The Joe Vig Top 40

At any given moment one can find five to ten thousand Marilyn Monroe items on eBay, which is more than you may encounter for Jimi Hendrix and John Lennon, though thousands shy of Elvis. So it's no suprise that a dance-mix album featuring the chanteuse would emerge, and though not perfect, Marilyn Monroe Greatest Hits Remixed is a fun listening experience. The "Dreamer Remix" of "Kiss Me" would segue nicely with Esquivel and other purveyors of the space age Lounge set. Ditto for James Hardway's rendition of "Happy Birthday", perhaps the album's most experimental track, and the one that adds something unique and extra to the sparse Monroe audio catalogue. The "Swing Cats Remix" of "Diamonds Are A Girls Best Friend" is opportune in that it borrows heavy percussion from Adam Ant's 1983 single "Goody Two Shoes", which itself probably lifted the horn lines from Marilyn's original version of "Diamonds Are A Girl's Best Friend" from the 1953 film Gentlement Prefer Blondes. How will it sit with the Marilyn purists? Well -these tracks are entertaining - perhaps because they attempt to balance fresh sounds with the original recordings. "I Wanna Be Loved By You" has pleasant blends of the old and the new - vintage strings encountering synths - a definitely unholy marriage, but one that does amuse. There's lots here to recommend this disc, though "You'd Be Surprised" highlights the drawbacks. The groove here is totally recreated, the effect being that of something barging in rather than playing with the original work. Marilyn gets pushed into the background and the accompaniment starts to clutter, but for the most part Danny B. Harvey, Effcee and James Hardway (nee David Harrow) find a decent balance and do add something to Diva Marilyn's recorded output. "I Wanna Be Loved By You and "A Little Girl From Little Rock" deserve to be heard by new audiences, and find interesting new settings here.

As authentic a dozen tunes any fan of The Remains could hope for find a niche in the digital grooves of Movin' On, Barry Tashian's distinctive voice picking up where he left off on the groups last full album which was, ah...1966??? Almost forty years in between releases sure beats the two years it took Sly Stone to get a new disc out during his heyday! but it's worth the wait as Vern Miller, Bill Briggs, Chip Damiani and Tashian deliver the goods. "You Never Told Me" and "Over You" could easily slip into The Eagles' repertoire, which is the dilemma for hardcore Remains fans who always wanted their heroes to sustain that launch that culminated in a tour with The Beatles and Bobby Hebb. And God knows The Eagles needed some real competition. "A Man's Best Friend Is His Automobile" showed up on Barry & Holly Tashian's 2002 release At Home and gets The Remains treatment here. Holly Tashian contributes backing vocals to the album, the group also augmented by Daniel Tashian on vocals, percussion and B-3 as well as Angelo on backing vocals, percussion and a co-write on "Don't Tell Me The Truth". Speaking of which, for those who loved "Don't Look Back", the 45 RPM which ended up on the original Nuggets before getting tagged onto the first Remains disc, opening track "Don't Tell Me The Truth" will satisfy their needs. "Listen To Me" is lots of fun as is the album closer, "Time Keeps Movin' On", resplendent in sounds towards the end of the tune that would make Lothar & The Hand People proud, but the standout and potential hit is "Hard To Find (So Easy To Lose)". "The Power Of Love" and "Ramona" both add to the legend, but it's "Hard To Love" which could open up this band to a larger and well deserved audience. As The Zombies tour, sometimes with Pete Best's collection of early Beatles music, the addition of Barry & The Remains would make a potent trio of artists from an era whose popularity will remain perpetual. TheRemains.com is how to find this music if you can't locate it in the usual places.

Three years after her sparkling debut, This Is Mine, Stacie Rose brings an elaborate package to the table that is even more expressive, providing a glimpse of artistic evolution that is most inviting. Thirteen of the fourteen tracks were composed by the singer with the cover of U2's "New Year's Day" the sole outside essay, one now colored by Rose's own special stamp. Taking music that has been overplayed and breathing something new and different into it is never an easy task, the sentiment of "New Year's Day" finding a place alongside strong material like "Unbreakable", which, if covered by anyone in the women's music movement, has the potential to be an anthem. The baker's dozen plus one collection is chock full of hooks and Rose's clever take on life. This is a composer who, in any other time, would obliterate radio with her charm and fresh approach to pop. Along with the close to fifty minutes of music there is also a video of the very k.d. Lang-ish opening tune, "Consider Me", as well as a six minute multi-media track interview with the artist. Veteran Robert L. Smith, who produced, recorded and mixed This Is Mine in 2002, is back - this time co-producing with Stacie. Shadow & Splendor has the feel of a concept album, something different offered track to track while avoiding cliche and keeping the listener's interest. The music here is parallel toTracy Bonham's intricacies, of that world, but not necessarily in it. The mantra chorus of "Knew You" follows the effervescent Indian quasi-psychedelic "Guru", novel musical passages that display sharp creativity. It's a gift Stacie Rose utilizes to full effect. Where many other singer/songwriters also have the insight, sometimes they pull back or get lazy. She avoids the self-indulgence trap by exhibiting a solid work ethic throughout this recording. Everything is well thought out without losing the entertainment factor - think the seriousness of Steely Dan while keeping the pop sensibilities intact. An artful juggling act that takes another twist with CD closer "Back To Life", a lovely melody that recalls (or updates) "Girl From Ipanema" and the gentle Bachman Turner Overdrive near-hit, "Looking Out For #1". A strong effort overflowing with potential.