Cool breeze that wash away our mind

In Japan,this artist is compared to the famous singer ODA KAZUMASA.These two singers have one thing in common.
They both have excellent,soothing,gentle voice given by GOD.
You can hear polished adult oriented sound here and there.Refined melodies provided by CROSS lead you to the pleasant paradise like clouds floating in the sky.If you like BOZZ SCAGGS , you will like this too.This well-balanced vocal album is the peak of CHRISTOPHER CROSS.

Great Cast of Characters Surround Solid Lyrics and Music

Christopher Cross' self titled debut album "Christopher Cross" marked a return to simplicity as the decade would change from the 1970s to the 1980s. The 1970s had introduced the hard rock sound as well as the disco sound. Christopher Cross' album would be filled with what would today be classified as adult contemporary songs. In some ways, this album was also a sign of things to come for the 1980s - an album that is infused with a keyboards and synthesizers. This album would go on to be the big hit of the 1980 Grammy Awards. Some may be critical of the efforts (my Grandfather attended the 1980 Grammys and was not happy that Cross would win all the awards), but most applaud the efforts (including myself - despite my Grandfathers opinion).



Cross and producer Michael Omartian did a lot of right things when putting together this colleciton. No doubt Omartian knew he had a gem of a songwriter and a gem of a voice in Christopher Cross. This was something that could lead to big things, but what Omartian did is take out an insurance policy - he surrounded Cross with some outstanding talent to contribute background vocals to the songs on the album. The names are Michael McDonald ("I Really Don't Know Anymore" and "Ride With the Wind"), Don Henley ("The Light is On") and the late Nicolette Larson ("Say You'll Be Mine"). There also is a lesser known vocalist named Valerie Carter who does an outstanding job on contibuting vocals to "Spinning". There also is a solid studio band - Tommy Taylor and Andy Salmon play drums and bass respectively on all of the tracks. Rob Meurer contributes keyboards, piano, etc on 8 of the 9 tracks.



Michael McDonald does a tremendous job on his two tracks. His soulful voice is perfect as he echoes Cross on the chorus of "I Really Don't Know Anymore". Meurer's synthesizers will also give this song a very catchy beat. McDonald is much better known for his background vocals "Ride Like the Wind". "Ride Like the Wind" is an awesome song. McDonald is used in a similar role as "I Really Don't Know Anymore" provided the "echo" to Cross. In 1982, I remember watching "The Great American Bike Race" (a transcontiential bicycle race) on ABC Sports. The person who won that race was kind of a "loner" character named Lon Haldeman. They used this song to describe him and I remember how perfect this music was. Even today I have visions of the "loner" cyclist when this song is played.



On "The Light is On", this isn't a song I would expect to hear Don Henley on. Henley contributes vocals and not any percussion or drums. Henley's vocals are combined with Cross himself and someone named J.D. Souther. You won't hear Henley stand out on this song, but I'm sure having someone like him in the studio contributed to great quality this song delivers. As for Nicolette Larson (the late singer who passed away in 1997 - famous for her hit "Lotta Love"), she is the perfect vocalist on "Say You'll Be Mine". On this track, Larson basically performs a duet with Cross. She blends beautifully in this song. Larson doesn't come on to the song til about 1:35 into the song - and she "folds" into the song beautifully as her role gets more prevalent as the song goes on. On "Spinning", Valerie Carter also plays a duet role - but her role starts much earlier in the song. "Spinning" is a hidden gem on this album - it is a very soulful and romantic song featuring some terrific flugelhorn by someone named Chuck Findley.



There are two other songs that are hidden gems on this album. Both of these songs feature terrific lyrics and terrific music. The first is "Poor Shirley" is a song that deals with someone named 'Shirley' that Cross describes as someone who has went through the heartbreak of a breakup. "Minstrel Gigolo" is the six minute finale to the album and is the perfect wrap-up song. In this song Cross takes us the journey of being a star in the music industry. Since this was a debut album, Cross probably wasn't writing from experience but rather taking a peek into the future. "Minstrel Gigolo" is probably the second best track on the collection.



Besides "Ride Like the Wind", there are two other popular songs on this album. "Sailing" won a Grammy for song of the year and is one of those songs in which the songwriter is able to create a "visual" from the music. No doubt, Cross paints the perfect picture of a relaxing day at sea. I think Cross knew he was painting a picture as he references "the canvas can do miracles". The other well known song is "Never Be the Same" - this song has a catchy pop beat to it. It's a nice song, but compared to the other 8 tracks it might be the weakest of songs on the collection.



This CD has a nice set of liner notes. All of the lyrics to the 9 songs contained in the collection are included. In addition, all production and musician credits are done on a song by song basis. There are some real good songs included especially from a songwriting and musicianship standpoint, but the one drawback is that this album sometimes wears thin on me pretty quickly. In other words, after I sporadically play this CD for a day or so, it kind of develops that overplayed feeling. This isn't a knock of the quality of the work of this album, but more a statement of reality. A final note - even without the guest vocalists, this album still has a lot of merit. This album still has a lot to offer and there probably is something for everyone on this collection.

straddles the line between 70s soft rock & 80 adult contempo

This self-titled debut album from Christopher Cross came out at the tail end of 1979, & it does sound like a '70s record, but what's striking is how it manages to strike an uncanny balance between '70s soft rock & '80s adult contemporary, despite the fact that the '80s hadn't even dawned when this came out (although they nearly had--this came out in the period between Christmas & New Year's in 1979). For instance, "Never Be the Same" has a twinkly keyboard sound that strongly brings to mind Elton John's 1989 tune "Sacrifice", making it easy to see how casual fans would mistake this for a much later recording. Although there are certainly synthesizers on here, they're really not that prominent at all. Instead, the record's sound is dominated by lots of warm Fender Rhodes electric piano, acoustic piano, crisp drumming, jazzy guitar solos, etc (in other words, a "70s sound", if you will). It's the kind of record that stereo salesmen love to use when demonstrating the abilities of their equipment, & for good reason--the record puts to use the advancements that had been made in recording technology up to that time, yet without any of the '80s synth-mania that was a few years or so down the road. The result is a brightly-polished, warm-sounding album, immaculately produced by Michael Omartian who, not so coincidentally, had previously worked with Steely Dan (a definitive band for audiophiles). Check out the wondefully rich-sounding piano chords on "Minstrel Gigolo" for a perfect example. This CD release, though not an "original recording remastered" disc, still sounds great & does the album justice. Performance-wise, the album is also absolutely first-rate, with such legendary session musicians as Larry Carlton, Jay Graydon, Victor Feldman, Jim Horn, & Chuck Findley, all of whom also played for Steely Dan. Even future guitar god Eric Johnson plays the solo guitar on "Minstrel Gigolo". All that said, this ain't your run-of-the-mill "adult contemporary" record by a long shot. One could argue that all the big names such as Michael McDonald, Don Henley, & Nicolette Larson (who all contribute vocals) were merely an attempt to give the album some "credentials" (with Cross being an "unknown"), but the thing is, the guests were sincere & clearly into the material, & they contribute positively to the record. The difference is night and day versus having Nickelback guest with Santana, or the Rolling Stones snapping up Dave Mattews for a cameo--now THAT's crass. As for Cross himself, his crystal clear, somewhat high voice was sincere & convincing, & he was also a first-rate guitarist in his own right (he played the excellent, extended solo on the fade of "Ride Like the Wind"). He also wrote every song on here himself, & there isn't a weak song on the entire album. Some of the songwriting is minimalistic, but effectively so, as on the minor-keyed, propulsive Lowell George-dedicated "Ride Like The Wind", with its simple, repetitive looping piano part & a somewhat minimal verse melody, or "Spinning" (which prominently features Valerie Carter) which is so invitingly melodic & lush-sounding that its lack of lyrics ends up not being a problem. Matching the production values with Cross' winningly sentimental, tuneful songwriting, the album stacks up gem after gem, whether its affecting, mellow ballads like "Sailing" "Minstrel Gigolo", & "The Light Is On", the fun, upbeat "Say You'll Be Mine", or tunes that mix up those 2 elements like "Never Be the Same" & "Poor Shirley" (with great, cathartic high notes from Cross toward the end of the song). This is an all around first-rate, essential, pristine-sounding album that is a real treat for the ears.