Loggins' Versatility Shows "Yesterday, Today, and Tomorrow."
580472
Kenny Loggins hardly seemed a logical choice to retain, let alone grow, his success as the 70s ended. Like Phil Collins, another superstar of the new decade, Loggins was best known for work with a group (Loggins and Messina) with a clearly identifiable, well-regarded image and sound hard to break from.
What impresses you most, then, about "Yesterday, Today, Tomorrow" is Loggins' versatility. He wrote elegant jazz-flavored pop like "Whenever I Call You Friend" (with Melissa Manchester) and the gorgeous holiday ballad "Celebrate Me Home" (his first solo hits, produced by smooth jazzman Bob James). He wrote sweeping pop-gospel ballads like "This Is It," (with Michael McDonald), "Heart To Heart," and the ecological anthem, "Conviction Of The Heart." He could write intimate children's songs like the update of "House On Pooh Corner," or New Age-flavored love songs like "The Rest Of Your Life."
But then, again like Collins, Loggins was every bit the mercernary with his successful 80s movie songs, many produced with disco's Georgio Moroder.  "I'm Alright," 1984's #1 "Footloose," 1986's "Danger Zone" and "Meet Me Half Way"  epitomise an 80s rock style with slamming, near-rockabilly drums (from Tris Imboden, who later joined another 70s-into-80s hitmaker, Chicago), synthesized bass and steely guitars far from Loggins & Messina's laid-back sound. (Loggins, eloquent in his liner notes for each song, offers none for these.) Loggins' duet with Journey's Steve Perry, "Don't Fight It," ironically sounds loosest and most fun among the rockers here yet charted lowest.
A Loggins renaissance seems well-timed. Not only has he reached to longtime fans with children's and holiday albums and a book about his marriage (not to mention his support of solar power), but has had his movie songs revived on stage and in the new 80s music formats. (Again, Collins took a similar path to the AC audience with the "Tarzan" soundtrack). Thus, "Yesterday, Today, and Tomorrow," despite omitting some hits ("Nobody's Fool," "I'm Free," "What A Fool Believes," "Vox Humana" )remains the first and best stop for casual fans of Loggins 25-year solo career and/or 80s pop generally. Recommended.
2853936
Changing with the times ,still blowing in the wind ,never get to old for Dylan
871178
One man, a guitar, and, every now and then, a harmonica. There's more to this recording than that, though. The songs are deceptively simple and heartfelt and have deep roots in American folk and blues music. And the songs are good on top of that! There is no hint of trendiness here. It's just good music and always will be. If you get this CD now, you will still be listening to it happily years from now.
2253681
By the mid-Sixties, jazz seemed to have ground to a halt.  The surviving oldtimers were just re-working their catalogs.  "Progressive" trends had dead-ended into the indeterminacy of free jazz, the popularity of which was not boosted by its elements of black militancy.  In the meantime, rock and roll and Motown were happening, forging new musical paths upwards from their blues roots and winning broad audiences.  Rock in particular at this time was gaining respect, as The Beatles and Bob Dylan brought thitherto unknown sophistication to rock songwriting, and artists like Cream and Jimi Hendrix would soon state their cases for instrumental virtuosity in rock.  Some young jazz musicians sought for ways to meld the fluidity of jazz with the power and-let's face it-fun of rock.  This book is their story, and of the artists who followed in their trail.
This book is dense with timelines, trends, and capsule histories.  It is the only book on this subject known to me, and I am glad to learn of the existence of many of these forgotten pioneers and overlooked innovators.  Saxophonist Charles Lloyd, in whose group Keith Jarrett got a start, carved a niche for himself by playing Coltrane Lite to the psychedelic crowd.  Don Ellis played to the same audience using wild time signatures with "groovy" coloration.  In more modern times guitarist Scott Henderson tries to lure metalheads to his brand of hard fusion.  Of course we also meet more familiar acts, like John McLaughlin's Mahavishnu Orchestra, Weather Report, and that shifting assemblage of uncredited songwriters, sidemen, producers, and engineers collectively known as Miles Davis.
The story is enriched by a lot-and I mean *a lot*-of eyewitness accounts and reminisces.  The improvisational hard rock of Cream turns heads in the New York jazz scene.  Vibraphonist Gary Burton and guitarist Larry Coryell follow Cream onstage at the Filmore.  Jazz drummer Buddy Rich adds Beatles songs to his setlist, busying up the arrangements past recognition.  Larry Graham of Sly and the Family Stone invents bass "popping", which is quickly integrated into the jazz vocabulary.  The Mahavishnu Orchestra turns out to be even more daring in concert than on record.  The rash young Larry Coryell tries to cut Jimi Hendrix onstage, and is blown out of the song by a massive wail of feedback as punishment.  Hendrix especially casts a long shadow throughout this book, as do Cream.
One can always carp about where the author draws the line about who to include.  Spirit doesn't rate a profile?  Drummer Ed Cassidy had only played with Thelonius Monk, Cannonball Adderley, and Gerry Mulligan, is all.  But that's all part of the fun, I suppose. This is a fine account of a little-considered genre.  You're guaranteed to be tempted to take this to the record store with you.
4407285
The lead vocals are unique. Though the music is modern, the vocals take me back to better times with a vintage Bob Dylan feel. But it is the acoustic guitar style of this artist that is most appreciated. If you're into classic rock and jazz, you can distinctly hear and feel all the various classical influences come alive throughout each song. Give it a listen, and then listen again. This music is truly smoother than whiskey.
4107639
Sometimes one generation's vision of what is new and strange seems quaint thirty years on. This music, which is a picture of the strangeness of the modern world of 1980-something, is as vivid now as it was when it was first released.

Part of this is that the sound is so intelligently structured and presented -- the production is a model of clarity. Partly it's the strange palette of tone colors that combine so well with Jim Kerr's rich yet hollow voice.

But most of all, I think, this is because there is something haunting and mysterious about the combined clarity, intelligence, and color that is so perfectly set off by the propulsive bass and drums that drive track after track and that sustain this record over the long haul. The contrast is what makes Sons and Fascination's vision of modernity fresh and evocative even if it is so clearly a thing of its time.

Their later music tends, I think, to sound like Chicken Soup for the New Wave Soul, and their older music seems almost to document Simple Minds groping their way towards this record. If you are a fan of the later stuff for the sake of the allusive qualities that remain in it, you may just find there is more of that here, and better.
3798402
I liked the heavy and instense music Kid Rock made back in the day. However, I love the changees he has made in recent years.  Rebel Soul is a great example. The music is foot-tapping, dancing around to the beat kind of music. Interesting maturity for a talented artist who can play ever musical instrument in his band. I know because I saw it multiple times. Great change-over.
4743962
Back in 1991 I bought the cassette of Leap of Faith. I discovered a very interesting history in it. The singer telling us the different stages of a common human being. From a single man who was looking for a dream to a family man resolving his troubles with the family, but always, fundamented in love.
There is a lot of phylosophy inside each song.
In 1998 I bought the "Kenny Loggins Live in the Grand Canyon VHS Cassette" which is the maximum expresion of the album: to sing "Leap of Faith album" in front of common people, a majestic piece of art.
If you ever thought that Loggin's trademark were "Footloose or danger zone, For the Fist Time, Forever or even Back to Avalon", you will understand the you were wrong, because you'll find the essence of Kenny in the album, his life, his experience, his message and his legacy to the people who was lucky to hear his music during the 70-90's decades.
688539
A lot of information that makes more sense today looking back.
2499144
I remember listening to "Stardust" and "Red-Headed Stranger" in high school, and while "Moment of Forever" isn't his greatest work, it still is very good. Like the man himself, "Moment" is a mixture of the sacred, like "Louisiana" and "Always Now," and profane, the "Bob Song" and "You Don't Think I'm Funny Anymore" - all thoroughly enjoyable.

I was touched by "When I was Young and Grandma wasn't Old," given the relationship Willie and his sister had with their grandparents. I wonder if that song, which he didn't write, has some special meaning for him. And "Gravedigger," could that become a regular part of his repetoire now that he's turned 75?

I hope Willie lives forever, or at least till he's 103, and he keeps turning out albums like this, the aural equivalent of comfort food, regularly.
1910824
Oh my this album took me back to when I was young but is still timely with today's issues. Past and present blended together.
875481
I recently saw Justin Rutledge open for Blue Rodeo in Portland, Oregon, and I've got to hand it to those guys; they picked an incredible and fitting opening act in Mr. Rutledge.  Justin not only started the evening off with passion and a supremely talented band, he was also humble, humorous, and endearing in nature.  Having met him after the show I can tell he's an old soul with a lengthy career ahead of him.  This album in particular seems to me to be a real turning point in his career.  It is a mature album throughout; every song memorable for its inner-diving wisdom.  Of note is without a doubt "A Penny for the Band", a modern classic which will most certainly be recorded by many an upcoming crossroads band, as its chord structures are of storybook melody.  I strongly recommend this album for any modern alt-country/crossroads fan.
470890
Besides being relevant in todays time, it's like you can see the events in the series happening on the streets.
4766118
The compilation of a period in time gives a good impression of yhe talent of Jimmy Lafave. Different styles makes the album sometning that you keep listerning. You will want to hear it till the last song. Dont miss it.
4374880
Jim Van Slyke is a truely gifted talent, Holding  a wonderful torch for yesterdays songs. I felt i would like the record when i order it from Amazon, and i really do. "The Sedaka Sessions" grab me on the first track to the very last. "brighton" is a very good song that is new to me, with Neil Sedaka joining in. The record is not near as commercial as released by Neil as hit singles, and i believe that balance is really excellent. This is my first cd by Jim Van Slyke and  it will not be my last. I believe i have found a wonderful singer, and really looking forward to hearing more.
2887775
Keni Burke proved with his third solo release how talented and gifted he is. His creativity as a song writer, musicianship, and unique voice shine brilliantly on each track. On "Changes" Keni's producing and arranging are excellent. Still, I wonder why this multitalented artist didn't achieve more recognition. One true test of good music is that it continues to sound good, no matter what decade it was originally recorded. "Changes" easily passes the test with timeless music that still sounds as fresh today as it did decades ago.  Good music remains that way.
1925060
It is taking me years to learn to play "Charlie's Medicine." Mainly I am glad that plowing into old age like a rocker is giving me the time to appreciate some of the things I liked between the time I was 12 and 62 more than I had a chance to the first time around. A pattern of notes that repeats while the verses are sung has so many things to get together at the same that my practicing has to be repeated until it is impossible to do any one tricky thing wrong while I am doing something else. I am not quick enough to do the notes on a guitar, but using two hands on the same octave of a piano I did it often enough in the four weeks that I was with my mother that she told me the notes were going through her head when she went to sleep when she finally thought it was time for me to go home. I got out of Wichita, Kansas, before the church shooting started, but retirement allows me to appreciate Warren Zevon more than I ever liked going to church every week or work every day. Warren Zevon was the most exciting person I knew who was my age. He was born two months before I was in 1947. Then Emmylou Harris was born within two weeks after me. When I listen to people who had such great talent, it makes me proud to think: this is us.