| | Boy Meets Girl Reel Life CD Boy Meets Girl Discography of CDs
 (4 Customer Reviews)
Boy Meets Girl's George Merrill and Shannon Rubicam wrote Whitney Houston's "How Will I Know" and "I Wanna Dance with Somebody (Who Loves Me)," so they understand how important a foundation is to adult contemporary pop -- without something to pull the listener along, the songs become just flash and keyboard flutter, platitudes about love and loss. And while Reel Life suffers a little bit from the over-synthesized instrumentation of its era, Boy Meets Girl more often than not pushed the right melodic buttons on this, their biggest album. "Bring Down the Moon" and "Stay Forever" are particularly strong, while the hit single, "Waiting for a Star to Fall," is just a classic. "Trying to catch your heart is like trying to catch a star" -- the urgency as it drives toward its chorus is a clinic for durable songwriting. (It's no surprise that European house producer Mylo based an entire song around a single phrase from "Waiting for a Star to Fall.") "One Street Dream" and "Is Anybody out There in Love" make good use of Boy Meets Girl's coed vocal setup, and "No Apologies" gives Rubicam a chance to show off about halfway through, right before the too-saccharine sax solo. Reel Life rides that line, pairing its feel for songwriting in a 1970s soft rock style to a synthetic 1980s slickness. But ultimately it's the quality of the songs that wins out, making Reel Life one of the better lite rock entries of the era. ~ Johnny Loftus
Recording information: Greenstreet Studios, New York, NY; Mad Dog Studios, Venice, CA.
Director: Ria Lewerke.
Photographer: Michael Tighe.
Unknown Contributor Roles: George Merril; George Merrill.
Personnel: George Merrill (vocals, piano, keyboards, synthesizer, drum programming, sampler); Joe Turano, Shannon Rubicam, Susan Boyd (vocals); John Goux (guitar, electric guitar, dulcimer, drums); John Morton (guitar); Eric Williams (mandolin); Gary Herbig (oboe); Andy Snitzer (saxophone, alto saxophone); Larry Williams (alto saxophone); George Merril (piano, synthesizer, drum programming, sampler); Denny Fongheiser (keyboards, synthesizer, drums); Joe Mardin (synthesizer, programming); Richard Gibbs (synthesizer, sampler, sound effects); Thomas Hart (synthesizer); Kerry Hatch (bass synthesizer); Michael Jochum (drums, bongos, cymbals, percussion, sound effects); Tomas Hart (programming).
Audio Mixers: Joey Wolpert; David Leonard.
Reel Life Music | List Price | $6.98 (You save $1.33) | | Category | Rock/Pop Albums, Rock CDs | | Label | BMG Special Products | | Orig Year | 1988 | | All Time Sales Rank |  4946  | | CD Universe Part number | 6780492 | | Catalog number | 148361 | | Discs | 1 | | Release Date | Apr 01, 2004 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Producer | George Merril; Tomas Hart; George Merrill; Arif Mardin | | Engineer | Joey Wolpert; Rod Hui | | Recording Time | 45 minutes | | Personnel | Larry Williams - alto saxophone
Larry Williams - alto saxophone
Gary Herbig - oboe
Andy Snitzer - saxophone, alto saxophone
Richard Gibbs - synthesizer, sampler, sound effects
Denny Fongheiser - keyboards, synthesizer, drums
Joe Turano
Joe Mardin - synthesizer, programming
John Goux - guitar, electric guitar, dulcimer, drums
George Merrill - vocals, piano, keyboards, synthesizer, drum programming, sampler
List all 17 contributors
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Boy Meets Girl Reel Life Songs Purchase Reel Life CD To buy, Click on price to add to cart | General Public All The Rage CD (1984)
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This rereleased album from the famed vocalist features eight bonus tracks.
Dusty Springfield's second British LP was roughly equivalent to the American You Don't Have to Say You Love Me album, which appeared ten months later in the United States and had the title hit and one other song ("Little by Little") added, and three of the U.K. edition's songs stripped off. The British version also appeared as a gatefold, filled with a series of beautiful photographs and extensive notes. More to the point, this second album presented a more mature Dusty Springfield, doing songs by Leslie Bricusse and Anthony Newley, Randy Newman and co., although all of the material here -- even "Who Can I Turn To," from the musical The Roar of the Greasepaint -- still has a soulful edge. Moreover, she scales new heights of passion on Rod Argent's "If It Don't Work Out" and the ethereal "That's How Heartaches Are Made," and seems close to bursting her lungs on Gerry Goffin and Carole King's "I Can't Hear You." A little more than half of this album -- mostly the up-tempo numbers -- was recorded with her on-stage backing group the Echoes, and they have a nice, lean band sound that was also a departure from the lushly orchestrated, outsized production of her early singles sides. The whole record comes off as perhaps the greatest Motown album that was never made by Motown, and has a pleasing unity in its British form that the U.S. version lacks. Ev'rything's Coming Up Dusty has been reissued twice on CD, first in 1990 from BGO Records and again, in 1998, from Philips Records in England, augmented with eight bonus tracks, all songs that she recorded in September of 1964 with producer Shelby Singleton and arranger Ray Stevens, most of which turned up in America on the Ooooooweeee! album, but three of which were unreleased in England until the issue of the Philips CD. ~ Bruce Eder
Dusty Springfield's second British LP was roughly equivalent ...
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