"lyle Mais"

Lyle Lovett and His Large Band remains the big man's most ambitious album in many ways. A smart split is effected, and not only between styles–the horn-driven swing of the first half backs the record's wittiest, slyest songs, while the country-folk numbers are among Lovett's most pensive. He's not so mournful that he can't raise an eyebrow at heartache, though: try "I Married Her Just Because She Looks Like You".

Lyle Mays waited a long, long time before straying from the Pat Metheny Group to issue his first solo album, but when he did, the results were at once removed but not totally untethered to the Metheny sound and feeling. On his own, Mays' synthesizer solos and textures are close in sound to what he was doing in the Metheny group, but the turns of phrases in his acoustic piano solos reflect the heavy shadow of Keith Jarrett.

The pop duo phenomenon that spawned such acts as Simon & Garfunkel, Brewer & Shipley, and Seals & Crofts was predated by the duo formed by songwriters, guitarists, and vocalists Benny Gallagher and Graham Lyle. Initially attracting attention as songwriters of Dean Ford & the Gaylords' single "Mr. Heartbreak's Here Instead," Gallagher and Lyle went on to record as a duo and as members of McGuinness Flint and Ronnie Lane's group Slim Chance. Gallagher and Lyle continued to balance their performances and recordings as staff songwriters for the Beatles' Apple label, writing "Sparrow" and "International" for Mary Hopkin. The title track of their sixth duo album, Breakaway, was later covered by Art Garfunkel…

The pop duo phenomenon that spawned such acts as Simon & Garfunkel, Brewer & Shipley, and Seals & Crofts was predated by the duo formed by songwriters, guitarists, and vocalists Benny Gallagher and Graham Lyle. Initially attracting attention as songwriters of Dean Ford & the Gaylords' single "Mr. Heartbreak's Here Instead," Gallagher and Lyle went on to record as a duo and as members of McGuinness Flint and Ronnie Lane's group Slim Chance. Gallagher and Lyle continued to balance their performances and recordings as staff songwriters for the Beatles' Apple label, writing "Sparrow" and "International" for Mary Hopkin. The title track of their sixth duo album, Breakaway, was later covered by Art Garfunkel…

Lyle Mays' second solo album ventures even further afield than his acclaimed first record, into areas not associated with Mays nor his employer Pat Metheny. This time, the personnel list is far more varied, with several guest luminaries from the world of jazz-rock, as well as a big band and full chamber orchestra on some selections. Again, the main thrust of the album is bound up in a lengthy suite with new age atmospheric elements, juxtaposing fleet Brazilian grooves with a chamber orchestra, voluble Mays piano solos, and electronic interpolations by Mays and Frisell reminiscent of early classical electronic music.

Lyle Mays, who came to fame for his electric collaborations with Pat Metheny, surprised many with this superior outing in an acoustic trio setting. On the liner jacket Mays thanks Herbie Hancock, Keith Jarrett, and Paul Bley for their inspiration. If one adds in Chick Corea and especially Bill Evans, that should give listeners an idea of what to expect. However, to his credit (and with the assistance of bassist Marc Johnson and drummer Jack Dejohnette) Mays avoids performing overly played standards and sticks mostly to originals (including two free improvisations). There is no coasting on this excellent set.

Lyle Lovett’s first hits package from a 35 + year career including "Cowboy Man," "I Love Everybody," and 12 more of his biggest hits.

Willie & the Lap Dog has the early-'70s rustic British folk-influenced rock feel associated with Pete Townshend and Ronnie Lane's early solo work. These comparisons are hardly a surprise, given that Townshend himself plays harmonica on the LP, and that Gallagher & Lyle would join Ronnie Lane's Slim Chance shortly afterward. Still, approximating the feel of work by major artists is one thing; matching it is another. And while Gallagher & Lyle's material here has a pleasing, wistful, informal ambience, the songs aren't anything on the order of what Townshend and Lane were coming up with for their own rootsy solo endeavors. These are mostly easygoing ambles that drift by without leaving too much of an impression, sometimes going into more serious introspective and slightly bluer moods on tracks like "Home" and "Hotel Constantine," and adding orchestration for just one song, the closing "Thoughts from a Station"…

Gallagher & Lyle beef up their folk-based sound from previous albums on this recording produced by Glyn Johns. The duo adds several uptempo cuts in a more rock-oriented vein, using saxophone on the opening and most rock-oriented cut, "Country Morning." Harmonicas add energy to the second song, the uptempo "A Misspent Youth," one of several songs with a social edge. Both Gallagher and Lyle have thin voices, but on songs which have an edge of melancholy, such as "Remember Then," and "The Clearings," (two of the outstanding tracks) the voice quality lends itself to good effect. Although many songs on the album deal with regret or loss, there are several which tip the balance in favor of upbeat moods and feeling. Also, melodies and arrangements are strong throughout the album…