Another year and another label for Marc Almond, along with a newly stripped-down band, La Magia, with Willing Sinner vets Annie Hogan, Billy McGee, and Steve Humphreys on drums. Even more so than Stories of Johnny, this is Almond with an eye and ear on making a commercial record while still being himself, and the result is much better than expected.
The keyboardist/vocalist of Chicago-based arena rock band, Styx, Dennis DeYoung continues to cultivate a successful solo career. Recording on his own as early as 1984, DeYoung produced four impressive solo albums – Desert Moon, Back to the World, and Boomchild before reuniting briefly with his former bandmates in 1990. Boomchild is the third solo album from Dennis DeYoung. It was released in February 1989 by MCA Records. Boomchild is DeYoung's first solo album that did not make it on any album charts and its failure caused DeYoung to be dropped by MCA.
When Bishop played guitar with Paul Butterfield in the 1960s he fancied himself a countrified hippie named Pig Boy Cranshaw. His sense of humor remains intact decades later, evidenced on a relaxed blues-oriented rock program shot through with a smart sort of bumpkin levity. He never could sing (it was Mickey Thomas on his 1970s smash "Fooled Around and Fell in Love"), but his guitar rides roughshod over those of many a better-known blues artist.
Although Jane's Addiction's 1987 self-titled debut was an intriguing release (few alternative bands at the time had the courage to mix modern rock, prog rock, and heavy metal together), it paled in comparison to their now classic major-label release one year later, Nothing's Shocking. Produced by Dave Jerden and Jane's Addiction vocalist Perry Farrell, the album was more focused and packed more of a sonic wallop than its predecessor; the fiery performances often create an amazing sense that it could all fall apart at any second, creating a fantastic musical tension. Such tracks as "Up the Beach," "Ocean Size," and one of alt-rock's greatest anthems, "Mountain Song," contain the spaciousness created by the band's two biggest influences, Led Zeppelin and the Cure.
A Zurich, Switzerland, native, composer, flutist, and saxophonist Daniel Schnyder is as comfortable and gifted with classical chamber music as with avant-garde jazz, easily crossing between both significant genres of music. He originally studied flute in his homeland at the Conservatory of Winterthur. After moving to the United States, he switched to the Berklee College of Music in Boston and began to study jazz arranging, composition, and the saxophone. He has worked with Lew Soloff, Lee Konitz, Abdullah Ibrahim, Milwaukee Symphony Orchestra, and many others over the years.
The style and the class of these two sacred monsters of music, is best expressed in these very special performances in an unusual but extremely involving duo! A great record!