Willie Hutch

GOODNIGHT MRS. CALABASH — fan Thomas NEW NATION — Roderick Falconer — UA-LA Band — Chrysalis CHR 1126 — Producer: fan 651G — Producer: Matthew Fisher — List: 6.98 Thomas — List: 6.98 Falconer's debut album showcases a unique The Ian Thomas Band has come up with some song-writing talent. His lyrics are, without excep- mellow pop material. Most of the tunes are in the up- tion, innovative and well-constructed. Falconer’s beat ballad vein, and there are a couple that lean career, thus far, has been preceded by myth; all toward harder rock, but the group handles both anyone will tell you is that he was a poet before this. areas equally well. Sophisticated arrangements are Much of Matthew Fisher’s production contributes to virtually the rule of thumb, and the harmonies, this sense of mystery: the singer’s voice is often without exception, are right on the mark. Each electronically pushed. On some cuts, however, member of the band seems to know his job, and Falconer really steps out with some pure rock ’n’ roll handles it well. The title track is a stand-out cut, as is that will doubtless appeal to many progressive “Liars,” which has some driving twin guitar work. A markets. “Stand By Me" seems like a good singles predominance of good piano parts makes this shot. album easy to listen to. A solid bet for progressive and AOR programmers. LIVIN’ FOR LOVIN’ — Jackie Lomax — Captlol ST | THE END IS THE BEGINNING — Richie Havens — 11558 — Producers: Jackie Lomax and Deke A&M SP-4598 — Producer: David Kershenbaum — Richards — List: 6.98 List: 6.98 Although it’s not structured specifically for the Havens’ mastery as a writer/stylist continues for- discos, this album will no doubt receive a lot of ex- tuitously on this LP. His appeal is broad based ow- posure in those places. Funky and adrenal, itshould ing both to his recordings and live appearances and light a lot of shoes on fire as well as continue the hot FM programmers always delight in his latest offer- FM/AOR activity that it’s already begun to wrap up. ing. This album shouldn’t be an exception. Havens’ Should be the product that brings this well- versions of "Long Train Running" and “Do It Again” respected, well-traveled British blues legend back are totally compelling. He continues to straddle the into the limelight. popularity spectrum in a unique way — one that finds old and young, black and white showing con- sistent interest in him. Given his absence from the recording scene prior to this debut for A&M, interest KEEPING IN TOUCH — Anne Murray — Capitol has probably never been higher. ST-11559 — Producer: Tom Catalano — List: 6.98 This smooth and mellow album flows sweetly along like a clear stream, creating a gentle and lov- IMAGES — Dan Hartman — Blue Sky/CBS PZ ing mood throughout. Most of the LP stays in an 34322 — Producer: Dan Hartman — List: 6.98 MOR, soft rock vein, with variety provided by the up- Consumers who are faithful readers of liner notes beat, jazz -flavored "Shine" and the country tune, will thrill to this one: there are substantial ap- “Sunday School To Broadway." Anne Murray’s pearances by Rick Derringer, Ronnie Montrose, lilting voice lends new shadings to the Bobby Darin Randy Brecker, Clarence Clemons and Edgar Win- hit, “Things." A natural for AM and MOR program- ter. With a lineup like that, coupled with Hartman's ming, this one could also garner country play. Ms. reputable producing, playing, and arranging Murray looks as ethereal on the cover as her voice talents, this turns out to be a fine rock album with a sounds inside— impending motherhood, perhaps? lot of things going for it. Hartman’s voice is a great rock vehicle, and his experience working with Edgar Winter has obviously helped him — he makes no mistakes. This will doubtless be an immediate NICE ’N’ NAASTY — Salsoul Orchestra — Salsoul progressive favorite, and a couple of tunes have SZ 5502 — Producer: Vincent Montana, Jr. — List: strong AM potential. 6.98 The first Salsoul Orchestra LP was received very well by disco programmers across the nation; this I’M IN HEAVEN — Touch Of Class — Midland one's destined to catch not only their attention but BKL1-1821 — Producer: John Davis — List: 6.98 radio programmers as well. Each cut offers some- Touch of Class, Midland’s latest entry into the thing totally different with the total effort heads soul/disco field, seems to have all the bases above the average disco product that makes its ap- covered with this lilting collection of elegantly con- ducted and arranged compositions. Tight pearance and leaves the scene just as quickly. orchestration and impeccable harmonies abound Salsoul Orchestra stuff is here to stay, with the title cut and an enchanting version of “We've Only Just in every selection. A particularly catchy rhythm sec- highlights. tion and universally acceptable lyrics should Begun/Feelings" as album Female provide substance for R&B and progressive vocals have always pervaded the tracks of Salsoul's tunes, and this album is no exception. The girls are programmers as well as all urban retailers. Superior strong and provide a perfect mix to the “Salsoul” cuts on this album include “You’ve Got Nowhere To sound that’s becoming more and more known, not Come,” “You've Got To Know Better” and the scin- just in disco circles, but radio circles as well. tillating title track. LATIMORE — Latlmore — Glades 7509 — DARK BLONDE — Tom Jans — Columbia PC Producer: Steve Alalmo — List: 6.98 34292 — Producer: Joe Wlssert — List: 6.98 Latimore provides a very soulful delivery of An up-tempo venture from a fine lyricist. Jans provocative lyrics and compelling rhythms. Should kicks the listener onto the street and steals from the get instant R&B adds. The album has a very bluesy memory, filling the head full of musical flavor from the ballad “All The Way Lover” which remininiscences of a love mercenary in his finest has slow moving lyrics to the stimulating and hour. Nobody rests much in this gutsy output. After provocative interpretation of “Let’s Do It In Slow Mo- you return from Spain and France you’ll find your- tion.” Programmers should take heed that this self licking your wounds and heading back for more | album will be a big favorite with the ladies. turntable action. Tom Jans’ voice keeps building with every release; so does his following. Lots of pop possibilities here. Also progressive FM. COLOR HER SUNSHINE — Willie Hutch — I/YOU — Brian Profheroe — Chrysalis CHR 1108 Motown M6-871S1 — Producer: Willie Hutch — — Producer: Del Newman — List: 6.98 List: 6.98 Brian Protheroe’s music is extremely clean, and Produced, written and arranged by Hutch, this rooted in not some insignificant classical traditions. album definitely has a more mellow flavor than his The title track takes more than a few drastic last offering. From the smooth funk of "Come On rhythmic shifts, and throughout Protheroe’s vocal Girl Let's Get It On,” to the placid arrangement of adapts easily to the changes. His lyrics take on "Color Her Sunshine" that seems to hypnotically at- some fairly far-reaching philosophical themes, and tract attention, this album should be a good there’s a lovely treatment of Shakespeare’s sonnet programming tool for the progressive as well as the "Under The Greenwood Tree.” A progressive R&B and top forty programmer. Watch for Hutch to flavoring is scattered through these ten cuts, com- continue his drive toward the select circle now oc- bined with the traditional voice of an English cupied by artist/producers Isaac Hayes and Barry balladeer. White. 34 Cashbox/September 25, 1976.

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