Chris Haround

New Light Through Old Windows is a compilation album by Chris Rea, released in 1988. The album consists primarily of re-recordings of songs released on earlier Rea albums, as well as two new songs, "Working on It" (which gave him a rare U.S. chart single, peaking at #73 on the Billboard Hot 100, and giving him his only #1 single on the Mainstream Rock Tracks chart) and "Driving Home for Christmas.", also the re-recording of "On the Beach" gave him another rare US hit, it peaked #9 on the US AC chart in 1988 and #12 in the UK chart.

Chris Smither spent a fair chunk of time in the mid-2010s looking back, culminating in Still on the Levee, a two-disc set from 2014 that found the singer/songwriter revisiting songs he recorded in the past. Arriving four years later, Call Me Lucky functions as something of an answer to that aesthetic, finding the singer/songwriter living squarely in the present. He opens the album with the lively blues shuffle "The Blame's on Me," which is quickly followed by a minor-key rendition of Chuck Berry's "Maybellene," and he effectively sets the pace for the rest of the album. As Call Me Lucky rolls on – the album proper is ten tracks, but there are six additional "B-Sides" featuring alternate takes of songs on the album, plus an introspective version of the Beatles' "She Said She Said" – Smither adds some slower, gentler touches (highlighted by the lovely "By the Numbers"), but he retains this same sense of immediacy. By playing so directly and simply – the album isn't unadorned, there are additional harmonies and guitars, yet it feels like it is – Chris Smither creates a bracing, intimate record, one that feels filled with earned truths.

Two of singer Chris Connor's finest Atlantic albums are reissued in full on this single CD. The laid-back yet coolly emotional jazz singer is heard backed by top-notch rhythm sections (with either Ralph Sharon or Stan Free being the pianist/arranger) and occasional horns (trumpeter Joe Wilder, flutist Sam Most, tenors Al Cohn and Lucky Thompson, flutist Bobby Jaspar and Al Epstein on English horn and bass clarinet) adding some short solos. Connor (then around 30) was in her prime, and her renditions of such songs as "Poor Little Rich Girl," "Lonely Town," "I'm Shooting High," "Moonlight in Vermont," and even "Johnny One Note" are memorable and sometimes haunting.

Though this eponymous masterpiece was not Chris Spedding's first solo album, it was the first to impact on the record buying public at large. Spiralling out of his so-memorable hit "Motorbiking," it established the leather-clad, quiff-topped Spedding as the first guitar-hero pin-up of the punk era, a full year before even punk's progenitors had heard of the term. Certainly great swathes of what eventually emerged amid the British new wave was bodily borrowed from Spedding, both visually and, with a few fashionable refinements, visually. Chris Spedding sounds like its maker looked: tight, mean, and taking no trash from no-one.