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
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WELCOME TO THE JOE VIG TOP 40 FOR FEBRUARY 2015
OUR #1 DISC IS THE OUTRAGEOUSLY SUPERB 'WORTHY' FROM
From Bettye's website
The musicians on the album all brought their A-game to the plate: Jay Bellerose on drums and percussion, Doyle Bramall II on guitar, Chris Bruce on bass and Patrick Warren on Piano, Hammond organ and Chamberlin.
1. Unbelievable (Bob Dylan)
2. When I Was A Young Girl (Chris Youlden)
3. Bless Us All (Mickey Newbury)
4. Stop (Joseph Lee Henry)
5. Undamned (Linford Detweiler)
6. Complicated (Mick Jagger/Keith Richards)
7. Where A Life Goes (Randall Bramblett)
8. Just Between You And Me And The Wall, You're a Fool (JH Brown Jr)
9. Wait (John Lennon/Paul McCartney) 3:40
10. Step Away (Christine Santelli/Brian Mitchell)
11. Worthy (Beth Neilsen Chapman/Mary Gauthier)
Unbelievable - Bettye LaVette review on TV
Bob Dylan video It's Unbelievable
Track #8 Just Between You And Me And The Wall You're A Fool
Track #9"Wait" live on David Letterman
Beatles version of "Wait" from Rubber Soul
REVIEW by JV
With pianist Patrick Warren playing that cool Dave Gruisin-styled piano sounds from the film version of John Grisham's The Firm, Bob Dylan's "Unbelievable" gets an extraordinary reading from Bettye LaVette on an album that should have Grammy written all over it. The 1990 Dylan single reached #21 in America, according to Wikipedia's take on the song from the Under The Red Sky album. LaVette's arrangement brings new life to this, and other tunes on Worthy, actually giving the listener new appreciation to gems that get overlooked. The Dylan rendition takes on new life after you've experienced Bettye's stylish reinvention a dozen or so times.
The late Alan O'Day's wonderfully smooth and eerie "Easy Evil" would appreciate track 2, "When I Was a Young Girl" from songwriter Chris Youlden, especially Genya Ravan's take on "Easy Evil." Getting Genya and Bettye together to go back-to-back on both songs would be a very good thing - stylistically in that both artists have that rasp which is the envy of Rod Stewart and Bonnie Tyler.
Hearing "Wait," the Lennon and McCartney two minute and fourteen second blast from Rubber Soul - in its "live" reincarnation on the David Letterman Show, gives evidence of how Bettye - and this superb backing group - can turn the magic from the disc - and from the Beatles themselves - back on. They slow down, if you will, "Vanilla Fudge" the song, doubling the time it takes to tell the story of "Wait" to the tune of four minutes and twelve seconds. Bathed in blue light you can view the moving parts, the keyboard/guitar interplay, with sparse backing from bass and cymbals, just letting Bettye communicate the emotions. LaVette appeared at the February 6, 2014 Apollo Theater tribute to the Beatles promoted by Charles Rosenay along with Gary U.S. Bonds, Lloyd Price, Supreme Mary Wilson, Kitoto von Hebb and others, and was tremendous. Here's a taste of her take on the Beatles and it does not disappoint, in fact, it adds to the iconic legacy of the Fab Four in an unexpected and immense way.
"Just Between You And Me And The Wall You're A Fool," a tune from J.H. Brown, Jr. (he who co-wrote "What I Learned From Loving You" along with Amazing Rhythm Aces' Russel Smith, James Brown and Howard Smith) is a prowl-like-a-panther emoting of great magnitude and heartache. The entire ensemble in that dark groove with LaVette, a slow-dance descent into the maelstrom of lost love.
#2 THE DOORS FEAST OF FRIENDS
Review to post soon!
1) Feast Of Friends: Encore – A newly produced feature using footage shot for Feast Of Friends,Encore is a complimentary piece which provides a deeper look into the life of the band at this period as they tour, record, travel and even vacation together. The program avoids the typical selection of hits and makes use of The Doors rare recordings to accompany this unreleased footage.
2) The Doors Are Open – A British TV documentary originally aired on December 17th, 1968, The Doors Are Open is focused around the band’s performance at London’s Roundhouse, which took place just days after the completion of filming for Feast Of Friends. Although previously released, the film has suffered from numerous sound and picture quality issues. Now the image quality has been dramatically improved and the sound has been transformed by Bruce Botnick to be as true to the original live sound as possible.
3) The End – Filmed in Toronto, Canada in August 1967 and first broadcast in October that year, this performance of “The End” was for The O’Keefe Centre Presents: The Rock Scene – Like It Is. In addition to the performance it includes the introduction by Noel Harrison and later interviews by John Densmore, Robby Krieger, Ray Manzarek and Danny Sugerman. Many fans consider this recording to be one of the best Doors performances ever caught on film.
3)Soundtrack to THE FIRM
Dave Grusin catalogue
4)G CLEFS Michael Devlin
5)Jeff Beck Live In Tokyo Blu-ray
6) Adam Rivera THE EXTERNALS
Also on TMRZoo.com
Were the Ramones to go unplugged and decide to do a tribute to Sonny & Cher, it might give you a slight taste of what speed-folkster Adam Rivera - teamed up with Kate Feeney - build for this science-fiction-film-sounding release, The Externals. But it wouldn't give you the complete picture as Rivera's work comes from another dimension and descends like a flying saucer on planet earth...and the music scene, giving inviting little snapshots like opening track "Hello" with its neo-skiffle evolving into modern pop sensibility.
The pair derive from a number of genres, "Time Lost" has spacey guitars which combine with and also draw from the folksy (if sped up, of course) guitars of celtic star Loreena McKennitt, perhaps subconsciously. The two minutes and thirty three second song betting that you "feel the same way too" is one of the longer outings, six songs clocking in over three minutes, nothing touching the four minute mark. Short quick bursts of emotion and observation from Rivera's eclectic imagination.
"Bluebird" is a well-crafted original and one of the best energies on this disc. This is not a Bettye LaVette-styled reinvention of that Buffalo Springfield classic by the same name, the one where an extended version appeared on that band's initial Greatest Hits lp RETROSPECTIVE however it would be fun to hear Feeney/Rivera do a LaVette on Stephen Stills' "Bluebird" and then segue into their own. "She got soul" Stills sings, and she still does today.
"Haunted By The Truth" would be nice in one of the Bourne films, or maybe the next Mission Impossible, it has a "spy" feel to me and drifts in and drifts out, in time for "Civil" with its pretty bells keeping the static guitar play somewhat in check. "Forever More" takes the speed-folk to the Mardi Gras and the addition of foreign instruments helps to keep Rivera's novel approach fresh. Like with The Dickies or the Ramones, those listeners not totally in the embrace of the stylistic approach may find repeated spins redundant, "Miss You, Love You" is an exquisite song, and apart from the onslaught of 17 tracks in a row it breathes life of its own. "For Evie" suffers from the overexposure of too much too soon while "Oceanside" is welcome relief, and stands out because it is so different. "Jellyfish" keeps the summery topic going, with possible sharp consequences and more south-of-the-border horn for added effect. "Merry X-Mas," on the other hand, is a welcome change of pace from the usual Christmas fare inundating us now, sometimes even before Thanksgiving.
"The Sun" cascades in with sounds Hawaiian and, again, the more the pair stray from the core "sound" Rivera has created, the more their talents blossom. "In the Mail" is shorter than the Box Tops "The Letter," again, the noting to hit you quick and hard and leave like a one night stand not wearing out their welcome appears to be the motive behind these inventive ditties.
I'm the very best thing that "Never Happened" to you is a concept that could be explored in more depth. This is a song that demands more than the 1:55 it is given, an entire 20 minutes of it live a la the Velvet Underground's "Sister Ray" would be intriguing. Feeney is featured on "So Emotional" which would have been a superb disco song given the speed folk underneath it. Anathema to rock and rollers in its Whitney Houson incarnation a great song is a great song, and in this setting it is truly clever.
Three minutes and twenty-three seconds of "See You Around" is a nice way to end The Externals, the longest song on the four more than a baker's dozen, leaving the door open for the next phase. Perhaps the Dickies backing Feeney and Rivera in that Sonny and Cher tribute.
iTunes for The Externals
Adam Rivera will be in Boston March 6-8 and should be appearing on WMWM Salem.
#7 PERRY MASON
Featuring the star of the voice of Perry Mason on radio as
Raymond Burr's client:
#178: The Case of the Greek Goddess Original Airdate: 04/18/63
From The Perry Mason TV Show Book
John Larkin, the actor who was the voice of Perry Mason on the original radio show, plays sculptor John Kenyon in this episode. Kenyon is a middle-aged man acting like a teenager. Senility? No, more like midlife crisis. John has fallen for a Greek goddess—his young Greek model, Theba—and makes a statue of her to show his affection.
7) Perry Mason The Greek Goddess
Tuesday Night, ME TV Boston 11:30 PM
8)The Verve Pipe - The Freshmen
9) Kingsmen: The Secret Service
10) The Kingsmen Louie Louie
11)WHO'S NEWS #11
Buy on eBay
12)Hallie Ephron There Was An Old Woman
13) The Mummers' Dance Loreena McKinnett
The Dark Knight of the Soul
14)Deep Purple Live
In Verona Blu-ray
15) Somewhere My Love ANDY WILLIAMS
16) Mag IV go Monte Carlo
available on eBay
18) The Dickies PARANOID Black Sabbath cover
19) Buffalo Springfield Retrospective
Listen to my BLUEBIRD laugh
#20 GRAZ '75
DEEP PURPLE LIVE
Review by Joe Viglione
It is fascinating that mainstream bands like Deep Purple have accrued a following similar to alternative pioneers like the Velvet Underground, the two styles dissimilar but both now finding a home in the classic rock genre. With the world gone upside down with rap and national community auditions events like The Voice or America's Got Talent, a Deep Purple/Velvet Underground pairing in the new millennium would have been a delight for followers of both artists.
Alas, with members dying off (RIP Jon Lord, Lou Reed, Nico, Sterling Morrison...) those who admire these legends have to take comfort in the marvelous job Eagle Rock has done with its devotion to all things Purple.
GRAZ 1975 is a treasure, through and through, and though the hardcore, seriously dedicated fans may seek a release with additional tracks (see one of the appreciation societies on The HighwayStar.com which proclaims "this release of the Graz show is still incomplete and lacks the encores" http://tinyurl.com/grazhighwaystar
The Glenn Hughes and David Coverdale "Mark III" joining of forces with Ritchie Blackmore, Jon Lord and Ian Paice (Paice, the drummer alleged to be on the notorious "Squeeze" album by Doug Yule of the Velvet Underground, though that rumor has gone back and forth in dispute, it would show a strange connection of the two bands) has held up over the ages, indeed, I find the live tapes here more conducive to repeated spins than the original albums - the 1973/74 Burn (recorded in Montreux) and later 1974's Stormbringer (recorded in Munich.)
Utilizing the "Rolling Stones Mobile" truck - as legend has it - gives the disc even more authenticity and the rendition of "Smoke on the Water" rocks (as did Ian Gillan's rendition with Black Sabbath circa 1983...caught them live as well, and that would be a treat for fans of this Eagle Rock series.)
The packaging is superb and singer Coverdale shouts out most of the tracks' names prior to the performance, which is a plus for those unfamiliar with the group's different incarnations. You'll find interesting commentary on Amazon and other internet sites and many feel as positive as this writer does about the release.
So much great Purple, so little time, but the more the merrier. This is just another great performance for the ages that actually would have been a contender chart-wise in the U.S. had it been released on its own way back when. Made in Europe, the 1976 release containing some tracks from Graz went Top 35 in New Zealand, U.K., Sweden and Germany.
|3. The Gypsy|
|4. Lady Double Dealer|
|6. Smoke On The Water|
|7. You Fool No One|
|8. Space Truckin|
On April 3, 1975 the Mk III line-up ofDEEP PURPLE
— guitarist Ritchie Blackmore
, frontman David Coverdale
, bassist/vocalist Glenn Hughes
, keyboard player Jon Lord
and drummer Ian Paice
— performed at the Liebenauer ice rink, located on the outskirts of mountain-cradled Graz, Austria's second largest city after Vienna.
Enthused by DEEP PURPLE
's arrival in town, the local press dubbed the concert "das Rockereignis des Jahres [the rock event of the year]." And it was — in more ways than one.
Previously unreleased in its entirety,"Graz 1975"
— will be released in North America on September 23 on earMUSIC
/Eagle Rock Entertainment
After Graz, DEEP PURPLE
would play just two more shows — in Saarbrücken, Germany and Paris, France — before Blackmore
left to form his new band, RAINBOW
. The remaining band members would regroup quickly with American guitarist Tommy Bolin
In order to preserve Blackmore
's final run of Mk III concerts for posterity,DEEP PURPLE
's managers had brought THE ROLLING STONES
mobile recording studio over to mainland Europe. And what a show it was! "Graz 1975"
is absolutely electrifying and exhilarating. Indeed, it has long been regarded as the holy grail of concert recordings among Mk III connoisseurs. A performance that has never been available in its entirety until now.
Kicking off with a blazing performance of "Burn"
, "Graz 1975"
is a wild eight-track ride, firing on all pistons.Blackmore
plays with controlled brutality. The vocal interplay betweenCoverdale
has never sounded so good. And, of course, stalwarts Lord
give it a good kicking — and then some.
The track listing, naturally, is weighted heavily in favor of Mk III recordings, with just two songs fromDEEP PURPLE
's previous incarnation withIan Gillan
on vocals and Roger Glover
on bass: the iconic "Smoke On The Water"
and the almost-as-iconic "Space Truckin'"
. Still, it's true to say that, from beginning to end, "Graz 1975"
showcases DEEP PURPLE
Mk III at the absolute top — and also, ironically, at the end — of their game.
After almost 40 years the concert is still captivating. It is the perfect example that, for DEEP PURPLE
, there is no need for extravagant video projections or expensive fire shows to play a unique and fascinating gig. All they need is their music. It is the love and passion for their music that makes every single show a unique experience.
03. The Gypsy
04. Lady Double Dealer
06. Smoke On The Water
07. You Fool No One
08. Space Truckin'
21) Joe V's History of Boston Rock & Roll
22) Morgana King "SUNNY"
23) Roberta Pickett
24) Air Traffic Controller The house
From the band's website:
Listen to The House on Spotify and Soundcloud
Watch our tour video here
Look for this ATC video featured worldwide in BOSE stores, TARGET, BEST BUY, COSCO,
BJ's, PC Richard & Son and everywhere BOSE products are sold!
- See more at: http://www.airtrafficcontrollermusic.com/#sthash.8FWlen05.dpuf
26) MARK RIVERA - COMMON BOND
(2014) Denotone records
reviewed on 2-23-2015 by guest critic Ed Wrobleski
Musicologists and fans alike are, no doubt, familiar with Mark Rivera from Billy Joel's
band (percussionist and sax player) as well as playing in quite a few of
Ringo Starr's all-star's band where he is Ringo's utility man. River can pretty much can play any instrument, it seems, and his proficiency can be heard throughout the group Foreigner's repertoire,
most notably on "Urgent."
This one gets five stars from me. Here are my takes on the tracks:
"Loraine" - great composition! It has a definite sound like "The Chain"
by Fleetwood Mac, possibly an inspiration for this.
"Sticky Situation" - an awesome rocker, one could picture
Steven Tyler and Aerosmith singing as it has that "Dude looks like a lady"
type of ambiance.
"Start Over"- this tracks sounds like something Paul Rodgers and Bad
Company would have done in their hay day. It has that sound of that group's
signature song "Bad Company"
"Spanish Castle Magic" - The Jimi Hendrix original features Billy Joel on the
Hammond B3 organ solo, in this respectful and solid performance.
Money, Money, Money - this is the single released from the album and
was featured as "the coolest song in the world of the week" on Little
Steven's Underground Garage radio show. It played for several weeks,
it's got a great beat with, believe it or not, a Huey Lewis and the News vibe.
Ringo is on drums, Beatles Undercover author Kris Engelhardt take note.
Tell Me All the Things You Do - this is a cover song for Mark it's
originally from the deep Fleetwood Mac repertoire, and this is a great song with a
got a rockin' blues sound to it, and a "must have" for those who collect
covers of the Mac.
Hard to Let Go- A nice Philly soul sound drifts throughout with great sax
from Rivera himself; a bit of Hall and Oates
merging with Marvin Gaye in some hybrid that is most appealing
Turn Me Loose - this song reminds me of that late sixties Woodstock
period of rock you can definitely hear a few different influences including
elements of the Joni Mitchell classic - in its ultimate incarnation by
Crosby Stills Nash and Young, with a dash of "Smoke on the water" by Deep
Purple, even some of the early Fleetwood Mac when they had Peter Green.
Why You Dance so Good - yet another great rocker (ok, I'm biased) with both
seventies and eighties rock influences merging, never clashing.
Rise - not the Herb Alpert classic (which - according to legend - was the first
all-digitally recorded hit song) and my least favorite on an otherwise superlative
disc. Perhaps a sax version of Alpert's hit would have been more preferable, All in all,
Common Bond makes the grade and deserves another look. An album that shouldn't
get lost in the shuffle of time.
Read more here:
Sly and the Family Stone
By Joe Viglione / Sitting In
Posted Aug. 12, 2010 at 12:01 AM
Updated Aug 12, 2010 at 12:20 PM
- See more at: http://www.wickedlocal.com/article/20100812/News/308129321#sthash.hN6dUOzV.dpuf
Remembrance: The great Bobby Hebb, 'Sunny' and beyond
Salem and Rockport enjoyed the presence of a musical giant best known for a song that must have over 1,000 “cover versions” at this point in time, the immortal “Sunny.” On Aug. 3, just a week and a day after his 72nd birthday, we lost this unique, wonderful and quite amazing human being: Bobby Hebb.
Bobby Hebb was born in Nashville, Tenn., on July 26, 1938, but lived a good part of his life in Salem and Rockport. One of his first publishers was John R. (nee John Richbourg), owner of “Cape Ann Music,” a name that might have generated the initial seed for Bobby to seek out the wonders of this region. Or perhaps it was Bobby’s father that suggested Cape Ann as a wonderful place to live.
Either way, or both, Salem and Rockport enjoyed the presence of a musical giant best known for a song that must have over 1,000 “cover versions” at this point in time, the immortal “Sunny.”
On Aug. 3, just a week and a day after his 72nd birthday, we lost this unique, wonderful and quite amazing human being. One of Bobby’s sisters, Shirley, told me that Bobby was with 10 of his loved ones, including his daughter, when he passed away very peacefully at 10:50 a.m. Central time in Nashville.
Jerry Garcia said on the passing of Janis Joplin: “Death only matters to the person that’s dying. The rest of us are going to live without that voice. For those of us for whom she was a person, we’ll have to do without the person.”
It will be hard living without that friendly, upbeat, “sunny” voice calling me so frequently and always opening with: “How are you feeling, Joe?” Bobby and I were working on a new album, “Bobby Hebb Live,” going over the material he had recorded in concert over the past 15 years, but also we talked of the music of other artists, things of a philosophical nature and life in Boston and life in Nashville.
To those who drop in on Ted Cole’s Music, 30 Church St. in Salem, or the Record Exchange, 256 Washington St., you may want to look for an obscure 45 RPM on Crystal Ball Records. That single, “Judy,” was how I met Bobby Hebb after purchasing a copy in the 1980s at Cheapo Records in Central Square, Cambridge. I wrote to the Salem-based label and was pleasantly surprised to get a personal letter from Bobby Hebb himself.
It was in 1995, perhaps 10 years later, that I invited Mr. Hebb on to my public access show “Visual Radio” for program No. 3. A song from that 50-minute TV show, “Cut It Out (You’re Always Running Your Mouth)” was written by a school chum of Bobby’s from Nashville, Little Willie Brown. In the days since his passing thousands of people have viewed it, which is terrific for a very special reason: They are seeing the genius of the guitar player who did sessions for John Lee Hooker, Roscoe Shelton, Dave “Baby” Cortez and so many others.
The general public just doesn’t know the importance and influence of Bobby’s music outside of the big, big all-time hit, “Sunny.” On the two minutes and 44 seconds of “Cut It Out,” you can view Hebb’s hands and intuitive feel of the guitar ... astonishing power that was up there on YouTube for people to view since Jan. 4, 2009, after airing on public access originally in 1995 and in re-runs in the years since. But that’s the problem, isn’t it? As a former booking agent said in a phone message to me, “You’re probably busy writing about Bobby, now that everyone suddenly cares about him because he’s gone.”
- See more at: http://www.wickedlocal.com/article/20100812/News/308129321#sthash.hN6dUOzV.dpuf
There’s an amazing catalog of sound that he didn’t release to the world ... Indeed, only three official albums saw the light of day, though, obviously, Bobby recorded many, many more songs. He was, after all, the “song a day man.”
Touching the world of music
“Sunny,” the album, was released in 1966. It was produced by the legendary Jerry Ross who co-wrote The Supremes & Temptations hit collaboration “I’m Gonna Make You Love Me.” Ross’ co-authors were Kenny Gamble and Leon Huff, who produced Bobby’s final single for Philips Records, “You Want To Change Me” b/w “Dreamy.” Gamble & Huff, of course, wrote MFSB’s 1974 instrumental hit “TSOP (The Sound Of Philadelphia),” while Jerry Ross gave us hits from Keith (“98.6”), Spanky & Our Gang (“Sunday Will Never Be The Same”) and Jay & The Techniques.
“Apple, Peaches, Pumpkin’ Pie” was originally written for Bobby Hebb, but Bobby saw it as a “novelty” song and made the choice to walk away from another sure smash hit. Jay Proctor (of The Techniques) gained a career out of Bobby’s choice. Bobby may have been offered other hits, Carl Carlton’s “Everlasting Love” being one of them, but he had a specific vision and kept to it.
Producer Ross said on hearing of Bobby’s passing: “His music touched so many lives. Every minute of every day, on the radio, in the supermarkets, in the malls, in the clubs, on the elevator, they are playing ‘Sunny.’ My life changed the day I met Bobby Hebb.”
The legendary Peter Noone, lead singer of Herman’s Hermits — who is playing at The Mohegan Sun the night that I’m writing this on Aug. 6 — wrote: “Bobby Hebb …the world of music is a better place because of you.”
Tony, a fan of Hebb’s, wrote us to say, “He always saw the good side in everyone and everything. It was an honor to know him.”
On Aug. 18, 1966, while “Sunny” was riding high on the charts, Bobby Hebb played Revere’s Suffolk Downs with fellows named John, Paul, George and Ringo. Along with members of The Ronettes (without Ronnie Spector), Barry Tashian and The Remains and The Cyrkle, the man who would move to the area, Bobby Hebb, was the only other act on the bill to get a thunderous applause equal to that of The Fab 4.
- See more at: http://www.wickedlocal.com/article/20100812/News/308129321/?Start=2#sthash.hN6dUOzV.dpuf
- See more at: http://www.wickedlocal.com/article/20100812/News/308129321/?Start=3#sthash.hN6dUOzV.dpuf
#29 Bloomsbury picks up 33 1/3 series from CONTINUUM BOOKS
33 1/3 is a series of short books about popular
music, focusing on individual albums by artists ranging from James Brown
to the Beastie Boys and from Celine Dion to Neutral Milk Hotel. Authors
in the series include Geeta Dayal, Jonathan Lethem, Erik Davis, Colin
Meloy, Daphne Brooks, and Joe Pernice. Launched in 2003, the series now
contains over 80 titles and has been widely acclaimed by fans, musicians
and scholars alike.
“The series is probably the most remarkable
regular event in rock journalism today. Each thin volume — there are
nearly 100 of them now, enough almost to stretch across the back seat of
a Mini Cooper — presents one critic on one album. A lot of these
writers are capable of shredding.” – New York Times
For more information on the series and on individual titles in the series, check out our blog at http://333sound.com/
#30)OUT OF THE FURNACE review
Woody Harrelson as Harlan DeGroat might not be as frightening as Hannibal Lecter, but in this strange cross between Alpha Dog meets Deliverance meets Fight Club, the viewer gets taken down a dark and mostly unwanted path of outrageous violence, death and negativity that oozes off the screen in a fashion that would make Darth Vader...or Dick Cheney… envious.
Harrelson, William Dafoe, Christian Bale and company all look beaten up and ragged while the pretty people, Casey Affleck and Zoe Saldana, flow down the whirlpool of ugliness during the 116 minutes director Scott Cooper takes to put the audience through the meat grinder. Out of the furnace? More like into the pit and the pendulum.
Movies can be anything the producers and director(s) want them to be, but the bottom line for this critic is the entertainment factor. The Rolling Stones Sweet Summer Sun – Hyde Park Live, another film I’m reviewing at the moment – succeeds because with the avalanche of Stones films currently hitting the market, this one speaks volumes and has “the magic.” The aforementioned Fight Club was good for one spin and I’ve never gone back. Director Tom Holland’s 1996 travesty, taken from Stephen King – Thinner – was also an uncomfortable mess that makes Santa Claus vs. the Devil look appealing by comparison. The big difference here is the terrific acting and solid craftsmanship that went into such a morbid and lugubrious script. Like, what’s the point? Christian Bale might believe that he was stretching his thespian abilities with this gritty performance, but if you think about it, his character - Russel Blaze - is a poverty-stricken Bruce Wayne in another setting – all the rage and anger and hard luck (in Wayne’s case, hard luck with the luxury of lots of cash) not finding a way out of the prism.
Bale is great, but he didn’t have to go far to find the conflicted personality after playing a similar role doing his trampoline routine out of the cave in The Dark Knight Rises. Harrelson has made a cottage industry of whacko characters, so his casting call was academic. Meanwhile William Dafoe’s underworld gutter-dweller is exactly the classless, vile, miserable wretch that he should have injected into Normon Osborn in the Spiderman series.
The one redeeming diamond in the rough this film uncovers: Casey Affleck’s skillful ability to roll with the various sequences his character has to tumble over and through. Scott Cooper’s Out of the Furnace is Eraserhead in the deep forests of Appalachia, and not the prettier side of that national treasure.
#31 THERE COULD BE
Solo Karen DeBiasse, lead singer of Girl On Top
With John Lennon-styled chord changes and a Beatle-esque melody, the usually fire-all-on-cylinders primal scream of Karen DeBiasse onstage is subdued here for this pretty ode to peace, love and happiness.
review - 4:49 PM 2-11-15
There Could Be
(Karen DeBiasse-2-10-15 In Sleep)
V: Em D -G Em- C D -G
C: C D Em (2x) C D Em G / Em D G
R: C G Am G/C G Am D
There could be dreams
There could be hope
There could have been freedom
Something to be part of
There could have been truth
There could have been rights
There could have been credence
Something to be proud of
After all the we’ve all been through
After all we’ve come close to
After all is said and done
There could be peace
There could be love
There could have been pride
There could be strength
There could be bravery
We could conquer all hate
There could be trust
There could be faith
There could be goodness
Which we all radiate
After all the we’ve all been through
After all we’ve come close to
After all is said and done
There could be peace
There could be love
Time wait for no one
And it sure won't wait for you
Time waits for no one
So do all that you can do
Time waits for no one
So be sure to have a heart
Time waits for no one
So be sure to do your part
There could be alms
There could be care
There could be giving
Watch abundance unfold
There could be heart
There could be soul
There could be passion
Like the stories been told
After all the we’ve all been through
After all we’ve come close to
After all is said and done
There could be peace
There could be love
32)The Time To Live is Now
Guest reviewer: Ed Wrobleski
Buzzy Linhart - The Time To
Live is Now (1972) (Kama-Sutra Records)
Ed Wrobleski takes on Buzzy Linhart's
The Time To Live is Now
Track by Track!
1 The Time To Live Is Now - this is a very fun but uplifting song i especially love the Beatles reference in the lyrics "Who finds the money when you need the rent" classic line from Lady Madonna great song in general.
2 There's No Need - This is a very interesting song for the simple fact it's another song that sounds like a type of song by the Beatles or Paul McCartney like either a "Hey Jude" or "Maybe i'm amazed" i definitely see some Bealt/McCartney influence in this song.
3 Comin' Home - this is a great rocker song and very interesting sound it has that late sixties sound but also sounds like a song the sixties group "The Knickerbockers" would have recorded most of you may only know them for their song "Lies" but they were a great group from New Jersey that had a great sound.
4 Heaven - this has a Beatles white album feel to it reminds me of the song "I Will".
5 Crazy - I like the opening to this song it opens with a little bit of the song "In My Life" by the Beatles this album would be a great tribute to the Beatles only the songs are in the key of a beatles song not necessarily a beatles song.
6 Let's Get Together - this has always been a great song and anthem as far as i'm concerned for the sixties but the lyrics still hold true to the times we are in now, it was a great song by Jesse Colin Young and the Youngbloods and a great cover version by Buzzy.
7 Leila - this is just a great rockin' song that gives you that get up and dance feeling to it.
8 I Don't Ever Want To Say Goodbye - i like this song for the simple fact a blues feeling to the song but has some happy things in it.
9 The Love's Still Growing - a great ballad for Buzzy and is also covered on Carly Simon's first album i should say this is a great ballad with a indian flavor to it.
Carly Simon covers LOVE'S STILL GROWING
Buzzy Linhart / lp version Love's St ill Growing
RARE BUZZY LINHART "Love's Still Growing" w/Moogie Klingman & Paul Colby @ The Bitter End 9/5/06
10 Friends - this is just such a great song and the lyrics in this particular song hold so true the line in the song says it all "but you've got to have friends" as i said a great tune.
11 Cheat-Cheat Lied - Hit The Road Jack - this is another great rockin' song and could definitely people out on the dance floor and dancing. I especially like that thre's a combination of the two songs together "Hit the road Jack" ha always been a favorite Ray Charles song of mine.
12. Good Face - i like this song because it's got a great message in it and you get to hear buzzy do some different voices each time you hear him say the word because in the song.
TITLE TRACK ON YOUTUBE
Joe V. reviews LOVE STILL GROWING CD
Review by Joe Viglione [-]
Buzzy Linhart's first of two albums for Kama Sutra, three if you include the band Music's on the Buddah-distributed Eleuthera Records, 1971's The Time to Live Is Now has the songwriter playing with different styles and sounds in a setting that is not as refined as the Eddie Kramer co-produced Music album or Barry Beckett and Roger Hawkins' production of 1974's Pussycats Can Go Far. But don't blame the artist for that. In an exclusive interview for the All Media Guide conducted February 28th, 2002, Linhart revealed some of the secrets of The Time To Live Is Now: Bill Takas and Luther Rix, the bass player and drummer, are "world class jazz and classical musicians." Bill Takas spent nine years on the Tonight Show, and they co-founded Ten Wheel Drive (with Genya Ravan; see the Construction #1 LP). "We had been performing eight-to-ten months as a trio, sometimes with sax...it was supposed to be more [produced] like 'Pussycats' (Pussycats Can Go Far)...but [record exec] Neil Bogart played this for a group of 30-something pros for Buddah/Kama Sutra, and they got up out of their chairs and danced to it." That resulted in the late Neil Bogart deciding he wanted to release the roughs -- the rough vocals, the rough mix, even with a 32,000 dollar budget, which was pretty good at that point in time. They called this "rock-folk," rock with a jazz tinge as opposed to "jazz rock" that was Blood, Sweat & Tears. READ MORE HERE:
33 TOMIKA JONES
Please Return Your Love To Me with Solomon Burke
a cover of the Temptations
#34 Joe Viglione's Reviews on Sabotage Times
#35 Queen Live At The Rainbow Blu-ray
#36 Paul McCartney MUSI CARES
March 24, 2015 A MusiCares Tribute To Paul McCartney
SRP $21.98 BD/ $16.98 DVD
February 10, 2012, Sir Paul McCartney was honored as the 2012
MusiCares® Person of the Year. At a gala event in Los Angeles, Paul and a
cast of superstar guests performed some of the quintessential songs
from his renowned and celebrated
career. On March 24, 2015, Shout! Factory will release A MusiCares Tribute to
, a collection of these never-before-seen performances on DVD and Blu-ray.
The 15 exclusive performances featured on A MusiCares Tribute to
Paul McCartney include exceptional solo performances by McCartney of
“Magical Mystery Tour,” “Junior’s Farm,” and “My Valentine,”
a riveting medley of “Golden Slumbers,” “Carry That Weight,” and
“The End” by McCartney (with Dave Grohl and Joe Walsh joining the
performance of “The End”), and incredible performances by a slate of
all-star artists including Alicia Keys, Coldplay,
Norah Jones, Neil Young with Crazy Horse, Alison Krauss & Union
Station featuring Jerry Douglas, James Taylor, Diana Krall, Duane Eddy,
Sergio Mendes, and The Beatles “Love” cast.
Proceeds from the sale of A MusiCares Tribute to
Paul McCartney will provide essential support for MusiCares,
which ensures that music people have a place to turn in times of
financial, medical and personal need.
#37 Why Star Trek Needs to Return to TV
#38 Star Wars - the Force Awakens
‘Star Wars: The Force Awakens’ May Get An Early Release Date—Report
#39 THE YARDBIRDS RETURN with new line-up
P.R. from Kayos Productions
THE YARDBIRDS ANNOUNCE NEW LINE-UP, 2015 TOUR
New York, NY (February 3, 2015)—Which British band once included three of the greatest guitarists of all time? That would be THE YARDBIRDS. Eric Clapton, Jeff Beck and Jimmy Page all served time in the group, with Beck and Page as members at the same time for a little while.
The Yardbirds are back with a new lineup, ready to rock. Founding member and drummer JIM McCARTY is the keeper of the flame, and he has a real surprise for you. He’s brought back the Yardbirds’ first guitarist, TOP TOPHAM! He was in the band before Clapton and had to leave because his parents didn’t approve of his career choice. Top
was an art student and had to continue with his studies. Enter another
art student from the same secondary school, Eric Clapton, and you know
what happened from there. But, Top is now happy to leave his paintbrush home and play the blues.
The rest of the Yardbirds now also includes bassist KENNY AARONSON (Bob Dylan, David Gilmour), MYKE SCAVONE (singer, Ram Jam) on blues harp, vocals and percussion along with lead guitarist and singer JOHN IDAN who was on The Yardbirds’ critically acclaimed 2003 album, Birdland.
JIM McCARTY is a textbook on rock history unto himself. The Rock & Roll Hall of Fame member co-founded The Yardbirds in London in 1963 with singer KEITH RELF, rhythm guitarist CHRIS DREJA, bassist PAUL SAMWELL-SMITH and lead guitarist TOP TOPHAM. They first called themselves the Metropolitan Blues Quartet and then the Blue-Sounds before settling on The Yardbirds as a tribute to jazz sax legend CHARLIE PARKER, and the hobos who hung around the London train yards waiting to hop a freight. Top
left and was replaced by ERIC CLAPTON. The band’s first album “Five
Live Yardbirds” was recorded at London’s Marquee Club and really
captured the group’s manic live sound. After a few pop singles, Clapton
split and JEFF BECK came aboard. Then JIMMY PAGE joined up, first as a
bass player, then took over lead guitar when Jeff left to start a solo
career. When the entire rest of the group quit in 1968, Page went on to
form LED ZEPPELIN.
When The Yardbirds
first came to America, they were shocked that the kids had never heard
of the American blues and R&B artists that were worshipped in the
UK. But, thanks to The Yardbirds’ versions of BO DIDDLEY’s “I’m A
Man,” HOWLIN’ WOLF’s “Smokestack Lightning” and CHUCK BERRY’s “Too Much
Monkey Business,” those original artists finally got airplay on white
radio in the U.S.A.
To celebrate the 25th anniversary of The Yardbirds in 1985, Jim
hooked up with Chris Dreja and Paul Samwell-Smith for a pair of shows
at London’s Marquee Club where the band recorded its debut album. They
had such a good time that they put together a new band, BOX OF FROGS and recorded two albums under the name with some help from Jimmy Page and Jeff Beck.
And, here we are today with Jim and The Yardbirds back again. This lineup is very exciting, especially with Top Topham back in the group after playing a few gigs last year with a different edition of the band. The Yardbirds are hitting the road. More dates to be announced shortly.
Yardbirds Tour Dates:
Friday, April 3 - Norfolk, CT - Infinity Hall
Saturday, April 4 - Uncasville, CT - Mohegan Sun
Monday, April 6 - New York, NY - BB King Blues Club & Grill
Thursday, April 9 - Bethlehem, PA - Musikfest Cafe
Friday, April 10 - Beverley, MA - Larcom Theatre
Saturday, April 11 - Plymouth, NH – The Flying Monkey
Sunday, April 12 - Newton, NJ – The Newton Theatre
#40 Jupiter Ascending
If only the movie was as good as this poster!
Word was out that Jupiter Ascending was not going to be anywhere near the Matrix in terms of iconic status, but for the Wachowski’s to come up with such a disappointing script and some tedious acting from the support staff is a huge blow to Andy and Lana Wachowski’s credibility.
The 3-D film is actually superb 3-D, the special effects exquisite – some drawn directly from the world of the Matrix – yet very good acting from Channing Tatum reduces him to a space-aged Dustin Hoffman crashing into the church to get the girl, the daughter of Mrs. Robinson, the older woman he was having an affair with. In this sci-fi remake of The Graduate, Tatum actually has to do the Hoffman thing with a woman who is the reincarnation of her mother, Jupiter, while fighting off rejects (or clones) that appear to have been swiped from the very first CGI space movie, The Last Starfighter.
The Last Starfighter, which was a low-budget Star Wars making about 28 million on a 15 million or so budget, had the cheesy bad acting from Norman Snow as the villain Xur. For some odd reason, the Wachowski’s decided to find three actors worse than Norman Snow with Eddie Redmayne, Douglas Booth and Tuppence Middleton aspiring , but failing in dismal fashion, to reach the heights of mediocrity. As Balem Abrasax (what, a convoluted anagram of an old Santana lp?,) Titus Abrasax and Kalique Abrasax respectively the trio of stiffs make Keanu Reeves first go at it in Matrix 1 look like Academy Award material.
Where Keanu got redemption in Matrix II and Matrix III, Redmayne, Booth and Middleton won’t likely get the chance, it would be career suicide for the Wachowski’s to plan for a sequel to this mess
The scenes of the quirky aliens invading planet Earth to go after Jupiter are so difficult to follow they make similar moments in Star Wars Episode I: The Phantom Menace (and II and III) look appealing by comparison. And the swiping of Star Wars imagery is so obvious that it is downright vulgar. Where writer/director George Lucas can at least be forgiven for his dazzling cinematography and outer space worlds, sixteen years later Andy and Lana Wachowski create a shell based on the work of Lucas, but poor writing and worse acting make this disappointing money pit more about the failure of Hollywood than the in-your-face poke at capitalism.
Somehow Alice Cooper and Aerosmith emerged unscathed – and actually triumphant – from the debacle that was the Bee Gees/Peter Frampton movie fiasco Sgt. Peppers Lonely Hearts Club Band. Channing Tatum, despite his ever improving acting skills, is caught in the whirlpool of unintentional parody that is provided by his supporting cast. His serious approach, aided by Sean Bean (“Alec” in James Bond’s Goldeneye,) is not enough to pull the weaker actors through this morass of a script.
That 70’s Show/Family Guy actress Mila Kunis was no Margaret Hamilton in Oz the Great and Powerful (with – perhaps – the most uneven and poor performance by James Franco as Oz on record to date.) Kunis most appealing moment only when the image made famous by Hamilton as the original Wicked Witch of the West was cast as a shadow on the wall in that 2013 remake.
Books and books and internet sites popped up in wonderment about the captivating, and sustained, philosophical possibilities of the Matrix. The Wachowski’s are going to have to go back to that world to regain the trust of audiences, and Hollywood. Tom Cruise can always rely on his Mission Impossible series, Arnold is drawing from the Terminator well again this summer, as we saw with the trailer on the 2015 Superbowl, and James Bond is James Bond, a formidable template that broke the billion dollar barrier – Skyfall the #9 movie of all-time according to boxofficemojo.com – with over 1.1 billion in revenues. Daniel Craig may or may not be your favorite Bond (I’ll take George Lazenby, Roger Moore or Timothy Dalton, thank you…and maybe Pierce Brosnan) but the heritage of the series, that James Bond was the original that spawned the success of the Marvel superheroes on film today, is still attracting audiences to the cinemas.
Jupiter Ascending fails on so many levels, and the tragedy of it all is what a superb outing it could have been. Even Interstellar, an uneven ride with a peculiar conclusion, is in the Top 80 of All-time worldwide blockbuster films ($671.6 million and counting,) making the path for Jupiter Ascending so much easier.
The misfire by the Wachowski’s is huge. A better script, better actors around Channing Tatum and Sean Bean (think Gloria Foster, Monica Bellucci, Anthony Zerbe, Mary Alice, Nona Gaye, etc. etc. from the Matrix series) and this could have been a science fiction classic.
But it isn’t.
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.
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