Michael Sembello - Bossa Nova Hotel (1983)

Japanese import

Note: this release was originally purchased as a LP, later replaced by the 2018 reissue using SHM-CD materials/technology.

Michael Sembello is a legend in my book, based solely on the fact that he was hired at age 17 to play guitar in Stevie Wonder's band and greatly contributed to Songs In The Key Of Life. This album was his debut solo release, a highly enjoyable album of synth-based, jazzy, adult contemporary music in which the big hit is the outlier in terms of overall sound and mood. Back in '83, I greatly preferred Maniac to the Flashdance theme, but not enough to seek out this album. But if someone had handed me this LP and simply said, "You like Sergio Mendes and As We Speak, right? Then you'll like this one." Most likely, I would have dubbed the thing to one side of a c-90 cassette and put it in rotation in my car. Coulda woulda shoulda, but it didn't happen and I didn't discover Bossa Nova Hotel until much later. File this one under "better late than never."

The music all goes down easy with tasteful production from Phil Ramone. However, the quality of lyrics varies greatly, with topics ranging from Godzilla, robot homewrecker, the Wild West, ménage à trois, and ending the album using Superman as a metaphor for Jesus Christ. Better to ignore the lyrics and lyric sheet here.

If you dig Bossa Nova Hotel, I highly recommend the 1983 album Without Warning by Marilyn Scott.

Press of the time:

• Musician: "You could sum up Sembello's sound as Michael McDonald with a rhythm machine, but that would be unnecessarily cruel to McDonald. And the rhythm machine."
• CashBox: "There's a little something for everyone's taste on this disc, and as a result it should be a natural crossover success."

Album chart peaks:

• US Billboard 200: #80
• Billboard R&B: #53
• CashBox: #124

Tracks: I enjoy the whole thing. Today, I'm thinking the lead track, Automatic Man (#34 pop, #14 dance) is the best tune on the album, but it is entirely possible that I suffer from the fatigue of hearing too much Maniac (#1 pop, #34 rock, #6 dance, #34 AC). Track 7, Talk (a duet with then-wife Cruz Baca Sembello), was also released as a single, peaking at #25 on the adult contemporary chart.

Personal Memory Associated with this CD: Nothing comes to mind, but will note here that my LP has a different cover than the one on the CD. No idea why.

And here's an obi strip for ya:

Bill Champlin - Runaway (1981)

Japanese import

Note: the CD I listened to was the 2016 reissue using SHM-CD materials/technology.

Around 2010 or so, bored at work while listening to some West Coast/Adult-Oriented Rock/soft rock/melodic rock (most likely a Jarreau album), I searched for early '80s albums produced by either Jay Graydon or David Foster. I never found a definitive discography, but the wonderful Danish website Blue Desert directed me to some possibilities and prompted me to seek out a number of albums including this one from Champlin, plus albums from Airplay, Steve Kipner, Pages, and Marc Jordan. I purchased and downloaded all of those albums from the iTunes store and have since replaced all those downloads with physical CDs. That's for the best because iTunes no longer supports those particular purchases, although I still have access to U2's Songs Of Innocence. Yet another example of why I prefer physical product over downloads and streaming. But I digress.

This Runaway album was produced by David Foster and released by a guy that would soon (wisely) accept a job offer from the band Chicago. It bears more than a slight resemblance to the Chicago 16 album in terms of production, songwriting, arrangements, and personnel, so I've often referred to the album as "Chicago 15½" instead of "Runaway." And since I like Chicago 16, it makes sense that I like this offering as well.

Album chart peaks:

• US Billboard 200: #178
• CashBox: #135

Why didn't Runaway perform better commercially? Here's what Champlin had to say about it:

It was weird, I did the Runaway album and the day that it was released, Joe Smith, the guy who had signed me to Elektra Records left the company. Two days later, I got a call from Chicago asking me to join the band. I went 'they’re (Elektra Records) going to lose this album,' I could see it coming from a million miles away. So I thought I’d better go for the rent, you know what I mean?^[source]

And "lose" it they did. I couldn't find any reviews or ads in any of the usual locations. Damn shame. With little support, I'm surprised it charted at all.

Tracks: I enjoy all 11 tracks and at a playing time of 39:24, there's no excuse for not listening to the CD from top-to-bottom. Elektra released three singles:

• Sara, co-written by Champlin and Alan Thicke, peaked at #19 on the adult contemporary chart and #61 on the pop chart. My pick for the album's top track.
• Tonight, Tonight, co-written by Champlin, Foster, & Raymond Louis Kennedy, #55 pop
• Take It Uptown, co-written by Champlin and Kenny Loggins

Four of the tracks are rated on their 'yachtiness' over at the Yacht or Nyacht website:

• Runaway - 91.25
• One Way Ticket - 76.5
• Take It Uptown - 62
• Satisfaction - 51

Personal Memory Associated with this CD: See above.

Masayoshi Takanaka - An Insatiable High (1977)

Japanese import using SHM-CD materials/technology.

When I first heard this album, I immediately compared its late-70s smooth jazz sound to George Benson and Lee Ritenour (see below) and felt more than a little smug when I eventually checked the album credits and there's Rit. But he's not the only familiar name performing here.

With that crew, it's no surprise this album has a definite Westcoast feel to it. A perfect summer album and since it is currently 89° outside, I'm already in summer even though it's only been spring for less than a week.

I love the thing, but let's check out some select YouTube comments:

• This feels like a shot of Vitamin D.
• The worst thing in this album is that it ends at some point.
• Listen on a gray day and it'll lift your spirits.
• This is one of the albums you play 284 times the first day you hear it
• Happy just got happier
• never have I wanted to leave work so bad and go skate.
• I burned my tater tots because I was too busy dancing around, not even mad

More on Takanaka here and here. Dude's got chops.

Peak on the US Billboard Top 200 chart: not released in the US

Tracks: It's all good, but today my favorite tracks are Sexy Dance, E.S.P., and the closing ballad Good (Bad?) Old Days. Plus, there's something for everybody at some point in the title track.

Personal Memory Associated with this CD: A couple of years back, I was looking at a MTV programming list from April 13, 1983 and found several songs/videos with which I was unfamiliar, including the song Thunderstorm by Takanaka:

please take the time to watch a bit of this video if only for the costuming

Once I got past the headgear, I was digging on the prog fusion but not falling in love with it. However, YouTube then suggested this An Insatiable High album, which I initially ignored, but faithful CDP reader @DirkDigglinator did not. He gave it a try, got word to me to try it, and it was love at first listen. I soon tried to spread the word like a 21st century Paul Revere via the socials:

Just discovered this goodness. If you like George Benson and Lee Ritenour, check it: https://t.co/SP8j79WWnc
h/t to @DirkDigglinator

— 1976-1985 My Favorite Decade (@1976_85) April 17, 2018

Eventually found a copy at CDJapan and here we are.