Peter Cetera’s first solo album after leaving Chicago (the band, not the city) was an enormous commercial success. It housed two #1 Billboard 200 hits (featuring the vocals of Amy Grant on The Next Time I Fall), was home to the Theme to The Karate Kid Part II, and even included the guitar work of Ray Parker Jr. on Wake Up to Love. If you’re looking for an immediate flashback to 1986, look no further than Solitude / Solitaire. You will not (likely) be disappointed.
It never really dawned on me how damn similar these two album covers were. On the left, Arthur Lyman’s, Taboo, and on the right, The Legend of Pele. Now, what’s interesting, is that the internet can’t get its release dates straight. Some reputable sources are saying Taboo is Lyman’s debut album, released in 1958, while Pele was a 1959 release (with a few additional albums separating the year gap). Other sources are saying Pele was also released in 1958, and that Leis of Jazz (originally thought to have been released in 1959) is actually Lyman’s debut album, being released in 1957. Unfortunately, there is no clear source for this valuable information… give me some time.
… it could be worse!
I know I said it before, but have a quick look at the tracklist for CCR’s 1969 album, Green River. The 2nd of three “best of” albums released that year (January’s Bayou Country, this, August’s Green River, and November’s Willy and the Poor Boys), Green River is absolutely essential listening material for any casual fan of Bad Moon Rising.
In Switzerland, millionaire industrialists join electro-pop, synth-jazz bands and release inspirational 80’s masterpieces. Case in point, 1987’s One Second from Yello. While the album may be most notable for its inclusion of the 1985 romp Oh Yeah, it’s Goldrush that’s really a chief standout. For a good, non-Ferris Bueller examples of Yello, have a watch at the below video for Goldrush. Remember, this is 1987 Switzerland, and mainstream pop for Mercury Records circa: 1987. Oh yeah, enjoy.
Yesterday was a laborious day of (regular work) and tickle-fixing the1966 Philco. She’s fully functional, speed-accurate, and bass-nasty (as she always was). This, for those keeping count, is the 3rd time I’ve opened her up to correct the speed issue, and six albums / 38 hours later, she’s running smooth and strong as ever. 50 motha’ flippin’ years old (1966 -2016), this tired ol’ bitch, and she still sounds absolutely amazing!