Critic Joe Viglione reviews movies, books, DVDs, CDs, and has all sorts of opinions on a variety of things. The monthly Top 40 is a sort-of directory...
commentaries and essays expand the thought process on RockJournalistJoeVig.blogspot.com ...so the reviews on the Top 40 aren't final, they are just the starting point to more discussion. You can always contact Joe directly at visual_radio [@] yahoo.com
Forty-one year old director Gareth Edwards (Godzilla, 2014;
Monsters 2010,) inspired by the Star Wars franchise according to IMDB (he was
born two years before the 1977 release of the very first George Lucas film in
the series) sets an amazing tone with the opening shots which feature appealingly large Saturn rings, exotic cinematography and
futuristic esoterica which delves into a dark, creepy, eerie – quite scary –
feeling of imminent doom. Star Wars,
after all, is as much a horror movie as it is science fiction. With Christopher Lee and Peter Cushing tied
in to the series, Lucas indeed created a revved up old-time serial taking
the 1936 13-part Flash Gordon story idea into a new dimension. Adding Cushing and Lee, the
Karloff/Lugosi of the next generation, was pure “give the people what they
want,” which is why Star Wars, like Star Trek, is so successful. There is also a cleansing going on with this
2016 film, purging the awful experiences that were delivered in 1999’s Episode
1: The Phantom Menace, 2002’s Attack of the Clones and 2005’s Revenge of the
Sith. Those three “prequels” were as
beautifully filmed as they were empty with some terribly forced acting and an
arrogance that derailed the fun and excitement of 77’s Star Wars, 80’s The
Empire Strikes Back and 83’s The Return of the Jedi.
To put it all into its proper context, thirty nine years
after the initial blasts from the Death Star comes a film that is as good as
the first three. It is even better than
The Force Awakens which by any standard was a mere reboot, not actually
something that added to the franchise in any way other than it brought things
back on track, got serious again, generating anticipation for the next phase of
the blockbuster series/serial/anthology.
* * * * *
Rogue One is the critical space in between the saga,
connecting Revenge of the Sith – the best of the three prequels – to Star Wars
1977, the “new hope.” Director Edwards
hits a grand slam, giving an even darker look at the perpetual war, the
Emperor’s Hitler-like approach to domination of the universe (forget a few
galaxies, they were going for the whole enchilada) and James Earl Jones
indulging in a unique savagery as Darth Vader. It is a Deep Dark Vader here,
more terrifying, more villainous, as out of control in his obsession as Ricardo
Montalban in The Wrath of Khan. Much,
much better than The Force Awakens, the serious dominance of the empire, the
plight of the rebels – and the dissension amongst them – something unseen up to
this point in time, all brilliantly written and delivered with a vengeance.
This is an adult science fiction movie keeping a lid on the
humor provided by Anthony Daniels’ CP30 – C-3PO – Co3P (it’s C-3PO) making just
a cameo. The levity is brought to you by a new main character, a reconfigured Empire
droid K-2SO (played by Zootopia’s Alan Tudyk )
It is one of two elements taken directly from the Terminator series. In
2003’s Terminator 3: Rise of the Machines - where Sarah Connor sends back a
reprogrammed T-850, Model 101 (Arnold Schwarzenegger,) the rebels in that film
turned their opponents' strength against them. Same here as the K-2S0 mimics some of the same C-3PO
one-liners, but does so in a tongue-of-cheek way (a clever tongue-in-cheek, if you will) which adds to the film’s
charm. That is to say, no Jar Jar Binks
or Ewoks or Wookies.
This is serious
stuff, leave the children at home. You
won’t be troubled by a ten year old Jake Lloyd playing young Anakin Skywalker
(as bad a performance as Hayden Christiansen who followed as the
twenty-something Anakin, or – (back to the world of Schwarzenegger) the awful
acting in 1993’s Last Action Hero by child actor Austin O’Brien. This is a
story about the Force. It gets down to
business and is what Star Wars was (and still is) supposed to be about, domination, rebellion
and blowing things up.
The other “borrow” from Terminator, this one the Christian
Bale / Sam Worthington 2009 Terminator Salvation, was when the audience
applauded to see the CGI Arnold come to life.
We are only going to see lots more of this in
the future with digital resurrections of Frank Sinatra, Michael Jackson, Jimi Hendrix – and, perhaps,
a JFK president with hologram to go along with its infinite capacity computer
brain. Thus, a famous, late actor from
the Hammer Film studios entertains us again - after the fact, and it is worth the price of
admission.
Wikipedia sheds some enlightenment on the Terminator CG with
these gems:
·Arnold Schwarzenegger's facial likeness was utilized via CGI, with a mold of his face made in 1984 scanned to create the
digital makeup.
In
Rogue One Disney recreates the late Peter Cushing in
similar fashion. Grand Moff Tarkin returns in a demonic, yet
artistically splendid, way - as the powers that be at Disney nicely
thank the
Estate of Peter Cushing.
The settings – with palm trees juxtaposed to the crushing
feet of the Imperial giant robots (think Sentinels in the X-Men series) along
with a blind master of the mystic arts (Chirrut Îmwe
played by Hong Kong film star Donnie Yen) who might as well be Dr. Strange inside
a Star Wars film,* Rogue One touches on all the points that science fiction fans
rabid for comic book heroes and the characters of George Lucas crave. With Disney owning the rights to both
franchises (Marvel Comics and Star Wars,) are you surprised to see the unique crossover appeal?
Two hours and thirteen minutes of spectacular Star Wars fun
the way it should have been in the first place. Rogue One could be the template
of what is to come. It is – finally – a
worthy edition of the sacred canon, a worthy addition as well.
This beautiful package from Eagle Vision/Universal is unique
in that new magic is injected intowhat are over-played
holiday favorites when this time of the season rolls around. “Rudolph the Red Nosed Reindeer” as performed
here embracing unique nuances, as does Frank Sinatra’s rendition of “Santa
Claus is coming to Town.”Be it the
audio playing with its big band brass or the wonderful film texture pleasing to
the eye (such a lost art in the digital age,)the 1957 Christmas TV special is remarkable in its warmth and how it
captures these talents without distractions. This critic was a mere three years
old when the Sinatra/Crosby presentation aired so if it played on the family TV
it didn’t register until viewing this DVD package.Bing Crosby and Frank engaging in The
Christmas Song (Chestnuts Roasting on an Open Fire) has the two icons merging
their deep voices into a timeless interpretation of the timeless classic, with
a quiet segue into Bing’s all-time multi-million selling smash “White
Christmas.” A solitary figure against the window, joined by Frank for a chorus,
perfectly framed and looking like it is out of an expensive Hollywood movie.
They just don’t make them like this anymore.With music from Nelson Riddle and directed by Frank Sinatra himself,
there are no quick cuts every ten seconds as you find today. Just a delightful
collection of music that is perpetual every December put together with love and
care. Performance, technical expertise and magic.A wonder why this is not a perennial favorite
on television and radio, but that’s the times we are in.Pure class.
The DVD then flips to black and white with “Come Fly with
Me,” a selection from the 1950’s TV show which is narrated by Frank Sinatra
Jr., Nancy Sinatra and Tina Sinatra.Elegant reminisces by the children and rare takes of melodies that this
generation would know from use in modern films, these black and white
performances give a glimpse into a past when significant performers were using
this medium before it became cluttered on the “information superhighway”
decades later.“Night and Day” oozes out
with exquisite majesty, smoothly and in an attractive fashion missing from the
plethora of concerts taped and aired as if off an assembly line in the new
millennium.The textbook is here for
that superhighway of information, the contributions from his offspring as
enlightening as their dad’s work is entertaining …and equally historical.
Adventure Set's "Blue is for Boys" was an underground delightful smash in the 1980s and the songs of Mark Pothier accompanied by Ken Scales intense and spot-on vocals are back with this dreamy, vibrant offering - "Paper Faces" - with half swirls of sound enveloping Scales voice. You want music to take you somewhere and the elements in these digital grooves have that Bowie-esque (David's trilogy with Eno,) / Greg Hawkes' Cars / Jeff and Jane Hudson world of mesmerizing ambiance and intriguing lyrics. "Vitamin" would be a perfect fit for a Jeff Hudson directed video. So good to have the Adventure Set back in action. https://adventureset.bandcamp.com/album/paler-faces ____________________________________________ 3)Matthew Mayer ART
_____________________________________________ Stephen Dennis Music
1)Reboot
2)The King
3)Any Time Now
"Reboot" is a heartfelt, appealing two minute and thirty-six minute track wondering "do you ever think of cutting yourself loose?" With a guitar strum somewhat like Norma Tanega's "Walking my Cat named Dog" as well as telling the same kind of "happy sad" melancholy story. If Dr. Strange (in the film derived from the comic book) was taught that mystical spells are like computer programs, Stephen Dennis unplugs from the day like a computer taking a very deep breath. "The King" has a more extended Neil Young acoustic strum with Stephen's unique and alluring vocal style. "To take a side's one thing, to realize is the king of 'em all" he states over a slow-paced and Cajun-flavored mix. "Any Time Now" has a happy-go-lucky feel over its two and a half minute reticence and feeling out of place. All three songs combine to give some insight into this subtly powerful writer/singer. https://soundcloud.com/stephendennismusic
_________________________________________ Norma Tanega "Walking my Cat Named Dog" Listen to "Moulty" by the Barbarians to hear a similar harmonica and style! https://www.youtube.com/watch?v=SPZVrmJ2HH8
“Ssydarthurr” kicks things off on Keep Your Stupid Dreams Alive like Syd Barrett performing a concert on some asteroid. With elements of early Brit Rock, taking the Who’s “Boris the Spider” to a realm where The U.K. Kaleidoscope totally owned, you know you’re in for a ride right from the start. “Weirdo’s Everywhere” is a jangle jangle pop sensation with an incessant chant/march of “hey hey hey hey” and a psychedelic video
that Twiggy should embrace to relive her glory days.
https://www.youtube.com/watch?v=Xg0NNndQ0MI
While Willie Loco was “in
with the outs,” Prefab Messiahs are part of the in-crowd, thank you Dobie Gray, driving along with sixties magic straight from the Nuggets collection. “God Bless the Prefab Messiahs/so help us all” they shamelessly, and lovingly, sing for themselves…and for you. “Orange Room” is drenched in authenticity and the magic we expect from disciples of the Strawberry Alarm Clock, Chocolate Watch Band and Electric Prunes.
The garage rock of “College Radio” would be perfect on a bill with Richie Parson’s “Mixtape” – the clanging guitars a dream for those of us who love to indulge in this time period. “Booshwa Sally” will “buy you bracelets that will …” engage you in her “perceived materialistic values or conventional attitudes.” You see, she’s bourgeois. “Bobb’s Psychedelic Car” states the obvious while the title track takes you into “Telstar” territory only with words and a catchy vocal chorus. “Prefab Flashing” is an excellent psychotic ending to one highly entertaining disc which concludes by going back to the future. __________________________________________ JOHN CALE sings LEONARD COHEN "Hallelujah" https://www.youtube.com/watch?v=0UFRQZatJT0
Leonard Cohen - Under Review 1935-1977 from Sexy Intellectual and Music Video Distributors is a wonderful biography and well-deserved documentary on the life of Cohen
from his 1934 birth in Montreal to his interest in literature and
poetry during his college years, and beyond into his success as an
underground musical icon. The 90 minutes or so give much to the viewer
detailing the world of this legend, with important and compelling
interviews ranging from biographers to those who have worked with him.
Hearing Janis Joplin/the Band producer John Simon give his input along with Cohen's guitarist and bandleader Ron Cornelius, Phil Spector, engineer extraordinaire Larry Levine, critics Robert Christgau and Anthony DeCurtis,
well, it's a real cavalcade of behind-the-scenes stars discussing this
important figure in an informative and highly entertaining way. These
"unauthorized critical analysis" discs can be hit or miss -- the U2DVD Collector's Box is a double-DVD waste of time, the KillersLeaving Las Vegas even more so, while investigations of Kate Bush or the Pink Floyd album Meddle
are very worthy of your attention. The music aficionado and devotee
needs to study up on which of these "unofficial" documentaries is going
to deliver the goods before purchasing, as they are proliferating at an
alarming rate. The Under Review 1935-1977
is one of the best of the bunch. It's a real treasure that will hold up
over repeated viewings and, along with the insight into Cohen's life, just having the footage of some of these legends who were involved with Cohen's
music on tape is alone worth the price of admission. Usually these
"unauthorized" discs promise much but fail to deliver, however, the
"obscure footage, rare interviews, and rarely seen photographs of and
with Leonard"
advertised on the package truly add to this comprehensive bio pic
helping make it a very nice guide through the history of an underrated
poet, singer, and novelist.
Many of these albums are available by listening to Boston Free Radio http://onlineradioreviews.blogspot.com/ Ninety Two, Nine Hundred Ninety-Three page views! Almost at One Hundred Thousand! October 27, 2016 ________________________________ Send CDs/DVDs for possible review: JoeVigTop40 / P.o. Box 2392/ Woburn MA 01888
Marvel, with this
wonderful Dr. Strange film, has done what the former Wachowski brothers failed
to do with that intensely awful Jupiter Ascending – Stan Lee’s comic book company-turned-movie-maker
creating a new Matrix film by utilizing a secondary character from the
repertoire of ‘the house of ideas,’ while also engineering a terrific opening
into the world of the mystic masters.
Dr. Stephen
Vincent Strange may have been a minor player compared to Doctor Donald Blake
(alter ego of the Mighty Thor, and keep that in mind when watching this film
for a surprise) but when he finds his relic – or when his relic finds him – the
fun really starts.
Is it a perfect
film?No, and my hope going in was that
it would be, however Dr. Strange is a very, very good movie and takes the world
of Computer-generated imagery (CGI – which started expanding its role in films
with 1984’s The Last Starfighter, ) into another dimension.Harry Potter meets the Wachowski creations:
Neo and Morpheus and Deus Ex Machina in this exciting and fast-paced film, much
more impressive than Justin Lin’s Star Trek: Beyond.Director Scott Derrickson, who misfired with
2008’s The Day the Earth Stood Still, gets it right this time.Remember, it was Keanu Reeves in Stood Still,
so the Marvel Films plan is obvious …and not a bad way to introduce the good
doctor to the world.
The biggest problem is that you’ve got Dormammu from
the Dark Dimension looking and sounding like a cheesy version of Deus Ex
Machina from the Matrix – as bizarre a let-down as the esoteric film rendition
of the embodiment of Galactus in the Fantastic Four / Silver Surfer movie that
was almost…getting there…oops, more than a misfire than Day the Earth Stood
Still.You’ve also got the Ancient One
morphed into a feminine Morpheus- Tilda
Swinton (the “white witch” from 2005’sThe Chronicles of Narnia: The Lion, the Witch and the Wardrobe) doing a fine job and replacing the wise-old
man with a vibrant young woman - along with actor Benedict Cumberbatch slipping
in comfortably as his Dr. Strange plays it Neo.
One of the “mystic masters”
also explains how the spells are to be thought of as computer programs, so that
they are blatantly going for that audience the Wachowski sisters (yes, they’ve
both transitioned to women) abandoned. Which is fine with this critic as the
themes of the Matrix have a huge audience with a need to explore those avenues.
Folding buildings, worlds within
worlds, swashbuckling, all the elements Stan Lee and Marvel developed one half
a century ago, build a fantastical picture that the 3D (and presumably iMax,
which was not available for our early screening) enhance… in fact, the picture
enhances the 3D experience, validating its existence.Dr. Strange doesn’t use 3D to be part of a
fad or a trend, it’s just expected that you need this perception in order to
get a better feel for the landscape. And perception fits in nicely with Stan
Lee’s Alfred Hitchcock-styled cameo in this one.Quite sure that I will be back at the
theater to see this one again, and soon.
The superb “Free” opens up Goin’ Country, the album from Feed the Kitty, a trio that performs pop/country with style, a modern-day Orleans / Firefall / J.D. Souther with an up-tempo, happy-go-lucky spring in its step. Generating their sounds from Southern California the FTK bio notes: “Originally from Tucson AZ, band members Jed Mottley (Bass) and Jon Shumway (Drums) moved to Los Angeles and hooked up with Jack Maher (Guitar/Vocals) in 2004.” Eleven years later the 2015 Goin’ Country CD has many hooks and surprises that delight. There’s a dozen tracks and we’ll shuffle in this review to give a glimpse of this hard-working group’s powerful release.
“Wonder,” track 7, is one of my favorites, Maher’s voice is terrific here and in full control. The story unfolds with stellar playing, in a short burst of pop at 2:39 and as perfect for top 40 as opening track “Free, Both songs are more pop than country – pure pop actually giving this trio a solid footing in both genres. “Sleepless Nights” proves that by dipping right into good old c & w from back in the day. What is delivered here is the country that should be played on contemporary radio, crystal clear production with soulful playing and vocals.
I prefer the band when it is straightforward and churning out radio friendly tunes with a smile. However they are reaching out to many and “Orange Country Sky” – like DNA before it – goes into Mick Jagger bad-boy territory with tongue-in-cheek humor along with in-your-face drug references. But that’s the new country side, isn’t it, and the lyrics can all be re-designed if they catapult from the clubs and bars to theaters and stadiums where this group deserves to be. “Orange Country Sky” is a great tune with wonderful playing…it’s just going from clean-cut to the depths of depravity that gets a little jarring.
So much to absorb when Feed the Kitty delivers twelve tracks on this serving, with some titles very special, a case in point being the pause and reflect “Deep Down” with it’s The Band-inspired instrumentation, not as thick as Levon Helm’s ensemble, but the message, spirit and playing is there. Track 6, “Restless Dogs” also comes in less than three minutes, and picking up where The Byrds and even Simon and Garfunkel may have left their audiences off. You’ve felt these flavors before and the influences are many, however Feed the Kitty deliver the message and the sounds and have oh so much brio and strength. A refreshing and professional work with much commercial potential.
Joe Viglione is the Chief Film Critic at TMRZoo.com. He has written thousands of reviews and biographies for AllMovie.com, Allmusic.com, Gatehouse Media, Al Aronowitz’s The Blacklisted Journal, and a variety of other media outlets. Joe also produces and hosts Visual Radio, a seventeen year old variety show on cable TV which has interviewed Jodie Foster, director/screenwriter David Koepp, Michael Moore, John Cena, comics/actors Margaret Cho, Gilbert Gottfried, Gallagher, musicians Mark Farner and Don Brewer of Grand Funk Railroad, Ian Hunter of Mott The Hoople, Ray Manzarek, John Densmore, Felix Cavaliere of The Rascals, political commentator Bill Press and hundreds of other personalities.
Bobbi Womack in “Trust Me” sings “the older the grape, the sweeter the wine,” and the guitar playing of Carlos Santana has never sounded more sweet.Featuring as part of this eight piece ensemble Journey co-founder Neil Schon on guitar / vocals and Michael Shrieve on drums the authenticity of music which has entertained millions rings true.Add two pages of liner notes from Albany New York, July 2016 via Hal Miller tucked inside the beautiful sixteen page booklet, this perfectly recorded collection is executed with the soul and precision we expect from Carlos and those he surrounds himself with.
The Earth Wind and Fire “family” feel is here in all its glory, “Freedom in Your Mind” having a rousing chorus that inspires both the live audience and the listener.
The first CD opens up with the classics “Soul Sacrifice” featuring a drum solo almost at the very beginning of the concert. It’s followed by “Jingo” and “Evil Ways,” the polished nuances of this classic material magical. Interesting to play this next to the John McLaughlin / Santana releases to get the scope of the gifts of Carlos and how he lets the magic play out in different ways on different recordings.
As with the recent Iggy Pop live at Royal Albert Hall, also on Eagle Vision, the packaging is superb with the four-page fold out with an added twist: here you get mostly classic Santana where Iggy plays all solo Pop materialwithout going into his Stooges back catalog. The Eagle Vision boxes fit nicely on your shelf to pull out when you want to slip into the experience of quality recordings by these iconic artists.
They are such a delight to review and so essential that this writer adds them to the Boston Free Radio http://bostonfreeradio.com library for the dj’s to access immediately.
At 8:21 “Soul Sacrifice” with its throbbing percussion throws you into this mystical world, keeping the commercial hits tucked into the full performance while the band weaves its thick fabric of sound. David K. Matthews and Gregg Rolie’s keyboards swell up inside that tapestry, driving the vibrations in a fashion that is as fun as it is obvious, the opposing perspective to Mountain’s Steve Knight who would build rhythmic undercurrents - sometimes almost invisible, but making the quartet essential (where the Mountain trio without Knight resorted to pure hard rock to get its point home.) Santana IV has double the musicians to Lesley West’s crew, and a hugely different voyage in sound, the serious approach both band leaders take providing a bit of historic perspective.
The addition of Jimi Hendrix pal Ronald Isley, founding member and lead vocalist of The Isley Brothers, and the band performing Jimi’s “Third Stone from the Sun” and “Them Changes” (in the Hendrix catalog via his friend Buddy Miles) Carlos pays tributes to one of his contemporaries.
“Evil Ways” opens with pure aggression but the tender vocal and band dynamics make it a welcome treat for the Top 40 fans and a strong component of this double disc CD project and DVD.There’s lots of great music to explore on both discs and the accompanying film.
5)Peter Calo Time Machine "Deep in love and starry-eyed" Peter Calo sings "If My Heart Was Yours..."
The eight songs on Peter Calo's 2016 release, Time Machine, are a new direction for the highly respected songwriter/singer/session man. For those who know Calo's soundtrack work tis is a delightful departure and shows yet another dimension of his talents.
____________________________________________________________________________
Artist: Peter Calo
CD: Time Machine
8 tracks
Peter Calo’s
Time Machine opens with bayou vibrations on the opening track, “Do I Love You
Too Much,” cradling an interesting musical migration, at least to the ears of
this long-time listener of Calo’s music.
The eight songs on this 2016 release, Time Machine, have the respected
singer/songwriter/session man crafting a work that blends a multitude of styles
within his three and a half to five minute essays/tunes.
In 1982 his jazz band, Bellvista, released a six song e.p.
followed by 1983’s Spoonerism from the Peter Calo Band. A mainstay of the
Boston scene, Calo was involved as an original member of both Down Avenue
(the band which had Charles Pettigrew of Charles & Eddie "Would I
Lie To You" fame) and The Heavy Metal Horns. After his stints
with both groups Peter moved to New York where he began doing session
work, producing and eventually hooked up with Carly Simon, beginning what is now a twenty year
relationship with the legendary singer/songwriter.
As the instrumental
ending to “Do I Love You Too Much” concludes the singer switches hats with “Ida
at the Back Door,” a tune that was already in circulation at online and college
radio. This mix is fully developed and
impressive, a different approach from the opening track, though there seems to
be some kind of thematic undercurrent threading the material. “If My Heart Was Yours” opens with a nod to
Ian Matthews notable Vertigo lp, If You Saw Thro’ My Eyes, then veers off to a
soulful balladeer, think Cat Stevens’ “Here Comes My Baby,” with flamenco
sounding guitar and – perhaps – Jay and the Americans dueling with Trini
Lopez. It’s a great pop ditty that is
highly commercial. The modulation and
creative backing show Calo’s production skills at the top of their game.
That’s also true with “Elephants
Never Forget,” a clearly Beatle-esque tribute to the family of
Elephantidae. There’s a full dimension
and depth to the sounds Calo prompts throughout the track. The five minute and three second “Sail Away” is a folk song which could have been written
in the time of DaVinci or Christopher Columbus (15th and 16th
centuries – their dates of birth and passing actually very close) - its
timeless story plays today just as well, as does Leonardo’s works of art. “One Step Ahead of Crazy” brings things back
to where “If My Heart Was Yours” started off, it’s as much a sequel as “Judy’s
Turn to Cry” was to “It’s My Party” – and Peter Calo played with the late Lesley
Gore, so maybe the idea was subliminally programmed. “Every Ordinary Day” and “Don’t
Ever Go Away” are both over four minutes
on this double-EP two songs shy of a
full-length ten track disc. “Every Ordinary Day” would fit nicely on a
television series – or real pop radio, not the stuff being passed off as pop
radio in 2016.
The disc concludes with
more magic that the Beatles could have used – the artist having worked on Julie
Taymor’s Beatles soundtrack to her film Across the Universe (there’s a deluxe
version, check it out) as well as his own instrumental tribute to the Fab
IV. Paul McCartney should sing this one
as “Every Ordinary Day” is an absolute bookend to McCartney’s “Another Day,”
not in chord changes or melody, just in the beautiful approach. It’s a classy
conclusion to a sophisticated new chapter in Peter Calo’s deep catalog of
musical contributions.
6)Iggy Pop Live at Royal Albert Hall
7)Instant Shawarma
Instant Shawarma
Just Add Water CD
5 tracls
Review by Joe Viglione
“Waves” opens up this intriguing five song E.P. from Cambridge based foursome
Instant Shawarma and it is superb, one of my favorite songs to come out of the
local scene in a long time. Ethereal guitar from Andy Constantine envelopes Pat
O’Donnell’s voice as the band crafts something as mesmerizing and inspiring as
Peter Green/Fleetwood Mac’s 1970’s epic “Albatross.” Keyboards drift in while drummer Josh
Ziemann and bassist Matt Montrose provide the lilting undercurrent. Just marvelous and as attention-getting as
“I’m Your Captain” was to the third Grand Funk Railroad album. These titles, like fellow Boston area group Stains of a Sunflower, are
not your three minute concise pop tunes. Waves is the second shortest at 5:51
while “Lizard Coffee” oozes in at 4:49, the shortest track on the disc, and one
of the group’s more popular in concert.
Picture the original Doors jamming with the original Savoy Brown –
slinky guitar riffs from O’Donnel and Constantine that Creedence Clearwater
would have had a blast with extending a composition onstage. The Deep
Purple-styled Jon Lord organ is a surprise and adds depth to the production.
“Coming Up Roses” veers harder into blues, O’Donnell’s gravel
voice in command as the chorus hits hard after the opening lyric’s essay. Instant Shawarma would be perfect on a bill
with Blue Manic and the on-hiatus Apollo Blue, both ensembles covering a
similar territory, though where George Conduris of Apollo Blue dips into the
Hendrix/Clapton bag, and Mike Tate of Blue Manic rocks even harder, Instant
Shawarma have their cosmic / esoteric guitar lines that tends to make it more
psychedelic blues. The five minute and forty-two second “French Conniption” a
case in point. It’s that unique style
behind the songs that add intrigue. And as with Stains of a Sunflower, the
closer here is epic too with “The Fold” having a dangling guitar to open (as
well as end) the festivities. The interplay is wonderful three minutes in and
builds to a nice climax with in-the-groove intensity that’s hard to describe.
These guys have come up with a great little recording, but it
seems that they don’t want to be famous. None of their names appear in the
package that’s got beautiful artistry on the wrap-around cover thanks to Nate
Haduch. The inside photo of the group
against a graffiti wall is charming but…again, their names are missing in
action.
The purple setting with bare trees is a classy cover photo for Stains of a Sunflower’s February cd, and interesting as the name of the group is not on the spine, the front cover or the CD. In fact, it’s hidden on the right hand bottom corner of the black back cover, making for a kinda sorta Andy Warhold Velvet Underground White Light/White Heat, tilt it under the fluorescent to see kind of approach. The vocals of the group’s chanteuse, Natalie Renée,are embellished with the electronic guitar of Alex Michael Jones on opener “California Sky” as the two play off of each other in interesting ways, The music is velvet smooth over the 5:57 – almost six minutes – in what is one of eight titles that are more like excursions than songs. The band is simply amazing as they stretch out with Renee painting over Shade Tramp’s steady and sometimes exotic drumming. It’s not easy to get a handle on what they are exactly doing as the songs get dismantled and reassembled throughout the performances.
At 3:06 “Spells” is the shortest tune, the vocalist singing while offering short bursts as Jones’ guitar follows her lead. Dan Soghomonian’s bass keeps pace with them as “Spells” segues in to “September” (not the Earth, Wind and Fire classic, nothing like it!) Five of the eight are one word titles, think Talking Heads 1979 epic Fear of Music with seven of the eleven going the same route. The jam on “September” is eloquent and captivating, contrasted with the folk/acoustic of title track “February” which follows with its gut-wrenching set of questions and mental self-discussion.
Live the quartet recreates this embracing set of sounds, “Pretend” again taking a different turn, as if Nico reprised her days with the Velvet Underground on their quiet third masterpiece. Kaleb Jacks’ clear and precise production/engineering is reminiscent of the late Wayne Wadham who built Berklee’s original studios (and produced Full Circle for Columbia records, along with other major artists. Check out that disc for a comparison,) and complements the band nicely as Natalie’s pathos switch to a John Lennon-styled primal scream. “I Love,” “Dreaming of You” and “Tree Song” are further adventures, the acoustic in “I Love” essential to shift the sounds a bit, “Dreaming of You” slipping in like a sixties classic with “Tree Song” ending like a jazzy Abbey Road conclusion, two of my favorite tracks on this excellent disc coming at the end. The chorus behind Renee is as compelling as it is eloquent. Not your typical Boston area sound, and nicely put together all the way around.
Natalie Renée | Vocals and Acoustic Guitar
Alex Michael Jones | Electric Guitar
Dan Soghomonian | Bass
Shade Tramp | Drums ___________________________________ 9)The Hammond Group Means Business http://thehamondgroup.bandcamp.com/releases 13 tracks 1)Ice Cream Man 2)Hazmat 3)Volunteers for America 4)Do the Math 5)Get It Together 6)Buttery Goodness 7)Big Hands 8)Body of Work 9)It is What it Is 10)Mosh Pit Girl 11)Milk and Break 12)Conference Room 13)Stephanie
In 1977 Jonathan Richman put Ice cream man, (ice cream man) ring your
bell (ding ding) on vinyl.The Hammond
Group, however, take the part-time-job “Ice Cream Man” and write about the
angst and frustration with their 60’s garage/punk self-pity pathos in a decidedly
different dimension than dear Jonathan and his lovable goofiness.“Hazmat” goes even deeper and darker and is
one of the best songs on this 13 tune helping, the cd Hammond Group Means
Business, a strong 70’s Who-styled adventure with lines like “You smoked all
your weed/now you think you’re a poet” and “relaxing in your Hazmat
suit/wonderin’/who’s gonna peel your fruit.”The lyric doesn’t impede the great rock and roll song that this is; a tongue-in-cheek
attitude that hardly sneaks through each and every composition, it is the
requirement as the trio dismantle the Jefferson Airplane with Volunteer for
America, the Jorma Kaukonen guitar sound backing a Beastie Boys snarl. “Do the Math” would be comfortable on a
Pebbles or Nuggets compilation while “Buttery Goodness” in its elastic, watery
guitar setting again takes on the Who, specifically “Pictures of Lily.”But while Lily’s pornographic photographs
were meant to excite, this song about putting on the pounds – with the same
melody as “Pictures of Lily” – has a healthy heaping of insanity to go along
with the low self-esteem.“Mosh Pit Girl”
sort of says it all while the ballad for “Stephanie” has a sick wonderfulness
to it, his love for her as pure as his vulgarity – “get your ass in the car for
me.”Perhaps it is The Modern Lovers
finding a stash of expired Quaalude?That old sedative with its hypnotic effect is what the Hammond Group has
down: exactly what Richman would sound like on the stuff!
Darrell Morrow - drums, percussion, backing vocals
Edmund Jones - bass, keyboards, vocals
Scott Howe - guitar, vocals
Robin McNamara's album, titled after his big 1970 hit "Lay a Little Lovin' on Me," appeared on Jeff Barry's Steed label and features that singer from the Broadway show Hair along with his cast members. The 45, as well as its non-LP B-side "I'll Tell You Tomorrow," were both co-written by the singer and his producer, with songwriter Jim Cretecos helping out on the title track. That radio-friendly bubblegum confection brightened up the summer of 1970, but it is not indicative of the adult contemporary sound on the rest of this very listenable disc. The music on the Lay a Little Lovin' on MeLP is actually a better reflection of the hip Broadway shows of the day. Neil Goldberg's "Now Is the Time" would fit just as well on the Godspell album, so different from the number 11 hit from July 1970, which no doubt inspired the likes of Richard Mondo, aka Daddy Dewdrop, and his irreverent 1971 novelty tune "Chick a Boom" -- a frosty little bubblegum number like "Lay a Little Lovin' on Me."McNamara is a credible songwriter on his own and it is a wonder he didn't land a couple of other hits, but it's more a wonder that he faded so quickly from the musical landscape. He did show up on radio station WMEX in Boston, allegedly ripping his shirt off like some Hair promo for DJ John H. Garabedian (famous for discovering the hit "Maggie Mae" for Rod Stewart ) and appears as a musician on aMonkees compilation, but he just didn't reap the rewards promised by this very sophisticated endeavor. Side one ends with a tune co-written with Ned Albright called "Lost in Boston," a fun little ditty mentioning Fenway Park that's a lot like McNamara's solo composition "Beer Drinkin' Man." Albrightand Bob Dylan cohort Steven Soles co-write a very the Band-ish "Together, Forever," and they were responsible for "All Alone in the Dark" from the Monkees 1970 disc Changes. Jeff Barry was a co-producer of that Monkees event and this album's engineer, Mike Moran, showed up there, as well, giving McNamara's 11-song collection a certain value for the fans of that TV show. There are some great lost moments here, unexpected on a disc that became popular by putting the cast of a Broadway show on a tune appropriate for the Partridge Family. "Got to Believe in Love" could have changed the perception as it fuses the gospel of "Hang in There Baby" and "Glory, Glory" with the pop that brought this LP to the attention of the masses. This is a solid effort all the way around.
This is a terrific 6 song power pop E.P. with lots of jangle jangle guitar and Nick Gaynier's energetic and smooth vocals. "All of a Sudden," "Either Way," and "We're Alright" open the disc up in a torrent of sound - "We're Alright" a bit more menacing and deeper than the first two, drenched in a perfect production that brings the point of view to the surface. James and Dave are the other 2/3rds of the power trio with Nick, and they take "Gotta Run" into Buzzcocks territory and back out - and would be great on a bill with Pete Shelly's boys and perhaps Teenage Head. "Create to Break" ends the impressive onslaught.
Another superb find, the minute and thirty-nine second "All Time High" takes you to a wonderful place, only to bring you somewhere else with "On a Friday"
Quintessence is the "pure and concentrated essence of a substance" and the title of a beautiful album from vocalist Betty Buckley and longtime producer/musical arranger/pianist Kenny Werner, who is co-credited on the cover. Not actually a "compilation," the liner notes by Betty Lynn Buckley
explain that this studio disc, the musical duo's ninth album over a
span of two decades, represents more of an open arrangement to rework
the music the singer is associated with. For example, she extends Arthur Alexander's classic "Cry Me a River" from the sparse -- and shorter -- 3:09 version on 1997's Much More album to a more elaborate and experimental vamp that is double in length. Where Jane Olivor is overpowering in her sublime grandiosity, Buckley takes the subtle approach, though with a dash of Olivor's inflections. For those not in touch with Buckley's recordings, this will serve as a good starting point, the rendition of Stephen Sondheim's "No One Is Alone" adding a bit more pop to the tune's jazz leanings, and also contrasting with Buckley's own cautious rendition from 1993's Children Will Listen CD. Some purists may object to the treatment of the Rex Harrison nugget "I've Grown Accustomed to Her Face," not spoken à la Harrison, and further morphed by being combined in a medley with Oscar Levant's "Blame It on My Youth." Where Janice Borla on From Every Angle gives a breathy rendition to the Levant classic, Werner and Buckley make it introspective and daintily methodical. Hoagy Carmichael's "Stardust" is absorbed by Buckley's persona, material so well-loved that reinterpretation, though imperative, comes with risks.
14)Ron Davies RIP October 30, 2003 CD Where Does the Time Go?
Ron Davies' Where Does the Time Go is an important and soulful work from the major songwriter whose "It Ain't Easy" was covered by such diverse artists as Three Dog Night, David Bowie, and Mitch Ryder. The theme of the title track makes even more of an impact because of Davies'
untimely passing at age 57 in October of 2003, the year of this disc's
release. Notable are "Beyond the Realm of Words," which would make Rusty Kershaw proud with its laid-back Cajun feel, and "Mama, Take Me With You." Engineer/guitarist Brent Moyer co-produced the album with Davies, the ten originals from the singer/composer having a crisp sound and mellow authority. With a similar vocal to what Gerry Goffin put on his It Ain't Exactly Entertainment album three decades earlier, Davies' sentiments are more to the point here than on Goffin's
experimental work, songs like "You Come, Call on Me" and "You Were
Right on Time" affectionate and appealing. Lana Brown and sister Gail Davies
add their harmonies to the album, which should launch many a cover, the
country-folk essay "I'll Still Be Lovin' You" just perfect for Barry and Holly Tashian, a compelling duet with beautiful guitar. "Cool, Southern Breeze" is tasty pop that Maria Muldaur
could easily embrace. "Time is precious, don't let it slip through your
hands," he sings on the final track, "The Moon Tonight," with its New
Orleans flavor over a thoughtful melody. Where Does the Time Go is a treasure chest of strong compositions, a wonderful gift Ron Davies gave to the world. Hopefully it will find an audience to appreciate its depth.
About 13 years ago Willie “Loco” Alexander, contemporary of
Steve Gilligan and friends, released the excellent Dog Bar Yacht Club. A baker’s dozen spins of the earth around the
sun and Gilligan’s Spider Farm – a veritable super group of people on the folk
scene – issues this 12 song disc. With
a nod to Loco’s hero Kerouac Spider Farm open the album with a terrific pop
tune, “The Sun Belongs to Anyone” which flows with the best elements of
Americana wrapped up in hit record dressing.
It’s simply superb and deserves a huge audience. “She Was My Girl” clocks in at 4:15 and
could be Rock E. Rollins, the alter ego of Gilligan’s bandmate from the
Stompers, Sal Baglio. “Roline” and
“Halfway to Wichita”
are short bursts at 3:12 and 3:13 respectively, and what exudes from the
stylistically different pair is the fun that this ensemble puts into the
playing. Drummer Lenny Shea (percussion, glockenspiel and vocals) and Dave
Friedman (Piano and organ) – both Stompers themselves – join Kenny Selcer – a
local legend who didn’t need to perform with presidential candidate Jill Stein
to be famous, though he did when they were in a duo Somebody’s Sister. Bird Mancini’s Billy Carl Mancini along with
fiddle player Jackie Damsky and guitarist John Gibson add to the thick
sound. It’s one thing to perform on bills with the
bands your friends are in, another to blend all these veteran musical talents
into one CD that has so much to offer from so many different styles. “I Wanna Know” has bending guitars borrowing
from the Ventures, but adding that sound to a different dimension the Ventures
dare not go, specifically Beau Brummels and Searchers territory. “Dead End Angel” could be the Everly Brothers
joining George Harrison’s Bangla Desh multitude, and perhaps that’s the key to
the charm at play here. Harrison brought
together divergent talents from Dylan to Badfinger to Phil Spector and it
worked in a new and refreshing way.
Steve Gilligan and Spider Farm, comprised of so many masters that have
emerged from our under-appreciated music scene have crafted a stunningly
beautiful set of essays that enlighten and entertain. Then they turn on a dime with “Would You Kiss
Me Now,” stripped down pop where the embellishments pop up at opportune
times. Things turn around again with
“The Other Side of the Rain,” great music but as jarring as Santana’s 1999
Supernatural disc which had a wide scope that, somehow, people were able to
adjust to. How did Clive Davis get fired
for being too old when he put out the biggest record in the world is just one
aspect of the music industry that keeps things…interesting. “The Great Beyond” asks the eternal,
perpetual questions and “Heaven Allows” states the obvious at five minutes and
nineteen seconds…with delicious harmonica.
“A Little Lovin’ Tonight” at 4:19 bridges the gap with songs that go
from three minutes and under to Richard Harris Top 40 territory. “Rain Don’t
Fall” concludes this excellent set with sounds of the old west, as recaptured
by Peter Calo on his “Cowboy Song” disc, but with the added twist of religious
overtones and neo-gospel.
When Willie "Loco" Alexander & the Boom Boom Band split after 1979's Meanwhile...Back in the States on MCA, Alexander immediately picked up the slack by having a Boston area power trio, the Neighborhoods, back him up on-stage while he began recording the first of his many releases on the European New Rose label. The original Boom Boom Band reunited 23 years later, only to go into the studio owned by the Neighborhoods' guitarist/vocalist David Minehan. The results are phenomenally great, only proving that had the rock & roll minefields not existed to stand in this juggernaut's way, Willie Alexander & the Boom Boom Band would have emerged as Boston's answer to the Rolling Stones, and then some. While there is new material here, the band doesn't shy away from recovering some of the music Alexanderreleased after the split. "Oh Daddy Oh" from 1982's A Girl Like You album gets a driving new finish, while "Ogalala," originally issued on 1997's Persistence of Memory Orchestra CD, has a new perspective that gives Alexander the platform to go "loco," the stuff that made this group so irresistible in the first place. "Who Killed Deanna" from 1999's East Main Street Suite is one of the album's highlights -- the "Som-Som-Somerville" hook is haunting inside a true murder mystery that happened on the outskirts of Boston. That album also featured a track entitled "Ocean Condo II," which was a reworking of the original "Ocean Condo" from 1988's The Dragons Are Still Out, reprised here with Billy Loosigian's amazing guitar work as "Ocean Condo III," of course. The band also rocks out "AAWW" -- which some of the fans decipher as "All American Woman Wife" -- the flip of a 45 that was originally intensified by the band from the live Autre Chose album in 1982. It's a tasty way for the devoted to see how this material would've played out had the Boom Boom Band stayed together. Even the underground classic "Telephone Sex" from 1984's Taxi-Stand Diane EP finds itself resurrected here to good effect. Keep in mind that this group began by picking up the material Alexander was releasing on the independent Garage label in the mid-'70s, so one also gets the vibe that the group is truly going back to its roots and reinventing stuff that Willie did separately. A cover of scenester Emily XYZ's "Hey Kid" gives the band a different "new wave" feel, while Alexander and Loosigian combine to write four new tunes, including the interesting "Mystery Training," which dips into Willie's jazzier influences. The Boom Booms deliver close to 60 minutes of triumph, an album that is among their finest studio work to date, equal to the superb (and still missing in action) Craig Leon-produced demos from Dimension Studios in 1977 that landed them their deal with MCA. Dog Bar Yacht Club is no fluke; in performance Willie Alexander & the Boom Boom Band play this material flawlessly and with the fury they had when they reigned as the kings of the Boston scene.
This is an ambitious project by songsmithTommy Jamesfeaturing 11 songs and ten tracks of dialogue linking them together. Concept albums are tough -- a great example of a successful marriage of music and dialogue on CD being The Wizard Of Oz soundtrack. WhenLou ReedreleasedBerlinin 1973, the RCA label touted it as a "film for the ear." It was a soap opera set to music, a downer version of the "rock opera" formatthe Wholaunched withTommy. In order to grab the listener, a storyline must be as compelling as the music. The narrative onA Night in Big Cityis confusing, but the music is amongTommy James' best solo work. This audio-movie has the smart popTommy Jamesis known for, suspended by an unnecessary story thread. A natural evolution from hisChristian of the Worldphase (which included the hit "Draggin' the Line"), the song "Baby Tonight" is vintageTommy Jameswith modern sounds. But it's necessary to get up and hit "next" on the CD player to skip the interruption and get to the next song, "Give It All," another hook-laden tune withJames' great vocals and guitar work. It's nice to see he's still working with arranger and co-producerJimmy "Wiz" Wisner(keyboards, synths, strings), who worked on theChristian of the Worldalbum. "Give It All" segues nicely into a revision of "I Think We're Alone Now," a very sparse, very cool "new wave" version. "Who Do You Love is etherealTommy Jamesmusic, very nice indeed.Jamesthen picks up a chick for a ride in his limo, tuning his radio in to hear the single from this CD, "Megamation Man." This is aRay Davieskind of "20th Century Man" that comes during the century after, a solid tune. "Madd Blue" is unique soloTJ. Unlike his Roulette discs withoutthe Shondells, this is downright psychotic, sounding likeBoris KarloffmeetsRichard O'Brienfrom The Rocky Horror Picture Show. In the comic book accompanying this disc -- which features a "3D" cover a laChuck Negron'sThe Long Road Back-- Willoughby, the crazed maître d', attempts to explain the night's show. "Blue Bird" begins in aTiny Tim-ish'40s style (whichMama Cass Elliotembraced so well -- this song would've been perfect for her). "Angels and Strangers," written byJamesandGlen Wyka, has a great hook that is classicTommy James, a bit of "Crimson and Clover's riff speeded up a tad.
Jamesis in excellent voice on this disc. "Tighter, Tighter" -- the hit he wrote forAlive 'n Kickin'(which becameBrooklyn Dreamsand appeared onDonna Summer's "Heaven Knows") -- is different than the versionJamesre-recorded for his Fantasy Records debut in 1976. Co-produced by his old friendsRitchie CordellandKenny Lagunaof "Mony Mony" fame, the Fantasy version is dreamier. This is more up-tempo and rocking. The band gets into a limo and ends up in a nightclub that burned down in 1937 -- some kind of script right out of Quantum Leap (not as much fun as the music, although it sounds good in theory). The final track, "In Slow Motion," is reminiscent of "Crystal Blue Persuasion." Despite the flaws in this endeavor, it is music that radio desperately needs. Maybe a new script for what comes between these songs upon re-release is in order, for without the interruptions,A Night in Big Cityis a classy effort.
Uninvited Guest is a deep yet soothing album of Celtic songs from the Nashville group Secret Commonwealth. Released five years after their 1997 self-titled debut, the band refers to this disc as
a "concept album collecting many Halloween and supernatural-tinged original songs." "The Last of the H.M.S. Gannett" could be Gordon Lightfoot's "Wreck of the Edmund Fitzgerald" with Loreena McKennitt and Ian Anderson adding vocals and flute, respectively. It's not, of course, but that's what it sounds like, an intriguing mix of styles that carries the storytelling in a professional and compelling way. "The Silke" is more traditional pop and as such is the anomaly on this collection, a side dish which makes the entire package all the more eclectic. "The Glowin' Bones of Craggy Hope" comes off like a serious version of "Theme to Gilligan's Island," not only in the fact that the protagonist vanishes à la Gilligan, but that the melody is a close cousin to what was heard each episode during the opening to the hit TV show. There's an underlying theme of fun that pervades this sincere and sometimes somber music and that's what makes Uninvited Guest work on so many levels. "Frost on the Pumpkin" will take the listener into a different world, the flute, mandolin, and Uillean pipes on the various tunes coupled with studied http://www.allmusic.com/album/uninvited-guest-mw0000514167
________________________________ 19)Chicken Slacks Can You Dig It cd
13 tracks starting with Too Much Time THE CHICKEN SLACKS "CAN YOU DIG IT"
The Chicken Slacks
Can You Dig It
13 songs
Review by Joe Viglione
Calvin Arnold's"Funky Way" (to treat me) is
a great indicator of what this veteran Boston soul/funk/r&b group puts out
in the live clubs on the scene. Walking acrossWillie Alexander's"Mass.
Ave" one Thursday night in April, 2009, a loud rendition ofThe Temptations/Rare
Earth"Get Ready"
(not on this disc) was blasting throughout Central Square - the Chicken Slacks
Soul Revue playing to a packed Cantab upstairs whereLittle Joe Cookkept the college students entertained
for years. Piano/organist The Reverend Curtis Jerome Haynes and drummer Justin
Berthiaume co-produced the CD, engineered by Chris Lannon who worked withGirls Night Outback in the 1980s, and though the
times have changed from the days when GNO were putting a thousand people into
the Channel Club, packing hundreds into the Cantab in this 2009 economy was a
major accomplishment – and that their residency endures in 2016 speaks volumes
about their ability to please the crowds.
Steve Cropper and Eddie Floyd’s classic, “On a Saturday Night,” gets a
loving and direct cover from the venerable group. It’s pure reinvention that –
somehow – remains genuine. The group is such a part of our musical landscape these
days as Duke and the Drivers and early J Geils were to the 70s. Vocalist
Durand Wilkerson takesJohn Fogerty's"Long As I Can See The
Light" and pulls all the pop stylings out of it, bringing it purely into
the realm of Stax/Volt while "Any Other Way" could be the
reincarnation ofClarence Carteron this R & B party disc. The thirteen songs on this 2008 outing are
still the most recent Chicken Slacks on record, a follow-up to the 2005 Soul
Shack disc. Word is in 2016 the Slacks
are coming up with a new album – good news for the thousands of fans that check
‘em out as they tour New England
Calvin Arnold's
"Funky Way" (to treat me) is a great indicator of what this veteran
Boston soul/funk/r&b group puts out in the live clubs on the scene.
Walking across Willie Alexander's "Mass. Ave" one Thursday night in April, 2009, a loud rendition of The Temptations/Rare Earth
"Get Ready" (not on this disc) was blasting throughout Central Square -
the Chicken Slacks Soul Revue playing to a packed Cantab upstairs where
Little Joe Cook
kept the college students entertained for years. Piano/organist The
Reverend Curtis Jerome Haynes and drummer Justin Berthiaume co-produced
the CD, engineered by Chris Lannon who worked with Girls Night Out
back in the 1980s, and though the times have changed from the days when
GNO were putting a thousand people into the Channel Club, packing
hundreds into the Cantab in this 2009 economy is a major accomplishment.
Vocalist Durand Wilkerson takes John Fogerty's
"Long As I Can See The Light" and pulls all the pop stylings out of it,
bringing it purely into the realm of Stax/Volt. "Any Other Way" could
be the reincarnation of Clarence Carter on this R & B party disc. With J.Geils actually out and about these days performing at The House Of Blues as well as in the mid-west, and Duke & The Drivers releasing their exquisite (see Calvin Arnold http://fleamarketfunk.com/2007/04/18/calvin-arnold-funky-way/ )
THE CHICKEN SLACKS "CAN YOU DIG IT" Calvin Arnold's
"Funky Way" (to treat me) is a great indicator of what this veteran
Boston soul/funk/r&b group puts out in the live clubs on the scene.
Walking across Willie Alexander's "Mass. Ave" one Thursday night in April, 2009, a loud rendition of The Temptations/Rare Earth
"Get Ready" (not on this disc) was blasting throughout Central Square -
the Chicken Slacks Soul Revue playing to a packed Cantab upstairs where
Little Joe Cook
kept the college students entertained for years. Piano/organist The
Reverend Curtis Jerome Haynes and drummer Justin Berthiaume co-produced
the CD, engineered by Chris Lannon who worked with Girls Night Out
back in the 1980s, and though the times have changed from the days when
GNO were putting a thousand people into the Channel Club, packing
hundreds into the Cantab in this 2009 economy is a major accomplishment.
Vocalist Durand Wilkerson takes John Fogerty's
"Long As I Can See The Light" and pulls all the pop stylings out of it,
bringing it purely into the realm of Stax/Volt. "Any Other Way" could
be the reincarnation of Clarence Carter on this R & B party disc.
With J.Geilsand Gerry Beaudoin out and about performing in the club scene, and Duke
& The Drivers having released their exquisite Harder Than Before
a few years back, Chicken Slacks pick up where those Boston r & b pioneers
Bobbie Gentry An American Quilt 1967-1974 added to the library, here's my review: Song Review by Joe Viglione [-]
A simple acoustic guitar played against a background of strings creates the perfect setting for Bobbie Gentry's almost-raspy voice reminiscing about her protagonist's friend, Billie Joe MacAllister, and his suicide. The dinnertime conversation about the death is told so matter-of-fact that it creates an under-current in this masterful story/song - that the woman describing the event is more affected than she can let on. Her father dismisses the tragedy because "Billy Joe never had a lick of sense" and that there are more urgent matters at hand - like the fact five more acres of farmland have to be plowed. According to musician Buzzy Linhart the song uses a traditional blues scale (flat the 3rd and the 7th) as in "Black Magic Woman" - "I got a black magic woman and she's trying to make a devil out of me" descends in the same fashion as "the day Billy Joe McGallister jumped off the Tallahachee Bridge". The tune would be covered, veteran guitarist Cornell Dupree giving an amazing instrumental take on the title while The 5th Dimension created a superb soulful version with a voice coming in when mama hollered "Y'all remember to wipe your feet", playing roles with the characters in the song. There are scores of covers including Ellen McIlwaine's uptempo blues/folk rendition recorded in 1973 - quite a variety of talents from across the spectrum giving their interpretation of a story which at first glance would seem as type-cast as Jeannie C. Riley's "Harper Valley P.T.A.", a #1 hit from 1968. And don't discount the importance of Bobbie Gentry hitting #1 exactly a year before Jeannie C. Riley, both were country story-songs and the more serious composition from Gentry found on Capitol Records 45 #5950 was music that definitely cut the path. This was a full year and a half before Tammy Wynette would proclaim it was ok to "Stand By Your Man" while the mystery of Billie Joe's death was compounded by the relationship he had with the woman telling the story. And what they threw off the Tallahachee Bridge was a question that made the song more of a conversation piece than who the culprit was in Carly Simon's "You're So Vain" five years later. Some surmised they threw an unborn child into the water, leading to Billie Joe's depression and desperation. It also led to water cooler conversations before cable TV came up with similar soap operas. The song became the title of a film in 1976, produced by Max Baer, Jr..
Cast: Benedict Cumberbatch, Chiwetel Ejiofor, Rachel McAdams, Benedict Wong, Michael Stuhlbarg, Benjamin Bratt, Scott Adkins, with Mads Mikkelsen and Tilda Swinton
Director: Scott Derrickson
Producer: Kevin Feige
Executive Producers: Louis D’Esposito, Stephen Broussard, Victoria Alonso, Charles Newirth, Stan Lee (credit not final)
Written by: Jon Spaihts and Scott Derrickson & C. Robert Cargill (credit not final)
SYNOPSIS:
From Marvel Studios comes “Doctor Strange,” the story of world-famous neurosurgeon Dr. Stephen Strange whose life changes forever after a horrific car accident robs him of the use of his hands. When traditional medicine fails him, he is forced to look for healing, and hope, in an unlikely place—a mysterious enclave known as Kamar-Taj. He quickly learns that this is not just a center for healing but also the front line of a battle against unseen dark forces bent on destroying our reality. Before long Strange—armed with newly acquired magical powers—is forced to choose whether to return to his life of fortune and status or leave it all behind to defend the world as the most powerful sorcerer in existence. Join Strange on his dangerous, mystifying, and totally mind-bending journey when Marvel Studios’ “Doctor Strange” opens in U.S. theaters on November 4, 2016.
ONE-LINER:
Marvel Studios’ “Doctor Strange” follows the story of world-famous neurosurgeon Dr. Stephen Strange who, in his quest for healing after a horrific car accident, discovers powerful magic in a mysterious place known as Kamar-Taj—the front line of a battle against unseen dark forces bent on destroying our reality.
OFFICIAL BOILERPLATE:
From Marvel Studios comes “Doctor Strange,” the story of world-famous neurosurgeon Dr. Stephen Strange whose life changes forever after a horrific car accident robs him of the use of his hands. When traditional medicine fails him, he is forced to look for healing, and hope, in an unlikely place—a mysterious enclave known as Kamar-Taj. He quickly learns that this is not just a center for healing but also the front line of a battle against unseen dark forces bent on destroying our reality. Before long Strange—armed with newly acquired magical powers—is forced to choose whether to return to his life of fortune and status or leave it all behind to defend the world as the most powerful sorcerer in existence.
“Doctor Strange” stars Benedict Cumberbatch, Chiwetel Ejiofor, Rachel McAdams, Benedict Wong, Michael Stuhlbarg, Benjamin Bratt and Scott Adkins, with Mads Mikkelsen and Tilda Swinton. Scott Derrickson is directing with Kevin Feige producing. Louis D’Esposito, Stephen Broussard, Victoria Alonso, Charles Newirth and Stan Lee serve as executive producers. Jon Spaihts and Scott Derrickson & C. Robert Cargill wrote the screenplay. Join Strange on his dangerous, mystifying and totally mind-bending journey when Marvel Studios’ “Doctor Strange” opens in U.S. theaters on November 4, 2016.
