3,598 past 30 days April 25 - May 25, 2015
part of
http://musicbusinessmonthlhy.com
http://musicbusinessmonthly.blogspot.com/
http://mbmprototype.blogspot.com
THE TOP 20 SONGS FOR MAY
will be here
http://jvreviews.blogspot.com/2015/05/joe-vig-top-20-singles-may-6-2015.html
May 6
62,012 @ 5:31 pm
3,452 in the past 30 days
198 page views May 5
121 thus far on May 6
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May 4
61,573 all-time page views
84 in the past 24-48 hours
3,421 hits last 30 days 4:26 pm May 2, 2015
106 past 24-48 hours
61,485 all-time page views
61,702 @ 9:19 pm May 5, 2015
The Age Of Ultron
Review by Joe Viglione
The Age of Ultron is a terrific comic book come to
life. It is an exquisite adventure with
perfect character development and splashy dynamics that will satisfy fans of
Marvel and D.C. and independent comics, as well as those who appreciate loud,
explosive films.
Back in the day Marvel Comics used to release comic book “annuals,”
double or triple the size of the monthly comics, these highly anticipated extra-length
stories were a delight… and that’s exactly what these films do for the older
crowd. We who remember summers with a
Fantastic Four or Avengers annual to read by the lake relish the onslaught of
comic book heroes come to life on the big screen. But our disappointment in the Fantastic Four
movie series (including the Roger Corman “lost” FF film,) the flaws in the
X-Men flicks, the difficulty in finding the five Spiderman movies holding up to
repeated spins, is mitigated when, for the action/adventure connoisseur, this
new Age of Ultron arrives and fits the bill.
Read more here:
http://medfordjoeviglionefilmreviews.blogspot.com/2015/05/age-of-ultron-april-2015-film-review.html
or on TMRZoo.com
http://www.tmrzoo.com/2015/66155/review-the-avengers-the-age-of-ultron-it-delivers-as-promised
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SCORE CARD
SCORE CARD
Age of Ultron
Godzilla
FILM TRAILERS\ Great link is #1
#2
#3
https://www.youtube.com/watch?v=0WM915QsOyI
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#2 JIMI HENDRIX PARK
FOR IMMEDIATE RELEASE
JIMI HENDRIX PARK UNDER CONSTRUCTION
Earlier this week temporary
construction fencing went up at the site of Jimi Hendrix Park in
Seattle Park: a tangible indication that construction has begun in
earnest.
ERRG, Inc. is the contractor set to transform the open
green space in Seattle’s Central District into a celebratory space
worthy of its namesake, hometown rock icon Jimi Hendrix. The 2.5-acre park, located adjacent to the Northwest African American Museum, will come to life throughout the summer and is scheduled to be complete by the end of September.
The contractor will begin work by installing the underground utilities and the connection to the city sewer line. Next they will start the demolition work, move to the rough grading of the site, then on to the more visible built improvements. This project will complete phase one of the work. Fundraising for Phase 2 has begun and information can be found here: www.jimihendrixparkfoundation.org
There
will be a planting party in late summer and the community is invited to
attend. Planting instructions and tools will be provided. Stay tuned
for more information.
If you’d like more information and want to view the schematic design of the park plan please visit our website at http://www.seattle.gov/parks/projects/jimi_hendrix/images/plan_11-21.jpg
For specific questions, contact Kim Baldwin, Parks Project Manager at kim.baldwin@seattle.gov.
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3) Blues Magoos Psychedelic Lollipop
Target stores utilizing my reviews
http://www.target.com/p/psychedelic-lollipop-bonus-tracks/-/A-12039672
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4)Blues Magoos Electric Comic Book
http://www.overstock.com/Books-Movies-Music-Games/Blues-Magoos-Electric-Comic-Book/5629679/product.html
http://www.oldies.com/product-view/26395O.html
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5) Ed Wrobleski reviews
PSYCHEDELIC RESURRECTION by
The Blues Magoos
http://mbmprototype.blogspot.com/2015/05/music-business-monthly-may-2-2015.html
also see WIKIPEDIA
http://en.wikipedia.org/wiki/Blues_Magoos
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6)JEN LANCASTER
In 1993
Jen Lancaster hit the road with eight sorority sisters, heading
to the Sunshine State to soak up the rays and experience the ultimate
college Spring Break: killer tan lines; a one night stand; a hangover so
rough she promised to never drink again; and,
most importantly, memories to last a lifetime. She returned home
regret-free. Well, except for that little tattoo on her ankle…
More than 20 years later and now a
New York Times bestselling author, Jen Lancaster is determined to
play out her 40s on a high note—tackling all those things she wishes
she’d done by now. In her new memoir
I REGRET NOTHING (New American Library Hardcover; May 5, 2015;
$26.95) the wickedly acerbic Lancaster continues her documented quest
for self-improvement with renewed vigor, and this time with a bucket
list.
Wednesday May 6th, 2015 @ 7:00 PM
Love Letters Globe Insider/Boston Globe @ Emerald Lounge At The Revere Hotel
200 Stuart Street
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7) Jim Peterik THE IDES OF MARCH
http://jimpeterik.com/jimbos-world/
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8)Ian McLagan - great guy, fun interview, rest in peace...
http://www.amazon.com/All-Rage-Riotous-Through-History/dp/0823078426
Joe Vig interviewing Ian McLagan
From Ian's website
(12 May 1945 – 3 December 2014)
New "Your Mac Stories" Site Posted for Sharing of Stories and Condolences
Happy Birthday Ian, May 12....rest in peace, thanks for being on our show.
http://en.wikipedia.org/wiki/Ian_McLagan
(12 May 1945 – 3 December 2014)
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9) Lily Tomlin at the Wilbur May 22
http://thewilbur.com/artist/lily_tomlin/
Well, we missed Todd Rundgren at the Wilbur on Sunday night...can't be everywhere all at once.
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10)THE GOOD LUCK CAT - Lissa Warren*
*Hot pick of the month
http://www.amazon.com/The-Good-Luck-Cat-Family/dp/0762791764
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11)
Deus ex machina
meaning "god from the machine"
http://en.wikipedia.org/wiki/Ex_Machina_%28film%29
http://www.boxofficemojo.com/movies/?id=exmachina.htm
Duel Movie Review: Ex-Machina vs Poltergeist 2015
http://www.tmrzoo.com/2015/66418/duel-movie-review-ex-machina-vs-poltergeist-2015
EX MACHINA
Written and Directed by Alex Garland
As with Duncan Jones’ celebrated sci-fi mini-masterpieces, Moon and Source Code, Garland creates a compelling and quite interesting film, yet another perspective on artificial intelligence, and one that succeeds if you suspend your belief and watch the interplay between the characters.
The first question, of course, is why would some multi-billionaire owner of the “Blue Book” search engine (as thinly a veiled Google as the Michael Douglas/Demi Moore mini-classic Disclosure’s DigiCom appeared to be about the Digital Corporation) not have a bevy of human security around him and keep sober with so much at stake? The second question, one ignored by The Avengers Age of Ultron and The Matrix is that if these artificially inseminated machine gods really were plugged in to all of cyberspace, there would be absolutely no stopping them.
The term “Deus ex machina” – god (f)rom the machine – is a theme as well, one repeated in science fiction. From Stephen Spielberg’s A.I. to the Terminator and Matrix series, The Avengers Age of Ultron and now Alex Garland’s “Ex-Machina” – it coming on the heels of Ultron – these films being the most obvious of many, many other extensions of imagination into a world where the counterfeit is, somehow, supposed to be superior to the creator.
Friedrich Nietzsche’s Thus Spoke Zarathustra: A Book for All and None notes "I teach you the overman. Man is something that shall be overcome. What have you done to overcome him?” Science Fiction overrides Nietzsche’s man-into-god routine and forsakes mankind for a world where robots – even if microscopic and unseen by the human eye, are in control.
Where Will Smith had to fight off thousands, and then one, in I Robot, 26 year old Caleb (Domhnall Gleeson – who played Bill Weasley in Harry Potter and the Deathly Hallows) is in a modern day catacomb which, despite the trimmings, is as stark as anything in THX1138, the 1971 George Lucas/Francis Ford Coppola classic. The cat and mouse game – with Caleb as the mouse and both the android, Ava (as in the first letter of the alphabet Eve, or the counterfeit Eve, played well by Alicia Amanda Vikander) and her creator, Nathan Batgeman (Oscar Isaac who played the exiled Outcome operative, Number Three in 2012’s The Bourne Legacy) as the cats, engage in some kind of mind game triangle, just as Jodie Foster, Denzel Washington and Clive Owen did while working out the puzzles throughout Spike Lee's "Inside Man." Isaac and Jeremy Renner had great chemistry in The Bourne Legacy, but here there’s an intentional distance between Bateman and his ten-year junior employee Caleb Smith. And what’s with yet another use of the name Smith a la the main agent in The Matrix? Where Renner and Number Three were in the wilds of Alaska when Edward Norton decided he needed to eliminate them, Bateman and Smith are in a similar claustrophobic retreat filmed in Valldalen (or sometimes just Valldal), Norway.
The internet mogul has a harem of robots, quite predictable for the viewer when they first see Kyoko (the acting debut of Sonoya Mizuno, playing a servant with the name of Yoko Ono’s once-lost daughter, actually said to be a very common name in Japan.) Caleb Smith seems oblivious to Kyoko’s mechanical history, and Nathan Bateman’s aloof attitude, and descent into alcohol, is the antithesis of Victor Frankenstein, the modern Prometheus.
The lack of strength displayed by the creator of this “wetware” artificial intelligence female robot is odd, a far cry from the Number Three character from the Bourne Legacy, himself – like Renner and Matt Damon’s Jason Bourne, a sort of “man into superman.” Caleb Smith, however, is the key, it is his intuitive mechanical mind that outsmarts Bateman, only to be outsmarted by Ava.
And despite my fondness for this movie, perhaps the most interesting movie since the aforementioned Source Code from Duncan Jones, such a well-constructed concept with an ending straight out of Rod Serling gets an A for effort. It just could have been so much more.
Where Poltergeist 2015 is a retread that succeeded when it went over the top, and failed when it went over the top it already went over, Ex-Machina fares better. Yes, it can drive a science fiction fan crazy when the Ultron of the Avengers or Ava from Ex-Machina are plugged into all of cyberspace and with all their logic can’t rule the world instantly. Just a massive crater-like hole in the plot (why not limit their abilities?) Why give them ALL of the internet and no Sherlock Holmes investigative skills?
Director Garland can be forgiven if he brings Caleb out of the glass cage and has him search for Ava in a sequel. Ex-Machina begs for one.
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12)Jimi Hendrix - Hey Baby & In From The Storm (Live At Rainbow Bridge)
https://www.youtube.com/watch?v=vT9oUI2kYXg
thescottwino
5 months ago
The way he can reach every single note, it sounds always like it was meant to be that way! This is beyond guitar playing ..
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13)SUSAN OLIVER / STAR TREK
Rant by Joe Viglione
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14) Interview with Peppy Castro
http://www.tmrzoo.com/2015/66376/an-interview-with-peppy-castro-of-the-blues-magoos
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15)All Fall Down - Jennifer Weiner
http://jenniferweiner.com/
Jennifer Weiner's blog
http://jenniferweiner.blogspot.com/
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16) The Supremes
"Love Is Like An Itching In My Heart" Extended mix
https://www.youtube.com/watch?v=g2WxSIL7RRQ
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17) YOU KEEP ME HANGING ON THE SUPREMES EXTENDED MIX, FUNK BROTHERS
https://www.youtube.com/watch?v=Dsleet5T0Eg
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18) This House is Clean
https://www.youtube.com/watch?v=nGcTcDcrx9s
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19) 9:27 version of STONED LOVE
The Supremes
https://www.youtube.com/watch?v=LC0RzkiV1Os
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20) Joe Vig's POP EXPLOSION
http://popexSplosion.blogspot.com
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21)Zelda Rubinstein INTO THE LIGHThttps://www.youtube.com/watch?v=2bVzFa3rGZE
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22) Stranger's In The Night
The great producer John Simon (Janis Joplin, The Cyrkle) put together his Baroque Inevitable with "Sunny" https://www.youtube.com/watch?v=gNlOAk3RKq8
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23)
TRAILER
https://www.youtube.com/watch?v=YCmAaNk_iIQ
Director Gil Kenan sets up a spooky scenario with Poltergeist 2015, child actor Kyle Catlett as the terrified Griffen Bowen makes the small house look so much larger. He, a lost soul a la the small alien from E.T. the Extra-Terrestria, is the center of the hysteria that is to follow, and it is that fear and sense of dread and wonder that director Kenan failed to elaborate on. A 3-D film that appears to have tricks made specifically for the 3-D glasses, poor Sam Rockwell can’t come to grips with the character he’s supposed to be playing, down and out dad Eric Bowen. After such striking work in Duncan Jones 2009 celebrated sci-fi flick, Moon, as well as his paranoid / schizophrenic Guy Fleegman in the 1999 Star Trek send-up, Galaxy Quest, this should have been a walk in the park for Rockwell. It’s his out of sorts demeanor that pulls the film one way while the novice Kyle Catlett gives the film its life. Actress Rosemarie DeWitt fares no better than Rockwell, her out-of-touch mom routine as Amy Bowen.
Hiring the older Will Robinson from 1998’s Lost In Space, Jared Harris sixteen years later, to be the “new” Tangina Barrons (played brilliantly by Zelda Rubinstein in the first three Poltergeist flicks.)
THIS HOUSE IS CLEAN
https://www.youtube.com/watch?v=nGcTcDcrx9s
Director Kenan beats us over the head with the “this house is clean” line, never once bringing something equally memorable to the updated version. It’s not a reboot, it’s a remake thirty-three years later, and while showing promise, the film fizzles terribly at the end, all the suspense and jolts evaporating like a ghost into thin air.
COME INTO THE LIGHT
https://www.youtube.com/watch?v=2bVzFa3rGZE
And you wonder why superhero movies are doing so well. When a director walks on sacred ground he'd damn well better be ready to bring it up a notch. It doesn't happen here.
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24) Scepter Studio Acetate recording The Velvet Underground
Just got this to review:
The rare April 1966 Scepter Studios recordings captured on acetate featuring early, alternate versions of songs later issued on The Velvet Underground & Nico available.
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25) The Velvet Underground
I believe it was the vinyl version of this bootleg took our Moe Tucker 45 without permission and thanked us on the disc. Go figure.
http://thevelvetundergroundbootlegslyoko.blogspot.com/2011/10/velvet-underground-searchin-for-my.html
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26)Dave Davies appeared on Visual Radio back in 1999/2000 ...we'll have to re-release that
CLASSIC VISUAL RADIO as part of our new series as Dave is scheduled for October 2015
- Lineup:
- Dave Davies
27)LOU REED TRANSFORMER RE-RELEASE
https://www.newburycomics.com/rel/v2_viewupc.php?storenr=103&upc=103-2097928N
Performers
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Label
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Legacy
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Catalog #
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88875071411
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Year of Original Release
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1972
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Mono/Stereo
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Stereo
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Studio/Live Performance
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Studio
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Distributor
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Sony
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# of Discs
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1
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Track Listing
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Pre-Order the classic Lou Reed album Transformer on Black & Gold Split Vinyl. This exclusive vinyl pressing from Newbury Comics and Legacy Recordings is limited* to only 1200 foil-stamp numbered pieces.
This sophomore release by the Velvet Underground co-founder has long
been hailed as one of the key touchstones of the punk and alternative
eras that followed it. Reinforcing the literary adage to "write what you
know," Reed paints an alternately detached/debauched portrait of the
drag-and-drugs-infused underground of Warhol's New York, a place, time,
and mindset so compelling it has largely overshadowed the rest of the
singer-songwriter's mercurial career. That the album would also give
Reed an unlikely Top 20 pop hit via the teasing, twisted sexuality of
"Walk on the Wild Side" is but one of its deep, rewarding ironies.
Indeed, as produced by David Bowie and guitarist and cohort Mick Ronson
at the height of their own Ziggy Stardust fame, Reed's songs are cast in
a seductive cabaret setting that's more Jacques Brel than Lower East
Side.
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*This special offer is valid for both
domestic and international orders. This exclusive vinyl pressing is
limited to (5) per customer and will be available while supplies last.
Newburycomics.com will post information when this item is sold out.
28) RIP Jack Ely, original lead singer of hit version of "Louie Louie"
X Rated version of this article here:
http://www.tmrzoo.com/2015/66200/x-rated-tribute-to-jack-ely-and-louie-louie
Jack Ely, one of the great rock vocals ever
Louie Louie, carnal magic
car·nal\
adjective
adjective: carnal
- relating to physical, especially sexual, needs and activities.
FBI Investigates Louie Louie
“Divine little girl waiting for me..she gets her thrills on
top of me”
As the nuns at the sock hops purportedly were clapping and
smiling as the juke box played the Kingsmen’s version of Richard Berry’s reggae
classic converted to garage rock, “Dominique” by the Singing Nun allegedly kept
Jack Ely’s voice from hitting the #1 spot on Billboard. Or did Billboard buy in to the “dirty lyrics”
rumor(s) and keep the song out of the top of the charts?
With the passing of lead vocalist Jack Ely on April 28, 2015 at 71 years of age, reportedly a Christian Scientist, one of the great voices in rock has passed on. 52 years earlier, at the age of 19, the singer put one of the most lecherous sounding set of vibrations onto the grooves of 45 RPM records which would sell…and sell…and sell.
What amazes me about all the controversy is how people
listening to the words didn’t listen to the feel of the song. It is absolutely lustful when Jack Ely –
after the delicious guitar solo - takes “I see Jamaican moon above, it won’t be
long before I see my love” and makes it sound like “I stick…I stick my finger right
through xxx xxxx I won’t be long .xxxxx….I
take her in my arms again, I tell her I’ll never xxx her again.”
I mean just listen to the way the guy says “Oh, no” so…teenager-in-lust,
it is absolutely lustful! So while the
FBI was trying to discern the lyrics, no one picked up on the ad libs and the
way Ely sung that song, like a bunch of jocks talking trash in the locker
room. “A fine little girl be waiting
for me, I catch the ship across the sea” or “She gets her thrills on top of me.”
Even the graphic nature of the rumored “suggestive lyrics” aren’t suggestive poetry, they are pure raunch. Think about it, nowhere is there a rumor of a naughty word here or there, what is purported is straight out porno! “Every night at ten I lay her again, I xxxx that girl all kinds of ways” or “Three nights and days I sail the seas, I think of that girl oh constantly.”
“Oh, baby, we gotta go” is said in such a perverted way
setting up the “every night at ten I lay her again” that the intent is there,
your Honor, the intent is there.
Go to the YouTube and listen to Jack Ely’s sex-soaked horny teenager vibrations
The “oh no” and the “nah nah nah nah” are so lustful that, when coupled with the ad libs, intent just drips from the recording alleged to be overflowing with pure filth!
THE AD LIBS
…prior to “every night at ten” or “three nights and days” –
however you want to hear it, there’s a voice that yells “whxxx” or “fxxk” – why
is the voice there at all? You don’t
hear that little quip in any of the covers by Paul Revere and The Raiders or
The Wailers…only on the Kingsmen’s version.
And if you check Songfacts it notes the well-known fact that the
Kingsmen and Paul Revere & the Raiders recorded the song in the exact same
studio either the same week or the same day.
So where you hear Raider singer Mark Lindsay’s voice perfectly clear,
why didn’t the engineer and/or producer (if a producer was on the scene at all)
for the Kingsmen get the vocal to be as clear as Lindsay’s? Listen to the way Ely sings “think” of a
girl and “constantly.” One never sings “think” with the hard inflection given
to it here, it absolutely sounds like “fxxk” and “constantly” sounds more like “all
kinds of ways.” “Every night at ten I xxx her again, I xxxx that girl (or I xxxx all the girls) all kinds of ways.” Pure descriptive not-your-ordinary swear
words, these are inventively graphic and perfect for Animal House, so perfect
that the movie gave the song new life, and the song promoted the movie.
Next ad-lib is after the guitar
solo. It’s said to be an error, that Ely
was coming in too early with “I see” for “I see Jamaica moon above” but if he
was setting up the lustful version…”I stick…I stick my finger…” …and it sure
sounds like he’s singing finger. But
here’s the real hammer on all this, the final ad lib is in no other “Louie
Louie” when Jack Ely sings “Get that broad out of here…Let’s go.”
“Louie Louie” is the bartender composer Richard Berry is
talking to as he wishes he could be with his girl. “I see Jamaican moon above,
it won’t be long before I see me love, I take her in my arms again, I tell her
I’ll never leave her again.” Jack Ely
is singing to a Louise…Louie Louie, oh w…oh …”and I lay her again” is just so…so…obvious. You don’t sing “leave her again” in such a
lurid and lecherous way! Intent, your
Honor, intent!
On the ship I dream she’s there
I smell the rose…in her hair
“ON that (I) xxxx my xxxx cxxx there, I feel my xxxx right in her hair.”
Whether you are a believer or not, the lustful vocal of Jack Ely, the tone, and the perv lyrics perceived by millions of people around the world, including elected officials and the FBI itself, just one great rock and roll vibration. There are too many words that could be this or that, too much vocal inflection on words that would never get that inflection ordinarily, and ad libs like “get that broad out of here” which appear to be the key.
Or maybe it’s mass hysteria and we’re all delusional. Any way you look at it, the drums, the
guitar, the voice, the intangible that is the moment captured in that recording
studio made a lot of people happy for more than 50 years.
Rest in peace, Jack Ely.
You hit a grand slam.
Fun Song facts
FBI Investigation
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29 Buzzy Linhart
More Artists From
Other Genres You Will Love
Not what your looking for? Use advanced search. Listen to the CD Baby Music Discovery Podcast
Peace in the Country: Buzzy Linhart Unplugged
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30)Looking Back At Popular Movies: Firestarter – Go To Hell, Courtesy Of Drew Barrymore
on March 14, 2010
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31) Van Halen Live At the Tokyo Dome
reviewed by Ed Wrobleski
http://musicbusinessmonthly.blogspot.com/2015/05/van-halen-live-wdavid-lee-roth.html
VH in Tokyo
http://www.vhnd.com/2015/03/03/its-official-van-halens-definitive-live-album-pre-order-here/
not to be confused with Van Halen Live Right Here Now
http://www.cdandlp.com/en/van-halen/live-right-here-right-now/album/
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32) Check out this very cool blog, Silverado Rare Music
Silverado Rare Music
http://silveradoraremusic.blogspot.com/2012/04/savage-resurrection-savage-resurrection.html
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33)Planet of the Apes and Escape from the Planet of the Apes, brilliant soundtracks from Jerry Goldsmith
Track Listing 1. Twentieth Century Fox Fanfare 2. Main Title 3. Crash Landing - (previously unreleased) 4. Searchers - (previously unreleased) 5. The Search Continues 6. The Clothes Snatchers 7. The Hunt 8. A New Mate 9. The Revelation 10. No Escape 11. Trial - (previously unreleased) 12. New Identity 13. A Bid for Freedom 14. The Forbidden Zone 15. Intruders - (previously unreleased) 16. The Cave 17. Pt. 2 - (previously unreleased, part 2) Revelation 18. Suite - (previously unreleased)  | ||||||||||||||
34)Mamas and Papas GATHERING OF FLOWERS
German versions on EMI of Dunhill release A GATHERING OF FLOWERS
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35)GLOBAL Todd Rundgren
NEW ALBUM BY THE LEGENDARY TODD RUNDGREN
Esoteric Antenna, a label of the Cherry Red Records Group, is
pleased to announce the release of GLOBAL the eagerly awaited new studio
album by legendary TODD RUNDGREN.
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36) Cool William Shatner interview
http://news.bbc.co.uk/2/hi/entertainment/7482823.stm
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37)Dennis Ferrer
Ferrer, Dennis - My World As They Remixed It
Track Listing
1. Touched the Sky (The Isolators Only Stereo Phonic Headphone Dub Version)
2. P 2 da J (Tiger Stripes Remix) - (remix)
3. Transitions (Sunshine Jones' Vocal Version From the Pulpit)
4. Touched the Sky (Quentin Harris Remix) - (remix)
5. How Do I Let Go (Charles Webster Remix) - (remix)
6. I Can't Imagine (Dolls Combers Elektro Remix) - (remix)
7. Church Lady (MF Remix) - (remix)
8. Run Free (Tomo Experience Remix) - (remix)
9. Change the World (Jihad Muhammad Vox Mix)
| Details | |
| Producer: | Dennis Ferrer |
| Distributor: | Music Video Distribution |
| Recording Type: | Studio |
| Recording Mode: | Stereo |
| SPAR Code: | n/a |
Album Notes
DJ: Dennis Ferrer.Dennis Ferrer delivers a solid nine selections on this relentless, almost 75-minute project. There are two versions of "Touch the Sky," the longer opening track and a more elastic "Quentin Harris Remix" separated by three other titles, that distance giving the listener a better appreciation of the different takes. "Church Lady" injects some gospel into the dancey urban mantra while Mikael Nordgren's "Tiger Stripes Remix" of "P 2 da J" blends some Kraftwerk-on-speed sort of textures over industrial-coated percussion. Where Monsieur Leroc flavors his work with pop melodies and a more traditional rhythm & blues, Ferrer keeps it all very house, the bouncy Sunshine Jones "Vocal Version from the Pulpit" adding a little drama and, next to "Charles Webster's Club Mix" of "How Do I Let Go," it can feel like you've been left at some nightspot in the early a.m. to revel in Ferrer's artistry. The "Tomo Experience Remix" of "Run Free" puts a dash of Al Green into the rhythmic journey, "Change the World" picking up the theme and chorus vocal vibe similar to the previous song and taking the album to its conclusion. ~ Joe Viglione
http://www.ebay.com/itm/Ferrer-Dennis-My-World-As-They-Remixed-It-/251925611051?pt=LH_DefaultDomain_0&hash=item3aa7efc22b
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38)Hendrix
http://www.ebay.com/itm/Experience-Original-Soundtrack-The-Jimi-Hendrix-Experience-CD3134-/301597206808?pt=LH_DefaultDomain_0&hash=item4638982918
Album Notes
Personnel: Mitch Mitchell (drums).Liner Note Author: Hugh Fielder.Recording information: Royal Albert Hall, London, England (02/24/1969); The Royal Albert Hall, London, England (02/24/1969).This single disc in a beautiful gatefold cover, Experience (subtitled "Original Soundtrack from the Feature Length Motion Picture 'Experience'") is material culled from the Jimi Hendrix appearances at Royal Albert Hall in London during February 1969. As with the sequel to this outing, 1972's More Experience, the liner notes -- quoting both Hendrix and his contemporary, Eric Clapton -- claim the material is from the February 18, 1969, concert, though it is more likely that this is the second show that happened on February 24 of that year. It is mere fragments of the program and should have been combined with the follow-up or other selections from the performance. Steven Roby's excellent book Black Gold: The Lost Archives of Jimi Hendrix refers to this album as having "horrid sound quality on highly edited official recordings from this show." If one doesn't have the bootleg to compare, the album is quite listenable, though much too brief. "We'd like to blast your eardrums one more time," Jimi says during a lengthy tune-up prior to a title the producers call "Smashing of the Amps" -- which is actually the intro to "Purple Haze" mutating into a very brief "Star Spangled Banner." The cut takes up one half of one side of this recording but delivers very little. "Sunshine of Your Love" is fun and "Room Full of Mirrors" is also a delight, at least performance-wise, Hendrix acknowledging the presence of Chris Wood and Dave Mason of Traffic on the track -- though they aren't credited anywhere on the album jacket. With the Experience Hendrix company releasing so much other high-quality material, this one is definitely for the completists/fanatics. ~ Joe Viglione
___________________________________________________________________
#39) CANDY Soundtrack
Artist: Candy
Title: O.S.T.
Year: 1969
Format: LP
Label: ABC
Title: O.S.T.
Year: 1969
Format: LP
Label: ABC
Jazz composer David Grusin, who would years later release an album on Epic also entitled Candy, co-writes an orchestrated “Child of the Universe” with Roger McGuinn. The theme to the film Candy certainly doesn’t sound like the Byrds; it sounds like Roger McGuinn doing a movie soundtrack and calling it “The Byrds.” But that’s ok, because this collection of music really works and is of more historical importance than it is given credit for. Coming a year before the groundbreaking Easy Rider musical score, the two main elements of that audio delight are here on ABC records as well. Steppenwolf’s “Magic Carpet Ride” and “Rock Me” augment what is really the debut of Roger McGuinn solo.
This goes beyond the Byrds being on the road and the Mamas &the Papas’ session musicians cutting their backing tracks, and in a flick with Ringo Starr, John Astin, John Huston, James Coburn, Charles Aznavour, Marlon Brando, Walter Matthau, Richard Burton, and others, it’s no wonder poor little sexpot Ewa Aulin got banished to European films — a fate better than Roger Heron’s when he vanished completely after being sodomized by Raquel Welch in that other John Huston film of the day, Myra Breckinridge.
As the motion picture Candy boasts the rare McGuinn/Grusin theme, Myra Breckinridge had John Phillips doing the honors, but it is this movie which is the precursor to all that came after, slyly merging stylish rock with the psychedelic excess of Tower Records film albums — Riot on Sunset Strip, Psych-Out, and Wild in the Streets. Where those discs had hip underground bands like Strawberry Alarm Clock, Chocolate Watchband, and the Seeds pervading the celluloid, jazz musician Dave Grusin ups the ante.
His acid-drenched ramblings on side one are superior to the garage rock screwing around on the wonderfully cheesy Tower releases. From the quasi-psychedelic “Birth by Descent” to the rip of Jefferson Airplane’s “Volunteers” that is the third track “Opening Night: By Surgery,” Dave Grusin proves his pen can paint the electric comic book just fine. Side two gets a little bogged down in sitar, wah-wah, and heavy organ, but it still is first-rate and enjoyable, a long prelude to John Kay’s gutsy “Rock Me,” the instrumental stuff is just a build to the release that Steppenwolf provides.
“Constant Journey” is the Seeds trying to be Pink Floyd, while “Every Mother’s Daughter” could be the Velvet Underground meeting Frijid Pink at The Factory. Still, it’s the decision to include two choice Steppenwolf hits that proved to be visionary (“Magic Carpet Ride” would end up in how many movies after this?). Snippets of a remake of “Magic Carpet Ride” for the big screen version of Star Trek: The Next Generation as the rocket blasts off was not pioneering, but the inclusion of the full four minutes and 25 seconds of it here is
The percussion toward the end of the three minute and 41 second “Rock Me” complements the Dave Grusin instrumentals very nicely, and Roger McGuinn opening the whole thing up with the elegantly orchestrated “Child of the Universe,” including otherworld lyrics like “swirling ions from the stars/streaming down onto the Earth/from a galaxy like ours…. leaving man her cosmic well… vision of an untouched grace…” (you get the idea).
This stuff is beyond the Byrds “Eight Miles High,” and this was most likely the real first solo effort from McGuinn — as well as being the foundation for ABC’s success with the soundtrack to Easy Rider a year later. Just too bad they didn’t add some dialogue from Ringo Starr and the other stars, something that will make the DVD all the more worthwhile. (Joe Viglione)
Track Listing
- Child Of The Universe
- Birth By Descent
- Opening Night: By Surgery
- Spec-Rac-Tac-Para-Comm
- Border Town Blues: A Blunt Instrument
- Magic Carpet Ride
- Constant Journey
- Every Mother’s Daughter
- It’s Always Because Of This: A Deformity
- Marlon And His Sacred Bird
- Ascension To Virginity
- Rock Me
#40
Experience Hendrix and Legacy Recordings To Reissue
The Cry Of Love and Rainbow Bridge – Two Classic Out-Of-Print
Jimi Hendrix Albums Available Sept. 16 on CD and LP
On
September 16, Experience Hendrix, LLC in conjunction with Legacy
Recordings, the catalog division of Sony Music Entertainment will
reissue two critically revered Jimi Hendrix albums on CD, vinyl and
digital. The Cry Of Love and Rainbow Bridge, his first and
second posthumous studio releases respectively, will be reintroduced
with original album art and track orders. Both albums have been
remastered by Bernie Grundman from the original analog masters. The Cry Of Love was last issued on CD in 1992, while Rainbow Bridge has never before seen an official CD release. The Cry Of Love may be pre-ordered on CD and LP; Rainbow Bridge may be pre-ordered on CD and LP - at Amazon.
Originally released in 1971, The Cry Of Love was
compiled and mixed by Hendrix’s longtime engineer Eddie Kramer and
Experience drummer Mitch Mitchell. The bulk of these tracks were
recorded between December 1969 and the summer of 1970 at Electric Lady
Studios in New York, and were intended to be part of an ambitious double
LP tentatively titled First Rays of the New Rising Sun. Commercially, The Cry Of Love was
a huge success, reaching #3 in the U.S. and #2 in the UK, and spawned
favorites such as “Angel,” “Freedom,” and “Ezy Ryder.” While Mitch
Mitchell and bassist Billy Cox comprised the rhythm section on the
lion’s share of the tracks, Buddy Miles played drums on “Ezy Ryder” and
Noel Redding played bass on “My Friend” (recorded in 1968, before his
departure from the Jimi Hendrix Experience). The Cry Of Love also
includes the participation of notable guest musicians including Steve
Winwood, Chris Wood and Buzzy Linhart among others. VH1 recently
declared The Cry Of Love the greatest posthumous classic rock record of all time.
Rainbow Bridge was
also compiled and mixed by Eddie Kramer and Mitch Mitchell in 1971,
with the help of Electric Lady Studios engineer John Jansen. Most of the
tracks were recorded in 1969 and 1970, during the same sessions that
spawned The Cry Of Love. Rainbow Bridge is often
misconstrued as being an entirely live album, being that the film of the
same name features excerpts of a live Jimi Hendrix performance in Maui.
However, Hendrix had no role in the creation of the rambling, unfocused
1971 film which was directed by Chuck Wein. The film was not a Hendrix
project in any way but instead an independent vision of his manager
Michael Jeffery. After Hendrix’s death in September 1970, Jeffery
scrapped Hendrix’s original vision of a double studio album titled First Rays Of The New Rising Sun and
called for Kramer, Mitchell and Jansen to compile two posthumous
albums—including one that would that would serve as a soundtrack for
the Rainbow Bridge film.
Mitchell,
Kramer and Jansen drew upon Hendrix’s rich trove of studio recordings
that the guitarist had been developing at Electric Lady Studios. Songs
such as “Dolly Dagger” and “Room Full Of Mirrors” were bright examples
of Hendrix’s new creative direction. Other standouts on the album
included a studio rendition of “Star Spangled Banner” as well as the
majestic “Hey Baby (New Rising Sun).” The one live track on the album,
an extraordinary rendition of Hendrix’s original blues composition “Hear
My Train A Comin’” is taken from a performance at Berkeley Community
Theatre in May of 1970, and not in the film at all. Buddy Miles and Noel
Redding both appear on one track each, and the Ronettes provide backing
vocals on “Earth Blues.”
Beginning in the late 1990s, the tracks on The Cry Of Love and Rainbow Bridge were reassembled into various compilations, including First Rays of the New Rising Sun, South Saturn Delta, and The Jimi Hendrix Experience box
set. Now, fans of all ages will be able to enjoy songs such as
“Straight Ahead,” “Nightbird Flying,” and “Hey Baby (New Rising Sun)” as
they were experienced when they first became available 43 years ago.
The Cry Of Love track list:
1) Freedom
2) Drifting
3) Ezy Ryder
4) Night Bird Flying
5) My Friend
6) Straight Ahead
7) Astro Man
8) Angel
9) In From the Storm
10) Belly Button Window
Rainbow Bridge track list:
1) Dolly Dagger
2) Earth Blues
3) Pali Gap
4) Room Full of Mirrors
5) Star Spangled Banner (studio version)
6) Look Over Yonder
7) Hear My Train A Comin’ (live)
8) Hey Baby (New Rising Sun)
2,475 reviews by Joe Viglione on eBay
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41)Bonus Track IRON MAN review
Defining hard rock beyond Steppenwolf's "heavy metal thunder", Black Sabbath issued a lethargic, overpowering six minute anthem to a Science Fiction character which may have been inspired by the Marvel Comics' hero of the same name. The radio world was not ready for the volume of Alice Cooper meeting the tempo of Vanilla Fudge with Ozzy Osbourne spouting grade-school lyrics over a non-traditional song. At least when Alice sang "I'm 18" it was crafted with radio in mind. "Iron Man" had about as much chance of being a hit as an edited version of The Velvet Underground's "Sister Ray", but still somehow was released on a 45 RPM which made some noise on the charts in 1972. Don't look for it in Joel Whitburn's Billboard Book Of Top 40 Hits, though, as Black Sabbath never got to that plateau, at least not in their first thirty years, and Warner Brothers had to buy radio spots on hit stations to promote the group in the early days. That "Iron Man" would win a Grammy for Best Metal Performance over two and a half decades later when re-recorded live for the Reunion album is a testament to the importance of Black Sabbath, and how key this riff and composition was to the band's career. Opening with an ominous drum beat and droning guitar, a mutated vocal announces "I am Iron Man" before Tony Iommi's captivating boss riff ushers in six minutes of metallic mayhem. Ozzy's penetrating voice pushes through the gritty onslaught, a zig zagging collection of notes which sound like a truncated "Living Loving Maid" riff from Led Zeppelin in slow motion. The story line is extremely thin, the heady and mysterious ideas on the first Black Sabbath album replaced with words which would rival Ian Gillan's version of Deep Purple for stupidity. That the Rod Evans earlier incarnation of Purple employed more sophisticated words and arrangements says that maybe both groups decided to aim their hard rock songs at a very young 1970's adolescent audience. No one expected the words of Bob Dylan out of the mouth of the Oz, nor would fans of lines like "heavy boots of lead/fills his victims full of dread" be apt to be listening to Highway 61 Revisited. But it wasn't the words that attracted the fans to songs like "War Pigs" and "Iron Man", it was the sentiment, the sound, and all Ozzy needed was merely something to say to get his performance across. It's hard to conceive that radio would even touch a plodding stomp like this, opting instead for the lively crunch of Deep Purple's "Smoke On The Water", but that "Iron Man" and the title track propelled the Paranoid album to great heights without much radio support is proof enough of the song's popularity and power.
http://www.allmusic.com/song/iron-man-mt0031818456
2,475 reviews by Joe Viglione on eBay
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41)Bonus Track IRON MAN review
Defining hard rock beyond Steppenwolf's "heavy metal thunder", Black Sabbath issued a lethargic, overpowering six minute anthem to a Science Fiction character which may have been inspired by the Marvel Comics' hero of the same name. The radio world was not ready for the volume of Alice Cooper meeting the tempo of Vanilla Fudge with Ozzy Osbourne spouting grade-school lyrics over a non-traditional song. At least when Alice sang "I'm 18" it was crafted with radio in mind. "Iron Man" had about as much chance of being a hit as an edited version of The Velvet Underground's "Sister Ray", but still somehow was released on a 45 RPM which made some noise on the charts in 1972. Don't look for it in Joel Whitburn's Billboard Book Of Top 40 Hits, though, as Black Sabbath never got to that plateau, at least not in their first thirty years, and Warner Brothers had to buy radio spots on hit stations to promote the group in the early days. That "Iron Man" would win a Grammy for Best Metal Performance over two and a half decades later when re-recorded live for the Reunion album is a testament to the importance of Black Sabbath, and how key this riff and composition was to the band's career. Opening with an ominous drum beat and droning guitar, a mutated vocal announces "I am Iron Man" before Tony Iommi's captivating boss riff ushers in six minutes of metallic mayhem. Ozzy's penetrating voice pushes through the gritty onslaught, a zig zagging collection of notes which sound like a truncated "Living Loving Maid" riff from Led Zeppelin in slow motion. The story line is extremely thin, the heady and mysterious ideas on the first Black Sabbath album replaced with words which would rival Ian Gillan's version of Deep Purple for stupidity. That the Rod Evans earlier incarnation of Purple employed more sophisticated words and arrangements says that maybe both groups decided to aim their hard rock songs at a very young 1970's adolescent audience. No one expected the words of Bob Dylan out of the mouth of the Oz, nor would fans of lines like "heavy boots of lead/fills his victims full of dread" be apt to be listening to Highway 61 Revisited. But it wasn't the words that attracted the fans to songs like "War Pigs" and "Iron Man", it was the sentiment, the sound, and all Ozzy needed was merely something to say to get his performance across. It's hard to conceive that radio would even touch a plodding stomp like this, opting instead for the lively crunch of Deep Purple's "Smoke On The Water", but that "Iron Man" and the title track propelled the Paranoid album to great heights without much radio support is proof enough of the song's popularity and power.
http://www.allmusic.com/song/iron-man-mt0031818456
