What Are You Listening To?

[Dennie]

Today's work truck music.....

Abandoned Luncheonette -- CD

Daryl Hall & John Oates

1973 Atlantic Records

Best early Hall & Oates, September 11, 2000
By David Hugaert (Honolulu, HI United States) - See all my reviews
(REAL NAME)
This review is from: Abandoned Luncheonette (Audio CD)

"Abandoned Luncheonette" features the kind of music at which Daryl & John are most adept-Philly Soul. All the songs here are excellent, with the cream of the crop being "When The Morning Comes", "Las Vegas Turnaround", "I'm Just A Kid (Don't Make Me Feel Like A Man)", the title track, "Lady Rain" and "Laughing Boy". "Everytime I Look At You" is the most soulful track on this CD, which has a "hillbilly" banjo and violin-laden instrumental at the end. This is probably as close to country that H & O ever got! This has to be the best CD in their entire catalog. Oh, and "Abandoned Luncheonette" also contains their first hit single, "She's Gone", which appeared on the Billboard charts on two separate occasions. If you are a fan of soul and/or pop music, you can't go wrong here. Please buy this CD!

"When The Morning Comes" (Daryl Hall) – 3:12
"Had I Known You Better Then" (John Oates) – 3:22
"Las Vegas Turnaround (The Stewardess Song)" (Oates) – 2:57
"She's Gone" (Hall, Oates) – 5:15
"I'm Just A Kid (Don't Make Me Feel Like A Man)" (Oates) – 3:20
"Abandoned Luncheonette" (Hall) – 3:55
"Lady Rain" (Hall, Oates) – 4:26
"Laughing Boy" (Hall) – 3:20
"Everytime I Look At You" (Hall) – 7:04

 

[topper]

<>

........................

bscene-drinkingcheers:

 

[Dennie]

Today's work truck music...

Little Queen -- CD

Heart

1977 Portrait Records

Heart's sophomore effort, 1977's LITTLE QUEEN, was another strong and classic release for the band, despite the fact that they were caught up in a nightmarish legal wrangle with their former record label (who issued the half-finished album MAGAZINE shortly after LITTLE QUEEN, against the band's wishes).The raging and venomous "Barracuda" remains one of Heart's best rock tracks, while the gorgeous "Love Alive" is an engaging acoustic number. With LITTLE QUEEN, Heart solidified their standing as one of the late-'70s biggest hard rock acts, possessing the perfect mixture of good looks and great hooks.

Track Listing
1. Barracuda
2. Love Alive
3. Sylvan Song
4. Dream of the Archer
5. Kick It Out
6. Little Queen
7. Treat Me Well
8. Say Hello
9. Cry to Me
10. Go on Cry

Ann Wilson (vocals, guitar, violin, flute, keyboards); Nancy Wilson (vocals, guitar, piano); Lynn Wilson Keagle (vocals); Roger Fisher (guitar, electric guitar, steel guitar, mandolin); Michael DeRosier (drums, tabla, timpani, percussion, chimes); Mike Flicker, Steve Fossen (percussion).Recording information: Kaye Smith Studios, Seattle, WA (02/1977-04/1977)

 

[Haywood]

Listening to Tequila Sunrise by the Eagles while drinking a Tequila Sunrise.

 

[Zing]

^Thank God you're not listening to any Lance Bass songs. :scared-eek:

 

[Botch]

Listening to Tequila Sunrise by the Eagles while drinking a Tequila Sunrise.

And having an eagle reply to your thread. :angelic-green:

 

[Dennie]

Today's work truck music...

Never Die Young -- CD

James Taylor

1988 Columbia Records

Another Number One Album For Old "JT"!, August 25, 2000
By Barron Laycock "Labradorman" (Temple, New Hampshire United States) - See all my reviews
(TOP 50 REVIEWER) (REAL NAME)
This review is from: Never Die Young (Audio CD)

James Taylor has given us so many wonderful albums over the last couple of decades (Gee, is it thirty years already?) that it is truly surprising to see him come up with yet another blockbuster of a song as "Never Die Young" along with a wonderful song cycle as he's produced here. From the opening bars of "Never Die Young", a wry but dreamy recollection of a couple destined to rise above the level of the ordinary humdrum of small town mentality to the thoughtful and well-arranged "T-Bone" to the reflective "Baby Boom Baby" to the rollicking "Sweet Potato Pie", there isn't a pooch in the passel. As always, this is an eclectic mixture of folk ballads like "Never Die Young" and the pensive and soulful "First Of May", which is my personal favorite here. What we have here, folks, is a guarantee of an entertaining, superbly rendered, and always memorable music by one of the old masters of popular folk-rock. After all, "JT" has now successfully negotiated the fifty-year mark, and like the rest of us boomers, shows no sign of slowing down or repeating himself. Enjoy!

All songs were written by James Taylor, except where noted.

"Never Die Young" – 4:24
"T-Bone" (Bill Payne, Taylor) – 3:47
"Baby Boom Baby" (Taylor, Zachary Wiesner) – 4:59
"Runaway Boy" – 4:18
"Valentine's Day" – 2:35
"Sun on the Moon" – 4:09
"Sweet Potato Pie" – 3:30
"Home by Another Way" (Timothy Mayer, Taylor) – 3:50
"Letter in the Mail" – 4:41
"First of May" – 4:01

 

[Botch]

The guys had a 3-night gig in London and were able to book a single, 12-hour day in Abbey Road studios. They set up as a band and all played together (vocals were added later in Chicago). The first six tracks they played through 5-8 times to ensure they got a keeper; the last four planned tracks they played without stopping, one take (they also did I Want You (she's so heavy) as an homage to where they were, and thankfully tacked it onto the album.
Not a lot of post-processing done to these recordings, that I can hear, they just let the natural reverb in Studio 2 do the talking, and it sounds nice! :music-listening:

 

[Dennie]

Today's work truck music...

Sailing To Philadelphia -- HDCD

Mark Knopfler

2000 Warner Bros. Records

Amazon.com

Former Dire Straits leader Mark Knopfler's second proper solo album (he's remained preoccupied with soundtrack work through the years) is a stirring and considered set of transatlantic blues. The collection is bolstered by contributions from Van Morrison ("The Last Laugh") and James Taylor (the title track), while Knopfler's guitar playing remains fresh and alive as he merges country and folk picking with electric blues. But it's as a writer that he really impresses: "Baloney Again" is a sensitive portrayal of a black gospel outfit in Jim Crow America; the title track is an intriguing distillation of Thomas Pynchon's doorstopper novel, Mason & Dixon; and "Silvertown Blues" is a stirring appreciation of blue-collar endeavor. A lovingly and honestly crafted collection, Sailing to Philadelphia shows Knopfler's talent and commitment remain as strong as ever. --Gavin Martin

"What It Is" – 4:57
"Sailing to Philadelphia" – 5:29 (Mark Knopfler/James Taylor)
"Who's Your Baby Now" – 3:05
"Baloney Again" – 5:09
"The Last Laugh" – 3:22
"Do America" – 4:11
"El Macho" – 5:29
"Prairie Wedding" – 4:26
"Wanderlust" – 3:52
"Speedway at Nazareth" – 6:23
"Junkie Doll" – 4:34
"Silvertown Blues" – 5:32
"Sands of Nevada" – 3:56


Mark Knopfler – guitars and vocals
Richard Bennett – guitars and other string instruments
Jim Cox – piano and organ
Guy Fletcher – keyboard and backing vocals
Glenn Worf – bass guitar
Chad Cromwell – drums

There are many guest appearances by other musicians on various tracks, including:

James Taylor – vocals on "Sailing to Philadelphia"
Van Morrison – vocals on "The Last Laugh"
Gillian Welch and David Rawlings – vocals on "Prairie Wedding" and "Speedway at Nazareth"
Glenn Tilbrook and Chris Difford – vocals on "Silvertown Blues"
Aubrey Haynie – violin on "What It Is" and "Speedway at Nazareth"
Paul Franklin – pedal steel guitar

 

[mcad64]

 

[Dennie]

Today's work truck music....

Back To Black -- CD

Amy Winehouse

2006 Island Records

From Amazon.co.uk

Amy Winehouse's second album, Back to Black, is one of the finest soul albums, British or otherwise, to come out for years. Frank, her first album, was a sparse and stripped-down affair; Back to Black, meanwhile, is neither of these things. This time around, she's taken her inspiration from some of the classic 1960's girl groups like the Supremes and the Shangri-Las, a sound particularly suited to her textured vocal delivery, while adding a contemporary songwriting sensibility. With the help of producers Mark Ronson and Salaam Remi, "Rehab" becomes a gospel-tinged stomp, while the title track (and album highlight) is a heartbreaking musical tribute to Phil Spector, with it's echoey bass drum, rhythmic piano, chimes, saxophone and close harmonies. Best of all, though, is the fact that Back to Black bucks the current trend in R&B by being unabashedly grown-up in both style and content. Winehouse's lyrics deal with relationships from a grown-up perspective, and are honest, direct and, often, complicated: on "You Know I'm No Good", she's unapologetic about her unfaithfulness. But she can also be witty, as on "Me & Mrs Jones" when she berates a boyfriend with "You made me miss the Slick Rick gig". Back to Black is a refreshingly mature soul album, the best of its kind for years. --Ted Kord

1. "Rehab" Amy Winehouse Mark Ronson 3:35
2. "You Know I'm No Good" Amy Winehouse Mark Ronson 4:17
3. "Me & Mr Jones" Amy Winehouse Salaam Remi 2:33
4. "Just Friends" Amy Winehouse Salaam Remi 3:13
5. "Back to Black" Amy Winehouse, Mark Ronson Mark Ronson 4:01
6. "Love Is a Losing Game" Amy Winehouse Mark Ronson 2:35
7. "Tears Dry on Their Own" Amy Winehouse, Nickolas Ashford, Valerie Simpson Salaam Remi 3:06
8. "Wake Up Alone" Amy Winehouse, Paul O'Duffy Mark Ronson 3:42
9. "Some Unholy War" Amy Winehouse Salaam Remi 2:22
10. "He Can Only Hold Her" Amy Winehouse, Richard Poindexter, Robert Poindexter Salaam Remi 2:46
11. "Addicted" Amy Winehouse Mark Ronson 2:46

 

[Dennie]

Today's work truck music....

Cocker -- CD

Joe Cocker

1986 Capitol Records (Import UK)

For Blues Lovers, this CD is a too-well kept secret October 1, 1998
By A Customer
Format:Audio CD
What's nice about this CD is that it lets you hear Cocker's style on songs besides the ones he is so well known for. You realize he has a lot more in him besides his top hits. You will love "Heart of the Matter" and "Inner City Blues", but you will go back and listen to "You Can Leave Your Hat On" over and over again. Many of my friends say that is his best work. I guess the producers of "The Full Monty" think so too! Thanks Joe!


"Shelter Me" (Nick DiStefano) – 5:36
"A to Z" (Tom Kimmel) – 4:21
"Don't You Love Me Anymore" (Albert Hammond, Diane Warren) – 5:25
"Living Without Your Love" (Michael Bolton, Doug James) – 4:09
"Don't Drink The Water" (Richard Feldman, Pat Robinson) – 3:25
"You Can Leave Your Hat On" (Randy Newman) – 4:14
"Heart of the Matter" (Ronald Miller, Billy Aerts) – 4:20
"Inner City Blues" (Marvin Gaye, James Jr. Nyx) – 5:51
"Love Is on a Fade" (Stephen Allen Davis, Dennis Morgan) – 4:04
"Heaven" (Terry Manning) – 4:32

Personnel: Joe Cocker (vocals); Neil Schon, Cliff Goodwin, Dann Huff, Eddie Martinez, Ritchie Zito (guitar); Mel Collins, Andrew Love (saxophone); Steve Madaio, Joel Peskin, Dick "Slide" Hyde (horns); Howie Hersh (piano, keyboards); Larry Marshall (organ, keyboards, synthesizer); Mike Moran (keyboards, bass); Jeff Lorber, Jeff Bova, Michael Boddicker (keyboards); Carl Marsh (Fairlight synthesizer); Arthur Barrow (synthesizer, bass); Bernard Edwards, Vito Sanfilippo, Randy Jackson (bass); Eric Parker, Michael Baird (drums); Curtis King, Maxine Green, Elisecia Wright, Julia Waters Tillman, Joe Turano, Leslie Smith, Albert Hammond, Diane Warren (background vocals).Producers include: Albert Hammond, Diane Warren, Ron Nevison, Bernard Edwards, Richie Zito.Engineers include: Terry Manning, Brian Reeves, Ron Nevison.

 

[Dennie]

Discovered Again! Plus -- XRCD24

Dave Grusin

1976/2004 Sheffield Lab/LIM Records

David Grusin gets discovered more often than any musician I know. People have the feeling he gets left out, "the least appreciated film score composer,' and so forth. He has been struggling along at the very top of the music business for years.

Lincoln Mayorga, co-founder of Sheffield Records, has wanted to make a direct-to-disc album with Grusin for many years, and Grusin became intrigued with the challenge. Finally the idea and the occasion met. Direct-to-disc recording implies spontaneity. One performs live. The stylus hits the lacquer, cuts a continuous groove starting at Note 1, Side 1. It will not terminate until the last note of Side 1, and then 2. In this sense it is a live performance. Yet, the music must be painstakingly rehearsed so that the engineer can cope with the heroic task of mixing as he records. For it is an engineer’s medium. This puts aching pressure on the musicians trying to stay in touch with their own impulses. What the engineer must program, the musicians must de-program as they go. Somewhere in this minefield an unusual quality of music emerges. It is never child’s play. For this extraordinary task, Grusin hired a special group of musicians. They are also the same guys Grusin hires for most of his work. They’re up to it and they suit him. One, bassist Ron Carter, was an import.

Anyone who knows jazz knows Ron Carter. The sound he can get from an acoustic bass (full sized, not three-quarter) is like nobody else’s sound. It is particularly satisfying to hear the depth with which that sound is caught within the direct-to-disc recording medium.

The guitar player is Lee Ritenour, who is too young to play as well as he does, but Grusin lets him get away with it. Indeed, it would be hard to stop him. It is difficult to pin down the reasons for rapport between musicians at their work. Grusin and Ritenour generate a similar momentum; they’re both fast, disreputable, and great little dancers.

Drummer Harvey Mason is a staple of your basic Dave Grusin rhythm section. His agility is seemingly effortless. I’ve seen him sight-read complicated time signatures while I was still trying to hear them in my head. He also has a silly streak that’s hard to resist. Most important in this case, he keeps the time where Grusin likes to hear it, while painting on colors of his own. And if this were not enough, he often brings a shopping bag full of homemade popcorn to the dates.

Larry Bunker is the formidable vibraharpist and percussionist on the album. You should be so lucky as to be in any kind of trouble on a record session and have Larry Bunker there, imperturbably drinking his black coffee, waiting, ready to bail you out. Rarely have I known a more contained musician, nor a more various and capable one. Bunker is what the word veteran is for.

Instead of improving the software technology like other formats do, JVC has chosen to do some serious homework on the hardware side. Developed from its well-known K2 20-bit proprietary digital processor, engineers at JVC Mastering Center spared no effort in refining and extending the K2 system into a K2 24-bit configuration. The most remarkable breakthrough is the application of a unique timing system called "Rubidium RF Distribution" technology. Instead of using crystal as the medium for laser clocking, they implemented a timing system based on rubidium, a rare material that is used for space applications. This device is 10,000 times more accurate than conventional crystal clocks. (Detailed information of this system will be found elsewhere in the liner notes.) In a nutshell, XRCD24 produces the finest analog sound: warm, musical and dynamic, but in a normal 16-bit PCM digital format, meaning the disc is playable by any CD player without any additional equipment or different player!

Selections:
1. A Child is Born
2. Keep Your Eye on the Sparrow
3. Sun Song
4. Captain Bacardi
Three Cowboy Songs:
5. Git Along Little Dogies
6. The Colorado Trail
7. Cripple Creek Breakdown
8. Adeus A Papai
Previously unreleased alternative performances:
9. Keep Your Eyes On The Sparrow (theme from Barreta)
10. Sun Song
11. Git Along Little Dogies
12. The Colorado Trail

Musicians: Dave Grusin, vocals & piano; Ron Carter, bass; Lee Ritenour, guitar; Harvey Mason, drums; Larry Bunker, percussion.

 

[Dennie]

Today's work truck music.....

Thursday Night In San Francisco - Live At the Fillmore Auditorium -- CD

Albert King

1968/1990 STAX Records

They All Want To Be Albert!, July 5, 2002
By deepbluereview "deepbluereview" (SACRAMENTO, CALIFORNIA USA) - See all my reviews
(TOP 1000 REVIEWER)
This review is from: Thursday Night in San Francisco (Audio CD)

It's hard to believe that 34 years has passed since Albert King recorded this CD during a live performance one Thursday night at the Fillmore Auditorium in San Francisco on June 27, 1968. It's even harder to believe that Albert and his Gibson Flying V guitar sound as fresh today as they did back then. There is some fantastic playing on this CD as is evidenced by "Drifting Blues" and "I've Made Nights By Myself". Albert had such incredible guitar playing ability that it was, and remains, a standard by which all blues players seek to attain. While, a lot of new blues guitarists are often compared to the great Stevie Ray Vaughan, those comparisons overlook the individual that SRV idolized and emulated-Albert King. In fact, Albert influenced the playing of many of the greatest players including SRV, Eric Clapton, Jimi Hendrix, Buddy Guy, Billy Gibbons and even Kenny Wayne Shepherd. On this CD you will experience what a consummate live performer Albert was. Some have described his playing as down right ferocious and sometimes scary. One thing is for sure, Albert is often imitated, but he will never be duplicated. The Wednesday Night makes a great companion to this disc so seek it out as well.
Track listing

1. "San-Ho-Zay" (King/Thompson) – 0:53
2. "You Upset Me Baby" (King/Taub) – 4:53
3. "Stormy Monday" (Walker) – 8:37
4. "Every Day I Have the Blues" (Chatman) – 4:17
5. "Drifting Blues" (Brown/Moore/Williams) – 8:05
6. "I've Made Nights By Myself" (King) – 6:44
7. "Crosscut Saw" (Ford) – 3:46
8. "I'm Gonna Move To The Outskirts Of Town" (Razaf/Weldon) – 7:41
9. "Ooh-Ee baby" (King) – 7:40

 

[Dennie]

Time In -- Remastered 24bit CD

Dave Brubeck (Quartet)

1966/2004 Columbia Legacy

An Unheralded Classic October 23, 2005
By Willie Sordillo
Format:Audio CD|Amazon Verified Purchase

Though not as adventurous in time signature explorations as the other recordings the classic Brubeck Quartet made in their series of "Time" recordings, this album is nonetheless a sublime gem. On this session, one of the most cohesive groups in the history of jazz exalts in its ability to swing mightily while retaining an intimate, hushed atmosphere. Dave's compositions, while seemingly simple compared to earlier pieces like "Strange Meadowlark" and "Unsquare Dance", and the later "Crescent City Stomp", belie the group's deftness at negotiating the considerable challenge of transforming the simple to the sublime. On "Softly, William, Softly" and "Forty Days", two of Brubeck's most beautiful themes, Desmond carves out solos so perfect, each note so carefully chosen and executed, yet so bursting with pure spontaneity, that they stand alongside anything composed, edited and honed by the best of jazz composers. It sounds so effortless it's easy for a casual listener to either write it off as facile or assume it had been worked out in advance. Neither is true. What is true is that this is a beautiful, overlooked masterpiece which I have come back to time and again since first owning it on LP 35 years ago. It never fails to satisfy. One of the most beautiful and significant works of art I've ever encountered.

1. Lost Waltz
2. Softly, William, Softly
3. Time In
4. Forty Days
5. Travellin' Blues
6. He Done Her Wrong
7. Lonesome
8. Cassandra
9. Rude Old Man [*]
10. Who Said That? [*]
11. Watusi Drums [*]

* Bonus Tracks not on the original LP


Dave Brubeck - piano
Paul Desmond - alto saxophone
Joe Morello - drums
Gene Wright - bass

 

[Dennie]

Young Lions & Old Tigers -- 20 Bit CD

Dave Brubeck with lot's of Special Guests

1995 Telarc Jazz

To celebrate his 75th birthday, Dave Brubeck recorded one number apiece with quite a variety of top jazz stars, both young and old. Some of the performances (which alternate duets with quartets) work better than others (eight are recent Brubeck compositions) but all of the musicians display mutual respect, and it is obvious that the guests are all fans of the still-masterful pianist. Trumpeter Roy Hargrove plays beautifully on his lyrical feature but Jon Hendricks, who sings "How High the Moon" as a ballad, takes it at such a slow tempo as to be dreary. Tenor-saxophonist Michael Brecker is fine on "Michael Brecker Waltz," although he sounds a bit restrained, the wittily-titled "Here Comes McBride" is a good-humored romp with bassist Christian McBride; Joe Lovano (on tenor) works well with Brubeck, and particularly memorable is the first meeting on record between Brubeck and fellow pianist George Shearing, with a chance-taking interpretation of "In Your Own Sweet Way." Joshua Redman performs fine hard bop on one song, "Together," is a well-conceived duet for baritonist Gerry Mulligan and Brubeck, James Moody plays tenor, sings, and yodels on the minor blues "Moody," Mulligan returns for the contrapuntal "Gerry-Go-Round," and, although the obscure flugelhornist Ronnie Buttacavoli sounds very out of place on his boring feature, the set closes with one of the strongest performances, a solo piano showcase for Brubeck on "Deep in a Dream." Overall, this is quite a mixed bag but, even with its occasional misses, the CD is a must for Dave Brubeck fans, because the pianist is consistently inventive throughout the unusual set. ~ Scott Yanow

Track listing

1. Roy Hargrove
2. How High the Moon
3. Michael Brecker Waltz
4. Here Comes McBride
5. Joe Lovano Tango
6. In Your Own Sweet Way
7. Joshua Redman
8. Together
9. Moody
10. Gerry-Go-Round
11. Ronnie Buttacavoli
12. Deep In a Dream

Personnel: Dave Brubeck (piano); James Moody (vocals, tenor saxophone); Jon Hendricks (vocals); Michael Brecker, Joe Lovano, Joshua Redman (tenor saxophone); Gerry Mulligan (baritone saxophone); Roy Hargrove (trumpet); Ronnie Buttacavoli (flugelhorn); George Shearing (piano); Chris Brubeck (electric bass); Christian McBride, Jack Six (bass); Randy Jones (drums).

 

[Dennie]

Today's work truck music....

Get Rhythm - CD

Ry Cooder

1990 Warner Bros. Records

"The Musician's Musician." "The Master of the Eclectic." There are probably a dozen more titles by which this "guitar player" is known. To even refer to him as a guitar player is probably a gross mislabeling of this musician. He defies any sort of categorization; this is his greatest strength and for some his weakness. The theme for these nine cuts is rhythm of all different ilk. I won't even give the parameters because he seems to have none. I wondered how many different instruments he played on this album (I thought I counted five different types of guitar); it only says guitar and vocal for his credits. Listen to his version of "All Shook Up," more bop and rhythm than Elvis could put into four of his songs. It seems musicians line up to play with him, and they feel he did them a favor by letting them play on his albums. He always gives them plenty of space to do what they do. This CD will make the dead start tapping their toes. ~ Bob Gottlieb

1. "Get Rhythm" (Johnny Cash)
2. "Low Commotion" (Ry Cooder, Jim Keltner)
3. "Going Back to Okinawa" (Ry Cooder)
4. "Thirteen Question Method" (Chuck Berry)
5. "Women Will Rule the World" (Raymond Quevedo)
6. "All Shook Up" (Elvis Presley, Otis Blackwell)
7. "I Can Tell by the Way You Smell" (Walter Davis)
8. "Across the Borderline" (Ry Cooder, Jim Dickinson, John Hiatt)
9. "Let's Have a Ball" (Alden Bunn)

 

[Dennie]

East River Drive -- CD

Stanley Clarke

1993 Epic Records

Lord of the Low Frequencies, March 8, 2003
By Russell Diederich (Littleton, CO United States) - See all my reviews
(VINE VOICE)

Not many people can step out and make the bass the front instrument, but Stanley Clarke sure can. Clarke composes most of his songs with a smooth jazz feel that builds around the bass like many musicians build their music around a guitar, trumpet or sax. His unique style of snapping the strings against the fretboard gives him his signature sound. Although there is no "School Days" track on this album, it is a good listen, smooth.

"East River Drive" shows off Clarke's smooth jazz composing abilities. His bass leads us through the song with a good solo by George Howard on sax. The other extreme is "Funk Is Its Own Reward" where Clarke gets, well, funky. His long time collaborator, George Duke, sits in for this upbeat tune. This should get your feet taping with a cool groove, and some impressive string snapping, slapping and sliding. "I'm Home Africa" is another upbeat tune, with a great solo from saxophonist Doug Webb. Clarke can really romance it up with slow tunes as well like, "What If I Forget the Champagne". And the tunes "Illegal" and "Lords of the Low Frequencies" are a base workout.

Ever since I saw Clarke perform "School Days" with Larry Coryell on guitar, he has been one of my favorites. He has helped move me over into the Jazz world with his incredible musicianship. This album, like "Hideaway", is smoother than his stuff from the seventies. It's still a great album, with great playing, just a little different. It still doesn't top my favorite album by him, "Stanley Clarke and Friends, Live at the Greek" with Larry Carlton, Billy Cobham, Deron Johnson, and Najee.

1. Justice's Groove
2. Fantasy Love
3. Zabadoobeedé ? (Yabadoobeeda)
4. East River Drive
5. I'm Home Africa
6. Theme from Boyz N the Hood
7. Christmas in Rio
8. What If I Forget the Champagne
9. Never Lose Your Heart/There Lies the Passion
10. Illegal
11. "Lord of the Low Frequencies"
12. Funk Is Its Own Reward

 

[Babs]

Summer is officially in this house!!!

 

[Babs]

Sophia and Barbi are enjoying this...