Bruton Music Library – BRD 24 Cover Girl (1985)

Tracklisting:
1. Cover Girl
2. On The Beach
3. Night Bird
4. Fairy Tale Princess
5. Stroller
6. Swanky
7. Circles
8. Man In White
9. After Midnight
10. Malibu Queen
11. Miami Breeze
12. Life Style 1
13. Life Style 2
14. Step Into Sunshine
15. Westcoasters
Composers: Ron Aspery [1-3, 8], Steve Gray [4, 5], Duncan Lamont [6, 7], Alan Hawkshaw [9-15]

Source: Vinyl LP
Format: VBR V0 MP3, FLAC
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A mellow, jazzy mid-’80s offering from Bruton, with some great compositions from Ron Aspery, Duncan Lamont, and the venerable Steve Gray and Alan Hawkshaw. Aspery’s compositions, featuring a rather crisp saxophone in front suggest the classic image of lavish living on the beachfront (much like the cover does). The lead guitar on both “On The Beach” and “Man In White” are treats. Steve Gray’s offerings are a little more subdued (if that were possible in a collection of mellow jazz fusion pieces). Duncan Lamont only offers two tracks, like Gray, and “Circles” is exquisite; the lead guitar, similar to those on Aspery’s song, gives the song a little bit of bite.

Alan Hawkshaw handles the entire B-Side; while all of the songs on side A show signs of having moved out of the more “orchestral” sounds of the decade prior, it is Hawkshaw’s portion of the collection that fully embraces the technology that the ’80s have to offer, with a more synthesized sound, for better or worse. Drum machines take the place of a live drum session, the Rhodes piano is put on the shelf in favor of the DX7, and instruments like horns, strings, and harmonica are replaced with synthesizers emulating those sounds. This is not to say that the songs are bad at all — “After Midnight” and “Miami Breeze” are two of the best in the entire set, and the others retain a level of quality associated with Hawkshaw’s playing. Overall, one of the more enjoyable Bruton Music collections, on par with other offerings in the BRD line.

Bruton Music Library – BRG 30 Television Today (1985)

Tracklisting:
1. Friends
2. Friends (Alt. End)
3. Welcome News
4. Flyaway
5. Manpower
6. Manpower (Alt. End)
7. Gunrunner
8. Lightening Strikes
9. The Late Show
10. Tinsel Town
11. Premiere
12. Talking Point
13. Tonights TV
14. Motion Pictures
15. Touch of Class
16. Hotspot
17. Supersport
18. Watch It
Composers: Steve Gray [1-6], Duncan Lamont [7-10], Jean Bouchety [11-18]

Source: Vinyl LP
Format: VBR V0 MP3, FLAC
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The hallmarks of a great Bruton collection are a heavy dose of nostalgia and some under-the-radar heavy grooves. This is certainly present in BRG 30 Television Today, a collection split three ways between composers Steve Gray, Duncan Lamont, and Jean Bouchety.

Gray’s work here is more in line with his work on BRG 22 Happy Days: more big and brassy than it is jazzy; though that familiar instrumentation with a touch of jazz is there (especially in “Flyaway”), you don’t hear anything like “Barcelona or Bust” or “Dreams of Redcar” (from BRD 14 Soft Sell).

Duncan Lamont, in addition to having one of the coolest names of the composers found on Bruton Music records, contributes some hot numbers to this collection, in particular, “Lightening Strikes”, which perfectly captures that “is it rock? is it jazz?” feeling that while not quite hitting the peak of ’70s fusion-jazz, hit a high that was rarely seen after the 1980s. “The Late Show” will sound undoubtedly nostalgic, as does “Tinsel Town”.

Jean Bouchety handles the entire B-Side, showing a deep proficiency in crafting themes fit for the small screen. “Premiere” and “Tonights TV” are delightfully mid-80s evening program material. However, the real keeper comes right after “Premiere” in “Talking Point”. A mid-tempo number with jazzy ambitions and transitions, this is the one that will garner the most attention out of the set.

Overall, as this is a 1985 collection, the move toward more electronics and brighter sounds are prevalent (like the Yamaha DX-7 that sneaks into some of Steve Gray’s selections, and the Simmons-style drums that are over many of Bouchety’s work); don’t let that detour listeners who prefer the more organic sounds of the late ’70s Bruton collections from missing out on a quality collection.

Kenny Pore – You Don’t Know Me (1985)

Tracklisting:
1. You Don’t Know Me
2. Walking With You
3. My Heart Knows
4. Life Within
5. Thoughts Of You
6. Know That Your Heart Is Right
7. Dianna

Source: Vinyl LP
Format: VBR V0 MP3, FLAC
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Following Inner City Dreams comes the more pop-flavored You Don’t Know Me, from largely the same cast of players (add Paul Jackson, Jr. on guitar for a number of tracks, and also Harvey Mason on drums on one track). Hearing the instrumental selections, in particular, “Thoughts Of You”, it’s no wonder that “smooth jazz” took off as a radio format, and many musicians who were dipping their toes in that water already, were rushing to have a piece of the action. The resemblance to music that was often peddled by publishing companies for use in adverts, stage, and screen (and often shared/reviewed here) is not lost here either; Pat Coil, who contributes on this album (and has for much of Kenny Pore’s recorded work), has a storied career behind the scenes in said business as a composer. The vocal pieces, again, helmed by the Eric Tagg-like Rick Riso, are the highlights and the hardest lean toward a “pop” sound contained on this album. The most enjoyable of which, is “My Heart Knows”, which, much like “Everyone Needs Someone Like You” from the last item, was an inexplicable omission from Pore’s released anthologies.

Ta Mara & The Seen – Ta Mara & The Seen (1985)

Tracklisting:
1. Everybody Dance
2. Affecttion
3. Summertime Love
4. Lonely Heart
5. Thinking About You
6. Got To Have You
7. Long Cold Nights
8. Lonely Heart (Reprise)

Source: CD
Format: VBR V0 MP3, FLAC
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When Jesse Johnson made his exit from the band that made him famous, The Time, he may have been unaware, but he had an immense responsibility: to keep the funk of Minneapolis alive, whilst “That Guy” was taking his art down a different road. For much of his run as a solo artist (and psuedo-solo artist, to give credit to the “Revue” that titles his first album) on A&M Records, whether it was at the insistence of the record label or not, he did just that. Not only did he carry the torch that he snatched from “That Guy” in that sense, but he also was given the opportunity to produce, perhaps making his own versions of The Time. The first time Jesse went down this path, the result was Ta Mara & The Seen, one of the hidden gems of the era.

Employing Margie Cox, a young and familiar face within the Minneapolis music scene (prior to this, she had replaced Cynthia Johnson in Lipps, Inc. before they closed their doors, and after this, she did go on to work with “That Guy” in some capacity), as the band’s frontwoman and namesake (she adopted the name “Ta Mara”), Jesse Johnson dropped a set of what some might argue, his best work in the “Minneapolis Sound” vein. Though among aficionados, insiders, and people who Google ASCAP listings it was known that Jesse penned what is perhaps The Time’s most famous song, “Jungle Love” (to date, this is the only song from that part of his career that he revisits in his own concerts), if it wasn’t apparent then, it was certainly so, from the first seconds of the album’s opener “Everybody Dance”. Much like Cherrelle’s “I Didn’t Mean To Turn You On” was an “F.U.” to “That Guy” from Jimmy Jam and Terry Lewis, this song serves a similar purpose — a dance-floor scorcher that reminds you of something else with which they may have been involved. The rest of the album is non-stop Minneapolis fun: the sleek “Affecttion” is made sweeter by Ta Mara’s lead vocal, which can reach into place’s Jesse’s likely could not (unlike many who “do it all”, he had a very clear idea of his limitations at that given point in time). “Summertime Love” is absolutely grand, and should be on everyone’s playlist. The same could be said for “Thinking About You” and “Got To Have You”. Though the run time is short, this album is absolutely worth the price of admission if you love the Minneapolis sound (and even if you aren’t that deep into it). The “Revue” instrumentation is in full effect, and if you’re a close study of the work of Jesse Johnson, you can easily tell he’s closely involved with this album, the same way “That Guy” was involved with The Time.

Bernard Wright – Mr. Wright (1985)

Tracklisting:
1. After You
2. Who Do You Love
3. Love You So
4. Yo Nard
5. Too Damn Hot
6. Killin’ Me
7. Just When I Thought You Were Mine
8. Brown Shoes
[M.A.D. Edition: Bonus Tracks]
9. Who Do You Love (Club Mix)
10. Who Do You Love (Radio Mix)
11. Who Do You Love (Dub Mix)
12. After You (Extended Version)
13. After You (Instrumental)

Source: Vinyl LP, 12″ Singles
Format: VBR V0 MP3, FLAC
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Jamaica, Queens, New York native Bernard Wright, the young prodigy of his hometown’s music scene, found himself working with heavyweights as Return To Forever’s Lenny White and Tom Browne as a teenager, not to mention cutting his first record as a solo artist, the much heralded ‘Nard, as an 18-year old. He also saw a lot of work as a session player and composer (including one of my favorite songs that got buried in the sands of time, appearing on the Rick James Presents Bobby M album… seek it out). Classically trained, ‘Nard had a ear for not just instrumental jazz and “jazz fusion”, but the contemporary funk sounds of the day, as largely exhibited on his first two solo albums on the GRP label. For his third act, he made the move to EMI/Manhattan in 1985 with Mr. Wright, which further showcased him as a singer first and foremost. Instrumental excursions in the vein of “Mr. Clean” (graciously lent to him by the late Weldon Irvine and turned out on his Funky Beat album) and “Bread Sandwiches” (from his freshman effort) were hardly to be found here; instead, an R&B sound not unlike what you might find on Stevie Wonder’s In Square Circle album from the same year and a street-wise, hip-hop-and-breakdance influenced edge that kind of brings Herbie Hancock’s “Rockit” years to mind dominated. Which is not to say that this album is dull compared to his previous efforts; in fact, Side 1 of this album kills.

“After You”, the album’s opener, certainly has that 1984-85 Stevie Wonder sound down to a tee, but it just floats with Bernard’s youthful vocals atop the music. Following this, is “Who Do You Love”, which might be Bernard’s biggest hit (and most signature song) to date, and the sublime “Love You So”, which should have somehow been a B-Side or something, but between the first two songs on this album, that might have been overkill; even as such, “Love You So” threatens to be the best song on the album, for the harmonies in the chorus alone. “Yo Nard” was a B-Side to one of the singles, and much like “Brown Shoes”, which closes the album, it is very industrial, mechanical mid-’80s funk that invites the Herbie Hancock comparisons (especially the latter). “Killin’ Me” is a real killer of a modern funk romp, and it even includes vocoder for added flair under the main vocal. Assisting Wright on this outing, are Lenny White and Marcus Miller, two of his Jamaica Boys comrades; White has songwriting credits on many of the songs collected here. This album, despite the success of “Who Do You Love”, did not fare as well as expected; Wright did not record another album for 5 years following, opting to return to the background as an artist for the most part. It’s a shame, with recent interest in his early material, that his first two albums have seen several CD reissues by this point, but this one escaped the reissue gods (even the digital reissue gods) — perhaps it may be due to the record label switch and Sony/BMG being much more gracious with their back catalog, but this album really deserves another listen, if you’re familiar.

The M.A.D. Edition of Mr. Wright, shared here, includes the 12″ mixes of “Who Do You Love” and “After You”, the album’s singles, as a bonus.

Osborne & Giles – Stranger In The Night (1985)

Tracklisting:
1. Keep Pushin’ On
2. I’ll Save Forever For You
3. Stranger In The Night
4. I Want To Be With You
5. I Can’t Stop This Feeling
6. Be Right By Your Side
7. Night On The Town
8. I Feel Good
9. I’ll Make You An Offer

Source: Vinyl LP
Format: VBR V0 MP3, FLAC
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Billy Osborne, elder brother to R&B vanguard Jeffrey Osborne, and former co-bandmate in L.T.D., and Attala Zane Giles, late of R&B duo Deco (alongside Philip Ingram of Switch fame) united as a singer/songwriter duo in the ’80s after leaving both their respective groups. In 1985, the duo crafted a single album for Chicago-based Red Label. The result is a strong collection of modern soul, leaning toward some of the meticulously sequenced pop sounds of the 1980s (not unlike what you would hear on Shalamar’s The Look album), but also yielding some deep ballads that are more than worth the price of admission.

Giles is the lead voice you hear on all but two of the tracks; his falsetto brings a richness wherever it was applied, especially on the pop-infused opener “Keep Pushing On”, and ballads such as the velvety “I’ll Save Forever For You” and “Be Right By Your Side”. The real takeaway from this album is the album’s closer, “I’ll Make You An Offer” — some very well-traveled ears may recognize it as the song hip-hop producer 9th Wonder used to demonstrate his sampling skills in one of his many lectures in the film The Wonder Year.

Bruton Music Library – BRH 26 Working It Out! (1985)

Tracklisting:
1. Working It Out 1
2. Working It Out 2
3. Up-Front
4. Drum Fantasies
5. Party Breakers
6. Steam Roller
7. Slow Down
8. Happy Feet
9. On The Street
10. Powerhouse
11. 42nd Street
12. Autoshots
13. Big Digits
14. Fast Play
15. Keep Going
16. Sweatshirt
Composers: Ray Russell/Peter van Hook [1-10], James Asher [11, 14, 15], James Asher/Alvin Christie [12, 13], Aaron Harry/Derek Parris/James Asher [16]

Source: Vinyl LP
Format: VBR V0 MP3, FLAC
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An edgy mid-’80s set, synthesized, with drum machines everywhere and elements of a harder rock/funk amalgam. Those familiar with and fond of the Bill Laswell era of Herbie Hancock’s music would feel right at home here, as much of this wouldn’t sound out of place in a Rockit Band set (particularly Ray Russell and Peter van Hook’s “Up-Front”). “Slow Down” sounds like it was inspired by Michael Jackson’s “Don’t Stop ‘Til You Get Enough” in places; other times, the sheer ’80s element entertains beyond belief — “Autoshots” sounds as if the composers of the Inspector Gadget soundtrack raided Prince’s studio and stole his Linn LM-1. Much recommended for the “breaking” edge to the sound.

Bruton Music Library – BRL 17 Aggressive Advertising (1985)

Tracklisting:
1. Corporate Identity 1
2. Corporate Identity 2
3. Bright Future
4. Fanfare For Tomorrow 1
5. Fanfare For Tomorrow 2
6. Fanfare For Tomorrow Link
7. Craftsmen 1
8. Craftsmen 2
9. Aggressive Advertising
10. Good Thinking
11. Red Star
12. Mail Train
13. Fast Output
14. Decision Makers 1
15. Decision Makers 2
16. Decision Makers 3
17. Great Debate
18. Growth Factor
19. Special Report
20. Meeting Of The Giants
21. Spectrum
22. Spectrum Link
Composers: John Cameron [1-9, 14-22], Alan Hawkshaw, [10], Zoe de Souza [11-13]

Source: Vinyl LP
Format: VBR V0 MP3 [FLAC lossless format available upon request]
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From Bruton comes a collection so upright, it ought to be solely played in the tape deck of a vintage MK V Ford Cortina saloon — at least as far as John Cameron’s compositions are concerned. The title of this collection is quite apparent as you move through his selections, particularly the title track. There is a break starting with Alan Hawkshaw’s “Good Thinking” which sounds like an outtake from BRL 7 Music Machine and ending with the selections provided by Zoe de Souza, “Mail Train” being a fun adventured in sequenced synthesizer rhythms and melodies. “Spectrum” has a very hard-edged programmed drum line that sounds rather “hip-hop” despite the music being played over it. Perhaps a Vauxhall car commercial considered using this music?

Bruton Music Library – BRG 32 Hot Doughnuts (1985)

Tracklisting:

1. Hot Doughnut 1
2. Hot Doughnut 2
3. Big Boys 1
4. Big Boys 2 – Sting
5. Big Boys 3
6. Jive Talkin’ 1
7. Jive Talkin’ 2
8. Crash Hat 1
9. Crash Hat 2
10. Crash Hat 3
11. Hydropower 1
12. Hydropower 2
13. The Bike Shed Mob 1
14. The Bike Shed Mob 2
15. Basketball
16. Giant Slalom 1
17. Giant Slalom 2
18. Championship
19. Action Replay

Composers: John Cameron [1-19]

Source: Vinyl LP
Format: VBR V0 MP3 (FLAC lossless format available upon request)
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The entirety of this collection (sometimes called “The Hockey Album” because of its cover) is composed by John Cameron, who was heavily featured on some other Bruton Music collections shared here and is generally known as a prominent figure in the composition of such library music. Though the hockey goaltender featured on the cover suggests a “sporty” feel for the songs, this is not necessarily the case; from start to finish, these are certainly brassy, muscular compositions, but the overall vibe is more Knight Rider than they are SportsCenter.

The upbeat title tracks kick it off, followed by several variations on a theme in “Big Boys” and “Jive Talkin'”. “Hydropower” is a favorite of those familar with this set, as it has been somewhat described as a theme suited for breakdancing. “Basketball” is a very forward-thinking electronic beat, and “Giant Slalom” seems as if it is an updated take on compositions heard in BRG 18 – Get Up And Go.

Chill – Chill Out (1986)

Tracklisting:

1. 911
2. Sexy So Nasty
3. Think About It
4. Never Walk Another Day Without You
5. Lady Seduction
6. Misty
7. Do It With Control
8. Hanging On

Source: CD
Format: V0 VBR MP3
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Out of the Los Angeles underground was Chill, another one of those bands that Nelson George might have said was trying a little too hard to be both Prince and Morris Day at the same time, if only in their overall sound. However Chill had a rather interesting couple of aces up its sleeve that set them aside from the rest of the pack: lead singer Devrik Williams, whose clear, ready-for-prime-time vocals may not have grabbed your ears at first listen, but in hindsight, sound a whole lot better than those who tried too hard to sound like the Purple Midget and his friends, and a certain keyboard player named Chuckii Booker, whose stamp is all over this album.

Chill first burst on the scene in 1985 with a series of releases on L.A. imprints Jam Power, Street, and (the humorously named) KMA Records, including songs like “Lady Seduction”, “Think About It”, and finally “911” (which even had a video, strangely enough — look for it on Youtube!). By 1986, Chill had finally built an album largely of stomping Time-style funk numbers around their initial offerings; Chill Out was pressed and distributed by Macola, a local outfit who would put out the records, so as long as you had master tapes and a fee to spare.

The result is a largely enjoyable, high quality collection of songs from a band that had a lot to prove. Of particular note is “Never Walk Another Day Without You”, which has aged pretty well since its release. “Lady Seduction” sounds a lot like what Chuckii would do as a solo artist (even though he doesn’t have a writing credit), if not what he would do around the same time with Tease (see earlier entries). “Do It With Control” sounds a whole lot like Jesse Johnson’s material in this era, to the point one almost wonders if Chuckii snuck his keyboards out of Jesse Johnson’s Revue himself. “Hanging On”, the album’s mellow closer, balances a fat bass synthesizer with Devrik’s even-toned voice, and ends the set on a pleasant note.