June 2013 Continued

JOE VIGLIONE REVIEWS MITCH RYDER'S CLASSIC 'DETROIT' CD
http://www.emusic.com/album/detroit/mitch-ryder-and-detroit/11584851/

It opens with the roar of “Long Neck Goose” and Mitch Ryder returns to Detroit with a band named after his city, one that should have been as big as Boston, Chicago, or even that ensemble named after a state, Kansas. Detroit the group rocks grittier than any of the above, and though household recognition eluded them, the album is revered and far more important than the wandering Dave Marsh’s original liner notes dared speculate. About 15 years later, Marsh would write even more about this music with all new liner notes for the cassette, still not comprehending the essence of this music. After recording in Memphis, the blues vocalist headed up to Manta Sound in Toronto to track this essential album and begin his status as an underground legend with ’60s hits under his belt. Being on Paramount Records didn’t help; the Gulf & Western company was a division of Famous Music publishing, and though they were cool enough to sign the Cars when that band was known as Milkwood, the label just couldn’t compete, despite this project’s enormous strengths. The disc is chock-full of excitement. Steve Hunter’s guitar work makes everything come to life, framed perfectly by Harry Phillips’ elemental keyboards and Bob Ezrin’s powerful production. Why bassist W.R. Cooke is allowed to do the lead vocal on the shuffling, almost doo wop “Box of Roses” is the mystery. We all came to this party to hear Ryder belt ‘em out. And Ryder screams throughout; “Is It You (Or Is It Me)” gets that howl, as does this immortal cover of Lou Reed’s “Rock ‘n’ Roll.” Redesigned with snarling Steve Hunter guitar licks and tons of pounding anticipation, the song was the underground hit from this now-classic album and just perfect for the voice of William Levise, Jr.. The organ supplements Hunter’s exploding guitar work and Mitch Ryder’s orgasmic vocal howls over a gargantuan rearrangement of a Velvet Underground tune released a year earlier. But there’s more to the album than the excitement generated by the 45 rpm of the Lou Reed cover — Ron Davies’ “It Ain’t Easy” boasted renditions by many, from Long John Baldry to Bowie on his Ziggy Stardust album, but Ryder gives the song some real definition. The original vinyl had four songs on each side; the reconstructed compact disc and cassette changed the order a bit to make room for about five minutes of a stunning version of the Rolling Stones’ “Gimme Shelter.” Reissue coordinator Andy McKaie sent this writer a thank-you note in 1986 after letters to Irving Azoff and A&R gal Kate Hyman proposing the re-release — and suggesting the inclusion of “Gimme Shelter.” As Marsh comments, the extended version was utilized on the re-release, not the shorter B-side originally issued.

The entire album is a keeper, with the slow blues of “Drink” and the concluding passions in “I Found a Love.” Both guitarist Hunter and producer Bob Ezrin would be involved with Lou Reed’s monumental Berlin two years after this, with Steve Hunter joining Reed’s live band for what is now known as the Rock ‘n’ Roll Animal Tour. This album made all that possible and is as much fun to listen to as it is important. The prices the re-release of the CD fetch on e-bay prove it. [Akarma's 2008 reissue included one bonus track.] – Joe Viglione
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steve hunter biography

In-depth Biography
Steve "The Deacon" Hunter was born in 1948 in Decatur, IL, starting his professional career as a member of Mitch Ryder's Detroit in 1971, his guitar sound redesigning the Lou Reed classic "Rock & Roll," creating a cult hit and giving Ryder an underground cachet that the '60s blue-eyed soul singer would utilize decades after the group's self-titled Paramount album, Detroit, was released. One of Hunter's earliest musical recollections was sitting on his dad's lap while his father worked the pedals on a pump organ owned by young Steve's grandparents, playing the keyboard and working out melodies the lad heard. This was before he went to kindergarten. Even at a young age he was able to note if tempos were off or if people were singing out of key. For Steve Hunter, music was always there, always a part of him -- a big old Zenith console radio/turntable would keep the future guitarist transfixed, the patterns on the labels he calls "sort of the first music video."

http://www.ticketmaster.com/Steve-Hunter-tickets/artist/745741 

_____________________________________

the rose

http://www.ccmusic.com/music/cd/2387419/bette-midler-rose


Paul A. Rothchild produced the final Janis Joplin studio album, Pearl, as well as many a Doors disc, and the late producer was the perfect guy to tackle this tribute to Joplin featuring "The Divine Miss M" as "Pearl"/"The Rose." In March of 1980, the version of "When a Man Loves a Woman" from this 1979 film soundtrack went Top 35, and Midler's biggest hit followed her Oscar nomination, but it was a well-produced version of the title track, different from the album, which went Top Three, the gold single the biggest of her six hits up to this point in time. It's a strange twist of events, Bette's previous 1979 album, Thighs and Whispers, has technically better sounds, Arif Mardin drenching it in the disco of the day, but that artificial episode pales next to this project, which features Lou Reed's "Rock 'n' Roll Animal" bandmates guitarist Steve Hunter and drummer Whitey Glan. The concerts were recorded live during June and July of 1978, and there's more than a touch of the Mitch Ryder sound on "Whose Side Are You On," the album opener. Hunter was in the Mitch Ryder band Detroit, which led up to Lou Reed's ensemble, so the level of authenticity goes far beyond what filmmakers put into, say, the Blues Brothers. They utilize a different set of musicians on "Love Me With a Feeling," the "Turtle Blues" of this story, vaguely referencing the original title to the Big Brother & the Holding Company album that tune came from with the "sex, drugs and rock & roll" chant. Bette Midler is a star perpetually evolving into icon, and this album's success, as well as the two hit singles it spawned, certainly helped the film, as much as the movie brought Midler to a new level of fame. Her voice is terrific on "Midnight in Memphis," and the material is extraordinary for many reasons. Midler gets to show what a tremendous blues singer she can be, drawing from the many elements she's secured from years on the stage. It's a pivotal moment in her career. The rendition of Genya Ravan's chestnut, "Stay With Me," penned by one of Joplin's favorite songwriters, producer Jerry Ragovoy, could have been the showstopper album track here. It isn't. The listener has to know the film in order to understand why the singer's voice is purposely falling apart. The strange twists of fate mentioned earlier appear again here -- the soundtrack to the Janis Joplin biography film contained studio versions of great live performances that are in the film; as Midler cut a different version of the title track,which became a number one adult contemporary hit and Top Three on the popular charts, "Stay With Me" also should have been re-recorded. Had Midler released a version of that tune with the same desperation and passions of "When a Man Loves a Woman," this LP might have had that so necessary third hit to catapult it into the record books. One of the best moments in the film is missing from this "soundtrack," the questionable move of leaving Bob Seger's "Fire Down Below" off of this disc. It's one of the most memorable moments in the film, tailor-made for MTV. Three years after this release, Bette Midler put another soundtrack out, Bette Midler in Divine Madness. The last two songs which end side two are actually "Fire Down Below" and "Stay With Me," and though Bette can't touch Genya Ravan's classic performance, this is still how the music should have been presented on The Rose soundtrack LP. It's hard to get too down on this record, though; it has the magic, it established Bette Midler to the larger audience she deserved, it brought Paul Rothchild the follow-up to Pearl he was cheated of by Joplin's death, and it rocks. The bluesy feel was a complete about face from the previous Thighs and Whispers, and, actually, it is truly Bette Midler's only real rock & roll album. That it did so much for her might suggest she try it again. ~ Joe Viglione, Rovi


THE FROST THROUGH THE EYES OF LOVE

http://popularfreemusic.com/album/through-the-eyes-of-love-mw0000175778

 

#1     Steve Hunter 
Steve “the Deacon” Hunter’s The Manhattan Blues Project (Deaconrecords (884501903240) is a superb and visionary exploration of the guitar that sets a mood and lends itself to repeated spins. Opening with “Prelude to the Blues” you can hear tender melodies from Alice Cooper’s “I Never Cry” slipping into the guitarlines while 222 W.23^rd has a panther-like feel setting the tone perfectly for any upcoming spy movie interested in picking this up.   Hunter whispers the song title as well as the word “electrified” in the middle of the song; that –  and some Abbey Road-styled backing vocals on “Gramercy Park” – are the only voices this critic hears on the otherwise all instrumental disc.
Track 5 is a cover of Peter Gabriel’s “Solsbury Hill” and though Gabriel’s brilliance cannot be denied I tend to like the instrumental here better.   The fact that Steve Hunter and his colleague, Dick Wagner, played on the former Genesis lead singer’s 1977 Car album, produced by Bob Ezrin, is notable as Hunter is probably the guitar player on the Peter Gabriel solo hit (or one of them as King Crimson’s Robert Fripp also appears on the Car lp).  Read more here:

http://www.tmrzoo.com/2013/45306/music-review-steve-the-deacon-hunters-the-manhattan-blues-project 

Steve Hunter will be on Visual Radio Live on June 27, 2013
8 PM Thursday evening  http://www.wincam.org 
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#2  The Rolling Stones  
CROSSFIRE HURRICANE

Joe Viglione review
For long-time Rolling Stones fans who have seen the group perform during the Mick Taylor era and the early days of Ron Wood – and who are overwhelmed by the jungle of stuff – all the books, DVDs and online media covering/surrounding the Greatest Rock & Roll band in the world, Crossfire Hurricane is a wonderful succinct history perfectly told in a most satisfying way.
This Brett Morgen film is tightly presented with colorful psychedelia, a terrific “Midnight Rambler”, and lots of information told in the first person by the boys in the band.
It has the feel of Bob Smeaton’s work with The Beatles on their Anthology series and, truth be told, why the Stones didn’t put their own Anthology series together with an idea for a similar high-end project is a sign of the times.  Read more here:

http://www.tmrzoo.com/2013/45554/review-the-rolling-stones-crossfire-hurricane
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3)Juke Box Heo   Lou Gramm and Scott Pitoniak

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4) A Lowbudget Barrel of Monkees

http://www.lowbudgetrecords.com/

http://www.youtube.com/watch?v=dUuvJylhPYQ
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5) Jann Klose

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6)GIRL ON TOP  LIVE FOR IT

featuring the John Fannon   production of Karen DeBiasse and band singing Ozzy Osborne's
10. I Don't Want to Stop

http://www.cdbaby.com/cd/girlontop3
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7)THE ROLLING STONES  UNDER REVIEW

Part 1
http://www.youtube.com/watch?v=aDjIPm9I-RA



_________________________________________________________________
Under Review 1962-1966   the first DVD

review

[+]by Joe Viglione

With the immediacy of YouTube and other internet information streams it is tough to accept the tag-line "Ultimate review and critical analysis of the music and career of The Rolling Stones" that adorns the back of this DVD package, The Rolling Stones Under Review 1962-1966. The big tease is the videoclips -- gorgeous video clips -- the Stones sitting on a stage while they present Howlin' Wolf on the TV show Shindig, Buddy Holly with a snippet of "Peggy Sue," and delicious Rolling Stones tracks on film, all too short, and spliced alongside the commentary from Melody Maker magazine's Chris Welch, R&B singerChris Farlowe (who was also under Andrew Loog Oldham's umbrella and had hits with Jagger/Richardsmaterial), Pretty Things guitarist Dick Taylor -- who had performed with Mick Jagger in the band Little Boy Blue & the Blue Boys -- and others. The Dave Clark-leased video of "Paint It Black" live on Ready Steady Go and bits of "It's All Over Now" from The Red Skelton Hour are not as satisfying as finding full renditions of those songs on the internet. That none of the guests point out that Mick clearly mouths the "f" word during "It's All Over Now" on TV in 1964 is as shocking as the fact that the singer got away with it, no pause and rewind available in the day allowing the moment to vanish for a few decades. The lip-synched rendition on Skelton's program might have the record playing "I used to love her," but Mick says into the camera "I used to (obscenity) her," and that's definitely worthy of discussion, if not by Red Skelton well, perhaps by their former bodyguard, Tom Keylock, who is interviewed at length here. Also distressing for purists is that you can do a quick Google search and come up with Felix Aeppli's Ultimate Guide 1962-2002 which has the actual dates of those TV moments along with images of 45 rpm covers, different from those displayed on this DVD. Now had this presentation included interactive components bringing the viewer to the internet sites which revealed the missing information it would be so much more significant. That doesn't render this 90-minute documentary useless, but it comes off less interesting than Chrome Dreams' Kate Bush: Under Review, perhaps because there is just so much information available on the Stones and less on Kate Bush and her story. Narrator Mandy O'Neal has an appealing accent and editor Elliot Riddle does a fine job of mixing and matching the various elements, but when all is said and done it's the lack of information on the film clips being displayed that is as frustrating as the performances showing up in truncated form. Sure, it's a trip for those who appreciate the band to once again see how young they were at this point in time, the group's incessant touring in the new millennium imprinting on the collective consciousness the fact that they have not aged gracefully, but one can read the AMG biographies and get pretty much the same information more efficiently, which makes this work somewhat for the casual fan and the hardcore completists only. The 13 chapters have 11 titled after Stones' songs so there's the opportunity to skip and jump through the documentary if one chooses. It's not "the ultimate review," but it's intriguing enough.

READ MORE

Read more here:
http://www.allmusic.com/album/under-review-1962-1966-mw0001491468



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8) STARS & STRIPES AND MILESTONES

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9)CLIVE DAVIS

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10) Steve Chizmadia.

Produced by Peter Calo 

http://stevechizmadia.com/

'
http://www.sonicbids.com/2/EPK/?epk_id=71754

Artist Information

Biography

Steve is an award winning artist from the Hudson Valley with strong roots in the singer songwriter tradition, country and rock. His influences include The Beatles, Townes Van Zandt, Pete Seeger, Steve Earle, and a host of others too numerous to mention. He's a regular on the Hudson Valley scene with a steadily growing fan base nationwide. Steve is a winner of The 2011 Hudson Valley SongFest Emerging Artist Competition, 2011 Wildflower! Music and Art Festival songwriting competition, 2011 Woody Guthrie Songwriting Contest (Third Place) and a 2011 Kerrville New Folk finalist. He was the 2010 grand prize winner of the Music 2Life songwriting competition (created by Noel "Paul" Stookey of Peter, Paul and Mary) for "The Wall Street Fat Cat Tax Payer Bail Out Blues",. His first C.D. "It Is What It Is" reached number 12 on the folk D.J. Charts in 2007. 
He has been a Kerrville New Folk finalist (2003), a finalist in the Strum magazine songwriting  competition (2010) twice received honorable mention from the Woody Guthrie songwriting competition (2005, 2010) and has had a tri-centric showcase at NERFA. He's currently working on his latest C.D. with producer Peter Calo. Steve plays Gibson and Gretsch guitars.

Instrumentation

Steve Chizmadia - six and twelve string guitars, mandolin

Discography

"Jack Of All Trades" 
"It Is What It Is" 
"Tribes Hill: We're All Here" 
"Hudson Harding Holiday c.d. volume 2" 
"The Wall Street Fat Cat Tax Payer Bail Out Blues"

Official Website

http://stevechizmadia.com
_________________________________________________________________________

11)‘After Earth’ Review – A Great Sci-Fi Movie by M. Night Shyamalan

by Joe Viglione on May 31, 2013

 OK, the reviews are already in and the critics (except for me) seem to really and truly hate After Earth. In fact, one such individual was leaving the theater yelling that he hates M. Night Shyamalan and thinks he “hasn’t made a good movie since Signs.”
Signs was OK, and The Sixth Sense was absolutely brilliant, but what confounds me is the onslaught of negative reviews on what I found to be a wonderfully exotic, big science fiction film that breaks new ground. We’re all entitled to our opinions, and my feeling is that Will Smith is a pivotal movie star in the sci-fi genre and that this could be his best performance in a science fiction film.
Shyamalan gives us big, big sets at the films onset. Big apartment buildings, a big spaceship, big caverns, taking what George Lucas took from Fritz Lang’s Metropolis and making it larger, more in-depth, more like something to watch in awe. The spaceship is amazing and – voila – it actually gets stuck in an asteroid storm, something that devout Star Trek fans like myself always wondered how and why Warp Speed was never bogged down by little minute details like a planet the size of Jupiter in your way.




http://www.tmrzoo.com/2013/45363/after-earth-review-a-great-sci-fi-movie-by-m-night-shyamalan


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12) Randy Roos   MISTRAL
 http://www.unfretted.net/loader.php?LINK=history

Orchestra Luna's guitarist Randy Roos released his first solo album on Boston legend Bruce Patch's Spoonfed records, a label which would issue discs by Third Rail produced by Ric Ocasek, Reddy Teddy, the Remains, J.T.S. Flying, and others. "Stew" is a song that has some great wailing guitar behind percussion and rhythms, the early playing of this virtuoso falling somewhere between Pat Metheny and Steve Vai. The plethora of instruments utilized by the guitarist expose the talents he brought to Rick Berlin's quirky early work on Epic, the bold and highly experimental Orchestra Luna disc. All those avant-garde notions are stripped away for a smooth and precise coloring of original tunes and collaborations which range from three and a half minutes to nearly eight minutes in length. The instrumentalist notes the different tools he uses to get the sounds on each song, "Platypus" containing more jazz improvisation, while "Inward Stroke" is just a lovely, subdued combination of mellow guitar sounds. "The Hunt" is a bit more driving, allowing Randy Roos the liberty to stretch. "Horizon Game" opens side two and has more exquisite playing, inspired ideas which are the furthest thing from redundant, sounds expanding on "Innisfree" and concluding with the seven-minute-plus "Marcel Marceau (Three Little Things)," the epic track on the Mistral album as "Doris Dreams" was to the Orchestra Luna disc.  Read more here:

http://www.allmusic.com/album/mistral-mw0001185891
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13)LIBERACE: THE ULTIMATE ENTERTAINER

Huffington Post review http://www.huffingtonpost.com/michael-giltz/china-beach-dvd_b_3343491.html
__________________________________________________________________________
14) Rolling Stones Under Review 1967-1969

review

[-]by Joe Viglione

Where the Rolling Stones' Under Review: 1962-1966 had its moments with eight commentators giving us the beginnings of Stones history, this part two -- 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 unnamed part three of this trilogy from Chrome Dreams/Sexy Intellectual, the very excellent Under Review forKeith Richards. 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" moves into these new phases of psychedelia and what followed, the time labeled their "golden era" with guitarist Mick Taylor and producer Jimmy Millerenhancing 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.

http://www.allmusic.com/album/under-review-1967-1969-mw0001588069

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15)JAMES STRAIGHT AND THE 

WIDE STANCE

                                                                  NO LOITERING

Starring the very right Reverend Joe Fagan

 __________________________________________________________________________

 16)Lady Antebellum

http://www.bullmoose.com/p/14182464/LADY-ANTEBELLUM-OWN-THE-NIGHT-WORLD-TOUR?gclid=CJ7BktWQ2LcCFaZlOgodMDkAWQ

_________________________________________________________________

17)Under Review 1962-1966   the first DVD

review

[+]by Joe Viglione

With the immediacy of YouTube and other internet information streams it is tough to accept the tag-line "Ultimate review and critical analysis of the music and career of The Rolling Stones" that adorns the back of this DVD package, The Rolling Stones Under Review 1962-1966. The big tease is the videoclips -- gorgeous video clips -- the Stones sitting on a stage while they present Howlin' Wolf on the TV show Shindig, Buddy Holly with a snippet of "Peggy Sue," and delicious Rolling Stones tracks on film, all too short, and spliced alongside the commentary from Melody Maker magazine's Chris Welch, R&B singerChris Farlowe (who was also under Andrew Loog Oldham's umbrella and had hits with Jagger/Richardsmaterial), Pretty Things guitarist Dick Taylor -- who had performed with Mick Jagger in the band Little Boy Blue & the Blue Boys -- and others. The Dave Clark-leased video of "Paint It Black" live on Ready Steady Go and bits of "It's All Over Now" from The Red Skelton Hour are not as satisfying as finding full renditions of those songs on the internet. That none of the guests point out that Mick clearly mouths the "f" word during "It's All Over Now" on TV in 1964 is as shocking as the fact that the singer got away with it, no pause and rewind available in the day allowing the moment to vanish for a few decades. The lip-synched rendition on Skelton's program might have the record playing "I used to love her," but Mick says into the camera "I used to (obscenity) her," and that's definitely worthy of discussion, if not by Red Skelton well, perhaps by their former bodyguard, Tom Keylock, who is interviewed at length here. Also distressing for purists is that you can do a quick Google search and come up with Felix Aeppli's Ultimate Guide 1962-2002 which has the actual dates of those TV moments along with images of 45 rpm covers, different from those displayed on this DVD. Now had this presentation included interactive components bringing the viewer to the internet sites which revealed the missing information it would be so much more significant. That doesn't render this 90-minute documentary useless, but it comes off less interesting than Chrome Dreams' Kate Bush: Under Review, perhaps because there is just so much information available on the Stones and less on Kate Bush and her story. Narrator Mandy O'Neal has an appealing accent and editor Elliot Riddle does a fine job of mixing and matching the various elements, but when all is said and done it's the lack of information on the film clips being displayed that is as frustrating as the performances showing up in truncated form. Sure, it's a trip for those who appreciate the band to once again see how young they were at this point in time, the group's incessant touring in the new millennium imprinting on the collective consciousness the fact that they have not aged gracefully, but one can read the AMG biographies and get pretty much the same information more efficiently, which makes this work somewhat for the casual fan and the hardcore completists only. The 13 chapters have 11 titled after Stones' songs so there's the opportunity to skip and jump through the documentary if one chooses. It's not "the ultimate review," but it's intriguing enough.

READ MORE

Read more here:

http://www.allmusic.com/album/under-review-1962-1966-mw0001491468

_______________________________________________

15)JAMES STRAIGHT AND THE WIDE STANCE

NO LOITERING

Starring the very right Reverend Joe Fagan 

 __________________________________________________________________________
 16)Lady Antebellum
http://www.bullmoose.com/p/14182464/LADY-ANTEBELLUM-OWN-THE-NIGHT-WORLD-TOUR?gclid=CJ7BktWQ2LcCFaZlOgodMDkAWQ

17)Under Review 1962-1966   the first DVD

review

[+]by Joe Viglione

With the immediacy of YouTube and other internet information streams it is tough to accept the tag-line "Ultimate review and critical analysis of the music and career of The Rolling Stones" that adorns the back of this DVD package, The Rolling Stones Under Review 1962-1966. The big tease is the videoclips -- gorgeous video clips -- the Stones sitting on a stage while they present Howlin' Wolf on the TV show Shindig, Buddy Holly with a snippet of "Peggy Sue," and delicious Rolling Stones tracks on film, all too short, and spliced alongside the commentary from Melody Maker magazine's Chris Welch, R&B singerChris Farlowe (who was also under Andrew Loog Oldham's umbrella and had hits with Jagger/Richardsmaterial), Pretty Things guitarist Dick Taylor -- who had performed with Mick Jagger in the band Little Boy Blue & the Blue Boys -- and others. The Dave Clark-leased video of "Paint It Black" live on Ready Steady Go and bits of "It's All Over Now" from The Red Skelton Hour are not as satisfying as finding full renditions of those songs on the internet. That none of the guests point out that Mick clearly mouths the "f" word during "It's All Over Now" on TV in 1964 is as shocking as the fact that the singer got away with it, no pause and rewind available in the day allowing the moment to vanish for a few decades. The lip-synched rendition on Skelton's program might have the record playing "I used to love her," but Mick says into the camera "I used to (obscenity) her," and that's definitely worthy of discussion, if not by Red Skelton well, perhaps by their former bodyguard, Tom Keylock, who is interviewed at length here. Also distressing for purists is that you can do a quick Google search and come up with Felix Aeppli's Ultimate Guide 1962-2002 which has the actual dates of those TV moments along with images of 45 rpm covers, different from those displayed on this DVD. Now had this presentation included interactive components bringing the viewer to the internet sites which revealed the missing information it would be so much more significant. That doesn't render this 90-minute documentary useless, but it comes off less interesting than Chrome Dreams' Kate Bush: Under Review, perhaps because there is just so much information available on the Stones and less on Kate Bush and her story. Narrator Mandy O'Neal has an appealing accent and editor Elliot Riddle does a fine job of mixing and matching the various elements, but when all is said and done it's the lack of information on the film clips being displayed that is as frustrating as the performances showing up in truncated form. Sure, it's a trip for those who appreciate the band to once again see how young they were at this point in time, the group's incessant touring in the new millennium imprinting on the collective consciousness the fact that they have not aged gracefully, but one can read the AMG biographies and get pretty much the same information more efficiently, which makes this work somewhat for the casual fan and the hardcore completists only. The 13 chapters have 11 titled after Stones' songs so there's the opportunity to skip and jump through the documentary if one chooses. It's not "the ultimate review," but it's intriguing enough.

READ MORE

Read more here:
http://www.allmusic.com/album/under-review-1962-1966-mw0001491468

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18)Charlie Farren  TUESDAY

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19)

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30) BEHIND THE CANDELABRA

Review: HBO’s Behind The Candelabra is Reduced to a National Enquirer Romp

by Joe Viglione on June 3, 2013

This is the story of Liberace by one of the urchins the great showman let into his life.  Everybody needs loving, but to have that much wealth, that much fame, that much power and be so unable to choose a quality companion means that the image his handlers protected so fiercely in the pianist’s heyday is reduced to a National Enquirer romp on HBO.  And a romp it is as the legacy of Liberace should be all about his showmanship flair and self-deprecating humor; his solid body of work, his television show, the millions of people that he moved with his recordings and live performances, and not the sleazy innuendo of glory holes and blatant sex addiction.  Liberace is to be treated as a true Hollywood star from that bygone era Myra Breckinridge perpetually longs for.  A skilled craftsman whose flaws should be the asterisk (albeit obligatory) side-show, not he.

  

Read more here:

http://www.tmrzoo.com/2013/45415/review-hbos-behind-the-candelabra-is-reduced-to-a-national-enquirer-romp


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31)DONNY HATHAWAY

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32)

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33)

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34)

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35)

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36) ORCHESTRA LUNA

tracks

1. 1.
   Stop
   Were You Dancin' on Paper – Orchestra Luna 03:37
2. 2.
   Stop
   Miss Pamela – Orchestra Luna 03:19
3. 3.
   Stop
   Little Sam – Orchestra Luna 03:13
4. 4.
   Stop
   Heart – Orchestra Luna 05:57
5. 5.
   Stop
   Love Is Not Enough – Orchestra Luna 06:27
6. 6.
   Stop
   Boy Scouts – Orchestra Luna 02:25
7. 7.
   Stop
   Fay Wray – Orchestra Luna 04:20
8. 8.
   Stop
   But One – Orchestra Luna 03:01
9. 9.
   Stop
   Doris Dreams – Orchestra Luna 12:04

The Orchestra Luna album began the musical legacy of Rick Berlin, the composer/singer who goes by his birth name, Richard Kinscherf, on this Epic Records debut in 1974. The seven-piece ensemble was truly groundbreaking in a world that doesn't take kindly to innovation. Where the Who were content to write rock operas, Kinscherf and his band put opera to rock. This adventurous mix of songs, written as if they were Broadway show tunes backed by a rock band with jazz and classical influences, might sound like a bit much, and 11 minutes and 53 seconds of "Doris Dreams" never had a chance of Top 40 success, or an edit that could get it there, but that idiosyncrasy is part of what makes this album so daring, and special. Co-produced by Rupert Holmes, the man who gave us "Escape (The Pina Colada Song," a monster smash in 1979, and the cannibal anthem "Timothy" in 1971, the choice might not seem appropriate on the surface. But Holmes' unheralded work for Barbara Streisand and the Broadway musical Drood actually makes him a perfect choice to oversee this project. "Miss Pamela" has wonderful Randy Roos guitars blending with Rick Kinscherf's pretty keyboards, keyboards that could have inspired Billy Joel, sounding very much like his 1978 hit "Just The Way You Are." It's when Kinscherf's expressive vocal kicks in that all comparisons to traditional pop go out the window. The cover of the Adler/Ross classic (you gotta have) "Heart" is a standout here, as it was in their live show. Seven of the nine tracks are penned by Rick Kinscherf, and themes that resound in "Fay Wray" (the heroine from the epic King Kong) travel throughout the artist's career. This album may be tough for some to take, but the Tom Werman liner notes put things in a nice perspective. They opened for Roxy Music in Boston when this album was released, and were even more avant-garde than the legendary headliner. The band dropped the "Orchestra" from their name and became the original Luna, releasing a 45, "Hollywood," while the rest of their album was held up in litigation. They re-emerged as Berlin Airlift, then Rick Berlin: The Movie. In 2001, the former Rick Kinscherf, known as Rick Berlin, fronted the Shelley Winters Project. That sound has little in common with the early pictures painted by the exquisite "Love Is Not Enough" or musically bizarre "Boy Scouts" off this album ("Back in the boy scout camp/the moon was very full"). These themes, like the references and inspiration from films, continued to flavor Berlin's music through the years, although the Peter Barrett narrations would fall away. Moody and impressive in its gamble, this is also noteworthy in that guitarist extraordinaire Randy Roos can be heard in his formative years. Joe Viglione, All Music Guide




http://www.target.com/PDPPrintView?catalogEntryID=200861135&quantity_print=xxxxxx&starcount=no&catEntType=ITEM

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37)THE BEST FILM YOU'VE NEVER SEEN
Robert E. Elder

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38)SUPERAUSPICIOUS   Adam Rivera

http://www.adamriveramusic.com/music.html

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39)Butterscott
SNOWMAN ON THE MOON
1)Bubblegum Man
2)Hobbyhorse
3)Groggy Foggy
4)Wheelchair Woman

http://www.allmusic.com/album/throwing-meatloaf-at-the-sun-mw0000704983

http://www.cduniverse.com/search/xx/music/artist/Butterscott/a/albums.htm

  
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40)Music Review: Adventerous – Money on My Mind

by Joe Viglione on May 31, 2013

 Adventerous released his eponymous mix tape CD in 2009, followed by ” Money Mi A Pree”, “Adventerous To Di World” and his most recent mix tape entitled “Tun Up” which has twenty two (22) tracks including the single “Heartbeat” with hopes of conquering the US, Jamaica and the UK.
“Money on My Mind” provides a haunting opening that sweeps into a hypnotic mix, with help from Meek Mill the song was produced by North Carolina-based hip-hop producer Krazy Figz. The melody gains momentum…”with a million dollars to count…”…and could be a modern-day “Hot Fun In the Summertime”, a musical backdrop to summer 2013 if things break right for the ambitious singer.
The timing is just perfect as the voices juxtapose against the thick sound…it is totally irresistible and is a great intro to the previous works Adventerous has to offer.
http://adventerous.net



http://www.tmrzoo.com/2013/45357/music-review-adventerous-money-on-my-mind

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BONUS:
JOE VIG REVIEWS ON SABOTAGE TIMES                                      

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Behind The Candelabra: Soderbergh’s Liberace Biopic Fails To Reach It’s Potential

While not a complete misfire, Soderbergh’s portrayal of the flamboyant pianist doesn’t reach its potential.

Film

After Earth: Will & Jaden Smith’s Sci-Fi Double Act Isn’t As Bad As The Critics Say

The reviews are in and the critics are panning Will Smith’s latest sci-fi outing, but don’t listen to the nay sayers, this could be his best performance yet.

http://www.sabotagetimes.com/author/joe-viglione/