Logan the movie!
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Trained at the New England Conservatory of Music in 2004, singer John Russell and composer Jordan Montgomery weave a dreamy, trippy aural mix consisting of violin, keyboards and avant garde complementary drumming. The almost four minute “Social Anxiety” features those beats with a layer of grunge keys punctuating the unreal quality of the vocal that embraces these movements. The instrumental “Anthem” continues the melodrama with a similar edgy intro, this a segue that would shake up a house mix or two. Give a tip of the had to producer Andy Edelstein for making it so. Shuffling percussion perfectly placed so that “Locked In,” track three, can build on the theme. Robotic trance pop with swirling textures make "Locked In" radio friendly and a standout. “Help Myself” and “There is Nothing Wrong” come in at nine minutes together, twenty-two minutes and forty seconds up to this point on the CD, more than a single side of an lp. “Help Myself’s” drone and the cosmic effervescence of “There is Nothing Wrong” are like diving slowly in a pool of water somewhere above the earth. The next three songs are another eleven minutes and twenty two seconds, “Apnea” glides along a dreamscape while the title “Flounder” is the closest thing you are going to get to the album title of White Whale. It would work nicely for Captain Ahab sailing the dark seas. “Out of Darkness” (featuring Conor Ebbs) with Stephanie Skor’s violin melting between Russell’s vocal is more like into the Celtic dark – a nice concoction of world and other-worldly sounds. Credit also drummer Josh Weinberg, a staple on the local scene whose fine work is a plus here.(Joe Viglione)
Artist: Ryan Sweezey
Title: Starting Over (E.P.)
The pure pop “Bartender” is the same theme as Richard Berry’s quintessential masterpiece, “Louie, Louie.” People may think the girlfriend is Louie when songwriter Berry was actually telling the bartender he was overjoyed to be going back to the island - that “Me see Jamaica moon above/it won’t be long before me see me love.” Sweezey, as many a man with a glass in hand, is more concerned she’s not coming back…and unlike the Marvelette’s begging the postman if there’s any communique…or acknowledgment, Ryan wants the guy behind the bar to go fetch her. Interesting since the Kingsmen’s 1963 hit and Marvellette’s 1961 smash were fifty seven and fifty nine years ago, but music is all so circular. The single, “Alright (for a Little While,) goes Dan Fogelberg-touches-of-country with solid production and plenty of verve…with a terrific chorus. Love it! Unlike Santana’s mega album Supernatural, which shifted from genre to genre in a way which jolted at first spin, Sweezey moves gently from pop to country pop to blues in the first three tracks. The live performances of songs on YouTube are engaging, but the studio work is superb. “Late is the Hour,” track 3, shows the complementary vocal and guitar skills: Sweezey is quite gifted! Soulful at one moment, Little Joe Cook falsetto the next tucked inside a composition that is well structured with much commercial potential.
“Sing a Song With You” borrows from the Beatles harmonies in “From Me to You,” but turns the corner quickly to a folk/country flavor. “One of Two,” featuring a duet with Heather Woods – the rootsy vocalist from Boston with her own EP out, Let Me In. The pairing generate a mellow, introspective piece that Elton John would find nice to add to Blue Moves Two – if he ever went in that direction. Nice stuff. “Storytellers” and “Edge of the World” round out this E.E.P. (extra extra play,) the former an Americana essay on those who keep the attention of a world that craves entertainment – the latter song, a cosmic acoustic with dangling sounds that pretty it up like subtle starbursts to weave some magic under the songwriter/singer’s appealing vocal. The ballad gains steam and is a strong finish to a well-planned and accomplished collection of solid material. (Joe Viglione)
This Love Heather Woods (single)
FEBRUARY POP EXPLOSION
1)Jesse Ware What You Won't Do For Love
2)Kay Dennis Walk on By
3)John E. Funk and the Skunks Debbie
4)Mystics Anonymous Dreaming Interlude
5)Doobie Brothers Tell Me What You Want and I'll Give You What You Need
6)Jon Butcher Axis Are You Experienced
7)Al Jarreau We Got By
8)Frank Dello Stritto Movies THE FOUNDER
Tales of Tomorrow
9)Van Morrison Instrumental/Tell Me What You Want
10)Fuller Brook Zoo I'm A Believer
11)Fuller Brook Zoo "This Will be Our Year" Zombies cover 2-16-17 at Club Bohemia/Cantab
12)Chris Montez Call Me
13)Robert Plant with The Soweto Gospel Choir
14)Chicken Slacks Soul Revue Tragedy
15)The Rolling Stones Sweet Black Angel
16)The Beach Boys doin Elton "Crocodile Rock"
17)Buzz Cason "Passion"
18)Jackie Wilson Your Love Keeps Lifting me "Higher and Higher"
19)Joe Jackson You Can't Get What You Want Till You Know
20)Fuller Brook Zoo Velerie
21)Moes Def Priority
23)Shun Ng and the Shunettes Get On With It
Shun Ng and the Shunettes Walls
25)Sunny VocaYou https://www.youtube.com/watch?v=b2oixZRR07k
26)Def Leppard You Can't Always Get What You Want
27)Sunny A Capella
28)Thunder and LIghtning Chi Coltrane
29)Little Richard Slippin and a Slidin
30)Madeline Peyroux He's Got Me Going
31)Roberta Flack and Donnie Hathaway Wherre is the Love
32)Positive Negative Man Newport Beach
Additional Sunny A Capella
VocaYou - Sunny (A Cappella Cover)
Cantab Thursday Chicken Slacks
NICE TO SEE SOMEONE HIJACKING MY KENNY ROGERS 1978 TEN YEARS OF GOLD review
AllMusic Review by Joe Viglione [-]
Once upon a time, prior to the floodgates opening and multiple Kenny Rogers greatest-hits and best-of collections finding their way to market, there was The First Edition Greatest Hits on Reprise in 1971, followed six years later by Ten Years of Gold. Kenny Rogers unites his early-hit years with the first real solo songs that built the foundation of his superstardom. But here's what makes the package important: The First Edition Greatest Hits material is re-recorded for this LP. The first five of that band's seven hits get a new treatment for the new label, United Artists. It took seven years for the Grammy-winning "Lucille" to pick up the slack from where "Tell It All Brother" and "Heed the Call" left off, and those two songs are left off -- left off of this compilation. In the new millennium most record labels think nothing of licensing their music to any and all takers, but the '70s were a different world. Some may consider remaking brilliant productions by Jimmy Bowen and Mike Post the same sacrilege others claim film colorization is, but to those purists the answer is simple -- get the original record. Rogers does faithful renditions of "Ruby, Don't Take Your Love to Town," "Reuben James," "But You Know I Love You," "Somethings Burning," and a somewhat laid-back version of the psychedelic classic "Just Dropped In (To See What Condition My Condition Was In)." It's rather humorous seeing how the producers here softened up "Just Dropped In," and for fans of the song this "colorization" is a nice second look -- but, as they say, the original is still the greatest. Keep in mind, though, "Just Dropped In" songwriter Mickey Newbury is a country artist, so it is not as much of a stretch as the rearranging of John Carter's "Incense & Peppermints" would have been. The Top Five hit "Lucille" was quickly followed by the Top 30 hit "Daytime Friends" and it was the harbinger of things to come. Both "Lucille" and "Daytime Friends" got to number one on the country charts, making the crossover for the star complete. It would be about a year before Rogers' first of 18 more hit records would start charting, so this collection summed up the activity from late 1967 to late 1977. Larry Butler co-produces the affair with Rogers and they add "While the Feeling's Good," "Love Lifted Me," and "Today I Started Loving You Again" to the mix. Though those songs weren't on the national Top 40, it is clear the duo wanted to balance out the new with the old by including five titles from both phases of the singer's career. Rogers was the first to really combine country, adult contemporary, and national Top 40 pop chart action over a long period of time with multiple songs. Dolly Parton, Tammy Wynette, Johnny Cash, and others may have found fans in all three worlds, but Kenny Rogers was to country what the Bee Gees were to the discos -- a name from '60s hit radio finding attention and conquering new avenues in the '70s and '80s. With the Jordanaires, steel guitarist Pete Drake, engineer Billy Sherrill, bassist Tommy Allsup, and many others, the singer immediately capitalizes on past and future, utilizing stellar players. In 1978, Kenny Rogers and record exec Len Epand published a book, Making It With Music: Kenny Rogers' Guide to the Music Business; it is a substantial chronicle of how this music came to be.