This column features a diverse range of styles and more than a dozen artists. Readers are asked not to confuse that which is pink for the possum. They will know the difference between a dude and a duet.
This column originally appeared in the Herald Times Reporter, where I work as assistant managing editor. As always, e-mail me with any suggestions or to request the post office address of any record labels for the discs I cover. If you have any requests for review, let me know and I'll try to oblige them. Without further adieu, I want to play, how 'bout you?
George Jones, The Bradley Barn Sessions (MCA Records)
Similar to Sinatra’s Duets, this disc features Jones and today’s hottest country artists performing some of the Possum’s big hits.
Alan Jackson and Jones sound great on the sensitive ballad, "A Good Year for Roses." "Say It’s Not You" is a strong ballad featuring Jones and Keith Richards - the Rolling Stone sounds good in the role of co-vocalist.
Vince Gill’s usually great vocals appear stifled, but otherwise his duet with Jones on "Love Bug" sounds good. Jones and ex-wife Tammy Wynette sound old-fashioned on "Golden Ring."
Dolly Parton’s voice overpowers Trishia Yearwood’s and Emmylou Harris’ on "Where Grass Won’t Grow," but Jones sounds good here, as he does throughout the disc.
Other artists include Travis Tritt, Marty Stewart, Ricky Skaggs, Mark Knopfler, Mark Chestnutt and Yearwood alone with Jones. Many of the artists play instruments on other songs, too.
The contemporary stars make most of these songs sound new and fresh again.
Pink Floyd, The Division Bell (Columbia Records)
The disc opens with an instrumental, "Cluster One," reminiscent of "Shine on You Crazy Diamond" from the mid 1970s, but otherwise, the music sounds very contemporary.
Pink Floyd has grown in the 1990s and matured along with its old fans. "What Do You Want from Me" sounded successful before radio discovered it and Columbia made it a single. "Poles Apart" is a great song to hear and reflect on. It sounds like a sequel to The Wall’s "Hey You."
"Marooned" is an electric instrumental that kicks and "A Great Day for Freedom" is a great mellow song from the band that became synonymous with being comfortably numb.
"Take It Back" is the best song, and also the most popular commercially. Overall, the music sounds very pink and yet the band has evolved through the decades. Fans of the band shouldn’t miss The Division Bell. Nonfans might carry the bell after hearing it.
Follow this link to the Sony Pink Floyd Home Page and access to several others.
Anita Baker, Rhythm of Love (Elektra Records)
Baker has one of the most beautiful and sensual voices in music today and, combined with a good song, can’t be topped.
The hit "Body and Soul" is such a song. The title track is not. It starts with spoken dialogue and later progresses into an alright track. "The Look of Love" is one of the better songs. It features Baker’s harmoniously fluctuating vocals and a catchy melody.
Baker’s cover of Carly Simon’s "You Belong to Me" is something that should have stayed in Simon’s hands. Baker’s recipe is too close to the original, which already sounded good.
In general, her music sounds good and should not be heard alone, for greatest effect.
Slick Rick, Behind Bars (Def Jam Recordings)
The title track is very phat, meaning it’s great hip hop. "All Alone (No One To Be With)" is a good slow song, which shows Slick Rick is a diverse rapper.
He further shows his range of interests on "Sittin’ in My Car," a light-hearted track that goes well with an afternoon of hangin’ out with friends. "A Love That’s True (Part I)" contains obscenities, but is otherwise a typical rap song over a weak reggae beat.
Slick Rick in general has potential to make it big. His disc sounds better than average. He even includes two remix versions that sound better than the originals.
Groundhogs, Groundhog Night Live (Griffin Music)
The music on this double disc is full of life and sounds similar to that of Stevie Ray Vaughn and Double Trouble.
The vocals of bandleader Tony T.S. McPhee are more unique, somewhere between Joe Cocker and Jimi Hendrix. The songs are long and McPhee’s guitars travel across the music-scape, fully illustrating its diverse contours.
His bluesy vocal style sounds more like he’s lashing out at the wind.
One of the best tracks is "No More Doggin,'" about a woman who comes to the singer for affection, takes advantage of his love, and seeks the affection of others.
The titles of other songs are as interesting as the tracks: "I Love You Misogyny," "Thank Christ for the Bomb" and "Me and the Devil." The lyrics are difficult to understand, but the music and vocals do sound great.
(C) 1995 Daniel E. Klatt Enterprises.