Thursday, June 30, 2016

July 1 Ronnie Spector, Santana/McLaughlin / Jeff and Jane Hudson / Kid Gulliver and more!


 Santana and McLaughlin
Stairway to Heaven

With the Taurus/Spirit vs. Led Zeppelin/Stairway to Heaven trial over, the rendition of "Stairway to Heaven" by Carlos Santana and John McLaughlin on Invitation To Illumination - Live at Montreux 2011 is all the more enlightening.  The two guitarists weave a magical instrumental of one of the greatest classic hits of all time and breathe new life from a different dimension into material. Material that some may think is overplayed.  When asked in an interview what "illumination" means Santana replied: "...means arriving at knowing that you always have been, never not have been and always will be good enough to have fun and play your music.  And stop picking on so much and dissecting it.  Just enjoy that you have this gift. Everyone has the gift, but very few people actually take the time to develop it."  That human philosophy, coupled with artistic expression to further define it, is what makes "The Life Divine" on this audio cd from the DVD such a relentless joy.  Is it jazz merging with the style of latter-day Deep Purple?  Yes it is, and more.  The two musical giants converge in a sort of quasi Steve Hunter/Dick Wagner unison, guitarists generating a symphony of sound. When the vocals do come in on the mostly instrumental track, it is as if the vocals of folk artists are giving a Gregorian chant, while the dual instruments veer off into their own unique personalities, splitting from the symphony into a guitar improvisation as a kind of Miles Davis-inspired trumpet style.

    The medley of "Peace On Earth," "A Hard Rain's Gonna Fall," "Stairway to Heaven" etc. - as referenced above - has a classical ring - removed from Jimmy Page - more like a beautifully sliding sideways soundtrack to a psychedelic different dimension film version of Lord of the Rings, Hendrixian stylings based on Zeppelin but not their domain, nor the band Spirit's for that matter.

   The two discs contain an ocean of uplifting sound,  "The Creator Has a Master Plan" a cavalcade and blur (in a good way,) of sounds you are familiar with but placed in comfortable new fabric.   So much beautiful material put into one splendid package makes reviewing more difficult.  This played in my car stereo for weeks with a variety of sketches in my notepad which I abandoned

On July 1st, 2011, the famed Montreux Jazz Festival hosted the reunion of master-guitarists Carlos Santana and John McLaughlin with their Invitation To Illumination concert. This is the first ever release of the audio from this unique concert, which includes most of the tracks from their classic 1973 album Love Devotion SurrenderInvitation To Illumination – Live At Montreux 2011 also features the late Claude Nobs, founder of the Montreux Jazz Festival, playing harmonica on the final track.

Both Santana and McLaughlin have been regulars at Montreux throughout the years but this was the first time they headlined their own concert together. The show features compelling performances of the beloved tracks from   Love Devotion Surrender as well as songs that have influenced Carlos & John’s incredible careers, including songs by Led Zeppelin, Miles Davis, John Coltrane, Bob Dylan & John Lee Hooker. This show is an incredible display of supreme musicianship by two of the most prolific guitarists to ever grace the world stage.  The line-up for this performance featured Carlos Santana (Lead Guitar & Vocals); John McLaughlin (Lead Guitar & Vocals); Cindy Blackman Santana (Drums); Dennis Chambers (Drums); David K. Mathews (Keyboards); Tommy Anthony (Guitar & Vocals); Raul Rekow (Congas, Percussion & Vocals); Etienne M'Bappé (Bass); Benny Rietveld (Bass); Tony Lindsay (Vocals); Andy Vargas (Vocals)

The evening captured on Invitation To Illumination – Live At Montreux 2011 was truly worthy of its title: Illuminating. A showcase of supreme musical virtuosity and spirituality, this 2CD set typifies the approach of these two great artists.


Disc One:

1) Echoes Of Angels   

2) The Life Divine  

3) Medley: Peace On Earth / A Hard Rain Is Gonna Fall / Stairway To Heaven / Summer In The City / Our Prayer / Free America / The 8th Of January / La Marseillaise / SOCC  

4) Medley: Right Off / Guitar Interlude / Voodoo Child (Slight Return)  

5) Vuelta Abajo  

6) Vashkar  

7) Medley: The Creator Has A Master Plan / Guitar 

8) Naima  

9) Medley: Lotus Land Op.47 No.1 / Don’t Let Me Be Misunderstood 

Disc Two:

 1) Downstairs Blues  

2) Medley: Venus / Upper Egypt  

3) Let Us Go Into The House Of The Lord  

4) Medley: Black Satin / Smooth Criminal / Land Of 1000 Dances  

5) Cindy Blackman Santana Drum Solo  

6) A Love Supreme  

7) Shake It Up And Go

Fan tape on YouTube 

The Life Divine 

Creator has a Master Plan

2015 Montreux return of Santana and McLaughlin 

10)Steve Hunter     Camella   1980 demo version

40  Bette Midler   THE ROSE (Soundtrack)

AllMusic Review by  [-]

Paul A. Rothchild produced the final Janis Joplin studio album, Pearl, as well as many a Doors disc, and the late producer was the perfect guy to tackle this tribute to Joplin featuring "The Divine Miss M" as "Pearl"/"The Rose." In March of 1980, the version of "When a Man Loves a Woman" from this 1979 film soundtrack went Top 35, and Midler's biggest hit followed her Oscar nomination, but it was a well-produced version of the title track, different from the album, which went Top Three, the gold single the biggest of her six hits up to this point in time. It's a strange twist of events, Bette's previous 1979 album, Thighs and Whispers, has technically better sounds, Arif Mardin drenching it in the disco of the day, but that artificial episode pales next to this project, which features Lou Reed's "Rock 'n' Roll Animal" bandmates guitarist Steve Hunter and drummer Whitey Glan.   READ MORE HERE:


Sunday, June 05, 2016

June 2016 Top 40 Casey Fallen, Peter Gabriel, Burt Bacharach, James Ream/Barnstormers, Elvis Costello

TOP 40 for JUNE 2016

Listen to June 29, 2016 POP EXPLOSION
Anton Yelchin Special
Interviews with Felicity Jones, Drake Doremus and Jodie Foster (all interviews from 2011)

 Listen to Bob Somma on Pop Explosion ________________________________


1)Atmospheric Disturbances

by Casey Fallen 


Casey Fallen
Review by Joe Viglione
The 13 tracks on Atmospheric Disturbances begin with "Fragile," resplendent in dreamy, nostalgic and mysterious, quite fashionable sound.  A unique blend of Pink Floyd at half-speed with a strong dash of house music… and vocals out of the folk-rock Velvet Underground third album.  There's a one minute fifty-nine second video on YouTube of "Fox in a Box,(Alternative Version,) which rocks harder than the non-lp video of the same tune ( "Fox in a Box") found also on the web. The CD's track times out at 3:39.    "Lillian's Last Lyric" continues the journey which flexes its cosmic guitar approach into worlds traversed on TV's the Twilight Zone and Dark Shadows.  Were those shows in production today, Fallen could be the Fred Steiner, Jerry Goldsmith or Gerard Wilson of the modern era.  3:26 in to “Lillian” would work so nicely as an episode of Game of Thrones concludes.   As I advise in my review of Peter Gabriel's Back to Front DVD, the  "Sledgehammer" (the song’s) approach should have been where rock segued into in today’s world rather than the compressed ‘pop’ current "hit radio" passes off for music.  The "songs-for-ear-buds" approach doesn't appeal to the entire population, the machinations of multinational corporations taking over what was the once-dreaded "corporate rock" now making the old corporate rock look appealing by comparison. Well, "Lillian's Last Lyric" does traverse Peter Gabriel's "So" territory, and in doing so, proves my point.

   The video "CIty Lights," directed by Fallen, said to be "a journey with the one you love," is a moody, well thought-out three minute and forty-five sort-of intimate travelogue, but it 
can be open to interpretation if you hear the audio only.

    Casey Fallen’s music is finding a way into the car stereo, best compliment I can give to an artist who sends sounds through the U.S.mail, special sounds that get the attention of jaded old critics. 

"City Lights"

Atmospheric Disturbances  CD Baby

"Last Glance"

"Fox In A Box"

"City Lights"

Lillian's Last Lyric




  The marvelous thing about this live recording of Peter Gabriel's So album --- and other tracks, is that it lives up to the billing.  It is a meticulously crafted re-working of arguably his most significant solo work, and perhaps his best work overall. When "Sledgehammer" hit the airwaves in 1986 it was an extraordinary breath of fresh air, Wikipedia citing that the single was the most played video in the history of MTV. It and Steve Winwood's "Higher Love" were both on an amazing path that the industry should have followed.   Dance rock that wasn't disco, pure pop that had drive, passion and insight. What's missing in music thirty years later.  Listen to James Vincent Mc Morrow cover "Higher Love," or Whitney Houston's Japanese b-side rendition, they add to the Winwood legend.  Gabriel, on the other hand, owns his hit, and this DVD puts an exclamation point on that. There's a superb acoustic rendition of "Sledgehammer" by the undiscovered Morgan James that expresses the sentiments well, very well, but it is Gabriel who sheds the skin prior to the "new stuff."

    Live the song moves from the dance hall to the singer/songwriter arena, though the music is exact. On this tour, Gabriel is having a love-fest reading it (in full singing voice,) to those who appreciate.

     When separating the film from the performance what we now are into is the realm of art, and this video is an artistic masterpiece.  Amazing audio and inspiring camera work, so essential in documenting important material for the ages.

     Ten songs open the DVD before we get into the tracks of "So,) which concludes, of course, with Mrs Lou Reed Laurie Anderson's co-write with Gabriel, "This is the Picture (Excellent Birds.)    The album is played in order except that "In Your Eyes" is switched around to conclude the 1986 discs 9 songs (whereas it opened up side 2 sandwiched between "That Voice Again" which ends side 1 and track 2 on side 2, "Mercy Street."

      A few years back Marty Balin of the Jefferson Airplane had contracts signed for a tour where he would play the album Surrealistic Pillow in its entirety.  Fans were excited, but Marty pulled the plug, as he has done so many times before.  It's too bad, because those who appreciate immortal music were deprived of something that would have given an artist that was overshadowed by both of his major groups, Jefferson Airplane and Jefferson Starship, a platform to show how vitally important he was to the success of both enterprises.  

     Gabriel, an artist who puts his audience first, delivers the goods.   Not standing in the shadows of Genesis, but showing great respect for his catalog, and those who have enjoyed his career over the decades.  Bravo...and, encore!

Four minutes of Peter Gabriel from the disc here:


THE SO ALBUM on Wikipedia

Side one
No. Title Writer(s) Length
1. "Red Rain"   5:39
2. "Sledgehammer"   5:12
3. "Don't Give Up" (featuring Kate Bush) 6:33
4. "That Voice Again"  
  • Gabriel
  • David Rhodes
Side two
No. Title Writer(s) Length
1. "In Your Eyes"   5:27
2. "Mercy Street"   6:22
3. "Big Time"   4:28
4. "We Do What We're Told (Milgram's 37)"   3:22
5. "This Is the Picture (Excellent Birds)" (featuring Laurie Anderson)
  • Laurie Anderson
  • Gabriel

September 6, 2012 Sledgehammer Auburn Hills


3)James Vincent MC Morrow

Higher Love



Burt Bacharach  A Life in Song

When Burt Bacharach performed with Dionne Warwick on the Boston Common in 1987 it was a thing of beauty.  Though Whitney Houston had three sold out nights that same summer, and brought the house down, even though Houston was under the weather, it was the Bachrach/Warwick pairing which hit it out of the park.  29 years is not too long to wait (just ask Sly Stone fans!) for the master to have this exquisite release on Eagle Vision.
To know the power of Bacharach, listen to the bonus tracks which are not the familiar material which permeates this beautiful recording. Even that unknown to you sounds magnificent…those three bonus tracks include:“Be Aware” – Josie James, “Waiting For Charlie” – Donna Taylor and “God Give Me Strength” – John Pagano.
On it Burt tells the host/interviewer, Michael Grade, that he met Elvis Presley once; the closest I came to Burt Bacharach is that he phoned my hotel room at the Cheateau Marmont sometime in 1989 looking for Jimmy Miller, producer of the Rolling Stones, Blind Faith and so many others.   Darn we could have had drinks with him!   A Life In Song appears on PBS stations every once in a while, but it is one of those keepers that you need to have on your shelf, even to keep on in the background without viewing…the audio every bit as good as the video.
“The Look of Love” is in the “movie medley” – one of the all-time greats recently a focus of our radio show where along with Dusty Springfield’s multiple takes we aired renditions from other artists. This medley features Bacharach himself singing the classic – it’s an elegant and unique addition to the collection, the backing vocals sublime in this all around first rate show.  Hearing others taking on the magic memories is very special, a compelling remake for the theme to the original Arthur motion picture, case in point: just lovely.   “What’s New Pussycat” is more restrained than the explosive Tom Jones hit version, “Raindrops Keep Falling on My Head” also subdued from B.J. Thomas’ ability to make a middle-of-the-road song sound rock and roll. Ditto (see first paragraph) for “The Man Who Shot Liberty Valance” which Gene Pitney had so wonderfully over-the-top in its original form. “Making Love” belongs to Roberta Flack, but it comes to life again here in another dimension, and does so just fine.  It is these new perspectives which are the refreshing key here, and keep the Bacharach legend rolling on.
The press sheet notes: featuring performances by Joss Stone, Justin Hayward, Alfie Boe, Sophie Ellis-Bextor, Shaun Escoffery, Rebecca Ferguson, Michael Kiwanuka, and Laura Mvula. Filmed at London’s Royal Festival Hall in 2015, A Life In Song presents on-stage conversations between Burt Bacharach and Michael Grade traversing different aspects of his years in music, interspersed with performances of many of his best loved songs by a diverse cast of artists. The evening culminates in a medley of some of Bacharach’s most famous film songs performed by the man himself and his band, and a performance of “That’s What Friends Are For” featuring the entire evening’s cast.


5)Bette Midler, ISN'T SHE GREAT
Words and music by Burt Bacharah


AllMusic Review by  [-]

Where the 1967 film Valley of the Dolls had a terrific Dionne Warwick classic in the title track (the biggest of her first 22 Top 40 hits), the reuniting of producer/arranger Burt Bacharach with lyricist Hal David and vocalist Warwick is about as memorable as this biographical film about Jacqueline Susanne, the author of Valley of the Dolls. One problem is failing to utilize the film's star, Bette Midler, on any of the songs here, proving how essential that diva is to both sides of the movie-making experience. Even dialogue from the motion picture would have given this endless middle-of-the-road loop something to hold onto. It sounds like all involved showed up to get their paychecks, manufactured the music off of an assembly line, and maybe had some fun reminiscing about the really great work they all did once upon a time. The album opens up with Warwick singing "On My Way," a nice enough performance with lyrics that -- if not flavored by "Valley of the Dolls" -- sound like they are outtakes from that epic title song over a melody with little staying power. At 13 tracks into the CD, the tune is reprised inside something called "The Book Tour," an instrumental minute and ten seconds before Warwick comes back in with the "Somewhere I will find me a new love" lyric and

6) Morgan James  "Come Together"


7)Dusty Springfield and Cilla Black  

"Heart and Soul" 


 8)Jimi Hendrix  Soundtrack

Unlike the soundtrack to the movie Janis Joplin which - most unfortunately - contained studio versions of songs performed in the film but not the actual live takes from the motion picture, this 1973 double lp from Reprise/Warner Brothers has the actual music from the celluloid. Sound Track Recordings From The Film Jimi Hendrix "contains film of all
the performances included in this album" says the liner notes - and with the guitarist's catalog going through more mutations than perhaps any other rock artist's repertoire in history, this is a wonderful companion artifact to a pretty decent movie.  

There's a plethora of interviews in
the actual film, {$Eddie Kramer}, {$Lou Reed}, {$Eric Clapton}, Pete Townshend} and many others, while this soundtrack album- interestingly enough - contains "some of the same individuals interviewed in the film but (not) necessarily taken directly from the film". Making it a definite
collectors item.  As for the music, four tracks are from the Monterey festival in June of 1967, "Johnny B. Goode"} and "Purple Haze" come from Berkeley California, May 30, 1970, {&"Machine Gun II is from the Band Of Gypsys recorded December 31, 1969, with material also from
Woodstock and the Isle Of Wight festivals.  There's also a "Hear MyTrain A-Comin' taped in London, 1967  by Jimi using a 12 string guitar.

Twenty four photographs inside the lp gatefold and a Nigel Waymouth  illustration of the musician sitting on a stool gracing the front cover give the document added value for collectors. When released in 1973 it was
difficult to find some of this material, though most - if not all of it - has surfaced via the fine work of the Experience Hendrix corporation.  The interviews do make it extra special, and right now it is the only lp to legitimately have the voices of both Little Richard and Jimi Hendrix - though Little Richard} is here in interview form. Not to be confused with the British film soundtracks Experience} and More Experience, released in 1971 and 1972 respectively.

joe viglione for AMG


1.Rock Me, Baby~3:01~King/Josea
2.Wild Thing~5:18~Taylor, Chip
3.Machine Gun 1~7:45~Hendrix, Jimi
5.Johnny B. Goode~3:37~Berry, Chuck
6.Hey Joe~3:50~Roberts, Billy
7.Purple Haze~3:40~Hendrix, Jimi
8.Like A Rolling Stone~6:11~Dylan, Bob
9.Interviews II ~3:21~
10.The Star Spangled Banner~3:42~Key, Francis
Scott/Traditional~Arrangement, Hendrix, Jimi
11.Machine Gun II~12:35~Hendrix, Jimi
12.Hear My Train A-Comin'~3:05~Hendrix, Jimi
13.Interviews III~2:36~
14.Red House~11:18~Hendrix, Jimi
15.In From The Storm~4:27~Hendrix, Jimi
16.Interviews IV~5:55

total time: 84:02


Hendrix, Jimi/guitar, vocals, interview, 12 string acoustic guitar

Miles, Buddy/drums
Cox, Billy/bass
Redding, Noel/bass
Mitchell, Mitch/drums

Waymouth, Nigel/front cover illustration

Hartley, Pat/interview
The Ghetto Fighters/interview
Douglas, Alan/interview
Pridgon, Fayne/interview
Caruso, Paul/interview
Little Richard/interview
Hendrix, Al/interview
Gautier, Freddie Mae/interview
Hall, Dolores/interview

Philips, John/producer

Adler, Lou/producer

Boyd, Joe/producer

Head, John/research

Weis, Gary/visuals

Colbert, Peter/film editor

Branton, Leo/associate producer

Roberts, Randy/associate editor




Important Made in USA Origin Disclaimer: For certain items sold by Walmart on, the displayed country of origin information may not be accurate or consistent with manufacturer information. For updated, accurate country of origin data, it is recommended that you rely on product packaging or manufacturer information.
A very interesting double LP retrospective two years after Jim Morrison's version of the Doors had officially closed. Weird Scenes Inside the Goldmine contained the first album release of two B-sides, Willie Dixon's "(You Need Meat) Don't Go No Further," sung by Ray Manzarek, originally on the flip side of the 1971 45 "Love Her Madly," and the beautiful "Who Scared You," "Wishful Sinful"'s flip with Jim Morrison on vocals from a session in 1969. Both are worthwhile additions not found on their first "greatest hits" collection, 13. This compilation is a strange amalgam of their music, the LP title taken from a line in the song "The End," which concludes side two. Five of the 22 songs are from the L.A. Woman sessions, including the title track of that album and the full length "Riders on the Storm," both clocking in at seven-plus minutes. With "The End" and "When the Music's Over" at 11:35 and 11:00 respectively, that's 38 minutes and 38 seconds between four titles, more than a third of the 99-plus minutes of music on this collection. Nothing from Absolutely Live is included, and surprisingly, the classic "Waiting for the Sun" is not here, though that Morrison Hotel number would fit the mood perfectly. "Love Street," the flip of "Hello I Love You," is here, but pertinent singles like "Wishful Sinful" or "Do It" and its flip, "Runnin' Blue," from The Soft Parade, are all missing in action. The cover art pastiche by Bill Hoffman is worth the price of admission if you already have all this material, while the inside gatefold picture looks like an outtake from the first album. Bruce Harris' liner notes are truly the '60s merging with the '70s; he calls Jim Morrison "merely the index of our possibilities" and states that Morrison didn't want to be an idol "because he believed all idols were hollow." The essay is all the more silly when you realize it isn't tongue-in-cheek in the way Lou Reed's incoherent ramblings inside Metal Machine Music are more enjoyable than the disc. Harris seems to actually believe what he pontificates. But the music is awesome, so put it on and read the Metal Machine Music scribblings instead. Weird Scenes Inside the Goldmine is a work of art in the first order, the way the Beatles #1 album is wonderfully redundant, and it should see the light of day again. This time they could add "Tree Trunk," the flip of the "Get Up and Dance" 45 RPM from 1972's Full Circle album. ~ Joe Viglione, Rovi

10) Arturo Sandoval


11) Kid Gulliver








Review: Independence Day 2 – The Queen of Outer Space

Independence Day Resurgence 680

Independence Day: Resurgence is a beautifully crafted science fiction movie which cleverly goes back to the first film twenty years ago without retreading it the way Star Wars 7 copied Star Wars 4 which was actually Star Wars 1.  The bizarre idea to keep the film away from the traditional critics' screenings.

Review: Independence Day 2 – The Queen of Outer Space

Independence Day Resurgence 680

Independence Day: Resurgence is a beautifully crafted science fiction movie which cleverly goes back to the first film twenty years ago without retreading it the way Star Wars 7 copied Star Wars 4 which was actually Star Wars 1.  The bizarre idea to keep the film away from the traditional critics' screenings sent a message that the film company – 20th Century Fox Film Corporation (production company and distributor for most of the world) felt it would be hammered by critics.  Maybe it will be, but not this one.

Picture Zsa Zsa Gabor’s 1958 lady Talleah fighting the “vicious queen” (of Venus) Laurie Mitchell’s Queen Yllana in the Queen of Outer Space meets Sigourney Weaver fighting her own alien queen (from Alien, of course) and you’ll get an idea where this film is going now that we’ve seen the visitors face to face from the original Independence Day.  That Jeff Goldblum’s David Levinson had 20 years to prepare us (he didn’t do a very good job in that regard, but Goldblum’s acting is much better in the sequel, perhaps his excellent work on Law & Order: Criminal Intent let him know that his serious side without over doing it brings some harmony to his characters,) and with an eye towards giving us some new clever twists (most welcome and the true appeal of this fight with the Borg meets Signourney Weaver’s aforementioned Alien) the bee/locust hybrid planet harvester, straight out of the Fantastic Four’s Galactus character, returns for a second go at earth.
There are more things to like about Independence Day: Resurgence than to dislike and killing off Will Smith’s character at the outset probably not a bad thing.  Why?  Smith was omnipresent in sci-fi after Independence Day – 2004’s I, Robot, 2007’s I Am Legend, and in each film you get…Will Smith. His mannerisms, like Arnold Schwarzenegger or Jack Nicholson, are a stamp that immediately brands a film with the signature of the megastar.  A Nicholson – being such a brilliant artist – can break the mold and take himself out of his own persona and into something else. When Nicholson fails to do so – the Joker in the Tim Burton Batman – you get the Joker playing Jack Nicholson.  Which is why Heath Ledger’s chameleon act garnered him the Academy Award for the same character, while being nominated for the Academy Award in Brokeback Mountain as Ennis Del Mar.  Where Ledger becomes those characters and not himself is the amazing thing and now that we’ve addressed the elephant in the room, the absence of Will Smith, we can look at the rest of the Independence Day 2 experience.

Utilizing gravity as a weapon and pulling at the earth, with humans being dragged up and tossed down while giving us bigger spaceships and more weaponry, director Roland Emmerich doubles down on his mastery of this genre.  Yes, there are still the cloying romantic interludes that James Cameron forced on us in Titanic (which, actually, kept the young girls coming back to the movie which helped deliver its unparalleled popularity) but this film and its followers are not about romance.  One would have thought that Emmerich would have figured that out first time around.  The bromance between 26 year old Liam Hemsworth (look out Thor/Chris Hemsworth, baby brother gets his own blockbuster) and 25 year old Travis Tope has far more chemistry than their respective female “dates” in the film, Hemsworth as Jake Morrison and his tongue-down-your-throat moments with hottie Maika Monroe as President Whitmore’s (Bill Pullman) daughter are that forced romance, and oh how coincidental, a main character’s daughter, that take the wrecking ball to the film for sci fi fans that want you to get down to business.  So while Tope’s Charlie Miller character is casting his eyes on a stunning lady pilot, Rain Lao (played by Hong Kong actress Angelababy) there is more real film chemistry between Hemsworth and Tope than with their lady friends. Don’t think its unintentional, Emmerich is looking to conquer China at the box office and gives major roles to many ethnicities.  A la Star Trek.  And the films Emmerich draws from – Star Trek (let’s bring Data back to life as Dr. Brakish Okum…let’s have lights and gizmos just like Star Trek does,) the insufferable Joey King as Sam (she was Channing Tatum’s daughter in Emmerich’s other recent destroy all cities flick, White House Down,) bring back Judd Hirsch from the excellent TV show Numbers (he’s less annoying 20 years later, but annoys enough in a fun way,) and kill off a main character so that the axiom “one death is a tragedy, thousands statistics” will resonate with the film goer.
Stepson of Will Smith – Dylan Hiller (Jessie T. Usher) – is as intentionally arrogant as Smith’s own Hiller was, and should have been killed off, at least for the staged histrionics if nothing else.  Oceans roar, ray guns blast, Robert Loggia makes a cameo and gets the “In Memoriam” at the end as he died shortly after making the movie (too bad they didn’t really give him a sendoff and blast him into oblivion for his stiff performance in the first Independence Day,) and all in all, it’s a grand spectacle.  As stated above, when they copy scenes from the first film, be it Bill Pullman’s President Whitmore re-creating scenes that both Brent Spiner AND Randy Quaid enacted in the first film, it is not as ho hum as the Star Wars reboot.   This film actually does for this Independence Day now-series what the recent Jurassic Park did, without the thread of so many previous sequels behind it.  Will it work at the box office? That’s the question.   Had Roland Emmerich just played it straight without the obvious human interactions, had he also played it not straight by having a secret romance between Jake Morrison and Charlie Miller (Hemsworth and Tope; there’s enough joking and innuendo to let you know Emmerich threw that in for the gay audience anyway,) had the film just a touch more seriousness that Jurassic Park had, it would have been amazing.
The first thing I though within 30 minutes of the film rolling was how 20th Century could have added the Fantastic Four to this and saved both franchises, but as the story unfolded the FF would have been over the top. What is clear is that Roland Emmerich needs to make the next Fantastic Four movie and use these brilliant special effects.   At the end of the day, the rumble seats in iMax, the gorgeous space-age spectacle, the clever aspects of the film, and the other alien presence (which opens the door for a sequel that is aiming for the Star Wars market, they make that very clear) is a very pleasant summer surprise we did not expect due to 20th Century fearing the critics and pulling this film from pre-release date screenings.

It could have been so much more, but as it stands, it is pretty darn good.

Joe Viglione is the Chief Film Critic at He has written thousands of reviews and biographies for,, 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.

16) The Transmitters  I Fear no-one...

Jangle jangle tucked inside cacophony is just part of
the mantra of {$The Transmitters} on {^I Fear
No-one...}, a 22 track album that is a combination of
non-stop erratic mania mixed in with avant-garde
ambiance flavored musical experiments. The notes on
this CD scrapbook are frustratingly threadbare except
for the track listing of the fourteen or so musicians
who show up to perform on specific song/essays.  A
cover of {$The Velvet Underground}'s {&"Ferryboat
Bill"}, once embraced on a mini-4 song bootleg EP
before being legitimized on {^Another V.U.}, is a nice
run-through but not as true to the spirit as other
Velvets-inspired pieces like {&"Ache"}. Total beat
poetry stream of consciousness in that song, is he
singing "Another mad crush another man abuses"? Who
knows? - it's another mad descent into a quagmire of
electronic sounds - one of the previously unreleased
tracks recorded around London, and one of the more
impressive ones.  Moody music with a pessimistic point
of view announced over the musical wanderings and so
different from the harsh punk of {&"Paper Boy"}, a 35
second 1978 track from the album {^24 Hours}. It's all
a bit more cohesive than {$Half Japanese} but still
disorganized enough to keep this music firmly stuck in
the realm of college radio with little chance of
mainstream crossover. Title track, {&"I Fear No-One
But My Friends"}, is an odd mixture of perhaps {$Devo}
meets {$The Quick} of {^Mondo Deco} fame while {&"Kill
The Postman"} owes much to {$David Thomas} and latter
day {$Pere Ubu}, the four tracks from BBC Radio One's
The John Peel Show, recorded November 21, 1979,
proving to be exceptional.  {&"Ugly Man"} seems like a
taut {$Ric Ocasek} nightmare he forgot to include on a
{$Suicide} lp., decidedly different from the catchy
{&"O.5 Alive"} which opens the disc. There's plenty on
{^I Fear no-one...} for both fans and newcomers to
absorb and enjoy and nice that music from a band with
limited output is cataloged so well on this


{$Joni Mitchell}'s exquisite voice and guitar playing
are on display in this satisfying hour and a half plus
of the iconic performer directed by {$Joan Tosoni} and
filmed in an intimate setting.  The dominant
instruments are, no surprise, the singer's voice and
her guitar, which is heavy with liquid effects.  Much
effort went into the circular set and the six cameras
have unobstructed views with graceful pans and elegant
zoom-ins. Mitchell is the set-designer and editorial
director with her own paintings adding to the decor,
positioned on the walls that swing around the set.
There's a two and a half minute discussion of the
event before actress {$Rosanna Arquette} introduces
the star and the festivities begin. A semi-pensive and
solo {&"Big Yellow Taxi"} opens the show, {$Mitchell}
not worried about being under this stunningly
beautiful microscope that is the colorful set and the
all-revealing eye of all these cameras. {&"Just Like
This Train"} has the singer close to her artwork and
strumming the guitar as if with a paint brush, quite
possibly an intentional metaphor from the clever
singer always exposing her intuition with a bit of
flair. She announces the band early on, just prior to
{&"Night Ride Home"}, and the musicians ease into the
program like drawings that quietly and slowly come to
life. The pop style is maintained throughout the jazz
leanings of this group of performers, {&"Black Crow"},
{&"Amelia"} and {&"Heijira"} getting not only the
sustained sound of the perfectly fluid ensemble, but
complementary camera work which drives around the set
and the performers as well as capturing the faces of
audience members and Joni's moves, all to wonderful
The concert is top notch with material that stretches
across her career up to the 1998 release, {^Taming The
Tiger}, and it features Joni giving some stories in
between songs, a warm rapport with those in attendance
which translates well to the viewer. The final song,
which appears after the concert on track 19, is a
percussive {&"Dream Land"}, once covered by {$Roger
McGuinn}, with Joni and her musicians on couches
casually performing as the credits roll. Bonus tracks
include a discography and filmography, but it is the
main event that will keep your attention. Taped at
Warner Brothers Studios in Burbank California and
produced in association with the Canadian Broadcasting
Corporation this is a very contained production, a
high quality presentation put together with the
refinement {$Mitchell} fans expect.

18) Joni Mitchell: Joni Mitchell Special Edition - 2 DVD
Collector's Edition

{^Joni Mitchell 2 DVD Set Collectors' Edition}
combines two previously released videos/dvd's, 1999's
{^Painting With Words And Music} along with 2003's {^A
Life Story: Woman of Heart And Mind}. These are both
excellent discs to have, the one problem being that
some of the "bonus" tracks on {^A Life Story: Woman of
Heart And Mind} turn out to be some of the
performances from {^Painting With Words And Music} and
so the consumer is getting a bit of Déjà vu and double
exposure.  That's not as egregious as pulling the
live performances off of {$Marianne Faithful}'s
{^Dreaming My Dreams} and re-releasing the DVD with
only the biography narrative and interviews, but it
shows a disturbing trend among name artists having
their material released and re-released in the same
fashion, {$Greg Lake} another case in point with CDs
and DVDs that contain variations on the same title,
with some of the same recordings. 
The {$Susan Lacy} written and directed biography has
so much information packed into the story that the
producers could easily have gone back into the vaults
and beefed up the bonus aspect of this package. Yet,
despite that one glitch in the perceived value, the
added punch of having both discs in one collection is
worthwhile, the documentary footage on {^A Life Story:
Woman of Heart And Mind} indexed and most compelling.
How can one resist hearing the creation of the song
{&"Woodstock"}, or the personal memories of {$David
Crosby}, {$David Geffen}, {$Larry Klein}, Mitchell
herself and many others.  Plus, there are some
additional bonus features on both discs and a four
page paper insert with two pages for each respective
DVD inside this convenient package, so the verdict is,
the {$Joni Mitchell} special edition is something to
cherish and hold on to.


This eponymous live audio cd culls its ten tracks from

{^Greg Lake Live}, a more extensive DVD which has even
more familiar material from the {$Greg Lake}
history/repertoire than this spin-off disc. In that
respect, this presentation in its truncated form is
rather redundant.  When other artists from the time
period (though not necessarily from the same genre)
like {$Leslie West} have their own "Official Bootleg
Series" of CDs including fancy titles to keep the fans
on notice, one has to ask why {$Greg Lake} isn't
getting the same kind of treatment. He certainly
deserves it.  Yes, there are credits galore in the 4
page booklet and the music is as precise and powerful
as one expects it to be, but the question remains - do
rabid fans of prog rock want a less than full-length
concert when the DVD offers so much more?  Also keep
in mind that many of Lake's solo recordings are live,
including a 1981 cd which reflects the DVD title to
this concert, {^Greg Lake Live}.  Confusion reigns,
even for the die hard fans. 

Now on to the music...It's as good as you would
imagine, the singer/guitarist in fine form spinning a
magical {&"In The Court Of The Crimson King"} as well
as a dirge-like {&"21st Century Schizoid Man"}, both
from the brilliant 1969 {$King Crimson} debut.  Sure,
the fans will appreciate those classics getting the
glossy progressive treatment, the eerie cutting edge
of the original versions now polished by time and not
as provocative, but the difference between them is
stark and the bombast present here doesn't add to the
legend, it merely gives another perspective.  Which
means, as much as fans love having many different
versions of their favorite songs, a little reinvention
would make the faithful sit up and pay attention. Note
how a folk/jazz/rock artist like {$Joni Mitchell} will
let her style and her renditions of past glories
evolve. There's nothing bad about this yet another
{$Greg Lake} performing some of his greatest hits
live...just the fact that it's another edition of
{$Greg Lake} performing some of his greatest hits.
Bootlegs are fun for a very specific reason, they
offer something unavailable on mainstream releases.
Hopefully Lake's future projects will add some
oddities, guest appearances or mad solos that break
the mold.  Current musicians emulating {$Greg Lake}'s
past, no matter how well, might make for a limited
engagement to the classic rock audience that seeks
something new.


20)Quick  Mondo Deco

Review by Joe Viglione
Earle Mankey worked with Sparks and the Dickies, and
the type of understanding necessary to translate
sounds from those experimental groups is a plus on
Mondo Deco, from the original Quick. As with the other
major Kim Fowley and Mankey discovery, the Runaways,
this band was released on Mercury in 1976, and it is
one of the best examples of fun new wave to escape
unscathed from all the hype. Unfortunately, it failed
to sell in big numbers, but the album is terrific, a
real underground gem. Guitarist Steven Hufsteter
writes impressive and energetic pop; "Hillary" and "No
No Girl" are two excellent examples. The Runaways
should have cut "Anybody" — it could have been their
breakout hit. With its tight bassline and perfect
hollow underground rock drums, Mondo Deco has lots of
treats hidden among its ten tunes. Vocalist Danny
Wilde sounds like a hybrid of Nick Gilder and the
Sweet, and this music should have been all over the
radio. Where the New York Dolls and the Runaways had
limitations inherent in their concepts (notice how
quickly Joan Jett rose up the charts once she figured
that out), the Quick have all the elements that should
have opened doors denied to the comical blitz of the
Dickies and the quirky insanity of Sparks. What Mankey
did to the Pop on Arista was unforgivable — he mutated
them beyond recognition, homogenizing the best
elements of what didn't need modification. The Quick,
on the other hand, strike that balance missing from
other bands, something that would deny the Dickies,
for example, airplay on Top 40. The cover of the Four
Seasons' "Rag Doll" is fun, but it is their rendition
of the Beatles' "It Won't Be Long," which leads off
the album, that should have been a number one smash.
The cover photo of the five bandmembers eating ice
cream cones is a bit too contrived, but the back-cover
image of a youthful underground Raspberries works.
This is Eric Carmen if he played alternative rock —
and it is one of Fowley's best moments next to his
work with the Modern Lovers.

Photo of Cover





For hardcore fans of Cactus, and/or Tim Bogert
and {$Carmine Appice}, the boogie onslaught of this
first live concert in over thirty years by the updated
version of this venerable group should do the trick.
It's a solid effort by a band that never offered any
surprises and the inclusion of harp player Randy
Pratt and nondescript vocalist Jimmy Kunes keeps
things in line with past efforts. Sure, guitarist Jim McCarty goes into overdrive on Mose
Allison's "Parchment Farm, but the current
line-up of {$Blue Cheer} in 2007 just happen to give
the style at play here a little more punch.  The
encore of {&"Rock N Roll Children"} from this outfit's
1971 release, {^One Way...Or Another}, rambles along
with vocalist Kunes looking and sounding like any
member of the audience jumping onstage to have some
fun with a trio of rock & roll legends.  Without any
frills there's little to differentiate the music here
from any other collection of yesterday's stars getting
together to reminisce.  In fact it could be {$Starz}
or a reunion of {$Flint}, former members of {$Grand
Funk Railroad}, playing this hard-driving blues/rock
in any typical nightclub in suburban America.  The
camera work is very public access TV, the lighting
inconsistent and the direction rather pedestrian.
Plus there's no {&"Take Me For A Little While"} or
{&"You Keep Me Hanging On"} for fans to key into,
perhaps the biggest let down.  Even a slowed-down
cover of {&"Journey To The Center Of The Mind"} a la
{$Vanilla Fudge}, a nod to original singer, the late
{$Rusty Day} (though he didn't perform on the hit
version), would brighten up the proceedings.  {$Leslie
Gold}, "the radio chick", does the introduction and
the audience is revved up, but what is missing is a
spark.  Finding a {$Leslie West} to join the group or
{$Cactus} battling it out onstage with members of
{$Blue Cheer} would at least put a jolt into this new
chapter.  The jolt isn't there, but this is an
adequate package with some backstage footage and a
decent photo gallery that will please those who care.

The Amboy Dukes  (debut)

Review    by Joe Viglione

The debut album by the Amboy Dukes should be high on
collectors' lists. Fusing the psychedelia of the early
Blues Magoos with Hendrix riffs and British pop, the
band which launched the legend of Ted Nugent has
surprises galore in these lost grooves. More
experimental than Ambrose Slade's Ballzy -- could you
conceive of the Cat Scratch Fever guy performing on
Peter Townshend's "It's Not True" and Joe Williams'
classic "Baby Please Don't Go"? The latter tune was
the flip side of the group Them's single "Gloria," but
Ted Nugent and the boys totally twist it to their
point-of-view, even tossing a complete Jimi Hendrix
nick into the mix. The Amboy Dukes issued this as the
single backed with their sitar-laden and heady "Psalms
of Aftermath." "Baby Please Don't Go" is
extraordinary, but isn't the hit single that "Journey
to the Center of the Mind" would be from their
follow-up LP titled after that radio-friendly gem.
Producer Bob Shad's work with Vic Damone, Dinah
Washington, and Sarah Vaughan wasn't what prepared him
for the psychedelic hard rock of "Colors," a song with
some of the experimentation Nugent would take further
on the Survival of the Fittest, Live and Marriage on
the Rocks/Rock Bottom albums further down the road.
Those latter-day Dukes projects took themselves too
seriously and got a bit too out there. The fun that is
the Amboy Dukes take on the Ashford/Simpson/Armstead
standard "Let's Go Get Stoned"; it's the kind of thing
that could have stripped away the pretension of the
post-Mainstream discs. The dancing piano runs and Ted
Nugent confined to a pop-blues structure certainly got
the benefit of Shad's record making experience, and it
is a treat. Of the 11 tunes, seven are band originals.
Taking on a faithful version of Cream's "I Feel Free"
is interesting, and like Slade's first disc, they
inject enough cover material to make the product
interesting for those who had never heard of this
group. "Down on Philips Escalator" could be early Syd
Barrett Pink Floyd, and that's what makes this album
so very inviting. As essential to the Amboy Dukes'
catalog as the non-hit material on Psychedelic
Lollipop was to the Blues Magoos, the first album from
the Amboy Dukes is a real find and fun listening
experience. "The Lovely Lady" almost sounds like the
Velvet Underground meets the Small Faces by way of
Peanut Butter Conspiracy. This is a far cry from Cat
Scratch Fever, and that's why fans of psychedelia and
'60s music should cherish this early diamond.

Marriage On The Rocks/Rock Bottom

Review    by Joe Viglione

Amboy Dukes' Marriage on the Rocks/Rock Bottom is a
very musical record, more experimental than their
releases on Mainstream Records, not as soaked in the
Pat Travers blues-rock which the follow-up, Survival
of the Fittest embraced, and not as rocking as The
Call of the Wild, which would be released about four
years after this on Warner Brothers' Discreet label.
Interesting to note the mutation of the Nugent sound
with every label change. This work on Polydor is
certainly more in the Ten Years After bag (especially
on Survival of the Fittest, Live), with keyboards up
there in the mix almost equal to Ted Nugent's guitar.
The entire first side is composed by Nugent, and the
first song, "Marriage/Part 1: Man/Part 2: Woman/Part
3: Music" sounds more like Jethro Tull than anything
else. It's a nine-minute-and-three-second progressive
blues number and it is highly listenable. Just looking
at the image of the four bandmembers staring up from
the darkness on the back cover shows as much of an
identity crisis in the presentation as is revealed in
the music by the Amboy Dukes on this disc. Featuring
Ted Nugent is low-key on the cover; he eventually
would get co-billing with the band name and find fame
when he abandoned the Dukes moniker altogether.
"Breast Fed Gator (Bait)" is one of a couple of songs
that could be considered for a single, but that's just
the length of the tune. As good as the music is, it is
far from commercial Top 40. As Ted Nugent takes riffs
and ideas from here and there, contemporary bands as
well as his own previous work, Marriage on the
Rocks/Rock Bottom has more improvisation, a concept
carried over to Call of the Wild, but not to this
extreme. Call of the Wild was more contained
experimentation. This music, recorded by Edwin H.
Kramer -- "Eddy Kramer" -- at Mira Sound in December
of 1969 and mixed at The Hit Factory that same month,
is beyond bizarre. The seven Ted Nugent tunes may
shift conceptually, but H. Andrew Solomon's "The
Inexhaustible Quest for Cosmic Cabbage" is ten minutes
of unfocused cut-and-paste where the Amboy Dukes take
on the Beach Boys, Spirit, and labelmates Ten Wheel
Drive. It might've made for interesting three a.m.
overnight music for progressive FM radio stations of
the time. Where Spirit's "Fresh Garbage" had an
ecology slant, "Cosmic Cabbage" here hopes to be the
Mothers of Invention. The pop elements of this
ten-minute suite are intriguing and a far cry from
"Cat Scratch Fever." "Brain Games of Yesteryear" is
not a title Ted Nugent became famous for, but it is an
unusual document of one phase of the hunter's career,
and the eight-minute piano-heavy "Children of the
Wood," perhaps the album's highlight, is workable
British pop by this Michigan band. Strange stuff.




30)Diane Krall  THE LOOK OF LOVE


 31)James Reams and the Barnstormers


  32)Adele and Burt Bacharach  Baby It's You


33)You're My World  Cilla Black



“Simple Things” from Raphaelle has all the elements, grand production and a voice full of emotion wrapped in an appealing tonality.  In the same style as Elton John’s  “Guess That’s Why They Call It The Blues” – perhaps a sequel to Elton’s classic, the gorgeous video is a nice backdrop to the sterling production and presentation   And she even has Elton’s drummer from the A Single Man album, Grammy-winner from McCartney and Wings, Steve Holley

No More Pillow Talk
A four minute and twenty-nice second black and white video with a dual storyline, Raphaelle narrating while a break-up with her lover is playing out behind her – the invisible wall that goes up when talk is cheap and the thought of communication is over. An update of Carole King’s “It’s Too Late” from decades ago. Where King was matter-of-fact about how she once “loved you” (probably written about her ex husband and ex songwriting partner, the late Gerry Goffin,) Raphaelle is far more determined for it all to end here.
IG – raphaellemusic
Twitter – IamRaphaelle



35) Mokita 

Check out Boston area band Mokita
Mokita features Andrew Harris on guitar and vocals, Chris Harris on guitar/vocals, Daniel Jurgens on bass, vocals and Nick Wilder on drums.  The bright, sunshine pop of “Don’t Take Me For Dead” is simple but exuberating in rock and roll joy.   The second tune, “Roommates,” is a cute, romantic invite to living together that jams out and then blends nicely into David Bowie’s music and some words from “Heroes” – which David took liberally from Lou Reed’s “Waiting for the Man.” Mokita’s music & lyrics are written by Andrew and Chris Harris
Recorded at Goldie Studios in Salem, NH and in Daniel’s bedroom in Boston, MA – recorded and mixed by Jacob Peters and Daniel Juergens. Released February 25, 2016  Find more at
Every Wednesday you can hear all sorts of music, including the music in this column, on the Joe Vig Pop Explosion 1-3 pm on Boston Free Radio dot com.
Hear the show at this link:



36)Elvis Costello


1) Intro
2) Red Shoes
3) Watch Your Step
4) Accidents Will Happen
5) Church Underground
6) '45
7) Shipbuilding
8) I Can't Stand Up For Falling Down
9) Walkin' My Baby Back Home
10) Ghost Train
11) When I Was Cruel No.2
12) Watching The Detectives
13) If I Had A Hammer
14) Pads, Paws, And Claws
15) That's Not The Part Of Him You're Leaving
16) Down On The Bottom
17) Blame It On Cain
18) Alison
19) A Good Year For The Roses
20) Side By Side
21) Jimmie Standing In The Rain
22) Peace Love And Understanding
23) Golden Tom - Silver Judas (Credits)


 37 Cilla Black  "Anyone Who Had A Heart" 


Cilla Black and Burt Bacharach  This Guy's In Love With You


  38)Burt Bacharach - A Tribute to Composer, Arranger

AllMusic Review by  [-]

Fifteen tracks on this single-vinyl disc was typical for the Scepter label in the day, and with Columbia Records issuing a similar set of recordings by various artists, entitled The Carole King Songbook, for that great singer/songwriter around the same time, these compilations were tribute albums before the concept came into vogue in the '90s. How can anyone dispute the vast array of talent here? It's a brilliant collection featuring Dusty Springfield, Gene Pitney, Timi Yuro, Jerry Butler, and Bobby Vinton -- artists one doesn't necessarily think of when a Bacharach/David hit comes to mind. Did you know that "Blue on Blue" was written by this dynamic duo? How about Earl Wilson's brilliant liner notes covering Burt Bacharach's stints with Marlene Dietrich, the Ames Brothers, Polly Bergen, even mentioning his work with Vic Damone at Bill Miller's Riviera, the club owned by the dad of Rolling Stones producer Jimmy Miller. While reading about the rich history of the composer/conductor/arranger, listening to this magnificent album is an easy task. "Anyone Who Had a Heart" is certainly one of Dionne Warwick's most dramatic numbers -- just ask Tim Curry, who did a tremendous Bob Ezrin produced version years later on hisRead My Lips LP. But that take didn't have Gene Pitney's "Only Love Can Break a Heart" follow it as this album does, which in turn is followed by Dusty Springfield doing "This Girl's in Love With You." Now that trio of performances is tough for anyone to beat, and when this was compiled, the powers that be at Scepter probably didn't realize what a compilation masterpiece they were in the process of producing.


  39) Futures  Burt Bacharach



40) Burt Bacharach  Living Together

AllMusic Review by  [-]

The ten songs on Living Together all feature Burt Bacharach on piano, but that's where the similarity to his hit recordings ends. This album plays with less commercial viability than one would expect; it's a lush and elegant exercise and pleasant listening experience, but not easy to grasp. "Long Ago Tomorrow" is mostly instrumental, with voices coming in as additional instrumentation -- it could very well be an outtake from a Broadway show. "Something Big" starts off like Simon & Garfunkel but quickly moves to that "Do You Know the Way to San Jose?" sound of a Dionne Warwick record, which is what listeners expect from Bacharach. The Fifth Dimension did put out "Living Together, Growing Together" as the title track of their 1973 Bell album, Bacharach truncating that for the title of this album,

 Read more here:



All Music Guide to Soul: The Definitive Guide to R&B and Soul
Vladimir Bogdanov - 2003 - ‎Music
But it all somehow works. a credit to Dionne Warwick. who is ahsolutely on no matter who ... -Joe Viglione On Stage and in the Movies / 1967 / Scepter *** A nice ...

Back Tracks: The Solo Bacharach - The Second Disc
May 18, 2010 - May 12, 2012: Happy 84th birthday, Burt Bacharach! ..... Critic Joe Viglione called Futures “underground adult contemporary,” and the ...

Burt Bacharach - Living Together. U.S. Vinyl, LP - Music/Movies/Books ... › Kuala Lumpur › Music/Movies/Books/Magazines
By 'Joe Viglione', Allmusic: … The 10 songs on “Living Together” all feature 'Burt Bacharach' on piano, but that's where the similarity to his hit recordings ends.

Here Where There Is Love - Wikipedia, the free encyclopedia
Here Where There Is Love is Dionne Warwick's sixth studio album for Scepter Records, and ... Studio album by Dionne Warwick ... Jump up ^ Viglione, Joe.

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

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