Wednesday, December 16, 2015

Trek Wars: The Search For Luke

Lupita Nyong'o

The Force Awakens
Review by Joe Viglione
    Star Wars fans will be relieved that The Force Awakens is better than 1999’s The Phantom Menace, 2002’s Attack of the Clones and 2005’s Revenge of the Sith, but falls somewhere in-between those stories and 1983’s Return of the Jedi, 1980’s The Empire Strikes Back and, of course, 1977’s Star Wars.

     2015 seems a lot longer than the decade from Sith vengeance to this reawakening, especially when 16 years came between Return of the Jedi and The Phantom Menace.

    Opening with extreme violence, The Force Awakens teases with dashes of the 1977 original epic spliced into the script along with new characters making their debut in the Star Wars universe.  A new face like Oscar Isaac as Poe Dameron makes the grade as does Billie Lourd - daughter of Carrie Fisher (herself the daughter of pop singer Eddie Fisher and his first wife, Debbie Reynolds) and Fisher's ex-boyfriend, talent agent Bryan Lourd  (who left Princess Leia Fisher for another man! Such scandal!!! that would spice up this Force Awakens, but I digress...) and perhaps the very best new edition, Lupita Nyong'o as Maz Kanata - a fun character that we hope returns in the next films.

     So how does Abrams bring it all full circle thirty eight years after Star Wars first hit our collective consciousness?

     How about Jesus from 1965's The Greatest Story Ever Told who morphed into 007's major enemy Blofeld from Sean Connery's own Never Say Never Again(1983) ( as well as Dr. Paul Novotny in 1984's underrated Dreamscape,) the brilliant Max Von Sydow bringing that Alec Guinness style wisdom and class to the film's opening.   A great move that J.J.Abrams failed to sustain throughout this chapter.   What the director gives the people is what they want, the familiar exciting lightsabers and death rays. 

    Have some imagery from 1989's Star Trek misfire The Final Frontier, lots and lots from 1984's great The Search For Spock, the crash landing from 1994's Star Trek: Generations and so much more from Search For Spock - from the beautiful red hues of planet Vulcan to Mark Hamill's wardrobe that makes this - truly -  more The Search for Luke than "the force awakens."  If you had any thought that J.J. Reboot, immersed in Gene Rodenberry and George Lucas, was going to go brand spanking new on us, those ideas will be cast aside as the film progresses from action scene to action scene, keeping the action ahead of the story so that it doesn't get trapped into any "Clone of the Phantom Sith."

    With the immense hype and propaganda leading up to this event, even this long-time critic - my first reviews printed in 1969 - has jumped on this new Star Wars bandwagon (it would be foolish not to,) the build up so intense that, well, it makes for a mighty bar to reach.  If you're looking for the Star Wars Holy Grail, well... though there are many excellent moments and tremendous sets, it's simply not here. What is here is a reuniting of old friends and beloved characters, coming back to your life in a precise exercise in making an entertaining two hour and fifteen minute return to the Star Wars realm.

    Andy Serkis gets to play so many cool characters - from Caesar in Rise of the Planet of the Apes and Dawn of the Planet of the Apes as well as long-time Marvel Comics villain Klaw in Avengers: Age of Ultron and also the voice of Gollum in 2001's The Lord of the Rings: The Fellowship of the Ring. Here he plays a terrific evilmaniac with the worst name since Jar Jar Binks - Supreme Leader Snoke.  Now had Jar Jar been voiced by Zsa Zsa Gabor ...creating Jah Jah Binks - all would be right with the world, but I digress again.  Here Snokes/Serkis has the luxury of some of the best science fiction sets in Sci-fi history.  Abrams does embrace the wonderment of having a large, vast expanse (one of the highlights of the Tom Cruise flick Oblivion) and the breathtaking immensity of these wombs of the dark side are a huge plus for this film, bringing it more towards the first three, where it belongs, than the travesty that followed with that trio of Star Wars prequels from 1999-2005.

    Given the importance to hundreds of millions – if not more than a billion people on this planet – of Star Wars fans, this long overdue “Chapter 7” - as stated - plays it safe, it is both a reboot of past achievements and a prologue to the new adventures.    Hollywood being Hollywood, and the dollar being more important than new creative moments and intriguing advanced innovation, the pace of the awakening of The Force thrusts 1999’s The Phantom Menace back into the dark ages, as if it never existed.  Thankfully.

    Dangling so many goodies in front of the massive audience, this reboot is merely a prologue to what is yet to come.  Disney must be on notice.  With 42 year old Rian Johnson taking the director's chair from the reboot master, JJ Abrams, 2017's Episode VIII has the opportunity to be the place where the force truly awakens.   This Chapter VII is merely the placeholder putting everything back into its "new order."

     This review will be broadcast on at 1 PM on Wednesday, December 16, 2015 on the Joe Vig Pop Explosion


Wednesday, December 02, 2015

December 2015 Top 40 Lesley Gore, Jaco

Joe Vig back in the 1970s  - photo from THE REAL PAPER
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Joe Viglione Review on

The new Star Wars movie, The Force Awakens, is poised to break UK box office records after racking up advance ticket sales of more than 500,000 at one cinema chain alone.
Odeon, the UK’s largest chain with more than 100 cinemas nationwide, reported the figure ahead of the release of JJ Abrams’ new instalment on Thursday. It is double the company’s previous record, which was held by October’s Spectre.



December 2015 our Frank Sinatra issue of the Joe Vig Top 40

#1  Frank Sinatra - All Our Nothing At All

#2  Clapton

Eric Clapton - Slowhand at 70, Live at the Royal Albert Hall is the guitarmaster's Joe Cocker Mad Dogs and Englishmen tour for his seventieth birthday.   It's an endless party with Clapton backed by a stellar cast that make this experience a fun and lively captured moment that is highly listenable.  Lo and behold - before I read the liner notes - on keyboards is Chris Stainton from those wonderful old and aforementioned Mad Dogs & Englishmen - so my opinion of this epic Eric release is more than just a bit on-target.    It is the reincarnation of that

Covering Cocker's big rendition of the Billy Preston co-write "You Are So Beautiful" (though not co-written by Cocker) on track 6 and closing out the CD with "High Time We Went,"

Read more here: 

High Time We Went

Given the great music on the live disc from Bobby Whitlock and Coco Carmel earlier this year

Cocaine - audience tape
As a bonus on DVD / Blu-ray formats, there’s an extra live track ‘Little Queen Of Spades’.

1) Somebody’s Knockin’ On My Door
2) Key To The Highway
3) Tell The Truth
4) Pretending
5) Hoochie Coochie Man
6) You Are So Beautiful
7) Can’t Find My Way Home
8) I Shot The Sheriff 9) Driftin’ Blues
10) Nobody Knows You When You’re Down And Out
11) Tears In Heaven
12) Layla
13) Let It Rain
14) Wonderful Tonight
15) Crossroads
16) Cocaine
17) High Time We Went
Eric Clapton – electric and acoustic guitar / lead vocals
Chris Stainton – keyboards
Paul Carrack – keyboards / Hammond organ / background vocals
Nathan East – bass guitar / background vocals
Steve Gadd – drums
Michelle John – background vocals
Sharon White – background vocals
Paul Gambaccini – interviews


3)Jack Bruce   More Jack Than Blues   
October 26, 2006, 37th German Jazz Festival Frankfurt

Recorded live at the 37th Deutschesland Jazzfestival in Frankfurt, Germany, 26 October 2006.  Featuring the Hessischer Rundfunk Big Band.

Disc 1:
  • Never Tell Your Mother She's Out Of Tune
  • Rope Ladder To The Moon
  • Spoonful
  • Smiles And Grins
  • Born Under A Bad Sign
  • Theme From An Imaginary Western
  • Milonga
  • The Consul At Sunset
  • We're Going Wrong
  • Deserted Cities Of The Heart
  • Sunshine Of Your Love
  • Disc 2:
    • Never Tell Your Mother She's Out Of Tune
    • Rope Ladder To The Moon
    • Spoonful
    • Smiles And Grins
    • Born Under A Bad Sign
    • Theme From An Imaginary Western
    • Milonga
    • The Consul At Sunset
    • We're Going Wrong
    • Deserted Cities Of The Heart
    • White Room
    • Sunshine Of Your Love
    • Waiting For The Call


March 29, 2012 Spoonful live
Jack Bruce Big Blues Band

Press release here:

Recorded live at the 37th Deutschesland Jazzfestival in Frankfurt, Germany, 26 October 2006.  Featuring the Hessischer Rundfunk Big Band.

  1. Never Tell Your Mother She's Out of Tune
  2. Rope Ladder to the Moon
  3. Spoonful
  4. Smiles and Grins
  5. Born Under a Bad Sign
  6. Theme for an Imaginary Western
  7. Milonga
  8. The Consul at Sunset
  9. We're Going Wrong
  10. Deserted Cities of the Heart
  11. Sunshine of Your Love

Jack Bruce & His Big Blues Band - Estival Jazz Lugano 2011 

Jack Bruce & His Big Blues Band: Live at Estival Jazz Lugano
Piazza Della Riforma, Lugano, Switzerland, June 30th 2011

Every Day I Got The Blues
Jack Bruce Band 2011 

Published on May 28, 2014
Track list:
01. Everyday I Have The Blues
02. Iko Iko
03. Doobre
04. Theme For An Imaginary Western
05. Never Tell Your Mother She's Out Of Tune
06. First Time I Met The Blues
07. Neighbour Neighbour
08. This Anger's Liar
09. Born Under A Bad Sign
10. We're Going Wrong
11. White Room
12. Sunshine Of Your Love

Jack Bruce (b, voc, keys)
Tony Remy (g)
Frank Tontoh (dr)
Paddy Milner (keys)
Nicholas Cohen (b)
Paul Newton (tp)
Paul Fisher (tb)
Martin Dale (N)

Jack Bruce & His Big Blues Band: Live at Estival Jazz Lugano
Piazza Della Riforma, Lugano, Switzerland, June 30th 2011

4)Ron Sunshine Bring It Home

5) Lesley Gore

Trevor Tolliver,Hardcover, English-language edition,Pub by Hal Leonard Corporation
Pages: 224
Author: Trevor Tolliver
ISBN: 1495024415
Publisher: Hal Leonard Corporation

6)Boys In The Trees - Carly Simon - A Memoir

Carly Simon,Hardcover, English-language edition,Pub by Flatiron Books on 11-24-2015
Genre: Biography & Autobiography
Pages: 384
Author: Carly Simon
ISBN: 1250095891
Publisher: Flatiron Books

7) Jaco Pastorius

Press release here:

#8 Northeast Comicon  Dec 5 and 6

Marta Kristen of Lost In Space Dec 5, 2015 @ N.E. Comicon



9)Laurence Juber  Fingerboard Road

Laurence Juber recorded "Sunny" for his Fingerboard Road CD. He appears on Joe Vig's Pop Explosion on at 2 PM Eastern time December 9, 2015.
Fingerboard Road is an exciting excursion inside songs, some that were ingrained into the population when Top 40 radio ruled. Steely Dan's "Peg" has the guitar speaking the vocal melody on this all-instrumental disc. Ray Charles 1960 classic, Georgia On My Mind gets the soulful longing transferred from Ray's immaculate voice to the guitar string in a soothing and beautiful way. Bobby Hebb may have traveled to "Atlanta G.A." on one of his first 45 RPMs (on FM Records,) and Juber travels to Hebb's "Sunny," two minutes and thirty-seven seconds of the guitarist virtuoso lovingly going over Bobby's familiar melody, a new perspective on a song covered by thousands. The elegant ascending lines take the tune's sound into slightly new territories, always veering back to the source. Harry Nillson's hit "Without You," written by Tom Evans and Pete Ham of Badfinger, also is placed into an inner-meditative state, Perhaps it was subconscious, but Juber, forever linked with Paul McCartney and Wings which sometimes overshadows his massive catalog of work, touches upon songs in Fingerboard Road that have definite Beatles' links. Larry Banks and Milton Bennett wrote the terrific "Go Now" for Larry's wife Bessie Banks. Picked up by Denny Laine and the Moody Blues it became a staple of Wings shows when Laine was part of that group, which he was with Laurence Juber. Bobby Hebb - of course - performed "Sunny" on the final Beatles tour in August of 1966, the only tour that featured two of the biggest songs in pop history, "Yesterday" and "Sunny" performed live by the artists who wrote them. Badfinger being Beatles protégés, Harry Nilsson notoriously a major part of John Lennon's lost weekend. So there's a taste for the collectors who seek out the many Beatles covers and related songs by Laurence Juber (go to YouTube for a vast array of performances of wonderful takes on Lennon/McCartney songs and the Hendrix tune, "Little Wing.") Pete Townshend's "Won't Get Fooled Again" gets a treatment sans synthesizer, it's all guitar here, along with compelling new material - ‘Love At First Sight,’ a live bonus track, plus "Without Annette" and the title track, "Fingerboard Road." Juber cover's "Angela (Theme from Taxi,) From the blue-eyed soul of Dusty Springfield's chestnut "I Only Want To Be With You," to Otis Redding's "Dock of the Bay" and even the Carpenters "I Won't Last a Day Without You," Juber covers all the bases, soul, pop, Beatles' related on an album that you can play anytime, anywhere with the magic sustaining. Classic rock radio would be wise to embrace these new instrumentals to break up the monotony of 200 song playlists. In a perfect world...
from Bobby

Listen to Laurence Juber on the Pop Explosion here:

or here:

#10 Private Lightning

11)Steve Keith Dream of Life

Message body

Steve Keith and Private Lightning

Steve Keith   Morgan

Marry Me




December 18, 2015
Martin Barre 

December 18: The Spire Center for The Performing Arts, Plymouth, MA

Martin Barre (of Jethro Tull)

PLYMOUTH – Martin Barre, legendary guitarist for Jethro Tull for 43 years, is celebrating the music of Jethro Tull with a concert at the Spire Center for Performing Arts in Plymouth, Mass., on Friday, Dec. 18, 2015, at 8 p.m. The concert will feature Jethro Tull classics and songs not played for many years. Tickets can be purchased HERE.

#23 Scott Damgaard

#24  One Good Tree - Irene Carver

25)Positive Negative Man   BROKEN

On CD Baby
Alternative Post-Punk from Boston, Mass.
© Copyright - Mike Feeney/Pete Tomilloso / QPR Records (889211956210)

Positive Negative Man on Facebook


1.Gasoline 3:46
2)Keep It Together   3:09
3)The Waste  2:27
4)With No Machine 3:04
5)The Ice Queen of Space 5:32
6)Kings  4:04
7)Balling the Jack 3:05
8)Newport Beach  3:29
9)Twister  4:06
10)Just Don't Think   3:19

The television show - The Avengers - on January 17, 1968 - Season 6, Episode 6  aired a 51 minute show titled The Positive Negative Man.  Forty-seven years later the band Positive Negative Man unleashes the ten song disc, Broken.   Drummer Ian Wilson (a.k.a. "Mr. Zoom") pounds away with wild abandon on this ambitious project which features very dark tones (just in time for Star Wars: The Force Awakens,) and opens with the eerie "Gasoline," the point where arson meets the heat of global warming.  "Keep It Together" is a marching pop song, The Clash meets the Dave Clark Five for three minutes and nine seconds.  "The Waste" hits you with short guitar bursts while "With No Machine" dips into German grunge with a Buzzcocks edge.   There's a five minute and forty second video of  Ice Queens of Space live from the Beachcomber (5:23 on the CD's studio track) where guitarist/vocalist Mike Feeney conjures up memories of the film Queen of OUter Space where "cruel queen" Yllana played by Laurie Mitchell, is destined to be forever overshadowed by Zsa Zsa Gabor's beauteous character Talleah.  Track 6, "Kings," brings more Buzzcock-styled sounds into the mix.  Balling the jack is a US slang term meaning to go fast or make haste, on track 7 it is now also the title of a three minute and five second song by Positive Negative Man.   As with opening track, "Gasoline," this also has that menacing Johnny Rotten vocal style and lyrical bent.   While singer Scott Damgaard is Leaving Hyannis...on his new cd, this contemporaneous release gives a folksy/percussive "Newport Beach" excursion which, though having everything else stylistically different from former Wayoutz Damgaard's pure pop, "Newport Beach" would actually fit quite nicely on Leaving Hyannis...

    If the classic film "Twister" ever had a sequel, this same-titled 4:06 timed track, #9, would fit perfectly.  Jethro Tull gone total punk.  Boston band Unnatural Axe also took at least one movie title and rode it to underground fame, they'd be a compatible match with Positive/Negative Man from what can be heard on the musical explorations made on this CD.  "Just Don't Think" ends the ten song buffet with a Real Kids feel, Boston rock and roll that makes its rounds on the circuit.

Bio on ReverbNation
Positive Negative Man (+- Man) is Pete Tomilloso, bass and vocals; Mike Feeney, guitar and vocals; Mr. Zoom, drums.
Positive Negative Man mixes a number of influences to form a music that is a bit different.
The melodic tones come from Pete Tomilloso. Pete was from Seattle. Pete's formally played with the Cheats and Monsters of the Deep. Moved to Boston.
The art damaged guitar work of Mike Feeney comes from a number of responsible parties. Mike was a solo soundscape artist under the guise of Ancient Pistol. A guitar disciple of Roger Miller, Mike is a long time under the influence of UK/Boston post punk, metal beat and Neue Deutsche Härte.
It is all about the music. It has to have that bounce.
The group has been together since mid 2012.

26) Novoya Zemlya

by Ancient Pistol


27)MIRACLE BLOOD  Pomeranian


by Miracle Blood





released November 14, 2015



#28)The Peasants  Big Sunny Day

"The Aliens are Trying To Save Us From Ourselves" kicks off this dozen tracks from veteran Boston area rockers, the Peasants.  Mixing religion with science fiction straight out of John Carpenter's They Live, the guitar line from the original song "Black Sabbath" by the band Black Sabbath inserted nicely into the drama.  Followed by the folksy "Don't Make Me Wait" - which has Australia's Audioscam same fun uptempo fell in their "Hello"   with yet another change in tempo,
the longest track on the CD, "Ray's Trilogy," goes completely folk with its intro,  five and a half minutes that morph into a Ray Davies' "Hollywood Blvd (Celluloid Heroes)"
...these angry bastards/who live inside us.  Three wonderfully constructed songs a prelude as "Boston Girl" brings the rock and roll back ...the Peasants give you the Real Kids style of rock mixed with their stories tucked inside each episode. Like a TV show you come back to week after week.   Sounds like the words are "Boston Girl ...all the ways you make me go..." with 
"You Make Me Feel Dirty" following it up, perhaps a subconscious sequel sentiment?  "Dirty" is a blistering rocker with a smattering of quick riffs all compacted into 59 seconds and abruptly jumping into the next adventure.  That excursion very well could be from early Alice Cooper, specifically the Pretties For You/Easy Action days on Zappa's Straight Records is what track #6, "Waddlin." Along with the approach it also reminds me of early Cooper vocal phrasings, all three minutes and fifty eight seconds of it, screaming guitar the order of the day.   At 2:07 "I'm Trapped" would have fit nicely on Harvey Wharfield's old Boston Music Showcase on WCGY,  a show that crammed terrific Boston rock into four hours, a two minute tune always good if top of the hour was approaching.
Another one-title song, "Mind," is where David Byrne was taking us on Talking Heads Fear of Music lp.   Neil Young guitars, John Lennon catharsis, Fleetwood Mac's "The Chain" in a Blue Cheer echo chamber.   The second longest song, at 5:18, is "Merry Christmas, You're Fired."   Now this would be a great theme for Donald Trump's campaign, not just because Trump is famous for "you're fired,"  but also for outsourcing while criticizing Ford Motor Company for doing the same.  "We sold your jobs to China" kind of sums it up.  "She walks into the room" Alice Cooper sings on "Be My Lover," and that melody works its way into this downer Christmas ditty. "Southern Comfort" is a song Janis Joplin would've embraced, and it's a great ballad that stands on its own.  "Gunslingers and Bullfighters" rocks out with superb Ventures' guitars - perfect for a sequel to the film Good, the Bad and the Ugly - a superb instrumental which is my favorite track next to the opener, "Aliens."  A folksy "Vincent Van Gogh" works more towards Suzanne Vega's classic "Marlene on the Wall" than Don McLean's "Vincent (Starry, Starry Night.)  Another two minute song with the same smarts that "Don't Make Me Wait" displayed earlier.  A truly telling bit of artistry by the Peasants, they say it tongue-in-cheek and with a smile while being as percipient as they are potent.






AllMusic Review by  [-]

Out Of The Storm is Jack Bruce yet again taking a different path. No one can accuse this man of being redundant as he leaves behind the hard rock of Whatever Turns You On from his 1973 work with West, Bruce & Laing and takes on Steely Dan with a track like "Keep On Wondering." The problem with West, Bruce & Laing is that they should have been the back-up band providing Jack Bruce the vehicle to express his artistry. "Keep It Down" would have been a tremendous track for WBL, and Lou Reed/Alice Cooper guitarist Steve Hunter provides the tasteful licks which Leslie West would've used a sledgehammer to find. The title track is real introspection with more "I" references than found on a page in a Marie Osmond autobiography. Bruce uses the rock format to sing the poetry that he and long time collaborator Peter Brown have crafted here. When played next to his other albums, from Things We Like to Monkjack, as well as the aforementioned Leslie West collaborations, the indellible voice of Jack Bruce is found to belong,



AllMusic Review by  [-]

With a live version of "Crossroads" going Top 30 for Cream, Songs for a Tailor was released in 1969, showing many more sides of Jack Bruce. George Harrison (again using his L'Angelo Misterioso moniker) appears on the first track, "Never Tell Your Mother She's Out of Tune," though his guitar is not as prominent as the performance on "Badge." The song is bass heavy with Colosseum members Dick Heckstall-Smith and Jon Hiseman providing a different flavor to what Bruce fans had become accustomed to. Hiseman drums on eight of the ten compositions, including "Theme From an Imaginary Western," the second track, and Jack Bruce's greatest hit that never charted. With "just" Chris Spedding on guitar and Jon Hiseman on drums, Bruce paints a


AllMusic Review by  [-]

A Question of Time is an album to appreciate, as Jack Bruce nicely wraps his diverse styles up in rock & roll packaging. Willie Dixon's "Blues You Can't Lose" is extraordinary noise, the late Nicky Hopkins bringing his unmistakable piano to a mix of Albert Collins' leads, Jimmy Ripp's slide and rhythms, Bruce's bass, harmonica, and voice, and the strong drumming of Dougie Bowne. In its slow dirge statement, "Blues You Can't Lose" is as powerful as the blistering Bruce tune that opens the set, "Life on Earth." "Make Love" is a great change of pace; the first of eight Pete Brown/Jack Bruce collaborations, it utilizes innovative percussion, subtle keyboards, and -- surprise of surprises -- effects on Bruce's voice. Ginger Baker toured with Bruce at this point in time, and though Bowne is admirable on the epic pop/rock of "No Surrender," it is Baker's contributions to "Hey Now Princess" (with Ripp doing his best Clapton) and his definite drums on "Obsession" (with guitars by Allan Holdsworth and Vivian Campbell) that bring this disc to the Cream level.

More here:


AllMusic Review by  [-]

With a live version of "Crossroads" going Top 30 for Cream, Songs for a Tailor was released in 1969, showing many more sides of Jack Bruce. George Harrison (again using his L'Angelo Misterioso moniker) appears on the first track, "Never Tell Your Mother She's Out of Tune," though his guitar is not as prominent as the performance on "Badge." The song is bass heavy with Colosseum members Dick Heckstall-Smith and Jon Hiseman providing a different flavor to what Bruce fans had become accustomed to. Hiseman drums on eight of the ten compositions, including "Theme From an Imaginary Western," the second track, and Jack Bruce's greatest hit that never charted. With "just" Chris Spedding on guitar and Jon Hiseman on drums, Bruce paints a masterpiece performing the bass, piano, organ, and vocals


AllMusic Review by Joe Viglione [-]

A wonderfully tortured Jack Bruce vocal on the song "Without a Word" opens up How's Tricks, the second LP for RSO records by the journeyman bassist/vocalist. Produced by Bill Halverson, who engineered Cream as well as solo Eric Clapton recordings, the material further fuses the all out jazz of Things We Like with the pop found on "Songs for a Taylor." "Johnny B'77" has the quartet driving the melody onto the fringes of rock, while "Time" bares elements Bruce brought to Disraeli Gears, defining his third of the Cream saga. As former bandmate Leslie West had his Leslie West Band out and about in the mid-70s, this quartet is listed as the Jack Bruce Band. It is yet another about-face for Bruce, singing nine more sets of lyrics by Peter Brown, with guitarist Hughie Burns and keyboardist Tony Hymas getting their chance to participate in the songwriting; it's basically well-performed pop with jazz overtones that has the voice of Jack Bruce adding the blues

SINATRA SHOW with Ella Fitzgerald

All Music Guide Review

In the 1950s and '60s television shows came and went like web pages would half-a-century later, on the air one day, difficult to find the next, with no VCRs to retain the experience. Taped on a rainy day in Palm Springs on December 10th, 1959, two days before the singer's 44th birthday, this valuable document is brimming with Nelson Riddle's impeccable orchestration and superb performances by all involved. The magic marker on poster board promotion for the Timex watch company has a certain charm and all the advertising segments from the original program remain intact. Peter Lawford and Frank Sinatra's Martin & Lewis-style banter falls a little flat, but the segue between the Hi-Lo's rendition of "Lazy Afternoon" into Hermione Gingold's duet with Peter Lawford is old-style entertainment that works exceptionally well, especially the use of the shadows on this black and white broadcast. Ella Fitzgerald's "There's a Lull in My Life" subtly emerges from Gingold and Lawford's exit, and adds a total touch of class that erases the memory of the earlier comedy routines. Ella's exquisite

Read more at,,2970391,00.html#YSzO5TqybiijI6ee.99,,2970391,00.html


Review of The Way You Look Tonight by Joe Viglione

 Joe Viglione over at AllMusic interpreted best why that Los Angeles studio recording, performed on January 27, 1964, was special:
“Riddle certainly had more than a grasp of what Frank Sinatra needed in accompaniment and the voice glides over the subdued but stunningly beautiful orchestration effortlessly. Covered by so many from Fred Astaire to Art Blakely and Dave Brubeck, there’s more than just the cache of being in the Frank Sinatra repertoire for a song, it’s the everyman charm he brings a title, vocalizing with an ease that makes common folk think they can copy him when they dare not approach the skills of a Nina Simone or an Ella Fitzgerald. But that’s where Sinatra surprises because his unique style is more difficult than it sounds to those singing along, and the instrumentation is always worth a million bucks. A Linda Ronstadt’s work with Nelson Riddle is a good singer re-creating memories. Frank Sinatra sets a different standard, the bassline creating a foundation for him to start the song off nonchalantly while building a full bodied vocal workout. It’s not the passion of Cole Porter’s”Night And Day”, it’s more a recognition of the sublime and tender acknowledgment of the object of one’s affection. Nelson Riddle accurately sets the tone and that’s all Sinatra needs to make his point with this Jerome Kern and Dorothy Fields composition.”
That said it all, I think. I probably heard the song on or off through the decades since the album’s release, but paid little attention to it beyond the song’s film connection.

Nancy With the Laughing Face

Song Review by  [+]

This rendition of the song written by Sinatra's friends Phil Silvers and Jimmy Van Heusen, "Nancy (With The Laughing Face)", was recorded April 29, 1963 in Los Angeles, almost four years before Frank would track "Somethin' Stupid" his final #1 hit - a duet with the subject matter, his then twenty-six year old daughter. Arranged by Nelson Riddle, the three minutes and thirty eight seconds have an ultra smooth reading by the singer with the horns and strings staying in a quiet space behind his vocal. Earl Wilson's unauthorized biography, Sinatra references that "Little Nancy Sandra Sinatra - ""Nancy with the laughing face"" was born in Jersey City, June 8, 1940." Wilson also mentions how songwriter Phil Silvers helped Frank and Nancy Sr. reconcile before their inevitable break-up. One line in the lyric notes that "when she speaks you would think it was singing", prophetically acknowledging the style that would garner Frank's daughter ten hits between 1966 and 1968. Audrey Hepburn and Liz Taylor are relegated to "trailer" status under Nancy, as are the angels, and Riddle's arrangement is heavenly, ebbing and flowing as Sinatra dangles the words when he chooses and wherever he wants. The voice has a mind of its own, as if the background music was a film for him to walk through. It's both subtle and powerful, the music swelling during the break for a quick moment in the sun, then backing away for the singer's after hours stroll.

Make no mistake, this is a festive album. Heck, some kids go to the circus with their folks, Nancy Sinatra got to play at the record company. Her vocal style is on par with Claudine Longet and Jo Jo Laine, not the kind of singing to give Whitney Houston or Jackie DeShannon sleepless nights, but charming nonetheless. Where this Sinatra really shines is when she and producer Lee Hazlewood do the Sonny Cher routine on the previous hit, "Jackson," and the real gem here, "Some Velvet Morning." When Nancy Sinatra has Hazlewood as her foil, she is outstanding. Though "Some Velvet Morning" was number nine out of her Top Ten hits as far as chart action goes, it is her strongest performance here, and proves she had more of a voice than maybe she even realized. She walks through Jimmy Webb's "Up, Up and Away," but it works, as does, surprisingly enough, the cover of Ray Charles' "What I'd Say," which closes the vinyl version of this project. Do the math: two hit singles, a duet with Dean Martin, an appearance by the Chairman of the Board (the legend, not the band), and superb production by Lee Hazlewood all make for a highly entertaining disc. Yes, she was lucky to have those doors open for her, but while other showbiz kids fell by the wayside, Movin' With Nancy delivered the goods. You can't help but like her. ~ Joe Viglione, Rovi
  • TCIN: 11865954
  • UPC: 090771605726
  • Store Item Number (DPCI): 244-10-2726
  • Origin: Made in the USA or Imported

The Jam


39)You Know Me   Jackie DeShannon

40)You Know Me
Air Traffic Controller

joe Viglione's bio of Bobby Hebb on Billboard online
 Bobby Hebb made his stage debut on his third birthday, July 26, 1941, when tap dancer Harold "Hal" Hebb introduced his little brother to show business at the Bijou Theater. This was an appearance on The Jerry Jackson Revue of 1942, even though it was 1941, "that was how Jerry, a big man in vaudeville in the '30s, '40s, and '50s, did things" noted the singer. Hal was nine years of age at the time and the young brothers worked quite a few nightclubs before Bobby Hebb entered first grade. Nashville establishments like the Hollywood Palm, Eva Thompson Jones Dance Studio, the Paradise Club, and the basement bar in Prentice Alley as well as the aforementioned Bijou Theater found Bobby and Hal dancing and singing tunes like "Lady B. Good," "Let's Do the Boogie Woogie," "Lay That Pistol Down Babe," and other titles that were popular at that time. Hebb's father, William Hebb, played trombone and guitar, his mother, Ovalla Hebb, played piano and guitar, while his grandfather was a chef/cook on the Dixie Flyer, an express train on the L&N -- Louisville & Nashville railroad. Brother Hal would eventually join Excello recording artists the Marigolds, documented in Jay Warner's biography of singer Johnny Bragg, the book Just Walkin' in the Rain; while Bobby, with so much musical influence and inspiration, would go on to pen hundreds upon hundreds of tunes, among them, BMI's number 25


Star Trek THE CAGE

John Hoyt, the original Dr. in Star Trek 
pre-McCoy, was in the Perry Mason series
for 5 episodes

 1958-1964 Perry Mason (TV Series)
Thomas Webber / Darwin Norland / William Harper Caine / ...
- The Case of the Wednesday Woman (1964) ... Thomas Webber
- The Case of the Resolute Reformer (1961) ... William Harper Caine
- The Case of the Curious Bride (1958) ... C. Philip Reynolds
- The Case of the Prodigal Parent (1958) ... Joseph Harrison

Jon Lormer - 3 episodes of Star Trek,
12 episodes of Perry Mason 

Dr. Theodore Haskins (uncredited)

Perry Mason (TV Series)
Autopsy Surgeon / Medical Examiner / Dr. Oberon / ...
- The Case of the Devious Delinquent (1963) ... Medical Examiner
- The Case of the Elusive Element (1963) ... Autopsy Surgeon
- The Case of the Hateful Hero (1962) ... Autopsy Surgeon
- The Case of the Melancholy Marksman (1962) ... Medical Examiner
- The Case of the Glamorous Ghost (1962) ... Dr. Oberon
- The Case of the Renegade Refugee (1961) ... Autopsy Surgeon
- The Case of the Provocative Protege (1960) ... Autopsy Surgeon
- The Case of the Clumsy Clown (1960) ... Autopsy Surgeon
- The Case of the Frantic Flyer (1960) ... Autopsy Surgeon
- The Case of the Calendar Girl (1959) ... Autopsy Surgeon
- The Case of the Stuttering Bishop (1959) ... Doctor
- The Case of the Jaded Joker (1959) ... Coroner



Lesley Gore  Love Me By Name

Love Me By Name

Love Me By Name (Reprise)

Give It To Me Sweet Thing

Sometimes with Johnson Brothers

Published on Oct 29, 2013
Our "Tenafly Girl" goes "total funk" in her 1976 release "Sometimes". This song is the opening cut from Lesley Gore's album "Love Me By Name", and features The Brothers Johnson on vocals. This A&M album was a reunion for Lesley with her original producer and musical mentor Quincy Jones (although this song is light years away in concept and execution from "It's My Party" - Lesley and Quincy's first big hit collaboration!). You may notice on the label that the music is published by "Lil Bits And The Witch" - the song written by Lesley and Ellen Weston. "Lil Bits" is Quincy's pet nickname for Lesley!

Dusty Springfield singing Love Me By Name

Jennifer Holiday singing Lesley's Love Me By Name

Liz Madden - Nigel Clark  Love Me By Name   great version

Patti Austin and Quincy Jones perform LOVE ME BY NAME

℗ 1978 A&M Records

Released on: 1978-01-01

Author, Composer: Ellen Weston
Author, Composer: Lesley Gore
Music Publisher: L'L Bits & The Witch

llMusic Review by Joe Viglione  [-]

Lesley Gore and Quincy Jones reunite 11 years after their last of ten hit records with a who's who of industry names and faces, many included in the group photo on the inner sleeve. The music is all grade-A, but given the collective star power here, this could (and should) have been a monster comeback album. Including the Brothers Johnson on "Sometimes" was smart, but the disco beat doesn't have the charm of "I'll Be Good to You" or "Strawberry Letter 23," the Brothers' own hits. Imagine if Gore had covered one of those two songs here, or perhaps did a '70s version of "It's My Party," "Judy's Turn to Cry," or, better still, updated with a sequel to the sequel. The title track, "Love Me By Name," like "Other Lady" on side two, is good, slick adult contemporary pop, but the songs remain decent album tracks with none of the appeal that Linda Ronstadt, Helen Reddy, and Rita Coolidge were having success with -- solid pop songs that helped establish Gore's legacy years before the new divas came to town. "Immortality," with its strong hook and Motown foundation, doesn't have the authority "You Don't Own Me" displayed. "Paranoia" is fun, but the album just doesn't resonate with the Gore that fans know and love. On some tracks she sounds like Lulu backed up by the Captain & Tennille -- certainly not a bad
Read more here:
The Assassination of Sonny Bono

by Bob Fletcher 

Bob Fletcher's site



Everything's Changed - Dean Mazzolla

Bonus Tracks

Rusty Kershaw disc with Art Neville and Neil Young

JOHN MOONEY with Ivan Neville and Dr. John

AllMusic Review by   [-]

In the early '90s, producer Rob Fraboni was the man behind Domino Records, a label distributed by Relativity Entertainment Distribution. Domino released Zoom, the self-produced album by Ten Years After guitarist Alvin Lee, along with two discs produced by Fraboni, one by blues artist John Mooneyand the other being this excellent effort by Rusty Kershaw. For fans of Neil Young's Harvest, this is even more laid-back, but it shows Young's roots, and he actually shows up on six of the 13 tracks. "I Like to Live on the Bayou" has Ben Keith on dobro and pedal steel, and Young playing a melancholy harmonica. This material was recorded and mixed in New Orleans, and it can't be beat for authenticity.Now & Then is a record from another time and place, and if you aren't accustomed to the sound, it really needs to be played a couple of times to detox you from what you may be used to listening to; the 12 Kershaw originals and one arrangement of a traditional tune, "Stop Kicking My Dog Around," have an amazing effect when given a proper ear. Fraboni's production is perfect, allowing the music to get absorbed by the analog recording tape. Art Neville's piano on "Musician's Woman" and "I Don't Like the Feeling" is a nice addition to the Subdudes, the band recording with Kershaw on this disc (Steve Armadee on tambourine, Johnny Ray Allen on bass, Tommy Malone providing acoustic guitar, andJohn Magnie on keyboards). "This Is Rock & Roll" is not rock & roll -- it's some blend of folk and Cajun music -- but it works, and the instrumentation weaves a nice tapestry here, a little more uptempo than most of the record. "I Don't Like the Feeling" brings things right back down; Kershaw's vocals are almost unintelligible, and the performance feels like B.J. Thomas' 45 rpm version of "I'm So Lonesome I Could Cry" played at 33 rpm. There is amazing precision in these grooves; Kershaw is able to slow things down with more intensity than Vanilla Fudge in its heyday. Fans of modern rock might find this musical morass monotonous, but that would be a pity. "Married Man," with contributions from Young and Keith, is like some sort of Cajun funk. It's music with a well-deserved cult following, and is a treat for connoisseurs of the genre.

May Top 40 Mare Winningham, Planet of the Apes, Andy Mendelson

  Happy Birthday Mare! Years ago Mare Winningham and her husband saw me at the Paradise Theater in Boston, a club I booked for many years....