John Carpenter's "CHRISTINE" (OST)

Original released on CD Varèse Sarabande VSD-5240

(US, 1989)

"Christine", based on Stephen King's novel about an unusual kind of car repossession, was taken by John Carpenter from book to screen in a blazingly short time. Rather than bypassing his usual methods, as he did with "The Thing", Carpenter once again chose to do the score. The original soundtrack released from the movie was a brief affair indeed, offering up a small selection of rock & roll tunes used in the movie, plus a short selection ("Christine Attacks," here with the subtitle "Plymouth Fury") from Carpenter's score. As it is, this Tangerine Dream-influenced, mechanically pounding number is probably the best thing in the score, highly visual, threatening, and relentless. As with the best of Carpenter's work, it's enough to haunt your dreams for a few days - a property shared by the scores for "Halloween" and "The Fog" (both on Varese Sarabande). "Christine", though, suffers from a very rushed situation. Rather than having the time to craft something new, Carpenter reached back into the bag and pulled up variations on old themes. As a result, you can hear a variety of familiar elements in here, from the high-pitched synthesizers designed to make you quiver to revised score elements from "Escape From New York", "Halloween", and "The Fog". The arpeggiated theme from "Halloween" is barely disguised in terms of musical structure (he builds on the same structure) while the forceful percussion-based pulse of the chase-type music is straight out of "Escape From New York". In terms of the recording, the music sounds a little unfinished, and equalization isn't the best, though hiss has been reduced to an inaudible level. The highs tend to be inconsistent, the lows, probably because of the synthesizers (sounding as though Carpenter's Prophet V and Xs were giving way to Yamaha instruments) either on the feathery side or a little softer than they should be in the punchier parts of the score. For all the problems and weaknesses of this score, though, it still manages to rank above "They Live" in terms of quality and variation. (Steven McDonald in AllMusic)

CARL ORFF: "Carmina Burana"

ERIC CLAPTON: "Journeyman"

Original released on LP Reprise DUCK WX322

(UK 1989, November 7)

For most of the '80s, Eric Clapton seemed rather lost, uncertain of whether he should return to his blues roots or pander to AOR radio. By the mid-'80s, he appeared to have made the decision to revamp himself as a glossy mainstream rocker, working with synthesizers and drum machines. Instead of expanding his audience, it only reduced it. Then came the career retrospective "Crossroads", which helped revitalize his career, not only commercially, but also creatively, as "Journeyman" - the first album he recorded after the success of "Crossroads" - proved. Although "Journeyman" still suffers from an overly slick production, Clapton sounds more convincing than he has since the early '70s. Not only is his guitar playing muscular and forceful, his singing is soulful and gritty. Furthermore, the songwriting is consistently strong, alternating between fine mainstream rock originals ("Pretending") and covers ("Before You Accuse Me," "Hound Dog"). Like any of Clapton's best albums, there is no grandstanding to be found on "Journeyman" - it's simply a laid-back and thoroughly engaging display of Clapton's virtuosity. On the whole, it's the best studio album he's released since "Slowhand". (Stephen Erlewine in AllMusic)

HELEN MERRILL: "Just Friends"

 

Original released on CD EmArcy 842.007-2

(NETHERLANDS, August 1989)

Veteran singer Helen Merrill is greatly assisted on this fine set by the warm tenor of Stan Getz, who was always a perfect choice for accompanying vocalists. With pianist Joachim Kuhn (replaced by Torrie Zito on three of the nine songs), bassist Jean-Francois Jenny-Clark and drummer Daniel Humair completing the group, Merrill sounds quite inspired on such selections as "Just Friends," "It Don't Mean a Thing," "Yesterdays" and even "It's Not Easy Being Green." Virtually all of Helen Merrill's recordings are special events because of the planning and intelligent ideas that go into them; this recommended set is no exception. (Scott Yanow in AllMusic)

JUSTIN HAYWARD: "Classic Blue"

Original released on CD Trax MODEM 1040

(UK, 1989)

This album is a personal trip very few artists can afford to indulge in (only their solid reputation allows them to get away with it). It is made up of cover versions of the most varied and unthinkable sources: Richard Harris' "MacArthur Park" rubs shoulders with the Beach Boys' "God Only Knows" alongside Led Zeppelin's "Stairway to Heaven". Hayward pulls some off quite nicely: "Vincent", and particularly "Bright Eyes", are so touching they'll move you to tears, especially if you've ever seen the movie "Watership Down". It's a very relaxing listen. Orchestrations are fine all the way and somehow create very movie-like atmosphere. There are many personal favourites of mine, and Hayward, more or less, is doing alright job with them. "Stairway to Heaven" is suited very well in this kind of handling, I'm not missing guitars and drums one bit. "Man of the World" instead loses some of its reflective beauty here. (in RateYourMusic)

MARIA McKEE Debut Album

Original released on LP Geffen GHS 24229

(US, June 1989)

Stumbled across this lady when I came across her fine hit UK single "Show Me Heaven". Set me looking for her other material - and really glad I did! This is a really excellent album, stuffed full of good tracks and a real variety ranging from country rock, to soul with some fine ballads ("To Miss Someone", "Nobody's Child") mixed in with a bit of rock! And it really does work well. I think that the best track is the sad, and soulful "To Miss Someone". Maria McKee has a huge range of style in her voice from fragile as a butterfly on songs like "Nobody's Child", and "Has He Got a Friend For Me", to the full on wallop of stuff like "This Property is Condemned" and "Panic Beach". Her lyrics are smart, engaging, and often times touching. Along with that, you have assistance from the likes of Ricard Thompson, Jim Keltner, Tony Levin, and the excellent production of Mitchell Froom, who has made so many great albums with Thompson. This album is can't miss, so don't. (in RateYourMusic)

"Homeboy" (OST)

Original released on CD Virgin Movie 7 91241-2

(US, 1989)

Eric Clapton's score to the Mickey Rourke film "Homeboy" consists largely of bluesy instrumental pieces performed by Clapton, keyboard player Michael Kamen, bassist Nathan East, and drummer Steve Ferrone. Clapton's solo electric guitar version of "Dixie" owes much to Jimi Hendrix's version of "The Star-Spangled Banner." There are also a few blues numbers by Magic Sam and J.B. Hutto. The playing is accomplished, of course, but like most soundtracks this one seems to be missing something without the film images. (William Ruhlmann in AllMusic)

JOHNNY CLEGG & SAVUKA: "Cruel, Crazy, Beautiful World"

Original released on LP EMI EMC 3569

(UK, 1989)

When South Africa was still suffering under the apartheid system in the 1980s, Johnny Clegg & Savuka was the last thing apartheid supporters wanted in a pop group. Their lyrics were often vehemently anti-apartheid, and apartheid supporters hated the fact that a half-black, half-white outfit out of South Africa was integrated and proud of it. Released at the end of the 1980s, "Cruel, Crazy, Beautiful World" is among the many rewarding albums the band has recorded. Sting and the Police are a definite influence on Clegg & Savuka, who have absorbed everything from various African pop styles to Western pop, funk, rock, and reggae. The lyrics are consistently substantial and frequently sociopolitical - "Bombs Away" addresses the violence of the apartheid regime, while "Warsaw 1943" reflects on the horrors Eastern Europe experienced at the hands of both communists and fascists during World War II. Clegg and company enjoyed a passionate following at the time, and this fine album proves that it was well deserved. (Alex Henderson in AllMusic)

McCARTNEY's "Flowers In The Dirt" (Remastered + Bonus Tracks)

Original released on LP Parlophone PCSD 106

(UK 1989, June 5)

Paul McCartney must not only have been conscious of his slipping commercial fortunes, he must have realized that his records hadn't been treated seriously for years, so he decided to make a full-fledged comeback effort with "Flowers in the Dirt". His most significant move was to write a series of songs with Elvis Costello, some of which appeared on Costello's own "Spike" and many of which surfaced here. These may not be epochal songs, the way many wished them to be, but McCartney and Costello turn out to be successful collaborators, spurring each other toward interesting work. And, in McCartney's case, that carried over to the album as a whole, as he aimed for more ambitious lyrics, themes, sounds, and productions for "Flowers in the Dirt". This didn't necessarily result in a more successful album than its predecessors, but it had more heart, ambition, and nerve, which was certainly welcome. And the moments that did work were pretty terrific. Many of these were McCartney/McManus collaborations, from the moderate hit "My Brave Face" to the duet "You Want Her Too" and "That Day Is Done," but McCartney also demonstrates considerable muscle on his own, from the domestic journal "We Got Married" to the lovely "This One." This increased ambition also means McCartney meanders a bit, writing songs that are more notable for what they try to achieve than what they do, and at times the production is too fussy and inextricably tied to its time, but as a self-styled comeback affair, "Flowers in the Dirt" works very well, even 30 years later now. (Stephen Erlewine in AllMusic)

"Wicked Game" By CHRIS ISAAK

BONNIE RAITT: Nick Of Time

Original released on LP Capitol C1-91268

(US 1989, March 21)

Prior to "Nick of Time", Bonnie Raitt had been a reliable cult artist, delivering a string of solid records that were moderate successes and usually musically satisfying. From her 1971 debut through 1982's "Green Light", she had a solid streak, but 1986's "Nine Lives" snapped it, falling far short of her usual potential. Therefore, it shouldn't have been a surprise when Raitt decided to craft its follow-up as a major comeback, collaborating with producer Don Was on "Nick of Time". At the time, the pairing seemed a little odd, since he was primarily known for the weird hipster funk of Was (Not Was), but the match turned out to be inspired. Was used Raitt's classic early-'70s records as a blueprint, choosing to update the sound with a smooth, professional production and a batch of excellent contemporary songs. In this context, Raitt flourishes; she never rocks too hard, but there is grit to her singing and playing, even when the surfaces are clean and inviting. And while she only has two original songs here, "Nick of Time" plays like autobiography, which is a testament to the power of the songs, performances, and productions. It was a great comeback album that made for a great story, but the record never would have been a blockbuster success if it wasn't for the music, which is among the finest Raitt ever made. She must have realized this, since "Nick of Time" served as the blueprint for the majority of her '90s albums. (Stephen Erlewine in AllMusic)