Critic Joe Viglione reviews movies, books, DVDs, CDs, and has all sorts of opinions on a variety of things. The monthly Top 40 is a sort-of directory...
commentaries and essays expand the thought process on RockJournalistJoeVig.blogspot.com ...so the reviews on the Top 40 aren't final, they are just the starting point to more discussion. You can always contact Joe directly at visual_radio [@] yahoo.com
The BEST of VISUAL RADIO, VOL. 1
Suzanne Vega on the Best of Visual Radio Part 1
#1 Jimi Hendrix / Miami Pop Festival
Foxey Lady 1968
With an instrumental onslaught Jimi Hendrix unleashes the power and might of Foxey Lady on the Miami Pop Festival audience in an exquisite and pleasing way.
1) Jimi Hendrix
STARTING AT ZERO - HIS OWN STORY
#2) Super Duper Alice Cooper
In 1991, music manager Shep Gordon held Mike Myers
over a barrel a few weeks before shooting “Wayne’s World” regarding an
Alice Cooper song Myers wanted to use in the film. They have been close
friends ever since. 22 years later, the story
of Gordon’s legendary life in the uber fast lane is now told in Myers’
directorial debut. And this time it’s Myers who has Gordon over a
Capitalist, protector, hedonist, pioneer, showman, shaman . . . SUPERMENSCH.
Shep Gordon is the consummate Hollywood insider.
Though he isn’t a household name, Gordon has become a beacon in the
industry, beloved by the countless stars he has encountered throughout
his storied career. Shep is known for managing
the careers of Alice Cooper as well as stints with Blondie, Luther
Vandross and Raquel Welch, among others – a career that began with a
chance encounter in 1968 with Janis Joplin and Jimi Hendrix. He even
found time to invent the “Celebrity Chef.” Though
the chef as star is part of the culture now, it took Shep's
imagination, and his moral outrage at how the chefs were being treated,
to monetize the culinary arts into the multi-billion dollar industry it
is today. Personal friends with the Dalai Lama through
his philanthropic endeavors with the Tibet Fund and the guardian of
four children, Gordon’s unlikely story will be told by those who know
him best, his pals, including Alice Cooper, Michael Douglas, Sylvester
Stallone, Anne Murray, Willie Nelson, Emeril Lagasse
#3 MIKEY WAX
Review by Joe Viglione
Mikey Wax’s eponymous sixth CD (by my
estimate, from Wikipedia and http://www.mikeywax.com/
) is the work of a seasoned writer/vocalist/keyboardist, issuing a dozen
perfectly crafted songs – both musically and lyrically – embellished by top
notch production from Scott Cash and Ed Cash.
With all the music invading my P.O. box this particular disc has
remained in the players at home and in the car for a good week now, which is an
indicator of its potential staying power.
The effervescent production and performance on the
opener, "You Lift Me Up" - pave the way for an in the pocket collection
of memorable pop songs, all unique with a separate personality to each.
Cher could easily duet with Mikey on "You Lift Me Up," a
throwback to her 1998 “Believe” phase that saturated the dance clubs, superb guitars closing it out at around the
3:20 mark. Things shift immediately sound-wise, from the dance hall of
the opener to 70s-friendly pop radio on "Bottle Of Jack." This is quite an amazing moment on the disc
and worthy of attention. Everything
about it gets five stars, from his superb voice on the chorus to the
distinctive words. It is most clever
lyrically as well as in its musical design. Very, very nice. In a perfect world it’s a big hit. "Only
One," written by Mikey and Jonny Wax, is powerfully direct in its
delivery. Wax’s definite vocal has
punctuation marks from the producers as found in The Supremes’ “Reflections”
and “Love Child” (not comparing the songs, just noting the solid production.)
It reminds this reviewer of the days of Paul Young - the voice of the early
Paul Young recording in the new millennium, that is. Scott and Ed Cash's
production is as dynamic as anything on Top 40 in the days of yore and its
crisp voicing of each instrument complementing, not overpowering the singer, is
These compositions, all drenched in heavy romantic themes, offer
something different musically cut after cut. The aim is definitely the market
James Blunt conquered and with the strong hooks from "Hang On" to
"Alive in New York City" and throughout, this new disc from Mikey has
a very good chance of reaching that wider audience. “Baby
Don’t You Let Me Down” engages a bit of country pop, back when Olivia Newton
John, Anne Murray and Kenny Rogers ruled the airwaves while “Let You Run” comes
in with a driving groove and an accompaniment that resembles a modern-day “wall
of sound,” a powerful ensemble that gets even bigger as it rolls on into “Alive
in New York City.” His voice is terrific
here - “Alive in NYC” written solely by Wax, the lingering guitar under the chorus adding textures to this key element
of the dozen songs that comprise the CD, material that is chock full of
romantic promise that every lover wants to hear.
The piano on “The Calm” is taken straight
out of Elton John’s “Grey Seal” from Goodbye Yellow Brick Road, a trick Elton
(lifting influences from here and there) employed most frequently. Wax
even appears to sing “no, I ain’t no Elton John” in the final track, “Last
Great Song,” unless it’s a Lady Mondegreen – misheard lyric, though malapropisms
don’t appear to be part of the formula at play here. The tune is blanketed by a warm,
lush production surrounding the singer’s attractive vocal with the huge chorus
reaching a crescendo.
“With the rooftop down/and the stars
shining bright” gives the punch to what started out as Mikey Wax the balladeer
on the opening to “Fall Back in Love.” It’s another song that seems to
consciously be different structurally and melodically from all the other
selections, though the theme remains undeniably romantic. For
those of us who couldn’t stand the insufferable Rick Astley and/or Michael
McDonald’s ‘swallow your tongue while singing” routine, this artist’s delivery
entertains and adds to the music, never getting in the way. If only Mikey Wax
was around back then to sing on what became annoying radio; annoying due to the
lack of a sincere voice, where the sensitivity of a Richard Marx was needed. When Mikey wants to “take you on a date and
start all over” you really believe him.
"Take Me Home" is another
powerful melody that will stay in your head after you leave the car or wherever
else you play CDs. It evokes the ardent emotional
attachment found in Paul Davis’ classic hit, “Cool Night” where he beckons “come
on over….” Following the concept up
with “Walking on Air” is a smart segue, bringing into the new millennium the
serious style that Davis, Stephen Bishop and Gino Vanelli added to Top 40. “Walking on Air” may be my favorite track
here, tight and exciting production gives Wax the opportunity to deliver the
spot-on vocal which shimmers with exuberance.
An irresistible hook and excellent break that tugs you right back into
Of the twelve tracks only one breaks the four minute mark, the
finale, "Last Great Song."
Co-written by Scott & Ed Cash and Mikey Wax, the piano ballad is
driving me crazy in trying to place the 70s male vocalist who set a similar
mood. There’s a lot to absorb, and
appreciate, on Mikey Wax the record, and it is hardly cliché to say there’s not
a bad track here, because everything works together as a cohesive unit. It’s a
bouquet of, as stated at the outset of this review, perfectly crafted pop music
delivered with honesty and delivered in an entertaining and very appealing way.
#4 THE DIGS
They call themselves a punk/rock band from Boston and feature Andre
Dedousis on bass, Jeff Demas on guitar and Steve Knowles on drums. Their
homemade disc, “A Second Take Demo” I picked up at the Cantab
downstairs, Club Bohemia, a month or so ago and you can get it here
Song 1 opens with a pounding, explosive, riff-laden, anger-filled
masterpiece of a tune, “Origins,” with a vocalist (guitarist Jeff Demas)
who gets the Jack Ely of the Kingsmen (“Louie ,Louie”) award for most
indecipherable lyrics on a current disc. The title will get into your
head with real staying power, an hour after you left it spinning in the
car CD player. As good a song for driving on Route 93 or 128 since Deep
Purple’s “Highway Star.”
“Gunslinger” starts with a blues-laced riff borrowed from Golden
Earring’s “Radar Love” like a country/western/rock early Gram
Parsons/Byrds motif sing/speak essay that evolves into pure alternative.
The hook of “Turn you inside out” repeats, both songs tight and smart.
“Manic” opens with explosive guitar bends from the early era of Alice
cooper, taking an about face into a dramatic speadfreak dance step with
“manic” guitars (and I wrote that before finding out the song was
called “Manic” – the CD not having any song titles but directing the
listener to the web) and the vocalist Demas engaging in his most
determined proclamations.Released March 14, 2014 the music was recorded
and mixed by Jeff Bousquet who does a fine job getting the high volume
nuances into each track with clarity.
This is a very fun record “Greenline” is interesting, nice grooving
track, with a most intelligent line “Left my bike at home/’cause I’d
like to stay alive/I’m still underground and waiting for the
Greenline.The closer, “Miles Away” is my favorite along with song 1,
“Origins” (they’re both extraordinary) with a nice chunky riff that
opens up this streamlined punctuation with a vague point of view, the
clarity coming in with the chorus.Great stuff. Wonder what they are like live
Will Eubank on the set of THE SIGNAL
With The Signal, Director Will Eubank takes a hint from the construction of the Matrix film series and borrows flavors collected out of a variety of science fiction movies that came before. From the Blair Witch-style video of the haunted house scene juxtaposed against the THX1138-inspired unbalanced and off-setting stark white sterility following that incident, the moods change swiftly and play with the viewer’s senses. When Dr. Damon (Laurence Fishburne) asks “are you agitated?” he could be talking to the audience in the theater instead of or rather than just the key player in this movie, known simply as Nic (Brenton Thwaites – Prince Philip in Maleficent, out in the theaters this month as well.)
Nic, Neo, you get the picture.
In fact, looking at the three protagonists one gets that vibe of Neo, Trinity and Morpheus from The Matrix going down the rabbit hole as Nic, Jonah and Haley do here (the aforementioned Thwaites along with Beau Knapp and Olivia Cooke) and then they find that road to nowhere directly from Josef Rusnak’s 1999 epic The Thirteenth Floor (starring Craig Bierko and Vincent D’Onofrio, both to end up Law & Order spinoffs.) The Thirteenth Floor (released May 28, 1999) came out almost simultaneously with The Matrix (March 31,1999,) and both were, thematically, along the same lines. See the posters below, The Thirteenth Floor admonishing the viewer to “Question reality.” So does The Signal. The three packaged together would make a nice DVD set and/or a Friday night midnight into early morning screening.
The Signal Movie Trailer:
Director Eubank’s love of David Lynch also drops in while that actual refugee from the Wachowski’s Matrix, Laurence Fishburne in space suit, does his best NSA spying routine, trying to glean information as well as putting things in the heads of those he is interrogating, those three curious members of the adventure team that chose to go on that journey. And a note of interest, during my interview with Will Eubank I asked if he’s related to Bob Eubanks of The Newlywed Game. He said no, but that – strangely – he lived near that Eubanks and when he moved Bob Eubanks had moved to the same neighborhood again! Los Angeles being smaller than people think. But back to the movie.
In this sterile environment where we moviegoers have been before Eubank scores his narrative through an other dimensional perspective, intriguing mind games and psychological horror a la 2001′s Session 9, filmed at the Danvers State Hospital in as creepy a display as you’ll ever find. That particular movie starred David Caruso of NYPD Blue fame and you can add that to the film fest or 4th DVD for this potential set.
Bringing such disparate subject matter together while touching upon the familiar from each genre is a masterful juggling act that Eubank pulls off as eloquently as Director Duncan Jones did with both Moon and Source Code. The action revs up for a powerful ending which begs a sequel (as did Source Code.) The grand experiment that Fishburne is up to takes a unique twist that doesn’t allow for a spoiler; a truly unexpected ending. The Signal is Highly recommended.
Joe Viglione is the Chief Film Critic at TMRZoo.com. He has written thousands of reviews and biographies for AllMovie.com, Allmusic.com, Gatehouse Media, Al Aronowitz’s The Blacklisted Journal, and a variety of other media outlets. Joe also produces and hosts Visual Radio, a seventeen year old variety show on cable TV which has interviewed Jodie Foster, director/screenwriter David Koepp, Michael Moore, John Cena, comics/actors Margaret Cho, Gilbert Gottfried, Gallagher, musicians Mark Farner and Don Brewer of Grand Funk Railroad, Ian Hunter of Mott The Hoople, Ray Manzarek, John Densmore, Felix Cavaliere of The Rascals, political commentator Bill Press and hundreds of other personalities.
People in Film: Laurence Fishburne
Posted by NicoleWoods
| April 21, 2014
Interview with the Director Will Eubank being edited right now!
6) WET SOUNDS TSUNAMI OF SOUND
Drenched in the reverb of guitarist Dave Esposito, the classic “Mr
Moto” gets the whammy bar and lots of love and care opening up this
dynamic and authentic perspective on instrumental surf rock. The two
minute and fifty-two second rendition of the Belairs classic – which
originally clocked in at 2:09 on Surfside records – is splashier,
echoey-er (is that a word? Well, it is now!!) and a tad more elaborate.
This New England based group (a quartet, though without Arlington’s Bob
Damiano they performed as a trio on Saturday and still had a big
sound,) take their favorite surf rock classics and “wet them up” –
adding lots and lots of reverb, thus the album title Wet Sounds – a
take-off on the Beach Boys Pet Sounds.
Mr Moto by Tsunami of Sound - read more here:
8) Armand Schaubroeck God Made the Blues to Kill Me
9) X Men DAYS OF FUTURE PASSED
The gargantuan robots known as the Sentinels from the original Marvel
Comics Group in the 1960s were among the coolest of the X-Men’s foes.
These 12 cent stories, fetching so much in collectors’ circles these
days, have staying power for the simple reason that they were so well
done in the first place. In X-Men 3: The Last Stand, we get a glimpse
of the original version of the Sentinels, and that film would have fared
much, much better if it were not a tease and those “Land of the Giant”
big metal monsters pounded the earth for the full length of the film.
See the image of the real sentinel at the end of this trailer
The big and menacing artificial intelligence army surely influenced
the “sentinels” of the Matrix, and the biggest flaw in this otherwise
fine movie is the morphing of these robotic creatures into a hybrid of
X-Men DNA and a smaller, more elite fleet of doom. That being said,
this is still the best and most cohesive X-Men movie of them all and
maybe it’s because the eyes of the world (the real world) are on this
wonderful spate of comic book heroes in multi-hundred million dollar
films, and the world wondering if the good fortune will keep expanding
or bottom out. The Billionaire’s club in Boxofficemojo.com’s Worldwide
All-time box office giants is getting bigger, and X-Men 5 – Days of
Future Past, should zip its way up into that elite status. Read more here:
10) Satch Kerans RIVERBOYS
Hulk smash. The question for this Godzilla movie review is… did Hollywood get the 2014 version right this time?
With all the hype a film company pushes on a new release, it is vitally important to go back to the original Japanese Gojira
(1954) and Godzilla, King of the Monsters
(1956, featuring Raymond Burr) for comparison, while keeping in mind
the 60 years in between. In the original the mood, the pacing, the
music, the smashing, as low-fi as it all is, the intangible – that
something special that captivates and makes for repeated viewings, is
there and stands the test of time.
Raymond Burr in the 1956 American re-release of Godzilla:
As Godzillamania is sweeping the world with this new release, the
multitude of sequels have a cheesiness that turns the radioactive beast
into Abbot & Costello Meets Frankenstein, though not always as much
fun. Godzilla vs Space Godzilla (1994) or Godzilla vs. Mechagodzilla
(1993) are anachronisms. Having Matthew Broderick in Roland Emmerich’s
1998 Sony release was as bad as having Tom Cruise play Lestat de
Lioncourt in 1994’s Interview with a Vampire. Broderick is so Eugene
Morris Jerome from 1988’s Biloxi Blues that it is annoying. But
Emmerich’s films are distinctly different from Mike Nichols (director of
Biloxi Blues, the Graduate, the Birdcage) – disaster films with
emphasis on disaster and not much in the acting department. Read more here:
12) The Real Kids
13) Suzanne Vega
14) Ian Anderson HOMO ERRATICUS
Hear Ian Anderson on VISUAL RADIO with Joe Vig
Ian Anderson's 3 part Homo Erraticus could easily be a Jethro Tull album, the vibes, the instrumentation and musical alliteration all displaying the "Tull" appeal.
The 22 page booklet on this release - from the high end KScope Music company - contains the written-word wisdom and wit we expect - that we crave - from Ian Anderson. He explains (and the explanation this writer read after I composed the above quite similar opening paragraph) that it is as much an Ian Anderson disc as a new release from Tull.
The musicians provide Anderson exactly what he needs to express himself. John O'Hara (keys including accordion) and bassist David Goodier http://jethrotull.com/musicians/ are from the 2007-2011 Tull; guitarist Florian Ophale along with drummer Scott Hammond and Ryan O'Donnell - performing on vocals, mime and "general stage tomfoolery" - form as formidable a crew as John Evan, Clive Bunker, Glen Cornick, Mick Abrahams and those others who came before.
With words/lyrics all allegedly by Gerald Bostock - based on the writings of Ernest T. Parritt (c.1927) one can decide on their own if these aren't all the concoctions of the playful Anderson. The jovial writing of Ian Tull - and this writer asked Jethro Anderson about any thoughts of going on the lecture circuit; he said he would "leave it to Tony Blair" - proves still as formidable as his speaking skills and the essay in the booklet is as inviting as the music on the CD itself.
Wikipedia - Bostock
WHICH ONE IS PINK?
Pink Floyd had fun with the notion of a businessman thinking Pink Floyd a musician in the group, Lou Reed weeding out the non-believers with Metal Machine Music, and other major artists playing practical jokes which become insider fun, is something not foreign to Tull. Ian Anderson keeps his followers on their toes with the invention of fictional characters and with a body of work as extensive as Tull's / Anderson's it makes for good copy, and some additional adventure along with the entertainment.
The story of lyricist Bostock finding the only surviving copy of Teddy Parritt's book - "Homo Erraticus" (the St. Cleve Chronicles) http://www.stcleve.com/ puts this Anderson work into perspective. Here Tull is paying attention to the alleged unknown British colonel from "the very early 20th century" - perhaps as he gave new literary life to the 1701 inventor of the seed drill.
Referring to the work as "Parritt's frazzled fantasies" and endorsing his "songwriting partner" as a certified loon, lovely man and evangelical - gives new meaning to the question "IS Shakespeare in his character or is the character in Shakespeare?" Anderson/Mr. Tull blllllurs the line of history with the amusing digression.
Though the fan base may desire a new-fangled "Cross Eyed Mary" or "Hymn 43" - this excursion, taking track 4, the seven minute and eleven second epic ""Puer Ferox Adventus" is more styled toward Thick As A Brick (which this collection is the 2nd sequel to) than Stand Up. The flute, heavy organ and progressive sounds remain, it matters not who provides the accompaniment for Jethro. Opening track "Doggerland" reminds us of Star Trek: The Next Generation characters Data, Captain Jean Luc Picard and Whorf singing "A British Tar" from HMS Pinafore at the opening of the film Insurrection https://www.youtube.com/watch?v=DyyjCn1ML3k - performing the classics - no Portsmouth Sinfonia here.
As fond as we are of the tongue-in-cheek music of I.A. as his literary scribblings, it is the songs of the maestro which drew us in, and the performance of this Pied Piper that has kept us all intrigued by the progression of sound he continues to issue.
Track 6, "The Turnpike Inn," has subtle nods to "Locomotive Breath" and those elements make it the more commercial of these short stories. The one minute and thirty three second "Per Errationes Ad Astra" features Anderson's voice only and - had a similar vocal intervention been placed in between tracks - had every other selection had these meandering digressions leap-frogging over the music, it would have enjoyed the additional notoriety that :the LP David Bowie narrates Prokofiev's Peter and the Wolf achieved; not that that is really necessary for the worldwide Tull fanatics; it's just that it would have been a nice, extra special touch. Of course, what NASA spacecraft have to do with "loony" Colonel Parritt's essays is anybody's guess.
Of course, for those of you who wanted a variety of tracks like " "Per Errationes Ad Astra" and feel that you have the need to hear additional Ian Anderson-speak, you can listen to this writer's conversation with him here:
Hear Ian Anderson on VISUAL RADIO with Joe Vig
and read my review of Bowie's classic reading of Peter & The Wolf on this link:
David Bowie Narrates Prokofiev's Peter and the Wolf
" Opening a computer file, Picard selects a song from the musical HMS Pinafore and begins to sing "A British Tar"
Completed on 6-14-14 4:30 PM or so
(No longer )TO BE CONTINUED...review is written, have to upload and 2 minutes left on this library computer 2:53 pm today June 1, Monday 2014.
15)LOU REED TRIBUTE
The Sacred Triangle, The Velvet Underground
16) RONNIE JAMES DIO
New York, NY (March 21, 2013)—Eagle Rock
Entertainment is proud to announce the release on May 28, 2013 of
Finding The Sacred Heart - Live In Philly 1986 on DVD, Blu-ray, CD and
2LP from Dio [Pre-book order date May 3, MSRP $19.98 Blu-ray, $14.98
DVD, $17.98 2CD, TBA vinyl]. The DVD and Blu-ray versions offer fully
restored film footage of the complete concert available for the first
time. The audio on the 2CD and double LP is fully remastered.
Finding The Sacred Heart – Live In Philly 1986 was recorded at The
Spectrum in Philadelphia on June 17, 1986 during the second leg of the
“Sacred Heart” tour, which featured new guitarist Craig Goldy. The show
was issued in an edited form first on VHS and then DVD. Now for the
first time, the full concert is being released as a double LP in the
original running order and with remastered sound. It’s an extraordinary
live show with a giant animatronic dragon towering over the stage and
spectacular laers and pyrotechnics. The line-up for the show is Ronnie
James Dio (vocals); Vinny Appice (drums); Jimmy Bain (bass); Craig Goldy
(guitar); Claude Schnell (keyboards)
18 Monterey International Pop Festival
With the lengthy title of Historic Performances Recorded at the Monterey International Pop Festival
this 1971 release was recorded at the event held at Monterey, CA,
between June 16-18 in 1967. Six of the eight tunes appear on the box set
Rhino released of the mega concert, excluding "Somebody Groovy" and
"Spanish Harlem." John Phillips
arranging and songwriting genius has never been properly recognized as
the inspiring force that it was and continues to be, and though this Wally Heider
remote recording (mixed in the studio by Erick Weinberg
is deficient, the performance by the original group at this important
point in time is enthusiastic and worthwhile. As this writer put it in
the liner notes requested by Dinky Dawson
for his production of the latter-day version of the band's Sold Out:
Live at the Savoy 3/12/82 on Rykodisc, "The highly influential group has
not had the luxury of each and every live cassette and studio outtake
traded the way Lou Reed
, Jimi Hendrix
, the Beatles
and the Rolling Stones
get studied, sought after, and talked about."
read more here: http://www.allmusic.com/album/monterey-international-pop-festival-mw0000095529
19) May Y Sol Festival
After Monterey Pop, Woodstock, the Atlanta Pop Festival, and Isle of
Wight, the Mar Y Sol: First International Puerto Rico Pop Festival was
more than anti-climactic, and the resulting double-record set runs
almost like a supplement to the similar Medicine Ball Caravan film
soundtrack. The Allman Brothers Band, Emerson, Lake & Palmer, and
B.B.King may have been legitimate headliners, but Osibisa were hardly a
household name, and "Bedroom Mazurka" by Cactus on this LP makes one
wonder why half that band would ever want to leave Vanilla Fudge to
create a watered down Black Oak Arkansas. A five-minute-plus version of
"Looking for a Love" by J. Geils Band rips the album wide open; it's a
terrific performance by a terrific up and coming band that had barely
dented the Top 40 with the tune three months before this concert, held
on April 1, 2, and 3, 1972. Atlantic executive and album producer Tunc
Erim should've known better than to follow Geils' up-tempo raver with 13
minutes and 20 seconds of John McLaughlin's Mahavishnu Orchestra.
Read more here:
20) Wounds to Bind
Jerry Burgan of the WE FIVE
21) Beatles Reimagined
22) GREGG TURNER PLAYS THE HITS
New York, NY (March 26, 2014)—Eagle Rock Entertainment is proud to announce the release of The Pink Floyd & Syd Barrett Story on 2DVD and Digital Video on May 20, 2014. Originally made in 2001, this documentary, presented in Dolby Digital Stereo, is now being presented with additional bonus material. [Pre-book Order Date April 25, MSRP $17.98]
The Pink Floyd & Syd Barrett Story explores the tragic, yet celebratory life of the late Syd Barrett, lead guitarist and prominent songwriter of early Pink Floyd. With contributions from all members of Pink Floyd, as well as managers, friends, and others close to Syd, the documentary traverses the tale of this enigmatic rock legend, from his intelligent, thought-provoking songwriting and indelible stamp on the psychedelic music genre, to his 1968 departure from the band, when his increasingly erratic behavior made his continued participation in the band impossible. This 2DVD set also includes the additional interview “Roger Waters On Syd Barrett,” and a second disc with bonus uncut interviews with Roger Waters,David Gilmour, Nick Mason, and Richard Wright, and a performance of “Love You” by Graham Coxon.
Pink Floyd was revolutionary, pushing popular music into new cerebral dimensions, and Syd Barrett was an integral part of the band’s sound and lyrics. A charismatic cult figure with a flair for eccentricity, he crafted such unique hits as “See Emily Play” and “Arnold Layne,” as well as album tracks such as “Bike” and “Astronomy Domine.” His use of dissonance, feedback, and distortion in his guitar playing has inspired generations of musicians. After leaving Pink Floyd, he recorded two solo albums before vanishing from music altogether, retiring to his English hometown of Cambridge. Fans and reporters continued to travel there to seek out the reclusive Barrett until his death in 2006, at the age of 60.
At 214 minutes, The Pink Floyd & Syd Barrett Story 2DVD is an in-depth and comprehensive study of this music and cultural icon.
25) NAZARETH ROCK n ROLL TELEPHONE
New York, NY (May 5, 2014)—With a string of ‘70s classic rock radio hits like “Isn’t It Time,” “Every Time I Think of You,” “Head First,” “Back on My Feet Again,” “Midnight Rendezvous” and “Turn and Walk Away,” The Babys created some of the most memorable arena anthems of the era. Now, after a three-decade absence, The Babys have reformed with original lead guitarist Wally Stocker and drummer Tony Brock to release a new album, I’ll Have Some of That, on June 24, and a brand-new single, “I See You There,” which is available now on iTunes. The Babys’ new album will be released on Skyrocket Ent./All In Time Records.
“The whole premise is to keep The Babys alive and have a good time doing it," said Stocker about the reformed group, which also includes new recruits, lead vocalist/ bassist John Bisaha and veteran rhythm guitarist Joey Sykes. The band is joined in concert by keyboardist Francesco Saglietti and the Babettes.
Brock raves about the new members of the group: "John Bisaha is an incredible singer. When we held auditions, we had singers lined up around the block to join the band and John was head and shoulders above the rest." Stocker is equally enthused about his new axe mate: "Joey Sykes adds a whole new dimension to the band and has a style that works well in tandem with me."
Formed in London in 1974, The Babys were signed to Chrysalis Records on the basis of a four-song video, which predated the MTV era by seven years. Combining the muscular rock ‘n’ roll grit of Free and Humble Pie with a winning commercial accessibility, The Babys released five albums between 1977-1980 (The Babys, Broken Heart, Head First, Union Jacks and On the Edge). During that time, the group toured with the likes of Journey, Alice Cooper and Cheap Trick and built a loyal following based on their spectacular songs and explosive live performances right up until disbanding in December of 1980.
Former members John Waite, Jonathan Cain and Ricky Phillips have all given their blessings to the newest incarnation of the band. Waite continues on as a solo act, while Cain is now a member of Journey, having penned a string of hit singles including “Don’t Stop Believing,” the most downloaded song in history. Phillips is a longtime bass player forStyx.
The first single from the album, the aptly titled "Not Ready to Say Goodbye,” was made available on iTunes last November, with a sound reminiscent of both “Isn’t It Time” and “Every Time I Think of You.”
“In recording this new album, we discussed the fact that the songs had to have the flavor of what we were known for,” saysStocker. “It was just a magical process,” adds Brock. “By the time we finished, I knew we had the goods.”
After the break-up of The Babys, drummer Brock became a member of Rod Stewart’s band, and also played with Jeff Beck and Bernie Taupin, among others. He founded the Silver Dreams Studios (www.silverdreamsstudios.com) near Los Angeles, where he produced hit records for Jimmy Barnes, among others.
London native Stocker left home at 15 in pursuit of his rock ‘n’ roll destiny and never looked back. After The Babys, he played with Rod Stewart, Air Supply and Humble Pie.
New vocalist/bassist Bisaha evokes the memories of John Waite, but also brings a new touch, making the songs his own. He joined The Babys at their first comeback performance last July.
New York native Sykes, who has had stints in various bands, as well as a publishing association with Warner/Chappell, has penned the first single “I See You There.”
The Babys embarked on a string of shows in Las Vegas, San Diego, Portland and Seattle last November and December, and plan on announcing an extensive slate of tour dates around the June 24 release of I’ll Have Some of That.
FOLLOW THE BABYS AT:
1. Every Side Of You
2. All I Wanna Do
3. Sunrise & Goodbyes
4. After Midnight
5. I See You There
6. Grass Is Greener
7. These Days
8. Uncivil War
9. You Saved My Live
10. It’s A Gas
11. Stay The Night
12. I’ll Have Some Of That!
13. When Life Goes Right
14. Not Ready To Say Goodbye
# # #
The pulsating crunch under Big Dog’s Gonna Howl, a neo-Black Sabbath inverted riff (perhaps After Forever from Master of Reality) gives in to the plodding AC/DC repeat of ‘You Just Found Me Out’, the refrain that makes up “Claimed”. Dan McCafferty’s voice is still snarling alongside original bandmate, bassist Peter Agnew while 90s Nazarenes – guitarist Jimmy Murrison and drummer Lee Agnew (Peter’s son) keep the rock & roll essential, no matter what the clock (or the year) says.
“No Mean Monster” is another top-forty aimed single that’s right in the pocket, though a step out of time for today’s dreadful “hit” radio. Any of these numbers would have been perfect as follow-ups to “Love Hurts”, the group’s Top 10 hit in January of 1976 (which, of course, was nothing like Roy Orbison’s classic rendition – prolific all over YouTube these days; or the perspectives of the Everly Brothers and Emmylou Harris). Hair of the Dog was the group’s sixth album back in the 1970s, and the Scottish rock band put out over a dozen more after that.
Jimmy Murrison’s production work is stellar and the six minute and 24 second “When Jesus Comes to Save the World Again” would be a phenomenon for any true-to-their-beliefs Christian rock band. It’s superb. The guitar has enough pause to make one think Led Zeppelin IV. The album clicks in at 55:38, almost an hour of contemporary Nazareth. “Radio” could be a sequel to Van Morrison’s “Wavelength” album, more charging than Joni Mitchell asking you to turn her on. The old gang’s still got it…in fact, the fine wine cliche has to be employed again, Nazareth is rocking better and bolder than ever, with even Lynda Agnew pitching in to help out with the artwork.
“Time and Tide” is a great jam song for bands aspiring to pick up the Nazareth mantle. Where does the time go? is an appropriate question for all sixties fans and artists…the ones of us still breathing. Rock & Roll keeps you young, at least mentally, and the teenage/twenty-something artform being embraced by the over sixty set is just something inconceivable back in the day. Wasn’t “don’t pass me by” a Ringo quote from the White album? There are riffs and notions galore from the past but it doesn’t sound intentional, it’s just guys who love their gig getting back to work. The Rolling Stones need a little jolt of this “get back to the roots” kind of involvement, and maybe the out-takes from Exile on Main Street drove that point home for Mick & the boys. “Lifeboat” is a rip-roaring highlight, great riff, authoritative vocal, political in the same way Ian Hunter’s “Ripoff” from his classic Rant set the pace re: getting in the government’s face. The guitar doesn’t quit…holds up past the fadeout. More religious overtones permeate “Watch Your Back”
McCafferty doesn’t find the Janis Joplin tenderness in the ballad “Butterfly”, but he handles the nuances well and it fits into what would have been a double vinyl set back in the 1970s or ’80s. “Sleeptalker” is another first rate effort, more Beatles fragments tucked into the texture if you listen hard enough.
Track Listing: 1.) Big Dog’s Gonna Howl 2.) Claimed 3.) When Jesus Comes To Save The World Again 4.) Radio 5.) No Mean Monster 6.) Time And Tide 7.) Lifeboat 8.) The Toast 9.) Watch Your Back 10.) Butterfly 11.) Sleeptalker
Joe Viglione is the Chief Film Critic at TMRZoo.com. He was a film critic for Al Aronowitz’s The Blacklisted Journal, has written thousands of reviews and biographies for AllMovie.com, Allmusic.com and produces and hosts Visual Radio. Visual Radio is a fifteen year old variety show on cable TV which has interviewed John Lennon’s Uncle Charlie, Margaret Cho, Ray Manzarek, John Densmore, Felix Cavaliere, Marty Balin, Bill Press and hundreds of other personalities.
26)Michael Weiskopf Suffering Fools
34) Christa Renee Band FOR THE PEOPLE
37) Inside Roxy Music
38)The Story of the Yardbirds
40)Blake Morgan Diamonds in the Dark
WHY DONTCHA WEST BRUCE AND LAING
Three years after Blind Faith, and two years after the zoo that was Ginger Baker's Air Force -- Denny Laine essentially replacing Eric Clapton in Blind Faith with six more musicians added for good measure -- Jack Bruce mixes the lues of Cream with the hard rock of Mountain while the label gave them maybe a third of the Blind Faith hype. The verdict? West, Bruce Laing's Why Dontcha has aged gracefully as an authentic signature of what these artists were doing, but it lacks the staying power of Blind Faith, the fault being the choice of material. There is no "Theme from an Imaginary Western" here, there is no "Sea of Joy," just a relentless hard rock assault best exemplified by the track "Shake Ma Thing (Rollin Jack)." Here Leslie West and Jack Bruce share vocals, so you get Mountain-meets-Cream, but where they played "Sunshine of Your Love" in concert, there is no riff that awesome here. And that's all it would have taken, a great riff and tune to carry this project from point A to point B. "While You Sleep" shows this wild bunch as creative and having fun, and it's a great album track, but not the thing to find them a new audience. The title tune, "Why Dontcha," is pure Leslie West, but it doesn't reinvent Mississippi Queen, and these gentlemen had to pull a rabbit or two out of their hats. If anyone doubts Jimmy Miller's ability to make a record album rock, just listen to his protégé Andy Johns fail to follow in his mentor's footsteps. Miller had three days to put Blind Faith together after months of Steve Winwood and Clapton trying not to step on each other's toes, and he came back for part two, the ~Royal Albert Hall concert that became Ginger Baker's Air Force. Why Dontcha, on the other hand, despite the pluses, falls short because it tries too hard, while not putting the effort where it belonged -- in the songwriting and production. Bet these great talents wish they had this moment in time back. If these were ex-Grand Funk Railroad members Flint, this would be a great record. It falls far short of what Jack Bruce, Corky Laing, and Leslie West were capable of. In an interview with Corky Laing, that legendary quote from Flo Eddie was brought to his attention -- their opinion that Mountain keyboard player Steve Knight was "the most useless man in ock roll." Laing quickly came to Knight's defense and said that he played rhythms that were essential to Mountain. A Steve Knight on keyboards, or even better, a Steve Winwood, was what was needed to bring West, Bruce Laing to another level, maybe even to superstar status. Cream's vocalist brought that hit potential to the table. The sleeper track on the album is "Love Is Worth the Blues," with Leslie West on violin, guitar, and a suitably painful downtrodden vocal, while "Pollution Woman" is, finally, what everyone was waiting for: Cream-meet- Mountain, with Jack Bruce on synthesizer and vocals, Leslie West and Jack Bruce on acoustic guitars, and a brilliantly solid Corky Laing. This was the direction they should have taken, and there just isn't enough of it -- a wildly charging modern sound that elevates the whole, proving it could be greater than the sum of its parts. ~ Joe Viglione, Rovi
IT'S A HEARTACHE
The interesting thing about reviewing good music in the age of YouTube
is that one can watch a song like "And the Dead Shall Mock the Earth" on
the internet while studying the CD. It's a fascinating scenario because
this poppy, punky semi-hardcore band really does have the energy live
that one can feel pouring out of this CD, L1fe 1n B1nary
The performance videotape from the record release show at Sun Ginn's
nightspot in Grove City, recorded February 25, 2005, cooks with power.
It's a power that the band is able to push through the grooves of their
CD as well. Opening with "The Seraph and Her Ghost" one gets the feeling
that they're listening to a Black Sabbath
33 rpm played at 45! Indeed, with seven tracks that come in at all of
twenty-nine-minutes-and-forty-five seconds, the short but sweet disc is
about the length of an old Black Sabbath
record from the '70s, and has a spirit and drive that is captivating.
"It was part of his brilliance too" Aaron Swartz second girlfriend in the movie saying Swartz was brittle.