Mysterious Meishi Smile

Goodbye surfing, hello God! The title of Jules Siegel's 1967 magazine feature on Brian Wilson and the Beach Boys sums up how well the group was outliving the early-'60s beach fad – and revolutionizing pop music in the process. During 1966, the twin shots of Pet Sounds in May and "Good Vibrations" in October announced first that the group had entered the vanguard of pop music and then, not content with mere critical praise, seized control of the singles charts with a chart-topper as catchy as it was complex and costly to record. Early on, though, "Good Vibrations" had actually been slated to appear on Pet Sounds, which reveals the long odds on whether Wilson could ever finish an entire album of his pocket symphonies (at least, in the time frame of a label circa 1966)…

Goodbye surfing, hello God! The title of Jules Siegel's 1967 magazine feature on Brian Wilson and the Beach Boys sums up how well the group was outliving the early-'60s beach fad – and revolutionizing pop music in the process. During 1966, the twin shots of Pet Sounds in May and "Good Vibrations" in October announced first that the group had entered the vanguard of pop music and then, not content with mere critical praise, seized control of the singles charts with a chart-topper as catchy as it was complex and costly to record. Early on, though, "Good Vibrations" had actually been slated to appear on Pet Sounds, which reveals the long odds on whether Wilson could ever finish an entire album of his pocket symphonies (at least, in the time frame of a label circa 1966)…

A two-for-one pairing of albums from 1963 (Ingredients in a Recipe for Soul) and 1964 (Have a Smile With Me), with the addition of historical liner notes. Neither rate among his better albums – both are inconsistent mixtures of hard-edged jazz/pop/soul and mainstream pop standards. Each, though, has some fine cuts, notably the Top Ten hit "Busted" (on Recipe) and a jazzy cover of Hank Williams' "Move It On Over" (on Have a Smile With Me). The CD also adds two bonus tracks: both parts of the orchestral pop "Without a Song" single from 1965.
AllMusic Review by Richie Unterberger

Despite several rough patches at the end of the 1970s, Linda Lewis rebounded with glorious aplomb on her September 1983 album, A Tear and a Smile. More than any of its predecessors, this album finds the singer in complete control of both her songwriting and her remarkable, dynamic vocal range – at the same time continuing down the path she forged during the previous decade. From start to finish, the songs are filled to bursting with soft ballads and wildly far-reaching grooves, helped along by Bert de Coteaux's immaculate production. But, as good as "I Am What I Am" and the haunting "Sweet Heartache" are, where she gathers her force and puts all her strengths together is on the absolutely stunning title track. Self-penned, "A Tear and a Smile" finds Lewis running without any flaws at all. That just leaves room (and barely!) for "Why Can't I Be the Other Woman," a duet between Lewis and Luther Vandross.

Smile, set for release on October 7th, is White's fourteenth recording as a leader, and his scintillating, contemporary jazz sound is buttressed by his equally-impressive command of several instruments and augmented by an impressive array of special guests, including vocalist Mindi Abair, trumpeter Rick Braun, soprano saxophonist Euge Groove, keyboardist Philippe Saisse, bassist Nate Phillips, violinist (and daughter) Charlotte White, Ramon Yslas on bongos and vocalist Stevo Theard.