Thursday, February 06, 2025

February 2025 Ronnie Spector, Freddie King Janis Joplin Merilee Rush Patrick Manian "Peace and Quiet"

 


Siren Review by Joe Viglione

There are many extraordinary things about Ronnie Spector's Siren album. It was conceived and produced by the legendary Genya Ravan (aka Goldie Zelcowicz) of one of the first all-girl bands, Goldie & the Gingerbreads. It has a street feel much like Ronnie Spector's solo concerts over the years. Members of Johnny Thunders' Heartbreakers, the Dead Boys, and Mink DeVille must have been honored to appear on this, and the musical integrity and heart is there, for sure. The problem here was the timing. The new wave was just cresting with Willie Alexander, producer/singer Genya Ravan, Ian Hunter, Mink DeVille, the Shirts, and so many others releasing substantial records that mainstream radio turned its back on. And here's the classic '60s voice which ruled on Top 40 for five hit records in 1963 and 1964 rocking out with the best of them on songs like "Settin' the Woods on Fire" with backing by the Diamond Dupree Band, or singing to the reggae beat of the Bahama Mama Band on Roger Cook's "Let Your Feelings Show." If Phil Spector overproduced to good effect, Genya Ravan purposely underproduced, choosing instead to let flavors of different musicians paint the fabric behind Ronnie Spector. In her book Be My Baby on page 248, Ronnie says "Genya was a strong producer who knew what she wanted, just like Phil." High praise indeed. This album came after Ronnie's exquisite "Say Goodbye to Hollywood" and before the Columbia Unfinished Business album, both neatly compiled on the aforementioned Dangerous disc on Raven. "Happy Birthday Rock & Roll" has the magic, and the other singles released by Ronnie during the '70s would be nice additions to Siren on an extended CD package.


Siren
Spector, Ronnie
Beskrivning:
Sångerskan Ronnie Spectors (jo, hon var gift med Phil Spector) första soloalbum, efter den framgångsrika karriären med gruppen The Ronettes.
"...This is a dynamic and diverse album with even Janis Joplin/Merrilee Rush/Troggs songwriter Chip Taylor weighing in on "Any Way That You Want Me." If Phil Spector overproduced to good effect, Genya Ravan purposely underproduced, choosing instead to let flavors of different musicians paint the fabric behind Ronnie Spector. In her book Be My Baby on page 248, Ronnie says "Genya was a strong producer who knew what she wanted, just like Phil." High praise indeed. This album came after Ronnie's exquisite "Say Goodbye to Hollywood" and before the Columbia Unfinished Business album, both neatly compiled on the aforementioned Dangerous disc on Raven. "Happy Birthday Rock & Roll" has the magic, and the other singles released by Ronnie during the '70s would be nice additions to Siren on an extended CD package." (Joe Viglione, allmusic.com)
Speltid 36:29.
Skivbolag: Polish PRG 808 (1980)
Format: LP
Skick: Vinyl Mycket gott skick
Spår:


FROM PATRICK MANIAN OF MOBILE STEAM UNIT

PEACE AND QUIET

Patrick Manian's solo project, including "Peace and Quiet" is a marvelous travel to a dreamy landscape. Five minutes and thirteen seconds of an exotic world peopled by multiple sounds that cascade alongside Patrick's science-fiction vocals. Released on: 2025-02-11 the guitar and percussive feelings melt into the lyrics which quickly
find themselves swirling with other voices and by the 2:15 mark threads of keyboards building - not to a crescendo, but to soothing, oozing thoughts inside the perpetual mellow mood.

joe viglione review, 4:29 pm Feb 17, 2025


Don't Be Shy
Patrick Manian

Thu, Feb 13 at 4:37 PM
Dear Listeners,

I am releasing a solo album. 3 of 10 songs are out now

These songs originated sporadically over the past 10 years. I'm not sure I would write any of these today. It's time to release them. 

This applies specifically to 'Peace and Quiet.' Right after the lyrics came pouring out, I thought something like 'that was cathartic but I could never release that". Upon further reflection, I realized that is exactly why I should release it. I have a suspicion that most relationships of a deep nature have to go through periods of strife.

On a lighter note, here is a review from a close friend about 'Don't Be Shy'

"This is exactly the type of G Harrison infused jubilance tonic we need to stay healthy and clean. Love some frogs! Walking on the sidewalk! The sonic tonic contains notes of Nillsson in his zest for a romp, a psychedelic undercurrent of Impala and a devotional breeze that blew through George's equally lovely locks."

I couldn't have done this without the studio works of Andrew in Marfa, Hannah taking desert photos, Ivan helping write the seeds of P+Q above Niagara, Dan on bass in Lost My Way, Joe on the mixes and my lovely sparring partner Diana. Thank you 🙏

Sincerely,
Patrick

Luis Fonsi, Stefflon Don - Calypso




Before I personally shut down Medford Community Cablevision, Inc. (TV 3 Medford) the juveniles attacked my YouTube, smeared my name, and hacked my Wikipedia Page Detective, former Lt. John J McLean, promised to put it back up. I demanded he make the juvenile delinquents put it up, but he said he would do it. The creep reneged and lied. But my writings keep being mentioned on Wikipedia.
en.wikipedia.org › wiki › Burglar_(album)Burglar (album) - Wikipedia
Burglar is an album by the American musician Freddie King, released in 1974. [1] [2] King signed with RSO Records on the advice of Eric Clapton. [3]King supported the album with a North American Cromer, Ben (Jun 14, 1997). "Vernon's Blues Horizons expand with new label, Code Blue". Billboard. Vol. 109, no. 24. p. 41.
"Burglar Review by Joe Viglione". AllMusic. Retrieved 5 November 2023.

Burglar Review by Joe Viglione

Produced in part by Mike Vernon, who worked on The Legendary Christine Perfect Album, this is an entertaining and concise package of ten songs performed by the late Freddie King and a slew of guests. Opening with Gonzalez Chandler's "Pack It Up," featuring the Gonzalez Horn Section, the youthful legend was only 40 years of age when he cut this career LP two years before his death. Though no songs went up the charts like his Top Five hit in 1961, "Hide Away," Burglar is one of those gems that journeymen can put together in their sleep. Tom Dowd produced "Sugar Sweet" at Criteria Studios in Miami, FL, featuring Jamie Oldaker on drums, Carl Radle on bass, and guitarists Eric Clapton and George Terry, which, of course, makes this album highly collectable in the Clapton circles. The sound doesn't deviate much from the rest of the disc's Mike Vernon production work; it is pure Freddy King, like on the final track, E. King's "Come On (Let the Good Times Roll)," where his guitar bursts through the horns and party atmosphere, creating a fusion of the pure blues found on "Sugar Sweet" and the rock that fans of Grand Funk grooved to when he opened for that group and was immortalized in their 1973 number one hit "We're an American Band" a year after this record's release. Sylistically, Freddie King is from the same school as Buddy Guy, two men instrumental in bringing this art form to a mass audience. King stretches those sounds with great fervor on the Hayes/Porter number "I Had a Dream," containing the strength Mark Farner said the blues artist displayed in concert, which could snap a guitar neck. The voice of Freddie King is what drives J.J. Cale's "I Got the Same Old Blues," the horns and the guitar battling between verses and uniting to ooze under the guitarist's vocal expression. Rhythm guitarist Bob Tench, producer Mike Vernon, bassist DeLisle Harper, drummer Steve Ferrone, and pianist Roy Davies all co-write "Texas Flyer" with Freddie King, a prime example of the modern blues this artist was developing. With Brian Auger and Pete Wingfield contributing to the title track, Jerry Ragovoy's "She's a Burglar," this project stands as a solid representation of an important musician which is as enjoyable as it is historic.

ON THIS DATE (55 YEARS AGO)
January 20, 1970 - Janis Joplin: "Try (Just A Little Bit Harder)" b/w "One Good Man" (Columbia 4-45080) 45 single is released in the US.
Written by Chip Taylor and Jerry Ragovoy - from the LP, "I Got Dem Ol' Kozmic Blues Again Mama!"
_________

RECORD WORLD, January 31, 1970
Janis Joplin, perhaps the greatest living female rock star, says "Try (Just a Little Bit Harder)" (Ragmar, BMI) (Columbia 45080).
__________
Joe Viglione, allmusic
When Clive Davis aired an unreleased live performance of this tune by Janis Joplin, a blitzkrieg "Try (Just A Little Bit Harder) on a Friday night TV show in the seventies, most likely The Midnight Special, there was no denying the singer's ability to take control of a great composition and give it everything and more on stage. Co-written by Chip Taylor,the author of The Troggs"Wild Thing" and Merrilee Rush's "Angel Of The Morning", along with the man whose catalog was single-handedly re-discovered by Janis Joplin, producer Jerry Ragavoy, this song was one of the major moments on the singer's vastly underrated I Got Dem Ol' Kozmic Blues Again Mama! album. Covers by Cathy Richardson, Pearl Toni and Lorraine Ellison followed in the footsteps of Janis, Chip Taylor offering a little more insight by releasing a three minute six-second version in 1996 on his Hit Man CD, forty seconds shorter than the definitive Janis Joplin rendition. Opening up with percussive shakers and a throbbing bassline, "Try (Just A Little Bit Harder) is the most urban of all Joplin's workings of Ragavoy compositions. Gabriel Mekler crafts an oozing and spiritual opening track with chirping horns and dynamic rhythms. It's a diving board for Janis Joplin's wail, and that televised performance offered more perspective, stunning in its energy and the magnetism of the singer's star power. This anthem in the post-Big Brother & The Holding Company phase of her career was more about feeling than the "gotta get that guy" attitude of the lyrics. We know what Janis is singing about at this point in time, now it is all about how she sings it, and she delivers the goods. Where Blood, Sweat & Tears and Chicago put the horns in your face, here those instruments supplement the great white blues singer without getting in the way of her mission, or her message. A moment unique and riveting in the singer's career.
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Producer Denny Diante had hit with Maxine Nightingale the year before this effort, and the thought of bringing back the gal who sang "Angel of the Morning" was certainly a noble idea. The self-titled album, Merrilee Rush, opens with "Save Me," sounding very much like the melody of Air Supply's 1980 hit "Lost in Love," making one wonder which was written first. Tom Snow's "You" was a hit for Rita Coolidge in 1978, so Diante and Rush had the right concept, and though the performance and sound is pretty good, Coolidge's production and spirit were deserving of the Top 25 status this song eventually garnered. Rush sounds as mature on this outing as Marianne Faithfull does in the passage of time between "As Tears Go By" and her comeback, Broken English. Rush's voice is a bit tattered but charming on "Easy, Soft and Slow," one of the album's finest and most majestic moments. The star looks pretty on this album cover, perhaps a bit more seductive than she appears on her Turnabouts debut nine years prior. It's too bad she didn't cover Donna Weiss and Jackie DeShannon's "Bette Davis Eyes" instead of releasing a carbon copy of her 1968 Top Ten hit "Angel of the Morning." Weiss had written for the original Rush album on Bell nine years earlier, as had Mark Lindsay, Joe South, and John Phillips. There were also multiple Chip Taylor songs on her debut, and maybe a cover of Taylor's composition for Janis Joplin, "Try (Just a Little Bit Harder)," would have been what the doctor ordered for this. Instead they seek redemption and almost get it by opting for a beautiful Christine McVie ballad from the sublime Bare Trees album by Fleetwood Mac. "Spare Me a Little of Your Love" should have been a hit for McVie prior to 1975's "Over My Head," and though the choice of material is fine, the hard rock guitar strips away the elegance of the original version. The gospel voices give this a Southern rock feel, not conducive to the chart success enjoyed by Helen Reddy and the aforementioned Rita Coolidge, and too drawn out to reach the market that embraced Linda Ronstadt's version of "Heatwave," although this tries to go in that direction. Because her voice changed so, as did the times, a more energized "Angel of the Morning" could have given this arty record a chance on FM radio. "Love Birds" borrows heavily from Tony Orlando & Dawn's "Candida," posing the question, did Diante and the record label know where they were taking Rush with this outing? "Could It Be Love I Found Tonight" is a big '70s ballad that would fit perfectly on a Melissa Manchester disc, but the production doesn't hit it out of the park. An endearing "Be True to You" starts country and goes back into the Manchester feel-good preaching that "Bridge Over Troubled Water" kicked the decade off with. An important work that needed just a bit more support to see it through. - Joe Viglione 

 Producer Denny Diante had hit with Maxine Nightingale the year before this effort, and the thought of bringing back the gal who sang "Angel of the Morning" was certainly a noble idea. The self-titled album, Merrilee Rush, opens with "Save Me," sounding very much like the melody of Air Supply's 1980 hit "Lost in Love," making one wonder which was written first. Tom Snow's "You" was a hit for Rita Coolidge in 1978, so Diante and Rush had the right concept, and though the performance and sound is pretty good, Coolidge's production and spirit were deserving of the Top 25 status this song eventually garnered. Rush sounds as mature on this outing as Marianne Faithfull does in the passage of time between "As Tears Go By" and her comeback, Broken English. Rush's voice is a bit tattered but charming on "Easy, Soft and Slow," one of the album's finest and most majestic moments. The star looks pretty on this album cover, perhaps a bit more seductive than she appears on her Turnabouts debut nine years prior. It's too bad she didn't cover Donna Weiss and Jackie DeShannon's "Bette Davis Eyes" instead of releasing a carbon copy of her 1968 Top Ten hit "Angel of the Morning." Weiss had written for the original Rush album on Bell nine years earlier, as had Mark Lindsay, Joe South, and John Phillips. There were also multiple Chip Taylor songs on her debut, and maybe a cover of Taylor's composition for Janis Joplin, "Try (Just a Little Bit Harder)," would have been what the doctor ordered for this. Instead they seek redemption and almost get it by opting for a beautiful Christine McVie ballad from the sublime Bare Trees album by Fleetwood Mac. "Spare Me a Little of Your Love" should have been a hit for McVie prior to 1975's "Over My Head," and though the choice of material is fine, the hard rock guitar strips away the elegance of the original version. The gospel voices give this a Southern rock feel, not conducive to the chart success enjoyed by Helen Reddy and the aforementioned Rita Coolidge, and too drawn out to reach the market that embraced Linda Ronstadt's version of "Heatwave," although this tries to go in that direction. Because her voice changed so, as did the times, a more energized "Angel of the Morning" could have given this arty record a chance on FM radio. "Love Birds" borrows heavily from Tony Orlando & Dawn's "Candida," posing the question, did Diante and the record label know where they were taking Rush with this outing? "Could It Be Love I Found Tonight" is a big '70s ballad that would fit perfectly on a Melissa Manchester disc, but the production doesn't hit it out of the park. An endearing "Be True to You" starts country and goes back into the Manchester feel-good preaching that "Bridge Over Troubled Water" kicked the decade off with. An important work that needed just a bit more support to see it through. - Joe Viglione 


Artist: Merrilee Rush
Album: Merrilee Rush
Label: United Artists Records
Catalog#: UAS 30 106 XOT
Format: Vinyl, LP, Album
Country: Germany
Released: 1977
Genre: Rock, Funk / Soul, Disco
Format: FLAC (tracks+.cue)
Duration: 00:36:36



• Producer Denny Diante had hit with Maxine Nightingale the year before this effort, and the thought of bringing back the gal who sang "Angel of the Morning" was certainly a noble idea. The self-titled album, Merrilee Rush, opens with "Save Me," sounding very much like the melody of Air Supply's 1980 hit "Lost in Love," making one wonder which was written first. Tom Snow's "You" was a hit for Rita Coolidge in 1978, so Diante and Rush had the right concept, and though the performance and sound is pretty good, Coolidge's production and spirit were deserving of the Top 25 status this song eventually garnered. Rush sounds as mature on this outing as Marianne Faithfull does in the passage of time between "As Tears Go By" and her comeback, Broken English. Rush's voice is a bit tattered but charming on "Easy, Soft and Slow," one of the album's finest and most majestic moments. The star looks pretty on this album cover, perhaps a bit more seductive than she appears on her Turnabouts debut nine years prior. It's too bad she didn't cover Donna Weiss and Jackie DeShannon's "Bette Davis Eyes" instead of releasing a carbon copy of her 1968 Top Ten hit "Angel of the Morning." Weiss had written for the original Rush album on Bell nine years earlier, as had Mark Lindsay, Joe South, and John Phillips. There were also multiple Chip Taylor songs on her debut, and maybe a cover of Taylor's composition for Janis Joplin, "Try (Just a Little Bit Harder)," would have been what the doctor ordered for this. Instead they seek redemption and almost get it by opting for a beautiful Christine McVie ballad from the sublime Bare Trees album by Fleetwood Mac. "Spare Me a Little of Your Love" should have been a hit for McVie prior to 1975's "Over My Head," and though the choice of material is fine, the hard rock guitar strips away the elegance of the original version. The gospel voices give this a Southern rock feel, not conducive to the chart success enjoyed by Helen Reddy and the aforementioned Rita Coolidge, and too drawn out to reach the market that embraced Linda Ronstadt's version of "Heatwave," although this tries to go in that direction. Because her voice changed so, as did the times, a more energized "Angel of the Morning" could have given this arty record a chance on FM radio. "Love Birds" borrows heavily from Tony Orlando & Dawn's "Candida," posing the question, did Diante and the record label know where they were taking Rush with this outing? "Could It Be Love I Found Tonight" is a big '70s ballad that would fit perfectly on a Melissa Manchester disc, but the production doesn't hit it out of the park. An endearing "Be True to You" starts country and goes back into the Manchester feel-good preaching that "Bridge Over Troubled Water" kicked the decade off with. An important work that needed just a bit more support to see it through. - Joe Viglione 


 • Side One:
A1. Save Me (Douglas Flett, Guy Fletcher) - 3:24
A2. You (Tom Snow) - 3:07
A3. Mama (Steve Ferguson) - 3:20
A4. Easy, Soft And Slow (Steven Dorff, Gary Harju, Larry Herbstritt) - 3:18
A5. Angel Of The Morning (Chip Taylor) - 3:36
 • Side Two:
B1. A Fool In Love (Andy Fraser, Frankie Miller) - 3:50
B2. Love Birds (Richie Supa) - 3:30
B3. Could It Be Love I Found Tonight (Richie Supa) - 4:36
B4. Be True To You (Eric Andersen) - 3:31
B5. Spare Me A Little Of Your Love (Christine McVie) - 4:24

      Arranged by Jimmie Haskell, Michel Colombier
      Producer by Denny Diante
      Engineer – Ron Malo
      Art Direction – Ria Lewerke 

Personel:
Merrilee Rush - Vocals
Lee Ritenour - Guitar
Michel Colombier - Organ, Piano, Synthesizer
Edgar Lustgarten - Strings
Tom Scott, Wilton Felder - Saxophone
Lew McCreary - Trombone
Background Vocals:
Julia Tillman Waters, Oren Waters, Maxine Willard Waters,
Tom Babler, Stan Farber, Ron Hicklin, Jon Joyce






Chip Taylor wrote Angel of the Morning, he also wrote "Try" for Janis Joplin off of Kozmic Blues Try (Just a Little Bit Harder) Review by Joe Viglione https://www.allmusic.com/.../try-just-a-little-bit-harder... Chip Taylor (born James Wesley Voight; March 21, 1940) is an American songwriter and singer noted for writing "Angel of the Morning" and "Wild Thing".[1] He is the paternal uncle of actress Angelina Jolie and former actor James Haven. He is the younger brother of actor Jon Voight and geologist Barry Voight.  https://www.allmusic.com/song/try-just-a-little-bit-harder-mt0014817380

When Clive Davis aired an unreleased live performance of this tune by Janis Joplin, a blitzkrieg "Try (Just A Little Bit Harder) on a Friday night TV show in the
seventies, most likely The Midnight Special, there was no denying the singer's ability to take control of a great composition and give it everything and more on stage. Co-written by Chip Taylor,the author of The Troggs"Wild Thing" and Merrilee Rush's "Angel Of The Morning", along with the man whose catalog was single-handedly re-discovered by Janis Joplin, producer Jerry Ragavoy, this song was one of the major moments on the singer's vastly underrated I Got Dem Ol' Kozmic Blues Again Mama! album. Covers by Cathy Richardson, Pearl Toni and Lorraine Ellison followed in the footsteps of Janis, Chip Taylor offering a little more insight by releasing a three minute six-second version in 1996 on his Hit Man CD, forty seconds shorter than the definitive Janis Joplin rendition. Opening up with percussive shakers and a throbbing bassline, "Try (Just A Little Bit Harder) is the most urban of all Joplin's workings of Ragovoy compositions. Gabriel Mekler crafts an oozing and spiritual opening track with chirping horns and dynamic rhythms. It's a diving board for Janis Joplin's wail, and that televised performance offered more perspective, stunning in its energy and the magnetism of the singer's star power. This anthem in the post-Big Brother & The Holding Company phase of her career was more about feeling than the "gotta get that guy" attitude of the lyrics. We know what Janis is singing about at this point in time, now it is all about how she sings it, and she delivers the goods. Where Blood, Sweat & Tears and Chicago put the horns in your face, here those instruments supplement the great white blues singer without getting in the way of her mission, or her message. A moment unique and riveting in the singer's career.


Clocking in at 4:20 Honey B's "Happy For You" is a delightful, uptempo positive look at life. 
The kaleidoscope, calypso, cosmic cheerful sounds would put anyone in a good mood.
Produced by Issachar Muzik and featuring the legendary Roots Radics founding members
Honey B's voice propels the celebration.  This isn't Millie Small's 2 minute opera "My Boy Lollipop" 
with Chris Blackwell of Island Records' insight, the almost four and a half minutes go by just as
quickly as Small's definitive and iconic 60's hit.  You'll find "Happy for You" on repeat, just as
"My Boy Lollipop" was....and still is.    Joe Viglione 7:13 pm  2-17-25

https://www.youtube.com/watch?v=H3mucvKIC88

For Immediate Release

Honey B Announces Uplifting New Roots Reggae Single "Happy For You" – A Celebration

of Collective Success

Los Angeles,CA– January 17, 2025 – Fresh beginnings, new opportunities, and the pursuit of

self-improvement are on everyone’s mind this time of year. In this spirit of growth, reggae artist

Honey B is releasing her new roots reggae single, "Happy For You," a track that encourages

listeners to celebrate the success of others as a means to unlock their own happiness and personal

expansion.

Produced by Issachar Muzik and featuring the legendary Roots Radics founding members –

Flabba Holt, Dwight Pinkney, Lincoln “Style” Scott, Eric “Bingy Bunny” Lamont, and Richard

“Tee Bird” Johnson, ”Happy For You" blends a traditional reggae sound with modern themes.

The song is a call for unity, and a refreshing reminder that by celebrating others’ achievements,

we create space for our own success to flourish.

With social media's pervasive influence, it’s easy to find ourselves comparing our lives to the

curated successes of others. In a world where jealousy and scorekeeping have taken a toll,

"Happy For You" challenges the norms and promotes a culture of unity. It’s a call to move

beyond the zero-sum mentality and recognize that supporting others does not take away from our

own journey. In fact, it fuels our progress. The song echoes the powerful sentiment, “If you want

to go fast, go alone. If you want to go far, go together,” reinforcing the idea that patience and

mutual support create a foundation for success that benefits everyone.

The track also draws on the timeless Jamaican proverb, “Today for you, tomorrow for me,” a

reminder that everyone’s time to shine will come. “I want people to feel empowered by each

other’s successes, not threatened by them,” Honey B says of the new track. The message in the

music is bound to connect with both older fans who value the genre’s deeper messages, as well

as younger listeners who might be seeking music that speaks to their personal experiences and

current struggles. “We’re in this together,” Honey B insists,”and when we root for each other, we

amplify that collective spirit.”

Currently based in the U.S. with over a decade spent living in the West Indies, Honey B’s sound

is versatile, resonating with reggae fans who value tradition, while also appealing to newer

listeners who appreciate fresh yet grounded voices in the genre. Known for her lyrical substance

and natural delivery, Honey B’s music inspires and unites audiences worldwide. Her Jamaican

fans affectionately call her 'the Raggamuffin,' a testament to her authentic, entertaining sound.

With influences ranging from the iconic Bunny Wailer, whose sweet melodies and creative

diction have always inspired her, to Super Cat, Brigadier Jerry, and Sister Carol for their

clever phrasing, and Tanya Stephens’ captivating storytelling technique, Honey B gives credit,

respect and gratitude to some of Jamaica’s musical pioneers.

By blending modern-day challenges with classic reggae themes, “Happy For You” is not only

thought-provoking, but deeply relatable, and it invites people to reflect on their own actions,

moods, and how they can contribute to a collective sense of triumph. This approach motivates
people not only to listen to the music but to actively engage with its message.
The next time you’re surrounded by other people’s success, let it spark inspiration, not
discouragement. It’s a sign that the energy of possibility and triumph is in the air, and we’re all
part of the celebration.
“Happy For You” is just the beginning of an exciting new chapter for Honey B and Issachar
Muzik. In addition to the single, Honey B is gearing up to release a music video that will visually
capture the song’s positive message. With a full social media campaign to amplify the song’s
reach, Honey B is also planning live performances and future collaborations with Issachar Muzik
that promise to take her sound even further.
For press inquiries, an electronic press kit (EPK), and more information about Honey B,
please contact:
contact@therealhoneyb.com
Pre-Save “Happy For You" now: https://tr.ee/z7xyI0lTKO
Follow Honey B on social media for updates and more:
Instagram: https://www.instagram.com/linkmehoneyb
Website: http://therealhoneyb.com/
TikTok: https://www.tiktok.com/linkmehoneyb
Facebook: https://www.facebook.com/HoneyBreggae/
YouTube:linkmehoneyb































_______________________________________________________



They Couldn't Follow it up!!!! Zager & Evans Review by Joe Viglione https://www.allmusic.com/album/zager-evans-mw0000848456
A stark white album cover with the two thin musicians fading into the pale, a mailbox with "2525" inferring that this is a sequel, a follow-up to the album which featured their number-one hit single, and proof in these grooves that writing record reviews is hard work. This project gives record labels an excuse as to why important artists don't get multiple album deals -- there's nothing remotely sounding like a hit, in fact, this is just a horrendous collection of bad songs by Rick Evans who takes all the blame for the words and music. Not only is "Mister Turnkey" a terrible song title, it's the best example of how awful the songwriting here is -- "Mister Turnkey, it's ten p.m. -- in Wichita Falls, August 16th, 1969 -- and I'm in some bar. Mister Turnkey, I need a woman, and I ain't getting far." Of that there is no doubt, because if his pick-up lines are as bad as his diary, he better not hold his breath till the year 2525 waiting for a response. Haven't these guys ever heard of the old Elton John or Randy Bachman or Jeff Lynne trick of borrowing a few riffs and ideas to come up with a new and exciting product? "During REM" is more hokey songwriting: "soon it will be Monday morning and the world will be mourning for the day it has just thrown away." This could be Bob Dylan playing a joke on RCA Victor, and this could be the most difficult listening experience in RCA's storied history until Lou Reed's Metal Machine Music came along. This recording makes Len Barry's dreadful Ups and Downs, Rob Grill's disjointed Uprooted, and the collected works of Bob Pfeifer seem like lost masterpieces. The money that went into this turkey would have been better spent on a cheesy Sci-Fi film version of the hit single that was number one for six weeks. A song like "Reginald Ludwig" won't be in BMI's Top 100 soon. "Produced" by Ted Daryll and Ray Cork, Jr. probably, because Phil Spector was busy with the Beatles. You will know why Yoko Ono's records are so entertaining -- because she, at least, had a vision. When John Lennon and Yoko dressed in all white they made a remarkable statement. When Rick Evans and Denny Zager wear the same attire they fade into the woodwork. Brian Christian engineered some great records in his day, and one can only imagine what was going through his mind while working on this.

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February 2025 Ronnie Spector, Freddie King Janis Joplin Merilee Rush Patrick Manian "Peace and Quiet"

  Siren Review by Joe Viglione https://www.allmusic.com/album/siren-mw0000850407#review There are many extraordinary things about Ronnie Spe...