Pat Metheny Group (1978)

Note: this release was originally purchased as a LP, later replaced by the original CD release (West Germany, 1985).

This album marks the first recordings of Metheny's writing collaborations with Lyle Mays, one of the most celebrated partnerships in jazz music in the years that followed. Heavily influenced by Weather Report, it is often considered the start of Metheny's signature sound, which - to my ears - moved in the direction of jazz fusion that was more melodic, lyrical, and accessible. Plus, Metheny's clean guitar tone of the time pairs quite well with May's experimental sounds, mostly synth and piano but there's also some autoharp in there.

The album was well-received critically and commercially; it became the first of Metheny's albums to crack the Billboard 200. Plus, according to the book Pat Metheny: The ECM Years, 1975-1984 by music scholar Mervyn Cooke,

The release stunned both ECM's management and the participating musicians by quickly selling more than 100,000 copies instead of the roughly 15,000 typically received by contemporary jazz alums, and by staying on the Billboard jazz chart for more than a year.

Can confirm. According to my info, the album was on the Billboard jazz chart from 5 August 1978 through 8 December 1979, and on the CashBox jazz chart from 5 August 1978 through 16 June 1979.

Not the first Metheny album I ever heard, but certainly one of the first and one to which I often return.

Ratings/reviews:

• CashBox: "an exquisite, graceful work"
• Record World: "[Metheny] emerges here as an excellent improvisationalist with an ear attuned to melody."
• DownBeat (★★★★½): "Metheny certainly has crafted one of the best jazz-rock concepts, and there is every indication that it will grow."
• The Rolling Stone Jazz & Blues Album Guide (1999): ★★★★
• The Virgin Encyclopedia of Jazz (1999): ★★★★
• The Penguin Guide to Jazz (5th ed., 2000): ★★½

Album chart peaks:

• US Billboard 200: #123
• Billboard Jazz: #5
• Record World Jazz: #8
• CashBox: #149
• CashBox Jazz: #10
• Rolling Stone: #98

Tracks: The "hits" are fantastically memorable: the first two tracks, San Lorenzo and Phase Dance, would quickly become favorites during live shows and are my favorite tracks. The next tracks are quite enjoyable even though April Joy is simply a retread of Phase Dance. The album's closer, Lone Jack, isn't bad, it just doesn't hold my interest for long.

Personal Memory Associated with this CD: Sitting around and chewing the fat in my friend David's dorm room in Berry Hall while he played his Metheny tapes, ca. Fall 1984.

Previously revisited for the blog:

:rarum IX (2004)	Travels (1983)
Different Trains (1989)	Offramp (1982)
Letter From Home (1989)	As Falls Wichita... (1981)
Still Life (Talking) (1987)	80/81 (1980)
The Falcon & The Snowman (1985)	American Garage (1979)
Rejoicing (1984)	New Chautauqua (1979)
First Circle (1984)	Watercolors (1977)

Earl Klugh - Earl Klugh (1976)/Living Inside Your Love (1976)/Magic In Your Eyes (1978)

UK Import

You didn't ask, but at some point during my usual morning routine I'll sit down at the computer with a cup of black coffee or espresso lungo and play a few games (Wordle, Byrdle, Bandle, sudoku, daily challenges, etc) to get the ol' brain up and running again. The music soundtrack for these action-packed mornings is usually quite sedate - Rock You Like A Hurricane need not apply. I've got a playlist I've simply titled "Mornin'" and yes it includes the Al Jarreau song with which it shares a title. Oftentimes, however, I'll simply pull up Earl Klugh tunes, click the shuffle button, and have the fates determine which of the 160+ tracks I'll hear. It's all good stuff, perfect for my mornings. So when I saw yet another great Klugh threefer from BGO, I didn't hesitate. And with that purchase (my third such Klugh set), I completed my Klugh discography 1976-1995 while providing more songs for the morning shuffle.

Klugh was classically trained and has had a successful career using playing this music using that technique. I like it all and have liked the smooth sound since I first heard Klugh in the mid-'80s. The usual beef comes from people who feel the need the categorize: the music is too easy listening to be jazz and too jazzy to be easy listening. I couldn't care less.

It should go without saying that the remastering here by BGO sounds fantastic, but I'm going to mention it anyway because it does.

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EARL KLUGH (1976)
8 tracks, 39 minutes

Recorded when Klugh was 22 years old but already a veteran in the field, most notably as part of George Benson's band. This album was originally released on the Blue Note label and produced by Dave Grusin and Larry Rosen. Guests include Lee Ritenour, Harvey Mason, and Pete Christlieb. Grusin's arrangements often overpower the acoustic guitar, but that's a minor complaint.

Reviews/ratings:

• Record World: "An across the board winner."
• CashBox: "His deft handling of the classical guitar lends a rich elegance to pop hits"
• Downbeat (★★★½): "Melodic interpretation would seem to be Klugh's strong point."
• The Virgin Encyclopedia of Jazz (1999): ★★★

Album chart peaks:

• US Billboard 200: #124
• Billboard Jazz: #16
• CashBox: #189
• CashBox Jazz: #19
• Record World Jazz: #22

Tracks: 8 tracks, including 3 Klugh originals. The best cut is a beautiful take on the Bill Evans standard, Waltz For Debby. Other highlights are the covers of Could It Be I'm Falling In Love and Laughter In The Rain plus the Klugh original Angelina.

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LIVING INSIDE YOUR LOVE (1976)
7 tracks, 37 minutes

Sounds much like its predecessor because this album Blue Note release was again produced by Dave Grusin and Larry Rosen. Guests include Ralph MacDonald, Eddie Daniels, and Steve Gadd. Maybe some "sophomore slump" but the drop in quality is negligible.

Reviews/ratings:

• Stereo Review: "The selections here are generally ho-hum stuff, and they're played accordingly."
• Record World: "the finesse of his playing is his most convincing selling point."
• The Virgin Encyclopedia of Jazz (1999): ★★★

Album chart peaks:

• US Billboard 200: #188
• Billboard Jazz: #8
• Billboard R&B: #58
• CashBox: #182
• CashBox Jazz: #12
• Record World Jazz: #13

Tracks: The best tracks are the originals Felicia, the title track, and the subtle take on Bacharach's The April Fools. The cover of I Heard It Through The Grapevine falls flat.

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MAGIC IN YOUR EYES (1978)
9 tracks, 33 minutes

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

This album is slightly different than the other two because of production by the legendary Booker T. Jones, who did the producing and some string arrangements, but no playing. I would have asked for at least one organ solo, but I guess that wasn't a priority for either Earl or Booker. Jones's production brings Klugh to the front and lessens the emphasis on strings. This would become what I consider to be Klugh's signature sound. Guests include Greg Phillinganes, Paulinho da Costa, and one of Klugh's major influences, Chet Atkins. And, if I'm not mistaken, this album introduced Gene Dunlap as Klugh's regular drummer. There's steel guitar on three tracks, but it never sounds like it belongs.

Reviews/ratings:

• CashBox: "Klugh continues to impress"
• Billboard: "mellow, lyrical instrumental in a pop/jazz vein."
• The Virgin Encyclopedia of Jazz (1999): ★★★

Album chart peaks:

• US Billboard 200: #139
• Billboard Jazz: #4
• CashBox: #137
• CashBox Jazz: #6
• Record World Jazz: #8

Tracks: 9 tracks including 6 Klugh originals. The best track is the title track, followed by Julie, Rose Hips, Cry A Little While, and the cover of Guaraldi's standard, Cast Your Fate To The Wind. Good Time Charlie's Got The Blues is a - errrrr - interesting choice for a cover track, but contributions by Atkins saves the thing.

Previously revisited for the blog:

Move (1994)	Collaboration (1987)
Cool (1992)	Soda Fountain Shuffle (1985)
Midnight in San Juan (1991)	Nightsongs (1984)
Volume One (1991)	Two of a Kind (1982)
The Best of Earl Klugh (1991)	Late Night Guitar (1980)
Whispers & Promises (1989)	How To Beat The High Cost Of Living (1980)
Solo Guitar (1989)
Dream Come True (1980)/Crazy For You (1981)/Low Ride (1983)
Finger Paintings (1977)/Heart String (1979)/Wishful Thinking (1984)

Bobby Caldwell - What You Won't Do For Love (1978)

Originally issued as a self-titled album in 1978, then retitled for compact disc reissue in 1992.

With the success Boz Scaggs was enjoying in the late '70s, you'd think this release would have hit bigger because it's very much in the same vein. Heck, to draw the obvious comparison, the label even used the word "lowdown" in print ads (see below). This album has a slightly more disco flavor to than say, Silk Degrees, but this one has more soul. A lot is made of Caldwell's voice - and rightfully so - but that seems to minimize Caldwell's songwriting talents and, as evident throughout this album, his guitar playing. Speaking of Silk Degrees, that album would make for a great pairing with this one and I'll be playing it next this morning.

Press of the time:

• CashBox: "a varied, soulful assortment which showcases his skills as a singer, songwriter and guitarist."
• Billboard: "an excellent showcase for Caldwell to display his multi-talents."
• Record World: "There is a very bright future for this talented new singer."

Album chart peaks:

• US Billboard 200: #21
• Billboard R&B: #7
• CashBox: #32
• Rolling Stone: #65

Tracks: Of course, the star here is What You Won't Do For Love (#9 pop, #6 R&B, #10 AC back in the '70s and, most recently, at #1 on the TikTok Billboard Top 50. This timeless hit is followed by two other minor hits, My Flame (#40 R&B) and Can't Say Goodbye (#36 R&B). And there's the deep cuts that are so good that there's instant familiarity: Come To Me, Take Me Back To Then, and the closer, Down For The Third Time. There's nothing to skip - the album is solid and it's over far too soon.

Personal Memory Associated with this CD: Not exactly a grail CD, but this was a tough one to find at a decent price. I'm happy to finally add it to the collection.

Previously revisited for the blog:
Where Is Love (1993)

Various Artists - Billboard Top Dance Hits 1978 (1992)

Truth in advertising from the good folks over at Rhino: ten dance tunes from 1978, all but two hit #1 on the Billboard Dance chart. Great cuts, lots of them, and with a running time of nearly an hour, one of the longer discs in this series. Case in point: the magnificent MacArthur Park Suite is included in its entirety, including not only the Jimmy Webb classic, but also the original songs One Of A Kind and Heaven Knows. Overall, a fantastic compilation with the just the right blend of the often-heard and rarely-heard.

One in a series of ten covering the years 1976-1985, not to be confused with either The Disco Years or Special Editions Disco series, also issued by Rhino.

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

Tracks, with chart peaks and links to previous appearances on this blog. Extended mixes marked with an asterisk, others are 7" single versions:

Song	Artist	Time	Dance	Hot 100	R&B	Prev.
Shake Your Groove Thing	Peaches & Herb	3:25	2	5	4	1,2
MacArthur Park Suite*	Donna Summer	17:47	1	†	†	1
You Make Me Feel (Mighty Real)	Sylvester	3:45	1	36	20	1
Come Into My Heart*	USA-European Connection	7:57	1
From East To West	Voyage	3:27	1		85	1
After Dark*	Pattie Brooks	7:52	1			1
If My Friends Could See Me Now	Linda Clifford	3:47	1	54	68	1
Boogie Oogie Oogie	A Taste Of Honey	3:37	1	1	1	1,2
Y.M.C.A.	Village People	4:00	2	2	32	1,2,3
Last Dance††	Donna Summer	3:19	1	3	5	1,2

^†The single version of MacArthur Park peaked at #1 pop and #8 R&B while the single version of Heaven Knows (a duet with Joe "Bean" Esposito of Brooklyn Dreams) peaked at #4 pop and #10 R&B.

^††In later CD pressings, Le Freak by Chic is substituted for Last Dance as track 10 in the compilation.

The only new-to-me cut is Come Into My Heart which, to my ears, is the weakest cut on the disc - not terrible but could use some catchier hooks and a more prominent bass line. But man-oh-man those cuts from Donna Summer and Sylvester are top shelf; they never fail to get me moving.

Exclusive CD longbox photo courtesy of
Dirk Digglinator of the Hambonian Archives.

Personal Memory Associated with this CD: None

Previously revisited for the blog:
Billboard Top Dance Hits 1976 (1992)
Billboard Top Dance Hits 1979 (1992)
Billboard Top Dance Hits 1980 (1992)

Wings - London Town (1978)

Note: the CD I listened to was the imported 1993 reissue in The Paul McCartney Collection which added 2 bonus tracks.

Generally regarded as one of the lesser albums put out by Wings, but that's only because it is unfairly compared to other McCartney/Wings releases and, perhaps subconsciously, Beatles albums. Hardly fair to compare this release to Revolver or Band On The Run, but I guess that's human nature. This album certainly doesn't measure up to those classics. Nevertheless, it sold platinum and almost topped the charts in the spring of 1978, bested only by the mega-selling Saturday Night Fever soundtrack. It's not bad at all, there are some examples of classic McCartney harmonies and chord progressions combined with his innate sense of melody. McCartney was also blessed with a good voice; I think his vocals were at their best in the late '70s and that includes his work here.

Back in 2018, I placed the chart-topping single With A Little Luck as my fifth favorite song of 1978, writing

this tune, with it's opening electric piano, positive lyrics, and easily singable melody, is easily the highlight of the album. There's also a lot of synth pads for 1978. It transports me back to '78, one time so suddenly I actually welled up for no immediately discernible reason. Music, right?

Press of the time:

• Robert Christgau: B
• High Fidelity: "There are probably fewer hit-bound tracks on this fifty-minute disc than on Wings's last several, but it may be a far better album because of that."
• CashBox: "Overall, a brilliant collection"
• Record World: "more subdued than his previous albums"
• Billboard: "McCartney still has a flair for writing clean, intelligent rock'n'roll"
• Record Mirror: "Forget the new wave - this is the true sound of the medium wave"
• Rolling Stone: "Even the best songs here...sound as if Wings were only half trying"
• Stereo Review: "There's only one problem, Paul. You keep releasing these terrible albums."

Album chart peaks:

• US Billboard Top 200: #2
• CashBox: #2

Tracks: With A Little Luck (#1 pop, #5 adult contemporary) is worth the price of admission by itself, but I also like all the tunes on what was side one (tracks 1-8 on CD). That includes the other singles released from the album: I've Had Enough (#25 pop) and the title track (#39 pop, #17 AC). I also dig the Supertramp-ish track Morse Moose And The Grey Goose as well as Name And Address, a rockabilly throwback that would make Carl Perkins proud.

Bonus tracks: Also included is the double A-side single from 1977, Girls' School (#33 pop) and Mull Of Kintyre (#45 adult contemporary). The former is a fun, energetic rocker, albeit one with disturbing lyrical content. Of the latter, I've previously written "Mull Of Kintyre sounds like an old Scottish pub singalong waltz, complete with bagpipes. Not bad, but not for me." But what do I know? The single was Wings' biggest hit in Britain and is one of the best selling singles of all time in the UK, where it became the 1977 Christmas number one and was the first single to sell over two million copies nationwide.

Personal Memory Associated with this CD: None

Previously revisited for the blog:

Egypt Station (2018)	Unplugged: The Official Bootleg (1991)
New (2013)	All The Best! (1987)
Memory Almost Full (2007)	Give My Regards To Broad Street (1984)
Chaos And Creation In The Backyard (2005)	Pipes of Peace (1983)
Wingspan: Hits and History (2001)	Tug of War (1982)
Wingspan Sampler (2001)	Wings at the Speed of Sound (1976)
Flaming Pie (1997)	Band On The Run (1973)

The Steve Miller Band - Greatest Hits 1974-78 (1978)

This mega-selling compilation (15x platinum and counting) features the title track from 1973's The Joker plus 6 tracks taken from Fly Like an Eagle (1976) and 7 taken from Book of Dreams (1977). All but one track came from their last two albums even though they had released eleven studio albums to date. There's a lot of music on this album and that fact, along with Miller's popularity, prompted Capitol to add an extra dollar to the usual $7.98 suggested list price ($8.98 is about $41 in 2023 dollars, adjusted for inflation). 

Released in late 1978, just in time for your Christmas shopping. Also released that season were greatest hits packages from Barry Manilow, Wings, Barbra Streisand, Commodores, Steely Dan, and Earth, Wind & Fire - strong competition for your gift-giving dollar.

Press of the time:

• Billboard: "Miller's guitar lines, vocals and lyrics maintain a punchy, hookish and often humorous pace as his players support him with the kind of stuff it takes to make hits out of the ordinary."
• CashBox: "one of the premier rock'n'roll bands in the world"
• Record World: "gives a pretty good indication of Miller's talent and commercial success"
• High Fidelity: "worthwhile"
• Robert Christgau (A-): "This music may recycle blues riffs, but its spirit is pure escapist pop"
• Plus a retrospective "HoF" review from Rolling Stone:
  

Album chart peaks:

• US Billboard Top 200: #18
• CashBox album chart: #19
• Rolling Stone: #24

Tracks:

Song	Album	Hot 100
Swingtown	Book Of Dreams	17
Jungle Love	Book Of Dreams	23
Take The Money And Run	Fly Like An Eagle	11
Rock'n Me	Fly Like An Eagle	1
Serenade	Fly Like An Eagle
True Fine Love	Book Of Dreams
The Stake	Book Of Dreams
The Joker	The Joker	1
Fly Like An Eagle	Fly Like An Eagle	2
Threshold	Book Of Dreams
Jet Airliner	Book Of Dreams	8
Dance, Dance, Dance	Fly Like An Eagle
Winter Time	Book Of Dreams
Wild Mountain Honey	Fly Like An Eagle

Bonus points for not including a new/previously unreleased track. I dig most all of it - the first eleven tracks are solid. I'm not wild about Dance(x3) or Winter Time, but the compilation bounces back nicely with the dreamy Wild Mountain Honey.

Personal Memory Associated with this CD:  Even though it was released in November, this is one of my favorite summertime discs. When I find myself longing for the hot, arid summers of my youth in West Texas, these tunes certainly transport me there. Throw in some Boston and Fleetwood Mac and that's quite a stew you got goin'. No wonder they call it "dad rock." Or by now maybe we've moved on to calling it "granddad rock," hmmm...

When I played keyboards in a praise group about 15 years ago, band members were handed a lead sheet and the leader simply said "We're gonna groove this one like Steve Miller's Joker" and counted us in. We old guys immediately started with that recognizable feel while the young hotshots in the group had no idea what we were talking about. They eventually picked it up, but it made think that there's really not many tunes that have that particular feel on the intro and verse.

Previously revisited for the blog:
Born 2 B Blue (1988)
Fly Like An Eagle (1976)

Barry Manilow - Greatest Hits (1978)

Note: this release was originally purchased as a 2 LP set, later replaced by a CD.

This recent pickup from a used bin was completely unneeded yet absolutely necessary. I've got all the songs on other discs, so why on earth would I pick up this compilation? Simple nostalgia. This one brings back memories of 1978 when my family moved 500 miles to a new city and I started 7th grade in a new school with new friends but didn't give up my existent musical tastes. I became a "Fanilow" at the tender age of 10 and the two-LP set with gatefold sleeve was the very first "greatest hits" album I ever purchased. It was also the first gatefold sleeve double LP set I ever purchased (suggested list price: $13.98). Man-oh-man did I ever play the mess out of the thing. So while Ultimate Manilow may arguably be a more complete single disc compilation, this is the one for this guy. And now I'll play the mess out of it.

Released in late 1978, just in time for your Christmas shopping. Also released that season were greatest hits packages from Steve Miller Band, Wings, Barbra Streisand, Commodores, Steely Dan, and Earth, Wind & Fire - strong competition for your gift-giving dollar.

And since this Columbia Record Club CD version didn't include the hyperbolic liner notes from Clive Davis, here ya go:

It's hard to believe that it was only four years ago that I first met Barry. I had gone to Central Park to see him open for Dionne Warwick. There he was relating to 8,000 people, most of whom did not know who he was, with incredible verve, enthusiasm and musicality. He was thoroughly professional yet refreshingly innocent. In one sense he dared the audience not to succumb, and yet the incredulous wonder that the crowd was already loudly claiming him as their own personal discovery. That sense of pure boyish bewilderment that his talent is loved, cherished and respected is still with him today despite the fact that his fans are legion, now numbering in the millions.

Today, Barry Manilow is peerless in the world of popular music. His interpretive performances rank him at the top. He's the unquestioned best arranger of songs in America today. Further, he brilliantly co-produces his own records and, even more, he has written many of his own giant hits. For those who love a great song, a great melody, a great rhythm, Barry Manilow is synonymous with music itself. More important than his now historic sales achievements is his uncanny ability to reach the average person in a way to meaningfully affect that person's life. That is artistry.

And, yet, with all the popular acclaim surrounding him, Barry has never lost perspective on the important values of life. His sense of loyalty, responsibility and caring for others has only increased with time. So, let me dedicate this album to him as a wonderful artist, composer and friend. Success could not have found a more deserving person.

Press of the time:

• Billboard: "featuring all the highlights of his meteoric career climb"
• CashBox: "further solidify Manilow's position as the leading figure in the pop/easy listening market"
• Record World: "many highlights"
• High Fidelity: "worthwhile"

Album chart peaks:

• US Billboard Top 200: #7
• CashBox: #4
• Rolling Stone: #14

Tracks:

Song	Year	Hot 100	AC
Mandy	1974	1	1
New York City Rhythm	1975	-	-
Ready To Take A Chance Again	1978	11	5
Looks Like We Made It	1977	1	1
Daybreak	1976	*	*
Can't Smile Without You	1978	3	1
It's A Miracle	1975	12	1
Even Now	1978	19	1
Bandstand Boogie	1976	-	-
Tryin' To Get The Feeling Again	1976	10	1
Could It Be Magic	1975	6	4
Somewhere In The Night	1979	9	4
Weekend In New England	1977	10	1
All The Time	1976	-	-
This One's For You	1976	29	1
Copacabana (radio edit)	1978	8	6
Beautiful Music	1975	-	-
I Write The Songs	1976	1	1

*this CD inexplicably contains the studio version of Daybreak, not the later live version, which peaked at #23 on the Hot 100 in 1977. Also, the 1976 album cut Jump Shout Boogie, originally on the LP version, was omitted from this CD version. With a total disc running time of 69 minutes, that's an odd omission. However, the shorter radio edit of Copacabana is included here and I didn't have that elsewhere, so it all evens out.

Personal Memory Associated with this CD: I have a specific memory of this being the first album I played once I moved into my room at the new house. However, that can't be the case as the move happened in August 1978 and this set wasn't released until later that year. Shrug.

Finally, when my wife and I finally saw Manilow in concert in 2018, his setlist was very similar to this tracklist. And that's exactly what we wanted.

Previously revisited for the blog:
Ultimate Manilow (2002)
Here At The Mayflower (2001)
Summer of '78 (1996)
If I Should Love Again (1981)
Barry (1980)
One Voice (1979)
Even Now (1978)
Tryin' To Get The Feeling (1975)

Jean-Michel Jarre - Équinoxe (1978)

German import

One morning at some point during my college years (I'm going to guess around 1985 or '86), other marching band members and I were riding charter buses somewhere in northeast Texas, most likely headed for a recruiting performance of some sort. It seemed quite early in the morning, although my definition of "early" is admittedly somewhat different now than it was when I was 20 years old. Regardless, we were all tired, groggy, probably hungover, and in no mood to ride a bus into the morning light. I glanced across the aisle and asked my buddy Tom what tape he had in his Walkman. He just grinned and held up his cassette case of this album. I'll never forget the cover art by French graphic artist Michel Granger:

That cartoon guy looking at me through binoculars was freaky enough at that time of day, but then I gave the thing a listen and thought I definitely needed a cup or two of coffee before trying all these repetitive synth washes. Certainly not what you would expect a young adult to be listening to at 6 AM on a bus ride. It's hypnotic music that lies somewhere between that of Tangerine Dream, Kraftwerk, and Vangelis as played by someone who grew up playing a lot of Debussy piano works. It's good for what it is and I'm sure was groundbreaking at the time, but definitely removed from the disco music and soft rock I was consuming in 1978. I now find it intriguing more than interesting, but it's still hypnotizing.

We lost Tom last spring and a few months after attending his funeral I saw this disc in a used CD bin and didn't hesitate to pick it up even though I hadn't heard any of this music since that bus ride. Tom was a great guy and this world could use more people like him. He is missed but remembered fondly. I'll think of him every time I see this CD on my shelves and that alone is easily worth the price of the disc.

Press of the time:

• Record Mirror (★★): "As far as I was concerned the effect was one of sleep inducement"
• Billboard: "there's plenty of compelling music here"
• CashBox: "adventurous rock fans will find this LP fascinating"
• Record World: "another impressive pastiche of synthesizers"
  
• Stereo Review: "I found the whole recital just too twitchy to be entertaining"

Album chart peaks:

• US Billboard 200: #126
• CashBox: #89

Tracks: There's 8 tracks here - Equinoxe Part 1, Equinoxe Part 2, and so on, reportedly designed and sequenced to represent a day in the life of a person, from waking up in the morning to sleeping at night. And it does indeed play like a 39-minute 8-part suite that probably shouldn't be split or resequenced. However, parts 4 & 5 were each released as single in Europe so what do I know.

Personal Memory Associated with this CD: See above.

Idris Muhammad - You Ain't No Friend Of Mine! (1978)

Disco-jazz similar to what we were getting around 1978 from other jazz artists such as Roy Ayers, Donald Byrd, and Gary Bartz. Muhammad had previously played drums with Horace Silver, Sam Cooke, and Lou Donaldson as well as being in the house bands for Prestige Records and the Apollo Theatre and in the pit for the Broadway musical Hair - quite the pedigree. While no singles on this record found the R&B or dance charts, Muhammad would hit those charts from time-to-time in the late '70s. Nevertheless, I dig the disco tunes here - there's a fair share of hooks, plus Muhammad's drumming patterns are so original and innovative that it gives the rhythm section a fresh sound. Guitarist Hiram Bullock has some great solos on many of the tracks.

Press of the time:

• Billboard: "A well mixed LP"
• Record World: "masterful jazz/funk sound"

Album chart peaks:

• US Billboard Top 200: #208
• Billboard Jazz: #25
• CashBox Jazz: #25

Tracks: 6 tracks, 39 minutes. The first four are highly danceable; my favorites are Disco Man and The Doc (featuring a scorching tenor solo from Bob Berg), but the funky title track, written and sung by Bullock, isn't far behind. The penultimate track was written by Muhammad and has a calypso feel; Jamaican reggae musician Max Romeo provides smooth vocals. The final track, Big Foot, is credited to Idris's wife Sakinah Muhammad, former lead singer of The Crystals. It's an eight minute, free-form affair and the closest thing to jazz on the disc, ultimately coming across as a jam session where Idris gets to stretch out on multiple percussion instruments over repetitive bass lines. Enjoyable for what it is, it doesn't exactly fit with the other 5 tracks, but it did make me look up what a duggi is.

Personal Memory Associated with this CD: None

Tom Scott - Blow It Out (1977)/Intimate Strangers (1978)/Street Beat (1979)

UK Import

I discovered Tom Scott in the early '80s through his live album, Apple Juice. I eventually picked up most of his back catalog on vinyl, including these three albums. That made this 2013 BGO set an easy purchase decision.

Excellent remastering job on these plus a fantastic liner note booklet that includes full credits and original liner notes by Lee Underwood of DownBeat magazine as well as a comprehensive essay by Charles Waring, jazz columnist for Record Collector and contributor to MOJO and Wax Poetics. Well done.

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BLOW IT OUT (1977)
8 tracks, 42 minutes

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

Not much jazz here; it's more like instrumental pop-rock-funklite performed by the finest session musicians in the business including Steve Gadd, Hugh McCracken, Eric Gale, Will Lee, Rick Marotta, Ralph MacDonald, Chuck Rainey, and one of my all-time favorites, Richard Tee who steals the show on many tracks. There's a bit too much use of the Lyricon over traditional saxophone for my taste, but I understand Scott's desire to be on the cutting edge of musical technology. Nevertheless, the whole thing is highly melodic and I enjoy the eight tunes here.

Reviews/ratings:

• CashBox: "Scott continues his march into the mainstream"
• Billboard: "a tender and melodic instrumental excursion"
• Record World: "an exemplary instrumental lp"
• The Rolling Stone Jazz & Blues Album Guide (1999): ★
• The Virgin Encyclopedia of Jazz (1999): ★★

Album chart peaks:

• US Billboard 200: #87
• Billboard Jazz: #5
• Billboard R&B: #39
• CashBox: #83
• CashBox Jazz: #2

Tracks: Track 1, Gotcha (Theme From "Starsky & Hutch"), was released as a (sadly unsuccessful) single, but almost all the tracks are good so I'm not picking favorites on this one. I do recommend skipping track 7, Down To Your Soul, not because it's a bad tune, but rather due to the fact that Scott decides to sing on it.

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INTIMATE STRANGERS (1978)
7 tracks, 47 minutes

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

An odd attempt at a concept album, I really didn't like this album at first listen because the "suite" that takes up side one turned me off to the whole thing. Fortunately for me, I gave the album a few more listens and realized that the second half is quite enjoyable and the first half isn't as bad as I initially feared. The same great backing band as above, but this time there are also contributions from Toto members Steve Porcaro and David Paich, as well as a beautiful cameo from legendary bassist Jaco Pastorius.

Original liner notes here. Album press release below (click to enlarge):

Reviews/ratings:

• CashBox: "Scott's sax and lyricon work is up to his usual highest-quality standards"
• Billboard: "a multi-textured, multi-mood musical package"
• Record World: "a skillfully crafted blend of jazz, disco and funk"
• The Rolling Stone Jazz Record Guide (1985): ★

Album chart peaks:

• US Billboard 200: #123
• Billboard Jazz: #6
• CashBox: #123
• CashBox Jazz: #5

Tracks: Side one is a forced effort to musically describe a one night stand between a saxophone player and "that lovely lady on the front row" complete with occasional canned applause and crowd noise. Taking up the whole of side one on the vinyl album, the suite's three parts are titled Sudden Attraction, A Day & Nite Out Together, and Loving & Leaving. Not bad even though there's a bit of Scott's singing again; but I greatly prefer what was side 2 (tracks 1-4 on disc two here) which is typical Scott fare. The final track, Beautiful Music, which was co-written by Ralph MacDonald, features a tasty flugelhorn solo from Chuck Findley, and was released as a (sadly unsuccessful) single.

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STREET BEAT (1979)
8 tracks, 42 minutes

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

Scott wrote or co-wrote all 8 tracks here and, frankly, the material just isn't as good as the other two albums in this set. Scott was writing quite a bit of music for movies and TV shows, so not surprisingly, some of the tunes sound like they come from that genre. One track actually does come from a movie: Car Wars was on the soundtrack to Americathon, a movie I've never seen, but stars such actors as Elvis Costello, Tommy Lasorda, and Meat Loaf.

Also, this album utilizes a somewhat different set of backing musicians from other albums in this set:

Notes on above credits:

1. I had to look up what an "ARP Quandra" is and discovered it is simply an analog synth keyboard. 
2. Notably, Scott brought in other vocalists here. Smart move.
3. I'm pretty sure that "BS trombone" is an abbreviation for "bass trombone" but can neither confirm nor deny.

Reviews/ratings:

• CashBox: "diverse, perceptive mainstream jazz offering"
• Billboard: "He has done better with previous offerings"
• The Rolling Stone Jazz Record Guide (1985): ★

Album chart peaks:

• US Billboard 200: #162
• Billboard Jazz: #7
• CashBox: #131
• CashBox Jazz: #8

Tracks: The best tracks here are We Can Fly and the title track, the latter of which was released as a (sadly unsuccessful) single.

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Previously revisited for the blog:
Smokin' Section (1999)
Night Creatures (1995)
Reed My Lips (1994)
Target (1983)
Apple Juice (1981)