The Joe Vig Top 40 Dot Com www.joevigtop40.com Our Fun Monthly Review of Pop Culture
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
This is Henry Gross without the assistance of Cashman & West, in the pre-"Shannon" days, which gives a concise picture of the singer/songwriter prior to his flirting with fame. Gross' material is adequate, falling somewhere between Dan Fogelberg and Livingston Taylor, folksy music with the pop edge drummer Jim Keltner provides. "My Sunshine" and "Loving You-Loving Me" are nice enough, while "Joe" is a song of deep affection. "Morning Star" is a little more ambiguous with the "I had one too many lovers and I let the best one go" line. The artist borrows heavily from those who came before, no doubt part of playing all those covers in Sha Na Na, as George Harrison acoustics soak through the rhythms of "Joe." "Close My Eyes" is the hardest rocker, with the feel of a band Gross would open up for in the future, Aerosmith, while "Prayer for All" sounds like the artist was listening to John Lennon's "Julia." The album cover has a nice textured feel, and there is an insert with the lyrics, but the country-rock of "You'll Be Mine," despite the fine players, just can't get over the bar. With Sneaky Pete, Jim Keltner, and Spooner Oldham in on the festivities, the promise went unfulfilled. It's a good artifact and gets a passing grade. Nice background music.
Track Listing: 1. Granny Takes A Trip 2. Red Moon Over Paris 3. Baby Boomers Lament 4. The Lion in Winter/The End of the Game 5. Fetch Me Water 6. Three Shadows 7. Makin’ It Real 8. Night Surfing 9. Count My Blessings
“Granny Takes a Trip” opens this extraordinary 52nd album from Elliott Murphy merging Roger Maris and Richard Harris in a quasi-rap-meets-folk, perhaps the psychedelia after effect of Woodstock concert goers now grandparents, it is fun and different. “Red Moon over Paris” has Beatles elements for its opening, and grows dark with the twilight ending and Murphy indulging John Cale meets Leonard Cohen. It’s a tremendous chorus over the poetry-meets-song verses.
The press release notes: INFINITY was recorded at Murmure studio in Paris with Elliott's musical partner and virtuoso guitarist Olivier Durand as well as Australian Melissa Cox (violin) and Alan Fatras (cajon et percussion) with the addition of acclaimed double bassist Gerard McFadden (Opéra national de Paris) on Fetch Me Water. Keyboards, electric bass and drum programming were handled by Gaspard Murphy. The 3rd of nine songs, “Baby Boomers Lament” referencing David Bowie, 007, Lou Reed, the Rolling Stones over a rhythmic quiet stomp, is as easy to absorb as the other six musical essays. Smart guitar on Lament makes it a hidden gem here with Murphy’s vocals working to good effect over the entire journey.
When I asked Ian Hunter to go through each tune, having a series called “Going track by track,” Ian felt it was half the fun for the audience to figure it out, paraphrasing him here. Yet with “The Lion in Winter” it is compelling to try to figure the artist and his state of mind out. The pretty melodies would fit nicely in the 1968 film of the same name featuring Katherine Hepburn and Peter O’Toole, or perhaps even the 2003 film with Glenn Close.
“Fetch Me Water” is three minutes and thirty-three seconds of a song that would fit perfectly on a Doug Kershaw album while “Three Shadows,” at 3:21 has Murphy putting his array of thoughts into a pop structure. Another composition perfect for film, this is all Elliott Murphy with musical twists and turns over simple chord changes. It’s a stellar piece of work.
Suddenly the album rocks out with the two and a half minute “Makin’ It Real” with the singer’s opinion on things past and present. It’s softer rock and roll Jonathan Richman would appreciate, toned down yet still effective. “Night Surfing” at 2:33 is the perfect follow-up to the preceding tune, pretty melodies. Neo-Barouque with folksy elements. It’s beautiful and with the tracking like this it almost feels like a concert playing out over each selection. The little over two minute “Count My Blessings” is a good discipline and admonition to listeners to be thankful for things that they’ve got - like this disc.
RIP David Johansen, Badfinger's Joey Molland, Robert "Sad Eyes" John, Roberta Flack, Gene Hackman ...five great talents. Strangely, I've written nothing about Johansen, even though I first saw the New York Dolls March 1, 1973 at K-K-Katy's in Boston. If Johansen passed February 28, 2025, that's like 52 years to the day before that I saw them. I taped the show, of course, but it sounded like a big old jet liner in a little club. I was 19 years of age. It looked like Mick Jagger in the room, with two hot blondes on his arms, so I went over and asked "Will the NY Dolls be on Rolling Stones Records" and the fellow said "No" into my tape recorder. It was Steven Tyler of Aerosmith with I believe Maxanne Sartori on one arm (she made them famous via WBCN) and Elissa Perry (Joe Perry's first wife) on the other arm. Elissa Perry got Jimmy Miller and I the Buddy Guy project, and we did publicity together in the mid 1980s. Johansen knew I signed his NY Dolls guitarist Johnny Thunders to New Rose Records, I was their first album signing in 1978 when they called themselves Flamingo Records, as A & R I signed Willie Loco Alexander to our RCA Distributed label. Johansen cornered me at a party for one of Don Law's secretaries and was telling me I had to clean Johnny up (from his heroin abuse.) When my band opened for Johnny at the Paradise a WERS DJ wanted to interview Thunders but Johnny kept saying "Joe Vig has to interview me" so I did. Would love to have that tape. Anyway, my little tribute to Johansen. Saw him play many times, just a tremendous artist. I first saw him play 52 years ago yesterday.
My significant other comes back up the stairs before heading off to work and says "Bill next to our car heard you on WJIB yesterday" (talking about Jackie DeShannon, I guess, thank you John!) this is another Bill on Whittier Drive, not to be confused with Billy Boy, WJIB is the #1 station where I live, and it is amazing Bob Cook listens in his apartment, Billy Boy and Sharon have 740 am playing in the recreation room. Here's a new 2011 version of Bette Davis Eyes by Jackie DeShannon, Singer/Songwriterhttps://youtu.be/M9R2tiCnI6c A year after her induction into the Songwriters Hall of Fame, Jackie returns with 11 new recordings of her best-known tunes. Those include her hits Needles and Pins; When You Walk in the Room; What the World Needs Now Is Love, and Put a Little Love in Your Heart plus Bette Davis Eyes; Don’t Doubt Yourself Babe; Come and Stay with Me, and others she wrote!
A review I did of an album Jesse was on: Goodies, Vol. 1 Review by Joe Viglione https://www.allmusic.com/album/goodies-vol-1-mw0000891001 While Warner Brothers released "loss leaders" like The 1969 Warner/Reprise Songbook and Troublemakers, albums which were available pretty much for postage only, two dollars for a double LP or one dollar for the single Zapped disc with a gruesome cover photo of Frank Zappa and early tracks by Alice Cooper, the label also released inexpensive retail items like Revenge of the Killer Bees and this compilation, Goodies, Vol. 1. If memory serves, this disc went for about 99 cents, and featured tracks from albums the company was pushing at the time. The real nugget here was the previously unavailable stereo version of Fleetwood Mac's "The Green Manalishi (With the Two Prong Crown)." All four minutes and 34 seconds of the Peter Green tune are here from the Reprise single (Rep 0925), but the single was in mono, and fanatics had to find this to expand their horizons prior to the dawn of CD re-releases. Side one is a bit laid-back, Gordon Lightfoot, the Grateful Dead, Jesse Colin Young, Van Morrison, and Dion carrying on like true '60s folkies in 1972. The only thing remotely resembling a hit next to the Fleetwood Mac track is Marc Bolan's "Ride a White Swan." Jimi Hendrix is represented by the inclusion of "Castles Made of Sand," while Rod Stewart and the Faces liven things up with "Had Me a Real Good Time." Whoever thought to put Tony Joe White in between Stewart and Hendrix must have had a real axe to grind with his superiors. The Peter Asher production of "A Night in the Life of a Time for Everything" from their Benefit LP, and though the album doesn't have the rarities series like these are known for, a production crew of Tony Visconti, Chas Chandler, Lenny Waronker, Joe Wissert, and others, along with these stellar acts, is still a wonderful addition to any record collection. Thirty years later, none of the major labels could muster this kind of a lineup or find music as interesting and inviting. Dion's "Your Own Back Yard" has him sounding like Dylan, and it's a treat. They certainly don't make 'em like they used to, even -- or maybe especially -- the budget items.
Somehow lost in the shuffle of Boston music are the albums by Orphan. Overshadowed by the cult status of Jonathan Richman & the Modern Lovers, or the ever present Willie Loco Alexander, the songs of Eric Lilliequist may be best represented on this recording. Produced by Peter Casperson at the legendary Intermedia Sound on Boylston Street in Boston, the dark green cover with Dean Adrien -- who provides percussion and vocals, and Lilliequist, as well as the mysterious back photo, are welcome fragments of New England folk/rock from the early '70s. While bandmate Jonathan Edwards was topping the local and national charts in December of 1971 with "Sunshine" on Capricorn Records, he showed up here with a vocal on "Look at Her," interpreting a Lilliequist original with a hint of Aztec Two-Step. Especially on the title track, and a very Jonathan Edwards-ish "Fisherman," Lilliequist and Orphan created an intriguing blend of light pop which, in retrospect, should've been as big as Orleans, Firefall, and the bands that had tunes and lyrics but not the bevy of hits America garnered. "Daylight Darkness" is like an answer to Jesse Colin Young and the Youngbloods. These 1971 tunes released in 1972 are the best picture of the work of Eric Lilliequist. If Jonathan Edwards gets a much deserved boxed set, perhaps the world will have a chance to discover Orphan and the important work they did in the early '70s.
Peter Zicko live at the Magic Room, with Larry Lessard engineering, a video and new single, "One Voice."
It's a commanding sound with Pete's authoritative voice. "Let me be heard for miles around." Captain Kirk said on Star Trek's Mirror Mirror S. 2 Episode 4 "In every revolution, there's one man with a vision." The Zicko revolution is here. Peter Z on a six string acoustic with a tight band behind him, and exquisite lead lines, a drummer with a powerful beat. If it had heavy keyboards one would think Moody Blues. Tim is on a melodic piano, Tony and the crew making Z company rock. The 4:39 of the YouTube has 52 seconds of intro making for a song of 3:40 thereabouts. It's catchy, memorable and worthy of your attention. You'll keep spinning it. JV 5:45 pm 2/24/25
some words from Peter Feb 27 at 5:52 PM
Cool
man!!! I really wanted you to check out my video that I spent thousands
of dollars to produce... 3 days of shooting in my hometown of Natick
...30 extras with several drone shots all set to the track One Voice...
Recorded at Melody Way studios... The Magic room video is ok... Larry
did a great job with the sound... But 3 weeks before the show the guitar
player quit and the girl singer quit... Tony had to learn 40 songs in 3
weeks on guitar... Some original songs that he had never even heard
before... So it didn't go well... To say the least...Lol...
Thoughts from rock journalist Joe Viglione
Matt Turk knows how to spin an instantly memorable tune, and how to deliver. From “Everybody in the World,” “In the Middle of the Night” to “Without Her” this is the work of a craftsman with superb playing, production and vocal delivery. The seven songs are like a time machine, “I am Guitar” could have been written and performed by Stephen Foster and seemingly could be found on Peter Calo’s Cowboy Song, tribute to magical old time compositions. “Lottery” goes back to the future, more contemporary and enticing. When Ray Charles released Modern Sounds in Country and Western Music it was actually a pop masterpiece, with genres colliding. Turk has designed some modern sounds in contemporary folk/rock. “This Old Way” has the elegant stuff, while “Beautiful Day” concludes the album the way Paul McCartney put “Honey Pie” on the White Album.
Peter Calo is known as both a jazz performer and session man, but on Cowboy Song ("Contemporary Arrangements of Songs From the American West") he turns his attention to traditional songs of the American frontier. The liner notes explain that the artist was inspired by the composition "Red River Valley," with its theme of parted lovers. Calo found many of these tunes in a book published in 1910 by University of Texas professor John Lomax, as well as in poet Carl Sandburg's collection The American Songbag. What he's created is an extraordinary 13-track collection of new interpretations of timeless melodies. Both ambitious and commendable, the artist flavors these renditions with his impeccable timing, sparse but eloquent instrumentation, and a sense of adventure. "Shenandoah" starts the album off, followed by a medley of "I Ride an Ol' Paint"/"St. James Infirmary." These are the performances with the most jazz influence, but things get decidedly more Old West with "A Cowboy's Lament," featuring Antoine Silverman's very nice violin work. Calo essays his thoughts on much of the material in the liner notes, and the eight-page booklet is very detailed. The musicians attack this material as if it is their own, and that's the beauty of Cowboy Song -- sincere reworking of music, much of which came from a time before tape recorders. In probably the same fashion as classical music has floated down the rivers of time, so too "Red River Valley" is reborn with cello, violin, and Calo's acoustic guitar. "The Old Chisholm Trail" gets a slinky, eerie treatment, with Mike Harvey's vocals and what sounds like wah-wah meets slide guitar. The guitarist calls these "songs of the cowboys, the way I hear them now," and his vision is itself as exciting a find as the old sheet music that inspired him. The almost instrumental of Hank Williams "I'm So Lonesome I Could Cry" is a far cry from B.J. Thomas. Mike Harvey adds only dashes of vocal sound, blending it in with the electric guitars and violin. "Home on the Range" plays like Jimi Hendrix doing an acoustic version of his classic "Star Spangled Banner," while Calo's jazz roots invade the country picking of "Oh, Dem Golden Slippers." "The Streets of Laredo," "Yellow Rose of Texas," "Jesse James," and other selections get the treatment, and it is most enjoyable. There are lyrics to nine of the songs and even a bibliography. A really different kind of project worthy of attention.
Neil Sedaka is one of those artists who deserves to put out an album of original material at least once a year. His migrating to Elektra may not have been the wisest of moves after all the success at Elton John's record company, this disc containing the only Top 40 hit from Sedaka's time with the label that launched the Doors. And that came almost four full years after leaving Rocket Records, a staggering fact when you realize that Sedaka crammed the seven hits of his second wave into a span of less than two years. "Should've Never Let You Go" is a cute little father/daughter duet that climbed into the Top 20 in May of 1980, but it isn't the best moment on In the Pocket. Nor is it the best version of that tune. Originally tracked for the 1978 effort All You Need Is the Music, produced by Artie Butler and the singer, the solo performance entitled "Should've Never Let Her Go" shimmers and shines, proving that a good song is a good song and that this song is really special. Also confusing things is the co-write with daughter Dara, "You're So Good for Me," which is a surprisingly superb effort. Co-writer Phil Cody comes up with a gem with the words to "Letting Go" while the late Howard Greenfield contributes the classic "My Friend," destined to become the title track of the best-of tribute to Greenfield after his passing. This album works best when Sedaka is himself, the arrangement of the standard "What a Difference a Day Makes" getting the after-hours treatment Sedaka gave to "Breaking Up Is Hard to Do" in 1975. When they dip into a bit of disco, the energy dissipates. It's production from Robert Appere and Sedaka reunited with some of the phenomenal session men from the "Laughter in the Rain" and Rocket Records glory days. Elektra's success with Tony Orlando in this genre was in those glory days, and by the time Sedaka hit at his new home, Queen were reigning on the charts. "Do It Like You Done It When You Meant It" sounds like Greenfield/Sedaka lyrically going back to their Captain & Tennille classic "You Never Done It Like That" from the 1977 George Martin-produced album that spawned the minor hit "Amarillo," though the formula isn't as good the second time around. An uneven album with some precious moments. If not exactly "in the pocket," it is still a good argument for consistent original albums from this unique and underrated composer/singer -- underrated when one considers the hits he's written for the 5th Dimension, Connie Francis, LaVern Baker, and others, though he still has not connected with that older crowd who seek out his contemporary, Neil Diamond.
From
the All Time Greatest Hits collection of Neil Sedaka where the
originals are all co-written with the late Howard Greenfield the two
minutes and twenty-seven seconds of "Next Door To An Angel" went Top 5
three months after "Breaking Up Is Hard To Do" hit #1. It is as much a
sequel to the song that came before it as "Judy's Turn To Cry" was to
"It's My Party", though not in theme and lyric, this is a musical sequel
with song construction and catchy and tacky (but fun) backing vocals
reflecting that which came before. The piano sound and snap on both
"Breaking Up Is Hard To Do" and "Next Door To An Angel" shot out of the
radio in such a genuine way that it seems they were sonically crafted to
be one with the transmitter in much the same way that The Four Seasons'
"Sherry" and "Big Girls Don't Cry" had a dominating sound and terrific
effect on the airwaves. It is a lost art that made radio listening so
much fun way back when, an art the world desperately needs to
rediscover. Another fascinating aspect of "Next Door To An Angel" is
that, as good as it is, it didn't generate the cover versions that
"Breaking Up Is Hard To Do" did. RCA Victor single #8086 was Neil
Sedaka's tenth Top 40 hit in less than four years, his third Top 5. In
the next eighteen years he would garner another eleven hits, only two
going higher on the charts than this, yet "Next Door To An Angel" has
somehow got lost in the shuffle. It's a song that is ready for the world
to hear again. https://www.allmusic.com/.../next-door-to-an-angel...
Neil Sedaka and Songs looks like a special album the moment you open the gatefold to this double vinyl package. Six pages of personal photographs, some taken by Sedaka himself, others of the singer posed with [Carole King](https://www.allmusic.com/artist/carole-king-mn0000174557), [Connie Francis](https://www.allmusic.com/artist/connie-francis-mn0000117064), Barbara Streisand, and co-writers Howie Greenfield and [Phil Cody](https://www.allmusic.com/artist/phil-cody-mn0000283192), combine with 36 performances for an intimate snapshot of an important artist with just his piano, voice, and many stories. It is brilliant, capturing the naked essence of a pop maestro without the strings, drumbeats, and production tricks others may use to hide potential flaws. And there are no major gaffes here, the term consummate performer created for people like Neil Sedaka. "Betty Grable" is the 31st of 36 titles which the singer/songwriter rattles off with ease and elegance; like every track here, it shimmers with life and is performed with total professionalism. This is a living history of this artist, beginning with Chopin's "Fantasy Impromptu" and followed by 17 Sedaka/[Greenfield](https://www.allmusic.com/artist/greenfield-mn0000827707) compositions, from the [Connie Francis](https://www.allmusic.com/artist/connie-francis-mn0000117064) hits "Stupid Cupid" and a tremendous "Where the Boys Are" to "The Diary"; "Oh Carol"; "Stairway to Heaven"; "Calendar Girl," the original "Breaking Up Is Hard to Do"; the latter-day minor hit "Amarillo," which Sedaka states sold three million units for [Tony Christie](https://www.allmusic.com/artist/tony-christie-mn0000744661) in Europe; a brilliant rendition of the tune written for chanteuse Jane Oliver, "One More Ride on the Merry-Go-Round"; up to the first composition included here co-written by [Phil Cody](https://www.allmusic.com/artist/phil-cody-mn0000283192), the poignant "Solitaire." It is one of only four titles Cody contributes, the others include their first hit together, "Laughter in the Rain," the [John Lennon](https://www.allmusic.com/artist/john-lennon-mn0000232564)-inspired "The Immigrant," and an autobiographical "Brighton." Neil Sedaka rarely writes without one of his partners, but three of his solo efforts contain his own lyrics: "Leba's Song (Any Where You're Gonna Be)" (written for his wife), "Standing on the Inside," and the Top 30 "That's When the Music Takes Me," which hit two years prior to this 1977 recording. The drama and majesty of "Cardboard California" becomes an extraordinary example of Sedaka's piano technique and audience rapport. They start clapping along on "That's When the Music Takes Me," the only accompaniment on this disc. The encore is the 1975 slow version of the 1962 up-tempo hit performed earlier, "Breaking Up Is Hard to Do." There is no exact date of the concert written on this album, which was released in 1977, and most likely recorded at that time as well. The 1976 RCA release, Sedaka Live in Australia, recorded when daughter [Dara Sedaka](https://www.allmusic.com/artist/dara-sedaka-mn0000957273) was seven, also fails to document the tour date, which was about 1970, and was released almost simultaneously with this record to capitalize on the new found fame, featuring an orchestra conducted by Lionel Huntington. There are many Neil Sedaka live recordings, but these two in particular are good to compare the depth of the artist while performing with and without other instrumentation. He captivates audiences with the same command [Carole King](https://www.allmusic.com/artist/carole-king-mn0000174557) and [Neil Diamond](https://www.allmusic.com/artist/neil-diamond-mn0000864209) have over their fans while performing live, and this disc includes just the right amount of talk in between the tracks to keep the flow going without distraction. Neil Sedaka and Songs is a very fine representation of Neil Sedaka's recorded history.
Neil
Sedaka Sings His Greatest Hits from 1962 -- containing the pop singer's
material from the late '50s and early '60s -- is not to be confused
with the 1976 Rocket Records compilation Neil Sedaka's Greatest Hits,
though the two 12-song single discs from different decades make an
almost comprehensive collection of his 21 Top 40 recordings, as well as
pretty good bookends. You won't find "Where the Boys Are," his big
Connie Francis hit, here, though Sedaka does belt that one out live,
which brings our attention to the downside of this otherwise fine
roundup of songs composed with lyricist Howie Greenfield. The first ten
songs to make the grade from 1958-1962 are here, including the
double-sided "You Mean Everything to Me" and "Run Samson Run," Top 20
and Top 30 showings, respectively, that are about as effective as "Sweet
Little You" and "King of Clowns," not up there with the best of Sedaka.
The amazing thing about the material, though, is seeing the proficiency
the team of Greenfield and Sedaka attained, and that progress is easy
to follow. "The Diary" hit when the singer was 19 years of age in
December of 1958, four months after Little Anthony took "Tears on My
Pillow" Top Five. The influence of one song on the other is obvious; the
composers emulated the music they heard on the radio while developing
their own voices. The success of "Calendar Girl" in 1960 and "Happy
Birthday Sweet Sixteen" in 1961 have the charts rewarding the pair as
their craftsmanship evolved. (By the way, did their "Stairway to Heaven"
inspire the more famous Led Zeppelin song? It probably did -- Page and
Plant were always in the market for a good title to lift; they have
Rosie & the Originals to thank for influencing their sole hit of
1973, "D'yer Mak'er.") This record is more influential than it has been
given credit for. The culmination of Sedaka and Greenfield's efforts
resulted in their finest moments here, "Next Door to an Angel" and
"Breaking Up Is Hard to Do." Both are exciting pop songs that remain
irresistible and exhilarating decades after they were recorded. Rather
than start things chronologically with "The Diary," Nevins-Kirshner
smartly open up the album with "Next Door to an Angel" and kick off the
flip with "Breaking Up Is Hard to Do." Maurice Seymour's four snapshots
of Sedaka on the original issue of this disc range from high-school
yearbook-type photographs to the look of a soon-to-be crooner, and if a
picture's really worth a thousand words, they explain why Sedaka still
doesn't get the attention often received by Barry Mann, Gerry Goffin or
Jeff Barry. Yes, there are the obligatory tacky liner notes from a
mysterious "Carol" (teasing that maybe Carole King scribbled the
silliness) and, as mentioned, filler that the Connie Francis hits
"Stupid Cupid" (August of 1958, four months before Sedaka's first hit on
his own) or "Where the Boys Are" could have cured. LaVern Baker's
R&B "I Waited Too Long" in June of 1959 is proof of how hip this
artist really was at a very early age. Its inclusion here would be
preferable to "King of Clowns," but those were the '60s -- and it
doesn't take away from the fun that does exist in these grooves. ~ Joe
Viglione https://www.barnesandnoble.com/.../sings-his.../72246
Neil Sedaka and Songs Review by Joe Viglione https://www.allmusic.com/album/neil-sedaka-and-songs-mw0001177643?fbclid=IwY2xjawJNNa1leHRuA2FlbQIxMAABHdlJdAMEx2QqpRf_OqEGtKje-WATw2OSOAxBb5urFZ8O1I9ZQ_M344XP8Q_aem_ywxZUY544j8TsE1GcSyXHQ
Neil Sedaka and Songs looks like a special album
the moment you open the gatefold to this double vinyl package. Six pages
of personal photographs, some taken by Sedaka himself, others of the
singer posed with Carole King, Connie Francis, Barbara Streisand, and co-writers Howie Greenfield and Phil Cody,
combine with 36 performances for an intimate snapshot of an important
artist with just his piano, voice, and many stories. It is brilliant,
capturing the naked essence of a pop maestro without the strings,
drumbeats, and production tricks others may use to hide potential flaws.
And there are no major gaffes here, the term consummate performer
created for people like Neil Sedaka. "Betty Grable" is the 31st of 36
titles which the singer/songwriter rattles off with ease and elegance;
like every track here, it shimmers with life and is performed with total
professionalism. This is a living history of this artist, beginning
with Chopin's "Fantasy Impromptu" and followed by 17 Sedaka/Greenfield compositions, from the Connie Francis
hits "Stupid Cupid" and a tremendous "Where the Boys Are" to "The
Diary"; "Oh Carol"; "Stairway to Heaven"; "Calendar Girl," the original
"Breaking Up Is Hard to Do"; the latter-day minor hit "Amarillo," which
Sedaka states sold three million units for Tony Christie
in Europe; a brilliant rendition of the tune written for chanteuse Jane
Oliver, "One More Ride on the Merry-Go-Round"; up to the first
composition included here co-written by Phil Cody,
the poignant "Solitaire." It is one of only four titles Cody
contributes, the others include their first hit together, "Laughter in
the Rain," the John Lennon-inspired
"The Immigrant," and an autobiographical "Brighton." Neil Sedaka rarely
writes without one of his partners, but three of his solo efforts
contain his own lyrics: "Leba's Song (Any Where You're Gonna Be)"
(written for his wife), "Standing on the Inside," and the Top 30 "That's
When the Music Takes Me," which hit two years prior to this 1977
recording. The drama and majesty of "Cardboard California" becomes an
extraordinary example of Sedaka's piano technique and audience rapport.
They start clapping along on "That's When the Music Takes Me," the only
accompaniment on this disc. The encore is the 1975 slow version of the
1962 up-tempo hit performed earlier, "Breaking Up Is Hard to Do." There
is no exact date of the concert written on this album, which was
released in 1977, and most likely recorded at that time as well. The
1976 RCA release, Sedaka Live in Australia, recorded when daughter Dara Sedaka
was seven, also fails to document the tour date, which was about 1970,
and was released almost simultaneously with this record to capitalize on
the new found fame, featuring an orchestra conducted by Lionel
Huntington. There are many Neil Sedaka live recordings, but these two in
particular are good to compare the depth of the artist while performing
with and without other instrumentation. He captivates audiences with
the same command Carole King and Neil Diamond
have over their fans while performing live, and this disc includes just
the right amount of talk in between the tracks to keep the flow going
without distraction. Neil Sedaka and Songs is a very fine representation
of Neil Sedaka's recorded history.
A
friend of mine posted: … Larry Tamblyn of the Standells passed away
today. He was a fun friend on Facebook and of course the Standells were a
cornerstone band in the garage
rock genre!!!! Dirty Water. The second producer for the Standells
was Sonny Bono. Here's the Demo That Got the Deal for the Standells
with guest host Joe T on my show https://youtu.be/_1W9kg1Q6Zs
As
Harriet Schock released her Nik Venet-produced American Romance on her
own, with former labelmate Genya Ravan similarly giving the world For
Fans Only on Award Records in 2002, yet another alum from the 20th
Century label has heard the calling. Miss Diane Renay hit number one on
the adult contemporary charts in 1964 with her Top Ten 45 RPM "Navy
Blue," and has come up with a fantastic double-CD retrospective of her
recording career which fans of girl groups and good music will
absolutely treasure. There is a fun, 1987 dance-oriented remake of her
biggest hit on CD two, but that's only one of the excellent moments
here. "Little White Lies" sweeps in, opening CD one with that sound that
Connie Francis did so well. It was produced by Pete DeAngelis, who
worked with Frankie Avalon and Al Martino, and was released on Atco
Records in 1962 when she was only 16. In "Dynamite" you can hear the
distinct sound that Bob Crewe helped the Toys get when producers Linzer
and Randell put together the recordings that make up The Toys: A Lover's
Concerto/Attack for Crewe's label. In a bit of synchronicity, the
Barbara Now album was released by the Toys' Barbara Harrison her own
imprint, receiving good press, around the same time as this project.
Harris sang backup on Renay's second hit, "Kiss Me Sailor" (not on this
collection), and recorded the Beatles' "Yesterday" on her original A
Lover's Concerto album. Renay includes her version of "Yesterday" here,
which brings it all full circle. These amazing talents give the fans
what record labels are supposed to in this business -- the release of
great music. The classy Diane Renay shifts gears again with "Falling
Star," followed by "The Company You Keep," and this material is so
strong, one wonders why this artist doesn't have a string of hit records
up there with Dusty Springfield, Petula Clark, and other divas of the
day. "The Company You Keep" has little riffs from her big hit, "Navy
Blue," tucked neatly in the instrumentation, while "Troublemaker" has
that gritty vocal style that made Brenda Lee's pop numbers so memorable.
There
are 17 songs on CD one, which clocks in at around 42 minutes and 53
seconds. The second disc holds another 18 tunes for 62 minutes and 53
seconds, a whopping 105 minutes and 46 seconds of music from this pop
princess who has been away from listeners for far too long. The liner
notes are extensive and give the story; track number 17 is her first
test demo, "Zing Went the Strings of My Heart," recorded when she was 13
or 14 years old, around 1960. There's the story of how her parents knew
a cousin of producer Pete DeAngelis, who brought her to Atco and to the
attention of Jerry Wexler, who introduced Renay to Bob Crewe. The
liners are so packed with information that one needs to go to the web
page, www.dianerenay.com,
to get the six pages of liner notes and three additional bio pages.
There is not enough room here to rave about the 35 tracks, from "Please
Gypsy," which sounds like a sequel to Lou Christie's "The Gypsy Cried,"
to the beautiful covers of the Chantels' "Maybe" and Mel Carter's "Hold
Me, Thrill Me, Kiss Me." This is magical stuff full of solid pop music,
majestic girl group gems, and dynamic performances from Diane Renay's
first demo up to the impromptu recording of "Somewhere Over the Rainbow"
during (but not at) the 1987 "Navy Blue" remake sessions. Diane Renay
recorded a wealth of important music, and like the aforementioned
singers, has not received her due. For fans of the genre, this double
set is just terrific; every track is filled with the stuff that true
fans go crazy at record shows looking for. Just a tremendous effort
deserving of much attention.
Blu
Lyon is a music creative and performer deeply rooted in Caribbean
music. He was born to the legacy of Soca legend Superblue, his estranged
father. His sisters Terri Lyons and Fayann Lyons also made and are
making waves in the lively Soca music scene.
Blu
Lyon's musical canvas is predominantly the dancehall genre. His
production has been used by dancehall talents like Vybz Kartel, Mad
Cobra, Mr. Easy, Mega Banton, Dexta Daps, Gyptian and Maestro Don. Blu
Lyon's talent has also earned him opening performance spots for
established acts like Ryan Leslie, Fetty Wap, Dexta Daps, Funk Master
Flex and more
During his high
school years Blu Lyon encountered his innate ability to merge hip-hop
with the infectious vibes of dancehall. While pursuing his studies in
college, Sony Music and associates of Murder Inc. took notice of his
production work, but unfortunately, those opportunities
dissipated. Blu Lyon's grandmother misplaced the number to the Sony
Music executive who attempted to contact him, and the Murder Inc.
affiliate who he was supposed to meet faced an untimely death.
Despite
these setbacks, Blu Lyon persevered and was introduced to members of
Beatmania Studios, who became his allies in music production. With them
he recorded his first dancehall/reggae song that saw some considerable
attention; "Poor No More". The song went semi viral on YouTube and was
loved by many European music fans. He also met and began working with a
Dexta Daps who had just started his musical journey at Beatmania.
Jamaica
soon became a second home and place for creative communion with his
close friends and business partners JJ Wizzle, Rico Tayla, Kev watts,
and Jermaine Vybz; Yardstyle Entertainment.
Blu
Lyon's music has received considerable airplay and features on
Caribbean radio, TV and other notable media outlets. He also pushed his
creativity showcasing his versatility as "Smoke" in the web series Sons of Kingston.
His
latest accomplishments include his production work for a Pepsi Jamaica
commercial featuring dancehall artiste Laa Lee, a No. 1 spot on the
iTunes reggae chart with his single 'Walk With The Vybz', a plaque
acknowledging 2 million cumulative video streams of the song 'Pioneer'
with Bounty Killer and Maestro Don, and significant interest in two of
his solo releases 'Bu$$ Fare' and 'Cheat With Benefits'.
His
latest releases are the 'Only Fans Riddim' ft. Dexta Daps, Gyptian
& himself and 'Back It Up' which he worked on with JJ Wizzle. Blu
is also working on an album entitled 'Super Blue's Bastard Son' which
has seen significant delays due to a multitude of reasons, however it is
still a project he plans to release. To engage with Blu Lyon's digital
space and experience more of his work you can visit his official
website www.blulyon.com.
Matt Turk knows how to spin an instantly memorable tune, and how to deliver. From “Everybody in the World,” “In the Middle of the Night” to “Without Her” this is the work of a craftsman with superb playing, production and vocal delivery. The seven songs are like a time machine, “I am Guitar” could have been written and performed by Stephen Foster and seemingly could be found on Peter Calo’s Cowboy Song, tribute to magical old time compositions. “Lottery” goes back to the future, more contemporary and enticing. When Ray Charles released Modern Sounds in Country and Western Music it was actually a pop masterpiece, with genres colliding. Turk has designed some modern sounds in contemporary folk/rock. “This Old Way” has the elegant stuff, while “Beautiful Day” concludes the album the way Paul McCartney put “Honey Pie” on the White Album.
PRESS RELEASE
“In Between” is Matt Turk’s latest solo release. The collection of 7 original tunes crafted over the last several years highlight Turk’s dedication to song craft. Satisfying original melodies, strong, clear lyrical content, professionalism and expertise embody “In Between”. “In Between” is a great group of tunes with production on point.
With a working friendship that spans 25 years, Matt Turk and Kevin Hupp (Iggy Pop, Edgar Winter, Rufus Wainright, Rick Derringer, Eddie Van Halen, Maceo Parker) have reemerged with a dynamic, clear new recording together. For a recent recording session of “Riley Shy”, a collaboration for Illusion Genius Ben Robinson’s new work Majikal, Turk brought in Kevin Hupp to nail the drums at the session with Hamilton bassist, Deadgrass’ Dave Richards and Grammy Winner, Sherwood Ridge studio owner C Lanzbom. After the session Turk and Hupp were speaking of new creative projects and both realized there was a window of opportunity to ride together again and cut a new record. Over the last years, these two seasoned vets endured changes yet again in the music industry, Covid and rediscovered a deeply shared love of song craft and recording. It was out of this context that "In Between" was born. Agreeing to meet over the summer of 2024 at Hupp’s studio, the Groove Room, Turk wrote all words and music, and co-writing “Without Her” with Hupp. Matt Turk sings, plays acoustic guitar, mandolin, mandola and electric guitar. Kevin Hupp produced "In Between", plays drums, percussion, keyboards and sings background vocals. Along with bassist David Richards, the three together embarked on a joyful journey creating “In Between”.
Spoiler alert: SUITS LA SUCKS
To quote the great Roma Maffia from the film Disclosure, LA Suits lacks any managerial
brio. What I love about the old Perry Mason series (and spin-offs Jake and the Fatman, Matlock and Diagnosis Murder, and let's face it, Law & Order SVU is definitely a Perry Mason spin off) is the terrific stories, directing delivery/acting, they work on all cylinders.
Was SO excited to go back to the worlds of Suits, White Collar, even the m.i.a. Lincoln Lawyer. They all are captivating, fun and exciting. Episodes 1 and 2 of Suits LA both have no character development, no identity, at least when the comedy vinyl lp The Masked Marauders did a parody of Bob Dylan and Mick Jagger it was humorous. There is no humor in this watered-down pathetic excuse for a Suits spin-off. If you like boredom and a television program that says nothing, does nothing, this empty suit is for you. The original is still the greatest.
Elliott Murphy “Infinity” Album
March 7, 2025 Press Release
“Infinity” - The 52nd album by internationally acclaimed American rock singer-songwriter (and long-time Paris resident) Elliott Murphy contains nine musically eclectic songs with the kind of provocative lyrics associated with Elliott since his ground-breaking debut album Aquashow (1973). “Infinity” will be released March 7, 2025 on all streaming platforms (Spotify, Apple Music etc.) as well as on a limited edition CD and Vinyl LP.
Produced by Gaspard Murphy, son of Elliott and a producer in the French pop music world, “Infinity” was recorded at Murmure studio in Paris with Elliott's virtuoso guitarist of 29 years Olivier Durand along with Melissa Cox (violin), Alan Fatras (cajon and percussion). Song titles include “Granny Takes A Trip,” “Red Moon Over Paris,” “Baby Boomers Lament,” “The Lion in Winter/The End of the Game,” “Fetch Me Water,” “Three Shadows,” “Makin’ It Real,” “Night Surfing,” and “Count My Blessings.”All songs (except “Count My Blessings”) were composed by Elliott Murphy in an energetic flurry of creative activity last year.
“For me “Infinity” is a collection of energetic cultural icons dancing their way to all kinds of music. Inspiration comes in waves and new songs started crashing onto the shores of my consciousness sometime last year as I sat with my fingers on the strings of my 1961 Fender Strat or my hands on the keys of my 1973 Fender Rhodes electric piano, trying not to filter myself, and staying open to wherever the words, melodies and chord changes were leading. Each new album I release takes the shape of a novel with songs as chapters and I hope “Infinity” tells a story of our current confusing times and hazy future with icons keeping us grounded.”
Back in the early days of the Boston Rock and Roll Scene it was James
Isaacs’ Cellars by Starlight and Rory O’Connor at the Real Paper who
ran weekly columns that benefited our music scene greatly. Along with
those pioneers was Ms. Janis Reed’s monthly column in Musicians’
Magazine, which migrated to The Beat in the 1980s.
As I managed Janis and she is somewhere in South America, I decided a
few years back to resurrect the column in Billy Tauro’s
Somerville/Medford News Weekly.
My goal is to inspire more rock writing in Boston, and to give exposure to veteran musicians as well as the up and coming.
A GREAT PLACE TO MEET IS AT BRISTOL STUDIOS
WHEN: Friday March 14, 2025 @ 7 pm! WHERE: Bristol Recording &
Voice Studios 238 Huntington Ave. Boston, MA 02115 It’s an Open Mic
night
Admission goes toward a studio services raffle for all participating
artists! Pre-registration is required for all performers Give us a call
to learn more: 617-247-8689 Or email us at info@bristolstudios.com
Original music or covers are welcome Bring your own tracks or accompany
yourself Keyboard & PA system provided This is a family-friendly
event – no profanity, please!
Owner Ric Poulin told me via phone on Saturday, the 22nd, that they tape the performances. Call the Studio for more details
DEAN PETRELLA, bassist Chris Cruz and drummer Anthony Marotti = THE COMPLAINTS ARE BACK!
One More Fight by Dean and the Boys is now out https://youtu.be/yx8sjgKs69w What’s intriguing about this tune is that an acoustic duo version is available before the recording happened https://youtu.be/iogsIQcv2ts
Dean Petrella, performs One More Fight Live from Alley Taps, Nashville
TN 9.12.2023. Co-written by Joe Martira. Songwriter showcase at this
legendary Nashville hot spot. Impromptu guitar work from the legendary
John Brazile. The song works as an acoustic number or with the band’s
legendary trademark sound. Their debut album, Fear, from 2000 means that
this is twenty-five years of refining and defining their sound, a
quarter of a century. It shows on “One More Fight” which perfectly
continues their great structured work of melodic rock
Aart Knife has an amazing new band Wicked Theory
When Aart was on my Boston Rock and Roll Anthology #2 in the band L-88
they were a big hit on WBCN – the early 1980s, and we put them in the
Worcester Centrum with Blue Oyster Cult due to the popularity of the
hit.
“This Could Be Love” by Wicked Theory, an all original hard-rock
quintet, clocks in at 3:02. Wonderfully layered guitars in the
twenty-two second intro draw you in with Jodee Frawlee’s distinctive
voice setting the pace. Not a cover of The Cars “This Could
Be Love,” Wicked Theory has its own brand of crunching, relentless rock
that would fit on any free-form radio signal. Led by L-88/Theory 13
guitarist, producer Aart Knyff, and with versatile bassist Tony Franklin
(The Firm, White Snake, Blue Murder, Bonham and original Foreigner
vocalist Lou Gramm,) Keith Ryan on drums and Jeff Instasi on rhythm
guitar and vocals, these veterans create an intelligent, fun and
explosive rock sound that delivers the goods. Frawlee’s authoritative
and heartfelt approach to each lyric along with the web of guitars makes
for repeated spins. Music recorded at Compound Recording and mixed and
mastered at PDQ with 16 time Grammy Award winner Bob St John, “This
Could Be Love” is a winner. Joe Viglione 9:44 pm
And at Sanctuary – Cultural Arts Center
80 Main St, Maynard, MA 01754-2541 you can close out February on Friday
evening, the 28th at 8 pm Doors 7 PM | Show 8 PM with Gary Backstrom
Band and The Gravel Project
Liquid Light Show by Sons Lunaris
Originally created by Andrew Gravel (vocals, guitar), The Gravel Project
is an all star band of Boston music veterans including brother, Jordan
Gravel (organ, keys), Dave Fox (drums), and Eguie Castrillo
(percussion). The Gravel Project’s live show blends rock, world music
and jazz with power and soul. Carrying the tradition of 70’s blues and
psychedelic rock music, The Gravel Project embodies the spirit of
Santana combined with the classic raw energy and moving songwriting of
The Allman Brothers and Tedeschi Trucks Band. With three studio albums, a
live album and countless past performances, the future is bright for
Boston’s The Gravel Project, and as the title of their 2022 studio album
suggests, there are “Many Miles Ahead.”
The Gary Backstrom Band will be opening the night – a Boston-based band that mixes Soul, R&B, Funk, Rock and Latin grooves
RADIO SHOW OF THE WEEK, ROCK UNDER THE RADAR WITH MARIAN FERRO Rock Under the Radar
Marian Ferro is the host of this show on Mark Skin Radio
Q: When did you first start in radio?
A: 14 years ago, 2011 on the Watertown public access station, WCAC. I
was on WMFO starting in 2016. When covid was rampant, we community
members were not allowed to go to the station. I’m still technically on
the staff but I had to stop doing a show when my hip problems made it
impossible for me to walk up those stairs.
Q:Where do you find the music that you play?
A Many places. My boyfriend, Walter, is always finding new bands/CDs.
Musicians, publicists, and labels send me some music. I also try to
keep up with artists that I like to find out when they have something
new.
Q:How do artists contact you?
A Sometimes email, sometimes through Facebook *Marian’s e mail is attila5@comcast.net
Q:Tell us the focus of the show
A It’s called Rock Under the Radar because I focus on rock, and I
like to introduce my listeners to artists/music that they don’t yet
know. I also play a lot of blues, and local artists, some local
classics. And I end each show with the piece de resistance; Serious
Guitar Time!
JV: Thank you for participating
Upcoming show: Come down and rocknroll in Roslindale.
Hambone Skinny The Guilloteenagers Screw Cart
The Square Root March 29, 2025 8PM $10 The Square Root
2 Corinth St, Roslindale, MA 02131-3015,
Kenny Selcer has a terrific video with “Waves” 5 minutes and 8 seconds of instrumental magic https://youtu.be/LhFw4v6GHOY
Kenny’s cover of Lowell George’s ”Willin” is sublime. Willin’ by the
great Lowell George of Little Feat fame. Enjoy! Please subscribe to my
You Tube channel: http://www.youtube.com/user/kenselcer
Paul Norman has a TV show Music Alive North Shore which we will
profile soon. Check out the Facebook page. Paul’s son, Alex Norman is
doing music in Mexico and has an autobiographical song out, The Space
Between.” https://www.facebook.com/reel/1007971737888431
Hummingbird Syndicate will be at the Tavern at the End of the World
in Boston with Low Spark on March 9th at 4:30 pm 5pm – 6pm Hummingbird
Syndicate 6:20pm – 7:30pm Low Sparks. Hear 5 minutes of pure Pop with
“Gracefully” from Lynn Shipley, Steve Gilligan, Jon Macey and the gang.
You tube here: https://youtu.be/kd7cH79K0wA
It’s a gorgeous video and a classy, memorable guitar line that Macey
has been known for from his days in Fox Pass, Mercury Records’ Tom
Dickie and the Desires and Macey’s Parade. Continue reading The Joe Vig Top 40 www.joevigtop40.com→
As for Low Spark: Lucky Girl EP
Short review by Joe Viglione
Released on November 15, 2014
the Lucky Girl EP bv Low Sparks is smart pop with bursts of melodic
energy that delights. “I Just Want You Back” is five minutes and six
seconds of a wonderful musical excursion, kinda like a sequel to the
Rolling Stones’ “Wild Horses.” A slow groove with pensive vocals and
music
that would make Gram Parsons proud. “No Getting Over You” is reminiscent
of Emmit Rhodes, “I Just Want You Back” is five minutes and six
seconds of a wonderful musical excursion, kinda like a sequel to the
Rolling Stones’ “Wild Horses.” A slow groove with pensive vocals and
music
that would make Gram Parsons proud. “No Getting Over You” is reminiscent
of Emmit Rhodes, while New Year’s Day and its chorus of “just let go”
would be welcome on any post-Lou Reed Velvet Underground album from Doug
Yule. Thanks to Bandcamp where I found this https://lowsparks.bandcamp.com/track/new-years-day
If you want some spectacular reggae, listen to HONEY B
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 http://www.joevigtop40.com
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
Babygirl, Nicole Kidman
Age Gap relationships a big thing nowadays, especially on YouTube
with Cher, Mick Jagger, Rupert Murdoch and so many others dating people
they love that are…well, people, where age doesn’t matter. A handsome
young intern – Samuel (Harris Dickson,) plays mental games with a CEO
(Romy) played by Nicole Kidman. “Incredibly inappropriate” is the
catchphrase from Samuel, whose competition is Antonio Banderas as Jacob.
On IMDB everyone has a first name only, and what could have been
devolves into a long, drawn-out watered down Fatal Attraction. When
Antonio and Harris (or Samuel and Jacob, how Biblical) get into
fisticuffs the first thought that came to my mind was….threesome.
Unfortunately they all don’t jump into bed (good idea for a sequel) and
it just kind of fizzles away. If mind games and good looking people are
on your menu for a nice night out…or nice night at home streaming,
well, Babygirl is your cheap fling at the movies.
Zach Kaas & The Macrocosmonauts have a truly post-psychedelic
video with “Stock Tips.” It’s a driving well-played song with unique
splashes of pop/jazz and musical diversions that keep your attention.
Music, Lyrics & Visuals by Zach Kaas Mixed and Mastered by Jason
Felitto at My Lady On Fire (Brighton, MA)
Chicago, Live at 55, DVD/Blu Ray on Mercury Studios (the old Eagle
Rock) is a very Las Vegas look at the venerable band that delivered hit
after hit throughout the decades. From the press release: Chicago, the
legendary Rock & Roll Hall of Fame band with more than 100 million
albums sold worldwide, are captured in this 2½ hour event recorded this
past November at Ovation Hall at the Ocean Casino Resort in Atlantic
City, NJ in front of a live audience of 10,000 fans over two nights.
The film, produced by Award Winning Producer Barry Summers as part of
the critically acclaimed Decades Rock Live concert series, features the
band who play songs from the album, including some
never-before-performed songs as well as “unplugged” versions of some of
Chicago’s classic tunes.
Joined by special guests Robin Thicke, Chris Daughtry, Steve Vai,
VoicePlay, Judith Hill, Robert Randolph and Christone “Kingfish” Ingram,
each performance is visualized in vibrant video and animation.
Joe Vig’s thoughts: “Hard to Say I’m Sorry” is picture perfect, like
the hit single. From the 1982 film Summer Lovers, which could have been
much more (don’t blame the song, it fits in perfectly) flawless guitar,
flawless vocals, this professional band knows its audience and how to
deliver. Not for fans of the Velvet Underground who will find this
ostentatious and grandiose, nor will Deep Purple’s Appreciation Society
run to these sounds, but Chicago’s success was always playing to a
mainstream audience, different audiences through the 60s, 70s, 80s, but
always the mainstream in those audiences. Good for them. Well done, and
a supreme delight for their vast fan base.
E mail Demodeal@yahoo.com if you have music new or old and maybe you’ll get on the JoeVigTop40!!!
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