This seeks to be a good-time record while maintaining the musical intelligence that listeners should expect from Anderson. "Putting the cookies on a lower shelf" can be dangerous if the artists are too busy worrying about public taste to do any real cooking, but it's obvious from the start that the players (Amina Claudine Myers, organ, piano; Jerome Harris, guitar; Lonnie Plaxico, bass; Tommy Campbell, drums) are having a blast themselves. I can't imagine any complaints about anyone's contributions instrumentally. The rhythm team swings, Anderson sounds just great, Myers and Harris shine throughout, and the trombone-organ-guitar ensembles are downright dangerous. The four vocal tracks feature Myers and Anderson solo and in tandem: gutsy, extroverted performances of intelligent lyrics by Jackie Raven. This music is hard to describe but it's natural and infectious, somewhat comparable to Mose Allison, but hotter.
The band was created in the summer of 1988 around Þorvaldur Bjarni Þorvaldsson, a renowned vocalist, guitarist, and record producer in Iceland. In the beginning, all 3 members were part of local bands and studying at the Reykjavík College of Music in May 1989. "Sameiginlegt" was the name of their first demo, which made it onto the first studio album, Betra En Nokkuð Annað…
Two iconic 80s soul albums from the late, great CARL ANDERSON finally debut on CD. Both albums represent pure quality from the era with Absence With Out Love featuring one of soul musics signature tracks from the era, Buttercup, written by STEVIE WONDER. The title track also features a rare cameo appearance by another soul superstar, TEENA MARIE. Musicians on both these albums are a who's who from the period's top players including Freddy Washington on bass, Paul Jackson on guitar, the Seawind horns, Sonny Burke on keys and the John Barnes among the provider of lavish strings. The songwritinjg is exceptional and these two albums feature much of Carl's best work, including his duet with Vaneese Thomas (On An On), and the 80s boogie dance classic Don't Make Me Wait.
Laurie Anderson's third proper studio album, coming over five years after 1984's Mister Heartbreak (1986's Home of the Brave was a film soundtrack), is a near-total departure from anything she had done before or, indeed, anything she did after. The most purely musical of Anderson's albums and the one on which she does the most actual singing (though her trademark deadpan spoken-word passages are still present and accounted for), Strange Angels seems to be Anderson's idea of a straightforward pop album.