John Legend & The Roots - Wake Up! (2010)

The little man on my right shoulder wants me to call this the best covers album I've ever heard; the little man on my left shoulder is telling me to contain my hyperbole. At the very least, this is one of the top releases of 2010. Inspired by the election of Barack Obama and upset about the wars our nation is engaged in, John Legend and The Roots got together to cover lesser-known socially-conscious songs from the '60s and 70s. I'm not the biggest John Legend fan; he never does a bad job, but I don't think is voice is as soulful as he does. However, The Roots reestablish themselves as the funkiest, most flexible band around, easily switching from funk to soul to gospel to R&B to pop to reggae. Without The Roots, this project would have flopped; they should get top billing. All this AND they kick ass five nights a week as the house band for Jimmy Fallon. This is a fantastic album - the only downside is that eventually the listener becomes aware that these songs are, unfortunately, still relevant 40 years after they were written.

Peak on the US Billboard Top 200 chart: #8 (Oct 9, 2010)

Tracks: While most of these hit, there are a few clunkers. My favorites include the funky Compared To What, Wake Up Everybody, Our Generation, Hang On In There, and I Wish I Knew How It Would Feel To Be Free. It takes courage to cover Donny Hathaway, and the cover of Little Ghetto Boy doesn't quite measure up to the rest of the album. Also, Wholly Holy just proves that Legend shouldn't try to cover Marvin Gaye. Ever. I'm afraid to comment on the only original piece on the disc, the closer, Shine. This was written by Legend for the psuedo-documentary Waiting For Superman and I'm afraid this posting will quickly get off topic. The show-stopper on this disc is the superb take on Bill Wither's epic anti-war anthem, I Can't Write Left Handed. Starting softly and calmly, this song continually builds for 6 ½ minutes until guitarist Captain Kirk Douglas rips into a face-melting two minute solo that puts Legend in the corner. Then the band brings it down before revving it back up for another killer guitar solo. The whole thing lasts 11 ½ minutes and I'm just drained at the end. This track alone is worth the price of the CD.

Personal Memory Associated with this CD: Growing up in west Texas in the '60s and '70s, I rarely saw black people, much less talked to them. The only way I knew of civil rights was through music like this and media coverage. Believe it or not, there were actually radio stations that played soul music in the oil patch.

Blog post #200

Lee Ritenour - Rio (1979)

Wow, that's a lot of hair on the CD cover. Well, it was the late '70s, after all. In the '70s and '80s, Ritenour was a highly sought after session guitarist that released the occasional solo LP. Extremely technically adept, his nickname is Captain Fingers. For this release, Rit puts down his electric guitar and put together an acoustic set that is derivative of Brazilian music with brief lapses into pseudo-Carribean music. Ritenour's guitar work is beautiful, but he is playing it very safe here and the music can lapse into elevator music at times.

Reviews/ratings:

• Musician: "you don't have to go to Brazil to record such sanitized and landless music. You could do it in a mall."
• The Rolling Stone Jazz & Blues Album Guide (1999): ★★★
• The Virgin Encyclopedia of Jazz (1999): ★★★

Album chart peaks:

• US Billboard 200: #163
• Billboard Jazz: #11
• CashBox: #178
• CashBox Jazz: #8
• Radio & Records Jazz Radio National Airplay: #5

Tracks: While some of the 7 tracks sound more Brazilian than others, they're all somewhat enjoyable. Maybe "comfortable" is a better word to describe them. The more successful tracks are San Juan Sunset, It Happens Everyday, and Simplicidad. High on the cheesy scale: Rio Funk. With only 7 tracks and a 38 minute running time, you can tell this was originally a vinyl release.

Personal Memory Associated with this CD: This album was originally recorded by JVC for the Japanese market (1979), first released in the U.S. on the Elektra/Musician label (1982), and finally on GRP (1985). In the mid '80s, I dubbed a cassette of this release from a friend's album. He had the 1982 US release on vinyl, which had the understated cover pictured below. The cover that GRP used has just never seemed right to me. If memory serves, the track sequence was different as well as the cover. Nice work, GRP.

Believe it or not, I subjected my wife to this sort of music while we dated and she stayed with me anyway.

The Art of Noise - In No Sense? Nonsense! (1987)

I once dated a girl that had an AoN cassette and I asked her if it was any good. She replied, "You'll like it if you like Art of Noise." That could be said about most AoN releases. However, by 1987, the group was down to only 2 members, so most of the tracks here fall into one of two categories: J. J. Jeczalik's ambient music or Anne Dudley's music that could be considered her first attempts at film soundtrack writing (In 1998, she won an Academy Award for Best Original Musical or Comedy Score for The Full Monty). I prefer the former, but not by much. This group was so much better when Trevor Horn was a member.

Peak on the US Billboard Top 200 chart: #134 (Oct 21, 1987)

Tracks: Fin Du Temps, E.F.L., A Day At The Races, Roller 1, sound like classic Art of Noise cuts. The other 12 tracks are only curiosities that don't beg you to listen to them again.

Personal Memory Associated with this CD: This contains the group's contribution to the soundtrack of the horrid movie Dragnet, so it reminds me of that nightmare unless I remember to skip the track.

Mozart Overtures (1982)

 

Neville Marriner conducting the Academy of St. Martin-in-the-Fields

Opera is one of those genres that, as a musician, I feel I should enjoy, but I can't stand the things. However, I love Mozart's music, so maybe I bought this CD so I could feel like I had at least attempted to appreciate opera. This CD of overtures is the closest thing I have to opera in my collection. The performances on this release are top notch as Sir Marriner is one of the top interpreters of Mozart's music.

Tracks: Of the 9 overtures here, my favorites would be Le Nozze Di Figaro, Die Zauberflöte, Cosi Fan Tutte, Der Schauspieldirektor, and Don Giovanni. The overture to Lucio Silla is not Mozart's best work.

Personal Memory Associated with this CD: I'm sure I bought this primarily for the overture to The Marriage of Figaro because I had performed that opera when at college in 1987. Even though I'm not an opera fan and Mozart's trumpet parts aren't anything great, I enjoyed the experience.

Pet Shop Boys - Very (1993)

This is simply a fantastic pop album, maybe the duo's best. Great songwriting, smooth production, and PSB had finally grown into their sound. In 2000, Q magazine placed Very at number 91 in its list of the 100 Greatest British Albums Ever. It is also included in the book 1001 Albums You Must Hear Before You Die, edited by Robert Dimery (2010).

Press of the time:

• Billboard: "frothy Euro-disco flavors, light-handed electro grooves, and faux mini-symphonies"
• Rolling Stone (★★★★): "worth hearing again and again"
• Stereo Review: "another good piece of enriched popcraft"
• Robert Christgau (A): "Fey and ironic naturellement, but I wasn't ready for baroque--techno synths, massed brass, Village People chorus boys."

Peak on the US Billboard Top 200 chart: #20 (Oct 23, 1993)

Tracks: Some great stuff here, including I Wouldn't Normally Do This Kind Of Thing, A Different Point Of View, Yesterday When I Was Mad, One And One Make Five, and One In A Million. There's also a senseless remake of the Village People's Go West, which is the low point of the album until it starts to sound more like a PSB song at the coda around the 4:24 mark. The CD ends with a dreaded, albeit brief, hidden track which is just a curiosity more than anything.

Personal Memory Associated with this CD: Like all PSB albums, this CD reminds me of my best friend from high school, Scott. In fact, he may have given me this CD.

Chicago - 16 (1982)

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

In the early '80s, Chicago was all but done. Then the band brought in producer/songwriter/keyboardist David Foster who completely turned the band around, musically and commercially. Foster focused on Peter Cetera and brought in songwriters and musicians from outside the band, most notably members of the group Toto. What did the band members think of all that? According to all accounts, not too much. The band made a fortune with their ballads in the '80s so they shouldn't complain too much. I've always liked Foster's work, which is always unabashed pure pop kitsch. I wish my CD had better liner notes; I should have waited until the Rhino reissue with a bonus track because I'm sure they had extensive notes.

Press of the time:

• Rolling Stone (★★): "Chicago has fallen victim to its own diversified pretensions"
• Billboard: "filled with the distinctive hooks that made it the top American band throughout most of the '70s."

Album chart peaks:

• US Billboard Top 200: #9
• CashBox: #7
• Rolling Stone: #10

Tracks: My favorite track, without question, is Love Me Tomorrow. However, since I've listened to this album hundreds of times, all the songs just go together as a group. No skipping allowed.

Personal Memory Associated with this CD: I remember slow dancing to Hard To Say I'm Sorry at high school dances. Singing softly along with Cetera into the ear of a girl is surprisingly effective, btw. Also, this music reminds me of working at Burger King in the spring and summer of 1983. Finally, my college marching band played a tepid arrangement of Hard To Say I'm Sorry/Get Away in the fall of 1986. Ugh.

Everything But The Girl - Missing (1995)

CD single
European import

Pop/folk duo Everything But The Girl handed over a track from their 1994 album, Amplified Heart, to house music producer Todd Terry. He remixed the cut and it not only became a huge international dance hit for the band, it changed the direction of their music. Following the success of this single, the duo started releasing only house music.

Tracks: The Todd Terry Club mixes are all good. I'm not a fan of the Rockin' Blue or Full On Club Mixes. Even though I like most of the dance tracks, my favorite version of the song still remains the relaxed, mellow album version, which is also included here.

Personal Memory Associated with this CD: This CD reminds me how I gave up on the group when they changed styles. I bought the follow-up to this single, but quickly sold it back to a used CD place. As far as new music, I was done with EBTG. And, after listening to 6 versions of the same song, I'm reminded why I no longer purchase CD remix singles. What am I? A club DJ?

Al Green - Greatest Gospel Hits (2000)

Even though I play contemporary Christian music every Sunday morning at 8:45 with a fantastic praise band, I don't listen to much religious music, so this disc is one of only the few that I own. This compilation covers the years 1974-1995, but concentrates on the Rev. Green's gospel music from the 1980's. Following an assault in 1974, Green felt called to work for the Lord and left secular music for a while. He became an ordained pastor of the Full Gospel Tabernacle in Memphis in 1976 and continues to serve in this capacity, delivering services down the street from Graceland. He returned to secular music in 2003 with I Can't Stop. Lovers of Green's soul/R&B music won't be disappointed in these songs. They sound just like other Al Green soul songs, except the lyrics speak of faith, not women. I hate to get preachy here (pun intended), but I'm reminded of something that mega-church pastor Rick Warren wrote in one of his books: "There is no such thing as 'Christian Music,' only Christian lyrics." Well said.

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

Tracks: There are only two traditional gospel songs on this disc, the rest are original material, except for the covers of Curtis Mayfield's People Get Ready and an all-too-short version of Bill Withers' Lean On Me. The best tracks are The Lord Will Make A Way, Truth N' Time, Chariots of Fire, and (even though it sounds very much like cheesy mid-'90s R&B music) Your Heart Is In Good Hands. Green's arrangement of Amazing Grace might be my favorite version of that piece, ever.

Personal Memory Associated with this CD: I love visiting Memphis and am always tempted to go visit the church when I'm there. This CD reminds me that one day, I will indeed worship with the Rev. Green.

Tom Scott - Night Creatures (1995)

Sorry to disappoint all my readers who are teenage girls (zero at last count), but the night creatures aren't vampires, they're musicians that play all night. Saxophonist Tom Scott doesn't play what I'd call smooth jazz; it's more like funk/pop jazz. And he's not afraid to take some chances. He even tries to tackle some hip-hop grooves on this release. You've heard Tom Scott before, he's played on more TV show themes and pop hits than you could count. He's played with McCartney, Sinatra, The Blues Brothers, Steely Dan, Quincy Jones, and on and on. Interesting trivia: his father Nathan wrote the famous theme to the TV series Dragnet.

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

Tracks: The title track is a energetic funk piece with lots of horns. The token vocal piece is Don't Get Any Better; it's pretty bland. One of the highlights of the disc is the track titled Bhop which, as the title implies, tries to blend hip-hop and bop. Scott doubles on flute on the piece and, even though its production sounds dated, it was adventurous at the time. There are two covers on the disc: Janet Jackson's Anytime, Anyplace and Sting's We'll Be Together. They're all right as far as jazz covers go, but they are the least adventurous tracks here. The track Yeah! is a blatant rip-off of Sly Stone's Dance To The Music, but I guess if you're going to steal, steal from the best. Overall, it's a solid release; there aren't any tracks that I feel compelled to skip.

Personal Memory Associated with this CD: None. I only recently picked up this disc.

The Carl Stalling Project: Music from Warner Bros. Cartoons 1936-1958 (1990)

Music folks my age were weaned on. Carl Stalling (1891-1972) was the composer for Looney Tunes and Merrie Melodies, the most infamous unknown composer of the 20th century, and master of the musical pun. For the 22 years represented here, Stalling is supposed to have scored a cartoon each week. Wow. If my math is correct, that's over 1100 cartoons. If you're like me, and grew up watching Bugs Bunny on Saturday mornings, then you already know this music. While this CD isn't something you'd listen to on a regular basis, it's an occasional fun journey back to childhood. This release was late followed by a second volume, but I don't listen to this CD enough to warrant the purchase of another one. However, I'm glad that Warner Bros. chose to put these out; they fill a definite niche. Great liner notes, too.

Peak on the US Billboard Top 200 chart: #188

Tracks: You have to listen to them all, of course, but if I had to choose, I'd listen to Hillbilly Hare, The Good Egg, and Powerhouse. To be honest, it's difficult to listen to 78 minutes of cartoon music without the accompanying images, no matter how good the music is. There's some music from a Speedy Gonzalez cartoon included which reminds me that you never see those anymore. Are they deemed to be too offensive, like Song Of The South? Unfortunately, music from The Rabbit Of Seville and What's Opera, Doc? aren't included here, but Stalling had little to do with those cartoons. This CD focuses on mostly on original music.

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

Personal Memory Associated with this CD: I wouldn't know where to start or when to end. Many of these cartoons are now in the public domain, so you shouldn't have any trouble finding them on budget DVDs or on YouTube.

Various Artists - Just Can't Get Enough: New Wave Hits of the '80s, Vol. 2 (1994)

This is the 2nd volume of a fantastic 15 volume set released in the mid-'90s by the always wonderful Rhino Records. I usually think of New Wave music as happy and upbeat, but at least half the songs on this volume are moody and dark. It's got Joy Division on it, if that tells you anything. Songs on this volume are from the years 1979-1981.

Tracks:

• Pop Muzik - M (#1 pop, #4 dance)
  This highly synthesized song almost sounds like a novelty song now. Oddly, I like it more now than I did in 1979.  This single went to #1 in November 1979, knocking Herb Alpert's Rise out of the top spot, which says a lot about where top 40 music was at the time. 
• Hit Me With Your Rhythm Stick - Ian Dury & The Blockheads (#79 dance)
  Dury's rough, monotone voice and a screeching saxophone almost ruin this song, but the strange disco groove won't be denied.
• Love Will Tear Us Apart - Joy Division (#42 dance)
  This post-punk group could make the most upbeat tempo into a depressing song. I'm amazed the wife of Ian Curtis could listen to his music and not think her husband was suicidal. Still, he led a fascinating life and I've seen all the movies and read the books as well as listening to the music.
• What Does Sex Mean To Me? - Human Sexual Response
  Not a bad art-school song, but the singer's quirky voice probably ensured that the group would never make it big. The world didn't need another art-school collegiate band with a quirky singer - we already had Talking Heads.
• My Mistake - The Kingbees (#81 pop, #94 dance)
  Good neo-rockabilly song in the style of Dave Edmunds/Rockpile. This should have been a bigger hit.
• The Funky Western Civilization - Tonio K.
  I was unfamiliar with this song until I heard it on this CD. It's a 3 chord rock song complete with backing sax. It's a well-written song sung poorly. Not surprisingly, Tonio had his greatest success writing music for other performers.
• You Won't Be Happy - The Beat
  Skinny tie rock à la The Knack or The Plimsouls. Not really my thing, but good for what it is.
• I Don't Like Mondays - The Boomtown Rats (#73 pop)
  One of two Boomtown Rats' songs I've ever heard (the other is Up All Night). Bob Geldof is a better humanitarian than a songwriter. Great band name tho
• I Got You - Split Enz (#53 pop, #82 dance)
  Best song on the compilation. This song should have been more popular here. It's the kind of song that wasn't popular when it was released but now radio stations play it during "Retro '80s" shows.
• Danger - The Motels
  To me, this band is hit-or-miss. This is a miss. They later produced better music. That said, I love Martha Davis' voice.
• Echo Beach - Martha & The Muffins (#37 dance)
  I dig the guitar, but not the vocals and minor key harmonies. Pass.
• Whip It - Devo (#14 pop, #8 dance)
  No explanation necessary - if you know, you know. Pass me my Energy Dome, please.
• Vienna - Ultravox
  I had an import copy of this LP back in the '80s. The entire album, but particularly this moody techno-ballad of a title track, appealed to the wannabe-artiste persona I was trying to cultivate in high school.
• So Long - Fischer-Z
  Never heard of it. And for good reason: generic three-chord synthpop with weak vocals.
• Away From Home - Klark Kent
  Kent (a.k.a. Police drummer Stewart Copeland) can't sing very well but he put out some solo music in the late 70's/early '80s under this pseudonym. It's a fun little tune. Sounds like Stewart's contributions to Police albums, so if you like those...
• Turning Japanese - The Vapors (#36 pop, #34 dance)
  This song about self-gratification is catchy as hell. A one-hit wonder classic. At least the compilation doesn't end on a solemn note.

Personal Memory Associated with this CD: None. It's too depressing to listen to the disc as a whole. Better to rip this to iTunes and just hear songs as they come up on shuffle.

Afro-Cuban All Stars - A Toda Cuba Le Gusta (1997)

While they share many of the same musicians, there is a distinct difference between the Afro-Cuban All Stars and the Buena Vista Social Club. These songs were recorded prior to the filming of the famous Wim Winders documentary. The All Stars represent 4 generations of Cuban musicians, ranging in age from 13 to 81. Part of the beauty of this music, for me, is the absence of a drum set and the improvisational style of the vocalists. Makes me wish I could understand Spanish. Also, there isn't a reliance on any one lead instrument. At different times, different instruments take the lead: piano, vocals, percussion, guitar, etc. Ry Cooder and Nonesuch records were geniuses to record authentic versions of this special music before it died away. While I don't think I could consistently play this type of music, I'd love to sit in with a band like this.

Album chart peaks:

• US Billboard Top 200: Did not chart
• Billboard Top World Music: #9

Tracks: There are many sub-genres of this music and I tend to favor songs in the son style because it sounds relaxed while moving relentlessly forward at the same time (it's hard to explain). Tracks in the son style include Amor Verdadero, the title track, Los Sitio' Asere, Clasiqueando Rubén, and Elube Changó.

Personal Memory Associated with this CD: For many, many years, I spent Sunday evenings at my friend Richard's home drinking beer, listening to music, and chewing the fat. During one of those Sunday evenings, this CD was playing. I'm sure I ordered my own copy the next day and started a love affair with this genre of music. This CD is a great primer on Afro-Cuban music.

Paul McCartney - Tug of War (1982)

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

By 1982, I was a full-fledged Beatles fan, and that led me to buy this album. This is a mixed bag, with McCartney trying his hand at a number of different styles. Bringing in George Martin to produce was a stroke of genius and helps McCartney move from ballads to rockabilly to reggae to vaudeville. McCartney can't help but write fantastic, memorable melodies and there are great tunes aplenty on this release. The album is notable because it was McCartney's first release since the death of John Lennon in December 1980 and the demise of Wings in April 1981.

Press of the time:

• Musician: "In short, this is hot stuff."
• Rolling Stone (★★★★★): "the masterpiece everyone has always known Paul McCartney could make."
• Robert Christgau (B): "he's put his hard-earned craft to mature use on this LP. But it might almost be dumb love songs."
• Stereo Review: "McCartney's skill at penning a hummable pop melody is second to none. The rockers are another story."
• Smash Hits (4 out of 10): "sadly mediocre"
• Trouser Press: "elegant craftsmanship"
• Roadrunner: "this album is a gem."

Album chart peaks:

• US Billboard Top 200: #1
• Billboard Rock: #7
• Billboard R&B: #11
• CashBox album chart: #1
• Rolling Stone chart: #1

Tracks: My favorites are Take It Away, which sounds like something he might have recorded with Wings in the '70s, the Beatlesque Wanderlust, and his tribute to Lennon, Here Today. I hate to suggest that Sir Paul could write a bad song, but I usually skip Somebody Who Cares and The Pound Is Sinking. The two collaborations with Stevie Wonder are as good as you would expect; however, I just can't stomach Ebony and Ivory anymore. It should be noted that hit was written by McCartney without Stevie, which explains a lot. I liked it the first 2,000 times I heard it, but now I change the radio station if it ever comes on. The song spans both ends of the continuum, reaching #59 on the Billboard list of Greatest Songs of All Time while also being honored as the tenth worst song of all time by Blender magazine and the worst duet in history by BBC 6 Music listeners.

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

Personal Memory Associated with this CD: I remember taking the LP back to K-Mart on the east side of Avenue F to trade it in for a copy that wouldn't skip. Also, the song Ballroom Dancing reminds me of summer trips with the CCAA Bay City swim team to pools around the area.

Ultravox - Extended: A Collection of 12" Remixes (1998)

UK import

Because sometimes you just need extended remixes of early '80s electronic New Romantic synthpop. The regular 4 minute album versions just aren't enough, so you yearn for an eight minute special remix. You're in luck.

Admittedly, Ultravox (like its influences Roxy Music and Kraftwerk) is an acquired taste - lots of synths with the occasional electric violin, drum machine, and guitar. These 10 tracks remix singles from the years 1980-86, when Midge Ure was frontman for the group. Ure also co-wrote and produced the charity single Do They Know It's Christmas? and co-organized Band Aid, Live Aid and Live 8 with Bob Geldof, but I digress. Ultravox was big in the UK, but not so much here in the US where their highest charting album, 1982's Quartet, peaked at #61 on the album chart.

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

Tracks: The best remixes are All Stood Still, Reap The Wild Wind, We Came To Dance, and One Small Day. Weaker tracks include Serenade and Lament. The final two tracks, Same Old Story and All Fall Down are from 1986's U-Vox release and don't even sound like Ultravox songs. Same Old Story has horn parts and female backup singers and sounds like something The Blow Monkeys would release. All Fall Down includes performances by the Chieftains and sounds like an Irish drinking song. Better to stop this disc after 8 tracks.

Personal Memory Associated with this CD: Not sure how I discovered this band, but I'm sure Jim and MTV had something to do with it. I thought that most people at my high school listened only to music by bands like Journey, Rush, AC/DC, and REO Speedwagon (which certainly couldn't have been true), so I took pride in listening to music other that others wouldn't regularly listen to. Yes, I was that guy. Ultravox's music fit the bill. I picked up this CD from the used bin at a Hasting's in Victoria on a rainy day around 2004, so I have memories of this CD attached to that time, too.

Nick Heyward - A Hard Days Nick (1996)

CD Single

A CD single with bonus tracks of Beatles' covers, packaged in a poor knock off of the Hard Day's Night album cover.

Tracks: The single, Rollerblade, is a great song, but the lyrics seem a bit dated. Do people still rollerblade? The first Beatles' cover, If I Needed Someone has some fuzzy reverb guitar noise, making it sound like Oasis covers the Beatles. The covers of All My Loving and Nowhere Man are very straight ahead, including note-for-note copies of guitar solos and the same vocal harmonies as the originals. In other words, there's not much need for these covers.

Personal Memory Associated with this CD: None

Various Artists - Pure Disco (1996)

Why? Because it's fun. It's very difficult to be in a bad mood when you listen to disco music. I'm not the only one who thinks so; this compilation was certified platinum (1,000,000+ sold) in 1998. Next time you find yourself in a bad mood, listen to the Gap Band sing Oops Upside Your Head.

Peak on the US Billboard Top 200 chart: #83

Tracks:

Song	Artist	Hot 100	Disco
YMCA	Village People	2	2
Celebration	Kool & The Gang	1	1
Dancing Queen	ABBA	1
Hot Stuff	Donna Summer	1	1
I Will Survive	Gloria Gaynor	1	1
You're The First...	Barry White	2	2
I Need Your Lovin'	Teena Marie	37	2
Knock on Wood	Amii Stewart	1	5
I Love the Nightlife	Alicia Bridges	5	2
Flashback	Imagination
That's The Way (I Like It)	KC & The Sunshine Band	1	18
Best Disco in Town	Ritchie Family	17	1
If I Can't Have You	Yvonne Elliman	1
Oops Upside Your Head	Gap Band	101	52
Love Hangover	Diana Ross	1	1
Cuba	Gibson Brothers	81	9
Funkytown	Lipps, Inc	1	1
Got to Give It Up	Marvin Gaye	1	1
Don't Leave Me This Way	Thelma Houston	1	1
I Feel Love (Rollo & Sister Bliss Monster Mix)	Donna Summer		9
The Grease Megamix	John Travolta & Olivia Newton-John	25

21 disco hits from the late '70s & early '80s. Of the classics included here, my favorites are Dancing Queen by Abba, Don't Leave Me This Way by Thelma Houston, If I Can't Have You by Yvonne Elliman, and Got To Give It Up (Part One) by Marvin Gaye. Also included is the Grease Megamix consisting of the songs You The One That I Want, Greased Lighting, and Summer Lovin' from the movie Grease. My wife is a big Grease fan, so I'm sure that was a factor in the purchase of this CD. That, and my generally nostalgic nature.

Personal Memory Associated with this CD: I was a naïve preteen/young teenager when these songs came out. I loved the music and I loved to dance. I had no idea about discotheque culture involving sex, drugs, and dancing. I just thought people went to discos to dance. Naïve, like I said. Because I moved in 1978, some of the tracks remind me listening to KRIG-AM in Odessa while others remind me of listening to KILT-AM in Houston.

Keb' Mo' - Just Like You (1996)

Even though this release won the 1997 Grammy for Best Contemporary Blues Album, it definitely leans towards other genres: folk, gospel, rock, soul, pop, country. In fact, it's almost too happy to be considered blues. This is the second release from Keb' Mo' (Kevin Moore) and is quite different from his debut release which was far more traditional: Delta blues from a boy reared in LA (that's Los Angeles, not Louisiana). He took some heat from the critics for trying a different sound on his sophomore release, but I like it. If you were to put this on at a backyard BBQ, all your guests would enjoy at least one track.

Peak on the US Billboard Top 200 chart: #197

Tracks: I never skip any of the 13 tracks here. There's five acoustic tracks on this disc and they're all good. The most traditional Delta blues tracks are Dangerous Mood and Momma Where's My Daddy. The Robert Johnson cover (obligatory on any blues CD) is Last Fair Deal Gone Down. My favorites include That's Not Love, the acoustic song Perpetual Blues Machine, More Than One Way Home, and Standin' At The Station.

Personal Memory Associated with this CD: I was going through a "blues phase" around 2005 and picked this up from a used bin, not knowing anything about Keb' Mo'. Good decision.

Squeeze - Babylon and On (1987)

Note: this release was originally purchased as an LP, later replaced by a CD. (If memory serves, the LP was the last new LP I ever purchased before moving solely to CDs and cassettes)

While it's certainly no East Side Story, this is still a fairly consistent pop album from Squeeze; good but not great. While the production sounds dated today, the songwriting of Difford and Tilbrook was still strong. There's more album filler than usual on a Squeeze album, but this group's filler is still better than many top hits from other artists. Glad to see keyboardist Jools Holland with the band on this release; he always seems to make the band sound more relaxed.

Press of the time:

• Smash Hits (8 out of 10): "their simplest and poppiest thing in ages, though also their most bland and American-sounding"
• Billboard: "band bounces back with this delectable venture"
• CashBox: "A necessary return"
• Rolling Stone: "endlessly catchy"
• Stereo Review: "Highly recommended"
• Robert Christgau (B-): "a case study in pop-star devolution, suffused with the regrets of successful young professionals who drink too much liquor, smoke too many cigarettes, and don't want to be alone any more."

Album chart peaks:

• US Billboard Top 200: #36 (Dec 5, 1987)
• Billboard Top CDs: #19
• CashBox Top CDs: #18
• Rolling Stone: #36

Tracks:

• Filler: Tough Love, In Today's Room, Striking Matches, Who Are You?, The Waiting Game, Some Americans
• Better: Hourglass (curiously, the band's biggest US hit, peaking at #15), Trust Me To Open My Mouth, Cigarette of a Single Man
• Best: Footprints, The Prisoner, 853-5937

Personal Memory Associated with this CD: This reminds me of the summer of 1988, when I worked all week in a hot warehouse then would make weekend treks from Commerce to Hurst to see a girl. Those weekly trips cost me about what I made working in the warehouse, so I finished that summer no richer than when I started. Then, to top it off, the relationship with the girl ended when the fall semester started. Common sense and long-term planning were not my strong suit back then. I don't know if much has changed on that front.

50 First Dates Original Motion Picture Soundtrack (2004)

I gave up on Adam Sandler movies after The Waterboy, so I haven't seen this movie, but since the soundtrack was filled with reggae/ska covers of '80s music, you know I was all over it. Jamaican-influenced music is an interesting choice for a movie set in Hawaii, but that's Sandler for ya.

Peak on the US Billboard Top 200 chart: #30 (March 6, 2004)

Tracks:

• Hold Me Now - Wayne Wonder, originally a #3 hit by Thompson Twins in 1984
  A great way to start off the CD. Wonder turns this pop song into some sort of reggae/hip-hop fusion.
• Love Song - 311, originally a #2 by The Cure in 1989
  Since 311 isn't a reggae group, they don't bring much to this song. It's pretty much straight ahead (even note-for-note guitar solos) with a few upbeats on the keyboards.
• Lips Like Sugar - Seal (featuring Mikey Dread), originally released by Echo & the Bunnymen in 1987
  My favorite cut on the CD. While Seal handles the vocals, it's Dread at the controls. It's a great song to begin with, but these two take it to the next level.
• Your Love - Wyclef Jean (featuring Eve), originally a #6 hit by The Outfield in 1986
  Not good. Someone should have told Eve that rapping isn't the same as toasting or chatting.
• Drive - Ziggy Marley, originally a #3 hit by The Cars in 1984
  While a lot of people love it, I've never cared much for this ballad and, while Ziggy has a great reggae voice, this isn't a good cover.
• True - Will.i.am and Fergie, originally a #4 hit by Spandau Ballet in 1983
  I like what Will.i.am brings to this, but Fergie is a no-talent hack. He should have left her at home and this cover would have been great. As it is, it is just breathy and out-of-tune.
• Slave To Love - Elan Atias, originally released by Brian Ferry in 1985
  I had never heard of Atias, but wikipedia describes him as an American Jewish reggae singer who has sung with The Wailers. With backing vocals from Gwen Stefani, this cover makes the best of an average song.
• Every Breath You Take - UB40, originally a #1 by The Police in 1983
  UB40 has made a career of reggae covers, and you certainly know this song, so you can probably hear what this cover sounds like in your head. Can you hear it? Add a sax solo and that's exactly what it sounds like.
• Ghost in You - Mark McGrath, originally a #59 hit by The Psychedelic Furs in 1984
  This is one of those songs that is often covered, but shouldn't be. Maybe because that's of Richard Butler's voice. In any case, while McGrath, singer of the California group Sugar Ray, gives us his best effort, this falls short due to a bad arrangement (that doesn't resemble reggae in any way), and over-production.
• Friday, I'm In Love - Dryden Mitchell, originally a #18 by The Cure in 1992
  Strike 1: Mitchell is from Alien Ant Farm.
  Strike 2: This is not an '80s song.
  Strike 3...I can't give it three strikes; this is a great cover. It's as fun as the original.
• Breakfast In Bed - Nicole Kea, originally a #91 hit by Dusty Springfield in 1969
  Strike 1: Kea (a.k.a Nicole Scherzinger) is from the Pussycat Dolls.
  Strike 2: This is not an '80s song.
  Strike 3: No song from the album Dusty in Memphis should ever be covered. Ever.
• I Melt With You - Jason Mraz, originally a #78 hit by Modern English in 1983
  There's not much to this song (which might explain its lasting popularity as an '80s classic), but Mraz does a good job covering a song that's heard more often now on TV ads than on the radio.
• Forgetful Lucy - Adam Sandler
  I'm not Lucy, but I want to forget this track.

Personal Memory Associated with this CD: I remember putting this disc into the car stereo and listening to Lips Like Sugar over and over and over again.

Wynton Marsalis - Baroque Music for Trumpets (1988)

Raymond Leppard conducting the English Chamber Orchestra

Back in the '80s, I would buy anything put out by Wynton. It didn't matter whether it was jazz or classical. I've since slowed on that policy because he puts out so much music, but I'm sure I bought this CD within days of its release. He recorded these cuts by overdubbing himself instead of playing with other performers. Allegedly, this is because CBS couldn't find/schedule fellow trumpeters. This doesn't bother me a bit, in fact, I probably preferred it that way back in '88. Some people feel that Marsalis takes too many liberties with Baroque ornamentation in his interpretations, but I think he understands the improvisational nature of the music of that period. Unfortunately, the liner notes focusing on the logistics of recording the music instead of on the music itself.

Tracks: All the music is played well. This CD introduced me to the fantastic Telemann Concerto for 3 trumpets, maybe my favorite piece on the disc. There are two main problems with this release. Leppard sloppily arranged Pachelbel's famous Canon for 3 trumpets. It doesn't work well and I can only guess it was put on the album to help sales. Also included is a concerto composed by Michael Haydn. The music and the performance are fine, but this is a solo concerto from the Classical era which doesn't seem to fit the title of the CD. The disc ends with the choppy Sonata for 8 trumpets by Heinrich Von Biber which is a LOT of trumpet, even for me, but I appreciate the attempt at trying to make this piece sound spatially antiphonal on a recording.

Personal Memory Associated with this CD: Curiously, this classical CD reminds me of spring break 1988. That week, I drove my '85 Olds Firenza from Commerce to Bay City (getting a speeding ticket in Hempstead) then later from Bay City to San Antonio (getting a speeding ticket in El Campo) then, finally, back to Commerce (no tickets). Good times.

Duran Duran - Astronaut (2004)

For a confessed not-too-serious-Duranie like me, to have all five original members back in the studio for the first time in 20 years was a cause for celebration. Unfortunately, instead of giving their old fans what they want, they decided to 'update' their sound to try to reach a younger audience. Being from England, they're probably unfamiliar with the Western saying: "Dance with whut brung ya." I should have waited until I read a few reviews before I purchased the CD (metacritic rated it at 52 out of a possible 100), but I was eager to hear this release. After this CD, guitarist Andy Taylor left the band (again) and they've released albums of new music since Astronaut; I haven't purchased any.

Peak on the US Billboard Top 200 chart: #17 (Oct 30, 2004)

Tracks: The first single, (Reach Up For The) Sunrise, sounds like classic '80s Duran Duran. There's a few more decent songs (Taste The Summer, Finest Hour, and Chains), but there's really some disappointing songwriting here. It's not necessarily bad, it's just forgettable. I'm talking about the music writing, not the lyrics. LeBon's lyrics were always nonsense babble and he continues that tradition on this release with lyrics such as: "I been around the world/I seen a lot a things 'd make your chicken curl." That's from the particularly bad Bedroom Toys.

Personal Memory Associated with this CD: After purchasing this CD, I remember sticking it in the car stereo, rolling down the windows, and speeding down the Southwest Freeway in Houston with the music blaring from my speakers, calling old friends that were also DD fans. That may be as close as I've ever gotten to having a mid-life crisis.

Najee - Morning Tenderness (1998)

Smooth urban jazz from saxophonist/flutist Najee. The keyboard player on this CD is nicknamed "Big Juicy" which I think is an awesome nickname.

Album chart peaks:

• US Billboard 200: Did not chart
• Billboard R&B: #65

Tracks: I don't necessarily mean this as an insult, but the music sounds pretty much the same. Lots of heavy bass and female background vocals. For the most part, Najee has a nice saxophone tone quality until he tries to play in the upper register, then his sound gets sharp and pinched. There's a couple of tracks with vocals which I could do without on this type of CD, although Indian Summer isn't too bad.

Personal Memory Associated with this CD: None. This is another smooth jazz CD I purchased used solely for background music at work. To that end, Najee music is great.

Devo - Greatest Hits (1990)

Sometimes described as synth-pop, New Wave, art rock, or post-punk, Devo only had one Top 40 hit (Whip It), so it may be a stretch to put together a 16 track greatest hits CD, but, in true Devo fashion, they not only put out this CD, but simultaneously released another 16 track CD titled Greatest Misses. They had quite a following and recorded many songs in their own spastic, quirky, very electronic, industrial style. Devo is an acquired taste and, for me, can only be taken in small doses. If you only need one Devo CD, this wouldn't be a bad choice.

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

Tracks:

Song	Album	Year	Hot 100
Here To Go (Go Mix Version)	Shout	1984	-
Through Being Cool	New Traditionalists	1981	107
Big Mess	Oh No! It's Devo!	1982	-
That's Good	Oh No! It's Devo!	1982	104
Jerkin' Back 'N' Forth	New Traditionalists	1981	-
Peek-A-Boo!	Oh No! It's Devo!	1982	106
Beautiful World	New Traditionalists	1981	102
(I Can't Get No) Satisfaction	Q: Are We Not Men? A: We Are Devo!	1978	-
Whip It	Freedom Of Choice	1980	14
Girl U Want	Freedom Of Choice	1980	-
Freedom Of Choice	Freedom Of Choice	1980	103
Smart Patrol/Mr. DNA	Duty Now For The Future	1979	-
Gut Feeling	Q: Are We Not Men? A: We Are Devo!	1978	-
Gates Of Steel	Freedom Of Choice	1980	-
Working In The Coalmine	New Traditionalists	1981	43
Jocko Homo	Q: Are We Not Men? A: We Are Devo!	1978	-

None are unlistenable, but my favorite tracks are Here To Go (Go Mix Version), Through Being Cool, Beautiful World, Working In The Coalmine and Jocko Homo. Not as good are Jerkin' Back and Forth, Peek-A-Boo!, and Smart Patrol/Mr. DNA. The song That's Good is so derivative of Gimme Some Lovin' that Devo should pay Steve Winwood some royalties. The highlight of the disc is the cover of The Rolling Stones' (I Can't Get No) Satisfaction. The neurotic arrangement perfectly suits the lyrics.

Personal Memory Associated with this CD: My friend Richard bought the Greatest Misses shortly before I bought this Greatest Hits CD. Also, the song Through Being Cool reminds me of church camp in the summer of 1984.

Maynard Ferguson - Hollywood (1982)

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

There's something that gets into your DNA when you learn how to play trumpet. Trumpet players become inexplicably obsessed with playing extremely high notes. They must also listen and lavish praise upon trumpet players that can play in the extreme upper register on the horn. The king of that domain for years was Maynard Ferguson (1928-2006). Ferguson's biggest solo commercial success happened in the 1970's and he rode that disco horse until it keeled over. More specifically, that horse died with the release of this album. Being a teen-aged knucklehead back then, I didn't know the difference, I just had to purchase Maynard music because I played trumpet. It was a requirement. By 1982, Maynard and his band were putting out over-produced pop covers with little improvisation. It probably shouldn't even be called jazz. After this release, Maynard changed record labels and wisely moved to playing more straight-ahead jazz. If you didn't see Maynard in concert, it's because you didn't try. He played more high school gyms than the Harlem Globetrotters. To his credit, he became known for showcasing up-and-coming musical talent in his band.

DownBeat

Album chart peaks:

• US Billboard 200: #185
• Billboard Jazz: #12
• CashBox: #186
• CashBox Jazz: #9
• Radio & Records Jazz Radio National Airplay: #2

Tracks: Lots of covers here, including Don't Stop 'Til You Get Enough (Michael Jackson), Deja Vu (Dionne Warwick), Nine to Five (Dolly Parton), For Your Eyes Only (Sheena Easton), and Portuguese Love (Teena Marie). Not much to any of these, but the worst by far is the banjo-infused Nine to Five. The only decent piece on the disc is the title track, written by bassist Stanley Clarke and featuring a nice solo by David Sanborn. That track (and pure nostalgia) are the reason I purchased the CD.

Personal Memory Associated with this CD: Being a band geek, this cassette tape was on heavy rotation in my car's tape deck in the winter of 1982/83. And I honestly wondered why I couldn't get a date...

I saw Maynard and his band in concert at the old MSC at ETSU during the spring of 1986 (I'm guessing on the date). I should have gone backstage to meet him. Here's a photo taken at that show. Maynard is the one rockin' the white pants.

Leonard Bernstein's New York Philharmonic Debut (1996)

Bernstein was famously thrust into stardom when he took over for conductor Bruno Walter at the last minute on November 14, 1943 in Carnegie Hall. This CD was remastered using acetate discs as source material. These discs had been recorded to send overseas to the troops, so the sound reproduction is not good, but that's not what this disc is about. This is a historical artifact. The concert was broadcast over CBS radio and that broadcast is what he have here. It's fun to hear the radio announcer and the ads for the United States Rubber Company (which would later become Uniroyal). Also, the excellent liner notes are quite extensive with recollections of the concert from Bernstein's brother and orchestra musicians.

Tracks: The concert begins with the National Anthem. I've been to a few concerts where this has happened, but what I noticed immediately on this recording is that the entire audience seems to be singing. This could be because the nation was at war at the time, which always brings about feelings of national pride. One of the things that strikes me is the contemporary nature of the music. The three pieces date from 1849, 1933, and 1897 - all within 100 years of the date of the concert. Schumann's Manfred Overture is a nice dark piece and performed well here. I was unfamiliar with Theme, Variations and Finale by Hungarian composer Miklós Rózsa, probably because I think of him as a film composer. This sounds like film music from the time because the variations are very brief, like they were written for different movie scenes. A forgettable piece, but I appreciate the fact that this orchestra was promoting new music. Don Quixote is probably the most enjoyable of all the Strauss tone poems, with solo cello playing the role of Don Quixote. This piece is the highlight of the disc. The historic concert ended with Wagner's Prelude to Die Meistersinger, but because of time limitations, CBS radio did not broadcast the piece, so it was not recorded and couldn't be included here.

Personal Memory Associated with this CD: When this CD became available, I immediately purchased two copies and had one of them sent one to my good friend Eddie, who is probably a bigger Bernstein fan than I am. We listened to the CDs then talked on the phone like giddy school girls. The music isn't necessarily that great and the recording is often distorted at times, but you can still hear the genius coming through. Hard to believe Bernstein was only 25 years old at the time.

Toots & The Maytals - True Love (2004)

This is a collection of Toots & the Maytals classics re-recorded with guest artists. With guests like Bonnie Raitt, Eric Clapton, Shaggy, No Doubt, The Roots, and Ben Harper, this CD should be a lot better than it is. About half the songs are good and Toots' voice has never sounded better, but there are more than a few tracks that I want to skip.

Peak on the US Billboard Top 200 chart: #177 (May 1, 2004)

Tracks: My favorites are Bam Bam with guests Shaggy and Rahzel (a fantastic fusion of old and new reggae styles), Monkey Man with guests No Doubt, Reggae Got Soul with reggae legends Ken Boothe and Marcia Griffiths, and Never Grow Old with guests The Skatalites. Clapton's wah-wah guitar adds nothing to an otherwise good version of Pressure Drop. Same with Jeff Beck and 54-46 Was My Number. Reggae music simply doesn't lend itself to call-and-response guitar work. With a doubt, the best song on the CD is the classic Funky Kingston with Bootsy Collins and The Roots, or, as Bootsy says in the intro, "Lemme hear ya say Toots, Roots, and Boots!" The Roots never take themselves too seriously and that's just the attitude this track needs. I can't sit still.

Finally, Keith Richards, Trey Anastacio, Ryan Adams, and (especially) Willie Nelson simply should not attempt to sing reggae. Ever. That is all.

Personal Memory Associated with this CD: Like most reggae albums, this is required listening in the summer. Listening to it mid-winter is an interesting experience, but we're supposed to have highs in the low 70's today so maybe I can make this work.

Chuck Mangione - Everything For Love (2000)

I had given up on Mangione and his music in the early '80s, but when I saw this CD in a used bin for $3, I figured it couldn't hurt to give him another try. It's about what I would have expected: a more mature, low-key, subtle recording. On the other hand, he's still wearing that damn hat. As of this writing, this CD is Mangione's latest release of new material (according to his official website).

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

Tracks: The opener, Peggy Hill (yes, written for the King of the Hill TV show), sounds like late '70s Mangione as do Seoul Sister and Fox Hunt. Slo Ro is a nice bluesy piece that doesn't sound like anything I've ever heard Mangione play. That could be because he switches from his trademark flugelhorn to a muted trumpet. You would expect an arrangement of Amazing Grace to fall on its face and you'd be right. Not even a decent organ solo can save it. The ballad Viola also never seems to get anywhere. The jazz waltz written for his father, Papa Mangione, is a nice piece. The CD ends with Freddie's Walkin', described in the liner notes as "a song of celebration written for my godson born with cerebral palsy." That sort of comment almost dares you not to like the piece, but I have to admit it's an uplifting gospel number with a surprisingly good vocal from bassist Charles Meeks. It's probably the best song on the CD.

Personal Memory Associated with this CD: I bought this CD during a trip to San Antonio in 2009 and first listened to it on my way home up Hwy 21. I put it in the CD player expecting to hate it completely before realizing it wasn't as bad as I had thought it might be. After all, if it was so great, why was it in a used bin? When you don't have any expectations, you're never disappointed.

Chris Botti - When I Fall In Love (2004)

Let me get this out of the way upfront: am I jealous of Chris Botti's talents, success, and good looks? Yes. Now, let's continue:

Botti has a certain sound that has been described as relaxing, peaceful, laid-back, romantic, etc. Sure, there are many trumpet players who play faster, higher, and louder than Botti, but the fact that he knows his limitations, is able to play within himself and still be successful speaks volumes about his musical and self-awareness. I've also always been a fan of standards, so when this CD was released I was hoping to hear Chris put his own signature on these classics - I wasn't disappointed. While I like Botti's CDs of original material, this is covers album may be his best release. Each arrangement is slightly different (5 different arrangers were used), but perfectly suited to the material. The listener is treated to covers of songs from different eras, different moods, different tempi, different accompaniments. I usually don't enjoy trumpet players that use a lot of Harmon mute (cause that was Miles' thing), but it just seems to fit here. Everything just seems to fit here. A solid effort on an obvious labor of love.

Peak on the US Billboard Top 200 chart: #37 (Dec 4, 2004)

Tracks: The title track is a chill take on a standard. I didn't know she was a torch singer, but Paula Cole's turn on What'll I Do is fantastic. The version here of La Belle Dame Sans Regret is far superior to Sting's original. Also outstanding are My Romance, Someone To Watch Over Me, and One For My Baby. Not as successful are Let's Fall In Love and Make Someone Happy .
Two songs are grossly out of place on this CD: the ubiquitous, pseudo-classical Time To Say Goodbye (Con Te Partirò) and one of the two bonus tracks, a lackluster arrangement of Fauré's Pavanne. Simply put, these two don't fit in the genre of the rest of the songs (Fauré was a good composer; his work doesn't really need rearranging) and someone at the record company should have stepped in and fixed the problem before the CD was released.

Personal Memory Associated with this CD: None. I simply need to listen to this CD more often.

Dave Matthews Band - Weekend on the Rocks (2005)

"LIVE IN CONCERT" WEEK (FEBRUARY 7-13, 2011)

Recorded at Red Rocks Amphitheatre in Morrison CO, September 9–12, 2005.

As I mentioned while reviewing another DMB live CD, I don't care much for jam bands and I think the DMB is at its best when the band is reigned in to 3 or 4 minute pop/rock songs. Still, since I'm a fan of 2005's Stand Up CD and guitarist Robert Randolph, I figured this might be a good pick up for me. In some ways, yes, in other ways, no. Set includes a bonus DVD.

Peak on the US Billboard Top 200 chart: #37 (Dec 17, 2005)

Tracks:
Disc 1: Not much on this disc for me. American Baby is okay, but the cover of the Zombies' Time Of The Season is senseless because it just isn't a good fit with Matthews' vocal range (although I will say that guest Butch Taylor plays a mean B3). The obligatory drum solo makes its appearance on Say Goodbye, which is otherwise a good track. The pairing of Steady As We Go and Hunger For The Great Light is enjoyable, but the final track is a 16 minute version of Bartender that is painful for me to sit through, mainly because Matthews yells instead of sings. If I wanted to be yelled at, I'd go to work. Dave's hardcore fans seem to love Bartender; maybe I'd feel differently about the song if I didn't bathe and smoked a bowl before listening to it.

Disc 2: More songs I like on this disc: Don't Burn The Pig, Stand Up (For It), Smooth Rider, Louisiana Bayou, and Everyday. I like the song #41, but not 15 minutes worth - I wonder how long the 12" remix is.

DVD: This disc is the highlight for me. It's fun watching these musicians play together, because you can tell that they're having a great time. I forget how good a guitar player Matthews is until I'm reminded by these videos. His playing looks effortless. Except for the Zombies' cover (again), I'm a fan of all the songs on here. If this were recorded as a CD instead of a DVD, it would be DMB's best live CD ever. Jimi Thing gives trumpeter Rashawn Ross some time to stretch out and, let me tell you, he's got some mad chops. The highlight of the DVD is Robert Randolph's guest spot on Louisiana Bayou. I would tell you that this track alone is worth the price of this set, but you can probably see it on YouTube for free. Since the DVD version of Louisiana Bayou is so much better than the CD version, I've always wanted to rip the audio tracks of the DVD. The track listing of the DVD has more of the songs I like on it anyway.

Personal Memory Associated with this CD: None

Simon and Garfunkel - The Concert in Central Park (1982)

"LIVE IN CONCERT" WEEK (FEBRUARY 7-13, 2011)

Recorded in New York City, September 19, 1981.

Reunion concerts are commonplace these days because performers and promoters realize there's a lot of money to be made at such events. Back in 1981, however, this particular reunion concert was a huge event. And while I'm sure everyone made money with record, VHS and DVD sales, the concert itself was a free event on the Great Lawn of Central Park for an estimated 500,000 fans. The setlist reads like a S&G greatest hits album, plus there's also 5 of Simon's solo hits included as well. The backup band is fantastic, as you would expect, and, to me, the stars of the show aren't necessarily S&G, but the playing of Richard Tee on electric piano and Steve Gadd on drums. Those two played out of their heads that night; I'm glad those instruments aren't lost in a bad mix.

Press of the time:

• Billboard: "gloriously recaptures the past"
• CashBox: "surpasses almost every other live recording set down on wax"
• Rolling Stone (★★★★): "chemistry is recaptured"
• Robert Christgau (C+): "live doubles are live doubles, nostalgia is nostalgia, wimps are wimps, and who needs any of 'em?"
• Record World: "every cut is a timeless hit"
• Stereo Review: "The album is more documentation"

Album chart peaks:

• US Billboard 200: #6
• Billboard Rock: #36
• CashBox: #7

Tracks: My favorites include Mrs. Robinson, Me And Julio Down By The Schoolyard, Late In The Evening, Kodachrome/Maybellene, and Fifty Ways To Leave Your Lover; the latter two are far better than their respective studio recordings. The cover of Wake Up Little Susie is excellent. I usually skip America and Old Friends. The best tune (and the reason I bought this CD) is Bridge Over Troubled Water. Not only is the song a beautiful classic that I often sing in the shower or car (I sound fan-tas-tic, btw), this version has a haunting, gospel-tinged accompaniment by Richard Tee that has stuck in my head since I first heard it in the early '80s. The final track, The Sound Of Silence, isn't a bad song, but I think it's an unusual choice to end a concert or concert CD.

Personal Memory Associated with this CD: Thinking back, it's a miracle I graduated from high school because during that time in my life I didn't think about school, only girls and music (in that order). My sister had a cassette tape of this album at the time of its release; she may still have it. I would sometimes sneak into her room and take the tape to listen to it. In the years between 1980 and 1988 particularly, I was thirsty for new music constantly; I wanted to soak it all in: folk, jazz, classical, pop, rock, show tunes, etc. To that end, I was willing to risk life and limb by entering my sister's room to get something new to listen to.