Reviews (32)

I HATE CHRISTOPHER CROSS.
Christopher Cross is by far the worst songwriter with the worst voice in the entire universe. The only way to truly convey how awful is this album is to compare it with other tragedies.

THE INVASION OF IRAQ
The invasion of iraq was wholly unjustified and has killed numerous innocent people. However, there are some redeeming values for those who enjoy dark humor. For example, whipping up a semi-democratic puppet state with a bunch of people who know nothing about being democratic, or even being statesmen. look at the footage of them sitting in their lame government building under the delusion that anything they do is meaningful. So, the invasion of Iraq is NOT as bad as Cristopher Cross. There is no laughter for Christopher cross -- only nausea.

THE 2005 TSUNAMI
The Asia regional tsunami was one of the worst natural disasters in history. lots of dead people. BUT, have you ever heard the supreme geydar Christopher Cross song "ride like the wind"? If so, then upon reflection i believe it is clear that "Ride like the Wind" is a worse global tragedy than the tsunami. I mean, look at the lyrics: "i've got such a long way to go | to make it to the border of mexico." dear god.

THE GULAG
Now, the soviet gulag and its related institutions are a major deal. These places are substantially underrated in their obstinate evil. To put it in perspective, consider the nazi concentration camps. Farms of human butchery, no doubt, but on the bright side they did not exist for long. the existence of the gulag and other brutal forced labor camps persisted for much longer, and I believe there were about 400 such camps in the Eastern Communist Bloc. And remember that the Soviets had their own "final solution" as well. millions were sent there to slave away for the socialist republic. Countless died. but the question is...is the Gulag worse than Christopher Cross? NO! while the Gulag is responsible for the deaths of many, Christopher Cross wrote the song "Sailing", which is definitely the biggest wad of audio dung EVER. Omg, Christopher Cross has such a crappy voice.

Based on this examination, it would be hard to imagine anything worse than Christopher cross.

blissful link between 70s soft rock & 80s adult contemporary
This self-titled debut album from Christopher Cross came out at the tail end of 1979, & it does sound like a '70s record, but what's striking is how it manages to strike an uncanny balance between '70s soft rock & '80s adult contemporary, despite the fact that the '80s hadn't even dawned when this came out (although they nearly had--this came out in the period between Christmas & New Year's in 1979).For instance, "Never Be the Same" has a twinkly keyboard sound that strongly brings to mind Elton John's 1989 tune "Sacrifice", making it easy to see how casual fans would mistake this for a much later recording.Although there are certainly synthesizers on here, they're really not that prominent at all.Instead, the record's sound is dominated by lots of warm Fender Rhodes electric piano, acoustic piano, crisp drumming, jazzy guitar solos, etc (in other words, a "70s sound", if you will).It's the kind of record that stereo salesmen love to use when demonstrating the abilities of their equipment, & for good reason--the record puts to use the advancements that had been made in recording technology up to that time, yet without any of the '80s synth-mania that was a few years or so down the road.The result is a brightly-polished, warm-sounding album, phenomenally produced by Michael Omartian who, not so coincidentally, had previously worked with Steely Dan (a definitive band for audiophiles).Check out the wondefully rich-sounding piano chords on "Minstrel Gigolo" for a perfect example.This CD release, though not an "original recording remastered" disc, still sounds great & does the album justice.Performance-wise, the album is also absolutely first-rate, with such legendary session musicians as Larry Carlton, Jay Graydon, Victor Feldman, Jim Horn, & Chuck Findley, all of whom also played for Steely Dan.Even future guitar god Eric Johnson plays the solo guitar on "Minstrel Gigolo".All that said, this ain't your run-of-the-mill "adult contemporary" record by a long shot.One could argue that all the big names such as Michael McDonald, Don Henley, & Nicolette Larson (who all contribute vocals) were merely an attempt to give the album some "credentials" (with Cross being an "unknown"), but the thing is, the guests were sincere & clearly into the material, & they contribute positively to the record.The difference is night and day versus having Nickelback guest with Santana, or the Rolling Stones snapping up Dave Mattews for a cameo--now THAT's crass.As for Cross himself, his crystal clear tenor vocals were sincere & convincing, & he was also a first-rate guitarist in his own right (he played the excellent, extended solo on the fade of "Ride Like the Wind").He also wrote every song on here himself, & there isn't a weak song on the entire album--in fact, the album is almost uniformly blissful, with extremely little to complain about whatsoever.Some of the songwriting is minimalistic, but effectively so, as on the minor-keyed, propulsive Lowell George-dedicated "Ride Like The Wind", with its simple, repetitive looping piano part & a somewhat minimal verse melody, or "Spinning" which is so invitingly melodic & lush-sounding that its lack of lyrics ends up not being a problem (although Valerie Carter, whose vocals are prominently featured on the track, does get typically carried away).Matching the immaculate production values with Cross' winningly sentimental, tuneful songwriting, the album stacks up gem after gem--the affecting, mellow ballads "Sailing", "Minstrel Gigolo", & "The Light Is On"; the fun, upbeat "Say You'll Be Mine"; or a combination of those 2 elements as on the wonderfully dramatic and uplifting "Poor Shirley" which puts Cross' Beach Boys/ Brian Wilson influence on full display, and has cathartic high notes from Cross towards the end.This is truly a landmark classic album that very much serves as a benchmark for what adult contemporary music should sound like (as opposed to what it SHOULDN'T sound like).

Features

• Live

Reviews (12)

WHERE'S STRANGE EUPHORIA!!!!!!!!?
If this CD had "Strange Euphoria" and the other missing songs on it that the cassette version has, I would give it a 5 rating. You're better off with other compilations because of this MAJOR oversight(or crime.)

Excellent Introduction To Heart Before 1984 Hit Sensation
Greatest Hits Live originally recorded in 1980 was one of my early CD purchases during early 90s but I happened to miss simply because it was dubbed as "Live" and I thought that was not I had been looking for. (At that time I was looking for Definitive collection of Heart including 80s hits). Time has changed and I happened to uncover this CD from the heap of my dusted CD collections.

It has nine best tracks from their early works such as Dreamboat Annie(1976), Little Queen(1977), Magazine(1978), Dogs and Butterfly(1978), Bebe Le Strange(1980). On the back jacket name of the albums the each tracks are from are shown. Then the album become live recording collection during August and September 1980 tour. Live recording of BEBE LE STRANGE takes place at the stage side where the chat among members before the show can be heard. Interesting intrigue. TELL IT LIKE IT IS is unusually not live but studio recording and became single cut from this greatest CD. And then the ending live performance is LED ZEPPELIN classic ROCK'N ROLL. Alas, it shows their rock spirit.
Yes, it misses PRIVATE AUDITION(1982) and PASSIONWORK material to be the early Heart collection. But the timing for the release was excellent because it was made when HEART was at their artistic height.

Verdict: It is no doubt Heart fans' essential and 70s rock fans' paradise. Showing well how HEART had been during their early prime.
Rating: 88 out of 100. Well-edited (particularly Silver Wheel and Crazy On You combination just as their live performance) and consistent. Transition from studio recording part and live recording part has been done excellently.
Recommended for: Every Heart fan. Lots of 70s rock fans and the appreciators of recent Heart releases such as Desire Walks On(1993) and Jupiters Darling(2004).

Features

• Original recording remastered

Reviews (19)

A Decent Album
I have yet to write any reviews for Amazon although I am an avid shopper here. However, after seeing the earlier two reviews, I felt compelled to part with precedent. Although this album is not bad, it CERTAINLY is not "Clapton's best live album." I am a HUGE Clapton fan, and I own every recording he has ever released with every band he has been with, live and otherwise. Clapton's orginal songs sound weak here, with often weak vocals and shaky improvisation on the guitar. The blues covers he plays sound manufactured and "pop," a clear indication of the unfortunate turn his music would take througout the eighties. However, this album is not without its high points, those mostly being the Disc 1 closer "After Midnight," which is an interesting blend of Clapton's infamous cover of the song, with his energetic vocals, and JJ Cale's original with the soft beat and gentle guitar. The other high point of the album is the unique and novel medley of Ramblin' on My Mind and Have You Every Loved a Woman. Taken on their own, neither of these songs are outstanding, with Clapton's (at times) annoying eighties pop rhytum section pounding away in the background, but the unique mixture of the songs, from Ramblin' into Have You Ever than back into Ramblin', makes it at least a worthwhile listen. However, if you are looking for a great live Clapton album, I reccomend "Derek and the Dominoes Live at the Fillmore," as that is his best, or "Goodbye Cream" which is also up there, although an earlier recording.

Eric Clapton's Best Live Album
Eric Clapton delivered his best live album with JUST ONE NIGHT. Most of the songs, both originals and covers, are top-notch, and the playing is hot and highly electric. If you get this album, along with 461 OCEAN BOULEVARD, SLOWHAND, ERIC CLAPTON, LAYLA, THE VERY BEST OF CREAM, and BLIND FAITH, you'll have a wonderful Eric Clapton library.

Features

• Live
• Original recording remastered

Reviews (12)

A live album that shows the group's potential
Supertramp were a special band in their own way: they had their typical sound and their way of composing like no other band from the progressive/ art-rock movement. On one side you had Roger Hodgeson, the blessed hi-pitched singer-keyboard player-guitarist-composer and on the other there was Rick Davies, the fantastic composer-keyboard player but unfortunately less blessed singer.
This live album was released shortly after "Breakfast in America", which was the band's first commercial succes due to Hodgeson's (melodic)input. Davies realized that Hodgeson was gaining ground in the band and when watching the video of this concert you can see him desperately trying to draw attention to him with all sorts of stage antics. But being a good composer was not enough and Davies just couldn't make it come true on a live stage with his limited voice compared to Hodgeson's.
Things became rather tense between the two and Hodgeson soon departed pursueing a solo career.
As expected Supertramp never really recovered from Hodgeson's departure so this live album has to be the band's swan song.
Enjoy !

Almost perfect
Paris is a great live disc but one of Supertramp's most rocking songs (Goodbye stranger) is missing although sure it was performed in the concert. Instead of this cool song we've got average material like A Soapbox Opera or the non stellar You Started Laughing. Other than that, I have no complaints about this cd. The group plays tight, the quality sound is very good and the songs have more power and life to them than in the generally inferior studio renditions.

Too bad that the footage of this gig is not available (We are teased with some of it on the Story So Far video and dvd). It must be great.

This is Supertramp at the height of their power and popularity. After this recording, nothing would be the same and they'd fall in the downhill slide with the Famous Last Words cd and from which they would never recover.

Editorial Review

Editorial Review

Features

• Original recording remastered

Reviews (36)

IN CARS
This is the most truest album for the song CARS! BECAUSE IT RULES!

synth pop second only to kraftwerk..and that's saying alot..
What can I possibly say about The Pleasure Principle that hasn't been said by countless others online?This had a profound influence on me from the first time I heard it back in '79 until I finally bought my own copy back in '93.I wore out two cassettes until I finally bought the cd back in '98 on a trip to Phoenix.From the album's opener "Airplane"to its closing number "Engineers,"this album is synthpop perfection second only to Kraftwerk in its cold power and construction.Aside from the aforementioned Kraftwerk,I would be hard pressed to think of an artist that had as much effect on pop music in general as did Gary Numan.The Pleasure Priniple is absolute perfection.My personal favorite is "M.E."about a machine on a dying world full of pollution and a battle-ravaged landscape.This is an album filled with calculated rhythms and exacted lyrics.I highly suggest playing this one late on a cold january night with an adequately primed lava lamp and an adult beverage or two to keep you company.This album is nothing short of genius and is one of the rare few outside of Kraftwerk's The Man Machine that can actually be played over and over without becoming redundant.Go out and buy a copy immediately..You won't be disappointed..

Features

• Live

Reviews (27)

The Eagles Live!
The Eagles Live is a killer double live album from released in 1980. The majority of the songs were recorded during the supporting tour for "The Long Run" album. Over half of the songs on the album are from "Hotel California" and "The Long Run". There are also a couple of Joe Walsh's solo hits that made the album, Life's Been Good and All Night Long. Eagles Live is a great album, the only downside is that there are only a couple songs from the first few albums, however if you're an Eagles fan, Eagles live is great addition to your collection.

Right before the 15 year vacation
Right before the 15 year vacation, we got this live release of the Eagles.Classic release, sounds great on cd.Although typical perfect "live" versions of some classic Eagles, Joe Walsh stands out as comical as he is and as talented as he is.Some definite high points include "Seven Bridges Road", a great live version of "Wasted Time" and Joe Walsh's "Life's Been Good To Me So Far"...a former friend of mine did me a favor by keeping my tape forcing me to replace it with the cd.If you have seen the Eagles in concert or if you are a fan, you will love this release.

Reviews (19)

Ah! Donnie Iris!
This is the Donnie Iris album that has "Ah Leah!" on it. Problem is, it was pretty rocky after that. Iris and partner Marc Avsec played everything on this album, and it comes off a bit too stiff. Also, there is too much going on here to make Iris sound like he was doing much else other than chasing styles. Aside from "Agnes" and "I Can't Hear You," there is little here that sounds like an artist defining himself. (Nonsense like "Joking/Shock Treatment" don't help his case, either.) Besides, after this, Iris put together the Cruisers and cut the far superior "King Cool." Since the three best songs on "Back On The Streets" are on the "20th Century Masters" set, you can steer yourself in that direction rather than pay for the over-priced used copies.

Amazing album
This album is outdone only by the next album 'King Cool' and that takes quite some doing to out do this album but 'King Cool' is in my top 5 of all time. 'Back on the Streets is easily in the top 15.

It was 'Love is like a rock' that converted me into a die hard Donnie Iris fan, of course that song is on the next album, but Ah leah played a major part to.

Id say the 3 weakest songs on this album(I can't hear you, Back on the streets, and Daddy don't live here) are still better then average meaning the other 7 are great. the 2 that stand out for me are 'She's so wild' and 'You're only dreaming' but only slightly over Agness, Ah Leah, Shock Treatment, and Too Young to love. Joking is another very good song but not quite up there with previousely mentioned. No fillers at all.

Reviews (15)

It's No Wonder ....
People for years have been drawn to this album for some unknown reason to them. Could it be the fact that Cougar hadn't quite found his way at that time and tried to emulate The Boss? Look at the composition of the lyrics and the way he modified his voice to fit Bruce's style. Don't get me wrong, I loved this album but it was so obvious to us at the time what Mellencamp was trying to do. The store owner of our local record shop would play this non-stop while betting the regulars ( this was a while ago remember) to whom was singing. We'd all be wrong thinking that he'd had gotten his hands on a bootleg. Still an enjoyable album especially if you love the Boss.

John Cougar Mellencamp's First Great Album
NOTHIN' MATTERS AND WHAT IF IT DID is John Cougar Mellencamp's first great album. Sure, the songs are mostly cynical love songs, but they're delivered in such a way that it really doesn't matter. This album started a streak of eight great albums for Mellencamp, and is a welcome addition to any collection of straight-ahead rock & roll.

Can't explain why it is so appealing
I'm not a big Mellencamp fan, but there is something about this album that I just keep coming back to.Being born in 1970, I was 10 when this album was released.I didn't listen to it until 1986 or 1987 when a friend of mine brought it with him on a bike trip we took through Cape Cod.I fell in love with it then and keep coming back to it for some nostalgia and just easy listening.

All these songs are simple and enjoyable.This is not a masterpiece by any stretch, but instead an enjoyable collection of songs that just don't tire out.Cougar never sounded better -- the CD has his voice mixed just right.He sings from the heart and never strains to reach any notes he shouldn't.

It takes a lot for me to rate an album with 4 stars, even harder to get 5.This would get 4 1/2 if Amazon allowed halfs.

Reviews (4)

WHEN SONGS REALLY MENT SOMETHING
I HAD BEEN SEARCHING FOR THIS ALBUM ALL DAY. YOU KNOW SOMETHIMES WHEN YOU REALLY NEED TO HEAR SONGS THAT MAKE YOU GO BACK IN TIME AND YOU CAN REALLY SMILE TO. WELL KOOL AND THE GANG BROUGHT BACK SOME REALLY GOOD FEELING.THIS ALBUM CAME OUT DURING A TIME WHEN I WAS IN MY EARLY 20'S, VERY MUCH IN LOVE, WEARING A GRAY SHEEP SKIN COAT (WITH MATCHING HAT AND GLOVES OF COURSE) DRIVING AROUND WITH JLJ (BOYFRIEND) AND KNOWING THIS WAS GONNA BE MY FIRST LOVE. (SMILE) WELL, IT'S NOW 2003 AND I DIDN'T MARRY JLJ BUT .... FOUND MY MISTER RIGHT AND WE NOW GROVE TO THIS ALBUM (JUST FOR THE RECORD, IT FEELS LIKE THE FIRST TIME......THANK YOU KOOL & THE GANG!!!!!!!!!!!!!

What a group!!!!
In 1980 by their last year hit Lp 'Ladies Night', they were on the spot at the billboard charts. The world was into the disco, it was the fact!Now it's time to do something like massive! Thentheir international anthem Celebration came that changed our life!What about the another tracks from the album.Groovy 'Take It To The Top', smooth 'Jones vs. Jones', funky'Night People','Love Festival',instrumental monster 'Morning Star'(God bless you Robert Mickens),and of course the emotional 'Love Affair' and 'Just Friends'.What can I say? Whoever you are and what music ever you like,this album brings you the massive energy as you listen it!God bless all Kool fans,all of the members the group and of course J.T. THE VOICE.You are the best!!!!!

Features

• Extra tracks
• Import
• Original recording remastered

Reviews (49)

McCARTNEY II (COLUMBIA RECORDS/1980)
After his fiasco in Japan (Paulie was arrested for possessing a half a pound of pot and incarcerated for ten days before being given the boot), McCartney decided to settle down for a bit at his Sussex home, Waterfalls. Whilst ensconced he rented a Studer 16 track tape machine and began to noodle around with a few melodic ideas which developed into songs which developed into this, his second homemade album. "McCARTNEY II" is a worthy successor to his first proper solo album, and has a considerable edge over the two preceeding Wings releases insomuch that it represents Paul doing exactly what he does so well: creating simple, carefully crafted tunes with memorable hooks and pleasing little quirks that is his signature trademark. Almost all of it works too: the bass-popping thumpers ("Coming Up", "Nobody Knows"), some lovely, oddball instrumentals ("Front Parlour", "Frozen Jap"), a dash of blues ("On The Way"), and a couple of gorgeous ballads ("Waterfalls", "One Of These Days") that remain two of the best songs he has ever written. The rest is okay with "Temporary Secretary" coming off as the nadir of the group. Though pushed as a single, it was actually the live version of "Coming Up" (with Wings) which made it to the top of the charts. HIGHEST POP ALBUM CHART POSITION: Number 3.

Here come the 80s
Now if you ask me, and a lot of folks interested in sequel and prequels do now and again, this here 1980 release called McCartney II ain't really a sequel to the 1970 release called McCartney. In fact, I would go ahead on and concede that it was a sequel if Sir Paul had, in 1990, released a disc called McCartney III and then in 2000 a disc called McCartney IV. Then I pretty much would have had to concede in the face of staggering evidence to the contrary, but as an ornery contrition myself, and not one to shrink from the illogical pestering of the folks who can't count in sequence... then I will stand firm on my argument that this here disc, despite the name, is a stand-alone record from 1980 that needs to be judged as it is... not as an appendage to that record what came out a decade prior.

The most memorable single from this album is "Coming Up" and I guess that it strikes me as memorable because Paul (and Linda) did a pretty interesting video back then to accompany the music. Paul pretty much acted every part and then they spliced all the parts together to create the illusion that Paul was a whole bunch of different people on stage together at the same time playing all the different musical parts and such... interesting.

However, this CD ain't a video.... It's an audio.... So the video they done made is neither here nor there. The audio is good and represents Paul's continuing steps away from his past and towards his inexplicable and unavoidable future. What with jail time in Japan for marijuana possession (what kind of dolt would attempt to get through Narita with drugs in their possession?) and the demise of his second group, McCartney was not quite ready to start experimenting with Michael, but was quite finished with Denny. This was, as it were, a transition type period for McCartney and we got to see what he was transitioning from and to.

What he done give us is an album that is not his best, but is fairly good if you ask me. It also pretty well captures the feel of the 1980 Pop Music world with flowery tunes for suburban Caucasians. I like it even though I ain't never been no suburban Caucasian and don't typically go in for "flowery"

Reviews (8)

An exemplary showcase of Todd and the boys
I love this album as much today as I did when I received my first vinyl edition in 1980, before I realized what a masterpiece I had.The musical variety clearly demonstrates why Todd is such a sought after production consultant to so many other artists, and has an almost cult-like following of fans.Some might think that this collection illustrates why Todd has not had all the commercial success he so richly deserves, because it crosses and even pulls together different genres without a consistent style.On the contrary, his ability to appeal to fans of different music without compromising his artistic creativity in the name of commercialism is commendable.If you are looking for technical production that was innovative for the era, catchy tunes and lyrics as well as some that will make you think if you listen carefully, and a general album that has something for everyone, I highly recommend Adventures in Utopia.

Utopia's Reasonably Big Adventure
The second album from Utopia Version 2.0 (Top 40 rock, as opposed to the semi-prog rock of the first few albums) must have surprised a few onlookers, as it was the band's highest-charting LP, hitting #32 in Billboard (just three notches below leader Todd Rundgren's biggest solo LP, "Something/Anything?").The performances were somewhat tighter than the previous album, "Oops! Wrong Planet," but no one wrote anything quite like the hit "Love Is the Answer" (which, unfortunately, became a hit not for Utopia but for soft-rock dudes England Dan & John Ford Coley), and therein lies part of the problem.

Not really knowing what would make the biggest commercial success (late 1979 and 1980 was a schizophrenic time in rock & roll, with disco being ushered out the door, punk dying off, and new wave not yet having gained a solid foothold), Utopia threw a little of each in the mix.This is a good band - Roger Powell and Willie Wilcox are very good at keyboards and drums, and Todd and Kasim Sultan are multi-instrumental talents.But the songwriting isn't strong here - "Set Me Free," a Top 40 hit, is catchy but inconsequential, and "Last of the New Wave Riders" combines a theme begging for a catchy arrangement with a synth-heavy bombastic arrangement. And while these guys are pretty good singers, the harmonies won't make me forget the Beatles (obviously their fervent hope, although I suspect they weren't targeting me specifically when this was released).

Still, I've always been impressed with the disco/rock hybrid "Rock Love" (which could have been a single in the wake of Blondie's "Call Me"), "You Make Me Crazy" is a clever pop song (enhanced by a now out of circulation video), and "The Road to Utopia" may be one of the catchiest things the band has ever done.So it's a mixed bag - which is one of the charms (or irritations, depending on your point of view) of Todd Rundgren's solo and group output as a whole.

Side note:I'd probably be happier with these guys if they listed who sang lead on which song (perhaps this is listed on the CD booklet; I only have the vinyl version).Sultan and Rundgren sound so much alike it's hard to differentiate.

Mixed feelings on this one...
Mixed feelings on this CD, but tracks 1, 5, 6, and 8 are classic UTOPIA...

Features

• Soundtrack

Reviews (15)

As Good As Your LP
Hoped to replace my LP with this CD. NOT! Think the record sounds better. The quality is the worst.

Badly in need of remastering
This soundtrack, like the movie, is a contemporary classic. For those of us who were in high school when it was released, it's a snapshot of that era. Much has already been said here about how good the music on this CD is, and I agree with all of it. Instead, I want to comment on the sound quality of this CD.This recording is BADLY in need of remastering;it's a shame that no one at Polygram picked up on this. I originally bought this album in the cassette format, and played it for years until it literally wore out. When I finally replaced it with the CD version, I couldn't believe the difference in the sonics;the cassette actually sounded better!There is a muffled quality to the CD which is most noticeable on the title track and "I Sing the Body Electric".There's just not enough high end. Oddly enough, we've already had remastered editions of "Flashdance" and "Footloose", both of which came out AFTER this album was released.And just as a footnote; a couple of reviewers have commented on the excellent "Kids from Fame" TV soundtrack album, which featured the songs "Starmaker", "I Still Believe in Me", and "Hi-Fidelity".Well, guess what... it's in print on CD, and can be ordered from the UK version of the Amazon website. (Just use the link at the bottom of the page.) I don't know why the American side doesn't stock it. Anyway, it's a very inexpensive title, and well worth seeking out. (Search "Kids From Fame" when you get to the website.)

Features

• Original recording remastered

Reviews (8)

LIGHTS UP YOUR NIGHT
If you've listened to all of Q's productions, not to mention Rod Temperton's compositions and the brothers' other works, you won't be surprised to find that this album is just as perfect. Possibly the best of all their works, this album features smooth, jazzy funk---music you can't stop dancing to.

STOMP - Killer, killer song...makes you want to stomp all night

LIGHT UP THE NIGHT - Smooth, funky song with awesome horns and lovely background vocals

YOU MAKE ME WANNA WIGGLE - Catchy and funky little number

TREASURE - Smooth slow jam, powered by the genius of Rod Temperton and Richard Heath's lead vocals

THIS HAD TO BE - Killer funk epic, with awesome synthesizers...backgrounds and co-writing provided by Michael Jackson

ALL ABOUT THE HEAVEN - Another slow jam with the smooth vocals of George allowing you to drift up into the clouds

SMILIN' ON YA - Nice instrumental with the great Jerry Hey on trumpet; co-written by Mr. Greg Phillinganes, a frequent collaborator with the Jacksons, Lionel Richie, and others

CLOSER TO THE ONE THAT YOU LOVE - Nice and simple song with great guitars powering this mid-tempo groove

CELEBRATIONS - The great Paulinho DaCosta does his thing on this groovy instrumental

This CD is definitely worth the purchase for all BJ fans, Q fans, and fans of general great funk from the good ole days...

An example of stellar production values, and it funks.
This is another example of producer Quincy Jones at the top of his game.
There was a period in the late 70's-early 80's where he was untouchable. He had a distinct sound, managed to get extraordinary results from otherwise ordinary artists, and took established superstars to new levels.

Consider the set of albums all released within a short (3-4 year) time frame: Michael Jackson's "Off The Wall" and "Thriller", George Benson's "Give Me The Night", his own
"The Dude", and things like this Brothers Johnson album.

You will find impeccable, tasteful production values, engineered to standards that hold up to the most revealing remastering. Layer upon layer of drums with various other percussive instruments; fat luscious bass lines; orchestral segments with sweet string sections and funky horns; crisp (and more prominent than you'd recall) guitars and judicious use of the then-nascent synthesizer.

Above all, there were the vocals, both upfront and back-up choruses. He made people known for their voice, like Jackson, James Ingram and Patti Austin, sound as good as they ever have, and took those not necessarily known for their vocal prowess (like Benson and the Brothers) to levels they've never reached before or since.

So here, on "Light Up The Night", we have nine sweet-sounding tracks from 1980, led off by the tremendous "Stomp!"...everything a single should be. It sounds perfect on the radio, in your car or on headphones. A driving dance beat, anthemic vocals, killer horns and strings, melodies that hit you one after another with their clarity and soul. It has synth solos and bass solos (!) yet is better off with them as opposed to without them. That in and of itself is amazing.

The Brothers Johnson were masterful musicians. I still have videotapes from Don Kirshner's Rock Concert where they demonstrate their chops for all to see. They were low level stars, but among the most desired session men of their time. I swear the bass playing sounds like someone trying to tame a wild animal. He doesn't play it as much as he unleashes it.

Nothing on the album matches that initial high, but I found myself recognizing all the songs, even though I probably have not listened to this album since 1982.

The title track is a swift poppy number with soothing background vocals. Speaking of, Michael Jackson often showed up as a background vocalist on other people's albums around that time, and here does a nice job on "This Had To Be."

The ballads, like "Treasure" and "All About The Heaven", all sound like the early 80's ballads you know and love. They just happen to "sound" really really good.

Seriously...this Quincy Jones character was taking "sow's ears" and making "silk purses" as if it was as natural and easy for him as breathing.

There's an instrumental ("Smilin' on Ya") and a near-instrumental ("Celebrations"), just to warn you.

Overall, you will get this because:
a) you love "Stomp". And you should.
b) you have some affection for The Brothers Johnson. And you should.
c) you appreciate Quincy Jones' artistry. And you totally should.
d) and you can't beat the price...

Reviews (7)

THE BABYS AT THEIR BEST
THE BABYS UNION JACKS RELEASED IN JANUARY OF 1980 IS ONE OF THEIR BEST IF NOT THEIR BEST STUDIO RECORDING. THIS WAS THEIR FIRST ALBUM WITH JON CAIN ON KEYBOARDS. THE ALBUM IS GREAT FROM START TO FINISH. THE MUSIC HAS A GREAT MIX OF KEYBOARDS AND ELECTRIC GUITARS AND SOLID DRUMMING TO PRODUCE THE CLASSIC 80'S ROCK SOUND. JOHN WAITE'S SINGING IS TOP NOTCH. THE CD HAD 2 HIT SINGLES THAT HAVE BECOME CLASSIC ROCK FAVORITES WITH BACK ON MY FEET AGAIN AND MIDNIGHT RENDEVOUZ. ONE OF MY ALL TIME FAVORITES. THANKS TO ONE WAY RECORDS FOR GETTING THIS BACK IN PRINT.

Waiting to long!!
Man i have been searching for this cd forever!!!! I had the cassette back in the 80'S when it first came out and i wore out the tape listening to it over and over again.Thank you amazon.com for finding what seemed impossible.


JD in Missouri

On An Roll with "Union Jacks"
After the extemely successful 1978's "Head First", The Babys continued their growing success as a band with 1980's "Union Jacks". Adding extremely talented songwriter and keyboardist Jonathan Cain along with bassist Ricky Phillips, the group delivered a solid 9-song album that had the huge hits "Back On My Feet Again" and "Midnight Rendezvous" constantly blaring from FM radio stations.

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Reviews (3)

It's the music stupid...
No need to get verbose. This is simply a good record to own. Randy Meisner's voice is one of the most distinctful and smooth in all of rock. The only down side is the unavailability of his other albums.

If you care about quality without the hype listen to this album. I miss Randy Meisner's singing. Hope you're doing well.

One More Song INDEED!
A truly wonderful and melodic effort from the Eagle who "couldn't handle the pressure and competition".It's never been clear justexactly why Randy left the Eagles, whether due to Glenn and Don's refusalto give him more track-time or his desire to make his OWN music. Regardless, he wound up only making three solo albums in the late 70's andearly 80's, of which "One More Song" was the middle effort.Hedidn't appear again for manyyears until he did some excellent work withPoco, only to disappear again....Randy, where are you?Unfortunately,"One More Song" is the only one of his albums I've seen availableon CD (anybody out there who can happily prove me wrong?), but it is WELLworth having if you like melodic ballads and great country-rock tunes.Plus, I ALWAYS felt Randy was the BEST vocalist in The Eagles and his Eagletunes are my favorites from them.

Reviews (7)

UK Mod/New Wave Power Pop Masterpiece!!!!!!!!
I bought this in '80, I don't get tired of it.....simply put this is THE record from the late 70's - early '80's New Wave period....w/ the bonus trax the power and beauty of the original is greatly enhanced......sweep this up NOW!!! These bands are gone!!!! The kiddie bands today don't hold a candle to The Vapors' level of playing or songwriting....melodic, poppy, catchy, heavy and beautiful...Here Comes the Judge says what the Vapors were all about.....this cd/record is in my top 5 of all time for this period along w/ the remasters of Machine Gun Etiquette by the Damned, 999's 1st, Buzzcocks Singles Going Steady, Jam Box Set (ok, I'm cheating) and Undertones A's and B's.......good luck!!

Uranium?235 fuel for the nuclear soul
The Vapors have demonstrated by the artistic ability to hold fast to the claim, "one of the Fathers of New Way".The Vapors and A Flock of Seagulls arguably could be deemed as the reason for the 80's onslaught of great music. In the beginning, God created the Vapors and A Flock of Seagulls who begat all others!

Bottom line, buy this CD, crank it up, air-guitar yourself into a frenzy and hold your head high!

Reviews (3)

Vince puts on a show with Firin Up
After Pure Prairie League had released several minor albums in the mid 70's, they hired unknown guitarist/songwriter/vocalist Vince Gill. Their first effort, 1979's Cant Hold Back was a step forward to the prior PPL albums. In 1980, they released "Firin Up" and it brought them their best album. If youre a fan of the Fuller/Powell days, you may beg to differ. The young "rocker" Vince Gill brings in his dancin' shoes for this outstanding album. The best song is the opener "Im Almost Ready." "Give it Up" was not a hit but it souds like it would be right up in the top ten. "Too Many Heartaches in Paradise" and "Youre My True Love" are a little too commercial. "Shes All Mine," "I Cant Stop This Feelin" and "Lifetime of Nighttimes are some very good rockers with great guitars. "Ill Be Damned" and "Janny Lou" sound like they could have been off a Vince Gill album. "Let Me Love You Tonight", the biggest hit off the album, is a good ballad with some good saxaphone.

If you love late 70's rock, or the Joe Walsh version of The Eagles, buy this album. It sounds like nothing by PPL, or Vince, but it is still a great sound.

I like this cd....
I haven't heard Firin' Up in a while but as I recall, I liked every track on it. If your curious about Vince Gill as a rocker this disc is tons o fun. This is not the PPL that recorded "Amy", Craig Fuller was long gone by this time. ( on to join Little Feat ) but they carried the torch into the early days of alt.country and country rock.

block

Reviews (12)

Grace for president
Get this album. Right now. I said so.

It's that good.

Grace imbues every song with more sexuality, passion and wit than you'll find in most people's albums piled together. Every song has class musicianship as well. Bass lines so warm and slinky they should almost have an FDA warning. You can belt this one out in the car, track by track. When she declares, "I'm sick and *tired* of all this..." in 'Bull...', she really sounds that way. Normally I'm not into Tom Petty but Grace brings "Breakdown" to life. Her version of "Love is the Drug" is right up there with the Roxy Music original, and that's saying something. With the possible exception of the title track, for which I still prefer The Normal's club legend, Jones meets or betters the source material through and through. I bought this collection a few years ago, and it has remained on the stack of 'to play now' cd's next to my stereo ever since.

For those who did not believe the union of soul and electronic music could yield authentic results that make the hair on your neck stand on end...your lesson begins now.

1980 Studio Album
In the late 1970's Grace Jones became something of a Disco Diva as she burst onto New Yorks club scenes with Disco hits such as I Need A Man and Do Or Die. However in 1980 following a new record deal with Island Records, home to various Reggae acts, Jones achieved further mainstream recognition with the superb Warm Leatherette album.

Grace Jones shifted musical direction for the Warm Leatherette (1980) project, divulging into a diverse blend of sounds and styles ranging from Reggae, Rock, New Wave, Funk and Soul. The finished results were some of Jones most compelling recording work.

This album was not least aided by the excellent production skills of Chris Blackwell and Alex Sadkin as well as the startling muscians behind her with Sly Dunbar on drums, Robbie Shakespeare on bass guirtars, Barry Reynolds and Michael Chung alternating on guirtars, Wally Badarou assuming keyboard duties and Uzziah Thompson jamming away on that pounding percussion. Jones inserts effectively through all eight of these inventive recordings as well as providing her own backing vocals.

The title track Warm Leatherette is an electric affair combining a striking mixture of Rock, New Wave and Reggae. Jones sounds even a little playful on the tracks chrous consisting of thrashing guirtar riffages.

Jones fantastic cover version of The Pretenders, Private Life is given a more definitive and unique working over where Jones seemingly scowls through the duration of each verse whilst then singing gently in that raw (though narrow) vocal style she became accustomed to on her next pair of albums. Private Life, encapsulating Reggae and New Wave vibes, deservedly became one of Jones' biggest hit singles in the U.K where it climbed its way to No.17 on the main U.K Top 40 Charts.

The bouncy, Funk-driven A Rolling Stone (which Jones co-wrote) featured Jones delivering a surprisingly more soulful performance whilst her rocking interpretation of Bryan Ferrys' Love Is The Drug is masterful with Jones delivery strong and assertive.

Jones' cover of an old Motown track The Hunter Gets Captured By The Game is instantly infectious with a sturdy lead by Jones and contagious musical arrangements that makes this one of the projects highlights.

Bulls*** is a little bland and silly and is the only real let down of the album though Jones does manage to slightly redeem it by delivering a spirited performance though of far stronger musical merit was the mellower tone of Breakdown, where Jones delivery is seemingly cradled with mixed emotions shifting from shining self-assurance to points of dispair and moments of vulnreability.

Pars conveys the more breathy, seamless quality in Jones voice that rarely surfaced on a lot of her earlier work at Island Records. The mood is more mellow and atmospheric with Jones becoming immersed into the swirling orchestrations.

Warm Leatherette (1980) alongside her subsequent release Nightclubbing (1981) contains some of her the very best tracks Jones ever recorded in her relatively short and somewhat erratic recording career and incidentally also became one of her biggest sellers. Without doubt, essential Grace Jones to fans of this extraordinary and off-the-wall Diva.


Ian Phillips