Since his days as the leader of the Bongos, the definitive band of the Hoboken pop scene of the 1980s, Richard Barone has pursued a sometimes low-key, but largely rewarding solo career. Barone formed the Bongos in 1980 and led the group through three albums, the singles compilation Drums Along the Hudson (1982), the EP Numbers With Wings (1983), which featured the title track, the group's definitive song, and the slightly disappointing Beat Hotel (1985). In 1983 Barone and James Mastro recorded a low-key, mostly acoustic duo album produced by Mitch Easter, 1983's Nuts and Bolts. Mastro joined the band the same year following their signing to RCA. After the Bongos parted amicably, Barone started his solo career in a peculiar fashion. Performing at the Bottom Line in New York City in 1987, Barone re-introduced himself in a musical lineup that prefigured the chamber pop mini-movement of a decade later, surrounding his voice and electric guitar with an acoustic guitarist, a cellist (Jane Scarpantoni of the Hoboken band Tiny Lights, who largely through this gig would establish herself as the leading cello player in alternative pop, gracing albums by Bob Mould, Victoria Williams and many others), and a percussionist specializing in vibes and Latin instruments rarely heard in other contexts. The resulting live album, Cool Blue Halo, is a brilliant combination of Bongos tunes, new material, and impressive Bowie, T. Rex, and Beatles covers that perfectly illustrates Barone's range and tastes, and remains his best work. Both Cool Blue Halo and 1990s Primal Dream were hampered by label woes (in both cases, the labels went belly-up not long after the discs came out, making them difficult to find). Barone quickly followed the album up with Primal Cuts, a German EP featuring remixed tracks, acoustic demos, and new recordings of Primal Dream's best songs. Barone then took a three-year break before re-emerging with the brilliant Clouds Over Eden in 1993. Dedicated to the memory of Barone's close friend, music journalist Nicholas Schaffner (who wrote The Beatles Forever, The British Invasion, and the definitive A Saucerful of Secrets: The Pink Floyd Odyssey, as well as the liner notes for both Cool Blue Halo and Primal Dream), Clouds Over Eden is a dark but ultimately redemptive song cycle of grief and acceptance, considerably more powerful and personal than Lou Reed's similar Magic and Loss from the year before; musically, it expands and refines the direction suggested by Cool Blue Halo, with none of Primal Dream's unfortunate slickness. For a follow-up, Barone basically recorded Cool Blue Halo Part Two. Replacing the acoustic guitar and percussion with a second cellist, the sound on 1997's unfortunately-named Between Heaven and Cello is even more delicate and dark-hued than on Cool Blue Halo, but it suits the song selection, heavy on the two previous albums but with a few oldies and new songs, very well indeed. For the next several years, Barone focused on writing, co-writing, collaborating, musical and theatrical direction, and producing other artists. In addition, he turned to the Loser's Lounge, a collective of New York-based art pop scenesters who put on tribute concerts in various local clubs. Besides playing and singing in the majority of Loser's Lounge concerts, Barone also produced their first two albums, 1999's Simply Mad Mad Mad About the Loser's Lounge and 2001's How Can a Loser Ever Win?. In 2000, Barone's German label Line Records reissued Cool Blue Halo, Primal Dream, and Clouds Over Eden in a three-disc box set called The Big Three. In 2001, Barone entered the studio with Tony Visconti to begin his first studio album in eight years. ~ Stewart Mason, All Music Guide