I discovered Keiko Matsui by accident while surfing for other music. I listened to a few tunes and was immediately hooked. One by one I listened to her snips of music and had to have the album. Then I moved on to another album from Keiko. Then another, then another. She will be with me for my future roads trips and Friday night dinner parties. Trust me, she'll relax you and make you feel like the evening is meant for two.

If there's such a thing as poetic music, Matsui continues her discovery of it on this effort. For all its beauty ad more aggressive touches, this collection doesn't quite measure up to her previous collection No Borders, but there are moments of fusion in her work here which cook like never before, thanks to Eric Marienthal, Gerald Albright and guitarist Ron Komie. While husband/producer Kazu Matsui adds his mysterious shakuhachi wind to "Grey Cliffs," Matsui spends her time creating soundscapes which range from mainly acoustic to punchy electric pieces like "Hope." Clay Jenkins' flugelhorn is a plus. The two vocals here don't give Greg Walker enough excitement to play with; instead they seem too ambitious. Don't let the flowers on the cover fool you because this disc is anything but fluffy and pastoral in nature.

Taking a stroll through Keiko Matsui's musical hypnotherapy session Dream Walk is like entering a funhouse where all previous definitions of contemporary jazz are strikingly distorted, and invention walks on the wild side of East meets West. Crisp melodies have always been at the heart of the keyboardist's best work, only here they come at you as part of the mood, rather than the central theme. Only a handful of the keyboardist's tunes follow conventional linear melodic patterns throughout, and even these are so beautifully enhanced by sweeping orchestral and percussive invention that atmosphere and throbbing, raw twists ultimately win out over predictability. Equal credit for the newly aggressive approach goes to husband/producer Kazu Matsui, whose sonic wizardry surrounds Keiko's silky jazz and new age passageways with curious echoing flavors, enticing soundscapes where almost anything goes, and loose-fitting urban cool. Other out-there touches include Molly Pasutti's sweeping wordless vocals, bass samples by Marcus Miller and John Patitucci chosen over live bass, and Kazu's own shakuhachi. More typical excitement is provided by Paul Taylor's always warm soprano and alto musings.

If we're talking Keiko Matsui, we can expect another impressionistic album cover which belies the often explosive music on the disc. Matsui draws a little more from her heritage this time but textures it with soulful excursions ("Walking on the Bridge"). She once again gives radio a seductive earful while continuing her heightened exploration into more challenging orchestral sounds and several impressive, wildly percussive Latin journeys (e.g. "Sail South"). Making perfect use of Lenny Castro's spicy percussion and Clay Jenkins' punchy trumpet flavors, Matsui lets loose. The gospel vocal by Arnold McCuller is a strong one. Other newcomers to the fold are guitarist Jorge Strunz, Jon Clark (recorder) and Sam Riney on sax.

This auspicious introduction to the many aspects of the composer's skills finds her surrounded by a slew of L.A.'s top players, some of whom had yet to begin their own solo careers at this point: Grant Geissman, Brandon Fields, Robben Ford, Nathan East, Vinnie Colaiuta, and Jimmy Johnson. Matsui balances a mystic Eastern edge with a lighthearted new agey pop appeal. "Ancient Wind" and the Geissman co-composition "Mediterranean Sand" are the best cuts, building from pastoral ideas into an explosive ensemble hook. Matsui also showed her penchant for soulful vocal pieces, using Abu Khalil and Marva King to varying effectiveness. The emotional vocal title cut was inspired by Challenger astronaut Ron McNair.

Straight Shooter received different reviews from different music critics. Gautam Baksi's review of the album for Allmusic said that the album's popularity was attributed to the acoustic ballads "Shooting Star" and "Feel Like Makin' Love", while the two songs written by Simon Kirke—"Anna" and "Weep No More"—as well as the album not having enough supporting songs and follow-up singles, were what made the album less successful than its predecessor.

Run with the Pack is the third studio album by the English supergroup Bad Company. It was released in January 1976. Run with The Pack was recorded in France with The Rolling Stones Mobile Truck in September 1975 with engineer Ron Nevison and mixed in Los Angeles by Eddie Kramer. The album was the only original Bad Company album not to feature artwork from Hipgnosis as it featured artwork from Kosh instead.

Rough Diamonds is the sixth studio album by the English rock band Bad Company. The album was released in August 1982. Rough Diamonds, like its predecessor, Desolation Angels, was recorded at Ridge Farm Studio in Surrey, England in March and April 1981 and engineered by Max Norman (famed for his work with Ozzy Osbourne).

Desolation Angels is the fifth studio album by the English rock band Bad Company. The album was released on March 17, 1979.[2] Paul Rodgers revealed on In the Studio with Redbeard (which devoted an episode to Desolation Angels) that the album's title came from the novel of the same name by Jack Kerouac. The title was almost used 10 years previous to name the second album from Rodgers' previous band, Free, which in the end was called simply 'Free'.

Burnin' Sky is the fourth studio album by the English rock band Bad Company. It was released on March 3, 1977. Burnin' Sky was recorded in France at Château d'Hérouville in July and August 1976 with future Rolling Stones engineer Chris Kimsey but its release was delayed until March 1977 as to not compete with the band's then-current album Run with the Pack.

The album reached the top of the US Billboard 200. Since then, the album has been certified five times platinum by the RIAA, and became the 46th best selling album of the 1970s. The album spent 25 weeks in the UK Albums Chart, entering at No. 10 and reaching its highest position of No. 3 in the second week. Kerrang! magazine listed the album at No. 40 among the "100 Greatest Heavy Metal Albums of All Time". The album was also included in the book 1001 Albums You Must Hear Before You Die.