| | Marshall Crenshaw Field Day CD Marshall Crenshaw Discography of CDs
1983's FIELD DAY, Crenshaw's second album, took some fans of his sprightly debut by surprise. For this excursion, he had enlisted the help of hot producer Steve Lillywhite, whose approach to drum and guitar sounds had helped to create hits for U2, XTC, and others. The result was a sound notably different from anything heard in Crenshaw's previous work. The musician returned to simpler productions for later records, but FIELD DAY is an exceptional album.
FIELD DAY is brimming with beautifully crafted, Beatles-esque pop songs. Crenshaw's music is a delicious treat for the ears--as catchy as can be. Listening to these songs in the knowing glow of hindsight, it is shocking that none of them were enormous hits. Alas, it's a fickle world. Crenshaw's first three albums remain a dazzling display of rock & roll smarts, emotional resonance, and good old fashioned danceable fun.
Recorded at Power Station, New York, New York in Febuary 1983.
Personnel: Marshall Crenshaw (vocals, guitar); Chris Donato (vocals, bass guitar); Robert Crenshaw (vocals, drums).
Personnel: Marshall Crenshaw (vocals, guitar); Chris Donato (vocals, bass); Robert Crenshaw (vocals, drums); Mike Osborn (percussion); Tom Teeley, Bob Miller, John Crenshaw (background vocals).
Marshall Crenshaw Field Day Songs | 1. | Whenever You're on My Mind |
| 2. | Our Town |
| 3. | One More Reason |
| 4. | Try |
| 5. | One Day With You |
| 6. | For Her Love |
| 7. | Monday Morning Rock |
| 8. | All I Know Right Now |
| 9. | What Time Is It? |
| 10. | Hold It |
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Field Day Review
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The 1999 reissue of this title (CK 65625) is a major addition to Anita O'Day's catalog and, secondarily, to Roy Eldridge's and Gene Krupa's CD profile. Anyone who has heard the previous releases of Krupa's music from the early '40s on Columbia and OKeh knows how problematic they are -- the masters sound rough, and the band wasn't half as good as O'Day or trumpet man Roy Eldridge, who came aboard just about when O'Day did and deserves as much credit for its success as she does. Every previous CD release has had a harsh sound and texture that made listening to O'Day, fine as she was, a chore in that setting. Not so this edition, which is sweet and almost lyrical in timbre and brings forth the sultry quality in her singing. O'Day was always known for her "rhythm numbers," and most of this CD just bounces along with a sound that's not too far removed from rhythm & blues, as she and the band keep the beat moving. Reissue producer Nedra Olds-Neal has made the stuff truly sound better than it did on the day of its release, balancing the percussive texture of Krupa's work (and his brief drum solo on "Green Eyes" is a complete mistake), the band's fundamentally broad sound, and O'Day's sweet, sultry tone and sexy enunciation. On "Slow Down" you can even make out the cymbals clearly ...
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With help from dance producer Arthur Baker and Rings musician Michael Baker, Face to Face craft their first and best of three albums (four, if you include the Streets Of Fire soundtrack). There's nothing like a hit record, and "10-9-8" is a great hit, though nationally it failed to make the Top 20 and hovered in the 30 range of chart action, it follows "Under the Gun" on side two in terrific fashion. "10-9-8" is a mesmerizing song with little nicks from Chic's 1979 tune "I Want Your Love"; it has groove, passion, and solid production work from Arthur Baker. Though Jimmy Iovine, Gordon Perry, and Michael Baker produce four of the songs, it is the two by Arthur Baker which resonate loud and clear. That probably led to Baker's producing eight of the ten tracks with Ed Stasium on the follow-up album, Confrontation, an album which had three producers and Bob Clearmountain mixing, but no songs as memorable as the three noted in this review from the band's debut. Michael Baker adds his Rings magic on "Don't Talk Like That," the rock & roll which would evaporate on subsequent albums cutting through the electronic drums. Though "Out of My Hands" opens up the self-titled Face to Face disc with power and intensity, the basic problem that haunted this band is the thin rhythm section ...
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