Jim Capaldi Albums (11)
'Poor Boy Blue'
Release Date 11/9/2004
Tracks 12
Label Steamhammer/SPV
See Album Tracklist and Review
What The Critics Say
Poor Boy Blue may have been Jim Capaldi's final album before his unfortunate passing from stomach cancer in early 2005, but it in no way sounds like a goodbye. Rather, this is an ebullient work by an obviously driven and inspired musician -- a project of life, not a premonition of death -- and a resoundingly uplifting experience for all of his fans who may arrive at it with a sad perspective. Therefore, the bluesy opening title track is hardly a woe-is-me proposition, but a tongue-in-cheek bit of good fun based on the always welcome "La Grange" template, and complete with hard-biting geetars, sticks-on-the-rim percussion, and only the Gibbons "haw-haw-haw" gone missing. It also has no similar follow-up in the remaining tracks, which surprisingly center around gleaming, '80s-flavored rock and pop exemplified by the smart dance-y synth pop of "Breathless," the AOR of "Secrets in the Dark" (which sounds like a lost Russ Ballard composition), and a number of love songs ("Edge of Love," "Bright Fighter," the ultra-saccharine ballad "California Sunset") of the sort that Capaldi's former Traffic colleague and fellow Hall of Famer Steve Winwood used to top the charts two decades earlier. Winwood, of course, guests here, as does Irish guitar giant Gary Moore (surely giving one of his most understated performances ever), a bevy of Capaldi's friendly luminaries, and even his brother on backing vocals. With or without them, though, it's Capaldi's spirit that defines this almost unerringly upbeat set, which only hints at sadness near the end with the brief, stripped down acoustic number "I've Been Changing," before closing on the upswing once again via "Now Is the Time." In conclusion, it's that personal spirit, not some of Poor Boy Blue admittedly dated musical formulas, that should get Capaldi fans and general classic rock enthusiasts alike curious to check out his vibrant and eclectic last album. ~ Eduardo Rivadavia, All Music Guide
What The Critics Say
There seemed to be a renewed sense of purpose on Some Came Running, and this sparked a return of the Jim Capaldi of old. Helped along by such old friends as Steve Winwood, Eric Clapton, George Harrison, and Peter Vale, Capaldi showed an invigorated sense that had fans start to smile again. Highlights include "Something So Strong," "Oh Lord, Why Lord," and the title cut. There was something of a celebration that couldn't be denied here and while this album never burned up the charts, it did well enough considering it got only sporadic airplay. It is well worth seeking out. ~ James Chrispell, All Music Guide
What The Critics Say
Fierce Heart reunited Jim Capaldi with Steve Winwood and the results are warm to the heart as well as pleasing to the ears. With help from Van Morrison as well, Capaldi put out an album that showed renewed faith in rock after having been living in Brazil absorbing various influences there and raising a family. Winwood's recent smash hits influenced Capaldi to write more upbeat as well as personal songs, highlighted by "That's Love" and "Tonight You're Mine." But whereas Winwood got into the Top Ten with his songs, Capaldi barely made into the Top 200. That was a shame, for there are a lot of comparisons here that should have been explored. For Winwood fans, this album was like an extra helping. For Capaldi fans, it was the main course. ~ James Chrispell, All Music Guide
What The Critics Say
Although multi-instrumentalist Jim Capaldi (keyboards/drums/guitars/vocals) is arguably best known for his work with Traffic, he began an extensive and varied solo career in 1972 when Traffic came to a proverbial stand still. Almost a decade on, Capaldi's Let the Thunder Cry (1981) was among the efforts initially released on the French indie Carrere label. Like its predecessor, The Sweet Smell Of ... Success (1980), it proved more difficult for Stateside enthusiasts to find, prior to being issued on CD. Capaldi draws upon a wide spectrum of personnel ranging from longtime collaborator Chris Parren (keyboards) to U.K. session heavies Andy Newmark (drums) and Mel Collins (sax) to Traffic bandmates Rebop (aka Rebop Kwaku Baah) (percussion) and Steve Winwood (keyboards). As the opening "Let the Thunder Cry" and the closer "Anxiety" exemplify, Capaldi has not lost his ability to churn out edgy rockers. Conversely, "Old Photographs," "Child in the Storm" and the ethereally beautiful "Warm" demonstrate his tragically underutilized penchant for emotive balladry. One of the catchier selections is the amiable Brazilian homage "Favella Music," directly contrasting the mostly forgettable remake of "Louie Louie." The update of the 1960s garage anthem is dusted off to little or no fanfare. The interpretation suffers immediately from the synthetic keyboard organ intro and ersatz drum machine -- both ultimately fail to ignite the reckless spirit of the original with the same incendiary innocence that has graced the infinite numbers of erstwhile covers. The mid-tempo "Only Love" would have fit in with the early-'80s pop milieu, yet was inexplicably passed by for the comparatively unassuming "Child in the Storm." Overall however, this outing would become the basis for Capaldi's next project, Fierce Heart (1983), spawning the Top 20 hit "That's Love" on what is otherwise an equally strong collection. Interested parties should note that Let the Thunder Cry [Bonus Tracks] (2003) boasts several supplementary non-LP sides as well as an entire bonus CD with a dozen-song live set from Capaldi and Chris Wood (guitar/vocals) circa their 40,000 Headmen tour in 1996. ~ Lindsay Planer, All Music Guide
What The Critics Say
Electric Nights came at the end of the '70s and showed Capaldi's music being influenced by disco. But he didn't give up on his own brand of rock, which always tended to shine through with each of his albums. By the time this album was released, his former partner in Traffic, Steve Winwood, had finally released a solo album of his own and surprisingly each album had a version of what was, essentially, the same song. Capaldi's version was called "Time" while Winwood's added "Is Running Out." Confusing, yes, but at least it was a decent song. But Capaldi still wasn't moving product in America like he did in Europe, so not many people heard Electric Nights. Other highlights include the tender "Tabitha" and the rocking "White Jungle Lady," along with the title cut. Electric Nights showed that Capaldi was still making music that could suit nearly anyone. ~ James Chrispell, All Music Guide
What The Critics Say
Jim Capaldi began branching out after Traffic collapsed and found himself in demand as a songwriter in Europe for movie soundtracks. The Contender began as just such a project, only Capaldi took the title cut and added others to release his fourth solo effort. Other highlights include "You Burn Me" and "Daughter of the Night." While The Contender had a meatier, punchier sound to it, it did show Capaldi wasn't afraid to stretch here and there as well as grow musically. However, there were no American hits to help fans discover this disc at the time. ~ James Chrispell, All Music Guide
What The Critics Say
This album was the American version of Capaldi's The Contender with some cuts omitted from that album and others added. It is basically the same disc, except for the tracks "Stay with You," "I'm Gonna Do It," and "A Good Love." ~ James Chrispell, All Music Guide
What The Critics Say
Jim Capaldi struck out on his own following the break-up of Traffic and the result is the upbeat Short Cut Draw Blood. This album produced hit singles in the form of such tracks as "It's All Up to You," "Love Hurts," and the FM staple "Johnny Too Bad." Aided by a wide variety of musician friends and dipping into a wide range of musical styles, there is something for everyone on Short Cut Draw Blood. While some cuts still have a thrown-together sound to them, this album holds together even better than his first release. A fine look at the mid-'70s in terms of just how wide a variety of music could be contained on one album by one personality. ~ James Chrispell, All Music Guide
What The Critics Say
Jim Capaldi continues to use extra tracks from his band Traffic to forge a solo career, although the cuts on Whale Meat Again don't have the endearing quality as his previous effort did. It includes the bouncy "It's All Right" and the menacing "Low Rider," but some of the rest of the tracks appear to meander too much, sort of like what Traffic appeared to be doing at the same time. Whale Meat Again could have been cursed by that old sophomore jinx, but it does have its moments. It is just not essential. ~ James Chrispell, All Music Guide
