>>455
>I can really see myself listening to a genre like this
>Knights of Fantasy
>Angela
I was thinking those would be the only ones you would like because the others are more eclectic in their fusing, those 2 instead are the most "pure" examples. Still glad you liked the others, i tried to mishmash the songs to give the idea it was a wild sub-genre.
>Not too keen on Crabwalk though...
Yeah i realize it's very polarizing in the context, funny story once i found that record in a flea market, i don't buy vinyls but i love the cover art plus nostalgia and just grabbed it to hang on a wall someday, talked to the guy selling them who listened to Deo, also talked to a couple of uncles, to some jazz playing friends and read comments on the internet: Crabwalk is easily one of his most polarizing tracks, and i said polarizing because those who hear his albums hate it but those who don't hear Crossover (or despise it) actually like it.
For me it's the eternal unchanging cowbell, up-n-going strings, echoing trumpets and very dreamy keyboards, makes you feel in a timeless limbo with nothing going on. Sounds like hell if it didn't hear or look celestial (endless flat surface, giant blue sky with clouds near ground level, surreal subjects and scale), i can go on and on but i will stop here, already pestered anons with this in the /vgm/ thread.
>I'm honestly surprised that cover came out in 79
Before the damn dolphin came about there were some posts about interior design from 80's and 90's, one of the styles in the former was the remade version of art deco with nouveau plastered here and there, so you had highly geometric/orthogonal ornament, stone & steel monochrome materials (marble and black stainless steel with checkered patterns) along with some cubism for colors and noveau with greek and roman busts out of nowhere, a big gulp of everything 20's and 30's. But this reborn started to happen by the mid-70's already, in very expensive executive buildings in the big cities, New York most notably aka freemason clients who wanted freemason symbolism and well, Deo was in the middle of it, so it's expected some artists had their designs made by people in the known. Or just some sick jokesters, his 1980's album cover still gets banter because of the Al Pacino movie from the same year and same name at international level.
>Shit, did it?
Technically speaking, as far as i know, Deodato appears 3 times in Vice City. In Radio Espantoso he has Super Strut and also Latin Flute, both similar and from the same album 2; the other song is one he either produced along the band or was just a session man in the electric piano, an utter classic although more leaning into the Jazz Funk sub-genre, Summer Madness from Kool & The Gang.
Yeah, because session musicians only get to be known when they brag about the songs or when they are very obviously recognized by their styles the full catalogue is not well known, but Eumir did list most of it in his old website. The most bizarre case is him arranging and composing some bits for Björk, not half bad at all in terms of context because that finnish girl is one crazy chick with her music.
And talking about jazz session players, it was common at times that musicians were buddies, lived very near each other, played in the same studios and shared compositions and tricks, going to the point sometimes that many albums, even with different artists, labels and genre classifications, had the very same people playing the same style of songs they usually do. Here we have 2 examples, Mr. Magic by great saxo player and one of the celebrated 3 Nappy Niggers in Jazz, Grover Washington Jr. aka The Black Saxophone. The song is known to be the earliest example of Smooth Jazz but actually it was composed by Bob James, he even plays the keys here, and if you hear it well it's just a normal Crossover Jazz piece but promoted later on as a different sub-genre because Crossover had become known as "music for white people" which is a lie as it was popular everywhere except among american blacks even the cover art is something you wouldn't have laying around casually in your living room.
Then you have Brighton by the Sea, a very cool piece by Bob James that is actually written by Grover, who plays several solos in it. The album and song are still Crossover, and even the bassist and drummer are the same guys that appear in Mr. Magic; Aaamd then you have the cover art which is innocuous as it gets, it might hold some true that the marketing was directed to other people instead of the risque and rowdy cover art that usually appears in funk and soul albums. Incestuous industry that made many studio execs angry but i'm pretty amused by it, after all some of those marketing tricks worked wonders and established entire scenes, in the case of Smooth it simply used all the tricks Crossover did well into the 80's while in the late 70's Crossover used more kinky scenes (Knights of Fantasy is an example) to no avail.