V/A: Midnight In L.A. - The Best Of Westcoast Vol. 2 (2013)

For fans of my last 70's-to-modern-day Westcoast compilation, I've assembled a completely new cast of killer gems from the 70's through the present day for the second volume in this series. Whether you like your L.A. yacht rock with a Hammond spiced dash of prog. rock ('Between The Lines'), atmospheric horn-drenched ballads ('You Are The Light', 'No Way Out') or even if you just need a groove to burn the highway down ('Let It Go', 'Simone', the instrumental 'Midsummer Drivin'), there's something here for everyone!

Tracklist

1. 'Between The Lines' by Lake
2. 'Time Out Of Mind' by Steely Dan
3. 'Get U 2 Stay' by Brian McKnight
4. '1978 (Leave The Radio On)' by Ed Motta
5. 'You (Are The Light)'  by George Duke
6. 'Shakin' The Ground' by Ole Børud
7. 'Melanie' by Player
8. 'Reach Out Richard' by Mayer Hawthorne
9. 'Simone' by Boz Scaggs
10. 'The Colours Of Your Love' by Stylus
11. 'Hard Goodbye' by State Cows
12. 'Give Some More' by Solution
13. 'No Way Out' by Paul Anka
14. 'Brother To Brother' by Gino Vannelli
15. 'Let It Go' by Toto
16. 'Midsummer Drivin' by Toshiki Kadomatsu

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Stεfαn Guииαrsson - S/T (2010)

One of those incredibly elusive post-Y2K debuts that endeavors mighty hard to bring back the age of smooth L.A. pop, Stefan is no stranger to his Scandinavian homeground: he's been featured on T.V. as a musical prodigy at a variety of instruments...and he's got a fine set of pipes to match.

The songwriting he employs is rather classy too: like Stevie Wonder trying to cross over the soul-inflected poppiness of early 90's Go West with a band like Airplay or perhaps Boz Scaggs. Several songs in particular, such as 'Words Are Not Enough' and 'Gotta Find It', feature old school Clavinet soloing, and those horns sound right out of the arrangement modus operandi of David Foster and his ilk. Smooooooove.

Catchy and expertly produced while still hearkening back some to days long past, this is a great modern Westcoast record for the nostalgic among ye...so get to listening!

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Cαligulα's Horsε - Momεnts From Ephεmεrαl City (2011)

An amazing, Australian modern prog. rock gem that escaped my gaze last year, but WOWZAHZ! Catchy as hell too -- somewhere between Pain Of Salvation and Midlake as far as a hypothetical musical spectrum goes, but sounds even better than either of those groups in brilliant spurts.

Will be watching these fellas' future output like a hawk, that's for bloody sure!

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Dεniεcε Williαms - Whεn Lovε Comεs Cαlling (1979/2010)

Co-produced by David Foster and featuring an all-star cast of Westcoast luminaries (drummer Jeff Porcaro, Steve Lukather, etc.), this was a transitional record for the underratedly talented Niecy and comes with a couple of really killer cuts ('God Knows', 'Why Can't We Fall In Love', among others) that makes even balladeer queen Whitney Houston seem awfully weak in comparison, lodged amidst the more upbeat, funk-oriented numbers for the jam oriented among thee.

Fans of the soul/funk/Westcoast hybridization of bands like Earth, Wind & Fire...welcome home.

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Smoliк - Smoliк 3

A late summer jazz pop smorgasbord from Poland, featuring lots of cool songs and guests!

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Aмвяosiα - One Eighty (1980)

Whilst not as overtly progressive as this group's legendary self-titled from 1975, this turn-of-the-decade LP is probably their best pure Westcoast record: the biggest singles from here, 'You're The Only Woman' and 'Biggest Part Of Me', are both gorgeous FM radio staples and rank as two of the best songs to come out of the entire damn genre during its heyday. Their grand, proggy past rears itself on a number of great other songs too though, as the killer bass groove of 'Livin' On My Own' and the eerie keyboard chug of 'Kamikaze' demonstrate in spectacular measure.

Essential listening for fans of both Westcoast pop and crossover progressive rock!

NOTE: The below video is just the best I could find. My upload is a CD rip, not vinyl.

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Pεt Shop Boys - Bεhaviour (1990)

This is a point of contention I suppose, but I personally consider this turn-of-the-decade album one of the best synth-pop excursions ever crafted and the magnum opus of the Boys from the land of ice and snow. Those gorgeous keyboard textures, dem early 90's beatz, all the slick orchestral flourishes on tracks such as 'My October Symphony'...its a stone cold classic, ladies and gents. Opening number 'Being Boring' features the ever popular Johnny Marr on guitar as well!

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T-Squαrε - 33 (2007)

Japan's top smooth fusion commodity released this excellent set of cuts back in 2007, and its got the chops to make it the ideal entry point into their mindbogglingly large back catalog. It's got a bit of everything: breezy synthesizers, acoustic and shred-friendly electric guitar, all kinds of percussion and plenty of brass for the purists too. Lots of fun improv going on here...and there's even a catchy melody or two ('Flying Colors') to keep the more casual jazz fan interested.

Pretty high up there on the quality front as far as smooth/contemporary jazz is concerned, and an excellent addition to any cruise catering playlist you've got on hand!

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Piεcεs Of A Drεam - Lovε's Silhouεttε (2002)

One of the groovier contemporary jazz releases of the last decade and arguably POAD's best record from start to finish, Lovε's Silhouεttε is blessed in numerous ways: it has a punchy mix that gives an extra edge to the bass and keyboards and hooky songwriting that engages as opposed to not. On top of that, these guys had been together about twenty years or so by the time this record hit stores, and their chemistry is tighter than a fishing knot -- much to the benefit of the songs themselves.

Style-wise, arrangements fall somewhere between the Brazilian flourished Pat Metheny Group and the late 90's output of The Rippingtons as far as atmosphere is concerned. Cuts like the tempestuous 'Turnin' It Up', the nightwalking Bossa Nova groover 'Mystical Perception' and the spacey beat-laden 'Mission Possible' are prime time displays of excellence, about as good as mood music gets in this genre.

Contemporary jazz is a hard genre to get just right, but Lovε's Silhouεttε would be right at home on any decent chillout mix...and stands fairly strong on the whole as a record too.

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REVIEW: Crossfade - Secret Love (2011)

One of the cooler projects led by Swedish vocal powerhouse Goran Edman (Yngwe Malmsteen, Karmakanic, Street Talk, among other bands he's fronted), Crossfade specialize in a bluesy, prog-inflected approach on the late 70's/early 80's Westcoast sound perfected by Toto, Ambrosia and Steely Dan. This particular record, last year's Secret Love, is the group's kickass sophomore release and a late-to-the-party kind of addition to my steadily lengthening list of 2011's best albums.

From my point of view, Goran's voice has a gravely, hit-or-miss quality in his tone which has given me a love/hate relationship with most of his recorded output, but when it comes to this particular project he always seems to bring his best. The title track's backbone, led by a wicked Lukatherian guitar groove slithering through the mix, the soaring 'Don't Ask Me Why', the jazzy, sax charged 'Waiting For A Miracle' -- lots of strong points on this album, folks, and the gorgeous production quality certainly doesn't hurt it either.

While this lacks the infectious pathos of Ole Borud's astonishing Keep Movin' LP that served as my Westcoast pick of 2011, Crossfade have their own approach to the genre that sounds very modern, yet embellished in classic Los Angeles fashion. Don't pass it up, ladies and gents!

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Giиo Vαииεlli - Nightwalker (1981)

The last stone cold Westcoast classic in a five-string album run going all the way back to 1975's Storm At Sunup, this is a remarkable recording from the Canadian captain of all things strange and passionate, Giиo Vαииεlli.

Listening to these awesome songs is strangely comparable to a line in the opening title track: "dreaming at night is like chasing a madman's rainbow": the journey is a nonsensical mess you'll wake up from later, but while caught within it...there's nothing else that matters.

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Statε Cows - S/T (2010)

A dyed in the wool Westcoast classic for the modern age, at times even outgunning the big dogs in the genre from years past like Steely Dan and Toto in the songwriting department. We certainly are living in strange times though -- Swedes and Nords now do everything from jazzy pop to glam metal better than the country those genres originated in!

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Gino Vannelli - 'Man Alive' Documentary

Gino Vannelli, whom Miles Davis once described as "the greatest musician the world", is also an incredibly fascinating guy. Enjoy his documentary below!

Pαυl Hαяdcαsτlε - Jαzzmαsτεяs (1993)

Paul's first foray into contemporary jazz territory, and his first full-length collaboration with the very talented Helen Rogers at the mic too. Although later projects under this particular moniker are more textured in some ways, this is the record that defined contemporary jazz over the next two decades and set a high standard for others to aspire to. Highly recommended!

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Pαυl Hαяdcαsτlε - Jαzzmαsτεяs III (1999)

My favorite album from today's #1 contemporary electronic jazz producer. Features some absolutely killer vocal House cuts, but the instrumentals are in a dimension all their own as well.

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Dεpεchε Modε - Violαtor (1990)

Need I honestly embellish some bullshit reason for you to stick this methanized-or-mayhap-robotized pop classic somewhere in that unsightly wreck you call a collection? Really now? *laughs maniacally whilst not so subtly sneaking away to somewhere with better whiskey*.

Synths galore from every hipster's favorite 80's group...and it'll throck your socks off.

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Thε Motεls - All Fouя Onε (1982)

Classic L.A. New Wave pop from the early part of the 80's. The more studious among you should recognize 'Only The Lonely', 'Take The L' and 'Apocalypso', but this whole set comes as keytastic and ear-catching as you could ask for from the time and place, so rejoice!

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Johииy Hαtes Jαzz - Turи Bαcк Tнe Clocк (1988)

One of the unlikely success stories of the late 80's New Romantic FM world and a prime example of that intriguing subgenre known as "sophisti-pop", JHJ's 1988 one-shot is mostly remembered as an interesting footnote here in the U.S. due to the #1 status of hit single "Shattered Dreams", a textured slice of Yamaha-led fun that still holds up rather well today.

That being said, this album is severely underrated within the context of the time period as whole: it's right up there with the best material of Swing Out Sister, Prefab Sprout and even The Blue Nile in sheer sonic crafture. Lead vocalist Clark Datchler is confidence personified and a minor songwriting genius: he wrote or co-wrote every cut here, including the shoulda-been-a-hit-but-wasn't 'Listen' and minor-key curio 'Don't Let It End This Way', which features a strangely haunting keyboard refrain between verses. His smooth tenor gives even the ballads, particularly the title track, a kick they wouldn't have had with a lesser singer.

Bubbling synths, layered guitar, gated drums and plenty of personality: you guys know the drill. Evidently they're due for a brand new record sometime this year after a two decade hiatus: we can only hope it lives up to the commercial appeal that these cuts have in spades.

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Tony Stone - For A Lifetime (1988)

Born Tony Devenport at Battersea, South London (where the famous power plant on Pink Floyd's Animals was immortalized) and growing up with soul, pop and blues at equal lengths, tonight's star player adopted the stage name Tony Stone as a youngster and began something of a solo career at whatever pub might have him, bringing his Steve Winwood meets Bill Withers to many a delighted attendee wherever he happened to be performing.

After making friends with Westcoast luminary Ned Doheny and a number of others through the years, 1988 saw the release of this unusual fellow's one and only studio outing For A Lifetime to little fanfare on either side of the Atlantic despite lots of catchy, intelligent songs that fall in some wonderful space between L.A. and Motown circa 1979.

Crossover territory along those line is best illustrated through songs like 'My Good Friend James', with its soaring bridge and pulsating groove, but there's plenty of fun to be had in the occasional left turn sonically: 'Perish The Thought' is a Hi-Tech midtempo romp that should have put Tony right up there on the art-pop map alongside Yes and The Outfield: smooth as smooth gets, fellas. 

Despite a couple of questionable ballads and R&B elements throughout, Mr. Devenport was certainly more interesting than a lot of crooners from the late 80's, and although he's been fairly low-key musically since this came out, he's welcome back to it anytime!

 

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REVIEW: Sonic Station - Sonic Station (2012)

The pet project of guitarist/producer Alexander Kronbrink and singer/songwriter Marika Willstedt, this modern day Westcoast/AOR offering certainly couldn't have come at a better time: stalwarts in the genre such as Toto aren't recording new material, and the international commercial landscape musically has gone through some major continental driftage -- the decade where sumptuous stuff like this ruled the charts is already ancient history.

Featuring three other vocalists besides Ms. Willstedt and a surprising amount of variety as far as the tracks themselves go, I found myself glued to my speakers, salivating all the while: opening number 'Love's Gonna Show The Way' is straight out of 1988 with those blazin' keyboards, an infectious rumbler that wouldn't have been out of place on The Seventh One or that debut by fellow Swedish luminaries Time Gallery. Wow!

Four of the tracks here are led by the previously mentioned Marika Willstedt, and all in all she's probably an AOR fan's top reason for tuning in at all: Carole King don't got nothin' on this talented lass, and her voice is heavenly on songs like 'I Wish I Could Lie', 'Last Refrain' and 'Running Through The Night'. Earworm choruses I tell ya, earworm choruses!

The record is shiny enough to eat off of, immaculately produced and coated with a modern sheen that enhances the mix immeasurably. It's at least on par with Ole Borud's Keep Movin' mixwise, and the majority of the songs prove just as catchy and mesmerizing as any of the Westcoast classics of the early 80's, or, hell, even Jay Graydon's flawless work with Airplay and related studio work.

From ballads to highway groovers to fist-pumping anthems that validate every goodhearted feeling you've ever felt towards the world, Sonic Station stands alone in 2012 as an AOR release that goes the extra mile, even when you least expect it.

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