Christopher Cross – Christopher Cross
Label: |
Warner Bros. Records – BSK 3383 |
|---|---|
Format: |
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Country: |
US |
Released: |
|
Genre: |
Pop |
Style: |
Pop Rock |
Tracklist
| A1 | Say You'll Be Mine | 2:53 | |
| A2 | I Really Don't Know Anymore | 3:49 | |
| A3 | Spinning | 3:59 | |
| A4 | Never Be The Same | 4:40 | |
| A5 | Poor Shirley | 4:20 | |
| B1 | Ride Like The Wind | 4:30 | |
| B2 | The Light Is On | 4:07 | |
| B3 | Sailing | 4:14 | |
| B4 | Minstrel Gigolo | 6:00 |
Companies, etc.
- Phonographic Copyright ℗ – Warner Bros. Records Inc.
- Copyright © – Warner Bros. Records Inc.
- Record Company – Warner Communications
- Published By – Pop 'N' Roll Music
- Recorded At – Warner Bros. Recording Studios
- Recorded At – Pecan Street Studios
- Mixed At – Warner Bros. Recording Studios
- Mastered At – Warner Bros. Recording Studios
- Designed At – Wonder Graphics
- Record Company – Free Flow Productions
- Record Company – The Brovsky/Stewart Group, Inc.
- Pressed By – Allied Record Company – B-14875
- Pressed By – Allied Record Company – B-14876
Credits
- Arranged By – Rob Meurer
- Arranged By [Horn and String] – Michael Omartian
- Artwork – Flournoy Holmes*
- Backing Vocals – Valerie Carter
- Bass – Andy Salmon
- Concertmaster – Assa Drori
- Design – James Flournoy Holmes
- Design [Flamingo Concept] – Jim Newhouse
- Drums – Tommy Taylor
- Engineer [Second] – Stuart Gitlin
- Engineer, Mixed By – Chet Himes
- Guitar – Larry Carlton
- Keyboards – Rob Meurer
- Keyboards, Backing Vocals – Michael Omartian
- Management – Tim Neece
- Mastered By – Bobby Hata
- Percussion – Victor Feldman
- Producer – Michael Omartian
- Producer [Assistant] – Michael Ostin
- Saxophone – Tomas Ramirez*
- Trombone – Lew McCreary
- Trumpet – Chuck Findley
- Written-By, Guitar, Lead Vocals – Christopher Cross
Notes
Allied Record Company pressing denoted by "B-xxxxx" master numbers in runouts.
Some copies exist that are pressed in translucent black vinyl.
Printed inner sleeve, with credits and lyrics.
Recorded and Mixed at Warner Bros. Studios, North Hollywood. Mastered at Warner Bros. Studios.
Solo's by Tomas Ramirez & Eric Johnson Recorded at Pecan Street Studios, Austin.
A Free Flow Production
Free Flow Productions
A Division Of The Brovsky Stewart Group
Track B1 is Dedicated to Lowell George.
Valerie Carter courtesy of ARC Records
Chuck Findley courtesy Monterey Records
Jay Graydon courtesy RCA Records
Don Henley courtesy Asylum Records
J. D. Souther courtesy Columbia Records
Some copies exist that are pressed in translucent black vinyl.
Printed inner sleeve, with credits and lyrics.
Recorded and Mixed at Warner Bros. Studios, North Hollywood. Mastered at Warner Bros. Studios.
Solo's by Tomas Ramirez & Eric Johnson Recorded at Pecan Street Studios, Austin.
A Free Flow Production
Free Flow Productions
A Division Of The Brovsky Stewart Group
Track B1 is Dedicated to Lowell George.
Valerie Carter courtesy of ARC Records
Chuck Findley courtesy Monterey Records
Jay Graydon courtesy RCA Records
Don Henley courtesy Asylum Records
J. D. Souther courtesy Columbia Records
Barcode and Other Identifiers
- Barcode (Text): 0 7599-23383-1
- Barcode (Scanned): 0075992338318
- Rights Society: ASCAP
- Matrix / Runout (A Side Center Label): BSK 3383
- Matrix / Runout (B Side Center Label): BSK 3383 R E-1
- Matrix / Runout (A Side Etched Variant 1): BSK-1-3383 A-1 B-14875-3
- Matrix / Runout (B Side Etched Variant 1): BSK-2-3383 RE1 A1 B-14876
- Matrix / Runout (A Side Etched, Variant 2): BSK-1-3383 A-1 B-14875-4 [etched over 3]
- Matrix / Runout (B Side Etched, Variant 2): BSK-2-3383 RE1 A-1 B-14876-3
- Matrix / Runout (A Side Etched, Variant 3): BSK-1-3383 A-1 B-14875-1
- Matrix / Runout (B Side Etched, Variant 3): BSK-2-3383 RE1 A-1 B-14876-4
- Matrix / Runout (A Side Etched, Variant 4): BSK-1-3383 A-1 B-14875
- Matrix / Runout (B Side Etched, Variant 4): BSK-2-3383 RE1 A-1 B-14876-3
- Matrix / Runout (A Side Etched, Variant 5): BSK-1-3383 A-1 B-14875-3̶ 2
- Matrix / Runout (B Side Etched, Variant 5): BSK-2-3383 RE1 A-1 B-14876-3
Other Versions (5 of 231)
View All| Title (Format) | Label | Cat# | Country | Year | |||
|---|---|---|---|---|---|---|---|
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Recently Edited
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Christopher Cross (LP, Album) | Warner Bros. Records | K 56789, K56789 | UK | 1979 | ||
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Recently Edited
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Christopher Cross (LP, Album, Stereo) | Warner Bros. Records | WB 56 789, BSK 3383 | Netherlands | 1979 | ||
| Christopher Cross (LP, Album) | Warner Bros. Records | QBS 3383 | Canada | 1979 | |||
|
Recently Edited
|
Christopher Cross (LP, Album, Stereo) | Warner Bros. Records | WB 56 789, BSK 3383 | 1979 | |||
|
New Submission
|
Christopher Cross (Cassette, Album) | Warner Bros. Records | K 456 789 | 1979 |
Recommendations
Reviews
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Edited one year agoA pop MASTERPIECE, and should be lauded as such. Every song here is a winner from Composition, Arrangement, Performance, & Production perspectives....And the Engineering and overall sonics are audiophile quality. (Please MFSL or Analog Productions--we need a 2 disc 45 RPM master of this)
And with guests like Larry Carlton, Mike McDonald, & Don Henley, how could it not be good?
Michael Omartian deserves a LOT of credit here, because he was the only producer at the time that saw the potential in Cross's demos and heard what these songs could be. And boy did he do an amazing job.
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Just for the art you should have this.
Productionwise it is clean and strong, after 40 years!
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If you're looking for a highly underrated album with AMAZING sound quality... that can be found dirt cheap... Look no further. Christopher Cross' debut basically utilizes most of the same players from the last few 70s Steely Dan albums, including Larry Carlton dropping a few tasty solos and Michael McDonald on numerous BG vocals. (Plus a young Eric Johnson wailing on the final track!) Production rivals the Dan as well and the mastering is top-notch. If you've heard "Ride Like The Wind" or "Sailing" on the Yacht Rock channel, check out this entire album. It's well worth it.
Best copies: Don't try to hunt down a fancy "audiophile" press. Just get a clean U.S. pressing (no club copies!) with "RE-1" in the deadwax to signify the revised (and better) Side 2 mastering. I've owned Allied and Winchester copies with RE-1. They sound identical. I kept the one that sounded like it'd never been played before. Enjoy! -
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Edited 2 years agoRegardless of ones feelings towards 'soft rock,' its virtues of being such make this a fine album for emotionally traumatic times. Nothing threatening within, nor containing hidden surprises. This is a virtue in itself during recovery. -
Edited 2 years agoWasn't this album recorded digitally using 16bit? Wiki says that but is it actually true. I think the LP of this album will always sound better to me than the 89' CD. But at 16bit and 50khz I believe, the depth may be drawn back. You can tell at certain points that It just doesn't have that punch and depth that analog recordings or high-res have, Maybe I'm crazy but I can tell a difference!. Still a great album, and if true that it is digital still pretty good sounding, it always will be one of my favorite albums! -
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A little softer than I usually prefer, but so well written and so beautifully recorded I still listen to it regularly. Even though it is early digital, the recording of the music is awesome.
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STILL one of the strongest debut albums from any pop/rock artist in my lifetime. The songs, arrangements, Production, Musicianship, etc...it's ALL here in spades.
(Ohh...and it SOUNDS amazing too) -
So I have a misprinted record which one of the labels has a Fleetwood Mac Live on Side 1, is this a known misprint?
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