Sequels are seldom a good idea in the movie business, and thankfully they’re a lot less prevalent in the music game. But one of the most successful ‘franchises’ of the ’80s was guitarist Lee Ritenour’s Rit/Rit 2 combo, now re-released by Cherry Red on a single CD, and they’re two of the best-sounding albums of the era. Of course that shouldn’t be a huge surprise when you notice the presence of names such as Humberto Gatica, David Foster, Harvey Mason, Jeff Porcaro, Jerry Hey, Abe Laboriel, Alex Acuna and Greg Philinganes on the song credits, but then again a lot of albums at that time featured all the right ‘names’ but didn’t deliver the goods.
But if 1982’s Rit 2 is not quite in the same league as its predecessor, it’s still another classic piece of sumptuously-produced, blissed-out West Coast AOR with touches of jazz and soul, helped by the excellent vocals, keyboards and songwriting of Eric Tagg. To these ears, it sounds as if Quincy Jones had produced Toto and got a good singer and a few decent songwriters in.
‘Promises Promises‘ is superior disco/funk/rock and wouldn’t sound out of place on Quincy’s The Dude or Jacko’s Thriller. ‘Dreamwalkin‘ is kind of the ‘happy’ version of Earth Wind & Fire’s ‘After The Love Has Gone‘ and would make a great theme song for a an early-’80s, California-set Chevy Chase/Goldie Hawn vehicle. Ditto ‘Keep It Alive’.
‘Tied Up’ and ‘Voices’ initially seem like standard AOR fare, but reveal their superiority with interesting, layered vocal arrangements and surprising chord changes (and a classic bit of Porcaro drums on the latter). But the real standout is killer instrumental ‘Road Runner’ featuring Harvey Mason’s incredibly intricate hi-hat work, a spicy Jerry Hey horn arrangement, some tasty Fender Rhodes from Philinganes and a corking set of solos from Ritenour.
Ritenour tried to repeat the formula on ’84’s less successful Banded Together before embarking on a decade of underwhelming instrumental smooth jazz with the occasional high point (like this). But Rit and Rit 2 are classics of their kind and belong alongside Steely’s Gaucho, Randy Crawford’s Secret Combination, Quincy’s The Dude, Michael Jackson’s Thriller and George Benson’s Give Me The Night as key albums of the era.
Time for that long-delayed trip to the West Coast – Malibu beckons…