Monday, April 07, 2008

Top 40 for April 2008

April is under construction...stand by!

1)Kris Delmhorst Shotgun Singer
If Songs for a Hurricane, Kris Delmhorst's album from 2003, was deep and thought-provoking, this fifth solo CD (excluding side projects and EPs) released five years later, Shotgun Singer, wraps up that psychological web with sound modifications that go deeper and denser. The artist seems to take liberally from George Martin's efforts on Sgt. Pepper's Lonely Hearts Club Band and transfer those embellishments to the needs of a songwriter/singer in the same way that Emitt Rhodes emulated the first Paul McCartney solo LP, McCartney. The dangling vocal on "Midnight Ringer" squeezes out all emotion possible while the instrumentation goes about its business filling the available spaces in highly entertaining fashion. Keep in mind, all this praise isn't saying that this is "the next Sgt. Pepper's" or anything of the sort, what is obvious is that Delmhorst picks up on great work and uses what came before to interpret her new ideas, forging a sound that is both original and appealing. Picture Joni Mitchell deciding to step into Brian Wilson's treasure chest of sound effects and very consciously — and cautiously — blending them like some aural chemist to interact with the words and melodies. "Blue Adeline" is simple yet majestic, the cymbals working as if they offer their own notes, the song following the path set by another K.D. — k.d. lang — on her masterpiece, Ingénue, which this artist clearly owes much to. That debt, though, is perhaps on another level, say the dark recesses that the Velvet Underground's Nico explored, yet fashioned to translate well to the arena where Delmhorst chooses to reside. Read more here:

2)The Rolling Stones Under Review 1967-1969

Where {^The Rolling Stones Under Review 1962-1966} had
its moments with eight commentators giving us the
beginnings of Stones history, this part 2 - {^The
Rolling Stones Under Review 1967-1969} with a dozen
critics and musicians interviewed - is truly superior
in its approach and in direction, a perfect segue to
the un-named part 3 of this trilogy from {@Chrome
Dreams/Sexy Intellectual}, the very excellent {^Keith
Richards Under Review}. Critic {$Keith Altham} is on
all three documentaries as is {$Tom Keylock}, and
they add wonderful insight, notably {$Altham}'s
essential critiques and historical perspective.
{$Thomas Arnold} is the narrator, as he is on the
Richards disc, replacing {$Mandy O'Neal} from the
first volume, and the storyline is meatier as the
"greatest rock & roll band in the world" move into
these new phases of psychedelia and what followed, the
time labeled their "golden era" with guitarist {$Mick
Taylor} and producer {$Jimmy Miller} enhancing the
sounds the band would generate. The previous
documentary ended with {&"(I Can't Get No)
Satisfaction"} while this edition opens with
{&"Sympathy For The Devil"}, interesting bookends with
so much territory to cover. Even die-hard Stones fans
who know much about the history will embrace the
clips, the perspectives and the chronology.
{$Alan Clayson} calls {&"Ruby Tuesday"} The Stones
version of {&"Yesterday"}, attributing the initial
writing of {&"Ruby Tuesday"} to {$Brian Jones} -
{$Keith Altham} also bringing up the fact it was a
{$Brian Jones} composition which {$Keith Richards} and
{$Mick Jagger} added to; Clayson also notes how {$Bill
Wyman} came up with the riff to {&"Jumpin' Jack
Flash"} - the many instances of this "plagiarism", as
Clayson calls it that is part of the Stones legend,
though the DVD doesn't go further into{$Marianne
Faithful} co-writing "Sister Morphine", $Ry Cooder's contribution to the hit version of {&"Honky
Tonk Women"}, {$Mick Taylor}'s work on {&"Time Waits
For No One"}, and the late {$Jimmy Miller} saying that
{$Billy Preston} actually wrote {&"Shine A Light"}.
One could do a family tree on the alleged songwriter
contributions, which this documentary actually
initiates in a way. For the fans the inclusion of
{$Anita Pallenberg}'s idea for the backing vocals on
{&"Sympathy For The Devil"} and {$Marianne Faithful}'s
action of giving {$Mick Jagger} a book which helped
develop the idea is essential food for thought on the
making of {^Beggars Banquet}. Read More Here:

3)Nick Drake "Under Review"

Though die-hard Nick Drake fans may find this hour and a half docu-biography superfluous, the general public doesn't have much of a clue about this puzzling but important musical figure. As with the Kate Bush entry in this "Under Review" series, the "review and critique of" Drake and his music is a wonderful introduction that gives a "Cliff Notes" look at him in a very warm and respectful way. With Fairport Convention alum Ashley Hutchings and Dave Mattacks as well as biographers Trevor Dann and Patrick Humphries, Incredible String Band's Robin Williamson and the usual insiders that Sexy Intellectual/Chrome Dreams track down to participate, the brief life of Drake is covered in such an engaging way that the unfamiliar viewer will most likely want to pick up on his music after hearing Drake's story. The Velvet Underground connection is touched upon and John Cale would've been a nice touch had he been interviewed for this; that's not a complaint, only a nod that the intense fan base of that group would certainly help spread the word with more efficiency. Read more here:

Kerry Kearney Welcome To The Psychodelta

5)Kris Delmhorst Songs For A Hurricane

The woman who played fiddle and sang on Carl Cacho's excellent Spark album releases a dreamy and elegant 50 minutes of music over 13 titles. Kris Delmhorst's Songs for a Hurricane do not overpower like Stacie Rose's and Deb Pasternak's fine and more rocking endeavors. This artist is subtle in her approach with music that comes up behind you and a voice that breathes through the speakers. The eight-page booklet stretches the lyrics to all the songs in scroll-like fashion down four of the pages, a good way to get this extensive material into the listener's hands. The packaging is very old world with a weather vane pointing southwest. "Blow me down and leave my lying in your wake," she sings on the title track, and there's no doubt it's a passionate albeit dysfunctional relationship, commentary that the person in question would "rage" and "rain" and how "you could see it coming on for miles." Boy, hasn't everyone been there. It's music to take to heart, and though Neil Young made a similar comparison on his original while Bob Dylan was referencing fighter Rubin Carter, Delmhorst uses track eight to wake the sleeping giant, having lulled you into a trance with "Waiting Under the Waves," and on "Weathervane" she does dip into that world where Rose and Pasternak explode on record. The production by Delmhorst and Billy Conway is commendable, and the different instruments by a host of musicians find their place, all the elements part of a fabric. Read more here:


This seven track CD entitled The Gathering has an intuitive drive and some controlled power that makes it appealing on many levels. Thirty-two minutes and three seconds total time harkens back to the days when vinyl lps held 15 minutes per side and, for a prolific bunch like Living Legends, the audience might feel a bit slighted though others may consider that the rappers are putting a heavier emphasis on this septet of sound essays than overloading the cd. The title track has an eerie keyboard juxtaposed against a solid beat and percussive sounds; it's the second longest piece on the disc, dips into Richard Matheson territory with a nod to "I am legend", and is a good way to kick things off: with a nice bang. "She Wants Me" follows with a hypnotic variety of sparse sounds under the narrative flowing into a killer chorus about a drugged-out psychotic bisexual girlfriend the protagonist met on myspace. It's territory Willie "Loco" Alexander covered in the 70s with a similarly-titled song MCA refused to release on the second Boom Boom Band lp, "Nazi Nola (She Wanted Me)", the stretch from heavy punk/R & B to R & B/rap not as far thematically as one might think. It's the rhythm and blues that is the common denominator with more misogyny infiltrating the funky "Pants On Fire", each track needing a parental guidance sticker. "War And Peace" has a slinky Parliament/Funkadelic guitar line that drifts under the verses which give in to a chant of "If you want to make war end you gotta start with peace...", a heavy vocal chorus of "war" a la Edwin Starr's classic 1970 hit the frosting on the cake. "Luva Changer" is even heavier funk/r & b with Stevie Wonder overtones pulled from the eternal soul textbook Songs In The Key Of Life}. While there's no direct lift of a famous hook such as Luckyiam's sample of Three Dog Night's "Easy To Be Hard" titled "Cruel" on his Myspace page, there are tons of nods to musical pieces strewn throughout The Gathering, the two minute and forty-three second "Samba" an interesting diversion before the tour-de-force final track. "After Hours" (Extended Euro Mix), the grand finale, is almost like a rap version of Lou Reed's "Coney Island Baby", a narrative that goes on for almost eight and a half minutes and even fades out a la Reed when Lou speaks directly to drag queen Rachel. Here {Living Legends} update that 70's classic with: "I want to give a shout out to Baby Rio, to Andy Kahn and all the hipsters...that shirt cost $60.00 that you just spilt Katsup on it's really limited edition..." The rant veers off into a bit of other similar raps from {$Armand Schaubroeck}'s 1978 nod to {$Lou Reed}'s {^Street Hassle}, the epic Ratfucker. The Legends continue to admonish the listener: "You shouldn't do drugs that are harder than you...(expletive, expletive, expletive) about you have a mind of your own man...if you're downloading this for free you're never going to get (expletive) again..." The keys and horns are a perfect blend of jazz and pop while the chorus pulls in some of the charm the group {$War} utilized on songs like {&"Why Can't We Be Friends"} ... "Living legends...we invented fun..." They didn't invent a good time, but this ever growing bunch certainly know how to perpetuate it and prove that on {^The Gathering}.
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American Speedway

Piss Ant Piss Off

REW* That*sr*ite

Review by Joe Viglione

Minimal underground rock has always had a place on college radio and in the caverns that cater to live music, jangly and primitive instrumental backing that has attitude by musicians who play for the fun of it. Mark Alexander and Teresa Starr of The Echoes take full advantage of the genre as does this ensemble on Rew*'s that*Sr*ite CD. On "Skeletonz" the lead singer wants to bare her soul, if the person she's singing to will reciprocate, right after "u annoy me", an essay full of relationship negativity that refuses any chance of reconciliation. This is an album chock full of soap opera dilemmas, one of the most effective being "u suck" which has so much invective and X rated language that rappers Living Legends might blush were they to do a cover of it. It also happens to have a great melody and is most useful when a highly sexual relationship is over and it is time to throw bottles at the wall. Combining the angst of L.A. punk rockers Piss Ant with the spirit of The Echoes results in a risqué approach to light sounds and pretty melodies smashing into heartache...and the mania that sometimes follows. The title track, "that*s rite", is a slinky, creepy Doors-influenced song about movin' on with the charismatic front woman matter-of-factly walking out the door. "megan", on the other hand, is a Lou Reed-ish ballad from his Coney Island Baby period and will appeal to fans of that classic cd; the subtle guitar lines are a pleasant touch Read more here:

Pierre Elaine "Litterature"

"Arrivederci" opens this creative and highly listenable album by Pierre Eliane of France. Available only in Europe, it was released in 1984. Eliane sings entirely in French, and although they say rock & roll is an art form most effective in English, this techno/dance album works musically and vocally. Eliane's best material is the tunes he pens about people, from "Isadora Duncan (A Quoi Tu Penses Quand Tu Danses)" to the closing title, "Song to Len." In between is the album's finest track, and the one of two titles, along with "Song to Len," to have any English — "Willie Take Care," dedicated to "Loco" Alexander, the Bostonian who toured Europe as a member of the Velvet Underground and recorded for Capitol with the Lost, ABC/Dunhill with Bagatelle, MCA as leader of the Boom Boom Band, and RCA Europe as a solo artist. As intriguing as "Etoile Hlm," "Paroles de Nuit," and "Ou Que Tu Alles" are on Eliane's disc, it is his tribute to Alexander which has a manic intensity, slashing guitars, deranged vocals, and true rock & roll passion. It opens with a slow techno stomp and simply and quickly falls into the tense chorus. Eliane's voice creates a hook with his "aaahhh" — almost an answer to Alexander's "uh yuh uh yuh," which was a battle cry in the dungeons of Boston rock music. The production by Manfred Kovacic is really extraordinary.


Recorded simultaneously with her Shotgun Singer CD but issued prior to that release, the difference here is that Kris Delmhorst takes established writings by the likes of Edna St. Vincent Millay, Rumi, e.e. cummings and a variety of other established wordsmiths, finding not only inspiration in their thoughts, but embracing their artistry within her own in much the same way that author Sena Jeter Naslund found motivation for the novel Ahab's Wife in Herman Melville's Moby Dick. Walt Whitman probably never envisioned his "A Passage to India" translated into "Light of the Light," a production that might feel a bit out of place on this country/folk disc, but still works within the context because Delmhorst is a confident (and accomplished) musician and visionary who won't let a genre interfere with what she chooses to discuss. It is also the most radio-friendly track and has "hit" written all over it. Strange Conversation sounds like it was influenced by the Byrds Sweetheart of the Rodeo more than poetry from long ago and contains the Delmhorst stamp to such an extent that unless one is familiar with the source material they'd miss the fact that this is a collaborative effort. Self-produced in North Reading, MA with engineer Chris Rival on the boards, the sound is very consistent with this artist's other releases while stylistically dipping into other bags. The cover art of piles of books against the color green suggests a spoken word disc and hardly indicates that such an exciting palette of sound is contained herein.
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RATFUCKER Armand Schaubroeck

The darkest and best of Armand Schaubroeck's onslaught of recordings from the '70s, this descent into the gutter is the underground version of Lou Reed's Street Hassle. Both recordings were released in 1978, and both feature the artist on the cover with sunglasses reflecting a twinkle from the light. Schaubroeck may have been mimicking what Reed put out to the world — Street Hassle was released in March of 1978, Ratfucker recorded in June and released sometime after — but regardless of the intentional cop, Schaubroeck sure is persuasive. Street Hassle is Reed once again on the outside looking in; as with Berlin, his narration is detached from the violence he explores. Armand Schaubroeck, on the other hand, is a convicted criminal, so the rat with a knife through its throat on the front cover, dripping blood on Schaubroeck's hand, is totally believable. "Ratfucker," the title track, is the best Lou Reed song Reed never wrote, but there is no doubt this is spawned from the former leader of the Velvet Underground's work. The three minutes and 47 seconds of depravity are perfectly recorded, unlike the Richard Robinson/Lou Reed experiment with "binaural sound." No — Ratfucker has the sound and the vibe promised by Street Hassle, the unnerving, cold, heartless tale of a man who robs babies and sells them for 4,000 dollars to perspective parents: "Anything you want C.O.D. baby/C.O.D. on my block."

Cactus Live

Mat Treiber

Born in Montreal, 1979, New York folk rocker Mat Treiber, married to chanteuse Roxanne Fontana, has released this five-song EP on the same label as his wife (Etoile Records). Produced by Benji King, who played keyboards on Fontana's splendid debut, Love Is Blue, this collection has a lot in common with fellow New Yorker Matt Turk. Concise pop songs like "She's Got It Good" are radio-friendly, crisp productions. No-nonsense performances and no-pretension vocals bring tunes like "Sinking Fast" back to your consciousness after you've walked away from the disc. Treiber's voice, particularly on this cut, is almost a clone of Soft Cell's vocal sound on "Tainted Love," although this song is more basic rock than that techno hit. The fade has great interaction between the guitar, keys, and drums. Treiber makes a chameleon change with his reading of "Victoria the Queen," sounding like a British balladeer.

ROXANNE FONTANA "LOVE IS BLUE" Produced by Dino Danelli

Review by Joe Viglione
"The Whirlygig" defines this album produced by the Young Rascals' Dino Danelli, a driving original with Fontana's distinctive voice sounding like a techno Jackie DeShannon, a mesmerizing hook, and dark keyboards and production by Rascals drummer Danelli. It's hard to figure out exactly what a "Whirlygig" is, perhaps some kind of ancient graffito writing by teachers and skywriters. There's a reference to Brian Jones, and if the music doesn't sound like early Rolling Stones, she certainly has their attitude, and Marianne Faithful's to boot. "Spring in Love" is a thumping Nico kind of rock/dance episode, again Danelli adds a real mood. "Your Monkey Slides" slinks in with more drama and less intensity, "When you're done with me where will you land?" Mysterious and inviting stuff. Recorded at Bombshelter Studios in New York, the "bombshelter" mix of the title track is the first of two versions. This is an exquisite rendering of the smash Paul Mauriat and his orchestra's number one instrumental from January, 1968

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Roxanne Fontana souvenirs d'amour

souvenirs d'amour - all music guide review
Roxanne Fontana's 1999 release was produced by the Rascals' Dino Danelli and had more of a dance feel. This self-produced, ten-song CD shows musical growth and is a fun excursion into Fontana's vision of new wave and power pop. "Eyes of the Defeated," with its dense guitars by the artist, dark vocal, and underground rock vibe, is a successful blending of pop and punk. Dressed like a '60s British artist on the inside cover, a la Twiggy, the Italian Fontana reminds one of a rock & roll Francoise Hardy, a Marianne Faithful without the despair. "Deep Sea" is a compact, nearly three-minute trip featuring fellow Etoile artist Mat Treiber on guitar. (Treiber married Fontana in between the release of her first album and Souvenirs d'Amour.) On "Roman's Holiday," the singer's voice dances over plucky guitar and drums set far in the background. Fontana does a fine job producing herself, and the record is a departure from the sound forged on the debut disc. Gordon Raphael's flute adds to the mystery, with that "She's a Rainbow" style the Rolling Stones played with. In fact, that song would be a perfect cover for Fontana, who wrote all the titles here except for McTell's "Michael in the Garden," the wonderfully dreamy opening track. Laurent "Lolo" Piacentino's drums create a nice foundation for Fontana's questioning vocal. Read more here:,,1130420,00.html

Francois Hardy "Maid In Paris"

Recorded in France, Maid in Paris contains six songs by Francoise Hardy sung in English, and six songs in French. "Only You Can Do It" is a subdued Dusty Springfield. Her delightful voice is backed by strings and very '60s pop guitar, bass, and drums. You can hear flavors of the production from Marianne Faithfull's version of "As Tears Go By," but Hardy's voice is not as fragile as Faithfull's. This material would fit nicely in a Bikini Beach movie with Annette & Frankie. The cover has Hardy with psychedelic pillows in a crate, dressed in black like some renegade version of the Velvet Underground's Nico. She doesn't have the homogenization or the range of a Celine Dion, but she should have dominated the U.S. charts during the era of Lulu and Petula Clark. "I Wish It Were Me" is representative of this disc; it's a subtle theme like Cher's "The Way of Love," and clocks in at two minutes and 20 seconds (only the final song, "Je N'Attends Plus Personne," tops the three-minute barrier). "Another Place" adds a little drama, and is one of four that Hardy wrote on her own -- she co-writes seven other titles here -- and performs one tune written without her help. "How Ever Much" is a very pleasant French re-creation of the Phil Spector sound -- heavy on strings, with backing vocals right off Red Bird Records. It ends the English speaking side in very Shangri-Las like fashion. What is appealing about the French side is that the listener doesn't have to understand that language and the words to be entertained. The music speaks for itself. Where the French language doesn't lend itself to rock & roll, as a pop vehicle, it is pleasant to the ear. Unlike her Reprise album Alone, where she is more Americanized than Nancy Sinatra, looking like a voluptuous folk artist on the cover,

The Singing Nun

Françoise Hardy she's not, but to American audiences The Singing Nun proved that the French language lent itself to folk music better than to rock. Hitting number one in November of 1963, "Dominique" was a catchy song that children could grasp and, like the Kingsmen's "Louie, Louie," which was breathing down the song's neck on the charts, few in the U.S. could figure out the lyrics. Philips packaged this album in immaculate black-and-white with three color sketches included in an album portfolio inside the sleeve, three items drawn by the folksinger -- Soeur Sourire, which means "Sister Smile," the stage name for Jeanine Deckers -- known inside the Convent as Sister Luc-Gabrielle -- and to the outside world as -- not Sally Field's Flying Nun but -- the Singing Nun. With more than the three color paintings by Sourire, the expensive presentation has 12 pages inside the gatefold containing a story by K. Stanton about the Convent at Fichermont, which the writer says is "the very Waterloo in fact, where Napoleon met his defeat." Nine of the pages are sketches by F. Strobel which accompany Stanton's essays about the Singing Nun and her guitar named "Adele."
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Jackie DeShannon's exquisite "What the World Needs Now Is Love" leads off this collection, and it's quickly followed by a cover of the Dusty Springfield hit "You Don't Have to Say You Love Me," as well as a version of "It's All in the Game," making for a very recognizable three songs in a row on this 1968 release featuring as its title her 1965 Top Ten hit, originally on the This Is Jackie DeShannon album. What THIS is, is another stellar set of vocal performances with DeShannon being produced and arranged by a dazzling array of industry names. "So Long Johnny" is a pop tune by Burt Bacharach and Hal David which sounds so much like their Dionne Warwick work it is interesting to hear another great singer in that setting. "Windows and Doors" follows the same formula, while "Changing My Mind" could have been straight from the session that produced Petula Clark's "I Couldn't Live Without Your Love." Bacharach tracked the hit on his own, while Calvin Carter, who produced the For You album, collaborates with Bacharach and David on a number of songs here. Dick Glasser's production of "Little Yellow Roses" is the only one of the dozen songs with his participation; the country ballad is a real departure from the rest of the album, even with the arrangement by Jack Nitzsche. There are five arrangers in all, and an interesting cover concept. Jackie DeShannon appears on the front barefoot against a tree, holding a bouquet, while on the back cover she holds the bouquet with two boys, a Caucasian and an African American. It wasn't something you saw often in the '60s, and truly held with the sentiment of the title track. Tony Hatch's "Call Me" ends the album, and you knew from "Changin' My Mind" that those involved here were listening to Hatch's work, his influence among the many in the grooves of this fine recording.
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26)Roger Williams - Born Free with Bobby Hebb's SUNNY

by Joe Viglione
In October of 1966, Roger Williams had his seventh Top 40 hit with an instrumental version of the song from the film Born Free. There are four songs from movies on this disc: an elegant "Strangers in the Night" from A Man Could Get Killed, "Edelweiss" from The Sound of Music, and the theme from The Bible. Not content to leave it up to musical sleight of hand à la Liberace, Williams uses the scales to counter the brilliant orchestration which is arranged and conducted by Ralph Carmichael. When tackling a big Frank Sinatra hit, one must pull out all the stops. He takes the Association's "Cherish" and makes it a pure delight. Tension between the piano and the band is precious; Hy Grill's production is outstanding; Roger Williams' touch works so well with the accompaniment that there is drama in the grooves. Some instrumental artists can fall into that "Muzak" trap, but not Williams, "Edelweiss" opening with voices that Ray Coniff was so fond of, but they only come in on the chorus, leaving the music up to the pianist and orchestra. Bobby Hebb's "Sunny" gets a superior treatment. Where Dusty Springfield had orchestration which hinted at the James Bond theme, Ralph Carmichael pushes the orchestra to the limit and this jazz/swing version dances around the nuances of Hebb's composition, the piano dominant with the big band following Roger Williams' lead. Hebb has stated that he's recorded it twice and (outside of live versions) he doesn't want to perform it a third time, but some hip producer could always sample his voice and slip it over this stunning rendition for a few cameo appearances. The song is timeless, and this instrumental in the right film could bring the Born Free album by Roger Williams back into the charts Read More Here:


27) Ken Elkinson Revelry on Windows media


Jefferson Starship
Deep Space/Virgin Sky
Release Date: 1995
Running Time: 74:12
Label: Intersound

Deep Space/Virgin Sky is a 74-minute live album which was recorded at The House of Blues in Hollywood in the mid-'90s. Grace Slick makes a rare guest appearance, participating on "Wooden Ships" and singing her songs "Lawman" and "White Rabbit," as well as ex-brother-in-law Darby Slick's "Somebody to Love." On this version, though, it is Slick Aguilar from the KBC band who has pretty much received the mantle that Jorma Kaukonen and Craig Chaquico handed down, his harder rock sound falling somewhere in between the arena rock of Chaquico's Starship work (before he went jazz) and the San Franciscan sound that is Kaukonen. Also interesting on Deep Space is the song "Dark Ages," originally released by MCA recording artist World Entertainment War in 1991. Darby Gould was in that group and brought this exquisite song along with her. It's an amazing composition, one of the high points of the new material. And have you kept tabs on how many bandmembers utilize portions of Darby Slick's name? He never graduated from the Great Society to the Jefferson Airplane, but with "Slick" Aguilar and Darby Gould, the tradition continues...somewhat. There is some great stuff on Deep Space, from the Nona Hendryx tune "Women Who Fly" to a brilliant Rowan Brothers composition, "Gold," from their ill-fated Columbia release. "The Light" is also one of Paul Kantner's best post-Mickey Thomas Starship copyrights, the kind of thing that could rejuvenate Jefferson Starship if the co-leader could come up with one of these more than once every decade. The studio versions of some of these previously unreleased songs did see the light of day in 1999 on the Windows of Heaven album released on CMC, but that puts a spotlight on the sad nature of the record business -- RCA should be issuing the new albums from this veteran group every year. That the material is being scattered across the universe on a variety of labels, Intersound and CMC and others, is a slap in the face to a band who was and still is such a part of the RCA/BMG legacy. It also gives reason to praise Intersound and CMC for giving the world this important music. There are great moments as well as weak on this live set, though Kantner's "Shadowlands" and "I'm on Fire" work, and Marty Balin's "Miracles," as well as his version of Jesse Barish's "Count On Me," are always a treat. Balin's "Papa John is a touching tribute (the whole album is dedicated to Papa John and Gretchen Creach), but squeezing all the lyrics and liner notes onto four pages (an elaborate collage of photos in outer space illuminate the other four pages) makes for tough reading. Jefferson Starship through the '90s is a band playing for the fans, allowing taping of live performances, and always ready to throw a few surprises your way. Deep Space is an important document of a band constantly in flux. When Gracey goes off-key, it's all documented for posterity, no overdubs, the way the true fans love it. Her intro to "Lawman" shows why she brings star power to the table. Darby Gould (and Diana Mangano, who is not on this particular disc) have the chops they need to develop their personalities to truly fill Slick's shoes, and to allow this important act to survive in the 2000s. Joe Viglione, All Music Guide

29)Imaginery Long Lost Pride

When Lion Music executive Lasse Mattsson introduced guitaristBob Katsionis to Swedish singer Bjorn Jansson -- merging the prolific Greek musician with a talent from further north -- a new chapter in the group Imaginery's history began. Not to be confused with new age ensemble Imaginary (note the one letter difference), the album Long Lost Pride contains ten very hard rocking episodes that contain creativity and bite. Opening tunes "Hypnotized" and"The Sign f Today" have enough melody and balanced tempo to keep one's attention, a tough formula to execute, and one that Katsionis and Jansson achieve with the help of bassist Olof Sundfeldt and drummer Mark Adrian. "Roughly Scratched but Alive" clocks in at almost six minutes (nothing here is under four) with a terrific opening riff and an equally strong hook close to one used by the Bee Gees, of all people, on their song "Alive" from 1972's To Whom It May Concern disc. The difference is that Imaginery's title will be limited by the style -- a metallic onslaught that is top-notch for those who follow the intricacies of loud music. Click here for more:

Jay Geils biography

Aram Schefrin's Blog

Ten Wheel Drive was a band that formed after Genya Ravan's all-female band Goldie and the Gingerbreads broke up. Around the same time Michael Zager and Aram Schefrin were also looking for a band as well. After being introduced to each other by their managers and also after filling the entire brass section Ten Wheel Drive was officially born. The thing about Zager, Schefrin, and Ravan is that they all came from a different musical background, so they all had to find a way to mix and match these to create the best possible formula for Ten Wheel Drive, and they did an amazing job.

Their first big show was in 1969 at the Fillmore East in New York where halfway through the show Genya Ravan decided that her voice and the music behind it wasn't quite enough for the crowd so she decided to take off her vest and perform the last half of the show topless.

Shirley Bassey "This Is My Life",_Shirley/Discography/album/P3082/R487650/

Little Steven - Live At Full House



Live at Carnegie Hall - Barnes &

Live at Carnegie Hall -!2045449040&pid=3563&aid=20489

And I Love You So - UK Bonus Tracks/Artist,,1118240,00.html

This Is My life,_Shirley/Discography/album/P3082/R487650/

I Love You People

38)Herb Ellis Live

There are only about 38 minutes of performance on Live, a DVD featuring seven titles by Herb Ellis on guitar, accompanied by Dave Maslow on bass, but it is the expected fine playing by the veteran from the Oscar Peterson Trio, Casa Loma Orchestra, and so many other legendary ensembles that makes this DVD a keeper. Recorded live in February of 1986 at the Triangle Bar in Minneapolis, Minnesota it looks like a pretty good Public Access TV presentation -- though the long shot is definitely a bit blurry -- make that annoyingly out of focus! However on a sonic level the material sounds good and the maestro effortlessly lets the notes pour out. Ellis and Maslow perform "Days of Wine and Roses," "Here's That Rainy Day," "Sweet Georgia Brown," and other familiar tunes in their brief set. It's very entertaining work and if you're not in the mood for watching this instrumental DVD, it works very well as background music.

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39)Dame Shirley Bassey Does Anybody Miss Me

40)Dionne Warwick's HERE WHERE THERE IS LOVE
Mention of Shirley

BONUS TRACKS! Extra reviews

Sister Kate Kate Taylor

Livingston Taylor


Anni Clark A Light For Liza

Lenore Lenore

Lenore Summer Dancing

Rani Arbo & Daisy Mayhem

Pat Burtis Radium Girls

Pat Burtis Clarify

Carl Cacho

Kris Delmhorst Songs For A Hurricane

Deb Pasternak Home

Deb Pasternak Eleven

Evan Brubaker Third Floor

Evan Brubaker Halfmoon not reviewed

Jonathan Kingham self-titled 1997

Charlie Farren Live At Club Passim

Garrin Benfield

Gary Sohmers Roar's Back March 8 with Collectibles Show, To Jah Nature Ellis, Tom Hambridge New CD, Keith Richards Waiting for the Man, Sean Walshe American Son, Clive Davis with Anthony DeCurtis

Top 10 1)Gary Sohmers 2)Tom Hambridge 3)Nature Ellis  4)Keith Richards "Waiting for the Man" Lou Reed's Birthday 5)Sean Walshe...