FunkFreak75
Recorded at Media Sound, Sound Mixers and A&R Studios, New York City, May-September 1977, Bob was definitely in the middle of a hot streak with songs from each of his previous four albums receiving regular rotational play on Adult Contemporary/Smooth Jazz radio shows. Bob's success in fact allowed him to start his own record production label in the summer of 1977: Tappan Zee Records, a subsidiary of the giant Columbia Records conglomerate.
A1. "Heads" (6:40) Rapper's Delight bass opening coupled with tubular bells melodic hook and bass/trombone notes made this popular to play while studying in my college dormitory but its infectious "magical" effect has long since worn off. (8.75/10)
A2. "We're All Alone" (5:32) another aberration of a contemporary pop hit (written and performed by Boz Scaggs) that turns out to be much better once it veers away from the main melody and theme. Yeah, these dudes are cookin' it in the second and third minutes and then again when the DEODATO "Also Sprach Zarathusra: 2001"-like section that ends the song starts. (9/10)
A3. "I'm In You" (6:47) a song that opens like a Disco BeeGees "Night on Disco Mountain" before turning to pick up Peter Frampton's lead melody from his hit of the same name--but this is quite an unrecognizable rendering of that song as so many odd instruments are used to take the place of the vocals (including synth saws and horn section blasts). To my ears this sounds more like a novelty song--one of those that gets radio play specifically for its odd sounds and Disco beat. It's not horrible--and definitely displays some sophistication and tightly-co-ordinated arrangements, it's just not that great of a song! (13/15)
B1. "Night Crawler" (6:17) another of those songs that I would include in my own playlist entitled "The Best of Bob James"--as much for its multiple earworm melody hooks but also for its tight, professional performances. (9/10)
B2. "You Are So Beautiful" (6:50) an instrumental arrangement of Billy Preston's amazing song--one that actually does justice to the original despite the liberties taken in its jazzification. Grover Washington, Jr.'s very heart-felt, respectful soprano sax play is one of the big reasons, but it's also got a lot to do with the spacious arrangement that Bob has made. The actual weakest part of the song is Bob's own bluesy piano solo! I love the whole-band chord hits (and progression) in the bridge in fifth minute and then the background vocal girls in the final two minutes. (13.375/15)
B3. "One Loving Night" (5:48) Bob's rendering of the famous Henry Purcell British folk song--here even incorporating a harpsichord-like keyboard sound (Bob's Oberheim Polyphonic "Tinkle Bells" setting). The orchestral arrangements added in the second minute even add to the respectful "classic" feel, but then, toward the very end of the second minute, the jazz-rock combo launches into a pretty funky movement (thanks in no small part to the bass play that sounds like Alphonso Johnson but goes uncredited as far as I can find). Nice, mature song rendition. The weakest part, for me, are the saxophone inputs. (9/10)
Total Time: 38:54
Yet another album on which less than half of the songs are original compositions (two of six). I find it quite interesting to realize, just now, that it's the two Bob James originals that I like the most--by far! (Time to get out of the business of banking on covers for sales and radio popularity, Bob!)
B/four stars; an excellent display of ever-maturing compositional acumen from one of Smooth Jazz's true masters.
