Todd Rundgren - Something/Anything? (1972)

Japanese import

Multi-LP sets usually have me immediately considering what tracks I would include in a single album edit (see Out Of The Blue, for example). The temptation to do such an edit with this set was strong until I finally came to the conclusion that what we've got here is a brilliant single album surrounded by an very interesting second album. In other words, I'd like to simply forget about the tracks in which Rundgren wants everyone to know he's the best musician/smartest person in the room, but there's something inherently fascinating about those tracks. When it's good (which is most of the time, to be honest), it's '70s soft rock and power pop at its finest with lots of 7^th chords and vocal harmonies that would make Brian Wilson proud.

Rundgren played every instrument and did all the vocals on the first 3 sides of the original LPs. At his best, that sort of control produces remarkably economical pop: melodic and immediately accessible without being simplistic. The album is less successful when Rundgren’s fascination with the recording studio begins to compete with the songs themselves. Some of the experiments are genuinely inventive while others seem included primarily because he could include them. For what was side 4, Rundgren kinda sorta throws together another album side with various bands recorded at various studios and calls it "Baby Needs a New Pair of Snakeskin Boots (A Pop Operetta)." Certainly ambitious but Rundgren certainly possesses the talent to pull it off. If I were editing it for listening pleasure, I'd probably go to the trouble of making a single LP edit. But since I'm hopelessly trying to assess Rundgren's artistic vision as a whole, I guess I'll keep the double album, even track 7, Intro.

Press of the time:

• Robert Christgau (A-): "this has the feel of a pop masterpiece"
• Rolling Stone: "Rundgren may produce the masterpiece he has in him, but Something/Anything? most decidedly is not."
• CashBox: "Something very musical and hitbound."
• Record World: "an outstanding achievement"
• Billboard: "The most important thing about this album is that he seems to have had a great time recording it and it is enormous fun to listen to."

On Rolling Stone's list of the 500 Greatest Albums of All Time, Something/Anything? was ranked at #173 on the 2003 & 2012 lists, dropping to #396 in the 2020 edition. It was also included in the 2005 book 1001 Albums You Must Hear Before You Die, where it was called "Rundgren's most compelling work" and "an album that stands as Rundgren's zenith both commercially and critically."

Album chart peaks:

• US Billboard 200: #29
• CashBox: #37

Tracks: They certainly picked some of the strongest tracks for single release: Hello It's Me (#5 pop, #17 AC), I Saw The Light (#16 pop), and Couldn't I Just Tell You (#93 pop). Track 3, the Motown homage titled Wolfman Jack, was later released in 1974 and bubbled under the Hot 100 at 105. The whole thing starts off with softrocktastic songs on what was side 1 (tracks 1-6 here) that Rundgren correctly dubbed "A Bouquet of Ear-catching Melodies." Side 2 (tracks 7-13) contain much of the production gimmicks mentioned above, but even the novelty songs, The Night The Carousel Burned Down and Song Of The Viking have hooks galore. And with Side 3 (tracks 1-5 on the second disc) Rundgren helps define the sound of the power pop genre. Aside from Hello It's Me, side 4 isn't my favorite, but even then something will catch my ear from time to time.

Personal Memory Associated with this CD: Riding around in an early '70s Ford Country Squire station wagon and hearing Hello It's Me on the car's AM radio.

Previously revisited for the blog:
The Very Best Of Todd Rundgren (1997)
The Ever Popular Tortured Artist Effect (1982)
Healing (1981)

Pages - Future Street (1979)

Japanese import

After discovering the self-titled 1981 Pages album, I slowly dove into their back catalog, which included this Future Street album. Comparisons to Doobie Brothers, Steely Dan, and Ambrosia are appropriate. The band was still refining its sound - they can't all emerge fully-formed like, say, Boston or The Cars.

More on the band can be found in a 'New Faces To Watch' feature from the November 17, 1979 issue of CashBox magazine. The group would eventually split and band members Richard Page and Steve George would form Mr. Mister, seeing major chart success in 1985.

Press of the time:

• CashBox: "commercial, musical wonderment"
• Billboard: "At times the band sounds like a hybrid between the Eagles and Steely Dan, though it is not nearly as distinctive as either."

Album chart peaks:

• US Billboard 200: Did not chart
• CashBox: #183

Tracks: A brief release, clocking in at only 34½ minutes. The lead track, a Toto-ish rocker titled I Do Believe In You, was released as a single, peaking at #84 on the Billboard Hot 100. The best track, however, is Who's Right Who's Wrong, featuring Michael Brecker and Kenny Loggins. In fact, Loggins released his own version of Who's Right Who's Wrong almost simultaneously on his Keep the Fire album and then Al Jarreau, Randy Crawford, David Sanborn, & Pages themselves recorded a fantastic live version of the tune on the Casino Lights album. I struggle to understand how that song was never a hit for somebody. The other tracks here are hit-or-miss. Heck, let me go ahead and rank 'em.

1. Who's Right, Who's Wrong
2. The Sailor's Song
3. Two People
4. I Do Believe In You
5. Keep On Movin'
6. Future Street
7. Take My Heart Away
8. Chemistry

Personal Memory Associated with this CD: None, but the overall sound of this thing takes me back to Spring 1980 real quick even though I never heard this album until decades later. Funny how the mind works.

Previously revisited for the blog:
Pages (1981)
Pages (1978)

Mamas Gun - DIG! (2026)

UK import

I'm a fan of singer/composer/producer/retro-guru Andy Platts and here he's gifted us another collection of neo-soul originals that somehow immediately takes me back to my primary school days. Platts even persuaded Brian Jackson to perform on the title track. Both lyrically and musically, there's a bit more gospel influence on this album than the group's previous releases and that doesn't bother me a bit (just the opposite, actually). Just sit back and let the smooth '70s sounds wash over you. Cool music for warm weather.

Online reviews:

• willwork4funk.com: "In turbulent times, Mamas Gun’s music certainly connects and is a welcome balm for the soul. Uplifting, questing, nourishing and golden, DIG! is a pure delight to experience and without a doubt their most accomplished album to date."
• soulandjazzandfunk.com (4/5): "Dip in anywhere across this 11 tracker and you’ll enjoy quality blue-eyed soul – with the emphasis on that last word.
• shatterthestandards.com: ★★★★☆

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

Tracks: No skips.

Personal Memory Associated with this CD: None, but I've got a strong suspicion this album will soundtrack a good chunk of my Summer 2026.

Previously revisited for the blog:
Cure The Jones (2022)
Golden Days (2018)

Pages (1978)

Japanese import

After discovering the self-titled 1981 Pages album, I dove into their back catalog, starting with this self-titled 1978 Pages album. It's not the greatest debut album, but there are a couple of smooth West Coast/Adult Oriented Rock cuts to be found. The guys in Pages - specifically Richard Page and Steve George - had been session vocalists and back-up musicians for a number of artists, including Andy Gibb. So they had no problems finding some familiar names to help out with this album, to wit: Randy & Michael Brecker, Philip Bailey, Victor Feldman, Lani Groves, and Dave Grusin. More filler than killer with choruses better than verses, but the band improved with each successive album.

Press of the time:

• Billboard: "smooth, efficient and musically well-oiled"
• Record World: "a very potent debut album"

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

Tracks: The song that initially grabbed me and hasn't let go yet is It's Alright. After a 30 second string introduction, the piano and vocal enter. The verse has a beautiful melody over a simple, stepwise bass pattern, but the song really kicks in with the gorgeous chorus sung by a female voice. Then, as if it wasn't good enough already, we're treated to a sweet saxophone solo from Michael Brecker, who keeps playing for the remainder of the track. The only single released from the album was track 6, If I Saw You Again; it failed to chart, even on the Adult Contemporary chart and I struggle to understand why. The album ends with a decent ballad, I Get It From You, which Herb Alpert later covered on his Magic Man album. As you could probably guess, Richard Page has a much nicer singing voice than Herb Alpert. Other good parts are the choruses of Let It Go, Listen For The Love, and Room At The Top.

Personal Memory Associated with this CD: None

Previously revisited for the blog:
Pages (1981)

Donald Byrd - Stepping Into Tomorrow (1975)

Japanese import

MIZELL BROTHERS MONTH (APRIL 2026)

As the weather warms, I lately find myself drifting towards '70s jazz-funk albums such as Music Is My Sanctuary and the sort found on the Capitol Rare compilations. Then friend o' the blog Dirk Digglinator pointed out that many of those "summery" grooves I dig come from the writing and production of brothers Larry & Fonce Mizell who, in my vivid imagination, always wore sunglasses when seated at the studio's mixing console. And since we've already got high temperatures in the 90s here in San Antonio, let's get out the sunscreen and spin some Mizell Brothers discs while throwing some well-seasoned brisket in the smoker.

I don't know exactly what it is about this stuff that makes it summer music for me. Lots of tight, hypnotic, infectious, shimmering mid-tempo grooves featuring wah-wah pedals, silky keyboards, and basslines that refuse to sit still. Grooves are tight but never in a hurry. I can imagine I'm cutting through the morning fog into the sunshine as I drive my convertible along the coast. It all sounds the same yet it all sounds different. So what if DownBeat gave it a "tepid quasi-funk" label? We like what we like and judging by chart positions, I'm far from the only who enjoys these grooves.

There's not much playing from Byrd on this one; many tunes could just as easily been credited to saxophonist Gary Bartz. Then again, this album is all about feel, not blistering solos or virtuoso flexing. The occasional, wordless, high-flying whistle register vocals from Lorraine Kenner are impressive but often distracting. There I go nit-picking again. The vocals must not have bothered younger generations as the album became a sampling goldmine decades later, proving that sometimes a song’s true destiny is to be chopped up by DJs who weren’t even born when Byrd recorded the thing.

Reviews/ratings:

• Record World: "Byrd's best set yet"
• Billboard: "Producer Larry Mizell has himself in for additional points by contributing five tunes, so the LP really carries his imprimateur [sic]."
• DownBeat (no rating): "faceless tepid quasi-funk"
• The Virgin Encyclopedia of Jazz (1999): ★★★

Album chart peaks:

• US Billboard 200: #42
• Billboard Jazz: #2
• Billboard R&B: #7
• CashBox: #42
• Record World Jazz: #1

Tracks: Think Twice was released as a single and bubbled under the Hot 100 at #104. Shoulda charted higher but you already knew that. It's fantastic along with Makin' It and the mixed-meter Design A Nation. But really, you should just sit back and let this whole thing simmer as you catch some rays out back while minding the smoker. 😎

Personal Memory Associated with this CD: None, other than the summer vibes mentioned above.

Previously revisited for the blog:
Love Byrd (1981)
A New Perspective (1964)

Ned Doheny - Hard Candy (1976)

Japanese import

A largely unknown album with a considerable reputation. Various online blurbs I found:

• "widely considered the finest blue-eyed soul album of all time"
• "one of L.A.'s phantom treasures, a rarely heard gem"
• "blue eyed soul opus"
• "the epitome of breezy AOR"
• "One of the best, if not greatest blue eyed soul records ever made"
• "nice little cool pop-rock LP full of good vibes"

And Rolling Stone magazine described it as "soft-core funk for soulful white boys." C'est moi!

More about Doheny from his old website: neddoheny.com

The album is certainly an easy listen that all goes down smooth. My problem is that none of the hooks are hooking me. Nevertheless, if you have a adult-oriented rock (AOR)/West Coast playlist (and who doesn't?), this album is a pleasant addition.

Press of the time:

• Rolling Stone: "undeniably accomplished and enjoyable"
• CashBox: "Doheny, as evidenced by this fine LP, is an excellent songwriter/singer."

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

Tracks: I was previously familiar with the lead track, Get It Up For Love, from it's inclusion on the first volume of the Too Slow To Disco series. I was surprised to discover that particular track was never released as a single. The released singles from this album were A Love Of Your Own (track 5) and If You Should Fall (track 2). Neither saw any chart action. Could be because there wasn't any disco flavor to the tunes and/or this type of music was just coming into its own, with Boz Scaggs taking the lion's share of the public's dollar via his Silk Degrees album. A Love Of Your Own is a nice ballad and should probably have charted somewhere, but I think the better tracks on the album are Each Time You Pray and On The Swingshift; the latter features a tasty solo from Tom Scott.

Personal Memory Associated with this CD: My friend Richard and I were both terrible at golf (I've since given up the game), but when we'd play, we'd often skull the ball sending it skittering along the ground. After that happened, he'd always say "get it up for love" meaning that he needed to get the ball airborne on the next shot. I loved the double entendre. So I think of our many golf outings when I hear that song. Richard was probably familiar with the song from the Average White Band cover so my golfing memory really has nothing to do with this album so here's a scan of the CD obi followed by a weak English translation:

The charm of Boz Scaggs and Jackson Browne all to yourself. Warmly wrapped in naive kindness and stylish sounds. The bright album cover is also an excellent masterpiece.

Born in Los Angeles in 1948. Debuted in 1973 with Jackson Browne as the first artist signed to Asylum Records. This work is the first album transferred to Columbia, USA, and is a masterpiece of AOR. Produced by guitarist Steve Cropper, who has participated in numerous recordings for Stax, the prestigious soul label, the album skillfully incorporates Doheny's taste for soul into a stylish and sophisticated piece. Backing vocals include Don Henley, Glenn Frey, Linda Ronstadt, and J.D. Souther, and a young David Foster's name is also credited. Many cover versions of the famous song 'Get It Up For Love' have been created.

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:

State Cows - Closed Doors And Open Shores (2025)

Japanese import, part of the Light Mellow Searches series

I've been a fan of State Cows for over a decade, so I'm surprised this is their first appearance on the blog (I'll promptly contact the proprietor about that oversight). Here's a little bit about the Swedish duo, taken from their website:

STATE COWS is one of very few modern yacht rock / westcoast / AOR bands that creates new original music. This project started out as a Steely Dan tribute called THE SECOND ARRANGEMENT. They soon transformed the Steely Dan tribute into the band STATE COWS and started writing an album of brand new yacht rock songs. Smooth guitar lines, half-time shuffles, funky bass lines, slick harmonies, real Fender Rhodes, tight horn sections and some California sunshine ... it's all in there!

So, yeah, it's derivative, but so very good and very smooth. Goes down easy. If you tire of the limited and questionable playlist on the yacht rock channel on SiriusXM, but still want a little Doobie Bounce in your life, this is just what the doctor ordered. The duo leans into the "yacht rock" nomenclature and musical vocabulary while creating neo-yacht music for the dad rock (or granddad rock) crowd. My only complaint is the sound is often over-produced, particularly in the odd treatment of the backing vocals. Overall, the songwriting on this album is much better than on their previous release, 2022's High And Dry.

I encourage you to sample some their stuff over at bandcamp: statecows.bandcamp.com.

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

Tracks: My pick for top tune is track 4, Marina Town, but the whole album is pleasure to hear. Lonely Road has a great flugelhorn solo; On And On is a wonderful instrumental duet featuring only bass and piano; and the chorus of Summer Cloud is gorgeous.

Bonus track: The Japanese CD came with a bonus track, a cover of The Beatles' Ticket To Ride. I had my doubts, but the clever, bouncy arrangement actually works.

Personal Memory Associated with this CD: None, but the sound sure takes me back to the '80s real quick.

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.

Paul Desmond - Desmond Blue (1962)

Japanese import

"This album is a listening experience unlike any you have ever enjoyed. And enjoy it you will - it is rich, subtle, varied, exquisitely tasteful, and masterfully performed"

-from the album's original liner notes

Two out of five ain't bad? The album is indeed subtle plus Desmond and guitarist Jim Hall deliver solid performances. However, bland arrangements are a dime a dozen.

Desmond is best known for his work in the Dave Brubeck Quartet and composer of their signature tune, Take Five. He also put out over a dozen albums under his own name, including this 1962 RCA release. I enjoy the music and performances, but the Bob Prince string arrangements aren't working for me. The contemporary review in DownBeat magazine put it this way: "The strange suicidal urge that drives jazz musicians relentlessly toward sessions with strings will probably never be satisfactorily explained." It's not terrible or unpleasant by any means; it would simply have been a more interesting album with a combo setting.

Reviews/ratings:

• Stereo Review: "Desmond is excellent in his Victor debut, but the backgrounds too often caress when they should challenge."
• High Fidelity: "seems relatively uninspired"
• Billboard: "shows Desmond off at his lyric best against a sweeping string background."
• CashBox: "LP is composed of mostly sturdies and Desmond offers proof of genius of lyric improvisation."
• DownBeat: ★★★
• The Virgin Encyclopedia of Jazz (1999): ★★★★
• The Penguin Guide to Jazz (5th ed., 2000): ★★★

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

Tracks: The best track is the take on the 1936 Cole Porter standard, I've Got You Under My Skin. My least favorite track is My Funny Valentine, in which Desmond duets with an unnamed oboe player.

Personal Memory Associated with this CD: I purchased this CD - along with Matchbook - after absentmindedly looking online for random lists of top/best/favorite jazz albums. I was searching for something beyond the usual answers (Kind Of Blue, Somethin' Else, Idle Moments, Blue Train, etc.). Side note: there sure are a lot of jazz albums with the word "blue" in the title, aren't there?

Grant Green - Talkin' About (1965)

Japanese import

I bought this hard bop CD simply based on a recommendation heard on a podcast. Add to that recommendation the fact that I've loved Green's playing since I first heard his Idle Moments album and this purchase was an easy call. And while it's Green's album, organist Larry Young steals the show throughout and Elvin Jones swings hard. Overall, a great trio making "a terrific album that ranks in Green's uppermost echelon."

Leonard Feather's original, informative liner notes are available here.

Green - guitar
Larry Young - organ
Elvin Jones - drums

Reviews/ratings:

• Billboard: "Green plays a real cool jazz guitar"
• CashBox: "a listening treat for jazz buffs of most persuasions."
• Downbeat (★★★½): "Green...plays with taste and built-in swing"
• The Penguin Guide to Jazz (5th ed., 2000) (★★★½): "Green plays rich and simple by turns"
• The Virgin Encyclopedia of Jazz (1999): ★★★★

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

Tracks: Two originals (both written by Young) plus three standards, including a popular tune from the time taken from the musical Funny Girl, People. And while the band certainly makes the three standards interesting, it's the two originals that are my favorites.

Personal Memory Associated with this CD: None

Previously revisited for the blog:
Green Street (1961)

John Klemmer - Fínesse (1983)

ELEKTRA/MUSICIAN MONTH (FEBRUARY 2023)

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

I am familiar with this 1983 reissue on the E/M label. However, the album was originally issued in 1981 as a limited edition half-speed mastered Nautilus Direct-To-Disc Superdisc with different album art.

Click image to enlarge
Liner notes for this Nautilus release available here.

The release found a wider audience beyond the audiophiles once re-released on E/M in 1983 as evidenced by the fact that the album's run on various charts (below) was during the winter and spring of '83.

Klemmer - saxophone
Roy McCurdy - drums
Bob Magnusson - bass
Russell Ferrante - keyboards
Steve Forman - percussion

The music is performed well and, as you might expect, the sound quality is fantastic. My problem with Klemmer always seems to be the milquetoast material of similar tempo and feel. It's not awful and goes down smooth enough, but tunes certainly don't stick with you after the CD plays.

Reviews/ratings:

• Billboard: "slanted towards the saxophonist's softer side."
• The Virgin Encyclopedia of Jazz (1999): ★★

Album chart peaks:

• US Billboard 200: Did not chart
• Billboard Jazz: #10
• CashBox Jazz: #4
• Radio & Records Jazz Radio National Airplay: #16

Tracks: 8 tracks, 35 minutes, no interview tacked on to the end. Like I said, it's pleasant, but a lot of the same.

Personal Memory Associated with this CD: None

Previously revisited for the blog:
Touch (1975)

2013 CD liner notes here
(in Japanese)

Kenny Burrell - Have Yourself A Soulful Little Christmas (1966)

Last week, I had someone say to me: "Now that Thanksgiving is over, I give you permission to listen to Christmas music." First off, buddy, I don't need your permission to do anything. I'm a grown ass man and will listen to Christmas music poolside in July if I'm in the mood. Secondly, I was a school band director for ten years and, during each of those years, we started rehearsing Christmas music in October, so I'm well-accustomed to three months of holiday tunes. These days, however, I usually try to wait until at least November 15 before I bust out some Christmas CDs. This year, I lasted until about November 10 before I started spinning holiday discs and this CD had the honor of being the first play of the season.

Truth in advertising here: there's plenty of soulfulness to be found in these cuts. Relaxing yet grooving. Guitarist Burrell gives us 12 Christmas standards - no originals! - with an orchestral accompaniment arranged by Richard Evans; some are big band, others more symphonic, still others are just basic jazz combo. Sadly, no other playing credits are offered. There's quite the variety of styles here, as Barbara J. Gardner writes in the liner notes, "They run the gamut from kiddie tunes to international standards; from popular favorites to poignant blues; from gospels to Latin-flavored statements." And boy howdy does Burrell bring the goods, playing perfectly and seemingly effortlessly in all styles. This album could quite possibly be the most-played Christmas CD at my place since its purchase.

Reviews/ratings:

• CashBox: "Set could see a lot of action in the light of the Yule log."
• Billboard: "soulful and sensitive interpretations"
• The Virgin Encyclopedia of Jazz (1999): ★★
• Downbeat: ★★★★

Note to self: check out those Ramsey Lewis albums

Peak on the US Billboard Top 200 chart: Did not chart
Peaks on Billboard Christmas album chart: #43 (1966), #21 (1967), #15 (1968)

December 7, 1968

Tracks: All twelve tracks are good and there's enough variety that you can just set it and forget it. For my top pick there's a tie between the organ-rich gospel grooves of the spiritual Go Where I Send Thee and what may be my all-time favorite version of The Little Drummer Boy. There's also a slow burn combo take on White Christmas, a pastoral Away In A Manger, a bluesy Silent Night, an abbreviated play on Twelve Days Of Christmas (who has time to run all those verses down and still have space to knock out some great solos?), and a swingin' version of My Favorite Things - not really a holiday tune but it seems to have entered the canon and it's a great addition here. The set ends with a subdued Merry Christmas Baby which gives Burrell to stretch out with some great blues solos.

Personal Memory Associated with this CD: None, other than what I wrote above. If I had listened to this album in 1966, I would no doubt have been the hippest infant in West Texas.

Previously revisited for the blog:
Midnight Blue (1963)

Grover Washington, Jr. - Come Morning (1981)

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

I don't remember from whom I borrowed the vinyl albums, but somehow I ended up with a C-90 cassette with this album on one side and its 1980 predecessor, Winelight, on the other. Now that I think about it, it might have been a C-60 tape with some creative dubbing/editing involved, but in any case - lemmetellya I wore it out in the '80s everywhere I could play the thing: car stereo, home/dorm stereo, Walkman. And those songs still get plenty of play to this day. Once I moved to compact discs, I bought a CD of Washington's 1985 greatest hits compilation, foolishly thinking that disc would replace the aforementioned tape and I wouldn't need to buy separate CDs of those two albums, both of which I now own on CD, of course.

Simply put, if you liked Winelight, you'll like Come Morning. (I do and I do.) Same writers, same musicians, same producers. The main difference is that Come Morning contains a Bob Marley cover and instead of Bill Withers on vocals, we get Grady Tate.

Press of the time:

• Musician: "the first great Urban Contemporary album"
• Billboard: "The albums [sic] strength lies in the impeccable playing of Washington and the featured musicians"
• CashBox: "light, sax-filled urban jazz sound that's so easy on the ears"
• Record World: "follows the blueprint of his hit-making 'Winelight' LP"
• Stereo Review: "as easy and as comfortable to sink into as a warm bath."
• Downbeat (★★★): "no one can deny his musical abilities"

Album chart peaks:

• US Billboard 200: #28
• Billboard Jazz: #1
• CashBox: #31
• CashBox Jazz: #1
• Rolling Stone: #28

Tracks:

Tracks 2, 3, 5, and 6 are included on the aforementioned Anthology, but all the tracks are good 'n smooth.

Personal Memory Associated with this CD: One of three places to buy records and tapes in my small hometown was the downtown Radio Shack. I spent many hours in that place not only looking for music purchases, but checking out all the cool electronic gear, accessories, and circuitry gadgets in the place. At least once I overstayed my welcome and was run out of the store by the owner's wife. She was a cranky old thing, but I think the real reason I was asked to leave was because I wasn't spending any money. So I would climb on my blue Sears 10 speed bike and pedal, still penniless, back home.

Late one afternoon when I was visiting said Radio Shack after school, a young teacher I recognized from school walked in. His name was Mr. Kennedy and he taught science at the school although I never had any classes with him. I believe he was only at the school for the 1981-82 school year. In any case, it's always rare to see teachers in the wild so I took particular notice. To be fair, he probably didn't know who I was and couldn't have cared less that I was there. The only reason I mention Mr. Kennedy is because he bought a cassette of Come Morning that afternoon and suddenly became much cooler in my opinion.

One weekend around 8-10 years back, I went on a vinyl buying binge and picked up a used copy of this album at Antone's in Austin for a buck. A few years later, I bought this CD and I passed that vinyl copy on to my son who had developed a love of GW Jr through the aforementioned Winelight album. He loves both albums, spins them often, and claims his 3 roommates love the albums as well. I'm doing what I can to spread light, love, and knowledge among Gen Z. Please remember these facts as you fill out your ballots for Father of the Year 2021.

Previously revisited for the blog:
Prime Cuts: The Columbia Years 1987-1999 (1999)
All My Tomorrows (1994)
Time Out of Mind (1989)
Anthology of Grover Washington, Jr. (1985)
The Best Is Yet To Come (1982)
Winelight (1980)
Skylarkin' (1980)
Mister Magic (1975)

Angela Bofill - Something About You (1981)

Japanese Import

I'm not sure if this album sounds incredible or if it simply is a good match with my aging, pre-existing tastes and does it really matter if I like it? Bofill has strong voice that is equal parts sweet and sexy, plus, for this album, she was paired with R&B writer/producer (and current drummer for Journey) Narada Michael Walden. Lots of smooth grooves and familiar names: Earl Klugh, Paulinho Da Costa, Andy Narell, and Tower of Power horns, as well as former American Idol judge and current bassist for Journey, Randy Jackson. Wish I'd been turned on to this one back in '81 or, better yet, to Angel Of The Night back in '79. Why Bofill wasn't a constant presence on the pop and AC charts in the late '70s/early '80s is just one of those things I struggle to understand.

Press of the time:

• Billboard: "Bofill owns a rich voice that flutters with fresh feeling."
• Stereo Review: "a natural delight"
• Record World: "Sure to be a big breakthrough"

Album chart peaks:

• US Billboard 200: #61
• Billboard Jazz: #4
• Billboard R&B: #13
• CashBox: #66
• CashBox Jazz: #5
• Rolling Stone: #50

Tracks: Of the original ten tracks, there's not a stinker to be found on what was side one (tracks 1-5). The title track peaked at #21 on the R&B chart and the ballad Break It To Me Gently should have cracked the top ten on the pop chart and been a #1 AC hit for Bofill. There's also fantastic cover of Earl Klugh's song Balladina to which lyrics have been added and retitled You Should Know By Now.

Side two starts off strong with Only Love and there's a beautiful cover of The Stylistics tune Stop Look Listen. The only tune I don't care much for is Holdin' Out For Love (#26 R&B) and that's mainly because of the dated arrangement - it just doesn't fit on this album. The album closes with Time To Say Goodbye, a sublime ballad written by Bofill that reminds me of the sort of thing Anita Baker would be recording later in the decade.

Bonus tracks:

1. Never Wanna Be Without Your Love - a duet with Narada Michael Walden released in 1983 under Walden's name "with Angela Bofill"
2. Esperando Al Amor - Spanish version of track 7, Holdin' Out For Love, released as a 12" single in 1982
3. Love Light - a gorgeous cover of a Yutaka Yokokura tune. Produced by Dave Grusin and Larry Rosen, so this samba is more jazz-tinged and drenched in electric piano.
4. Rhythm Of Your Mind - I can't find any additional info on this Bofill-penned filler tune, but the production leads me to believe this is also a Grusin/Rosen/GRP cut.

Personal Memory Associated with this CD: Around the time this album was released in 1981, I was scheduled to be on the lighting crew for my high school's fall production of Grease. I had attended after school rehearsals and diligently honed my spotlight skills. However, when I took on this responsibility, my mother warned me that if I didn't bring home straight A's for the first grading period of the school year, she would pull me from the production. (Public schools in Texas later adopted a "no pass no play" policy, but my mother was ahead of the curve with her own "no A no play" edict). I wasn't too concerned despite the fact I was spending around 20 hours a week outside of school with band and theater rehearsals/performances.

What follows is ridiculously unbelievable yet 100% true: I had a horrible history 'teacher' during my sophomore year who literally didn't teach, he would sit at his desk and read the newspaper or organize/catalog his stamp collection while he played reel-to-reel tapes of himself lecturing, recorded years earlier. No real instruction to speak of, but he proudly boasted that all his students would get a grade of 85 on their first report card while we became 'accustomed to his teaching style.' Like many bad high school teachers to this day, he excused away his poor instructional methods by claiming that he was simply "getting the students ready for college." Sheesh.

Anyway, an 85 certainly wasn't the A that my mother expected, but I thought I was in the clear because nobody in my grade level would be making straight A's that term. I was mistaken. Despite my pleading and explaining, my mother yanked me from that show and sent me in tears to the director as I explained my situation. Then I was less than pleased with my mother (for keeping her word?) while the drama director hated my whole family because we disrupted her show preparations. A most unpleasant time around our house. But that really doesn't have much to do with this wonderful album other than coincidental timing, so never mind. As you were.

Sadao Watanabe - Orange Express (1981)

Japanese Import

I like smooth jazz and I cannot lie.

Watanabe had been well-respected as a straight-ahead and bossa nova sax player since the 1950's, but my favorite Watanabe is 1978-85 when his work more closely resembled Grover Washington, Jr. and Tom Scott (this particular album favors the latter). Recorded in NYC, there's a lot of familiar names backing up Watanabe: Dave Grusin, George Benson, Marcus Miller, Richard Tee, Eric Gale, and Jon Faddis. The writing is nondescript, but the performances are fantastic.

Album chart peaks:

• US Billboard 200: Did not chart
• Billboard Jazz: #17
• CashBox Jazz: #18
• Record World Jazz: #19

Tracks: Top tracks are the funky Ride On, Good For All Night, and the final two tracks (Straight To The Top & Mbali Africa), which both sound like they were lifted directly from a Stuff album.

Bonus tracks: Two versions of the pseudo-reggae-lite Yes I Love You. The best I can tell, the song was 1982 single-only Japanese release with an instrumental version on side A and a version with vocals from Ken Tamura on the flip. Both are presented here and neither is worth your time.

Personal Memory Associated with this CD: Around the time this album was released in 1981, I was starting my sophomore year in high school. We had six classes a day back then (now 8 is the norm); I "studied" Algebra II, Biology, World History, Health, English and had marching band as an elective. Of those six classes, five were taught by what I consider to be subpar teachers - some apathetic, some incompetent, some clueless, and some all of the above. So I had a rough year academically, but as far as my family was concerned, I was to blame, not poor instruction and assessment. I get it - when I was teaching, I wanted the parents on my side, too. In any case, my teachers for English and world history were so bad, they later achieved a sort of pseudonymic infamy in a chapter of my somewhat autobiographical doctoral dissertation. But that really doesn't have much to do with this album other than coincidental timing, so never mind. As you were.