Volume - I Issue - X September 11th, 1988 Network AAA U U DDDD IIIII OOO A A U U D D I O O AAAAA U U D D I O O A A U U D D I O O A A UUU DDDD IIIII OOO BBBB IIIII TTTTT SSS B B I T S BBBB I T SSS B B I T S BBBB IIIII T SSS & Audio Software Review (c) Copyright 1988 by Michael A. Murphy All original materials Copyright by the Author ======================================================================== Please send all suggestions/comments/requests concerning Network Audio Bits & Audio Software Review via E-Mail to: Michael A. Murphy - Anyone wishing to send U.S. Snail mail may write to: Network Audio Bits P.O. Box 328 Orono, Maine 04473 ======================================================================== CONTENTS Editorial Compact Disc Reviews 1) Cool Blue Halo - Richard Barone 2) Reg Strikes Back - Elton John 3) Spices - Pierre Bensusan * By Mike Dow * Record Reviews 1) Phoenix Rising - Kerry Campbell 2) Take For Example This - Billy Childs 3) The World's Greatest Entertainer - Doug E. Fresh & the Get Fresh Crew 4) Melissa Etheridge - Melissa Etheridge 5) In Full Swing - Full Swing ) Sunbathing In Leningrad - David Hayes 6) Short Vacation - Kenny Vance ) New World - Karla Bonoff 7) Walking the Highwire - Tony Wilson New and Upcoming Release Announcements Concert Watch ======================================================================== EDITORIAL Welcome to the tenth issue of Network AUDIO BITS & Software Review! And since this is the time of year that classes begin anew, I should also welcome everyone who is taking classes back to school. This time of year is also seeing a lot of new releases by major artists and new, up and coming groups. The enclosed reviews are but a small cross section of new material and provide quite a variety of listening pleasures. If you're into the blues and/or rock/blues music, I have two recommendations which I did not get to review for this issue. They are Robben Ford's album _Talk to Your Daughter_ (Warner Brothers 25647-1) and The Leon Thomas Blues Band's album of the same name (Portrait OR 44161). Both albums feature blistering blues attacks, Ford's blending rock and blues, Thomas' sticking with a more traditional blues sound. The Robert Cray band has also released a new album which is supposedly excellent by all accounts I've seen or heard, but I have not yet heard the entire album. I'm looking forward to picking it up soon. Well, I don't have anything else that is earth-shattering to add, so I'll just stop typing and let you get on to the reviews. ======================================================================== Cool Blue Halo The Bulrushes Richard Barone I Belong to Me Producer: Richard Barone T The Visit Engineer: Randy Ezratty R Tangled in Your Web Passport PBCD 6058 A Silent Symphony Released: 1987 C Flew a Falcon Total Disc Time: 41:20 K Cry Baby Cry Source - CD S Sweet Blue Cage The Man Who Sold the World Performance: 10 Love is a Wind That Screams Sound Quality: 9 Numbers With Wings Richard Barone, best known for his roles of chief singer, guitarist and songwriter for The Bongos, gives listeners completely different sound on _Cool Blue Halo_. The combination of Jane Scarpantoni (member of the group Tiny Lights and also a much requested rock cellist for sessions) on cello, Nick Celeste on acoustic guitar, Valerie Naranjo on keyboards and percussion, and of course Barone on electric guitar, presents an intriguing canvas from which to begin creating. _Cool Blue Halo_ is a live recording of a show from the Bottom Line in New York City. The songs captured on this disc are culled from each of the Bongos recordings, a Barone/James Mastro album, new compositions, and covers of Marc Bolan, David Bowie and Beatles songs. The new versions of old Bongos tunes ("The Bulrushes", "Flew a Falcon", "Sweet Blue Cage", "Numbers With Wings") are different enough that any Bongos fan should pick this disc up just for the old tunes. Barone's covers are also worth the price of the disc, as he (and the group) aptly perform Marc Bolan's "The Visit", the chilling "The Man Who Sold the World" by David Bowie, and "Cry Baby Cry" by the Beatles. It will be obvious from the start that Barone is a Beatles aficionado. This album was recorded shortly before the CD release of "Sgt. Pepper's Lonely Hearts Club Band", and Barone could hardly not have paid homage to the group that inspired him to pick up his guitar in the first place. He chose to play "Cry Baby Cry", which, while being a classic Lennon/McCartney tune, is also one of the least covered Beatles tunes and therefor had not been covered to death by other artists. The new compositions ("I Belong to Me", "Tangled in Your Web", "Silent Symphony", "Love is a Wind That Screams") on _Cool Blue Halo_ fit right in with the rest of the songs. They are, at times, wistful, haunting tunes which definitely benefit from the arrangements and instrumentation. _Cool Blue Halo_ is the finest work Richard Barone has done. Hearing this disc had me listening to the Bongos records again, which are also very good records. _Cool Blue Halo_ is something I'll be listening to for a long time to come. I won't have to wait for the next Richard Barone album to induce me to break out his old recordings. ======================================================================== Reg Strikes Back Town of Plenty Elton John A Word in Spanish Producer: Chris Thomas T Mona Lisas and Mad Hatters (part two) Engineer: Bill Price R I Don't Wanna Go On With You Like That MCA MCAD-6240 A Japanese Hands Released: 1988 C Goodbye Marlon Brando Total Disc Time: 42:02 K The Camera Never Lies Source - CD S Heavy Traffic SPARS Code - DDD Poor Cow Since God Invented Girls Performance: 8 Sound Quality: 10 Elton John's _Live in Australia_ CD signalled his return to the MCA label after several albums on the Geffen label. _Reg Strikes Back_ is the first studio product created since he resigned with MCA. There isn't too much I can say about Elton John and his career that isn't either well known or easily available in another form, so I won't bother with any sort of history. _Reg Strikes Back_ is, in a sense, a comeback album for Elton. His last Geffen effort _Leather Jackets_ did absolutely nothing for me. It was, perhaps, his worst album since _Victim of Love_, though it was infinitely better than that LP. _Reg_ reminds me quite a bit of Elton's _Too Low For Zero_ album and also contains elements of _Breaking Hearts_. I guess it's not surprising to see some sort of repetition in Elton's work, since he's released close to or over 30 albums since 1969. There aren't any truly remarkable tunes here. However, they are all solid and consistent, which is something the songs on the last album were not. Elton's style hasn't changed any, really. Most of the tunes downplay Elton's piano, though he does kick in some good ivory banging here and there, featuring more of the band and a more varied instrumentation. Elton has several big name guests on the disc. Pete Townshend plays guitar on "Town of Plenty". Freddie Hubbard plays trumpet and flugel horn on "Mona Lisas and Mad Hatters (Part Two)", and Carl Wilson adds backing vocals on "God Invented Girls". _Reg Strikes Back_ is a welcome addition to the vast Elton John catalog. It's tough for anyone with as many recordings as Elton to continually put out superior works. And Elton's early seventies albums are certainly hard acts to follow. _Reg Strikes Back_ is a step back on the right track for Elton. ======================================================================== Spices La Femme Cambree Pierre Bensusan Mille Vallees Producer: Pierre Bensusan T Le Bateau Fiction Engineer: Bruno Menny R Alimatou CBS MK 42665 A Agadiramadan Released: 1988 C Shi Bhig, Shi Mhor Total Disc Time: 50:27 K La Cour Interieure Source - Compact Disc S The Last Pint SPARS Code - ADD,DDD+ Les Voiles Catalanes Montsegur Four A.M. Performance: 9 Sound Quality: 9 Pierre Bensusan was discovered by renowned fingerstyle guitarist Eric Schoenberg several years ago. When I first heard Bensusan's music, I immediately rushed out to find a copy of his CD, _Spices_. Being a follower of "New Age" guitarists William Ackerman, Michael Hedges, Chris Proctor and fingerstyle guitarist Eric Schoenberg, all of whom give great credit to Bensusan, I thought that something must be right about this man. _Spices_ is a pleasant mixture of solo guitar playing along with Bensusan's own style of Jazz with his backup group. His music is mellow and relaxing, filling the listener with intrigue as to the abilities of the group - All very talented musicians. A few interesting notes about the CD bring Bensusan's talent out even further; his use of the DADGAD tuning (exclusivly) has a very large impact on the color of the music, both solo and jazz. His exclusive use of Lowden guitars and banks of electronics (thus the 'electro-acoustic' name Pierre gives his guitar style) bring out a crisp, clear sound without allowing any electric-type distortion into his music. Of special note to musicians and listeners are "La Femme Cambree" and "The Last Pint" which point out the melodic power and ability which has made Bensusan well known in the guitar world. For a pleasant change of pace from the seemingly unstructured New Age music found in many new guitarist's music, I would recommend a listen to _Spices_. You won't be disappointed! * By Mike Dow * ======================================================================== Phoenix Rising Phoenix Rising Kerry Campbell Long as I can See the Light Producer: Richard Bock T Call Me Engineers: John X., Larry Goetz, R From Me to You Jimmy Mayweather A Underground Express Contemporary C-14041 C Why She Went Away Released: 1988 K Make Me Shake Total Disc Time: 42:46 S When Sunny Gets Blue Source - LP Armed and Dangerous Performance: 10 Sound Quality: 9.5 If you want to be impressed, and perhaps pleasantly surprised, go out and buy _Phoenix Rising_ by alto-saxophonist Kerry Campbell. Play it before you read the liner notes or the rest of this review. Ok, now that you've listened and have presumably read the liner notes, I'm sure you'll agree with me when I tell you that there is little that I can add to what has been said and heard. _Phoenix Rising_ is hot. It is an intense album. If you've read this far without listening to _Phoenix Rising_, then I guess I should tell you a little bit about Kerry Campbell and the album. Kerry has been involved in the music industry since 1975, working for five years as Music Director of The Dramatics. He also served in a similar capacity with the Isley Brothers and has worked with the Manhattans, the Ohio Players, Gino Vannelli and Ike & Tina Turner. While in high school Kerry played local Detroit clubs with a group comprised of, at one time or another, Detroit high school kids such as Earl Klugh, Ray Parker, Jr., Reggie McBride, Lyman Woodard and Marcus Belgraves. Campbell and Klugh were the nucleus of the group and also performed as a duo. Up until Kerry's move to Los Angeles he played the tenor saxophone. He made the switch to alto after moving to L.A. in 1984. Shortly after Kerry moved he began jamming with musicians like Herbie Hancock, Stanley Clarke and George Duke. He began to make a name for himself on the L.A. scene. He sat in with jazz legend Jay McShann at Vine Street Bar & Grill, playing "Hootie Blues" in honor of his boyhood idol Charlie Parker (who'd made his recording debut with McShann nearly 50 years ago). As Kerry's reputation spread he found himself working with some top jazz names such as George Cables, Tootie Heath and Ernie Andrews. Last year, noted jazz writer Leonard Feather wrote in the L.A. Times that Kerry "could reach the heights already attained by, say, Frank Morgan. Creatively, he already starts off where Kenny G. leaves off." This is no faint praise as Feather has called Frank Morgan "the greatest living alto saxophonist." Though I am not as learned or as experienced within the realm of jazz, I have to agree with Feather's comments. Within the past year I have been overwhelmed by Frank Morgan's recent albums and Kerry Campbell's _Phoenix Rising_ has affected me in much the same way. The late Richard Bock signed Kerry to the Contemporary label and produced _Phoenix Rising_. The album is dedicated to the memory of Richard Bock. In putting together the sidemen for this recording Bock was concerned about finding players who were as versatile as Kerry. Kerry's musical background has encompassed everything from bebop to gospel to r&b. Accompanying Kerry on _Phoenix Rising_ are Rob Mullins (who wrote four and co-wrote one of the nine tracks) on keyboards, Ray Fuller on guitar, Martin Ruddy on bass, and Gregg Field (who wrote and produced the final track on the lp 'Armed and Dangerous') on drums. Mullins and Ruddy are both recent arrivals in California, having performed together in Denver for eight years. Gregg Field has worked with the Count Basie Orchestra and Ella Fitzgerald. Ray Fuller's credits include Earth, Wind & Fire, Hubert Laws, and the Pointer Sisters. _Phoenix Rising_ is, ostensibly, a jazz fusion album. But a closer listen will show that Kerry Campbell's music can't be easily pigeon- holed by putting a label on it. Ultimately, his music *is* a fusion of his r&b, soul and gospel influences and his own musical sensibilities, but to merely label _Phoenix Rising_ as a fusion album would be doing it a terrible disservice. ======================================================================== Take For Example This... Billy Childs Quiet Girl Producers: Billy Childs and T One Fleeting Instant Andy Narell R Timeless Engineer: Allen Sides A Room 101 Windham Hill Jazz WH-0113 C Backwards Bop Released: 1988 K Take For Example This... Total Disc Time: 45:08 S An Afterthought Source - LP Performance: 9.5 Sound Quality: 10 Billy Childs' Windham Hill Jazz debut is a stylish, intriguing recording. Windham Hill, most well known for its New Age roster, is expanding its horizons and has released several jazz records on their Windham Hill Jazz subsidiary label. _Take For Example This_ opens up with "Quiet Girl", a tune which feels immediately familiar, even on the first listen. Childs' piano and Bob Sheppard's soprano saxophone are featured. "One Fleeting Instant" stretches out and allows Childs to display his chops. Steve Houghton (drums) and Tony Dumas (acoustic bass) also strut their stuff. "Timeless" opens up with a pace that suggests the title. The tune, maintaining this pace almost throughout, appears to transcend time. One can easily get lost within its framework and then get jolted back to real time when the music fades and the upbeat, quicker "Room 101" kicks in. "Take For Example This..." had me as enthralled as I was with "Timeless". Both songs are subdued, yet very strong. The e.e. cummings poem of the same name is printed on the inner sleeve. Reading the poem while listening to the tune can only be experienced and cannot be described. Your results may vary. As a teenager at Midland prep school in Los Angeles, Childs attempted to master the sounds of an Emerson, Lake and Palmer album, playing by ear on the piano in the empty dining hall. Long before this first attempt at playing, Childs had been drawn to the jazz idiom by players like Herbie Hancock and Freddie Hubbard. At Hamilton High School in Culver City, Childs began playing jazz. At 17, he had worked in his first bands while also pursuing classical studies at the USC Community School, where he first studied music theory. He successfully auditioned for the USC School of Music and graduated with a bachelors degree in composition in 1979. 1978 saw Billy tour with one of his personal favorites, Freddie Hubbard. Though still in school, Childs played an East Coast tour with Hubbard and also toured Europe with the trumpeter during the summer break of his junior year. After a few more gigs with Hubbard, Billy returned to finish his last year of school. In 1981, Billy composed four pop songs to lyrics written by his sister Kirsten, which set a foundation for his development as a writer. From there, Childs experimented with orchestration and composition, creating two works ("Lunacy" and "The Coming of Spring") which were pivotal for him. This period of writing also prepared him for his first solo album, _Midland_ (named for the prep school), which followed soon after. In 1984 Childs met producer Andy Narell, who responded favorably to a Childs demo and the early album. This meeting led to Childs' Windham Hill Jazz debut album, _Take For Example This_. Of the new album, Billy says, "It's important to me that it was done acoustically. Also, the playing was the common thread tying it all together. On my earlier projects, the playing was more subordinate, to enhance the writing. Now my priorities are different." _Take For Example This_ should garner Childs quite a bit of attention in the jazz world. It will also help to enhance Windham Hill's expanding, changing image. _Take For Example This_ is a mainstream instrumental jazz album, and a good one. Childs and Windham Hill should both be commended for their efforts. ======================================================================== Guess? Who? The World's Greatest Entertainer Every Body Got 2 Get Some Doug E. Fresh & the Get Fresh Crew D.E.F.=Doug E. Fresh Producers: Doug E. Fresh & the T On the Strength Get Fresh Crew R Keep Risin' to the Top Engineer: Ollie Cotton A Greatest Entertainer Reality F-9658 C I'm Gettin' Ready Released: 1988 K Cut That Zero Total Disc Time: 48:08 S The Plane (So High) Source - LP Ev'rybody Loves a Star Crazy 'Bout Cars Performance: 9 Africa (Goin' Back Home) Sound Quality: 9 "I got just enough time to say my rhymes" are lyrics that set the tone of _The World's Greatest Entertainer_. From the opening introduction and Woody Woodpecker "cameo" the listener is fed a steady stream of vocals, underscored by a steady, booming backbeat. Even between songs there is barely enough time to draw a breath and get ready for the next. _The World's Greatest Entertainer_ is the first Rap/Hip Hop album that I've heard that really holds my attention. Admittedly, I haven't heard many Rap albums, but most of the rap that makes its way this far north has bored me very quickly. At it's most accessible points, _The World's Greatest Entertainer_ reminds me of some of the funkiest Brothers Johnson material and of Heatwave, especially on "Keep Risin' to the Top", which borrows a portion of its chorus ("Ain't no half-steppin'") from the 1977 Heatwave song of the same name. "Keep Risin'" has been released as the first single and has already reached the top of the charts. Doug E. Fresh's lyrics are at times somewhat corny ("when we make love it's like a plug in a socket"), but fit in so well with the overall song that it's only corny when you take it out of the song. Like a great poet or a bard of ancient times, Doug E. Fresh is at his most spellbinding when his words and music paint a picture that takes the listener out of the here and now, as he does on "The Plane (So High)". The atmosphere 'pictured' on "The Plane" is vivid enough that one feels as if one were floating in the clouds without the benefit of mechanical assistance. In 1985 Doug E. released "The Show", which is probably well known to those of you who frequent the dance floors of America. "The Show" (a 12-inch single) was certified gold and became the sixth-biggest-selling 12-inch single in any genre. In 1986 Doug E. released _Oh My God_ (F-9649) which tackled such topics as drug use, abortion and relationships within its grooves. _Oh My God_ produced two hits: "All the Way to Heaven" and "Play This Only at Night". Since the release of _Oh My God_ Doug has been active, touring with Midnight Starr, Cameo, Run D.M.C., and L.L. Cool J, and making personal appearances at local public schools for New York Governor Mario Cuomo's "Anti-Drug Campaign". _The World's Greatest Entertainer_ references or borrows from some well known and respected entertainers, such as Woody Woodpecker, Spiderman, Marvin Gaye, Duke Ellington, Heatwave and Billy Joel. Only time will tell whether Doug E. Fresh and the Get Fresh Crew will be remembered along with entertainers such as these (among others) and whether he can live up to the album title, the world's greatest entertainer. It's a lofty claim, an admirable ambition and might just prove to be true as Doug's career progresses. ======================================================================== Melissa Etheridge Similar Features Melissa Etheridge Chrome Plated Heart Producers: Craig Krampf, Kevin T Like the Way I Do McCormick, Melissa Etheridge R Precious Pain and Niko Bolas A Don't You Need Engineer: Niko Bolas C The Late September Dogs Island 90875-1 K Occasionally Released: 1988 S Watching You Total Disc Time: 45:58 Bring Me Some Water Source - LP I Want You Performance: 9 Sound Quality: 9 Melissa Etheridge's gritty vocals grab your attention from the start ("Similar Features") and don't let up until the end ("I Want You"). They also reflect some of the "tough" attitude which Melissa portrays on the album cover. She is decked out in a leather jacket and also has quite a bit of metal jewelry displayed on her person. Melissa wrote all the songs on the LP. She plays acoustic guitar and is backed by Craig Krampf on drums and Kevin McCormick on bass. The tracks were cut live at Cherokee Studio I last October and additional overdubs are done by Waddy Wachtel (guitar), among others. There are obvious vocal comparisons that can be made with other female singers, such as Kim Carnes and Stevie Nicks, though Melissa is more of a straight ahead rocker than either of the above. The music here really rocks and even the slower, ballad tracks have some bite to them. Over and above the music, Melissa's voice is prominently featured. Even when the music is really cooking, her voice rises above it, as it does at the end of the chorus of "Bring Me Some Water." The songs here are all impressive. In particular, "Precious Pain" is a nice acoustic guitar ballad. "Occasionally", sung with only a percussive, guitar thumping backing, really displays her vocal talents and is a gut wrenching song, to boot. "Watching You" sounds like a great song to perform in a club setting, up close and personal. "Bring Me Some Water" has been getting some airplay and is a very catchy, accessible rocking tune. All in all, Melissa Etheridge has delivered a gutsy and compelling album. Here's hoping a followup album won't be long in coming! ======================================================================== Full Swing 2 Good 2 Be 4Gotten In Full Swing Last Port of Call Producer: Morgan Ames T Dance of the Seven Veils Engineer: Craig Burbidge R The Jungle Cypress 661 124-1 A We're Rockin' in Rhythm Released: 1987 C Anything Can Happen Here Total Disc Time: 38:47 K Palacio Do Samba Source - LP S Long Lost Lover Digital Recording Busted For Boppin' September Rain Performance: 9 Sound Quality: 9 _In Full Swing_ is a smart album which blends jazz, pop and rock styles with emphasis on the vocals of the trio. For seven years Lorraine Feather and Charlotte Crossley have been two-thirds of Full Swing. Prior to recording _In Full Swing_, finding the last one-third of the trio must have seemed like plucking guys out of a revolving door. Danny Beard (formerly of the 5th Dimension) died in a fire before the first album was recorded. Steve March (son of Mel Torme) recorded with Lorraine and Charlotte on "The Good Times Are Back" and the group even performed with Mel at the Kool Jazz Festival. In all there have been more than 14 men who've sung with the two women. Currently, and hopefully for some time to come, Augie Johnson is that last third of the trio. And his role can only become more defined as the group matures. Johnson's presence underscores and supports Feather and Crossley well. His voice adds to the LP's smooth as silk sound. Most of the lyrics on _In Full Swing_ were written by Lorraine. The music was composed by several different writers, among them Russ Freeman (of the Rippingtons), and Michael & Danny Sembello. Two of the tunes are vocal versions of jazz standards. "We're Rockin' in Rhythm" is a vocal version of the Duke Ellington/Harry Carney tune "Rockin' in Rhythm" and "September Rain" is a vocal version of Billy Strayhorn's "Chelsea Bridge". On a short side note, Lorraine's father is noted jazz critic/writer Leonard Feather. I wonder what he thinks of the group and the LP... In larger radio markets you should be able to hear some of these tracks on stations of various formats. The material is definitely not top-40 oriented, but then, if you've been around music long enough to figure out that there's more to it than a few power chords and a screaming vocalist, then you'll probably enjoy this record. ======================================================================== Short Vacation - Kenny Vance (Gold Castle 171 011-1) Sunbathing In Leningrad - David Hayes (Gold Castle 171 012-1) New World - Karla Bonoff (Gold Castle 171 014-1) Three of Gold Castle's recent releases are from artists who have been in the music business for a long time. Karla Bonoff is the only one of the three who is relatively well known as a solo performer. David Hayes is probably known to Van Morrison fans. After jamming with Morrison one day, he stayed with the band for 15 years. In addition to his instrumental duties, Hayes also helped Morrison out on the business end of the band, dealing with people, breaking in musicians and sometimes booking gigs. Kenny Vance is most well known as a former member of Jay and the Americans. He has also been involved with scoring and/or producing film soundtracks such as "American Hot Wax", "Animal House", "Streets of Fire", "Eddie and the Cruisers", and most recently the title song to John Water's film "Hairspray". Karla Bonoff has released three previous LPs and has achieved modest commercial success. She has not released an album since 1982's _Wild Heart of the Young_. Each of her three previous albums was released by Columbia. Fans who have seen her perform around the country now have the answer to their often asked question of when Karla would release a new album. _Sunbathing in Leningrad_ has begun showing up in New Age bins in record stores. Its gentle, soothing, passionate compositions lend credence to this categorization. Hayes is somewhat similar to Michael Hedges in style, though his playing is not as forceful as Hedges'. The music on _Sunbathing_ uses mostly an acoustic 12-string guitar 'colored' with a synthesiser. Hayes' compositions draw subtly from such diverse musical influences as Celtic Folk, Jazz, Blues and New Age. "China" is the only cut which is not completely instrumental. On the songs of _Short Vacation_ Kenny Vance says, "I wasn't interested in copying the tunes, but rather in playing them as I remembered them in my imagination. The oldies are like friends I've had for thirty years." For the most part, I like this record, but it's not something that I will listen to often, though the next time I make a tape of assorted songs for the car, I'll include "Trickle, Trickle" on it. I imagine for someone who grew up in Kenny Vance's time, these songs would provide a short vacation back to one's youth. For the younger crowd (which I'm barely hanging on to being a part of) these songs are just interesting rearrangements of oldies. Karla Bonoff has been active writing songs during her recording hiatus. She and J.D. Souther were involved in writing songs for 1986's "About Last Night" soundtrack. Karla was also a part of the "Footloose" soundtrack, singing "Somebody's Eyes". Karla has long lived in the shadow of Linda Ronstadt, who recorded three of Karla's tunes on her _Hasten Down the Wind_ album. Even six years after Karla's last album there is still a connection with Ronstadt. Producer Mark Goldenberg wrote three of the songs on Ronstadt's _Mad Love_ album. He also founded the Cretones, who were Ronstadt's backing group on _Mad Love_. Kenny Edwards, formerly a bandmate of Karla's in the group Bryndle and later a member of Ronstadt's band, introduced Ronstadt and Bonoff and contributes backing vocals here on "Tell Me Why". No one songs stands out on _New World_, though the opener "How Long" is the weakest track and is also the only track not written by Karla. Her lyrics are simply stated, though her images shine through the simplicity. Her emotions on _New World_ seem to be mixed. I can certainly understand her feelings. And this is Karla's strong suit, relating to everyone about situations and experiences that are virtually universal in a normal adult lifespan. _New World_ probably won't expand Karla's audience much, but it should sell quite well to those who've already bought more than 1.5 million copies of her previous three albums. Now, if each fan can introduce someone new to the album it could become more successful than expected. And wouldn't that be a nice way to welcome Karla back to recording! ======================================================================== Walking The Highwire Walking the Highwire Tony Wilson Right Side of the Night Producers: Derek Lawrence & T Mandela (Not Even Rivers Run Free) Jim Sullivan R One Time Lover Engineer: Nick (Parrot) McGurk A Who's Got the Money Cypress YL 0113 C Situation Released: 1988 K Part of What You'll Get Total Disc Time: 41:35 S The Way I Feel Source - LP Memories of the Moment Performance: 9 Sound Quality: 9 There is a good chance that you might be familiar with some of Tony Wilson's past work, though you may not be aware of it. Wilson was one of the lead singers and principal songwriters in Hot Chocolate, who were more popular in Great Britain than they were here in the U.S., though they did have some chart success here on their own and one of their British hits ('Brother Louie') was a million-seller for the American group The Stories in 1973. "The Very Best Of Hot Chocolate" reached the top of the British charts as recently as last year. Wilson has also had his songs covered by such diverse groups/artists as The Spinners, The Floaters, April Wine, O.C. Smith, Mary Hopkin and The Undisputed Truth. In 1978 Wilson left Hot Chocolate to go solo and signed with Bearsville Records. He released two albums for the label ("I Like Your Style" and "Catch One"), the latter containing the song 'Just When I Needed You Most' which he co-wrote with Randy Van Warmer, who had a hit with his own version of the song. After living in England, and then briefly in the U.S., Wilson returned to his native Trinidad where he produced local performers and compiled a collection of new songs. "_Walking The Highwire_ is a collection of contemporary love songs..." reads the press release. Not only is this true, but these are love songs with a realistic bent. They are not sappy or syrupy. Their messages are succinct and there is no wasted verbiage. The title cut, a bright, funky track, opens the album. 'Right Side of the Night' follows, slowing down the tempo with a nice, insinuating rhythm. 'Mandela (Not Even Rivers Run Free)' picks up the funk groove again and approaches reggae with its rhythms, though the beat is not as dominant as in most reggae songs. 'Mandela' tries to express how Mandela himself felt about Africa. With the current international focus on Mandela and South Africa, this well crafted song could generate more attention, for South Africa and also for Wilson's album. With sensitive, simple, but stinging lyrics ("You're every breath that I take/Every move that I make/Every word that is true.", "Africa I go to jail in Africa/I get no bail in Africa.") Wilson makes his point without preaching. 'One Time Lover' closes out side one of the LP and is also gently flavored with reggae/Caribbean rhythms. The first three tracks on side two are the strongest on the LP. Wilson takes us on a short trip, where a couple is splitting up after a lengthy relationship and after all the ups/downs/goods/bads it's all coming down to the lawyers asking "Who's Got The money?" The trip moves on to a 'Situation' where a guy is completely enthralled by a girl, and because of the perspective, the girl appears to be in control of the relationship, though it's difficult to say whether she has any emotional attachment or feelings ("You can do what you want with your love and you love it" "What you do, it's your own thing/It's your own, it's your business."). The trip winds up with 'Part of What You'll Get', bringing us back into a romantic vein after tarrying on the down side of love ("Well I can tell you this is like a dream come true/So the least that I can do, is give it back to you/And even love won't know love is so beautiful."). The two remaining tracks are notable for different reasons. 'The Way I Feel' has a very definite Lennon/McCartney feel to the writing and Wilson furthers this impression with his vocals. Likenesses aside, the tune stands on its own, and provides a bridge between our above trip and our final destination. Unfortunately, 'Memories of the Moment', leaves us on the bridge, unable to get to the other side. The nice thing about this is that we can still go back and follow the road that got us here. Though not a bad song, 'Memories' is just not up to par with the rest of the lp. Which is too bad. However, the rest of the music here more than makes up for it! ======================================================================== NEW RELEASES Newly released from Fantasy Inc. -------------------------------- Compact Discs ------------- Blame it On My Youth - Art Farmer Quintet (Contemporary CCD-14042-2) Yardbird Suite - Frank Morgan Quartet (Contemporary CCD-14045-2) Show Time - Arnett Cobb, Dizzy Gillespie, Jewel Brown (FCD-9659-2) Have a Good Time - Ruth Brown (Fantasy - FCD-9661-2) The Carmen McRae-Betty Carter Duets - Carmen McRae/Betty Carter (Great American Music Hall GAMHCD-2706-2) Cruisin' the 'Bird Bobby Hutcherson (Landmark LCD-1517-2) Cleanhead & Cannonball - Eddie "Cleanhead" Vinson with the Cannonball Adderly Quintet (LCD-1309-2). LP recorded 9/61 and 2/62. Gemini Man - Claudio Roditi (Milestone MCD-9158-2) Tonal Paintings - Cliff Habian Quintet (Milestone MCD-9161-2) You're Gonna Hear From Me - Bill Evans (Milestone MCD-9164-2). LP recorded 11/69. Loose Walk - Count Basie/Roy Eldridge (Pablo PACD-2310-928-2). LP recorded 4/72. Blues For Fred - Joe Pass (Pablo PACD-2310-931-2) For My Pals - Harry "Sweets" Edison (Pablo PACD-2310-934-2) The Complete Riverside Recordings - Thelonius Monk (15 CD set, $225 list price, Riverside RCD-022-2) The Dramatics Live (Stax SCD-8545-2). LP recorded 8/72 & 10/73. Blues At Sunrise - Albert King (Stax SCD-8546-2). LP recorded 7/73. In a Mellow Tone - Coleman Hawkins (OJCCD-6001-2). Recorded 1958-61. Cedar Walton Plays Cedar Walton (OJCCD-6002-2). Recorded 1967-69. Soul Classics - Sonny Stitt (OJCCD-6003-2). Recorded 1962-72. Greatest Hits - Mose Allison (OJCCD-6004-2). Recorded 1957-59. Greatest Hits, V. 1 (1960's) - Gene Ammons (OJCCD-6005-2). Recorded 1960-62. Newly released from Windham Hill -------------------------------- LPs (titles are also available on CD) ------------------------------------- At The End Of The Evening - Nightnoise (Windham Hill WH-1076) Newly released from Gold Castle ------------------------------- LPs (titles are also available on CD) ------------------------------------- New World - Karla Bonoff (Gold Castle 171 014-1) Back To The Front - Bob Neuwirth (Gold Castle 171 015-1) Forthcoming albums ------------------ _Mood Swings_ on Milestone by singer Carla White is due in mid- September. _Songs For Tomorrow Morning_ by The Bobs is set for an early fall release on Great American Music Hall Records. _Signature_ by Richie Cole is due to be released in late September on Milestone Records. ======================================================================== CONCERT WATCH ***NOTE*** All information concerning concert dates is subject to change without notice. Ruth Brown is rehearsing for her starring role in the Broadway production of the musical _Black and Blue_ which opens November 16th at the Minskoff Theater. She will be taking time out from rehearsals to perform at the Long Beach (CA) Blues Festival on 9/17. The Art Farmer Quintet featuring Clifford Jordan will be appearing at Sweet Basil in New York from 10/4-16, and at the Jazz Showcase in Chicago from 10/25-30. Guitarist Joe Pass will be performing in and around Europe (Rome - 10/13-17, Sofia, Bulgaria - 10/30, London - 10/31-11/5) then will return to the States for shows in Philadelphia (11/12), Pontiac, MI (11/15-20) and the Jazz Showcase in Chicago (11/22-27). Trumpeter Tom Harrell will be at Blues Alley in Washington, DC (9/13), then will tour Canada from 9/14-22. He will also be appearing at Kimball's in San Francisco (9/23-24), Bach Dancing & Dynamite Society, Half Moon Bay, CA (10/2), and at College, Spokane, WA (10/4-5). Carla White opened a three week engagement at Chicago's Gold Star Sardine Bar on 9/6. She will also be appearing at Kimball's in San Francisco on 11/4-5. Richie Cole will be appearing at the Monterey (CA) Jazz Festival (9/16), Fat Tuesday's in New York City (9/27-10/1), Jazz Society, Gainesville, FL (10/11), Austin Street Cafe, Bridgeport, CT (10/22), and the Hollywood (FL) Jazz Festival (10/23). The Bobs will be performing at Kuumbwa Jazz, Santa Cruz, CA (9/24), The Palms, Davis, CA (9/30-10/1), Tampa Bay (FL) Performing Arts Center (10/8), Iron Horse, Northampton, MA (10/11-12), Somerville (MA) Theater (10/13 or 14), Michigan Theater, Ann Arbor, MI with ISO Dance Troupe (11/18). Sonny Rollins will be appearing in Montpelier, VT (10/1), at Roanoke College, Salem, VA (10/11), Blues Alley, Baltimore (10/13), Blues Alley, Washington, DC (10/18), Trocadero, Philadelphia (10/26), Bottom Line, New York City (11/11-12) and Charles Hotel Ballroom, Cambridge, MA (11/20). ========================================================================