Since September 2010, this blog has recorded the journey of this music junkie as I attempt to listen to all the music in my CD collection. CDs revisited in their entirety from start to finish - no skipping tracks, no shuffle. Compact Discs only - no vinyl, no tapes, no files.

Saturday, January 23, 2021

Elvis Costello & The Attractions - Trust (1981)

Note: the CD I listened to was the 1994 Rykodisc reissue with 9 bonus tracks.

I'm not much of a wine drinker, but I was once at a dinner party where I was offered some wine by what I'll graciously call an enthusiastic, self-proclaimed wine aficionado. I politely declined, but this guy was insistent. I responded with some BS along the lines of "the sulfites give me a headache" hoping he would finally leave me the hell alone. But just like your friendly neighborhood corner drug pusher, he kept at me saying, "I believe everybody likes wine, they just haven't yet found the wine they like." [I'll pause here whilst you roll your eyes.] I'm not sure if he just wanted to be 'right,' or if he needed my approval as if that would somehow validate his own wine opinions. In any case, I walked away from the winey and opened a beer. Scene.

What's that story got to do with this Elvis Costello album? For many years (and on previous posts to this blog) I've said/written things like "I'm not much of an Elvis Costello fan, but occasionally I'll pick up a Costello release because I sometimes think I should like him.  But I always reach the same conclusion: Costello is a great songwriter and usually includes 3 or 4 wonderfully crafted pop songs on each of his albums.  So, to me, he's more of a singles artist than an albums artist." And then I bought this CD. It's fantastic throughout. So, relating to the above tale, apparently everybody likes Elvis Costello albums, they just haven't yet found the album they like. I don't know how I possibly would have been introduced to this album back in '81, but I'd welcome a visit to that alternative universe because this would have sounded fantastic pouring out of the windows of my '72 Ford Maverick.

A cohesive mix of styles (if that makes any sense). And Steve Nieve remains one of the most underrated rock keyboardists of all time - if it's even possible for a hall of famer to be considered underrated. He's got a helluva an ear and the talent to play exactly what is needed at precisely the right time. Plus there's Nick Lowe's production. I could go on and on. Yada, yada, yada, better-late-than-never, etc. 

In The Village Voice's annual 'Pazz & Jop' critic's list, this album placed at #3 for 1981, but was lauded as #1 in Trouser Press. Ten years ago, Rolling Stone magazine's Rob Sheffield called the album "Elvis Costello’s Best (and Most Curiously Underrated) Album." And I think he's right. My favorite EC song remains Beyond Belief, the lead track from Imperial Bedroom, but as far as albums go, it's Trust.

Press of the time:
  • Smash Hits (9 out of 10): "buy it"
  • Rolling Stone (★★★★): "the results are awesome."
  • Robert Christgau (A): "This is rock and roll as eloquent, hard-hitting pop"
  • Billboard: "Arguably, this is by far Costello's best album yet."
  • Musician: "a more open, brighter feel"
  • Trouser Press: "As always, the album contains some instant classics that, without relying on a formula, could only have sprung from the Costello pen."

Peak on the US Billboard Top 200 chart: #28
Peak on the Billboard Rock Album chart: #16
Peak on Cash Box album chart: #27
Peak on the Rolling Stone chart: #11

Tracks: The best songs are Clubland, Lovers' Walk (with that wonderful Diddley beat), Strict Time, Luxembourg, Watch Your Step, New Lace Sleeves, From A Whisper To A Scream (with Glenn Tilbrook of Squeeze), and Fish 'n' Chip Paper. The only skippable track is Different Finger, which is a bit too country for my liking.

Bonus tracks: a couple of later b-sides and previously unreleased material, some with unrefined production. Nothing really objectionable other than an ill-advised cover of Cole Porter's Love For Sale; but nothing measures up to the original album. The only tracks that kinda catch my ear are Sad About Girls and Seconds of Pleasure. Long story short: the only tracks I've ripped to files are the original album, tracks 1-14. 

For more information on the brief life of the CD longbox,
go visit The Legend of the Longbox.

Personal Memory Associated with this CD: Until I bought this CD, my only knowledge of this album came from Less Than Zero, the 1987 movie as well as the 1985 book (pic of my battered paperback below).

Previously revisited for the blog:
Painted From Memory (1998)
Spike (1989)
Imperial Bedroom (1982)

Saturday, January 16, 2021

Rick Springfield - Working Class Dog (1981)

Note: the CD I listened to was the 25th anniversary edition with 3 bonus tracks and surprisingly good liner notes.

Yeah, yeah, I know I should have probably purchased this album back in '81 like everybody else. But, due to some typically odd 14-year-old adolescent reasoning, I thought this pretty boy stuff was for the ladies, not wannabe macho guys like me. Never mind that I was buying Manilow and smooth jazz records at the time, I wasn't gonna be eatin' no quiche!


Naturally, the irony of having such a juvenile mindset was completely lost on my juvenile mind. Sure, I liked the album's three hits when they played on the radio back in '81, but I just couldn't bring my knuckledheaded self to buy an album from a soap star. But somebody I palled around with must have owned the cassette because I remember all the songs from what was side one (tracks 1-5) here, including the two filler tunes. You'll be happy to know I eventually got over myself and bought the follow-up, Success Hasn't Spoiled Me Yet, in spring of 1982 (I keep saying I need to revisit that one). However, if I heard the remaining tracks on Working Class Dog before purchasing this CD, I have no memory of it.

Regardless, this album is full of hook-filled, well-crafted power pop achieved by using a very typical, structured pop formula - as producer Bill Drescher states in the liner notes: "strong intro, strong verse, strong chorus, a good bridge and then back to the chorus." Thought was also given to the song's endings, as 9 of the 10 tracks have definite endings that don't fade out - only the final track falls away and I'm usually done by then anyway.

Jessie's Girl won the Grammy Award for Rock Male Vocalist and the album was nominated for Best Album Package (eventually losing to Tattoo You).

Press of the time:
  • Trouser Press: "muscular bubblegum - rock that comes on strong and has a squishy center"
  • CashBox: "Crystalline power chords, bracing harmonies and catchy as all get out hooks make this LP a rock n’ roll event."
  • Billboard: "Catchy, mainstream rock"
  • Stereo Review: "Springfield at last proves himself to be a pop performer of some substance."
  • Record World: "Springfield is anything but a dog, but he could appeal to the working class."

Peak on the US Billboard Top 200 chart: #7
Peak on the Billboard Rock Album chart: #16
Peak on Cash Box album chart: #13
Peak on the Rolling Stone chart: #17

Tracks: Jesse's Girl was the big hit but I think the best tune is the album opener, Love Is Alright Tonight with its most excellent chorus. This album is definitely front-loaded with all three Top 40 hits in the first five tracks and then it falls apart as it ends, finishing with an odd road house blues/boogie woogie pastiche of a track followed by a below-average ballad. But 8 out of 10 ain't bad. However, that would explain why I was only familiar with the first five tracks - I imagine side one of cassette tapes and vinyl saw a lot more playing time than side two. 

There's some obvious derivations here: Carry Me Away sounds like it could have been recorded by Kansas, The Light Of Love by The Babys, and so on. But he was looking for a big commercial hit, so who can blame him? I knew that I've Done Everything For You was written by Sammy Hagar, but until I read the liner notes of this CD, I was unaware that producer Keith Olson first tried to get Pat Benatar to record it and she turned it down, but the Springfield version is played and arranged by Benatar's husband Neil Geraldo. So it's essentially a Benatar track with Rick's vocals and now I can't unhear that. Still a great tune, though.

Bonus tracks: we got 3 of 'em - a 70's sounding Kansas/Foreigner ripoff (Easy To Cry), an early version of Taxi Dancing, and the demo of Jesse's Girl. The first two were part of the tape that got Rick a recording deal with RCA. The first is surprisingly good - it wouldn't have fit on the original WCD album, but it's worth a listen. The other two are worth one pass each.

Personal Memory Associated with this CD (lifted from a previous post): One of the older girls I was crushing on around 1981 had a boyfriend with a two-syllable name and I would often sing along to this tune substituting his name for Jessie's. And then outta nowhere she dumped him for me! Just kidding, they've been married for many years.

Ricky Springfield is a buddy of Rahad

Saturday, January 9, 2021

Toto - Turn Back (1981)

EU Import

Note: the CD I listened to was the 2014 Rock Candy "Remastered & Reloaded" Collector's Edition:

I was fan of Toto IV from the get-go so I thought I'd check out this 1981 album which immediately preceded it. Guitarist Steve Lukather seems to have come up with some great, aggressive riffs for this guitar-heavy, arena-rock album and then the band didn't do much with them. There's nothing really objectionable/skippable here, but there's nothing particularly memorable/hummable, either. But the classic Toto chops are on full display, so it's got that going for it. Bobby Kimball's voice was fantastic back then but all the players are first-rate - that was the point of putting the group together, right?

From Lukather's website:
Turn back was our attempt at "arena rock" as we were starting to be pissed off that the Sony were putting out all the ballads and the softer side of us, like 99 etc... *I* did NOT want this to happen, unfortunatly it did anyway. We worked with Geoff Workman who was Roy Thomas Bakers engineer (Queen-Journey-the Cars etc...) and at THAT time... THAT was what was happening. It was an experiment. I think that there are some great tunes on the record, it sounds a bit strange and VERY different from our other records but I have very fond memories doing it. [sic]
In their list of "100 Classic Album Covers" (issue 617), Rolling Stone magazine ranked Tony Lane's Turn Back album cover at #55 which appears to be the most praise this album has received over the past 40 years.

Press of the time:

Peak on the US Billboard Top 200 chart: #41
Peak on the Billboard Rock Album chart: #26
Peak on Cash Box album chart: #40
Peak on the Rolling Stone chart: #40

Tracks: If the ad below is any indication, the lead single from this album was Goodbye Elenore (it 'bubbled under' the Hot 100 at 107). I could say it doesn't really stand out, but none of the tracks do. The only other track that saw Billboard chart action was track 3, Live For Today, which peaked at #40 on the magazine's very first Top Rock Tracks chart in March 1981. If you put a (golden) gun to my head today and made me pick favorites, I'm thinking the best track is Gift With A Golden Gun while my least favorite is the more-experimental title track, which doesn't fit in with the vibe of the remainder of the album. Did I just write that no tracks stand out and then went ahead picked a favorite anyway? Hunh, I guess I did.

Personal Memory Associated with this CD: Around the time this album was released in January 1981, I was starting the spring semester of my freshman year in high school. My high school scheduled six classes a day back then (today, 8 is the norm around here); I "studied" American History, Algebra, Band, Theatre Arts, English, and Physical Science. I had questionable teachers in history and math, but the others were at least competent. Still, there was a lot of "instruction" along the lines of  'read the chapter and answer the questions at the end' and worksheets that semester. But that really doesn't have much to do with this Toto album other than coincidental timing, so never mind. As you were.  

Possibly altered freshman yearbook photo
of your humble blogger, ca. 1980-81.

Previously revisited for the blog:
IV (1982)

Saturday, January 2, 2021

Various Artists - Class Reunion '81: Greatest Hits Of 1981 (1996)

A varied but decent budget-priced compilation from Rebound Records. Yes, that's the actual cover art.

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

  1. Kiss On My List - Hall & Oates
    With its near-perfect guitar solo that chooses melody and shape over technique, this is my favorite tune on a stacked Voices album.
  2. Endless Love - Diana Ross & Lionel Richie
    I don't particularly care for this song anymore, but I can sing both duet parts if you need that sort of thing. During fall 1981, I rode with a older neighbor (we'll call her Nancy because that was her name) to marching band rehearsal each morning. She'd drive to the local donut joint on the way and that's when I developed the decidedly unhealthy habit of starting each day with a popular caffeinated carbonated cola beverage. Nancy loved Endless Love endlessly and had the cassette of the movie soundtrack. So, for three months, she'd listen to the first track on side one (this song), then flip over the cassette and listen to the last track on side two (titled "Endless Love Reprise" but it was the same damn song), then back to side one, repeat ad nauseum.  Never seen the movie and have no plans to change that fact. At least I got donuts.
  3. The One That You Love - Air Supply
    A soft rocker's dream.  Starts slow and builds, sappy lyrics, big strings, power ballad bridge, and lots of characteristic vocal harmonies. I quickly learned all the lyrics because the ladies loved Air Supply and this skinny geek desperately wanted to become a ladies man.
  4. Hold On Loosely - 38 Special
    I wouldn't call myself a diehard Southern Rock fan, but this group sure could write some hooks and I always enjoyed their charted singles in the early '80s. At some points, this one sounds a lot like The Cars to these ears.
  5. Slow Hand - The Pointer Sisters
    Smooth and sultry, sure, but this tune but it was never a favorite of mine. I was in the minority, obviously, as this would have topped the Hot 100 if not for Endless Love.
  6. While You See A Chance - Steve Winwood
    Such a great song - always puts me in a good mood. It just seems to constantly move upward. I'm grateful they included the album cut here instead of the 45 version which contains one of the worse editing jobs in the history of single edits. Even K-Tel must have felt embarrassed.
  7. Lady (You Bring Me Up) - The Commodores
    Let the feelin' good continue! If this doesn't get you up and moving, change the batteries in your pacemaker.  Lionel Richie didn't write it, but he sure sings the crap out of the thing.  The strings and EWF-ish horns over that downward bass line?  Please.  Soon after this release, Richie left for his extremely successful solo career (see track 2, above).
  8. Cool Love - Pablo Cruise
    A non-descript power ballad from a band on its descent - it was the fifth and final Top 40 hit for the band.  It’s a pity because I really like the band’s late ‘70s output. 
  9. Being With You - Smokey Robinson
    Simply put, Smokey Robinson should be on money.
  10. Super Freak (Pt. 1) - Rick James (CD bonus track)
    And now I'm suddenly transformed into a dancin' fool. Written in a time when "incense, wine and candles" was considered to be "such a freaky scene" - these days that's a normal Tuesday night. Backing vocals by the Temptations, the catchiest bass line of the year, and a funk groove capped off by a manic sax solo by Daniel LeMelle. Overplayed, for sure, but it nevertheless gets a thumbs up from me.
  11. Gemini Dream - The Moody Blues
    I liked this upbeat tune from the get-go, probably because it sounds a lot more like ELO than the The Moody Blues I remembered from ten years earlier. With it's bouncy synth-bass and harmony vocals, this is easily my favorite song on Long Distance Voyager. I don't put any stock in astrology, but I am a Gemini and I do dream, so there's that.
  12. Square Biz - Teena Marie (CD bonus track)
    This track from the 'Ivory Queen of Soul' was definitely ahead of tis time - the world wasn't yet ready for it. That's a shame because this is a great R&B tune. The rapping hasn't aged well, but this single might have been a hit if it had been re-released later in the decade, but who the hell knows? I don't remember this cut at all from 1981 and probably first discovered it on Rhino's Phat Trax series.
Charts, we got charts:

SongYear EndHot 100ACR&BRockDance
Kiss On My List5116-54-
Endless Love3111--
The One That You Love1612---
Hold On Loosely15327--3-
Slow Hand20267--
While You See A Chance56717-2-
Lady (You Bring Me Up)588135-53
Cool Love881314-23-
Being With You23241--
Super Freak10116-3-1
Gemini Dream8612--1336
Square Biz24050-3-12

The overall #1 year-end song for 1981? Physical by Olivia Newton-John, which spent 10 weeks at #1 and I couldn't tell you the last time I heard it on radio whereas both the Hall & Oates and Rick James tracks on this CD seem to have found real staying power over the last 40 years.

Personal Memory Associated with this CD: I don't remember buying any of these tunes as 45 singles back in '81 (if I had any, it was probably the While You See A Chance), but I sure heard them on the radio all the time, save for track 12.

In the summer of 1980, a good friend of mine moved with his family to another city over 300 miles away. Long distant phone calls were needlessly expensive back then and cost-prohibitive for this skinny teen, so at some point during 1981, we started recording taped messages, mailing a cassette back and forth as our way of keeping in touch. There was one cheap C-60 cassette that passed between us - one guy would listen to the other had recorded, tape over what was just heard, then send it back.  This went on for several months before we lost interest and, unfortunately, any recorded proof of these 'conversations' is now slowly decomposing in a landfill. On the recordings, we would talk about the latest goings-on in our lives, gossip, girls, and would record our current favorite songs from the radio. Of course I can't remember all the songs that we sent back and forth to each other, but I'm pretty sure the Winwood and Hall & Oates tunes included here made the cut at least once.

Saturday, December 26, 2020

The Krayolas - Savage Young Krayolas (2020)

"Known as the Tex-Mex Beatles, the Chicano garage rockers have garnered flattering comparisons to the Fab Four, Bob Dylan, the Who, Nick Lowe and Warren Zevon."

I first heard of the San Antonio-based garage band The Krayolas back in the summer of 2019 and wasted no time tracking down a copy of their debut vinyl, 1982's Kolored Music, and then quickly followed that up with a purchase of Best Riffs Only, a 2007 compilation CD. Savage Young Krayolas was released in November of this year but contains recordings from over 40 years ago and captures a young band with their earliest efforts to merge new wave-ish power pop with '60s British Invasion rock 'n' roll. In addition to the bands listed in the press clipping above, I think a Knack comparison works well and I've heard tell they spelled Krayolas with a K as a tribute to The Kinks. Plus the Savage Young Krayolas album title is an homage to an early Beatles recordings bootleg album titled This Is The... The Savage Young Beatles. In any case, this CD clocks in at a wild 32 minutes and is well worth your time.

A band member can almost always explain an album better than I can. Here's some edited excerpts from a wonderfully detailed email sent to me by band member Hector Saldana (guitars, vocals):
Savage Young Krayolas presents for the very first time the analog tapes audio professionally restored, mixed, mastered. For example, all of Best Riffs Only was slap-dashed together with existing mixes, rough mixes, demos and TV mixes on quarter-inch tape. That’s why the audio in 2007 was a little flat and two-dimensional. The new project went back to the original source material: the two-inch multitrack analog tapes. 
It contains never released recordings. They are “Roadrunner” and “Three Girls Flying in From Mexico City” (both featuring the late Barry Smith onlead vocals), a cover of The Kinks' “You Really Got Me,” stripped-down virtually vocals-only version of “Sunny Day” and the 2007 recording of “I Just Wanna” with Augie Meyers (Sir Douglas Quintet, The Texas Tornados) on combo organ that was part of the La Conquistadora album sessions but was not included on the record. 
As a musician, it’s nice to hear my brother’s drums resonate and the electric bass guitar and electric guitars louder in the mixes.  The difference is in the audio fidelity with a balanced sound. The mixes were done by engineer Jonathan Harter at Harter Music - experts in historic audio preservation and archival projects. My only instructions were to make it sound like he would like it – and to crank up the drums and bass (I was always disappointed in the thin sound of our vinyl singles and recordings and how they never sounded like what I was hearing in the control room playback).  A lot of that had to do with the fact that we were so young so our opinion on the mixes were not taken seriously.  A perfect example is “Cry Cry, Laugh Laugh” which now includes my trippy guitar solo (which I had totally forgotten) that the engineer didn’t include in the original mix for whatever reason. Not to mention that studio time was expensive in the 1970s and we were always rushed and watching the clock. I have a distinct memory of practically running out of the “Gator Gator” session at ZAZ Studios with the two-inch tape and rough mix in hand and telling them we’d be back – we never did.

Savage Young Krayolas was conceived as tribute to Barry and to those youthful days.  I think Barry would’ve loved it that the songs he sings have been getting radio airplay around the country.  And for me, “Sunny Day” is a revelation. The mix on “Best Riffs Only” is pretty cluttered; and the final mix on the later maxi single with more instruments is even a more cluttered mess. Hearing it with the voices out front is how we used to practice it and we just went overboard. What’s pretty amazing is that it’s only two tracks of voices. It was recorded Beach Boys style with all of us gathered around two microphones and getting a blend, and then double-tracking it. 
It’s the debut album that could’ve been. And the new audio is really fresh and clear and powerful.
Even forty years later, the passion for the music is obvious, no? And deservedly so; these catchy originals are retro and forward-thinking at the same time with hooks for days. And Hector is right about the audio being fresh and clear - this CD sounds great.

How do you take your power pop? Well-crafted? Melodic? Hooks? Canny lyrics? Energetic? All of the above? Look no further. Get yourself to the group's bandcamp page immediately ( and join me in the better-late-than-never club.

The group's early 'spacesuit' concert attire.
Seen in action here.
(And where can I buy one of those t-shirts??)

Tracks: Nothing to skip here. The first six tracks are fantastic and sound terrific in the car, pedal down, volume up (can personally confirm). My favorite Krayolas tune remains Cry Cry Laugh Laugh (track 5 here), but my earworm over the last few days has been the chorus of You're Not My Girl (track 2). And Sunny Day is every bit the "revelation" described above. The disc closes with the manic Gator Gator and the hilarious closer, Three Girls Flying In From Mexico City. Those last two are mentioned in the liner notes:
Falling on our backs at just the right moment, we’d do the gator as we played. That “Animal House” dance moved once ignited a frenzy inside the Goree Unit women’s prison in Huntsville, when we unwisely jumped off the stage to gator. Dozens of female inmates leapt from their seats, swarmed us and joined in. Immediately, the power was cut off. Afterward, a few of those unapologetic women helped us roll out our amps. Just like we dreamed it.

“Three Girls Flying in From Mexico City,” a long-lost recording from summer 1979. Written by Barry, it was inspired by the fallout from my dad taking my three teenage sisters to Acapulco. Upon returning, the girls dumped their boyfriends because they’d found new ones in Mexico. As older brothers, we found it all pretty amusing. Oh, the phone bills.
There's a point in the cover of You Really Got Me where you hear the ad-libbed lyrics "stronger than dirt" which I hadn't heard in years but immediately remembered from old Ajax TV ads. A perfect rhythmic fit.

Personal Memory Associated with this CD: None, but I'm dreaming of an imaginary 1982 double-bill at Rockefeller's in Houston with The Krayolas and The Judy's. Heck, throw The Dishes in the mix as well. Wowza - what a show that shoulda coulda woulda been.

Billboard, November 28, 1981, p. T-7

Previously revisited for the blog:
Best Riffs Only (2007)

Monday, December 21, 2020

James Brown's Funky Christmas (1995)

A mid-'90s compilation of the best songs from James Brown's three earlier Christmas albums: James Brown Sings Christmas Songs (1966), A Soulful Christmas (1968), and Hey America It's Christmas (1970). 

I purchased this disc for two reasons: 1) it's the freakin' Godfather of Soul, and 2) the album's appearance at #3 on Rolling Stone's The 25 Greatest Christmas Albums of All Time:

It's a welcome change-of-pace from the usual strings and sleigh bells. 

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

Tracks: Here are the funky grooves that made it on my Xmas playlist: Go Power At Christmas Time, Santa Claus Go Straight To The Ghetto, Soulful Christmas, and Merry Christmas I Love You. I dig Tit For Tat (Ain't No Taking Back) but it's not very Christmas-y. However, the album is well-sequenced and has a good mix of funk and soulful ballads, so it's an pleasant listen from top-to-bottom.

The final track - the title song from the Hey America It's Christmas - was named one of the "Weirdest, Darkest Christmas Songs" by Spin Magazine in 2012. I wouldn't go so far as to place the song on such a list, but I don't really see the point in creating such a list in the first place.

Oddly, my CD only included 16 tracks instead of the 17 listed on the cover. The missing track? Track 4, Merry Christmas Baby. With cover art that bad, I shouldn't be surprised at an incomplete package. Looks like my full-retail-price CD is nothing more than a CD-R produced 'on demand' and someone at Chronicles didn't check all the boxes before burning:

Tsk tsk. For shame, Polydor. Shame on you too, Amazon, for not listing the fact that it's a CD-R. Ok, ok - rant over. Merry Christmas, everybody. And please, please, please 2021 - don't let me down.

Personal Memory Associated with this CD: None

Previously revisited for the blog:
The CD of JB: Sex Machine & Other Soul Classics (1985)

Sunday, December 20, 2020

Roy Ayers Ubiquity - Everybody Loves The Sunshine (1976)

You were warned. A couple of months back, posting about Roy Ayers Ubiquity's 1975 album Mystic Voyage, I wrote, "This album has sent me down a '70s jazz/funk/soul rabbit hole so if you like this sorta thing, watch this space." So I picked up other recordings by Ayers plus other musicians in the same vein including Gary Bartz, Gene Dunlap, Donald Byrd, James Mason, Idris Muhammad, etc.  So, while in quarantine, I've been a dancin' fool enjoying this good stuff.

These not much of Ayers' vibraphone playing here, no matter. I probably wasn't ready for this in '76 but if someone had handed me a copy in '79 or '80, it would certainly have been appreciated as evidenced by repeated listenings. There's so much groove here, scratching me right where I itch. Good during any season, but I can see where this might become a summer album for me - it's just got a that feel to it.

I obviously dig it, but let's check out what some Amazon reviewers think:
  • "no one is sleeping here."
  • "I would put him as the Co-Godfather of Acid Jazz. Right next to Sun Ra."
  • "I still play it today and will play it at my funeral"
  • "Diese scheibe sorgt auf jeden Fall für gute Laune."

Press of the time:
  • Billboard: "straddles the line between jazz, r&b and Latin"
  • CashBox: "a unique taste of progressive jazz/R&B"
  • Record World: "bridge the gap between jazz/rock and disco"

Peak on the US Billboard Top 200 chart: #51
Peak on Billboard's Jazz LPs chart: #6
Peak on Billboard's R&B albums chart: #10
Peak on CashBox album chart: #52
Peak on CashBox jazz album chart: #2

Tracks: My favorite of the ten tracks here is The Golden Rod. Other highlights are Hey Uh-What You Say Come On, The Third Eye, It Ain't Your Sign It's Your Mind, and the title track. Can't find anything that isn't worth your time, though.

One of these things is not like the others

Personal Memory Associated with this CD: None, but check back next summer.

Previously revisited for the blog:
Mystic Voyage (1975)