JOHNNY CLEGG & SAVUKA: "Cruel, Crazy, Beautiful World"

Original released on LP EMI EMC 3569

(UK, 1989)

When South Africa was still suffering under the apartheid system in the 1980s, Johnny Clegg & Savuka was the last thing apartheid supporters wanted in a pop group. Their lyrics were often vehemently anti-apartheid, and apartheid supporters hated the fact that a half-black, half-white outfit out of South Africa was integrated and proud of it. Released at the end of the 1980s, "Cruel, Crazy, Beautiful World" is among the many rewarding albums the band has recorded. Sting and the Police are a definite influence on Clegg & Savuka, who have absorbed everything from various African pop styles to Western pop, funk, rock, and reggae. The lyrics are consistently substantial and frequently sociopolitical - "Bombs Away" addresses the violence of the apartheid regime, while "Warsaw 1943" reflects on the horrors Eastern Europe experienced at the hands of both communists and fascists during World War II. Clegg and company enjoyed a passionate following at the time, and this fine album proves that it was well deserved. (Alex Henderson in AllMusic)

McCARTNEY's "Flowers In The Dirt" (Remastered + Bonus Tracks)

Original released on LP Parlophone PCSD 106

(UK 1989, June 5)

Paul McCartney must not only have been conscious of his slipping commercial fortunes, he must have realized that his records hadn't been treated seriously for years, so he decided to make a full-fledged comeback effort with "Flowers in the Dirt". His most significant move was to write a series of songs with Elvis Costello, some of which appeared on Costello's own "Spike" and many of which surfaced here. These may not be epochal songs, the way many wished them to be, but McCartney and Costello turn out to be successful collaborators, spurring each other toward interesting work. And, in McCartney's case, that carried over to the album as a whole, as he aimed for more ambitious lyrics, themes, sounds, and productions for "Flowers in the Dirt". This didn't necessarily result in a more successful album than its predecessors, but it had more heart, ambition, and nerve, which was certainly welcome. And the moments that did work were pretty terrific. Many of these were McCartney/McManus collaborations, from the moderate hit "My Brave Face" to the duet "You Want Her Too" and "That Day Is Done," but McCartney also demonstrates considerable muscle on his own, from the domestic journal "We Got Married" to the lovely "This One." This increased ambition also means McCartney meanders a bit, writing songs that are more notable for what they try to achieve than what they do, and at times the production is too fussy and inextricably tied to its time, but as a self-styled comeback affair, "Flowers in the Dirt" works very well, even 30 years later now. (Stephen Erlewine in AllMusic)

"Wicked Game" By CHRIS ISAAK

BONNIE RAITT: Nick Of Time

Original released on LP Capitol C1-91268

(US 1989, March 21)

Prior to "Nick of Time", Bonnie Raitt had been a reliable cult artist, delivering a string of solid records that were moderate successes and usually musically satisfying. From her 1971 debut through 1982's "Green Light", she had a solid streak, but 1986's "Nine Lives" snapped it, falling far short of her usual potential. Therefore, it shouldn't have been a surprise when Raitt decided to craft its follow-up as a major comeback, collaborating with producer Don Was on "Nick of Time". At the time, the pairing seemed a little odd, since he was primarily known for the weird hipster funk of Was (Not Was), but the match turned out to be inspired. Was used Raitt's classic early-'70s records as a blueprint, choosing to update the sound with a smooth, professional production and a batch of excellent contemporary songs. In this context, Raitt flourishes; she never rocks too hard, but there is grit to her singing and playing, even when the surfaces are clean and inviting. And while she only has two original songs here, "Nick of Time" plays like autobiography, which is a testament to the power of the songs, performances, and productions. It was a great comeback album that made for a great story, but the record never would have been a blockbuster success if it wasn't for the music, which is among the finest Raitt ever made. She must have realized this, since "Nick of Time" served as the blueprint for the majority of her '90s albums. (Stephen Erlewine in AllMusic)