#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
#3 MIKEY WAX
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 a plus.
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.
"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 the chorus.
“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.
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?
The Signal Movie Trailer:
People in Film: Laurence Fishburne
Interview with the Director Will Eubank being edited right now!
6) WET SOUNDS TSUNAMI OF SOUND
Mr Moto by Tsunami of Sound - read more here:http://www.tmrzoo.com/2014/61687/cd-review-tsunami-sound-wet-sounds
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 Wolfhttp://www.allmusic.com/album/david-bowie-narrates-prokofievs-peter-and-the-wolf-mw0001375571
" 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 (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.
25) NAZARETH ROCK n ROLL TELEPHONE
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.