley - Tous Les Bateaux Tous Les Oiseaux (12" Version)

All the records played in this mix.

Track Notes:

The Dells - Face To Face: The title track from The Dells' 1979 album on ABC Records. The Sweet Inspirations also did a good version of this song the same year. Not sure which one came first, but The Dells' version here feels a bit more funk-forward and an ideal way to start things off here.

The Escorts - Make Me Over: This one's a recent pickup, from New Jersey group The Escorts self-titled LP from 1981, the only one produced by Herschel Dwellingham on his Helva label. This was the opener and the standout jam on the album.

Crown Heights Affair - Dance Lady Dance: The title track from the group's fifth album from 1979. Immaculately produced by the band with Britt Britton and Freida Nerangis; right from the jump, the slow glistening intro sets the tone for the funky disco elegance to follow... One of my favourites of theirs.

The Supremes - You're My Driving Wheel: Another old favourite of mine from the final Supremes album, Mary, Scherrie & Susaye from late 1976. That album was the subject of my very first blog entry here, and one I still bring out with me whenever I play. Produced by Brian Holland, co-written with his regular collaborator Harold Beatty alongside Reginald Brown and Stafford Floyd, two members of New York Port Authority, another group The Holland Brothers were producing at the time. This is also one song that I love to warm up with.

Tommy Tate - Let Me Entertain You: A little sleeper from soul singer Tommy Tate's self-titled 1981 album on Frederick Knight's Juana label. Written and produced by Knight, the man behind Anita Ward's "Ring My Bell", this is one of at least four versions of this song that I know of. Knight also produced versions of this song with The Controllers in 1980 using what sounds like largely the same backing-track, and with C.L. Blast, several years later in 1984. Fern Kinney also recorded a version the same year as this one, but this is perhaps my favourite of the four, with the heft and directness of Tate's vocals really bringing the groove to life.

Tschai Prender - I Wanna Dance Forever: An obscure single from an obscure singer that I'd picked up for cheap some years back. No production credit on the label, but written by (and likely also produced by) Charles Blackwell. Blackwell was a major British arranger, producer and songrwriter in his day who'd work with everyone from Marlene Dietrich to Tom Jones, to Shirley Bassey. He was also commissioned to arrange Beethoven's "Ode to Joy" as the "Anthem for Europe" for the European Parliament. Besides that, the man also had some success in disco, writing and co-producing The Larry Page Orchestra's major hit, "Erotic Soul," even recording a disco album under his own name in 1976. While not as orchestrated as his pedrigee would suggest, this single is actually a spare, sexy, synthy disco groover. Discogs only lists the Rio 12" release from Canada, which is what I played here, so not sure if this was released anywhere else. Nevertheless, a treasured piece of cheap heat in my collection.

Asphalt Jungle - Freakin’ Time Pt. 1: A nice slab of funky disco from 1979 courtesy of Philadelphia drummer and producer Keith Benson. One of two known, released production credits to his name, the other is "Can You Feel It" by the Funk Fusion Band. Both selections are immaculately solid, immediate buys in my opinion. Benson was the brother of singer Carla Benson and as one of the MFSB players, has appeared on a number records in that nexus of Philly soul and disco. Was holding out for a 12" of this, but in the meantime recently came across this on 7", which is what I played here. As it turns out, the tracks on the 7" are the same length as the 12".

Spirit Band - Keep Your Love Alive (12" Long Version): A slice of funky boogie from 1982 on the RSP label out of the Bronx. One of those small independent labels that released records in the intersection of disco, funk and early hip-hop. Scored this earlier in the year and was totally taken by the drum action on this record. Overall, there's a looseness here that's just outside what you'd expect from disco or even boogie from this time. The version I played here is the original release, there's a later release of this with an early M&M (John Morales & Sergio Munzibai) Mix.

Carte Blanche - Get Up Get On Your Feet (12" Version): Recently got the Canadian 12" of this catchy British disco nugget. Produced by engineer Geoff Calver, with Peter Yellowstone and Steve Voice, the team behind Kelly Marie's disco hits at the time. Unfortunately the Canadan 12" came in a generic company sleeve, not the nude silhouettes on rollerscates like in other territories. Nevertheless, for the princely sum of $1, I wasn't going to pass it up.

Jimmy Maelen - Spirit In The Flesh: Recently picked up the sole album, Beats Workin', by the late percussionist Jimmy Maelen on DJ/Producer John Luongo's Pavillion label. Maelen, before his untimely death in 1988, was likely one of the most well-travelled session musicians in New York at the time. Chances are if you're listening to something recorded in New York in the late 70s on a major label, there's a high chance he's somewhere in the credits. It certainly isn't the greatest disco record by a percussionist that I've heard (that title would go to Candido Camero), but it's got a few decent songs which stand out, like this one.

Sunny Gale - I Wanna Know: A stellar, lesser-known Vince Montana production and also a little known later effort by 50s singing star Sunny Gale. As far as I can tell, this is likely her last released recording. Though Gale had a string of hits in the early-mid 1950s, among them "Wheel of Fortune," like many pop singers of the time, her career waned in the wake of Rock n' Roll. She made a brief return to recording in the mid 70s releasing an album of Dixieland Blues in 1974, followed by this disco single not long after. Unfortunately, as a single, it was only released on a rare, promo-only 12" on RCA. It would later be made more widely available on a very good RCA disco compilation called Disco Express, Vol. 1, which is where I took this from. Montana would revisit this song under his Goody Goody moniker, with daughter Denise Montana on vocals which remained unreleased until 2002.

Prince Phillip Mitchell - Star In The Ghetto: Taking things down a bit with this song, one that I personally love so much. Prince Phillip Mitchell wrote this, but Ben E. King and the Average White Band released their version first. That being said, this version has the edge for me. From his Make It Good album from 1978, Mitchell's interpretation makes this feel extra personal, likely because it is. Broadly speaking—musically, lyrically, emotionally, I feel like this song speaks to anyone who's quietly plugging away at whatever it is they're good at and passionate about. It may not have been what was expected of them, it may not get them famous or recognized, but they can see those who see them.

Claudia Polley - Tous Les Bateaux Tous Les Oiseaux (12" Version): Another record I picked up recently. A French production for American broadcaster and musician Claudia Polley, who had also released records as Claudia Ashley at the time. French chanson set to a disco beatbox, this is a cover of the song made famous a decade earlier by Michel Polnareff and not to mention, a pretty obvious attempt at recreating and recapturing the magic of Grace Jones' version of "La Vie En Rose." While it doesn't quite reach those heights, it's not without its own charms too. Even if the reference is obvious, the fusion of French chanson and disco is a combination I always love. There's also an eccentric—especially for the era—record-scratch effect in the song, which is as curious as it is catchy. Another point of connection with Grace Jones: the song's arranger Gérard Salesses also arranged the original 1975 release of Jones’ first hit, "I Need A Man." Polley would also record an English version of this song entitled "Believe," but even in her American-accented French, I prefer this version which I only just realized is in the soundtrack of The Bourne Identity... Digging deeper, Claudia Polley’s background is also quite remarkable in itself. In the 70s before moonlighting as a disco singer in France, Polley had been classically trained at Juilliard and had gone on to become one of the first black female broadcasters in the Indianapolis area. By the 1990s, she was producing jazz records on the Mapleshade label. These days, she is a leading historian and preservationist in the Indianapolis area serving as the president of the Urban Legacy Lands Initiative—a non-profit dedicated to preserving historically black spaces in Indiana. For those who would like to know more about her, she shares her story in a two-part interview with Kyle Long on WFYI Indianapolis' Echoes of Indiana Avenue.

PREVIOUS RELATED ENTRIES:
disco delivery mix #12: wheels begin to roll (wednesday july 05, 2023)
disco delivery #34: unyque - makes me higher (1979, djm) (thursday february 08, 2007)
the first delivery: the supremes - mary, scherrie & susaye (1976, motown) (tuesday january 10, 2006)

LINKS:
instagram: disco dose
instagram: øhm sweet øhm
mixcloud: disco dose

CATEGORIES: DISCO DELIVERY MIXES

Thursday, April 25, 2013

Vincent Montana, Jr. (1928-2013)

I'm well overdue with this, but out of all the people in the music world, particularly those associated with the soul and disco worlds who have passed recently like Damon Harris, once of The Temptations; Major Harris of The Delfonics, Bobbie Smith of The Spinners and most recently, Richie Havens, I couldn't possibly let the passing of Vince Montana, on April 13th go unacknowledged here. As a vibraphonist, arranger and producer, if there was anyone whose work and pedigree spoke to the high level of musicianship that underlined so much of what made and still makes disco as foundational as it is, it's Vince Montana. One of the key members of MFSB's first generation lineup, which was essentially Philly International and by extension, Philly Soul's house band, having either played on, or arranged a number of Philly Soul standards, going back to The Delfonics' "La La Means I Love You," like many of the musicians who graced the Philly sound, and later many disco sessions, Vince came with a background rich in musical experience. Having been a working musician since his teens, rooted in Jazz, having played with the likes of Charlie Parker and Clifford Brown, by the time Montana would put together The Salsoul Orchestra, with many moonlighting Philly and Latin players; Vince, by then pushing 50, was more than a seasoned pro..

Loleatta Holloway and Vince Montana, Jr.
(courtesy: Facebook)

With him and Joe Bataan as the artists who ushered in the landmark Salsoul label, with his own Salsoul Orchestra as the flagship act, while he (and Bataan) would have misgivings about the Salsoul experience, being embroiled in royalty disputes with them for far longer than he had worked for them; the Salsoul Orchestra, which he freely acknowledged, would give him the platform to, as he put it, "do something for himself," giving him a level of name recognition which remained elusive while working in Jazz and even later for Gamble & Huff.

After leaving Salsoul, Vince would have another strong run on the Atlantic label, with his own Goody Goody album (featuring his daughter, Jazz singer Denise Montana on vocals) and two records for his own Montana Orchestra (one of which I had written about here back in November 2006). Even after disco, Vince remained active well into the 1980s and up into the 2000s, releasing music on his own Philly Sound Works label, and arranging records for the Pet Shop Boys, Robin S., Randy Crawford and for Masters at Work's Nuyorican Soul in the late 90s.

Disco Delivery #28: Montana - A Dance Fantasy Inspired by Close Encounters of the Third Kind (1978, Atlantic)
Among the posted tributes from his peers and collaborators on his Facebook fanpage, guitarist Bobby Eli in his own message would say that the Philly sound to him was "soul music dressed up in a tuxedo.., a sound that was topped off by the beauty of Vince Montana's masterful vibes. Vince's contributions through his arrangements and his touch on the vibraphone, riding atop many Philly productions (Kirk DeGiorgio's 2 hour tribute mix at RBMA Radio is a good primer) was undoubtedly one of the main elements which helped give the Philly sound that extra touch of class. As both Bobby and Vince emphasize in their interview for the 1995 WGBH-BBC Rock & Roll documentary series, the Philly sound, which gave birth to the Disco sound, more than being just the sound of a place, a label or even of a group of producers, was the sound of the musicians, like Vince, Bobby, Earl Young, Norman Harris, Larry Washington (among others) and the unique individual style and talent each of them brought to it.

Sunday, November 12, 2006

Disco Delivery #28:
Montana - A Dance Fantasy Inspired by Close Encounters of the Third Kind (1978, Atlantic)

Montana - Warp Factor II
Montana - Love Star
Montana - V.M. IV
Montana - Fly Me To The Moon (In Other Words) (feat. Sister Sledge)
Montana - It's Peaceful Out There
Montana - A Dance Fantasy Inspired by Close Encounters of the Third Kind (full side one suite)
                   Individual Movements:
                  First Movement: Mexican Desert
                  Second Movement: The Toys Come To Life
                  Third Movement: Comin' Round The Mountain
                  Fourth Movement: India
                  Fifth Movement: Space Center
                  Sixth Movement: The Child Communicates/Kidnapping
                  Seventh Movement: The Conversion (Close Encounters of the Third Kind)
                  The Grand Finale: When You Wish Upon A Star (feat. Sister Sledge)

Updated and edited April 2013

Vincent Montana, Jr., as some of you may already know, was the driving force behind The Salsoul Orchestra, as well as one of the key musicians in M.F.S.B. and by extension a prominent figure in the world of Philly Soul.. Like some of the personnel (Baker-Harris-Young, for instance) involved with MFSB and Gamble & Huff's Philadelphia International, Montana would leave the fold at the turn of the disco era and would end up over at Salsoul.. The Salsoul Orchestra was originally Montana's concept, in a recent interview, Vince described the Orchestra as being the realization of his dream in creating "a large orchestra with Latino rhythm, lush strings, a funky bottom and as I like to call it 'kickin’ ass brass' ." The Orchestra would soon become the Salsoul label's flagship brand, if you will.. Unlike some other disco "orchestras" the Salsoul Orchestra was a genuine 37-member ensemble that even performed live (at home and abroad) on occasion. They were also something of a Salsoul "house band" if you will, backing up artists like Carol Williams, Loleatta Holloway and Charo on some of their biggest records for the label. The "Up The Yellow Brick Road" (1978, Salsoul) album was to be the last Salsoul Orchestra LP that Montana would be involved with. Apparently during that time, he would end up leaving the Salsoul fold over a continuing disagreement over royalty payments. Other producers would later take up the helm; Tom Moulton and Thor Baldursson would produce the "Street Sense" (1979, Salsoul) album; Bunny Sigler and Patrick Adams would each do albums for the Orchestra as well. Granted, while there were still some excellent Salsoul Orchestra records after Montana left (I'm thinking "212 North 12th" off "Street Sense," much of the "How High" LP, "Take Some Time Out For Love" to name a few), none of the producers who followed would quite match Montana's success or identification with the brand..

Like many prominent disco producers, Vince was consistently busy throughout the late '70s but 1978 in particular seemed like an especially busy year. For one thing there was the Salsoul Orchestra's "...Yellow Brick Road" LP, the issues with the Salsoul label, and on top of that his move to Atlantic where he would release three(!) albums in that one year; the "Goody Goody" album, and under the moniker 'Montana', the "I Love Music" LP and this album.. I'm not sure which of the three came first, but judging from this album and the Goody Goody LP, his Atlantic period would enable him to experiment and branch out a little further with his sound. The title track of this LP is perhaps the most obvious example. Partially inspired by the John Williams theme for the film of the same name; unlike some of the medleys he would do on on Salsoul, this was about as ambitious - musically and conceptually - as he had ever gotten up to this point, with a full-on side-long disco symphony in seven movements. Not sure what it was with Sci-Fi movies that inspired so many disco re-makes, but you can add Vince Montana to the illustrious list of disco producers (Boris Midney, Meco, Van McCoy etc..) who were. A departure from the "kick-ass brass" of the Salsoul Orchestra and the dramatic side-long epics of Costandinos, while just as ambitious, Montana's epic feels much more down-tempo and atmospheric, in comparison, which is probably why it's something that I'd personally rather listen to than dance to (or more appropriately, something I'd rather fantasize about dancing to). At some fifteen minutes long, it's perhaps not the most instant piece on the record, but the best part of the suite starts around the eight minute mark, when the tempo and the arrangements start to pick up, peaking with a sublime vocal rendition of "When You Wish Upon A Star".

Personally, I'd have to say that the best part of this album would have to be side two. In some ways, side two seemed like Vince picking up more directly where he had left off with the Salsoul Orchestra, albeit with a greater jazz influence this time around. The Star Trek inspired "Warp Factor II" is perhaps the most indicative of this. Anchored by a percolating bass; it's a slightly darker, spacious (in both feeling and concept) hypnotic groove that draws you in and keeps you hooked with Vince's trademark "heavy vibes". In one of my favourite Vince Montana moments on YouTube, and in what also has to be a rare set-up; Vince would perform this song live (following an interview) in a 1978 appearance on The Steel Pier Show where he improvises on the vibes with such mastery and grace, you can hardly believe he's backed with nothing else but the song's recorded track.

Vince Montana, Jr. "Warp Factor II" - The Steel Pier Show (1978)
Uploaded by MontanaPSW

Despite an extended mix of this being tucked on the B-side of the album's 12" single (with the 'Dance Fantasy' suite on the A-side), I'd imagine this was the track which got the most play, charting the single at a respectable #23 on the Billboard Disco charts in 1978.

Another favourite of mine would have to be the all too brief "Love Star," with its beautiful melody and orchestration riding atop some trademark swinging Philly guitars, taking you on at least three musical peaks in the span of its relatively modest two minutes and thirty seconds.. Towards the end the LP, the classy Salsoul Orchestra-style rendition of the old standard "Fly Me To The Moon," with vocals by a pre-"We Are Family" Sister Sledge (who are credited for all the vocals on the LP), is possibly one of the better renderings of this dusty old standard, which he also performed (sans the Sisters) on his 1978 Steel Pier Show appearance.

Vince Montana, Jr. "Fly Me To The Moon" - The Steel Pier Show (1978)
Uploaded by MontanaPSW

"It's Peaceful Out There" brings the album full-circle - a coda back to the orchestral space theme of side one. Essentially a re-titled cover of Italian composer Federico Monti Arduini's (AKA Arfemo) best known pieces, "Amore Grande Amore Libero" (later the title of a film, also scored by Arduini) under the alias Il Guardiano del Faro (The Lighthouse Keeper) in 1975, this would have to be one of Vince's lesser known, though perhaps one of his brightest moments as a producer and arranger. Montana's orchestral arrangements here take Arduini's moogy original to another level altogether, making it sound like the cinematic orchestral piece that it was always meant to be.

One other interesting tidbit about the record is that disco mix master Tom Moulton ended up being recruited to mix this album.. Interesting, since by all accounts, Vince and Tom didn't exactly (and still don't) get along.. Here's what Tom had to say in an interview with Claes Widlund of disco-disco.com:

"I wish I could understand [Vince], I just don't. I just try and try and try, but I just don't understand him, so... 'Cause he didn't tell you that his album 'Close Encounters of the Third Kind'.... he begs me to mix his album because Atlantic rejected it. He called me the day before Christmas and begged me. I said; 'Vince, I can't do this.' He said; 'You're a shit!' and then; 'Oh Tom, I'm sorry and bla bla bla bla bla...' I mean, I couldn't believe it - no one else could either... And I said; 'Vince, I'll do it on two conditions...' He said; 'What's that?' I said; 'You are not there and if you say one word to me other then Hello or Goodbye - I'm leaving!' And he did, and no one would believe it. Well I ended up mixing it, then they accepted it...."

If anyone needs further proof of their continued animosity, look no further than the comments section of Vince's interview with discomusic.com, where they both have it out.. While it's unfortunate that there's little love between these two giants of disco and Philly soul, a record with the talents of both Vince Montana and Tom Moulton can't be a bad one...

Despite the winding down of the disco era, Vince would continue making records. In the '80s he would put out, among many other things, the seminal "Heavy Vibes" on his own Philly Sound Works label. Vince and Philly Sound Works are still going strong today. Recently, some of his latest releases on PSW have received glowing reviews, most notably "That's What Love Does" feat. William "Smoke" Howard of The Ebonys which was reportedly a favourite among many DJ's in 2005.. Despite being set back by medical problems that same year, he's apparently still planning an album tentatively titled "The Revival Project" and more recently, released (promo-only so far) a new track called "You're My Everything" featuring his old Salsoul compatriots, Double Exposure. That said, I doubt there are too many guys like Vince; pushing 80, yet who can still command a contemporary audience with their music, all while staying true to their roots.... Here's to you, Vince!

LINKS:
DISCOMUSIC.COM: MONTANA - A DANCE FANTASY INSPIRED BY CLOSE ENCOUNTERS OF THE THIRD KIND LP
DISCOGS: MONTANA - A DANCE FANTASY INSPIRED BY CLOSE ENCOUNTERS OF THE THIRD KIND LP
DISCOGS: MONTANA - A DANCE FANTASY/WARP FACTOR II 12''
INTERNET MOVIE DATABASE: CLOSE ENCOUNTERS OF THE THIRD KIND
DISCOMUSIC.COM: VINCE MONTANA INTERVIEW
DJS PORTAL: VINCE MONTANA INTERVIEW
ELECTRONIC BEATS: VINCENT'S GOT SO MUCH SOUL (VINCE MONTANA INTERVIEW) (WEB ARCHIVE)
DISCO MUSEUM: VINCE MONTANA JR. & THE SALSOUL ORCHESTRA
PHILLY SOUND WORKS RECORDS
WIKIPEDIA: SALSOUL RECORDS

CATEGORIES: DISCO DELIVERIES, WHAT EVER HAPPENED TO.., VISUAL DISCO

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