The ninth release in the “…By The Bayou” series brings you some hot rockers from South Louisiana and Southeast Texas, an area where Cajun culture has had a strong influence over its music – and never more so than in the heyday of real rock’n’roll, the 1950s. Rock’n’roll was a hybrid of C&W and R&B right across the USA, but in Cajun country the influences were more specific; the country music was from Texas, the R&B from New Orleans, and into this mix went rockabilly from Memphis via Shreveport and Cajun music. In this exciting compilation you will find all of those influences to varying degrees.
Hot in the Shade is the 15th studio album by Kiss, released in 1989. It is the first Kiss full studio album since 1981's Music from "The Elder" to feature lead vocals from someone other than Paul Stanley or Gene Simmons, with drummer Eric Carr singing lead on "Little Caesar". It is also the final Kiss album to feature Carr in its entirety before his death in November 1991. The album is one of the band's longest, with a running time of nearly an hour (58:39). Of the 15 tracks on the album, only five were performed live. "Forever", co-written by Michael Bolton, was a pop hit and became a semi-regular part of the live setlist. Hot in the Shade was certified Gold on December 20, 1989. Its most successful single, "Forever" reached #8 on the Billboard charts, the band's highest charting single in the US since "Beth", 13 years earlier.
Realizing that their last albums weren't even close to being in league with their output from the '70s, Kiss made a conscious effort to get back on track with 1989's Hot in the Shade…
On their second album, Third World was still in the roots-reggae camp, but they had already laid claim to a singular sound: dreamy, free-flowing, and full of sweetly soulful vocals. The harmonic shadings on the opening cut, "Jah Glory," border on jazz, while the cover of Bunny Wailer's rocksteady nugget "Dreamland" is as ethereal as its title. Lyrically, they shift from the feel-good vibe of "Feel a Little Better" to the title track's social statement without breaking a sweat.
Alex Bugnon exhibits a high level of creativity and playfulness throughout this work, plenty of suggestive and smooth pieces, but signed with a very personal style. 107 in the shade, for instance, initiates with an exotic melody played in accordion. His French roots are shown in the first two tracks. Elegance and brightness would be the most appropriate terms to describe this notorious CD. Generally more substantial than most of the other albums that smooth jazz stations play, the uneven, erratic 107 in the Shade is far from a gem, but has its moments. Bugnon gets into a pleasant, Joe Sample-ish groove on "Paris and May" and "When I Think About Home," whereas the much too brief "Fly, Spirit, Fly" hints at Pat Metheny. It was obvious that Sample was a major influence on Bugnon, although there were also traces of Ahmad Jamal in his playing.