The Man From Snowy River (1982)

Soundtrack for an Australian film starring Kirk Douglas. Music composed, arranged, and conducted by Bruce Rowland. I don't think I've ever seen the show, but my high school buddy Scott somehow discovered the movie back in early '80s, loved the soundtrack, bought the album, and made us listen to it quite a bit. The soaring main theme is quite lovely and I'm 90% sure I played an arrangement of said theme with one of my junior high bands back when I made a living teaching in the public schools in the early 1990s. Scott's LP was also my introduction to the Varèse Sarabande label. I really wasn't looking for a copy of the soundtrack, but when you can buy a bit of nostalgia for 50¢ in a thrift store, you do so.

The soundtrack won prizes for Rowland in the category of best score from the Australian Film Institute as well as the Australasian Performing Right Association.

Peak on the US Billboard Top 200 chart: Did not chart

Tracks: 14 tracks, 34 minutes. As with many soundtracks, you get two or three themes and then varients of those themes in all sorts of intrumention and tempi.

Personal Memory Associated with this CD: see above

Charlie Haden/Jan Garbarek/Egberto Gismonti – Magico (1980)

This one's not for me. By the end of the album, I was wondering to myself if my personal "ECM season" had passed and I should no longer look for ECM CDs in the used bins. But then I read the reviews that were less than favorable (save for the folks at Stereo Review) and now I'm thinking this one was simply a swing-and-a-miss. After all, nobody can bat 1.000. (Baseball analogies provided in honor of the opening of the 2026 MLB season.)

Reviews/ratings:

• Stereo Review: "ought to send you scrambling for the nearest record shop"
• Musician: "like gazing at a tree, knowing every leaf and branch is there for a reason, yet unable to trace the whole chain of consequence back to the trunk and the roots."
• High Fidelity: "Putting these three world-class jazzmen together was a great idea that somehow never ignited."
• CashBox: "There is nothing obvious about the music"
• DownBeat (★★½): "it is imbued with a studied hush and false intimacy that ultimately cloys and bores."
• The Penguin Guide to Jazz (5th ed., 2000):★★★
• The Rolling Stone Jazz & Blues Album Guide (1999): ★★
• The Virgin Encyclopedia of Jazz (1999): ★★★

Peak on the US Billboard Top 200 chart: Did not chart

Tracks:

Personal Memory Associated with this CD: None

Rick Braun Plays Chuck Mangione (2026)

The title pretty much says it all. If you want more info, here's a bit from Braun's Bandcamp site:

Sparked by Mangione’s passing in July 2025, this project is deeply personal; Braun performs every track using the cherished Giardinelli mouthpiece gifted to him by the legend himself during a meeting at the 2007 Long Beach Jazz Festival. This beautiful sense of continuity is further enhanced by Braun’s use of the same Couesnon flugelhorn he played as a student at the Eastman School of Music

Hell, if Chuck Mangione gave me one of his mouthpieces, I'd not only use it, I'd probably figure out a way to wear the thing on a chain around my neck. The album is a well-polished tribute, mostly showcasing Mangione's writing skills. Braun is better on the flugelhorn than Mangione was, so Braun upstages the honoree on the playing side of things. Braun brought in guests on saxophone (Richard Elliot & Tom Scott) as well as onetime Mangione sideman, guitarist Grant Geissman. All in a tri-fold digisleeve with playing and production credits but oddly void of writing and publishing credits. Judging from the number of times I've listened to this CD since it hit my mailbox earlier this month, I greatly enjoy this effort. Recommend for fans of Mangione, for sure.

Album chart peaks:(to be determined)

• US Billboard 200:
• Billboard Contemporary Jazz:

Tracks:

1. Land Of Make Believe (originally from the 1973 album of the same name)
2. Doin' Everything With You (originally from the 1976 album, Main Squeeze) featuring Grant Geissman
3. Feels So Good (originally from the 1977 album of the same name) featuring Richard Elliot
4. Long Hair Soulful (originally from the 1988 album, Eyes of the Veiled Temptress)
5. Give It All You Got (originally from the 1979 album, Fun & Games) featuring Tom Scott
6. Do I Dare To Fall In Love (originally from 1983 album, Journey To A Rainbow) featuring Richard Elliot
7. Bellavia (originally from the 1975 album of the same name)
8. Love Wears No Disguise (originally from the 1984 album, Disguise)
9. Children Of Sanchez (originally from the 1978 album of the same name) featuring Grant Geissman

So most of the "hits" are here, plus a couple of deep cuts - it's a nice mix. I would have liked Chase The Clouds Away, but you can't have everything, right? For the most part, the arrangements aren't much different from the original tunes; the exceptions are Land Of Make Believe and Children Of Sanchez. I've heard this version of Give It All You Got on the radio, so I'm guessing that's the single release and a good choice for one. And I'll have to wait a little longer before I'm treated to a recording of Feels So Good that features a vocalist and Mangione's lyrics.

Full lyrics available here

Personal Memory Associated with this CD: Nothing with this particular album as it is a new release, but hearing Mangione tunes always takes me back to my junior high school and high school days.

Previously revisited for the blog:
Groovin' (2002) with BWB
Shake It Up (2000) with Boney James
Body And Soul (1997)
Beat Street (1995)

Artists United Against Apartheid - Sun City (1985)

Note: this release was originally purchased as a LP, later replaced by a CD.

I picked up this CD purely for nostalgia's sake and was quickly reminded what a great album it is (well, the first six tracks, at least). The music moves through funk, rock, hip-hop, and jazz without worrying too much about stylistic consistency; it’s less about cohesion and more about in-your-face urgency, which I guess was the point. If you're interested in the album's origin story, there's a great "making of" video available as well as an informative 2021 interview with organizer Steven Van Zandt.

Press of the time:

• Rolling Stone: "The Sun City project is about informing and motivating people. That we can dance while we're organizing is this record's greatest triumph."
• Musician: "If this project works at all, it will make you mad as hell at the way the world works when it comes to racial relations."
• Stereo Review: "I wish this record were better than it is."
• CashBox: "this is one of the most substantial social issue albums compiled."
• Billboard
• Robert Christgau: A-

Album chart peaks:

• US Billboard 200: #31
• Billboard R&B: #28
• CashBox: #31
• Rolling Stone: #40

Tracks: The Sun City single is the best "supergroup" charity single ever released, easily besting Do They Know It's Christmas, We Are The World, Hands Across America, etc. It was named the best single of 1985 in the Village Voice's annual Pazz & Jop Critics Poll. (I ranked it slightly lower, #37 for the year.) It's so choice, in fact, that we're treated to two different mixes of the thing. So many good parts: the Miles Davis intro, the aggressive drums, the chanting, and how coolly Lou Reed delivers the line, "Look around the world, baby, it cannot be denied." We're also treated to a wordless Peter Gabriel track that is better than it should be for something created on the spot (No More Apartheid), an attempt to capitalize on the success of the Paul Hardcastle single "19" (Revolutionary Situation), Gil Scott-Heron speaking truth to power (Let Me See Your I.D.), and an all-star jazz group supporting Miles Davis (The Struggle Continues). The only stinker is the last track, Silver And Gold. These days, the subject matter of apartheid is historical, but Scott-Heron's spoken word poetry about having to have papers to prove that you're a citizen continues to be timely, unfortunately.

And they were telling me that when you walk around in South Africa
You gotta carry this little black book with you
Tells everyone whether you're supposed to be in a given area or not
Damn thats about like my life 'cause I got to do that when I go Philly

Personal Memory Associated with this CD: I bought the album not long after it was released and it got plenty of playing time in my private(!) dorm room during my sophomore year as an undergrad. Oddly, I don't remember any of my peers ever listening to it or discussing apartheid with me.

More recently, I had a pastor who had grown up in South Africa and immigrated to the US as an adult. An Afrikaner, he would occasionally share stories of growing up during apartheid. They were eye-opening at best, horrifying at worst.

The Blue Nile - A Walk Across The Rooftops (1984)

UK import

An album more about sound than songs. Intimate, beautiful, tasteful, impeccably arranged sound. So the emphasis is squarely on texture and structure seems optional. Nothing grabs you but you can't stop listening. And I mean all that as a compliment because I really dig the musical milieu. Spin this disc while staring out a window and suddenly your life has a budget and a cinematographer. Atmosphere with vocals almost an afterthought. Certainly not the kind of thing I was looking for in 1984, but I'm glad I finally caught up to it decades later.

Press of the time:

• Smash Hits (9 out of 10): "Straight into a league of their own comes a major new talent"
• Rolling Stone: "this shimmering music is not difficult, just sophisticated"
• Spin: "moodily captivating on the A side...but constricted by a painfully languid flip side"
• The Virgin Encyclopedia of Eighties Music (1997): ★★★★

The album is listed in the 2005 book 1001 Albums You Must Hear Before You Die with the following quote: "If you are not moved, you may be dead."

Peak on the US Billboard Top 200 chart: Did not chart

Tracks: My initial thought was to simply write "It plays as one long track and when it's over, you want a second helping" but the tracks Tinseltown In The Rain and Stay really do stand out on this one.

Personal Memory Associated with this CD: previously recounted here

Previously revisited for the blog:
Peace At Last (1996)
Hats (1989)

The Krayolas - Little Fox (2007)

When I learned of the passing of Augie Meyers earlier this month, I was reminded that I had this 4 track EP sitting on my shelves. Meyers, as a founding member of the legendary San Antonio group the Sir Douglas Quintet, helped invent Tex-Mex roots rock music back in the 1960's. The Krayolas were heavily influenced by SDQ, so this collaboration more than makes sense, it was practically predestined.

With a few clicks, I quickly found an article about the release from the San Antonio alt-weekly, the Current: Fox Force Five. But since the leader of The Krayolas, Hector Saldana, is a friend o' the blog, I simply reached out to him for his memories of Augie Meyers and the story of how this EP came about. So I'll shut up now as we go directly to the source for more info:

Augie Meyers was as pure a musician as they come. He was known for his sound on the Vox Continental combo organ, but he was also excellent and very musical on the accordion, could play rhythm and lead guitar and was downright elegant on the piano. He was also a really good singer.

Augie was a fan of the Krayolas since our teenage years. He had a show or segment on KEXL-FM radio in San Antonio where he spun local records and I remember going over there with our bassist and organ player Barry Smith with our 45 “All I Do Is Try”/”Sometime” – and he played it, which was a big deal. In the mid-1970s, the Krayolas always included “She’s About a Mover” and “Mendocino” in our sets.

“Little Fox” was completely out of the blue. Augie had listened to “Best Riffs Only” – the compilation of our old 45s – and really liked it and the cover artwork. I ran into him, and he told me he had heard it and that he had a demo of a song from the Sir Douglas Quintet days that was never released called “Little Fox.” He said he would play on it and gave me a cassette of a song that didn’t have the word “fox” in it, didn’t have a chorus, had horns and was kind of long. When I mentioned this to Augie after listening to it, he just said, “Make it sound like the Krayolas.” I arranged it. I turned the horn melody into the Rickenbacker 12-string riff, shortened it and wrote a chorus with “Little Fox.”

Augie is the one that took us to Blue Cat Studios. We recorded it live and listened to Take 1, which sounded great but I thought it could be shorter, so I cut a verse and we did it again. It sounded great. I remember during the first playback, I told my brother that I was going to say, “Take it, Augie!” before the organ solo just like Doug Sahm. We laughed. I almost lost my nerve during the take, but I went for it. It’s a cherished memory. We cut a handful of other songs that I had written for the Krayolas. “Little Fox” was originally in English. I asked my mom to write an additional set of Spanish lyrics for it, and that made it perfect.

Augie had so much fun, too. He said we should make an album. That’s how “La Conquistadora” album¹ came about. He played Vox organ, accordion and piano during the sessions. We also made a Christmas video with Augie to my arrangement of the Rudolph song -- “Tex-Mex Rudolph.” Augie played accordion and Vox organ on it. Of course, “Catherine” and “Alex” were soon played on Little Steven’s Underground Garage on SiriusXM channel 21 – and we ended up playing showcases together at SXSW – including the only time Little Steven Van Zandt broadcast from SXSW. Augie came up for a couple of numbers on that one, including the Kinks “Who’ll Be the Next in Line” and “Little Fox.” At our first SXSW, the crowd went nuts when the Krayolas and Augie Meyers tore into the Dave Clark Five’s “Any Way You Want It.”

One of my favorite memories is Augie playing Vox organ with us at my birthday party at a club called The Cove.² We did a lot of fun gigs and recording sessions together. I visited with Augie quite a few times near the end of his life, and I cherish those visits, too. We talked about his childhood and music and the many musicians he loved. On one of my last visits, I played him a mix of the Krayolas newest Christmas song, “Maria Believes in Christmas Again.” He had hoped to play Vox organ on it but it just couldn’t happen. But as he listened to it he was telling me what he would overdub on it when he felt better.

I was there for his last public gigs and helped him on and off the stage. I cherish that so much. We all loved the guy. He remained humble, down to earth and always with a joke at the ready. It’s a huge loss for San Antonio. He was one of the greatest musicians Texas ever produced.

A song I wrote that Augie played Vox organ on called "Exit Salida" is currently in Top 100 Most Played Songs ranking on SiriusXM Outlaw Country. They started playing it in rotation last week in tribute to Augie. The Krayolas and Augie again.

Thanks, Hector. As for the music on this 10 minute CD, check it out for yourselves as the other tracks are quite good as well; I particularly enjoy Rescue Roses. Samples here: https://thekrayolas.com/music/little-fox/

¹La Conquistadora is also on my shelves and will appear here in the future. Check this space.
²The Cove is the one of my favorite eateries and the only combination organic restaurant/bar/car wash/laundromat/live music venue that I'm aware of.

Personal Memory Associated with this CD: None, but I sure wish I could have been at that SXSW show.

Previously revisited for the blog:
Happy Go Lucky (2022)
Savage Young Krayolas (2020)
Best Riffs Only (2007)

Kevin Eubanks - Guitarist (1983)

Note: this release was originally purchased as a LP, later replaced by a CD.

From the Eubanks website (gently edited for clarity):

His first album as a leader, Guitarist, was released on the Elektra/Musician label when Kevin was 25. It documented a sophisticated, nuanced voice on the instrument and was graced by the presence of some peers who are still performing with him today: tenor saxophonist Ralph Moore (Tonight Show Band member) and Kevin's brother Robin. Kevin’s cousins, the late bassist David Eubanks and the pianist Charles Eubanks, also appeared on the recording, which was so well received that it lead to a seven record recording contract with the GRP label, owned by Dave Grusin and the late Larry Rosen.

Not sure about "sophisticated" and "nuanced," but promotion is promotion. To me, the album is sort of a mixed bag of compositions with lots of flashy technique, but that's what I would expect from someone trying to find his voice. To my ears, he was heavily influenced by Wes Montgomery and I can't say as I blame any guitarist for listening to a lot of Montgomery's work. The playing is better than the writing on the Eubanks originals but he'd get better at both. Guitarist isn't something I come back to often, but we all gotta start somewhere.

Liner notes written by Eubanks himself.

Reviews/ratings:

• Musician: "enterprising, low-key hard bop"
• The Rolling Stone Jazz & Blues Album Guide (1999): ★★★★
• The Virgin Encyclopedia of Jazz (1999): ★★★

Album chart peaks:

• US Billboard 200: Did not chart
• Billboard Jazz: #32
• Record World Jazz: #14

Tracks: 8 tracks, 4 of them Eubanks originals. My favorite tracks are the two on which Eubanks shines on solo acoustic guitar - the appropriately titled The Novice Bounce and the cover of Miles Davis's Blue In Green. Robin Eubanks shines on his arrangement of Jerome Kern's Yesterdays.

Personal Memory Associated with this CD: None