Tagg/McNulty Band - At The Legendary Popsicle Toes Club In Dallas TX 1986 (2018)

A CDBaby self-release of a soundboard recording at a concert at a Dallas nightclub in 1986. Purchased because of my familiarity with Tagg through his involvement with Lee Ritenour in the '80s and his few hard-to-find import-only solo releases. I am unfamiliar with Kelly McNulty, but his vocal stylings are definitely influenced by Michael McDonald. The band here is good and Tagg is in fine voice, but the sound quality isn't that great. I guess that's to be expected - they probably recorded to a cassette that night and then the tape sat in somebody's closet for 30 years.

No packaging or liner notes other than a simple cardboard sleeve with the same photo on both sides. The CD is good as a curiosity, but not a must-have.

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

Tracks: 11 tracks, 62 minutes. Naturally, I'm attracted to the songs I'm already familiar with: Sunset Drivers, No Sympathy, and Mr. Briefcase. The others are all in the same vein and I wonder if tapes of studio versions exist somewhere. With no liner notes, I'm left to speculate who wrote what. The best of these other 8 tunes are Radio Silence and Love Like Me Like A Train. Think Of Me lifts takes its cues from popular Madonna tunes of the time, but the band is able to make it work.

Personal Memory Associated with this CD: From 1984-88, I attended university in a very small town located about an hour northeast of Dallas. Popsicle Toes was located near Greenville Avenue just east of the SMU campus. I had heard of the place because the Dallas Jazz Orchestra played there most Sunday nights back in the '80s and I had classmates who would occasionally drive into the big city to hear DJO shows. Sadly, I never attended a show at the club. Might have tried to make this one if I had known about it.

Rosanne Cash - She Remembers Everything (2018)

This CD was given to me a few years back by a friend o' the blog and I gave it a listen every few months since but never really got into it. Because of that general indifference, I kept putting off writing a blog post about it. Granted, country folk isn't my usual thing, but that doesn't mean I can't expand my horizons in my retirement years, right? And today was the day - I was finally in the proper headspace to enjoy the thing. I played it immediately following a Bonnie Raitt album and that seemed to do the trick. I previously knew Cash only through her early '80s radio offerings Seven Year Ache and Blue Moon With Heartache. Her voice sounds as good now as it did then which is no small feat. The tracks are usually slower, reflective pieces in which the music perfectly matches the lyrics. The album could use a little more variety in tempo, but maybe that's just me.

I classified the music as "country folk" but it almost defies convenient genre grouping. Heck, in its promotional material, the album is described as "shimmering pop—with hints of twang and jazz—that could find a home in almost any year of postwar American music." And Rolling Stone mentions in its ★★★★ review: "She remains hard to categorize, refracting country alongside rock, folk and other elements befitting a longtime resident of New York City’s melting pot." The album ended up with a favorable 80/100 rating over at Metacritic. I wouldn't go that high, but I'm glad I got a chance to listen an album I'd have otherwise ignored.

Album chart peaks:

• US Billboard 200: #172
• Billboard Country: #16
• Billboard Folk: #5
• Billboard Rock: #30
• Billboard Tastemaker: #11

Tracks: Track 5, Crossing to Jerusalem, was nominated for a Grammy for Best American Roots Song, and it's one of the better cuts here, along with The Only Thing Worth Fighting For, and the haunting album closer, My Least Favorite Life. However, my pick for top cut is the beautiful, sparse ballad, Everyone But Me, which sounds like a traditional song lifted whole from another era. The title track doesn't work for me, but that's the only skippable track here.

Bonus tracks: the "Deluxe Edition" contains three bonus tracks, all good and all would have fit into the album proper. Of the three, the best is Nothing But The Truth although there's also a beautifully performed version of the Scottish folk song, The Parting Glass.

Personal Memory Associated with this CD: None

Orquesta Akokán (2018)

From the Daptone website:

Akokán is a Yoruba word used in Cuba meaning “from the heart,” and indeed, every song on the self-titled debut album by Orquesta Akokán feels like a heartfelt gift from the band to the listener. Assembled and led by Cuban vocalist José “Pepito” Gómez, Orquesta Akokán is a big band collective of the finest musicians on the island, both young and old. It features all-original music and was cut live to tape over a three-day session at Havana’s hallowed state-run Estudios Areito. Areito is one of the longest operating studios in the world and where important Cuban records have been made. The album was produced by Jacob Plasse and arranged by Mike Eckroth.

And the CD is as advertised: new, original Afro-Cuban music in the manner of the pre-revolution dance genre as re-popularized by the Buena Vista Social Club. I'm also hearing some Perez Prado and Tito Puente influence in these cuts. Perfect for an evening with a cigar or a dance partner or a mojito. Or all three.

The music is joyous and infectious, always improving my mood. Plus the musicianship is impeccable - these folks can play. But even I was pleasantly surprised to see the high Metacritic ranking of 90. I don't know much about Afro-Cuban music other than to say "I like the stuff" so let's just leave it at that and let it play.

The album was nominated for a Grammy in the category of Best Tropical Latin Album. More on the band available at their website and in this 2018 Billboard magazine feature.

Peak on the US Billboard Top 200 chart: Did not chart
Peak on Billboard Top Latin Albums chart: #23
Peak on Billboard Heatseekers Albums chart: #12

Tracks: An easy listen from track 1 to through track 9. Today's favorites are Mambo Rapidito, La Cosa, and Cuidad Con El Tumbador.

Personal Memory Associated with this CD: This disc was a pre-pandemic gift from my high-school buddy and cigar-smoking companion, Jim, and was immediately added to my modest 'back porch Afro-Cuban' playlist.

Kamasi Washington - Heaven and Earth (2018)

Three hours of wonderful genre-bending music from the mind of Kamasi Washington. If nothing else, Washington certainly is prolific. I'm not sure if I'm supposed to like it more than The Epic, but I do (maybe because of a seventies vibe I'm picking up). The writing is better (read: more melodic and structured) but the characteristic choral harmonies and instrumentations are there. This time around, though, he added trumpeter Dontae Winslow to the mix and, as a recovering trumpet player myself, that is a welcome addition indeed.

But wait - there's more! Kamasi hid a bonus 3rd CD in the packaging, a full 40 minute album entitled The Choice. Mentioned nowhere in the liner notes/credits, the only clue to its existence was a small, barely noticeable perforation at the top of the cardboard digipak sleeve:

After a precision cut with a knife, the disc (along with an accompanying credit sheet) slides right out the top:

Metacritic has the album rated at 86 out of a possible 100 ("universal acclaim"). Here's some published reviews:

• DownBeat (★★★★½): "Extended moments of lyricism give way to warp-speed climaxes that resolve in waves of fuzzed-out sound to mollify Washington’s fiery, free solos."
• Pitchfork (8.8 rating): "a multi-genre feast of musical ideas, his most sweeping and complete statement yet."
• Rolling Stone (★★★): "vast, refreshingly lavish soundworld is well worth getting lost in."
• NY Times: "This album dreams boldly; it also makes demands."

The album also appeared on numerous "best of 2018" lists, including NPR (#18), Pitchfork (#48), The Guardian (#7), Okayplayer (#17), Albumism (#48), and Stereogum (#34). In DownBeat polls, the critics ranked it at #4 for the year, readers also ranked it #4.

But I encourage you to buy a copy, set aside an evening, leave your phone in another room, put on some headphones, and judge for yourself.

Album chart peaks:

• US Billboard 200: #115
• Billboard Contemporary Jazz: #1

Tracks: The title is Heaven and Earth, but the packaging suggests listening to the Earth disc first. For the opening track, Washington took the theme song to the 1972 Bruce Lee film Fist of Fury, renamed it Fists of Fury and turned it into a full-fledged political anthem. Other highlights of disc one are Can You Hear Him, Connections, and Testify. The most consistent Kamasi I've heard; don't skip any tracks.

The Heaven disc is more orchestral and stretches out a bit. My favorite tunes on this CD are the quieter Vi Lua Vi Sol (is that a vocoder??), Show Us The Way, and Journey, a plaintive waltz.

The Source disc is a slightly different animal, but a fantastic bonus. Three Washington originals, two covers - actually, they are more complete deconstructions of the two pieces, Will You Love Me Tomorrow and Ooh Child. Not surprisingly, those are my favorite cuts, most likely because of my familiarity with the source material. Of the originals, I prefer the third track, My Family. My guess is that family is what the title Source refers to, but what do I know?

Personal Memory Associated with this CD: None, this isn't the kind of disc I normally throw into the car when headed out on adventures.

Previously revisited for the blog:
The Epic (2015)

JD McPherson - Socks (2018)

"... wouldn't sound out of place blasting out of a 1949 Mercury, or a turntable next to a flamingo pink Christmas tree." - Matt Collar, Allmusic

A few friends recommended this album to me last year shortly after release. Worn down by their nagging (jk), I streamed the thing and immediately fell in love. Back when I had a Facebook account (don't get me started), I posted a declaration that Socks was the Christmas album of the year for 2018. I haven't heard anything better yet in 2019, so it retains the top spot again this year.

Incorporating Christmas-ish instruments such as celeste and glockenspiel to his '50s-inspired r&b/rockabilly, McPherson has created a set of Christmas originals that sound as if they've been around my entire life. Hooks a'plenty and witty lyrics. Git ya some.

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

Tracks: 11 tracks in 33 minutes - yes, it's too short and the only way to combat the brevity is to immediately spin the disc again. All 11 tracks are winners and would be welcome additions to any Christmas playlist/mixtape/shuffle.

Personal Memory Associated with this CD: This CD has not left the 6 disc CD player in our family's SUV in 2019. Yes, our SUV has a CD player - why wouldn't it?

Yo-Yo Ma - Six Evolutions: Bach Cello Suites (2018)

Some of the most beautiful music ever written performed by a world class musician, certainly the best cellist I've heard.

Some of the most relaxing and comforting pieces of music I've ever heard. If you are unfamiliar with these works, I encourage you to give them a listen post haste. I believe your quality of life will improve immensely.

Tracks: Over two CDs, Bach's six suites for unaccompanied cello, BWV 1007-1012.

Personal Memory Associated with this CD: I've loved these tunes since I first heard them in the mid-80's, I've listened to numerous recordings, purchased the sheet music, performed transcriptions, and loved every minute of it. One of my first CD purchases in early 1988 was Yo-Yo Ma's first recording of these pieces:

Those CDs replaced a 3 LP version I'd purchased no more than three years prior. Over the last 30 years, I've misplaced that CD set but I still hope that I'll come across them one day. They've gotta be somewhere as I'd never part with them voluntarily.

Mamas Gun - Golden Days (2018)

Horrible band name, fantastic music. The main singer/songwriter behind the British group Mamas Gun is Andy Platts, half of the wonderful Young Gun Silver Fox. And this music is much the same as YGSF, smooth-retro-yachty-soul played by a real band and cut to analog equipment. In other words, it sounds like the music I heard on my Radio Shack "Realistic" AM solid state transistor radio in the '70s. Derivative and I couldn't care less.

But that's how I describe it, let's see how the "pros" do it:

"amalgamation of soul, carefully blended stew of ‘70’s vibes, vintage R&B grooves, refreshing Stevie-esque neo-soul and hefty Stax-like horns, alongside robust musicianship and Platts’ butterscotch-flavored pipes" - Soul Tracks

"feels simultaneously dated and timeless, comparable to pioneers that were prominent in the ‘60s and ‘70s." - The 405

"The best description of their latest album? Well, I guess that 'New Classic Soul' merged with warm West Coast flavours would be the most fitting description." - Soul Express

"a resolutely late 1970s/early 1980s dance groove that will have older soul boy and girl listeners digging out their penny loafers and white socks. This is the sound of the summer, without question." - Sunday Express

It's odd how an album of new music can immediately take you back 40+ years to the hot summer days of youth, but somehow they done did it.

Your humble blogger, water skiing in the summer of 1978.
We lived in the arid West Texas desert, so would routinely travel
1300 miles (round trip) to find water near Hot Springs, Arkansas.

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

Tracks: Best cuts are You Make My Life A Better Place, I Need A Win, London Girls, We, and Strangers On A Street. Influences I hear on these tracks: Hall & Oates, 10cc, and Todd Rundgren. Mainly due to the production, I don't care much for the final track, This Is The Day, so I usually end the album early.

Personal Memory Associated with this CD: I bought this CD last summer and it was never far away. I let it hibernate for a bit over the winter and have now pulled it off the shelves for another spring/summer of listening.

Young Gun Silver Fox - AM Waves (2018)

A perfect "homage" to SoCal-infused '70s-styled pop, rock, and soul. In other words, neo-yacht rock derivations. And while all that may sound pejorative, I love the whole thing and applaud this highly enjoyable effort. This duo, Andy Platts (Young Gun) and Shawn Lee (Silver Fox), is a UK interest that never seems to make it over to the US for shows. Damn shame cuz this band needs more exposure. Heck, they don't even have a Wikipedia entry yet (but they do have a social media presence and their music is available through the usual streaming sites).

At only 43 minutes, this is one of those albums that you'll listen through at least twice before moving on to something else (most likely their 2015 debut album West End Coast, which I also highly recommend). Great car-driving album, too. But don't take my word for it, check this out: Young Gun Silver Fox Create Best Yacht Rock Album of Last 35 Years with AM Waves.

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

Tracks: It's all smooth. My top picks today are Lenny, Underdog, Mojo Rising, Caroline, Kingston Boogie, and Lolita. That's 60% of the album, if that tells you anything. And the other 40% ain't far behind.

Personal Memory Associated with this CD: None.

Tom Bailey - Science Fiction (2018)

Earlier this year, I saw former Thompson Twins front man Tom Bailey as the opening act for Culture Club and the next week received this CD, Bailey's first solo album, in the mail. I had pre-ordered one of the many options over at PledgeMusic, a limited edition that was signed by Bailey and included a bonus disc of remixes, titled Science Fantasy (FWIW, mine is numbered "0211" if you're keeping track).

Even though it (understandably) sounds like a Thompson Twins album, this is strictly a Bailey solo effort - he wrote, produced, played all instruments, and sang all lead vocals. No complaints here as Bailey can write hooks, is still in good voice, and this albums plays as if it could have been released in the mid-'80s. Simply put, if you liked Into The Gap and/or Here's To Future Days, you should buy yourself a copy.

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

Tracks: I like all ten tracks - no skipping. Today, my top picks include Science Fiction, What Kind Of World (the "single"), If You Need Someone, heck, even the pseudo-sea chantey Ship Of Fools.

I can't muster much enthusiasm for the 38 minute remix disc (Science Fantasy), however. The best of the 8 remixes is easily If You Need Someone (Tom's Radio Mix). My least favorites are the "International Observer Dub" Mixes of Shooting Star and Science Fiction.

Personal Memory Associated with this CD: see above. And while the album is quite good, Bailey only included What Kind Of World in his setlist when I saw him. To his credit, he stuck to playing Thompson Twins greatest hits and we were happy, including the two ladies in front of me who drunkenly danced and sang Hold Me Now at the top of their lungs. (Normally, that kind of thing would bother me, but these women seemed so genuinely elated that I couldn't hold their behavior against them. They probably don't remember it, anyway.)

Previously revisited for the blog:
Greatest Hits (1996)
Here's To Future Days (1985)

Paul McCartney - Egypt Station (2018)

By request! (In this particular case, "by request" means that a reader actually bought this CD for me as a gift. Thanks!)

I know next to nothing about this album except that Sir Paul has been promoting the crap out of the thing with talk-show bits, pop-up concerts, carpool karaoke, etc. Plus, I'm a huge fan and McCartney is our greatest living songwriter (who else would be in the running? Stevie Wonder, maybe?). I notice it's on Capitol, which is the first McCartney album on that label in a while. The packaging is unique - a 6 panel accordion-type case with graphics on one side, lyrics/credits on the other.

When folded up, the whole thing is held together with a green piece of elastic.

Note: the cover art and album title are both taken from an art piece Sir Paul created years ago.

It worked out where I was able to get this at Target because their version included two bonus tracks.

Enough rambling - let's slip this thing into the tray and listen.

Peak on the US Billboard Top 200 chart: To be determined

Tracks:  (keep in mind these are first impressions, admittedly not the best way to write about an album)

1. Opening Station: synth pads and train station noise; serves as an intro into...
2. I Don't Know: a melancholy piano-based ballad. And I wasn't caring much for it until the chord progression hit me at the 56 second mark. And a great bridge. Classic McCartney. ✔
3. Come On To Me: great guitar riff, then the backbeat kicks in. And Muscle Shoals horns fill out this grinding stomp. ✔
4. Happy With You: acoustic ballad/love song in the vein of Blackbird (it's no Blackbird, but what is?), complete with a lilting flute line over the chorus. Not a fan of the drums, which are 1) unnecessary, and 2) up way too much in the mix. What could have been with good production. Shame.
5. Who Cares: This guitar rocker is the first filler track of the album. Decent riff and a chorus custom made for audience participation, but not much to talk about beyond that.
6. Fuh You: In which Paul wants to sound like Imagine Dragons. The current single, getting more attention for the allegedly raunchy lyrics, but I don't care much about that. I like how the string part pushes things forward. Not very McCartneyish, but I like it anyway. ✔
7. Confidante: I thought this simple guitar folk tune was more filler, but the more it went on, the more I enjoyed it. This time the producer was smart enough to get out of the way. ✔
8. People Want Peace: More about the message than the music. McCartney's homage to Lennon's Peace A Chance?
9. Hand in Hand: Another ballad. Good, not great, but I dig the chorus good enough. ✔
10. Dominoes: the first song I've heard on this disc that could have been on a '70s album from Wings. And that's a good thing. This will probably be the song that's stuck in my head when I'm done. ✔
11. Back In Brazil: Fender Rhodes intro gives way to an odd '80s-synth/LinnDrum Latinish pastiche that I just can't seem to groove to. ✘
12. Do It Now: Another piano ballad; I like how they double the piano on harpsichord. Nice vocal harmonies and there's a lot going on in the production/arrangement. I'm pretty sure I like it, but it's gonna take a few more listens before I can render a verdict.
13. Caesar Rock: This doesn't seem to know what it wants to be, but McCartney has had lots of "patchwork" hits (Uncle Albert/Admiral Halsey, Jet, etc) and I like this so that's all that matters. ✔
14. Despite Repeated Warnings: The fourth or fifth piano ballad - so that's what this album is about. And Sir Paul is getting preachy and political when all I really want is silly love songs. But wait, this thing just switched gears (see "patchwork" reference above). We're faster and more upbeat. Now I'm waiting for it to go to the next section. And there it is - a Live And Let Die tribute! One more switch - the coda brings it full circle back to the beginning ballad. That was a manic trip. Another song I'll need to hear a few more times.
15. Station II: a reprise of the first track
16. Hunt You Down/Naked/C-Link: Predicting a 3-parter here. Digging the syncopated groove of the Hunt You Down Section (more cowbell!), not digging the odd meter of Naked, and digging the slow bluesy, modal guitar solo of C-Link. 
17. Get Started (bonus track): Now here's a happy little tune in classic McCartney style with a great send-off coda. The silly love song I've been waiting for. Worth going to Target just for this one tune. ✔
18. Nothing For Free (bonus track): Two good bonus tracks? There's something you don't hear every day. Not as good as Get Started, but this one's got a catchy bass line and some fun production effects. ✔

Now that I've heard the album, I'll take a peek over at Metacritic and see their rating. 76. In the same neighborhood as relatively recent releases New (77) and Chaos And Creation (78). 76 seems a little high right now, but maybe some of these tracks will grow on me with repeated listenings.

Personal Memory Associated with this CD: Here's how I got the CD yesterday (file under: it's a great time to be alive): I was sitting in the waiting room of a doctor's office, passing the time by texting friends. One friend asked me if I was going to pick up this new CD while I was out and about. I explained that I'm currently in the process of purchasing a house/new blog headquarters and all discretionary spending has been suspended, meaning there would be no CD purchases for a few months. This friend bluntly stated, "I will not read a single review until CDP comes through." (Stop it, you're making me blush.)

Said friend then ordered the CD online and told me to stop by the local Target on my way home. I did and here we are. Less than an hour from idea to holding the disc in my hand. Amazing and thank you. I've said it before, this silly self-indulgent blog has allowed me to meet some wonderful "online friends" and that's been the best part of continuing CDP.

Previously revisited for the blog:
New (2013)
Memory Almost Full (2007)
Chaos And Creation In The Backyard (2005)
Wingspan: Hits and History (2001)
Flaming Pie (1997)
Unplugged: The Official Bootleg (1991)
All The Best! (1987)
Pipes of Peace (1983)
Tug of War (1982)
Wings at the Speed of Sound (1976)
Band On The Run (1973)

The English Beat - Here We Go Love! (2018)

This CD landed on my doorstep yesterday. Let's slip it into the tray* and give it a spin. What follows are first impressions.

Three quick notes before we begin:

• Expectations are high. Last time I put together a list of 30 "desert island" discs, this group's last studio release Special Beat Service was on it. I realize it's not fair to compare a 2018 release to a 1982 release, but I can't help it - it's human nature.**
• Bob Sargeant, who produced the band's other albums, isn't on the console for this one. Production for this album is credited to a Kyle Hoffman.
• The band now is Dave Wakeling and his friends/session/touring musicians. I'll miss Ranking Roger and Saxa, but let's be honest - Wakeling was the lead singer and main songwriter for the band. And while the album credit goes to the band, Wakeling's name is almost hidden in the busy cover art:
  
  
  
  
  Also, the liner notes booklet doesn't list any playing credits, just a URL address for more info. Why make it so difficult?

Enough rambling and ranting, let's get to the tunes.

Peak on the US Billboard Top 200 chart: to be determined, fingers crossed for an appearance.

Tracks:

1. How Can You Stand There: This couldn't be any group but the Beat. All the characteristics are there: ska beat, accordion, organ, sax, etc. Plus Wakeling's voice is immediately recognizable. True to the title, it is hard to just stand there when this dance tune is playing. Great opener - off to a good start.
2. The One and the Only: Not ska, but guitar-oriented pop. Is that profanity?! Nice little piano break. Another good track.
3. Redemption Time: Reminds me of the old 2 Tone Specials stuff. Waiting for the toasting to begin. And there it is. Rub-a-dub. The chords/melody remind me a bit of the group's earlier song Rotating Head. Bonus points for the trumpet and trombone interplay. For the record, I still haven't stopped moving/dancing, which makes keying in these track notes quite difficult.
4. If Killing Worked It Would Have Worked By Now: anti-war tunes never sounded so good. Like track two, this isn't ska and the bridge on this one is weak, but it's got a good enough groove and a tasty sax solo so I can give this track a thumbs up.
5. Here We Go Love: Hard-driving rocker with a good riff and catchy chorus. More f bombs. Dave's frustrated with the state of the world today (as is this humble blogger), so why not some swearing to drive the point home? Great track. Wears me out.
6. Never Die: I was afraid a ballad might be coming, but I'll give it a shot. Reminds me of something Colin Hay might sing. Not bad as far as ballads go and it goes into double time for a bit, but it's not what I buy an English Beat to hear.
7. The Love You Give Lasts Forever: The album bounces back with a strong chorus and some almost uplifting lyrics. Sounds more like a General Public tune than English Beat, but I guess that's just nitpicking at this point.
8. You Really Oughtta Know By Now: a soul-infused shuffle with a Motown backbeat. Derivative, but nicely done so who cares? Hopefully female background vocals at the chorus? No dice, dadgummit. Woulda been nice, but the horn parts make up for it. Nice keyboard work, too.
9. You're Stuck: another high-energy rock tune with perfect Farfisa organ licks. I like how this one builds to the chorus. A rare guitar solo! Great tune. My favorite tune so far.
10. Every Time You Told Me: Who snuck a Huey Lewis b-side on this disc?
11. Dem Call It Ska: And finally another ska tune! Lots of wordplay in the lyrics, but the groove and chorus are solid in this happy cut.
12. Drive Her Away: The most '80s-sounding tune on the disc. This ska-pop fusion wouldn't have been out of place on Special Beat Service, so that's good enough for me.
13. Be There For You: Loping reggae-ish tune. I gotta say - whoever did the horn arrangements on this disc knew what they were doing. Well done. No hooks are grabbing me in this song, but the sax solos fit perfectly and the slow groove is a good way to close the album.

I'm glad I bought the disc. Should make for some great summer listening.

Personal Memory Associated with this CD: Not yet, but I'm glad Dave decided to use the classic Beat-girl image on the album. I loved that image so much I was known to draw it on book covers during my high school years (do they still have book covers?).

Previously revisited for the blog:
The Complete Beat (2012)

*Ever wonder what equipment The CD Project uses for playback? Currently, it's a Yamaha CD-S300.
**Back-to-back Michael Jackson references (apropos of nothing)

Sting & Shaggy - 44/876 (2018)

They really could have put more effort into that cover photo, don't ya think? At least put Sting on the left under his name? Make no mistake, while Sting gets top billing, this is really a Shaggy CD with a few contributions from Sting. And that's fine with me because Sting hasn't put out anything consistently good since 1993. But it's exactly what you'd expect if you heard Sting and Shaggy were putting together a few tunes. I was hoping that Sting would revert to late '70s Sting "reggatta de blanc" but it isn't to be (the closest we get is the verse of track 8, Dreaming In The U.S.A.). The album isn't quite as awkward as the cover photo, but it comes close at times.

Metacritic has this rated at 49 which is close enough. But Sting doesn't play any lute and it sounds like he and Shaggy are having a good time, so I'll just accept this album for what it is: a fun, back porch, bucket of beers, summer listen. I'll probably listen to it quite a bit over the next three months, add a few tunes to a reggae playlist, then shelve it.

FWIW, I picked up an edition with 4 bonus tracks because it was there.

Peak on the US Billboard Top 200 chart: #40

Tracks: I'll categorize and rank them for your convenience.

Good fun:

1. Don't Make Me Wait & the Dave Audé Rhythmic Radio Remix⁺
2. Morning Is Coming (with Brandford Marsalis)
3. Dreaming In The U.S.A.

Good enough:

4. To Love and Be Loved
5. Just One Lifetime
6. 22nd Street
7. If You Can't Find Love⁺
8. Sad Trombone*
9. 44/876
10. Gotta Get Back My Baby

Skip:

11. Night Shift
12. Waiting For The Break Of Day
13. 16 Fathoms⁺
14. Crooked Tree
15. Love Changes Everything⁺ (from the 1989 Andrew Lloyd Webber musical, Aspects of Love. Yes, it is truly a reggae attempt at a show tune.)

Personal Memory Associated with this CD: I picked this up at a local Target and promptly stuck it in my truck's CD player which was ill-equipped to handle the preponderance of bass in these mixes. Probably best heard on Beats headphones (if those are still a thing).

*(yes, that’s really the title, and no, it doesn’t get the reference)
⁺ indicates bonus track

Previously revisited for the blog:
57th & 9th (2016)
Sacred Love (2003)
Brand New Day (1999)
Roxanne 97 (Puff Daddy Remix) (1997)
Mercury Falling (1996)
The Best of Sting 1984-1994 (1994)
Ten Summoner's Tales (1993)
The Soul Cages (1991)
...Nothing Like The Sun (1987)
Bring On The Night (1986)
The Dream of the Blue Turtles (1985)