SPILL ALBUM REVIEW: CHRISTOPHER CROSS – ALL RIGHT: THE WORLDWIDE SINGLES 1980-1988

CHRISTOPHER CROSS
ALL RIGHT: THE WORLDWIDE SINGLES 1980-1988
OMNIVORE RECORDS

Christopher Cross is a very underrated artist. It may seem hard to think of someone who has achieved his level of success as an ‘underrated’ artist, but he is. During the ‘80s, he had numerous hit singles and albums, not to mention the numerous Grammy awards he won. Perhaps, underappreciated is a better description. He is certainly misunderstood. When considering this new collection of his singles, during the ‘80s, the peak of his commercial success, and listening to the songs in 2025, one can certainly understand why these songs topped the charts. Cross’s music is pop perfection. His writing, arrangements, and production are all top-notch.

However, here is where the underrated part comes in. He is also an incredible musician. His guitar playing, often subdued, is always spot on for the song. His music, which is admittedly easy-listening/pop, features some fine playing by him and the incredible session players on each album and single. He filled in for Richie Blackmore of Deep Purple one time. But on his own albums, he is more restrained and more refined, but still brilliant. The subtle, almost background, playing he does in 1988’s “Swept Away” adds a layer to the song. It is almost drowned out by the orchestration, but it is the cornerstone of the song. Or on the B-side/album cut “Spinning,” where he incorporates some tasteful R&B licks. It is pretty great.

As a songwriter, no one can dispute Christopher Cross’s talent. This is due to his use of melody combined with interesting and often introspective lyrics. A song like “Arthur’s Theme (Best You Can Do)” is a master class in writing. However, it also has some interesting changes and melody lines. The song keeps you wondering where it is going to go. Sure, it was written to order for a film, but listen to the song separately from those visuals. It is quite astounding, and the saxophone solo is an absolute killer. Another highlight is the track “Alibi,” with the wonderful line, “To live the truth I hide somewhere.” The song is great, although it would feel much more fitting higher on the album’s A-side.

The two-CD version of the collection gathers all of his B-sides, which tend to be deeper album cuts, but they sound fantastic collected here. Songs like “Poor Shirley,” where Christopher Cross taps into his ‘60s influences and comes up with a very moving song with a detailed and unique vocal arrangement. It is great having these gems along with deeper cuts from his ‘80s catalogue.

The beauty of All Right: The Worldwide Singles 1980-1988 is that Cross has collected the singles, as well as specific single versions. Not regarding the album or longer cuts, but the way the singles would have been played and heard. Artists do not often go the extra mile to find all of the archived seven-inch (and promo) edits. This allows the listener to enjoy these songs the way they may have 40 years ago. He is not reinventing his past; he is collecting it for those who are interested.

All Right: The Worldwide Singles 1980-1988 is a well-thought-out and put-together compilation. Credit has to be given to the people who put this compilation together, multiple Grammy-winning producer Cheryl Pawelski (who has put together box sets by The Band and Hank Williams, among others), and Brad Rosenberger (Barbra Streisand, The Pointer Sisters). The set also features detailed liner notes written by Garrett Price. It sounds amazing and is a very detailed account of Cross’s first decade in the world of pop music.

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