1)The Last Seat in the House
John Kane and Bill Hanley
https://www.barnesandnoble.com/w/the-last-seat-in-the-house-john-kane/1131274824
Last Seat in the House:
The Story of Hanley Sound
Thursday, December 1 at 7:00
At the Medford Public Library
made his indelible mark as a sound engineer at the 1969 Woodstock Music and Arts Fair. Hanley is credited with creating the sound of Woodstock,
which made the massive festival possible. Author John Kane will share stories of Hanley’s career and his impact on the modern music industry.
Recently, presenter John Kane celebrated the 50th
anniversary of the 1969 Woodstock Festival with his recently released book Pilgrims of Woodstock.
THIS IS A TERRIFIC TALK WITH DR KANE ON THE BOOK.
Hello Dr. Kane, thanks for participating in our interview series.
Our first question - part of our radio show is called "the Demo That Got
the Deal" where Peter Wolf, Lou Reed, Gary Brooker of Procol Harum, Doris "Just One Look" Troy, Bobby "Sunny" Hebb (who performed with
the Beatles at Suffolk Downs, as you know) tell us how they obtained their record deals.
How did The Last Seat in the House get picked up by University Press of Mississippi?
The Last Seat in the House: The Story of Hanley Sound, was published by University Press of Mississippi
JK:
JV: Universities publishing books is so essential, and they often keep them in their catalog longer than many mainstream publishers. What about the Univ Press of Mississippi did you find appealing?
JK:
JV: You've written for "several national newspapers and music industry trade magazines,"
according to your bio. And your previous book, Pilgrims of Woodstock, certainly has
a link to live sound, and Bill Hanley's participation, was the earlier book what prompted you to write about Mr.Hanley?
JK:
JV: On Thursday December 1, 2022, at 7 pm you are speaking at the Medford Public Library on High St., Medford, right outside of the square. Are these the first public lectures since your 2020 tour?
JK:
JV:I met one of the engineers of Terry Hanley Audio in Woburn at the gym.
Is Bill involved these days with Terry's company?
https://www.terryhanleyaudio.com/
JK
2)Groupie/Superstar Roxanne Fontana
#3)Terri Lee "Nasty But Nice"
Review by Joe Viglione
#4 Wakanda Forever
Trailer 2 https://youtu.be/iqK7-ZmV2N8
5)David Bowie - Collaborator - 4 CD Set
https://revolutiondeals.net/products/david-bowie-collaborator-4-cd-set?pr_prod_strat=use_description&pr_rec_id=26a06b647&pr_rec_pid=6608739434581&pr_ref_pid=6585274990677&pr_seq=uniform
#6 Sammy Hagar and the Circle FATHER TIME
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Sammy Hagar
This version of the Van Hagar classic "When It's Love" was recorded live on tour in 2014. Sammy Hagar & The Circle (featuring Michael Anthony, Jason Bonham and Vic Johnson)'s debut live double-CD release "At Your Service" documents the blistering performance of a band on fire performing hits from Sammy's 4 decades of rock (Montrose, Solo, Van Hagar, Wabos) as well as classic tracks from the Led Zeppelin catalog. DVD: http://www.redrocker.com/discography/... 2xCD: http://www.redrocker.com/discography/... Video Directed by: Pat Gilles #SammyHagarAndTheCircle #WhenItsLove #VanHagar
__________________________________________________________________
7)Dionne Warwick Documentary
Don't Make Me Over
"Message to Michael"
#8)Quantum Leap
______________________________________________
#10)Led Zeppellin, the Broadcast Collection
https://revolutiondeals.net/pages/led-zeppelin-the-broadcast-collection-1969-1995-5-cd-box-set
On "Sloe Gin," Tim Curry sounds like John Cale playing Lou Reed. That Reed guitarist Dick Wagner and producer Bob Ezrin are involved in Read My Lips, the solo debut from the star of The Rocky Horror Picture Show, should come as no surprise. Wagner's tastefully brilliant guitar on "Sloe Gin" underscores the melancholy vocal, and these journeymen are the perfect crew to work on this "film for the ear" sequel. Dick Wagner sounds very much like Nils Lofgren here, and Lofgren shows up playing accordion. It's a big cast and a big sound, but Bob Ezrin refines it all, keeping the large musical presence as subtle as possible. Perhaps the best compliment one can give this record is that it is almost back to Berlin, the brilliant Lou Reed recording, this time put in a commercial setting. Curry mutates from Cale to Mitch Ryder with his shouting in "Harlem on My Mind," then he mutates midsong to some '30s crooner. Since Berlin (the album, not songwriter Irving Berlin, who composed "Harlem") was the aforementioned film for the ear, it makes sense that some of the crew involved with that epic disc would do another such endeavor when the cat who performed in the ultimate cult film had an album to cut. The sheer drama of "Anyone Who Had a Heart" is the album's zenith, highlight, and treasure. It is so good it takes away from the beauty of the rest of the disc. It's Dr. Frank N. Furter dancing a waltz with Dionne Warwick trapped on the psychic network. It is brilliant. The Regimental Pipers and Drums of the Forty-Eighth Highlanders of Canada are superb, blending their marching-band sounds with Curry's unique voice -- halfway to Alice Cooper but detouring to Robert Goulet's house. This isn't Brian Eno's Portsmouth Sinfonia, nor is it Fleetwood Mac's "Tusk"; this is a mini-epic which should have at the very least appealed to the myriad fans of Berlin and at most sold millions of discs. A reggae version of Lennon/McCartney's "I Will"? It is reverent and works better than Lou Christie running through "If I Fell," to give just one Beatles cover comparison. As an interpreter, Curry is marvelous; he relishes this role as he did Rocky Horror. Roy Wood's "Brontosaurus" might be an oddity, but so is covering Joni Mitchell's "All I Want" or stretching Irving Berlin's "Harlem on My Mind." It's an amazing cast of rock & roll characters who come to the party: Lee Michaels on keyboards, Allan Schwartzberg on drums, and a record that should have been put on video. It works so much better than Bob Ezrin's Kiss venture, Music From "The Elder", and only goes to show that Lou Reed taught them well. Irving Berlin on the sequel to Berlin --- now that's very Lou Reed, and a very clever tip to the master. https://www.allmusic.com/album/read-my-lips-mw0001879668
14) Steve Keith: Eleanor Rigby
https://dodgerblue.com/elton-john-farewell-yellow-brick-road-tour-at-dodger-stadium-streaming-on-disney/2022/11/20/#:~:text=The%20three%2Dhour%20livestream%20takes,that%20cemented%20his%20global%20success.
https://www.allmusic.com/album/jennifer-mw0000871179
by Joe Viglione [-]
With a plethora of producers over the years -- including Martin Cooper, Al Capps, Stewart Levine, Rob Fraboni, Jim Ed Norman, Val Garay, and Jim Price -- it is this obscure album produced by the Velvet Underground's John Cale that captures a very special moment for Jennifer Warnes. A beautiful faded cover photo with the word "Jennifer" floating across the top, this album stands as landmark interpretation by the artist, and a production for Cale as important as his first album for the Modern Lovers. Don't expect the sound to be anything like the quagmire of Velvetsonics that Cale allowed the legendary members of Jonathan Richman's band to create. This is a pure pop album. "Needle and Thread" is a replica of what Motown producer Frank Wilson was doing exactly at this moment in time with the new Supremes, and "Be My Friend" is Diana Ross from this same period, by way of songwriter Paul Rodgers from Free. As A&R for Warner Bros., Cale explores avenues here unavailable to him when putting together A&M's David Kubinec album in 1979. Cale doing Motown is quite a revelation, and is equally impressive. Of the many recorded covers of Jimmy Webb's underground classic "P.F. Sloan," the one on Jennifer is arguably the best, but she goes a step further on the second "Webb" title included here -- "All My Love's Laughter" is outstanding. Jackson Browne's "These Days" has instrumentation that could have been culled off an early Marianne Faithfull album -- remember Browne contributed material to Nico's first solo outing, with heavy contributions from Cale as well. With only one original composition by Cale, a song titled "Empty Bottles," this recording is as much his showcase as it is Warnes', rich in both sincerity and performance, and not as avant garde as his later Nico recordings. As with her first album on Parrot where she covered the Bee Gees, Jennifer opens with Barry Gibb's "In the Morning," then closes by taking the grand sounds of Procol Harum and subduing them, giving the world a different "Magdalene (My Regal Zonophone." This would have to rate with Famous Blue Raincoat as Warnes' most substantial album -- but having had less attention, it is one of the hidden treasures of rock and should be sought out by fans of Cale as well as those of this enigmatic artist. These recordings of songs by Donovan Leitch, Webb, Free, Procol Harum, Cale, Gibb, Jackson Browne, and Warnes' own title, "Last Song," provide an insight -- not only to the talent of this gifted artist, but in flavoring those melodies in a way you have not heard them before.
Produced by Rob Fraboni
by Stephen Thomas Erlewine [-]
Since 1975's Homeplate, Bonnie Raitt has veered closer to the mainstream than she has to the organic, sexy funk of her early-'70s records. This bothered many listeners, who chose to concentrate on the surface instead of the substance, but Raitt retained many of the same special qualities she demonstrated on those records into the '80s -- namely, her excellent taste in material, fondness for blurring folk, blues, country, and rock, and her wonderfully subtle, always engaging, interpretations. Green Lights may suffer a bit from a production that clearly pegs it as a 1982 release, but strip away its production and it's yet another satisfying collection of roots-rockers and bluesy ballads from the always reliable Raitt. Producer Rob Fraboni's recording may be a little bit too mainstream, lacking the new wave spark of, say, Dave Edmunds' similar-sounding recordings of this era, but Raitt nevertheless rises above the limitations of the recording and delivers a tight, enjoyable collection of amiable mainstream rockers with just a hint of roots. This isn't nearly as sexy as even Sweet Forgiveness, and it doesn't have much grit, but it has spirit and is fun, and it's a nice, smooth ride for those that like the direction Raitt's going.
https://www.allmusic.com/album/green-light-mw0000202954
by William Ruhlmann https://www.allmusic.com/album/nine-lives-mw0000206723
Bonnie Raitt's ninth and final album for Warner Bros. Records was a star-crossed affair that began in 1983 in a session with producer Rob Fraboni, and was a typical Raitt mixture of different genres and songwriters, from Jerry Lynn Williams ("Excited") and Eric Kaz ("Angel") to reggae star Toots Hibbert ("True Love Is Hard to Find") in a style similar to her 1982 album Green Light. This record seems to have been rejected by Warner, but three years later Raitt returned to the studio with Bill Payne (Little Feat) and George Massenburg and cut a group of commercial-sounding songs by the likes of Bryan Adams and Tom Snow. Nine Lives splits the difference between the two sessions, with four tracks rescued from 1983, and five added from 1986, plus the theme from a forgotten Farrah Fawcett movie ("Stand Up to the Night" from Extremities). The result is predictably scattered and strained, and it was Raitt's lowest-charting album since her debut. Not surprisingly, it was also the last straw in her relationship with Warner.
Justice Brownstone is the recipient of a Distinguished Alumni Award from Queen's University Faculty of Law.[41][42][43] https://en.wikipedia.org/wiki/Harvey_Brownstone
In 2022, multi-platinum Grammy nominated recording artist Harriet Schock composed a song entitled, "I Am Yours", inspired by Brownstone's struggles to gain parental acceptance after coming out to them at the age of 19.[44]. The song has been recorded by Gary Lynn Floyd[45] and released as a single.
Harriet Schock
(CD - Thunder Digital #10107-2)
Review by Joe Viglione [-]
Harriet Schock opens her sixth album with what is another landmark song from her catalog, "OK, You Win, I Give Up, You're Right, I'm Gone." The tune was released on her American Romance album, re-released on the follow-up, Rosebud, garnered intense A&R interest, and has been covered by other artists, including Lisa Jason with Gene Parsons of the Byrds, produced by Stuart "Dinky" Dawson (Dawson and Parsons having written a song on the Byrds' Farther Along album). Almost instinctively, Schock opens the album with this tune and the only composition from her 1974 debut, Hollywood Town: the number one adult contemporary hit "Ain't No Way to Treat a Lady." The writer/singer's mastery of the piano to tell her stories is commendable; it is hard to distinguish this from a studio performance except for the applause. Of the 15 tracks, 12 are songs (including a medley); four are vignettes, giving a glimpse of the personal side of the artist; and there are four never-released titles: "Starbucks," "Think How Much You'll Love Me," "Mr. Green," and "Hers," for Schock's sister, Sandra. When Rosebud was re-released, it came with an additional track, "I'm Gonna Hold You to That," but it is virtually impossible for the general public to keep tabs on the output of every songwriter. A live album is one way of bringing attention to new work as well as old. The material is culled from American Romance and Rosebud, Schock's fourth and fifth albums, with the exception of the unreleased material. The live version of "8 Seconds," a song about going for the brass ring one final time, is all the more poignant having originally been recorded by the legendary Capitol A & R man just a few years before his passing. "You Are," "Coyote," and "Starbucks" make up the new "suite" here, the coyote being the name of Venet's record label, Godsdog Records, and "Starbucks" the breakthrough after the writer's block that was brought on when she and the world lost Venet. The double entendre of the coffee shop's illuminated sign and wishing upon a star is an interesting statement; many a brokenhearted person finds solace making that transition out into the real world, where other people might not be able to read a mind, but certainly can feel the vibe. "Think How Much You'll Love Me" is a standout, with the Herbie Katz harmonica and percussion by Danya all adding an eerie dimension to the work that bassist Joe Lamanno and the pianist/singer have crafted through the seven previous titles. This is the avenue Carole King needed to take right after Tapestry, a moody and moving song of question. "Worn Around the Edges," one of the most important songs on Rosebud, co-written by Arthur Hamilton of "Cry Me a River" fame, comes across magnificently, with Gary Floyd and Corwyn Travers' vocals adding that density that Venet put into the original version. Phil Appelbaum's engineering and production are top-notch, putting Harriet Schock squarely in your living room or automobile; wherever you play this live disc, the singer is very present. That it has taken 27 years (actually, closer to 28) for a quality songwriter like Harriet Schock to release a live album is a major statement about the record industry, and Live From Fairfax to Pasadena better just be part one in a series of live performances by this artist on disc. What would really be a treat, in light of the first three 20th Century Fox albums' unreleased status at the time of this CD's publication, would be a "through the years with Harriet Schock"-type compilation of live performances -- where she could re-create highlights from Hollywood Town, She's Low Clouds, and You Don't Know What You're in For -- focusing on titles other artists recorded from that collection and giving listeners her renditions of some of the soundtrack work she's created, like 1985's "First Time on a Ferris Wheel" from Berry Gordy's Last Dragon. Live: From Fairfax to Pasadena has the country-ish "Mr. Green" and the lovely "Hers," but four new titles every couple of years is not enough for the fans who have admired this songwriter's work for over three decades. "Hers" is spun from the same magical spinning wheel that brought listeners "Hold Me," "Let 'Em Love," "Mama," and "All About Eve." Live: From Fairfax to Pasadena is a great first step in bringing this important artist's past and future works back into the public eye.
ALBUM DESCRIPTION
Info for I Only Have Eyes For You (Remastered)
"I Only Have Eyes for You" is an album by American pop singer Johnny Mathis that was released on May 10, 1976, by Columbia Records and included two new songs, "Yellow Roses on Her Gown" and "Ooh What We Do", which was written specifically for him, as well as a contemporary arrangement of the 1934 title track that foreshadowed his recordings of standards that incorporated a disco beat ("Begin the Beguine", "Night and Day") a few years later.
The album made its first appearance on Billboard magazine's Top LP's & Tapes chart in the issue dated June 26, 1976, and remained there for 15 weeks, peaking at number 79. The following month, on July 3, it made its first appearance on the UK album chart, where it reached number 14 during a 12-week run. On December 1, 1976, the British Phonographic Industry awarded the album with Silver certification for sales of 60,000 units, and Gold certification for 100,000 units followed on April 15, 1977.
"In 1976, the Johnny Mathis/Jack Gold singer/producer team reunited after 1975's stint with producer John Florez for the When Will I See You Again album. It's right back to that familiar and successful groove on I Only Have Eyes for You, with Gene Page arranging and conducting Gold's production work. A movie theme and adult contemporary reworkings continue the song selection from the year before. Where "Mandy" led off the When Will I See You Again LP, it's "I Write the Songs" here, and though he doesn't write them, it's a nice swim through Bruce Johnston's greatest hit. Likewise, "Laughter in the Rain" graced the previous disc, while a wondrous reading of Neil Sedaka's "The Hungry Years" emerges this time around. The real nugget here, though, is a song written by Harriet Schock specifically for Mathis, a tune not on any of her own albums. "Ooh What We Do" is a special moment where Mathis is breathing life into a title untouched by his contemporaries.
Schock gave AMG some insight on how the song came to be: "It was not on any of my albums. I taught it to Johnny in the studio and he really liked it. He was reading the lyric to a friend who was in there with him. He had been an idol of mine when I was a child. 'I drink up your liquid movements like I'm dying of thirst...I could watch you stand forever, but come on over here first...how could we be so together when we're so unrehearsed....' Anyway, Jack Gold of Columbia Records produced it. He had signed me to Columbia before I went to 20th Century Fox, a little-known fact. When the payola scandal hit, a lot of artists got dropped. I was among them. I hadn't even recorded for them yet. This was about 1972...so Jack was very familiar with my work even before 'Ain't No Way to Treat a Lady.' He was a very witty, eloquent man -- Jack Gold. When people would show him songs or acts and he didn't like them, they would occasionally say, 'I'm going to have to go over your head to Clive with this,' to which he would reply, 'Over my head and around my back...the two most traveled paths in America.' I loved him. He died a few years ago. That's my little story about 'Ooh What We Do.' At the end when I have 'hari krishna, amen...,' at one point I had 'oy vey,' but they took that out."
What they didn't take out is a line "both of us slowly stalking each other for so long," which seemed so innocent in 1976. But what the song does uncover is the idea that Mathis could have gotten away with putting a few more top-flight songs on his albums in the '70s. "Ooh What We Do" is an exciting departure from the predictability of Sondheim's "Send in the Clowns," though Mathis just does everything so well, and there is safety in numbers. Billy Sherrill and Charlie Rich's "Every Time You Touch Me (I Get High)" has a dazzling arrangement, and moments like this make the covers worthwhile. Still, the artist got more coverage when he hit number one again with "Too Much, Too Little, Too Late" two years after this, 21 years after "Chances Are" first accomplished that feat. "Ooh What We Do" might've fared better had it been the title track rather than the up-tempo, almost disco version of the Flamingos' signature tune. The Las Vegas-style arrangement of the 1959 hit "I Only Have Eyes for You" survives because of Mathis' voice and style, but it is the new song he discovered here that brings magic to this collection." (Joe Viglione, AMG)
Product Description:
Rain on the Roof was in rock journalist Joe Viglione’s Top 5 for January 2008, and many of the tracks have been featured on Internet radio stations such as ArtistFirst Radio, NetteRadio, and Pandora. "Still 21 in My Head" has for some time been ranked number one in the all-time most requested song group on a Florida-based internet station.
SOAPBOX 2 19 10 PART 2 Winchester Community Access with Joe Viglione
27)WinCAM: Harriet Schock gets on the Winchester's ‘Soap Box’
This will be one of the first interviews for her seventh release, “Breakdown On Memory Lane,” produced by Travis Allen and the My Record Label team.
Featuring Andrea Ross-Greene and Pam Maclean on background vocals, with Herb Katz on harmonica, the 2010 CD is a new direction for Schock, whose 20th Century Records release, “Hollywood Town,” is considered a major work by some critics.
Along with Reddy’s cover of “Ain’t No Way To Treat A Lady,” Schock’s signature song was recorded by Vicki Carr, a disco version from Gonzalez, Letta Mbulu and others.
Schock is also a published author. She wrote the book “Becoming Remarkable,” available from Blue Dolphin. The book company’s Web site notes that Schock was “voted best new female artist by Cashbox Magazine, received a Dramalog Award for her live show, and has garnered extremely favorable press for each album she has released.”
Smokey Robinson, Roberta Flack, Lee Greenwood, Johnny Mathis, Syreeta, Carl Anderson, Gloria Loring, Vikki Carr, Manfred Mann, Mireille Mathieu, Letta Mbulu, Nancy Wilson, and many others have recorded her songs.
She also wrote “Dreaming,” which was recorded by Jodi Benson (“The Little Mermaid”), a favorite among Little Mermaid fans.
With Misha Segal, Schock co-wrote “First Time on a Ferris Wheel” for the Motown film, Berry Gordy’s “The Last Dragon,” as well as all the songs for “The New Adventures of Pippi Longstocking” and the animated “Secret Garden.” Her songs have been featured in numerous films and TV shows.
Residents are invited to call in to SoapBox during the show, 781-721-0137.
Editor’s Note Joe Viglione has written opinion pieces and articles for Community Newspaper Company for more than a dozen years, including North Shore Sunday, Malden Observer, Stoneham Sun, Woburn Advocate, Medford Transcript, Wakefield Observer and other papers. He has written thousands of articles for the All Media Guide republished on Billboard.com, Rollingstone.com, Barnes & Noble.com and dozens of other sites with publication in more than six books.
Did David Bowie Say This in 1999 About the Internet?
The famed singer made some prescient remarks about the internet before it became as ubiquitous as it is now. At the time, Bowie told BBC interviewer Jeremy Paxman that the internet seemed subversive to him, because society's wielders of power and influence didn't yet have a monopoly over it.
I don't think we've even seen the tip of the iceberg. I think the potential of what the Internet is going to do to society, both good and bad, is unimaginable. I think we're actually on the cusp of something exhilarating and terrifying.
[...]
I'm talking about the actual context and the state of content is going to be so different to anything that we can really envisage at the moment where the interplay between the user and the provider will be so in simpatico that it is going to crush our ideas of what mediums are all about.
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38)The Supremes, STONED LOVE
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After a free subscription to Peacock (probably my third) and a free showing of the 1st episode of the new Quantum Leap, this film popped up on my screen.
MORE TELEVISION AND RADIO SOON!
Hear podcast here: https://www.mixcloud.com/joe-viglione/kyle-wolfe-on-non-visual-radio-with-host-joe-viglione-nov-6-2022-substance-use-and-justice-reform/
Thanks for being on the show, Kyle,
taped Nov 6, Sunday, 5 pm ....
FRIDAYS, 8 PM ON ACTIVATE MEDIA
will be airing on Activate Media 8 pm Friday Nov 11, 2022 and again Nov 18 2022
https://www.facebook.com/groups/1984681465095789
Hear the show on your phone or other devices
https://activatemedia.org/
Hear podcast here:
https://www.mixcloud.com/.../kyle-wolfe-on-non.../complete/
New radio show interview for Friday, November 11, 2022
Hear podcast here: https://www.mixcloud.com/joe-viglione/kyle-wolfe-on-non-visual-radio-with-host-joe-viglione-nov-6-2022-substance-use-and-justice-reform/
Kyle Wolfe discusses Criminal Justice Reform
Taped: Sunday, Nov 6 @ 5 pm
Telephone interview, thanks RCTV Reading
Activate Media airs our radio show every
Friday night at 8 pm.
https://www.facebook.com/groups/1984681465095789
Joe Viglione interviewed Kyle Wolfe on Sunday 11/6/22
for podcasting on Activate Media a week from tonight
Also on my Mixcloud.
Aerosmith Joe Perry interview here:
https://www.mixcloud.com/joe-viglione/joe-perry-interview-with-joe-viglione-on-the-pop-explosion-april-18-2018/
ABOUT KYLE WOLFE:
A Social Justice Firm rooted in Vermont Culture and the Belief that
Second Chances allow people to reach their best...
https://www.americasfavadvocate.org/
Kyle T. Wolfe (AS Human Services)
Wolfe Consulting LLC
P.O. Box 4514
Burlington, VT 05406-4514
FaceBook: Kyle T. Wolfe (Fibonacci)
Instagram: @wolfe_kyle87
Joe Viglione
P.O. Box 2392
Woburn MA 01888
http://joeviglione.com
Hawthorne Hotel offers a fantastic location, putting you just steps from Salem Witch Museum. Guests can visit the fitness center for a workout or grab a bite to eat at Nat's, one of 2 restaurants, which serves American cuisine and is open for breakfast and dinner. The convenient parking and helpful staff get good marks from fellow travelers. The property is just a short walk to public transportation: Salem Station is 10 minutes away. Heart of Salem
Salem Witch Museum - 1 min walk
Getting around
Beverly, MA (BVY-Beverly Municipal) - 17 min drive
Lawrence, MA (LWM-Lawrence Municipal) - 33 min drive
Bedford, MA (BED-Laurence G. Hanscom Field) - 36 min drive
Logan International Airport (BOS) - 41 min drive
Boston, MA (BNH-Boston Harbor Seaplane Base) - 44 min drive
Norwood, MA (OWD-Norwood Memorial) - 48 min drive
Beverly Station - 3 min drive
Beverly Montserrat Station - 6 min drive
Swampscott Station - 7 min drive
Salem Station - 10 min walk
