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Thursday, February 28, 2008
I recently caught back up with Claude Chabrol’s 1970 feature Le Boucher (The Butcher), a film often considered among the great directors finest but one that has never been one of my favorites. While I still wouldn’t rank the film among my desert island Chabrol flics, it is still very obviously the work of a master in his prime and I find that my appreciation for it has grown since my first viewing about a decade ago.
Le Boucher is a remarkably stark and cold film that is less a murder mystery and more of a celebration of Chabrol’s unbelievably composed and skilled camerawork. The plot, from a screenplay and story by Chabrol, is a relatively simple one. A teacher named Helene, played by the wonderful Stephane Audran, meets and begins to get involved with a local butcher named Popaul, Jean Yanne in an absolutely chilling performance, in the midst of a series of murders being committed in their small French community.
The identity of the murderer is more than easy to figure out so the film doesn’t really work as a murder mystery, but I don’t think Chabrol was aiming for that. Instead he is more interested in a compelling and rather obsessive character study of two people who have in very distinct ways lost themselves.
As played by the unnerving Audren, there is something wrong with Helene that isn’t immediately apparent. She lives alone in a small flat surrounded by her favorite paintings and little gifts from her children at school. When we first meet her she is composed and laughing but something is damaged in her. Halfway through the film we find that she was hurt in a relationship years before and has placed herself in self contained exile essentially cut off from the world.
Similarly the butcher Popaul has also been damaged, first by a cold and abusive father and then by many years in the war. As inhabited by Yanne, our title character is a haunted and angry soul who is going through life looking in from the outside (something Chabrol shows wonderfully by placing him looking through windows and glass doors throughout the film). One feels that Popaul was once a good man but, unlike Helene, he has given up completely on the world and has slipped too far into his own isolated existence.
Chabrol’s film is possibly one of the loneliest I have ever seen. With the exception of a party sequence at the beginning and the scenes with the children, the film is made up entirely of characters alone in the frame or separated by some sort of invisible barrier. Even when Helene and Popaul do begin to get close there is always a distance between them. One remarkable moment has Popaul attempting to break the barrier by asking what Helene would do if he kissed her. She responds, “Nothing…but I would prefer you didn’t.”
The film’s strongest moments come in the several long, and rather astonishing, long one shots with Audran and Yanne talking together. At times tender but always with a slight sinister edge, these scenes typify everything that makes Chabrol one of the most intelligent and well organized directors on the planet. I was particularly floored this time by an early conversation that takes place in one shot as the two are walking through the town. Centered in the frame, with the town’s rustic and quant state surrounding them, the sequence is a model on how to do a long and meditative take. It also doesn’t hurt that Chabrol has two absolute masters at the art of body language at his disposal, with both Audran and Yanne seemingly able to communicate the most serious of matters without saying a word.
Chabrol was at the top of his game in 1970. He had just wrapped up three of his finest films, Les Biches (1968), This Man Must Die (1969) and La Femme Infidele (1969), and Le Boucher is looked upon by many as one of if not his greatest production. While I prefer both Les Biches and its follow-up, La Rupture (1970) I must say that this recent reviewing finally showed me what all the fuss was about. I focused away from then rather slight mystery and honed into Chabrol’s directorial choices and was continually surprised and at times quite blown away.
Le Boucher is one of the most economical productions Chabrol has ever delivered, and I don’t necessarily mean in cost. His shots are so meticulously chosen and composed that I would find it hard to believe much was left on the cutting room floor. I, of course, could be wrong but there is almost something mathematical feeling about the precision that Chabrol displays here, as if a mistaken close up or wrong move by one of the actors would throw the whole film off. Pauline Kael called it a perfect film in her original 1970 review and I don’t think she was far off.
Along with Audran, Chabrol fans will recognize several names that often pop up in his films. The creepy minimalist score is courtesy of Pierre Jansen and his music is so identifiable with many of Chabrol’s greatest films that I sometimes have trouble imagining them apart. The master director is also joined by his frequent cinematographer Jean Rabier, who gives this film a wonderfully sun drenched but iced over look, and editor Jacques Gaillard. Nearly all of the small cast had worked and would continue to work with the great director after, or not at all.
Le Boucher is still not among my favorite Chabrol films. I find it’s coldness nearly overwhelming and have felt almost relief when it ends each time I have watched it. It is an absolutely brilliant film, but one of the most oppressive Chabrol ever shot. I suspect my admiration will continue to grow for it, although I think it will have to be awhile before I visit with it again.
The film is out her on DVD from Pathfinder as a stand alone disc or as part of their Claude Chabrol Collection. The disc is disappointing with an overly digitized picture and rather drab and jittery transfer. Extras include the trailer and a disappointing commentary track from two screenwriters not connected to the film or period. It plays widescreen on my player but I have read the disc is authored incorrectly and will only play fullscreen on others. I have heard the Region 2 disc offers a superior transfer but I don’t have it, so can’t say for sure.
Wednesday, February 27, 2008
The new issue of Vanity Fair has an absolute gorgeous photo feature of modern day stars recreating classic Alfred Hitchcock scenes. If you can tear your eyes away from Naomi Watts as Marnie (and trust me, it is not an easy thing to do), the real show stopper is Marion Cotillard channeling Janet Leigh in Psycho. The magazine is currently available at newsstands and all of the pictures are quite striking.
Anyone who has Godard On Godard will have seen these before but I just noticed they were online so here is a link to the top ten lists Jean-Luc Godard submitted to Cahiers du Cinema throughout the sixties.
I haven't yet been able to locate Godard actually writing on Dishonored, my overlooked classic of the week, but if you scroll down on this link you can see where he named it the 10th greatest American sound film ever made on a list from December of 1963.
I always really enjoy looking at these lists to remind myself of how many great American films there are that rarely get mentioned anymore and how important classic Hollywood was to Godard in the early part of his career. Some of my favorite choices that pop up on some of lists that might prove surprising are Joshua Logan's Bus Stop (1956), Otto Preminger's Saint Joan (1957), Billy Wilder's Irma La Douce (1963), Howard Hawks Man's Favorite Sport (1964, and Robert Mulligan's Love With The Proper Stranger (1964). All wonderful American films that are so often ignored...also the fact that Godard ranks Man's Favorite Sport above Antonioni's Red Desert on the 1964 list always reminds of what a complete bad ass he is...give the lists a look if you haven't seen them. They are fascinating.
Totally unrelated to film or music, but I wanted to post a link to this article concerning the discovery of a photograph of the one true love Anne Frank wrote of in her diaries. Seeing and reading this really hit me emotionally so I thought I would share for anyone who hadn't seen the news report on it.
My long and revamped look at Marlon Brando's One Eyed Jacks has been published over at Amplifier for anyone who might be interested in giving it a look. Comments over there are always appreciated and it was a real pleasure revisiting Brando's influential and masterful film. My fingers are still crossed for a decent DVD release of it sometime soon, as it is currently still in public domain hell.
Perhaps a bit of old news for some, but I was thrilled yesterday to find out that Criterion is releasing a 2 DVD set of Ang Lee's The Ice Storm in March.
I first saw Lee's film during its rather brief theatrical showing back in 97 and it immediately became one of my favorite films of that decade. My love for it has only grown in the past ten years and I am really glad that Criterion is putting it back out in such an impressive collection.
It streets on March 18th and includes a commentary from Lee, a documentary featuring the extraordinary cast, deleted scenes, an interview with original novelist Rick Moody and more. The Ice Storm was criminally ignored by a lot of people back in 97 and it has had a spotty release history on home video since, so this is a very welcome release.
Tuesday, February 26, 2008
Just wanted to take the opportunity to give a huge recommendation to the new album by Shelby Lynne, which just got a four star review in the newest Mojo. Inspired by the work of Dusty Springfield, and featuring nine songs originally performed by her, Lynne’s Just A Little Lovin’ is a really remarkable recording and one of the most refreshingly subtle and low key I have heard in a long time.
I rarely buy modern music anymore, but I always make an exception for Virginia born Lynne, a performer who in the past decade has proven herself as one of the most original and brave American artists on the scene. This new album continues to push away the over-production that plagued some of her earlier records and, along with Phil Ramone and Al Schmitt, she has crafted one of the most quietly seductive albums I have heard in years. You would have to go to go all the way back to some of Frank Sinatra’s legendary recordings with Antonio Carlos Jobim to find a more resoundingly hushed album.
Kick starting with an aching rendering of “Just A Little Lovin” and closing with a lovely “How Can I Be Sure”, the album is absolutely the ‘minor masterpiece’ that Fred Dellar calls it in the new Mojo. If it lacks the urgency of past work like My Name Is Shelby Lynne, then it at least makes up for it in sheer soulfulness and when she sings Bacharach’s “Anyone Who Had A Heart” and ‘The Look Of Love” it is among the best things this fiery individualist has ever released.
The album, which by the way was recorded at Capitol’s legendary Studio A where Sinatra layed down many of his finest tracks, also includes one Lynne original, the marvelous “Pretend” which captures the soul fused period of the late sixties absolutely perfectly.
I suspect I will only buy a handful of new CD releases this year. I have no doubt Lynne’s newest will remain one of the finest. For more info on Shelby, please visit her official site linked above…and for more reviews of the new album, check Metacritic here. Also, if you have never had a chance to see Lynne live, make sure you do so if you get a chance as she puts on a magnificently rough and tumble show.
It looks as though the soundtrack to Maladie D’Amour was indeed released in France upon the film’s release in 1987. I have unfortunately not been able to find any other information on it and as such can’t really write on it in depth. I do quite like much of the music in the context of the film, although it does suffer from the same overly glossy production that plagued a lot of music in the mid to late eighties.
Romano Musumarra was born in Rome in the summer of 1956. Even though he was born in the year that Rock and Roll first exploded, it appears that Musumarra has always been more interested in classical and pop. A child prodigy on the piano, Musumarra scored his first Italian hit just before his 20th birthday with the track, “La Bottega delll’Arte”.
He found a lot of work in the late seventies and early eighties as a composer and arranger for many Italian and then French acts, including Jean Mas’ first two albums. 1986 marked the first year that he began his film work with a song for Andre Techine’s terrific Scene Of The Crime and his first full film score for Regis Wargnier’s Women Of My Life.
These popular works would lead him to a dozen or so different productions ranging from a song for Jess Franco’s Faceless (1988) to a couple of complete scores for films from Jacques Deray including, of course, Maladie D’Amour.
Musumarra provides Maladie D’Amour with a solid if not completely memorable score. I would be most curious to hear the complete soundtrack on its own as my opinion of it might rate higher then. Visit Romano’s official website here for much more information.
Monday, February 25, 2008
Recently I got the capability to create my own screenshots so I will be offering more exclusive images for readers to enjoy. Here are the first batch of MALADIE D'AMOUR captures. I will be offering more when I write on the film in detail later this week. Please excuse the quality of these. This is a very rare film and my copy comes from an old VHS tape.
Sunday, February 24, 2008
Recently I realized that in the year or so since I started Moon In The Gutter I had failed to write about any film pre 1950 and I must admit, I was a little ashamed. So to rectify that, later this week I will be focusing on one of my favorite classic Hollywood films starring Marlene Dietrich and directed by Josef Von Sternberg. Even though no less than Jean-Luc Godard called Dishonored (1931) one of the ten greatest films ever made, it has since fallen out of favor and is currently not available in the United States. I will be writing on the film this week and I invite everyone to participate in my poll based on the amazing collaboration between Marlene and Josef that is posted just to the right.
I realize this poll marks a change from Moon In The Gutter's regular time frame so I realize it might get fewer votes. However with Harry Moseby Confidential opened I hope to be focusing more and more here on pre 1970 films, so I hope all will cast a vote and continue to show some much appreciated support. Thanks and I hope the poll proves as interesting as my past ones.
Okay, so I know my Oscar predictions absolutely blew, but hey how awesome was it to see Tilda Swinton win for Michael Clayton? Made my night and it made the rest of what seemed to be a very short broadcast all the sweeter. So congrats to Tilda, the masterminds behind Once, Diablo and every other independent minded person who won tonight...well done.
I am happy to report that this weeks Mickey Rourke poll turned out to be the most popular one I have hosted. Special thanks to LaShane who provided a link to it at her fabulous Mickey Rourke Walls and to my fellow Mickey fans who stopped by. So, to quote the man himself in Barfly, “Here’s to all my friends!”
Here are the results and thanks again to everyone who took the time to cast a vote…I want to also add that I am stunned SPUN got so many votes but I think it is great that some of his more recent films ranked so highly. This also reminds me that JOHNNY HANDSOME, HOMEBOY and EUREKA all need to be more readily available for people to enjoy…
1. ANGEL HEART (63)
2. SIN CITY (44)
3. RUMBLE FISH (39)
4. BARFLY (37)
5. DINER (36)
6. YEAR OF THE DRAGON (32)
7. THE POPE OF GREENWICH VILLAGE (27)
8. SPUN (25)
9. JOHNNY HANDSOME (17)
10. HOMEBOY (14)
11. ONCE UPON A TIME IN MEXICO (13)
12. NINE ½ WEEKS (13)
13. DESPERATE HOURS (12)
14. A PRAYER FOR THE DYING (10)
15. DOMINO (10)
16. WILD ORCHID (9)
17. FRANCESCO (8)
18. EUREKA (6)
I will be starting a new poll later today…thanks again for all the votes and support.
"It's a perfect film."
"There's a whole bunch of guys who are movie stars today that can't hold Eric's Goddamn jock-strap, you know, but for other reason's Eric's doing other stuff. So what makes that? We're talking about politics, we're talking about luck, we're talking about a whole bunch of bullshit that has nothing to do with acting...whatever happened to him where he's on the bench these days is a Goddamn shame cause a lot of these guys running around now making twenty million dollars a movie can't do shit next to him."
-Mickey Rourke a few years back discussing co-star Eric Roberts and I think, in a very profound way, himself.-
"He hunched his shoulders higher, thrust his hands deep into his overcoat pockets, and leaned further into the wind."
-The last lines in Vincent Patrick's novel, The Pope Of Greenwich Village-
Charlie always just misses. He’s charismatic, likeable and smart but just past his thirtieth year things still aren’t working out for him. He’s just lost another job thanks to his inept thieving cousin Paulie whom he can’t cut loose from, his girlfriend is pregnant and his ex-wife is draining the life out of him with alimony and unpaid parking bills. All he wants to do is move upstate and buy his own place, but he belongs to New York City and he just can’t seem to ever get over.
I was fifteen the first time I saw Stuart Rosenberg’s 1984 feature The Pope Of Greenwich Village starring Mickey Rourke, Eric Roberts and Daryl Hannah. I have always suspected that it meant the same thing to me in the eighties that films like Midnight Cowboy might have meant to someone in the sixties or Mean Streets in the seventies. There was something about it that spiritually hit me hard and I must admit that twenty years later in my life, Rosenberg’s film has lost none of its power for me. Nearing a quarter of a century mark since its debut in the Summer of 1984, The Pope Of Greenwich Village continues to remain on the real buried treasures of modern American cinema to those who haven’t seen it, and a real special one to people like me who are still in love with it.
The film got its start as a really excellent novel by Family Business author Vincent Patrick. With its sharp characterizations, witty and real sounding dialogue, Patrick’s book still reads like a breath of much needed fresh air. Patrick’s novel earned a solid cult audience when it was first released in 1979 and he was quickly commissioned by MGM to crack out a screenplay, his first, which he did in the early part of the eighties.
With a solid script in hand, the studio set out on finding a director who could match the writer’s tough but sweetly nostalgic lament for two guys in the village who always seem to be on the losing end of life. The studio decided that the film could be something special and they hired on a person who was in 1983 probably the most controversial director in America, Michael Cimino.
The talented Cimino had stunned audiences with his multiple Academy Award winning The Deer Hunter in 1978 but had fallen out of grace big time with the disastrously received (but still masterful) Heaven’s Gate in 1980. The Pope Of Greenwich Village was to mark Cimino’s return to the director’s chair and in 1983 he began directing the smaller scaled film for MGM. Fairly quickly though things began to feel wrong and it became apparent that Michael Cimino’s epic vision wasn’t the best choice for Patrick’s more intimate script and he was fired from the production. Cimino, Rourke and MGM would continue their partnership though on the epic crime thriller Year Of The Dragon, which would go into production right after The Pope Of Greenwich Village wrapped.
After Cimino’s dismissal, MGM decided to bring in a seemingly unlikely veteran director who was known for bringing in productions under budget and on time for them and things for the troubled film magically began to work out for them.
Born in 1927, Emmy award winning director Stuart Rosenberg got his start like a lot of his peers in television productions of the fifties. He thrived in little screen crime dramas like The Untouchables and Naked City and finally got a shot to direct his first big screen production, none other than the Oscar winning Paul Newman film, Cool Hand Luke in 1967. Rosenberg was ignored unjustly by the Academy for his solid and inventive direction of Cool Hand Luke but he was honored with a well-deserved Director’s Guild Award, which marked him as a favorite among his peers. He would follow up Cool Hand Luke with the delightful The April Fools in 1967 and would continue to work steady throughout the seventies on films like The Laughing Policeman (1973) and The Amityville Horror (1979). The Pope Of Greenwich Village would mark itself as the last noteworthy project of Rosenberg’s career. He would spend the majority of the rest of his life teaching film to young students, including Requiem For A Dream auteur Darren Aronofsky, and he passed away in March of 2007.
Most of the cast and crew of The Pope Of Greenwich Village were already firmly in place when Rosenberg came on board. Prolific John Bailey, who had done such memorable work with Paul Schrader on American Gigolo (1980) and Cat People (1982), was on board as cinematographer and popular composer Dave Grusin had already started on his score. Rosenberg did bring on his Amityville Horror editor Robert Brown to work with him though and the production kicked back into gear in the late part of 83.
The cast assembled for Rosenberg in front of the camera was simply inspiring. Everywhere you look in The Pope Of Greenwich Village you will spot a familiar face of a much loved character actor. Everyone from Val Avery to Burt Young to M. Emmet Walsh to Tony Musante to a scene stealing Geraldine Page show up. The film is like a Valentine’s Day card to some of the best character actors in the business. For the starring roles the studio had brought together three of the most talented and striking looking actors of their generation for Rosenberg and they all deliver near career best performances in the film.
Athletic and magnetic Daryl Hannah was on quite a role in the mid eighties with films like Blade Runner (1982), Summer Lovers (1982) and Splash (1984) already on her resume and she is really splendid as the love interest in The Pope Of Greenwich Village. The part is actually one of the most under-written in Patrick’s script but Hannah manages to inject a lot of heart and emotion into it and makes the most out of her handful of scenes.
As the loveable fuck up Paulie, young Eric Roberts provides another bit of proof that he was one of the great actors to come out of the eighties. One year past his monstrous and legendary turn as the crazed Paul Snider in Bob Fosse’s Star 80 (1983) and just a year or so from garnering an Oscar nomination for Runaway Train (1985), Roberts is at his absolute peak in The Pope Of Greenwich Village. As Paulie he is electric, funny, frustrating and finally downright touching. Along with the two films I just mentioned, The Pope Of Greenwich Village contains the best work that the talented but troubled Roberts ever gave.
The absolute key to the film though was the casting of the struggling Charlie. Even though he is actually billed second in the film, Mickey Rourke is the clear star and lead of the production and in my idea of a perfect world he would have been sainted for his work in it.
Twenty eight year old Mickey Rourke was on absolute fire in 1984. It didn’t matter that he hadn’t had a major hit yet or wasn’t even a household name, nearly every critic and fan was laying down odds that this guy was the rightful heir to Al Pacino and Robert De Niro. Searing, intense and beautiful, Rourke had just floored many people with his triple shot of Body Heat (1981), Diner (1982) and Rumble Fish (1983) and it looked like he was getting ready to absolutely explode. Watching him today in The Pope Of Greenwich Village, I still feel the same way I do when I see Brando in On The Waterfront or Pacino in Serpico. It is that performance that comes in every great actors career, when everything falls into place and there is something nearly sacred in their work. I’ll take Mickey’s relatively un-acclaimed work as Charlie in The Pope Of Greenwich Village over almost any Oscar winning work you care to name…he was my guy back in the mid eighties and he is still my guy today.
With a terrific crew and beyond noteworthy cast in place, Rosenberg picked up where Cimino had left off (what exactly Cimino filmed remains a point of contention) and delivered a film that MGM was excited about in the early part of 1984. Shot on location in New York and featuring some truly magnificent production design by Paul Sylbert, The Pope Of Greenwich Village expertly tells the tale of two cousins living in The Village in the early part of the eighties who think they have come across a score that is going to finally get them over in their lives. Problem is the place they rip off happens to be owned by infamous Mob boss Bed Bug Eddie, a guy known as ‘The Pope Of Greenwich Village’ whose hobby is shipping parts of people who rip him off to their family members.
The big complaint I have read over the years about The Pope Of Greenwich Village is that it is essentially Mean Streets Lite. I have never bought into that though as while the two do concern some of the same plot points, thematically they are totally different beasts. While it is true that The Pope Of Greenwich Village doesn’t contain the rough and cynical edge of Mean Streets, it is also true that Scorsese’s film doesn’t contain the wit and heart of Rosenberg’s film. I don’t see any point in comparing the two, but it still happens to this day.
It is that heart that becomes the biggest asset to The Pope Of Greenwich Village. You really care about these two guys and want them to succeed. The film works best in the scenes between Rourke and Roberts, as they feel so unbelievable honest and natural. When I watch these two guys together, I can’t imagine they are reciting learned dialogue or are surrounded by a film crew. There is such an organic quality about this film and the relationship between Charlie and Paulie, I can actually still picture them in the city shuffling around arm and arm joking and planning out another dream that will probably no doubt not come true for them.
Honestly everything about the film works for me, even the side plot of the cop on the take and his mother that once seemed to slow the film down now seems poignant and necessary. With Grusin’s French Horn driven score (Damn it has this soundtrack ever been released anywhere?) and Rosenberg’s lovely rendering of a New York that is disappearing, The Pope Of Greenwich Village is one of the most alive and heartfelt American films of the eighties. I still can’t hear Sinatra’s majestic Summer Wind or see a photograph of The World Trade Center without thinking of this film and getting more than a little choked up because of it.
The film was released with quite a bit of hype in that summer of 84 and under-performed everywhere. Not even making its budget back, it disappeared from American movie houses before the summer was even over. It did okay in Europe and finally became a small hit on Home Video in the eighties and nineties. Everyone was ignored for his or her work in the film save Geraldine Page who snagged an Oscar nomination for her brief but memorable appearance.
For most film fans, I guess The Pope Of Greenwich Village remains just a little film form the eighties that is mostly forgotten. For some of us though who came of age with it, The Pope Of Greenwich Village remains one of the definitive and classic films of our lives. I have seen a lot of films that are greater than Stuart Rosenberg’s The Pope Of Greenwich Village, but there are few that have meant more to me. Whenever I feel like life is beating me down, I close my eyes and think about the moment when Mickey Rouke announces to Bed Bug Eddie, “I’m the Pope Of Greenwich Village now” and then, just like Mickey, I smile and I realize everything will be all right.
Saturday, February 23, 2008
Despite the fact that 2007 was one of the best years for American film in quite a while, I am oddly unexcited about the Oscars this year. I will of course watch them and will hopefully enjoy them, but I just can’t get into it right now for some reason.
Anyway, for whatever it’s worth…here are my predictions for who will win in some of the major categories and who I wish would take home the prizes. Enjoy and laugh at me Monday on the ones I miss…and yes, MICHAEL CLAYTON was far and away my favorite film of 2007 but I think it only has a real shot at one award, for its screenplay.
Will Win: ATONEMENT
Should Win: MICHAEL CLAYTON
Will Win: JOEL AND ETHAN COEN
Should Win: TONY GILROY
Will Win: DANIEL DAY LEWIS
Should Win: GEORGE CLOONEY
Will Win: JULIE CHRISTIE
Should Win: JULIE CHRISTIE
BEST SUPPORTING ACTOR:
Will Win: JAVIER BARDEM
Should Win: JAVIER BARDEM
BEST SUPPORTING ACTRESS:
Will Win: RUBY DEE
Should Win: TILDA SWINTON
BEST SCREENPLAY (ORIGINAL):
Will Win: MICHAEL CLAYTON
Should Win: MICHAEL CLAYTON
BEST SCREENPLAY (ADAPTED):
Will Win: THERE WILL BE BLOOD
Should Win: THERE WILL BE BLOOD
Will Win: DIVING BELL AND BUTTERFLY
Should Win: DIVING BELL AND BUTTERFLY
Will Win: NO COUNTRY FOR OLD MEN
Should Win: THE BOURNE ULTIMATUM
Friday, February 22, 2008
I am absolutely thrilled to see that one of the greatest albums of the seventies is finally getting reissued as a special double disc edition. Dennis Wilson's majestic, quite stunning and long out of print Pacific Ocean Blue album will be re-released by Sony Legacy editions in May and will include the original album remastered plus a bonus disc featuring songs from his never released follow-up album, Bamboo.
For more information on this long awaited release please visit this link. For anyone who has never heard this album, or hasn't heard it in awhile, I can't recommend an upcoming release higher.