Somewhere behind the early 1960s cold-war iron curtain, the Hollander family cause an international spying incident when Walter photographs a sunset in a sensitive region. In order to stay out of jail, the Hollanders take refuge in the American Embassy, which is temporarily being run by the absent Ambassador's diplomatically incompetent son, Axel.
Following two anemic-selling albums with his post-Eurythmics outfit, the Spiritual Cowboys, Dave Stewart released his proper solo debut in Greetings From the Gutter. It curtails the more rock-leaning aspects of the prior albums for a funkier, dance approach with Parliament/Funkadelic alumni Bootsy Collins, Bernie Worrell, and Jerome "Big Foot" Brailey backing Stewart. The sultry, almost campy, "Heart of Stone" is a funky, disco-styled song with infectious backing vocals performed by a female quartet including Lady Miss Kier, Nona Hendryx, and Siobahn Fahey. "Chelsea Lovers" is a deliciously bittersweet, glam ballad (with a nod to Bowie in the lyrics). "Jealous" is stripped down and soulful and "St. Valentine's Day" opens like a Tom Waits song before giving way to a Beatlesque, psychedelic melody. Laurie Anderson adds violin and vocals to the eerie, spacy "Kinky Sweetheart," featuring a wicked guitar solo from Stewart. "Damien Save Me" has a monstrous, hypnotic groove, a smoking sax solo from Lenny Pickett, and some Hendrix-like guitar. The playing is tight, the vibe is loose, and Greetings From the Gutter is some of Stewart's warmest, most compelling work.
2CD compilation of live performances by Deep Purple at Paris Theatre, London, February 22th 1972 and at Concerthouse - Stockholm, November 12th 1970, released in 1993 by Italian label Nota Blu Musica.
Here is yet another live album by the Dave Matthews Band. This one is from his Central Park Concert in 2003. This one is three CDs, loaded with hits and near-misses, from one of the most successful stage bands in the business. The Matthews Band is tight, full of enough funk and sass to keep it interesting, and yet is able to convey real emotion to tens of thousands of people, as evidenced by their many live recordings. What sets this one apart is its presentation of one concert in its entirety, and its willingness to leave rough edges in. While the sound is pristine, and the performance reflects the band's well-rehearsed acumen, there are those spontaneous moments on this set that get left off of most band's live recordings – including Matthews' previous ones.