Anyone and everyone who has already listened to a Michael Powers CD, knows that he is a prolific and excellent composer; but on RETRO RADIO, Michael serves-up a sumptuous audio offering that demonstrates his varied and superb arranging chops.
Overall – and best of all! – the tracks on this CD come as close as I’ve ever heard to capturing the joyous, vibrant energy of a Michael Powers live performance – each and all of them. And the sound quality of this CD is outstanding!
You WILL MOVE to this music! And there’s a very high probability that you’ll be up-and-dancin’ and singing the lyrics to these familiar and favorite tunes that millions of us have danced to and sung-along with countless times in the past.
The sonic excursion begins with Sony Bono’s “The Beat Goes On”. Michael plucks a simple version of the familiar main theme, and then the horn section kicks-in to herald the arrival and establishment of a slinky, swinging groove. And there’s a killer baritone sax solo.
“Every Breath You Take” is just as infectious as the original, but even more so with Michael’s artfully nuanced interpretation.
And if you’re not already up-and-dancin’, then by the end of the first phrase of “The Sweetest Taboo”, your only excuse for not dancing is that you’re either physically unable, or in a situation where dancing is either impossible or inappropriate. The wicked sensuousness of the guitar solo is mesmerizing! Take time to note the subtle, but effective, horn arrangement and the deft background guitar licks.
And no! Can’t sit down yet! This funky, grin-inducing version of “Kiss” is five minutes and thirty-one seconds of pure, “D” fun. This track is so good that, if anybody is around, and I mean ANY BODY – even a pet will do, unless it’s a fish – you will probably be up-and-dancin’. And if you can’t find a partner, go ahead and kiss yourself. Okay? S’okay.
Some may choose to sit down and rest during this next track as Michael delivers an old romantic smoothie: “After The Love Is Gone”. However, instead of sitting, I heartily suggest extending your hand to someone, and then slow-dancing like you did, back in the day, at the big dance. Michael’s playing provides an opportunity to recapture and savor that feeling.
And after that experience, right on time, just in time, we’re dancin’ again to the “Thriller”. Michael sticks fairly close to Quincy Jones’ arrangement – minus Michael Jackson’s voice, of course – but Michael, Powers that is, changes-up the instrumentation, which results in something, perhaps, a little more haunting; but still maintaining the straight-ahead funky groove of the original, which is especially effective when layers of polyrhythms are at work during the guitar solo as the song funks-off into the sunset.
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Let me assure you: You’ve never heard “Nights in White Satin” like this. Michael does something brilliant! He crafts the arrangement using a smoothly flowing 6/8 time signature! And the ukulele-flute pairing gives the track the sound, feel, and sprightliness of a tune one might hear coming out of the South American Andes. This marriage of styles and instruments works very, very well, indeed.
The next track, “Outstanding”, is simply and precisely that: Outstanding. Part R&B, part funk, part smooth jazz, part fusion, all seamlessly woven into a groove that Michael plays on-top-of, in, around, and through like a dolphin gracefully frolicking in the ocean. I danced through the entire track, then hit re-play, and did it again. For an enhanced listening and dancing experience: Bluetooth headphones, volume up!
After all that dancin’, the next track is a touching rendition of “Don’t Know Why”. And even though I wasn’t particularly prepared to get all contemplative, especially after all that exuberant dancing, I, nonetheless, found myself being drawn in by the track’s relaxed, comfortable, sweet simplicity.
“Happy” is confident, cocky, and feelin’ good, like strutting down the street wearing your best outfit. It’s a big production and an inventive arrangement that includes elements that weren’t part of the original, but these additions fit-in like they have always been there.
Then, it’s Rock Anthem time: “Purple Rain”. This track is lyrical and seductive; concluding with a stately, driving repetitious refrain that just might inspire you to stand up, light a lighter, hold it above your head, and slowly wave it side-to-side.
The simple opening phrases of “Summer Breeze” have a soft, dreamy quality, but the piece slowly transforms into something with a bit of an edge to it; summer can be like that.
The opening section of “Free Bird” is a finely wrought and absolutely beautiful introduction to an old friend. Michael traces the familiar path of the melody while adding his own tasty inflections; and then, sticking, somewhat, to the path of the original, the piece begins to pick up speed, until it careens-off in double-time, like a reliable old pickup truck barreling down a back county road, finally coming to a dramatic conclusion, throwing-up a spray of gravel and a huge, defiant, victorious cloud of dust: Free!
Donald N. Eichelberger
Writer and Producer
Good content admin
You could definitely see your skills in the work you write. The world hopes for even more passionate writers like you who aren’t afraid to say how they believe. Always go after your heart.
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