William Walton/Leonard Bernstein - Belshazzar's Feast/Chichester Psalms/Missa Brevis (1989)

Robert Shaw conducting the Atlanta Symphony Orchestra & Chorus, recorded in Symphony Hall, Atlanta on April 25-26, 1988 & May 15, 1989.

I inherited this CD from my father and I'm guessing he bought it as a fan of Chichester Psalms. I'm not much of a listener of classical choral works, but Telarc was the premiere classical CD of the time and Shaw was the dean of choral conducting, so it makes sense that he chose this version. Let's see what the choral aficionados over at Amazon have to say about this one:

• "a magnificent performance of a too-often overlooked 1931 oratorio"
• "If you are looking for a top-notch recording of this Walton masterpiece, look no further than here."
• "Marvelous music, with the best choral director of the 20th century, Robert Shaw, and excellent Atlanta Symphony Orchestra."
• "this is truly the definitive edition"
• "A wonderful reproduction of an inspiring work."

So it's good stuff and well-recorded, just not in my wheelhouse.

1. Belshazzar's Feast by Sir William Walton is a cantata that premiered in 1931. I appreciate the energy brought to the performance and enjoy the bombastic brass throughout.
2. Chichester Psalms by Leonard Bernstein (written in 1965), I like the first movement and the finale. He really had a thing for mixed meter.
3. Missa Brevis (brief mass) by Bernstein was written in 1988 for Shaw to mark Shaw's retirement from directing the Atlanta Symphony and Chorus. It turned out to be Bernstein's last complete choral work as he died in 1990. This CD contains the world premiere recording.

Personal Memory Associated with this CD: None

Previously revisited for the blog:

Leonard Bernstein's New York	On The Town, Fancy Free, On The Waterfront Suites
Leonard Bernstein Conducts West Side Story	1812 Overture/Capriccio Italien/Romeo & Juliet
Chichester Psalms, Symphonies Nos. 1 & 2
New York Philharmonic Debut
On The Town - Studio Cast Recording

The Style Council - The Singular Adventures Of The Style Council: Greatest Hits, Vol. 1 (1989)

Paul Weller's group after The Jam disbanded, this new group with a fantastic band name was active until 1989 and then Weller would begin releasing solo albums. The Style Council blended soul, jazz, pop, and R&B, often with socially conscious lyrics. Like their sophisti-pop contemporaries Simply Red, the group released music that is heavily polished and strongly influenced by '60s Motown. The group was much better received in their native UK than in the United States.

I completely missed The Style Council back in the '80s as I was listening to more jazz and classical music at the time when I was pursuing a music degree. That's a shame because 20 year old Mark would have loved this stuff.

Peak on the US Billboard Top 200 chart: Did not chart (#3 in UK)

Tracks:

	Title	Year	UK	US
1	You're The Best Thing	1984	5	76
2	Have You Ever Had It Blue (12" Version)	1986	14
3	Money Go Round (Parts 1 & 2)	1983	11
4	My Ever Changing Moods (12" Version)	1984	5	29
5	Long Hot Summer (12" Version)	1983	3
6	The Lodgers	1985	13
7	Walls Come Tumbling Down	1985	6
8	Shout To The Top!	1984	7
9	Wanted	1987	20
10	It Didn't Matter	1987	9
11	Speak Like A Child	1983	4
12	A Solid Bond In Your Heart	1983	11
13	Life At A Top Peoples Health Farm	1988	28
14	Promised Land	1989	27
15	How She Threw It All Away	1988
16	Waiting	1987	52

Personal Memory Associated with this CD: None.

Lee Ritenour - Color Rit (1989)

For the most part, this album feeds Ritenour's love for Brazilian music and acoustic guitar (see also the earlier Ritenour albums Rio, Harlequin, & Festival. I haven't yet checked out his latest release, simply titled Brasil). However, there's a few cuts that, while good for what they are, seem somewhat out of place on a Brazilian album. Familiar names in the credits include Ernie Watts, Paulinho Da Costa, Russell Ferrante, Jerry Hey, and Phil Perry. Over at Allmusic, Richard S. Ginell writes "this CD represents a slight dip for Ritenour at a stage in his career when his albums were gradually becoming classier and more musical" and while that's true, there's still some good smooth jazz to be had here.

Ratings:

• The Rolling Stone Jazz & Blues Album Guide (1999): ★★★
• The Virgin Encyclopedia of Jazz (1999): ★★★

Album chart peaks:

• US Billboard 200: Did not chart
• Billboard Contemporary Jazz: #4
• Billboard R&B: #62
• CashBox Contemporary Jazz: #7

Tracks: 7 Ritenour originals, 1 each from Brazilian musicians Ivan Lins and Gonzaguinha, plus a cover of an Isley Brothers tune. Vocals on four of the tracks. The good tracks that don't really fit the theme are Mister Reggae, I Can't Let Go, and Malibu (a remake of a track from Rit/2). My favorites are Bahia Funk, the title track, Tropical Storm, and Etude.

Personal Memory Associated with this CD: None.

Previously revisited for the blog:

Amparo (2008)	Festival (1988)
Rit's House (2002)	Harlequin (1985)
Two Worlds (2000)	On The Line (1983)
This Is Love (1998)	Rit/2 (1982)
Larry & Lee (1995)	"Rit" (1981)
Stolen Moments (1990)	Rio (1979)

Earl Klugh - Solo Guitar (1989)

Klugh interpreting 14 standards on solo acoustic guitar, no accompaniment, no overdubs. And that's really all that needs to be said.

Reviews/ratings:

• Musician: "by far the best record Klugh's made."
• CashBox: "Pretty, but lightweight"
• Billboard: "delightfully unpretentious"
• The Virgin Encyclopedia of Jazz (1999): ★★★

Album chart peaks:

• US Billboard 200: Did not chart
• Billboard Jazz: #4
• CashBox Traditional Jazz: #4

Tracks: They're all good, but I'll pick a few favorites (^★) this morning:

1. It's Only A Paper Moon - music by Harold Arlen, lyrics by Yip Harburg and Billy Rose (1933)
2. So Many Stars - music by Sérgio Mendes, lyrics by Marilyn Bergman (1968)
3. I'm Confessin' (That I Love You) - music by Chris Smith, lyrics by Al Neiburg (1930)
4. If I Only Had A Brain^★ - music by Harold Arlen, lyrics by Yip Harburg (1939)
5. Emily - music by Johnny Mandel, lyrics by Johnny Mercer (1964)
6. Love Is Here To Stay^★ - music by George Gershwin, lyrics by Ira Gershwin (1938)
7. Someday My Prince Will Come^★ - music by Frank Churchill, lyrics by Larry Morey (1937)
8. Any Old Time Of The Day - music by Burt Bacharach, lyrics by Hal David (1964)
9. Embraceable You - music by George Gershwin, lyrics by Ira Gershwin (1930)
10. I'm All Smiles - music by Michael Leonard and lyrics by Herbert Martin (1965)
11. You Make Me Feel So Young^★ - music by Josef Myrow, lyrics by Mack Gordon (1946)
12. Autumn Leaves - music by Joseph Kosma, French lyrics by Jacques Prévert, English lyrics by Johnny Mercer (1945)
13. The Way You Look Tonight^★ - music by Jerome Kern, lyrics by Dorothy Fields (1936)

Personal Memory Associated with this CD: None.

Previously revisited for the blog:

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

Miles Davis - Amandla (1989)

Not my favorite Miles album, but there's still some interesting stuff going on. The album was mainly co-produced by Tommy LiPuma & Marcus Miller and while I definitely hear Miller's influence, I can't tell if LiPuma had much input at all. In the late '80s, R&B became much more reliant on synths and drum machine and, for me, that move seemed to dehumanize the soul of the music. And while the music on this album isn't R&B, it is heavily influenced with those trends of the time (FWIW, Wikipedia claims that "the album mixes elements of the genres go-go, zouk, funk and jazz" and I had to look up 'zouk.'). The music has tight grooves, brief solos, and the playing is fantastic, but, save for the final tracks, it mostly runs together. Then again, Miles' output in the '80s frustrated many of his fans and that statement would probably bring a wry grin to his face.

Reviews/ratings:

• Billboard: "Miles may not be creating the same groundbreaking work that was the hallmark of his first three decades, but that doesn't mean that his current material isn't wholly enjoyable."
• Musician: "those looking for a more natural consolidation of vintage and electric Miles will be pleasantly surprised."
• CashBox: "Miles talks about moving ahead, but he's in a rut."
• DownBeat (★★★★): "I'm glad that Miles remains committed to making music that's modern (or post-modern) - especially when he does it this well."
• The Penguin Guide to Jazz (5th ed., 2000): ★★★½
• The Rolling Stone Jazz & Blues Album Guide (1999): ★★★
• The Virgin Encyclopedia of Jazz (1999): ★★★

Album chart peaks:

• US Billboard 200: #177
• Billboard Contemporary Jazz: #1
• CashBox Jazz: #2

Tracks: My favorite track is the title track, followed by Jilli and Mr. Pastorius. In other words, the last half of the disc is better than the first half.

Personal Memory Associated with this CD: I saw Miles on tour promoting this album (Dallas, June 10, 1990) so I probably heard at least one of these tracks live.

5th row!

Previously revisited for the blog:

At Newport 1958 (2001)	Bitches Brew (1970)
Panthalassa Remixes (1999)	In A Silent Way (1969)
Complete Birth of the Cool (1998)	At Carnegie Hall (1962)
Acoustic (1996)	Sketches of Spain (1960)
Live Around The World (1996)	Kind Of Blue (1959)
The Hot Spot Soundtrack (1990)	Milestones (1958)
Music from Siesta (1987)	'Round About Midnight (1957)
Tutu (1986)

David Bowie - Sound + Vision: The CD Press Release (1989)

Promo CD single

Promotional single from Rykodisc for the first Bowie box set, Sound + Vision, containing one "rare track" and a "CD Press Release." What was a press release in 1989 is nothing more than a curiosity 35 years later, but I simply couldn't pass it up.

Tracks: The first track is a glam-rock cover of a 1958 Chuck Berry tune which was originally the B-side of Bowie's 1973 single Drive-In Saturday, recorded in 1971 during the Ziggy Stardust sessions. The second track is a 3 minute press release for the box set, read by Kurt Loder, then the face of MTV News:

Personal Memory Associated with this CD: I didn't opt for the full Sound + Vision box back in 1989, instead picking up the Changesbowie release around 1991 or 1992. In 1989, I was a newlywed with a wife in grad school and we only had my teacher income. In other words, I couldn't afford the CD box set, especially at a $59.98 price point (over $150 in 2024 dollars, adjusted for inflation). The LP version was listed at $69.98 and cassette at $49.98. But even at those prices, the set sold well and peaked at #97 on the Billboard 200.

click to enlarge

Previously revisited for the blog:

★ (2016)	Black Tie White Noise (1993)
The Next Day (2013)	Changesbowie (1990)
Zeit! 77-79 (2013)	Tonight (1984)
Reality (2003)	Let's Dance (1983)

The Blue Nile - Hats (1989)

UK import

Without a doubt, this may be one of the most laid back pop albums I've come across and is definitely one of my best finds in the past few years. For a good while, I'd heard good things about this band's debut album, A Walk Across The Rooftops, and had seen it on a couple of "Best of '84" lists. I felt compelled to listen and about ten years ago, I finally gave Rooftops a try. It just didn't do much for me on first blush. Wrong album at the wrong time in the wrong place with the wrong mindset. Fast forward to 2023 and I see a copy of this Hats CD in the used bin and figure I'll take the chance. I bought the disc and immediately put it in the car's CD player (we were pleasantly surprised when our 2023 Subaru Forester came with a stock CD player and above-average Harman Kardon speakers). You wouldn't think this music would be well-suited for a drive with thousands of my San Antonio neighbors down US Route 281 on a scorching hot afternoon, but you'd be wrong. It was perfect - serene and relaxing. I was hooked from the get-go and played it again on the home system as soon as I arrived at my house. No "sophomore slump" here. The purchase of other Blue Nile discs followed; look for them in the space at some point in the future.

The reviews I've read of this album seemingly all use the same set of words: atmospheric, stripped-down, understated, longing, meditative, intimate, emotional, gorgeous, sublime - you get the picture and I agree with all of those descriptions.

Press of the time:

• Chicago Tribune (★★★½ ): "minimalist minor key melodies and lyrics that sketch out a strangely sad yet compulsive search for something"
• Musician: "capable of evoking romantic desolation and big-city loneliness with such heartbreaking vividness"
• Record Mirror (★★★★): "Wow - sublime!"
• Rolling Stone (★★★): "surely a fine second act from a trio that deserves encouragement"
• Spin: "Hats proves that the Blue Nile really are pasty-faced moths to the flame of self-absorption, not to mention insect-like studio perfectionists"
• Stereo Review: "there is no such thing as ideal love. But that doesn't stop the Blue Nile from trying to capture it. Or us from hoping they succeed."

Free CD copy!
Sadly, we've missed the February 12, 1990 deadline.

Peak on the US Billboard 200 chart: Did not chart

Tracks: I guess there are different tracks, but it's just a single 39 minute track to me. (I will mention that track 2, The Downtown Lights, peaked at #10 on Billboard's Modern Rock Tracks chart.)

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

Personal Memory Associated with this CD: see above

Earl Klugh - Whispers And Promises (1989)

I consider myself an Earl Klugh fan, but this just isn't his best effort. Inconsistent and derivative. I'll stick with his other releases.

Album chart peaks:

• US Billboard 200: #150
• Billboard contemporary jazz: #5
• CashBox contemporary jazz: #7

Tracks: I like the lead track, What Love Can Do, along with Fall In Love and Whispers And Promises. Skip track 6, Summer Nights, which is absolutely ruined by synth drums and bass. We also get a derivative tango as well as songs that sound like they're lifted directly from Al Jarreau, Tom Scott, and Klugh himself.

Personal Memory Associated with this CD: None. I just couldn't pass this thing by as it sat in a used CD bin.

Previously revisited for the blog:

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

Midnight Oil - The Dead Heart (1989)

"LOST SUMMER OF MARK" WEEK (AUGUST 14-20, 2022)

UK import CD single

While most people in my crowd were digging on Beds Are Burning, I preferred this release from Midnight Oil. Still do. There’s just something about when it switches from a minor key to major key that sounds hopeful even though it’s a protest tune about the mistreatment of indigenous Australians. Plus, I dig the horn and cello bit at the end. CashBox called the single "outstanding" and "mesmerizing" and they are correct. Shame it didn't chart higher; I'm guessing I only heard/saw the video on MTV that summer between airings of Remote Control and Club MTV.

Peak on the US Billboard Hot 100 chart: #53
Peak on the US Billboard Rock Chart: #11

Understandably, it charted higher in the band's native Australia, peaking at #4.

US single picture sleeve featuring Uluru/Ayers Rock

Tracks: This single starts off with two versions of The Dead Heart - the LP version (5:10) and an extended version (6:07) which simply extends the ending a bit. Other than that extended version, there's no rarities/nothing special about the CD single. The tracks that fill out the single are Kosciusko, taken from the band's 1984 album, Red Sails In The Sunset, and Progress, taken from the band's 1985 EP, Species Deceases.

Personal Memory Associated with this CD: A college buddy named James and I would occasionally attempt to imitate Peter Garrett's distinct singing style. Not sure how close we came to actually sounding like him, but that didn't stop us from trying. Beer may have been involved but I admit to nothing.

CCCP - United States of Europe (1989)

"LOST SUMMER OF MARK" WEEK (AUGUST 14-20, 2022)

German import CD single

I could care less about the two mixes of United States Of Europe on this disc; I'm interested in the second track, a remix of the band's earlier release, American Soviets. I've got it on vinyl (yes, there's vinyl in this house), but I gotta have a physical digital copy, no?

I heard American Soviets all the time on the radio and when I picked up the 12" single, the label was Oak Lawn Records in Dallas, so for many years I assumed this was a Dallas group. Turns out they're from Germany.

Tracks: United States of Europe didn't chart in the US, probably because there's not much to it. Neither mix here is essential dance music, but for what it's worth, track 3, is the better of the two.

American Soviets (which inexplicably only climbed to #26 on the Billboard dance chart in 1987) has several mixes. The 12" vinyl has 3, including one by "Legendary Bay Area DJ" Cameron Paul. The mix on this CD single is simply titled "us-remix dallas, tx, 1987" but it is basically the aforementioned Cameron Paul mix with an early fadeout. To be honest, I prefer the original mix that starts with an imagined phone conversation between a fake Reagan and Gorbachev, but I'll take what I can find.

A couple of weeks back, I wrote that The Go-Go's song

Beneath The Blue Sky is an example of the poppy tracks in the early '80s that bands would write about Cold War fears (similar tracks that come to mind are 99 Luftballons, It's A Mistake, Two Tribes, etc.).

Add American Soviets to that list.

Personal Memory Associated with this CD: To be honest, I'm not sure if I even heard the American Soviets single in the summer of 1988 - it very well could have been summer of 1987 - but I tend to group this tune with other dance tunes of the time such as Pump Up The Volume by M/A/R/R/S and Beat Dis by Bomb The Bass, so it gets associated with summer of '88.

Various Artists - These People Are Nuts! (1989)

Note: the CD I listened to was the 1991 jewel case reissue.

A compilation issued to celebrate the 10th anniversary of I.R.S. Records (1979-89) by including twenty-two(!) tracks recorded between the years 1977 and 1989.

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

Tracks:

1. The Police - Nothing Achieving (1977), the b-side of the band's first single, Fall Out.
   Also on Message In A Box. Nothing memorable.
2. The Go-Go's -We Got The Beat (1981), from Beauty And The Beat
   Freakin' classic and deservedly so.
3. Wayne County & The Electric Chairs - Thunder (1977)
   This one was new to me. Great guitar work on this cross between glam rock, punk rock, and something from Act I of the Rocky Horror Show.
4. Wazmo Nariz - Checking Out The Checkout Girl (1979), from Things Aren't Right
   Also new to me. Humorous upbeat tune - I like it.
5. Root Boy Slim - Dare To Be Fat (1979), from the album Zoom.
   Root Boy has cracked me up since I first heard Christmas At K-Mart. Politically incorrect these days, but that don't mean it ain't funny.
6. Skafish - Sign Of The Cross (1981), from URGH! A Music War.
   I've got that soundtrack album on vinyl (has it ever been released on CD?) and while I can appreciate the punk attitude, this tune doesn't do much for me.
7. John Cale - Jack The Ripper (1978), previously unavailable in US
   I am very unfamiliar with Cale's solo output, but this is a catchy little tune and his voice here reminds of Jam-era Weller.
8. Oingo Boingo - Only A Lad (1980), from Oingo Boingo
   Also on On The Charts: I.R.S. Records 1979-1994. Typical Boingo - I can take it or leave it.
9. Klark Kent - Don't Care (1978), from Musical Madness Of The Kinetic Kid
   Klark Kent is a pseudonym for Police drummer Stewart Copeland. He supposedly wrote this catchy power pop tune for The Police, but ended up recording it himself - playing all the instruments as well as handling vocal duties. Glad to discover it here.
10. Buzzcocks - Ever Fallen In Love (1979), from Singles Going Steady
    Freakin' classic and deservedly so. Absolutely love the chorus.
11. English Beat - Whine & Grine/Stand Down Margaret (1980), from I Just Can't Stop It
    I bought Just Can't Stop It in 1982 and have loved it ever since. Now I gotta pull out that CD for a listen.
12. Cramps - Goo Goo Muck (1981), from Psychedelic Jungle
    As far as I can remember, this cut is my introduction to The Cramps. There's not much to it, but I dig this cover of a 1965 surf rock single.
13. Magazine - About The Weather (1982), from Magic, Murder and The Weather
    As far as I can remember, this cut is my introduction to Magazine. This tune sounds like Joe Jackson tried to write a Motown song and somehow it works. I dig.
14. Wall Of Voodoo - Mexican Radio (1982), from Call Of The West
    Also on this compilation, this compilation, and this compilation. One of the great singles of the '80s that was never as popular as it should have been. Stan Ridgway doesn't have a great voice, but it is perfect for this song.
15. The Alarm - The Stand (1983), from The Alarm.
    Also on Just Can't Get Enough: New Wave Hits of the '80s, Vol. 13. An admirable attempt to be a "message band" like The Clash or U2. This isn't a bad tune, but I prefer Sixty Eight Guns.
16. R.E.M. - Superman (1986), from Lifes Rich Pageant
    This cover tune is one of the top tracks from the band's best album.
17. Dr. & The Medics - Spirit In The Sky (1986), from Laughing At The Pieces
    Another cover. They don't add anything notable to the song other than some ill-advised synth horns. I'll pass, but it hit #1 in the UK.
18. Lords Of The New Church - Like A Virgin (1985), from Killer Lords
    Also on Just Can't Get Enough: New Wave Hits of the '80s, Vol. 15. And the covers keep a'comin'. At first listen, this cover sounds like a bad idea, but then you realize (around the time of the first belch) that the band is intentionally trying to make this sound like drunken karaoke. I remember listening to the band's self-titled debut album over at Jim's house back in 1982. That post-punk music is preferable to this Madonna tribute.
19. Timbuk 3 - The Future's So Bright I Gotta Wear Shades (1986), from Timbuk 3
    Also on On The Charts: I.R.S. Records 1979-1994. I always liked this tune with the meandering harmonica throughout. How come apocalyptic tunes in the '80s were so upbeat? We got this tune, 99 Luftballons, It's A Mistake, etc.
20. Fine Young Cannibals - Johnny Come Home (1985), from Fine Young Cannibals.
    No hooks to be had, but I like the muted trumpet parts.
21. Caterwaul - The Sheep's A Wolf (1989), from Pin & Web
    New to me and I like the groove and aggressiveness of this little bit of alternative rock.
22. Concrete Blonde - It'll Chew You Up And Spit You Out (1987) from concreTe bLonde
    This track and the one before will take you back to MTV's 120 Minutes in a big hurry. It's an alternative version of their song Still in Hollywood but with different lyrics. Same great riffs, though.

Personal Memory Associated with this CD: None

Previously revisited for the blog:
On The Charts: I.R.S. Records 1979-1994 (1994)

Kirsty MacColl - Kite (1989)

Note: the CD I listened to was the 2012 Salvo Records expanded edition which includes a 17-track bonus disc.

A tune from MacColl appeared in this previous post about a 1981 UK hits compilation CD where I wrote: "There's no acceptable excuse why I haven't explored her entire catalog. Currently accepting suggestions for a starting point for that journey." William, a friend who does blog business over at musicofmylife.net, suggested that I start with this album and am I ever glad he did - what a treat this thing is. It's hard to decide what I like more: MacColl's voice, the music compositions, or those spectacular overdubbed vocal arrangements throughout. And we've got lyrics so good I actually pay attention to them.

Press of the time:

• Entertainment Weekly: "It’s hard to imagine how anyone so joyfully sharp-tongued could have worked so long in the shadows"
• Stereo Review: "MacColl's strong, clear voice matches the straight-forwardness of her material."
• Billboard: "this effort shows off MacColl's vocal talents, which are exceeded only by her top-notch songwriting."
• Record Mirror (★★★★): "quite a decent record"
• Q (★★★★): "expect to see Kite high on everybody's list of favourites come the year's end"
• Rolling Stone (★★★½): "MacColl has created a sparkling, modern folk-rock sound"
• The CD Project: "Have mercy that Kite album gets better with each listen."

OK, so maybe that last one is a more recent quote, but it certainly holds true. And that "sparkling, modern folk-rock sound" description from Rolling Stone is spot-on accurate.

Peak on the US Billboard Top 200 chart: Did not chart in the US, but it did peak at #34 in the UK.

Tracks: The first half of the CD is nothing but enjoyable pop music and includes most of the singles that charted in the UK: Free World (#43), Innocence (#80), and a cover of The Kinks' Days (#12). The second half kicks off with the country waltz Don't Come To Cowboy With Me Sonny Jim (#82) and I initially want to write it off as a novelty tune, but by the end of the thing I'm asking myself, "Is this woman gonna get me to like post-'70 country music?" And are those mariachi horns??" So it turns out I really dig that song and my ears are fully primed which is a good thing because things really start going in the second half with the rollicking Tread Lightly followed by the sardonic and accurate What Do Pretty Girls Do? Then the beautiful, sparse Dancing in Limbo (the a cappella vocal parts on the chorus are what initially got me to order the CD). But wait! There's more! The best track is track 11, The End Of A Perfect Day, co-written by Johnny Marr. The album then ends delicately with the melancholy You And Me Baby. The perfect ending to fantastic album.

Sounds to these ears like Nick Heyward was quite familiar with track 6, Fifteen Minutes, when he recorded These Days a few years later. That same Heyward album has another track titled Kite. Coincidence?

Bonus tracks - the bonus CD is nearly twice as long as the original album (17 tracks, 60 minutes): mainly b-sides, we're treated to the usual demos, single versions, alternative mixes, cover tunes, and soundtrack tunes plus the three tunes included as bonus tracks on the 1989 CD version. The difference between these b-sides and most other b-sides is that these are worth your time.

Personal Memory Associated with this CD: None, but it's highly unlikely this will be MacColl's last appearance in this space.

Various Artists – GRP Digital Sampler: On The Cutting Edge (1989)

So I picked up this CD because 1) it came with its longbox (see below), and 2) I've always been a fan of '80s smooth jazz releases on GRP so a sampler should be right in my wheelhouse. But then I gave the CD booklet a closer inspection and I see these words across the top of the album art: "CD+G: The New Revolution in Sight and Sound." What's all this, then?

New to me, it turns out CD+G is a format that takes advantage of unused data channels on a CD to embed low-resolution graphics on the same disc as the audio. If you're interested in the technical specifics of how the CD+G works, check out CD+G Revealed by Jim Bumgardner. I couldn't understand it, but then again, I made grades in science courses that rhyme with "C" and weren't B's.

Here's an example of the graphics contained on this disc, mainly cover art and lyrics. Not much to look at now, but I would have been blown away by this kind of thing back in the late '80s:

Oh, did I mention you need a compatible player that contains video outputs so you can hook up your player to your television to see the video while the CD plays?

Needless to say, the mainstream CD companies opted to use it on a limited basis, if at all. However, such technology played right into the hands of karaoke lovers and they utilized the technology for many years. More on the CD+G format is available at The CD+G Museum and, of course, Wikipedia.

But what about the music here? At first listen, I was put off by all the synths, LinnDrums, and production tricks of the time. But I was eventually able to mentally time-travel back to 1989 and listen with that mindset. As such, I found a number of tunes here to like. Only one tune has previously appeared here on the blog, track 7 taken from the wonderful Lee Ritenour album, Festival.

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

Tracks: 12 tracks, 62 minutes. Links go to CD+G content for each track. Included with the title and artist below is the album and it's peak on one of the Billboard jazz charts.

1. Sailing Through The City by David Benoit from the 1988 album Urban Daydreams (#4).
   Upbeat piece with piano melody from keyboardist Benoit. Written by Don Grusin and features Eric Marienthal on alto sax and Judd Miller on Electronic Valve Instrument, a synth trumpet.
2. Crucial 2 Grooveby Omar Hakim from the 1989 album Rhythm Deep.
   Former member of Weather Report and prolific studio drummer Hakim shows off his writing, playing, and vocal chops on this R&B piece that is definitely of its time.
3. Tourist In Paradise by The Rippingtons from the 1989 album Tourist In Paradise (#4).
   I dig this fun, upbeat instrumental pop from Russ Freeman and the gang. Yamaha, Roland, Kawai, and Korg synths all get a credit but the band (including vocalist Carl Anderson and saxophonist Brandon Fields) sound like they're having a blast.
4. National Amnesia by New York Voices from the 1989 album New York Voices (#9).
   New York Voices are a vocal jazz quintet along the lines of Manhattan Transfer and/or Rare Silk. The lyrics of this original shuffle, written by group member Darmon Meader, tackles timely events such as apartheid and Black Monday. The mix is a bit percussive, but it sure has a catchy chorus.
5. Spain by Chick Corea from the 1989 album Chick Corea Akoustic Band (#1).
   Pianist Corea and the rest of his trio (John Patitucci, bass & Dave Weckl, drums) take on one of Corea's most famous pieces. The acoustic performance is a nice change of pace. The album won the 1990 Grammy Award for Best Jazz Instrumental Performance.
6. Thankful N' Thoughtful by Dave Grusin from the 1984 album Night-Lines (#4).
   Some big names here including Phoebe Snow, David Sanborn, and Marcus Miller. But nobody has any business attempting a smooth jazz cover of a Sly Stone song. When you own the record label, I guess you can do whatever you want.
7. Night Rhythms by Lee Ritenour from the 1988 album Festival (#3).
   A Brazilian-influenced piece from Ritenour on acoustic guitar, along with Dave Grusin, Omar Hakim, Marcus Miller, plus a nice contribution on tenor from Ernie Watts.
8. On The Corner by John Patitucci from the 1989 album On The Corner (#14).
   A funky original with lots of slappin' from bassist Patitucci (who appears quite a bit on this compilation). There's Judd Miller again on the Electronic Valve Instrument which does a great imitation of a trumpet with a Harmon mute.
9. Funny (But I Still Love You) by Diane Schuur from the 1988 album Talkin' 'Bout You.
   Schuur is accompanied by Richard Tee, Will Lee, and Steve Gadd for this bluesy cover of an early Ray Charles tune. With a line up like that, this can't miss. And it doesn't. Tee offers a beautifully restrained solo on piano.
10. Cookin' by Kevin Eubanks from the 1988 album The Searcher (#16).
    A funky original from guitarist Eubanks. An odd one, it's just the bass-like guitar licks underneath Bobby McFerrin-like vocals from Mark Ledford and beat box from Duane "Cook" Broadnax. Eubanks is currently appearing in syndication as Jay Leno's sidekick/straight man on the latest incarnation of You Bet Your Life.
11. I'm Gonna Wait On Your Love by Eric Marienthal from the 1989 album Round Trip.
    A great adult contemporary tune, it was released as a single but failed to chart. Shame. Paticucci is here again on bass, as are fantastic vocals from Chicago singer Lou Pardini. One of the better tunes on the compilation.
12. My Place In The Sun by Special EFX from the 1988 album Confidential (#15).
    Special EFX featured guitarist Chieli Minucci - he wrote the piece and plays both acoustic and electric guitars on this piece. The performances are good and the tune is pleasant enough, just not very memorable.
13. Blackwood by Eddie Daniels from the 1989 album Blackwood.
    Clarinet certainly isn't a typical smooth jazz instrument, but I really dig this piece. Catchy accompaniment lines underneath Daniels' incredible tone.
14. On The Rise by Deborah Henson-Conant from the 1989 album On The Rise.
    I'm not wild about jazz harp and the fact that this piece never really goes anywhere isn't helping. But I'll give it a few bonus points for featuring "Blue Lou" Marini on soprano saxophone.

click images to enlarge.

Personal Memory Associated with this CD: None.

Keith Jarrett - Personal Mountains (1989)

German import

It's difficult for me to pass up an ECM CD in the used bin, particularly when it is marked down to $1 as this particular CD was. This disc is a live album by Jarrett's 'European Quartet' recorded in 1979 in Tokyo and released in 1989. It has been written that "From note one Personal Mountains paints melodic vistas of great majesty wrapped in a bow of rarified execution." The playing is indeed spectacular, I just can't get into it until the last tracks. I've given the disc several spins, but overall, this one's not for me.

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

Tracks: Of the five tracks here, I dig track 4, Innocence, which includes nice work from both Jarrett and bassist Palle Danielsson. There's also a CD-only bonus track, Late Night Willie, which has a pleasant, laid back groove to it.

Personal Memory Associated with this CD: None

Previously revisited for the blog:
Standards, Vol. 1 (1983)
The Köln Concert (1975)

Various Artists - Wave Aid 3 (1989)

A New Age/smooth jazz benefit CD from Los Angeles radio station KTWV with proceeds going to the American Foundation for AIDS Research. As the title suggests, this was the third such endeavor undertaken by the station. My crack staff informs me the station eventually produced 8 such charity discs between the years 1987 - 2000. I was hoping for smooth jazz, but this compilation skews more New Age. Nevertheless, it is a relaxing slice of background music.

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

Tracks: 11 tracks, 62 minutes.

1. Slip Away by Pat Metheny from the 1989 album Letter From Home.
2. Once In August by Jim Chappell from the 1989 album Living The Northern Summer.
3. Thousand Cranes by Hiroshima from the 1989 album East.
4. Lonely Rose by Cusco from the 1989 album Mystic Island.
5. The Search by Mickey Raphael from the 1987 album Hand To Mouth.
6. Temple Jamaica by Peter Manning Robinson from the 1989 album Phoenix Rising.
7. Orinoco Flow (Sail Away) by Enya from the 1988 album Watermark.
8. Making Waves by Acoustic Alchemy from the 1989 album Blue Chip.
9. Pearls And Tears by Andreas Vollenweider from the 1989 album Dancing With The Lion.
10. Happy Ever After by Julia Fordham from the 1988 album Julia Fordham.
11. Drifting by Suzanne Ciani from the 1989 album History Of My Heart.

Before picking up this CD for $3 in a used bin, I had only heard of half the artists and was previously familiar with only the Metheny, Acoustic Alchemy, Enya, and Fordham tracks.

Personal Memory Associated with this CD: At the time of this compilation's release, I was getting married and starting my first "real" job as a high school teacher. In my 1985 Olds Firenza, I listened to KVIL when my newlywed wife was with me, KDGE when I was in an alternative mood, and music of the type on this CD on KOAI.

The John Lennon Collection (1982)

A posthumous compilation album of music from John Lennon's all-too-brief solo career, originally issued in 1982, reissued on CD in 1989. Over a quarter of the tracks come from Double Fantasy, but that's fine with me. Not so for Steve Simels of Stereo Review, however, who called the compilation "a thoroughly useless artifact." This CD reissue was certainly not useless in '89 as many people (me included) used greatest hits compilations to kickstart their burgeoning compact disc collections, although this particular compilation has since been replaced by no fewer than seven subsequent compilation discs and five box sets.

Peak on the US Billboard Top 200 chart: original 1982 vinyl issue peaked at #33
Peak on CashBox album chart: original 1982 vinyl issue peaked at #26

Tracks: 19 tracks, 72 minutes

Song	Year	Top 40
Give Peace a Chance	1969	14
Instant Karma!	1970	3
Power to the People	1971	11
Whatever Gets You Through The Night	1974	1
#9 Dream	1974	9
Mind Games	1973	18
Love	1970	-
Happy Xmas (War Is Over)	1971	-
Imagine	1971	3
Jealous Guy	1971	-
Stand By Me	1975	20
(Just Like) Starting Over	1980	1
Woman	1980	2
I'm Losing You	1980	-
Beautiful Boy (Darling Boy)	1980	-
Watching the Wheels	1980	10
Dear Yoko	1980	-
Move Over Ms. L	1975	-
Cold Turkey	1969	30

I would have liked for the 1984 single Nobody Told Me (#5) to have been added to the CD reissue. My favorite Lennon solo tune is Watching the Wheels, and contrary to popular opinion I'm not much for Imagine, but I can't really complain about any the songs included here.

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

Personal Memory Associated with this CD: When John Lennon was killed in December, 1980, I did all the things any 14 year old Beatles fan would do: wore black, thought they should cancel school for the day, listened to Beatles music around the clock, and bought the (Just Like) Starting Over single with picture sleeve from the local Radio Shack:

The song Beautiful Boy (Darling Boy) is a wonderful piece of music that, unfortunately, was featured in a not-so-wonderful 1995 movie, Mr. Holland's Opus. As a school band director at the time, people would come up to me and say, "Oh you must love that Mr. Holland's Opus!" to which I'd honestly reply "I haven't seen it." This was usually followed by "Oh, you simply must see it! You'll love it!" and I'd politely nod. But to a confessed contrarian such as myself, such a recommendation means there's no way in hell I'm gonna watch it now that you've said that. Well, curiosity eventually got the better of me and I watched it in the mid-00's and was horrified by the way music teachers and classes were portrayed in the movie, specifically the romantic attraction between teacher and student. And the resultant orchestral work was underwhelming. But I digress.

I'm not much of a lyrics guy, but one of the reasons I enjoy Watching The Wheels is because it speaks to me. I think I've been successful in my life but people are always wanting me to go for a job promotion or start a side hustle or learn a new skill or some such thing I'm not at all interested in doing ("they give me all kinds of advice designed to enlighten me"). If I'm happy where I am, what's it matter to you? I may be twisting the meaning of the lyrics a bit, but that's what the song says to me.

Previously revisited for the blog:
Working Class Hero: A Tribute to John Lennon (1995)