Tuesday, December 05, 2017

December 2017 Top 40 Pop Explosion December 6, 2017

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joe v at the Boston critics' screening of THE LAST JEDI  2 pm 12-11-17
Send books, DVDs, CDs, etc. to review to
Joe Vig Top 40 /P.O. Box 2392/Woburn MA 01888     demodeal{@}yahoo.com

also read  http://rockjournalistjoevig.blogspot.com/2015/06/


THE WIZARD OF OZ returns to television

An essay by Joe Viglione 

The Jitterbug Dance (song)


stephen davis on the POP EXPLOSION
DECEMBER 20, 2017  1-3 PM 

TOP 10
2)Gold Dust Woman - Stevie Nicks Biography   STEPHEN DAVIS
4)"You'll Get Yours"  Thee Fightin' Fish
5)"Piece of Pie"     John E Funk and the Skunks
6)"I'm Eighteen"  Alice Cooper live in Germany  Beat Club
9) "The Child in You" Sharon DiFronzo
10) "Universal Dreams"  Universe No. 122

Sharon DiFronzo


1)Lou Reed   A LIFE
DeCurtis, Anthony

2)Welcome to my Nightmare - special edition  

Welcome to My Nightmare Special Edition  DVD
Live in Wembley Stadium, September 11, 12 1975  concert film, cinema release
In Concert TV Special April 1975  with Vincent Price 

Review by Joe Viglione
Copyright (C)2017 all rights reserved

Alice Cooper, when he re-emerged from the ashes of the Alice Cooper Group, backed by Lou Reed's Rock 'n' Roll Animal band, was a major event.

   How do you top the edgy excitement of the original Cooper five which probably felt as abandoned as Big Brother and the Holding Company once Janis Joplin left for the Kozmic Blues tour?   The Cooper clan, like Big Brother, was a special unit, but Hunter/Wagner were their own touring equivalent of the famed Wrecking Crew, perhaps only equaled by Janis Joplin’s Pearl set of musicians, the Full Tilt Boogie Band.   These were the musical equivalent of cosmic storms that come by once in a lifetime.  Cooper had the right combination in mind for this tour, as exhibited on this DVD, it was simply that his change in direction for his fan base that was more of a jolt than Joplin fronting a kinda sorta clone of Blood, Sweat and Tears.  

   The Welcome to My Nightmare musicians - Steve Hunter and Dick Wagner  - were a larger-than-life presence, and as potent as Keith Richards / Mick Taylor, making for the two best rock and roll guitar duos on the planet.   And though the Kozmic Blues was to this critic’s ears an amazing transformation for Janis (yes, I’m a huge Big Brother fan too, for different musical reasons,) it was the songwriting on Welcome To My Nightmare that took itself too seriously and veered off from the specialized rock that was generated on the Love it to Death and Killer albums by Cooper, as easy a comparison to make as Jethro Tull’s Aqualung vs Ian Anderson’s concept, The Passion Play.   Do you want to hear Passion Play or Aqualung?  It’s as rhetorical a question as asking if you want to spin Love it to Death and/or Killer over Nightmare.     

 Alice Cooper gets an A for effort with both the cinema release of the Wembley Stadium shows and the television movie, but where Lou Reed revisited the Velvet Underground, the tried and true "new" band (as in Lou's band -Hunter, Wagner, Glan and Prakash John replacing Peter Walsh)  bringing the Killer album  to life on the big screen would have been a sure-fire hit...and far more welcome for this writer/reviewer and millions of fans as well.   

  As a concept Welcome/Nightmare’s script was the actual misfire in 1975 and this supporter/advocate/disciple of both Cooper and Reed feels the same (semi disappointed) way today as when I first purchased the album and then saw the show at the Boston Garden April 24, 1975.  But having the performances professionally recorded and preserved give that A for effort an A plus for posterity. “Only Women Bleed” shows what a gifted singer Alice is, the ability to play to a rock crowd with growls and screams, and middle of the road radio with a hybrid of Perry Como and Mick Jagger, competing with Kenny Rogers, Helen Reddy and the Bee Gees on the soft rock airwaves.  

 This TV special airing three years after Alice's mesmerizing performance on the very first In Concert ABC special in November of 1972, is – as stated - historic, but lacks the excitement of both that amazing first In Concert special where Cooper's riveting extended "I'm 18" (as the band was said to have originally performed it before it was truncated for Top 40 radio) certainly ushered in the new ABC concert show on Friday nights with more than a proverbial bang.  It’s just that the Broadway feel of “Welcome to my Nightmare (the song) was not what the fan base expected; it reflects Alice’s love of films (West Side Story in particular, screen version from the 1950’s play of the same name) as with the original Cooper group  invoking Leonard Bernstein and Stephen Sondheim’s “Jet Song” ("Gutter Cat vs The Jets," on School’s Out) – it was outside of their  ”sphere of operations,” if you will, and not what Warner Brothers was promoting to the world.  (Nightmare was released on the Atlantic label rather than Warner, a change of labels but still under the WEA umbrella.)

     As I review this forty two years later the best tracks on Welcome to My Nightmare live are "No More Mr. Nice Guy," "I'm 18," "Billion Dollar Babies," and "School's Out" as re-interpreted by the Lou Reed band, a group that did the same for the music of the Velvet Underground with Reed in 1973, two years prior. The fluid guitars of Hunter and Wagner on "Billion Dollar Babies" are as eloquent as they were with Reed in Sheffield at Oval Hall, September 9, 1973.  Find the tape on YouTube or Wolfsgang’s Vault, very worth listening to, especially if you want to explore the nuances of this DVD and its musical pedigree.   With two years and a week on the road, the band that was magnificent when it first launched with Reed, September 1, 1973, is efficient, but more restrained by the cinematic and television duties. 

 My favorite all-time concert today is still the very first gig by this "Rock n Roll Animal" group - the September 1, 1973 Lenox Massachusetts (Berkshire county) show where Wagner/Hunter and Reed put on an explosive, experimental night that was a once in a lifetime experience.  The sun setting at the Lenox Music Inn  (see the Inn's history here: http://www.musicinn.org/1970s-concert-schedule.html  ) and this band that emerged from the Berlin sessions, augmented with Peter “Pops” Walsh of Seatrain on the bass, Steve Hunter on guitar,  the late Dick Wagner (RIP July 30, 2014) on guitar, the late Pentti “Whitey” Glan on drums (RIP Nov 7, 2017) and – most likely at this show – the late Ray Colcord (Feb 5  2016) on keyboards.  With the passing of Lou Reed October 27, 2013 - (his wake December 13, 2013 at the Apollo Theater)   it is important to get the history of this unique and inspiring / influential crew documented properly. Would John Cougar ever have even put together his 1978 Australian hit "I Need a Lover" in the fashion that we know it without "Intro/Sweet Jane" from the 1974 Rock n Roll Animal album?  (as recorded in New York on December 21, 1973 - two days after the Boston show - see Cougar-Mellencamp information here: https://en.wikipedia.org/wiki/I_Need_a_Lover ) 

    The ultraviolet lamp on Lou’s face as the twilight descended on the open-air venue, folk and slide guitar renditions of “Pale Blue Eyes” and “I’ll Be Your Mirror” from the Velvet Underground, a folk version of “Heroin” which had the band enter and start building over Lou's simple guitar strums into an explosive unit, so much more exciting and involved (and complex) than when the band returned to Boston on December 19, 1973 – two nights before the recording of Rock and Roll Animal at Howard Stein’s Academy of Music in New York, it was a sort of a let down.  Sure, the concert was great, RR Animal went gold in 1978 (must be platinum now?) – as did Welcome to My Nightmare – which did go platinum as the sales increased. Ultimate Classic Rock notes that the  "Nightmare" critics at the onset weren’t as thrilled about the transition ...but have warmed up over the years.     http://ultimateclassicrock.com/alice-cooper-welcome-to-my-nightmare/    This critic hasn’t…it still is not the first Cooper lp I will pull out of the vault to play for fun... 

   BUT…with so many great Alice Cooper DVDs out there covering his amazing theatrics, having a true Halloween movie such as Welcome to My Nightmare is essential.   Even if the concert footage directed by David Winters comes off somewhat awkwardly like Rollin Binzer’s direction of Ladies and Gentlemen The Rolling Stones (also on Eagle Rock) -  which, as with my first thoughts seeing that film in theatrical release, is good but not great.  

   So too with Welcome to my Nightmare, more important to me as a moment in Cooper time than something to watch repeatedly, but not to be quibbled with too much: it did inspire Michael Jackson to put Vincent Price on his Halloween film, Thriller, did it not?

Rising Tyranny, 
a review of Star Wars:The Last Jedi 
by Joe Viglione 

Space age megalomaniacs with ingenious mechanical marvels and fancy ancient titles, from The First Order to Supreme Leader - facing off against a dwindling resistance, the Rebellion, with odds stacked heavily against the good guys, making for an exciting roller coaster ride of things blowing up, spaceships digitally disappearing and re-appearing at will, with deep colors drenching the screen in a variety of shades.  Welcome to the very precise re-shaping of the Star Wars legacy courtesy of the Walt Disney Corporation, a dark, desperate saga that hits the home run the fan base and the general public are both looking for.
The film is a thrilling, looming monster, and that’s a monster in a good way.  
This is a film about the grandson of Darth Vader, and given that there’s no James Earl Jones or Alec Guinness, it is the legacy of the film that sustains the magic featuring the established stars in the series.  Mark Hamill and Carrie Fisher are, naturally, front and center – their last time together unless computer-generated imagery comes into play for future episodes.    Keep in mind that Hamill was 26 when STAR WARS: A New Hope launched in 1977, which makes him 66 as of this writing (December 12, 2017.)  The late Carrie Fisher was sixty and two months when she passed December 27, 2016, and that they - along with 71 year old Anthony Daniels (C-3PO,) 73 year old Peter Mayhew as Chebacca, the Millennium Falcon and R2-D2 …and Yoda…are the last remnants of the rebellious first initiates makes for an intriguing passing of the torch to the new personalities being established in the Star Wars canon.   Kenny Baker, the original R2-D2, passed in August of 2016, four months before Fisher, and in The Last Jedi Jimmy Vee replaces Baker.  Vee is known for performing as Gringott’s Goblin in Harry Potter and the Sorcerer’s Stone as well as some Dr. Who characters.  Nice to keep the fantasy/science fiction fans happy with their treasured heritage.    
Rather than bringing in too many larger-than-life stars as Lucas did with Christopher Lee in the prequels, we have Laura Dern (the original Jurassic Park, 1993) playing Vice Admiral Amilyn Holdo as well as Joseph Gordon-Leavitt’s voice somewhere in the film.   As with Carrie Fisher, Dern’s parents were in the movies while Gordon-Leavitt was a child star, so there is film history in their DNA, but the point is that it is the Star Wars machine itself that is the bright light that all involved get to follow.
There are some historical “Easter eggs,” if you will, from both real life and the film world, as Supreme Leader Snoke channels former Texas Senator Lloyd Bentsen’s immortal JFK line to Dan Quayle: “You’re no Vader, you’re just a child in a mask.”  
("Senator, you're no Jack Kennedy" was a remark made during the 1988 United States vice-presidential debate by Democratic vice-presidential candidate Senator Lloyd Bentsen)  
And yes, Andy Serkis is a big star from The Hobbitt, The Lord of the Rings, Ulysses Klaue in the Avengers, Caesar in the Planet of the Apes films, so my comment about not having huge names to keep the fires burning is arguable and welcomes debate, fans of Daisy Ridley, Adam Driver, Oscar Isaac and the rest of Star Wars: The Next Generation.    The Easter eggs continue with references to the Matrix and Keanu Reeves - Maz Kanata, the magical little female creature with the glasses, channeling the Oracle from the Matrix with her words, the Rebellion pushed smack dab into the middle of Zion. It could not be any more obvious under Rian Johnson’s direction and script, and it is more intentional science fiction crossover fun than any kind of plagiarism.  Heck, in the original Independence Day Bill Pullman gives an exact quote from C-3PO to Brett Spiner of The Next Generation “Exciting is hardly a word I would choose to describe it.”    Sci-Fi fans love the nuances tucked in to other films, the trading-card thread that keeps the ball rolling…in a good way.
C-3PO   “Is hardly the word I would choose” http://www.tzr.io/yarn-clip/27f5ec77-2ba0-4e27-9447-6cb12de87abb
the president's reply which actually sums up the stupid and unwarranted humour in this film,is as folows:(millions of people are dying: “exciting is hardly the word I would choose!!.)
It's like masked Kim Jong-un a thousand years from now looking to conquer the universe. That's the basic premise, anyway, and it hasn't changed since Star Wars first burst on the scene with A New Hope, the first Star Wars film that they also call the fourth... but putting the upside down chronology aside, the franchise under the Disney company's direction is tight, polished, with nothing left to chance, and an enormous blockbuster barreling full steam ahead into the Christmas season, 2017.

 Rising Tyranny, 
a review of Star Wars:The Last Jedi 
by Joe Viglione 

Space age megalomaniacs with ingenious mechanical marvels and fancy ancient titles, from The First Order to Supreme Leader - facing off against a dwindling resistance, the Rebellion, with odds stacked heavily against the good guys, making for an exciting roller coaster ride of things blowing up, spaceships digitally disappearing and re-appearing at will, with deep colors drenching the screen in a variety of shades.  Welcome to the very precise re-shaping of the Star Wars legacy courtesy of the Walt Disney Corporation, a dark, desperate saga that hits the home run the fan base and the general public are both looking for.
The film is a thrilling, looming monster, and that’s a monster in a good way.  
This is a film about the grandson of Darth Vader, and given that there’s no James Earl Jones or Alec Guinness, it is the legacy of the film that sustains the magic featuring the established stars in the series, Mark Hamill and Carrie Fisher, front and center – their last time together unless computer-generated imagery comes into play for future episodes.    Keep in mind that Hamill was 26 when STAR WARS: A New Hope launched in 1977, which makes him 66 as of this writing (December 12, 2017.)  The late Carrie Fisher was sixty and two months when she passed December 27, 2016, and that they - along with 71 year old Anthony Daniels (C-3PO,) 73 year old Peter Mayhew as Chebacca, the Millennium Falcon and R2-D2 …and Yoda…are the last remnants of the rebellious first initiates.   Kenny Baker, the original R2-D2, passed in August of 2016, four months before Fisher, and in the new film Jimmy Vee replaces Baker.  Vee is known for performing as Gringott’s Goblin in Harry Potter and the Sorcerer’s Stone as well as some Dr. Who characters.    
Rather than bringing in larger-than-life stars as Lucas did with Christopher Lee in the prequels, we have Jurassic Park and other notable star of film and television Laura Dern as Vice Admiral Amilyn Holdo as well as Joseph Gordon-Leavitt’s voice somewhere in the film.   As with Carrie Fisher, Dern’s parents were in the movies while Gordon-Leavitt was a child star, so there is film history in their DNA, but the point is that it is the Star Wars machine itself that is the bright light that all involved get to follow.

4)  Joe Vig Pop Explosion    December 6, 2017

1)Dusty Springfield   The Windows of Your Mind
2)Janis Joplin  Try Just A Little Bit Harder
3)Nina Simone - The Look of Love
4)Jon Butcher Axis   Electric Lady
5)David Bowie  Ziggy Stardust live on the BBC sessions
6)Nancy Sinatra  Sugar Town
7)Metal Pistol   D.O.A.
8)Concert Report BOSTON from Mike Feeney
9)Tony Rocks   Do It For Love  JV Extended Mix
10)Elsewhere with Mike Aroian   "Multi Man"
11)5th Dimension   "Wedding Bell Blues"
12)Halo and the Harlots  "Bottle full of Blues"
13)Dead Boots   "Violent Vows"
14)Fil Ramil   "Anything You Want"
15)Terry Kitchen  "I'm a Believer"
16)Satch Kerans  "Out Here in the World"
17)Arlen  "Mistakes"
18)The Guess Who 
19)John LaPrade  "Soul Shaker"
20)The Beatles   Getting Better Take 12
21)The Complaints  Before This
22)Sharon DiFronzo   The Child In You
23)Richard Marx    "Beautiful" (Carole King)
24)Dean Mazzolla  "Everything's Changed"
25)Nick Zaino  "One True Friend"
26)Mick Lawless  "I'm Not Your Steppingstone"
27)Geoff Pango and Mr. Curt   She's A Miracle
28)Matty O   "Rock Star"
29)Joe Perry   Black velvet Pants
30)Casey Fallen  Steel Gray Sky
31)Doug Osborne Serious Fun
32)Steve Keith Crush
33)Concert Report Massachusetts


Doug Osborne     Serious Fun

6)Casey Fallen

Steel Gray Sky  Casey Fallen

7) Rock Star   Matty O

8)Geoff Pango and Mr. Curt


One True Friend, Nick Zaino will be performing at the Live at Club Bohemia Cambridge Massachusettsa DVD tapinghttps://soundcloud.com/nick-36-1/13-one-true-friend January 6 2018 @

Dean Mazzolla  "Everything's Changed

Richard Marx   "Beautiful" from Tapestry Revisited

Sharon DiFronzo   The Child in You

“I Saw the Light” is terrific, perhaps my favorite on this outstanding effort. Just play the YouTube of Sheena Easton’s elegant 1983 “Almost Over You” and then a/b it with Sharon DiFronzo and you can feel the nuances of each artist, giving great insight into the Tributes and Treasures theme.
“If I Believe” and “The Child in You” are the two originals here, and they blend in so very well with the music Sharon has chosen for this second album. The songs are in the 3-5 minute range and are pop delights. Very nice job all the way around.


10)The Complaints

AllMusic Review by   [-]

True progression can be heard from the 1999 release, Fear, to this recording issued three years later, Criminal Mind. "Weak" opens the disc and it is anything but, songwriter/frontman Dean Petrella's compact compositions still coming in under five minutes but they're more sophisticated and a bit longer than those on the previous disc. The lyrics are again posted inside the CD packaging as well as on TheComplaints.com, but it isn't the poetry as much as what Petrella does with the words and the sounds they form which drives the message home. A good 60-percent of the tunes here have one word titles, much like the way the Talking HeadsFear of Music did, but the songs are far more uplifting than what was coming out of David Byrne's psyche for those episodes, and on "No" this trio fuse the jingle/jangle with power rhythms making for a very appealing pop moment. The hooks are all different which make listening to Criminal Mind in its entirety a delight, and even a longer number like the slow and moody "Comeback" fits in nicely, giving the incessant slam bang rock a bit of a breather. It comes just in time for the John Cougar-esque "Before This" that follows, but without the annoyance Mellencamp sometimes slips into his performances. This is first-rate fun with guitar sounds like a waterfall, and music crafted uptempo enough to have no problem filling a dancefloor. The Complaintsperform about 200 gigs annually, and their attention to detail exhibits itself very nicely on this outing. "Still" sets itself up with a vibrant and cheerful plea underneath somewhat hollow rhythms, the sound again changing slightly and keeping the listener off balance. Dean Petrella's grasp of how to slip a hook in without beating you over the head with it is a wonderful thing and his partners in this enterprise, bassist Chris Cruz and drummer Anthony Marotti, clearly understand the mission. If Fear was the "admirable first effort," then Criminal Mind, both the title track and LP, is a sophomore success creating anticipation for this group's future work.

11) Beatles Anniversary Edition PEPPER  Getting Better Take 12

12)John LaPrade  World Class Faker


Rock n Roll Animal  Complete Show 

14)Rock n Roll Animal  FULL CONCERT

This is the full concert of the famous Lou Reed concert from December of 1973, the whole setlist from a bootleg, The photos in the video are from the actual show and from various times during November-December of 73 as well as earlier in the year and some from 72. Enjoy!! Intro/Sweet Jane (0:00) How Do You Think It Feels (8:18) Caroline Says I (12:03) I’m Waiting For The Man (16:00) Lady Day (20:00) Heroin (23:44) Vicious (36:38) Satellite Of Love (42:37) Walk On The Wild Side (48:32) Oh, Jim (53:30) Sad Song (1:04:09) White Light/White Heat (1:11:40) Rock N Roll (1:16:43)


Butcher, Jon/guitar, vocals    Schultz, Ben/guitar, vocals, engineer
Sklar, Leland/bass  Wilkinson, Neal/drums
16)Spanish Fly - Lou Reed Live In Spain
Review by Joe Viglione

Met the lead singer/guitarist of Elsewhere, Michael Aroian, at the Model Cafe in Allston for the June 2015 edition of the Rock n Roll Social and he gave me a copy of the new E.P. created with Boston notable David Minehan of Wooly Mammoth Studio (Minehan out on tour with The Replacements at the time this essay is written, June 11, 2015.)
The disc starts off with “Multi-Man,” a highly commercial slice of what the group calls “Progressive Punk.” Perhaps ‘progressive/alternative’ is more like it as the guitar, bass and drums all combine for a driving and smart pop tune which fluctuates from the music of Sparks, King Crimson (think “21st Century Schizoid Man” on steroids,) the Romantics, Rush and much more, all put into a mixer to come up with something fresh, new and exciting. “Multi-Man” is the PICK TO CLICK on the Top 40 this month of June, 2015. The full-length that starts the CD off is 5:09, the radio edit clocks in at 4;12 and concludes the disc.
“We’ve Got a Movement” has cascading guitars to complement the revolutionary theme. With the addition of his keyboards, guitarist/singer Aroian builds a big sound, think Peter Townshend and the Who circa the Who’s Next / Lifehouse phase.
Track #3 is a live version of “Waiting Alone for a Spotlight,” the studio take on the album entitled 1981 album. Recorded Live at Ralph’s Chadwick Diner in Worcester you can hear the studio version of it on YouTube:
The material is just as strong live as Elsewhere’s studio recordings are, a consistent presentation that buzzes along in a fun and entertaining way.
Track #4 “Before the Stars Align” rocks out on the live tape, also from Ralph’s Diner More groups should consider putting the emphasis on a couple of new recordings and emphasizing material from a previous outing in a “live,” remix or out-take setting. With the glut of new music from so many artists, old and new, it’s mandatory to get a song out to as many ears as possible. Revisions of previous work gives those titles another shot at becoming a familiar favorite.
18) Ian Hunter  "Strings Attached"
19)Thee Fightin' Fish

4 song E.P.
The Creeper
Lost My Job
Don't Make Me Suffer
You'll Get Yours   


      With menacing opening guitar throbs on "The Creeper" (not the famous punk song by Boston's Unnatural Axe, another creeper!)  Thee Fightin' Fish enter the ring with gloves off. If you like early New York Dolls barreling all-out assault which begins with lyrical admonitions while adding smart, tight musical attitudes at the start, middle and finish of each blitzing tune, this well-recorded quartet of selections will fit the bill.  Track 4, "You'll Get Yours" is probably my favorite with liberal use of the "f" word and George Kondylis drumbeats rocking along with Bob Roos' incessant guitar.  Andy Excuse is on vocals, Matt Robinson on bass and on "Lost My Job" and "Don't Make Me Suffer" they provide a unified front.  Great stuff that you can sample on Reverb Nation dot com / Theefightinfish with no g after "fightin."    https://www.reverbnation.com/theefightinfish

31)Apollo Saturday Night by Various Artists

On November 13, 1963, veteran producer/liner note writer {$Bob Altshuler}
explains, "{@Atco} microphones were positioned on the {~Apollo} stage"
after the showing of a film preceding this concert which began "a few
minutes before twelve o'clock."  Decades later this material by {$Doris
Troy}, {$Otis Redding}, {$Rufus Thomas}, {$The Falcons}, {$The Coasters}
and {$Ben E. King} remains a vital document of a special time when
entertainment was pure and remarkable.
Opening with {$Wilson Pickett} and {$Eddie Floyd}'s version of {$The
Falcons} the tone is set for the album,  sticking to deeper cuts from each
artist's catalog and shying away from their hits with the exception of
{&"Walking The Dog"} from {$Rufus Thomas} and headliner {$Ben E. King}'s
{&"Stand By Me"}.  The two {$Otis Redding} tracks were taped more than a
year and a half before his first Top 40 hit while the former {~Apollo
Theater} usherette who follows {$Redding} on this set, the marvelous
{$Doris Troy}, was riding high with {&"Just One Look"} on the charts a few
months before this taping.  That gem isn't here, but her unique
interpretation of {&"Misty"} and her own {&"Say Yeah"} are.  Every one of
the performances is top notch concluding with a finale where all concerned
do a short rendition of {$Ray Charles}' {&"What I'd Say"}.  Essential

joe vig for AMG

1.I Found a Love~2:53~Pickett, Wilson/Schofield, Willie/West, Robert~The

2.Alabama Bound~2:50~Rice, Bonnie/Floyd, Eddie~The Falcons

3.Pain in My Heart~2:18~Redding, Otis~Redding, Otis

4.These Arms of Mine~2:28~Redding, Otis~Redding, Otis

5.Misty~2:12~Garner, Erroll/Burke, Johnny~Troy, Doris

6.Say Yeah~2:27~Carroll, Gregory/Payne, Doris~Troy, Doris

7.Rockin' Chair~3:03~Thomas, Rufus~Thomas, Rufus

8.Walking the Dog~2:25~Thomas, Rufus~Thomas, Rufus

9.'Tain't Nothing to Me~4:19~Patterson, Pat~The Coasters

10.Speedo's Back in Town~3:01~Carroll, Earl~The Coasters

11.Groovin'~2:26~King, Ben E.~King, Ben E.

12.Don't Play That Song (You Lied)~3:01~Ertegun, Ahmet/Nelson, Betty~King,
Ben E.

13.Stand by Me~2:23~Glick, Elmo/King, Ben E.~King, Ben E.

14.What'd I Say~1:15~Charles, Ray~Finale Cast

Coleman, King/Master of Ceremonies

Dowd, Tom/engineer

Iehle, Phil/engineer

Atkinson, Joe/engineer

Fink, Laurence/photos

Eutemey, Loring/cover design

Ertegun, Neshui/Supervision

Wexler, Jerry/Supervision

Altshuler, Bob/liner notes

The Coasters/Performer

The Falcons/Performer

Ben E. King/Performer

Otis Redding/Performer

Rufus Thomas/Performer

King Curtis/Leader, Sax (Tenor)

Doris Troy/Performer

Watts, Noble "Thin Man"/Sax (Tenor)

Dupree, Cornell/Guitar

Lucas, Ray/Drums

McCain, Alva Beau/Sax (Tenor)

Powell, Jimmy/Sax (Alto)


Wright, Lamar/Trumpet

Lewis, Jimmy/bass (electric)

32) Frank Sinatra   They Can't Take That Away From You Review by  [-]

Originally performed by the singer on Songs For Young Lovers/Swing Easy! November 5, 1953 with the arranging by Nelson Riddle (as noted in the book Sinatra -- The Man and His Music by Ed O'Brien and Scott P. Sayers ), the title was re-recorded for Reprise with trumpeter Neil Hefti arranging a two minute and forty-one second rendition of the George Gershwin and Ira Gershwin composition taped in Hollywood on April 10, 1962, four years before Hefti would go Top 40 with his theme for the Batman tv show. Some critics fault artists like Merle Haggard for re-recording their classics, while others love to hear how these personalities and their material grow. "They Can't Take That Away From Me" has a starry-eyed lover declaring from the get go his devotion to what is most likely a brief affair or one night stand which made a lasting impression. This performance opens with a quick intro and burst of energy that sustains throught the horn-heavy accompaniment. A full thirty two seconds on the Hefti version features just the instrumentation, almost a fifth of the song. Sinatra is the king of cool here, "bachelor pad" music without the complexities of Ferrante & Teicher or Esquivel. It's short and sweet but effective big band moving into the 1960's, the phrasing of the brass at times working alongside Frank's, then reaffirming his precocious but heartfelt statement.                 



34)Diamond Head  To The Devil His Due

35)The Pixies  DVD
My review Pixie's movie
AllMusic Review by Joe Viglione [-]

This is a well-deserved documentary film on the Pixies, though a bit ostentatious in its premise. The band is one of the greats that emerged out of the 1980s Boston scene, but the opening quip calling them "one of the most influential bands of all time" is the kind of overreach that takes away from the fun, and a philosophy that holds this elegant -- and at times gorgeous -- production back. What should be an important addition to their musical catalog quickly evaporates into a DVD fanzine -- not a bad thing in itself, but not the type of vehicle that will recruit many new fans or beg repeated plays. Frank Black (aka Black Francis) doesn't have the presence of a Willie "Loco" Alexander, a huge Boston cult figure who is a most intriguing and captivating character. As the first artist to perform at the Boston Tea Party, and later as a member of the Velvet Underground, Alexander has the "street cred" that would make a mere phone conversation compelling. Watching Black Francis engaged on the telly about the ego conflicts with Kim Deal is hardly as enlightening as, say, Ralph J. Gleason presenting a legendary 1965 Bob Dylan press conference. Therein lies the problem: David, Kim, Joey, and Frank (or is it Black?) are not John, Paul, George, and Ringo, nor does this film contain the supreme irreverence of A Hard Day's Night or Help! And just as one Boston area WZLX disc jockey asked on-air, in all seriousness, "Lennon, McCartney, Harrison, and Starkey? Who is this Starkey guy?," few people on the planet could ever find the missing Pixies link, Charles Thompson. This film is not for the masses, but for Pixies fans, a cult that loves the sound and wants the music, and it's the music here that is the most powerful thing. Sadly, there's just not enough of it. The personalities don't jump off the screen, so the home movie's best footage outside of the snippets of music are some of the sights -- the band recording in Iceland, a hotel front in Chicago. The DVD becomes as frustrating as the group's breakup.

36)Barre Phillips

             AllMusic Review by  [-]

This wonderful DVD of Barre Phillips performing live on February 19, 2005, at Porgy & Bess in Vienna gives new meaning to "space age bachelor pad music." Phillips takes the bow and plucks at his bass with percussive slaps that sound like an ultrasound machine in search of the lost tracks from Jerry Goldsmith's landmark Planet of the Apes soundtrack score. The audience begins to chuckle at his Zappa-esque explorations of the instrument, the timing keeping it musical while the mind of the maestro goes into some meditative swim through the possibilities of a stringed instrument as an extension of a man's mind. To say that it is captivating underscores the genius at work. With Phillips' left hand on the strings, his right hand works over the body of the instrument in addition to strumming and plucking. It's music as performance art all rolled into one. Add the keys and percussive musings of John Hollenbeck and you have an improvisational delight. Why people are intrigued by tape loops alongside a punk band like Mission of Burma when this unique and stunning material is available is the real question. Perhaps it's in the marketing. Producer/editor Barbara Weissenbeck and musical director Wayne Darling have captured a truly magical engagement. There are some nice bonus features, too, including material on the Thomastik-Infeld handmade string company of Vienna, a biography, a discography, and a fascinating seven-minute interview with Phillips. A real treasure for the ages.               


37)Batman 1943 serial

Batman and Robin: the Complete 1949 Movie Serial Collection >10<

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Where the 1943 Batman debut had a certain charm and a supremely despicable villain in J. Carroll Naish, this sequel misfires six years after the first 15 chapter serial and doesn't hold up as well as the original on DVD. The plot is a good one and despite some fine work by the B movie cast - Lyle Talbot as Commissioner Gordon (he of Chick Carter, Detective fame) and Robert Lowery as the Batman (horror fans take note, Lowery was in The Mummy's Ghost and Revenge Of The Zombies ) director Spencer Gordon Bennet just can't seem to put it all together. Where the first film had the caped crusader and his boy wonder helping the police surreptitiously, they are fully cooperating with the Commissioner here, in his office and at his beck and call. The biggest problem is that their nemesis, The Wizard, is not as diabolical as a future Marvel Comics character of the same name (the leader of The Fantastic Four's powerful enemy, The Frightful Four), especially in light of the fact that The Joker was already an established villain in the comic book series and, had he been the antagonist instead of the Wizard, there would have been the opportunity for some fun elements absent in this outing. Actor Leonard Penn (also from producer Sam Katzman's aforementioned 1946 Chick Carter, Detective flick) just doesn't put any malice into his Wizard character, none of the relish needed to seep through the secretive wardrobe. Eric Wilton, as butler Alfred, gets to play Batman in a deception created by the dynamic duo, which gives him a footnote in movie trivia history, one could say. There are lots of mind games between The Wizard and Batman, a plot device that wears pretty thin, but there are also plenty of amusing electronic gadgets at The Wizard's disposal and a pretty cool Bat Cave to boot. On home video or DVD the chapters get tedious where the previous entry from 1943 could hold one's attention and, despite the addition of a sub-plot where The Wizard also becomes The Invisible Man, this quickie really feels like it was made to entertain in short bursts at a movie theater in the late 40s. Some critics liked Robert Lowery better than his predecessor, Lewis Wilson, in the dual roles of Bruce Wayne and Batman, however the actors from both serials do a fine job and get into the character better than Michael Keaton, Val Kilmer and George Clooney ever could in their attempts to play the superhero. It is actually quite sad that producer Katzman and director Bennet didn't realize the iconic figure they were dealing with because with a little extra effort the assembled cast and this decent script idea could have made for a very entertaining movie. It's too bad Michael G. Wilson, son of the original Batman, Lewis Wilson, and co-producer of Quantum of Solace, didn't watch this serial prior to the 2008 James Bond entry because the glaring error of not having a masterful villain is why both Quantum and this Batman And Robin have less sustain. The Dark Knight worked so well because Heath Ledger's Joker was every bit the equal of Christian Bale's Batman. ~ Joe Viglione, Rovi Click To More information. 

38) Kenny Young

AllMusic Review by   [-]

On the heels of David Bowie's The Rise and Fall of Ziggy Stardust and the Spiders from Mars, songwriter Kenny Young reprises the 1964 Drifters hit he co-wrote with Artie Resnick on this 1973 science fiction-styled album released by Warner Bros. It's an ambitious and effective project that comes with elaborate packaging and some help from Albert HammondAndy Kim, and the DriftersGerald Garrett. The remake of "Under the Boardwalk" opens up with what sounds like a transistor radio playing the familiar song. Unfortunately, Young picks the tune up where the back-in-time rendition leaves off and what could have been a chart performance itself remains just part of this big production. Certainly better than Zager & Evans' failed attempts at sci-fi rock, the artist's lyrics and ideas are worthy of attention and absolutely needed more promotion. "Wake Up Navajo" and the title track, "Last Stage for Silverworld," are both powerful and appealing to those who found Bowie's "Starman" off the aforementioned Ziggy project such a treat. You'd swear the opening track is an outtake of the Stones' "Under My Thumb" from the Symphonic Music of the Rolling Stones tribute, taking that riff behind Chris Gunning's strings and delivering "Amanda in a Silverworld." "Play Electric Waters" could be something leftover from T. Rex's Electric Warrior -- it's a splashy and classy American take on the glam movement in a fancy package designed by John Kosh which doesn't convey the excellence of the music within. Before Robert Appereco-produced some valuable mid-'70s work with another singer/songwriter, Neil Sedaka, he and his team of well-known session men Dean ParksLeland SklarJim HornRuss Kunkel, and the gang put their magic here. The co-writer of "Mandy" and other Barry Manilow hits, Richard Kerr adds his piano and composing skills to "Wake Up Navajo," while John "Rabbit" Bundrick and Rolling Stones sidemen Bobby Keys and Jim Price also lend their skills to music that truly deserves the support. Last Stage for Silverworld makes the grade and demands study -- it's really an extraordinary work that somehow got away.  https://www.allmusic.com/album/last-stage-for-silverworld-mw0001879314
39)Universe No. 122    Beyond Mars

     "I'll take out a search party, way beyond Mars..." is a theme along with its poetry in the four minute and forty-two opening track, Universal Dreams, where the protagonist concludes "I won't be coming back to earth."    

    Paul LaPointe's ambitious and creative project, Universe No. 122 - unleashed within the Beyond Mars album - is pure minamilist quasi-psychedelia engaging in stripped down pop constructs.    Drone-rock about planets wrapped up in sci-fi cloaks a la Kenny Young's long-lost Last Stage for Silverworld (Warner Bros. 1973) - and far more interesting than the eponymous Zager and Evans (1969, RCA) album follow-up to their cringe-worthy sci-fi pseudo classic (In the year) "2525" march on.  Five minutes and thirty seconds comprise "Gravity" while "No Direction" is half the time and it is the imagery and ideas which are the complexities here over simple musical streams developed by the composer who plays all instruments on this outing.    Fuzzy guitars on "Gilese 581c" and suspensions in between the assault beg for video representation, as do all these titles.   Were each song placed within some visual imagery, a series of vignettes, the album could take on a double life separate from the audio. 

    "This was My Choice" has LaPointe sounding like Nico on extra downers  (where he appears to be singing "I need you when you walk through the door...so very Nico!) like when she was at the Paradise theater solo with her harmonium, stopping the concert so that a tray of pills and water could be brought to her, the audience applauding as she consumed the substances...LaPointe's piano and drawl reflect what Nico's cult was seeking when she played sans band.   The album concludes with "I am the Actor, I am the Astronaut" where the singer expresses : "My beating heart is a dying star, it will explode into a black hole  With no regard for who you are I'll pull you in if you get too close  Ripped apart like a B-rate star, this void's too big to be closed "

   Sci-Fi rock is an underutilized genre and Universe No.122 pick up the path once pioneered by Pink Floyd's Syd Barrett with his 1970 outings The Madcap Laughs and Barrett - both released in the U.S. as a double disc in 1974 simply entitled Syd Barrett


Check out the music of Universe No. 122  here:













released November 22, 2017

40) Zager and Evans  1969

AllMusic Review by   [-]

A stark white album cover with the two thin musicians fading into the pale, a mailbox with "2525" inferring that this is a sequel, a follow-up to the album which featured their number-one hit single, and proof in these grooves that writing record reviews is hard work. This project gives record labels an excuse as to why important artists don't get multiple album deals -- there's nothing remotely sounding like a hit, in fact, this is just a horrendous collection of bad songs by Rick Evans who takes all the blame for the words and music. Not only is "Mister Turnkey" a terrible song title, it's the best example of how awful the songwriting here is -- "Mister Turnkey, it's ten p.m. -- in Wichita Falls, August 16th, 1969 -- and I'm in some bar. Mister Turnkey, I need a woman, and I ain't getting far." Of that there is no doubt, because if his pick-up lines are as bad as his diary, he better not hold his breath till the year 2525 waiting for a response. Haven't these guys ever heard of the old Elton John or Randy Bachman or Jeff Lynne trick of borrowing a few riffs and ideas to come up with a new and exciting product? "During REM" is more hokey songwriting: "soon it will be Monday morning and the world will be mourning for the day it has just thrown away." This could be Bob Dylan playing a joke on RCA Victor, and this could be the most difficult listening experience in RCA's storied history until Lou Reed's Metal Machine Music came along. This recording makes Len Barry's dreadful Ups and Downs, Rob Grill's disjointed Uprooted, and the collected works of Bob Pfeifer seem like lost masterpieces. The money that went into this turkey would have been better spent on a cheesy Sci-Fi film version of the hit single that was number one for six weeks. A song like "Reginald Ludwig" won't be in BMI's Top 100 soon. "Produced" by Ted Daryll and Ray Cork, Jr. probably, because Phil Spector was busy with the Beatles. You will know why Yoko Ono's records are so entertaining -- because she, at least, had a vision. When John Lennon and Yoko dressed in all white they made a remarkable statement. When Rick Evans and Denny Zager wear the same attire they fade into the woodwork. Brian Christian engineered some great records in his day, and one can only imagine what was going through his mind while working on this.  https://www.allmusic.com/album/zager-evans-mw0000848456
interesting aside on the internet:

A Talent for Idleness: Zager & Evans' “Mr. Turnkey”: the awesomest ...


Apr 1, 2013 - What I find most interesting about “In the Year 2525,” though, is the way Zager & Evansopted to capitalize on their success. Their follow-up single “MrTurnkey,” released later in 1969, is the folksy, first-person confession of a Wichita Falls rapist who commits suicide by crucifying himself in his jail cell.

Bonus Tracks

AMG Bio on VH1.com

One Of The Glory Boys - Artist Direct

Twice Nightly - Tremblers

Cherry Red re-release of Tremblers

Herman's Hermits Greatest Hits Live

Herman's Hermits - Their Greatest Hits

Hermans Hermits starring Peter Noone

Hold On

Peter Noone's Herman's Hermits (Bootleg)

No Milk Today  Song Review

Their Second Album: Herman's Hermits On Tour

Both Sides of herman's hermits  (Remaster with additional tracks)



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

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