Monday, June 05, 2023

June 2023 Eric Burdon's Sun Secrets #40 Blue Swede Out of the Blue / Movin' With Nancy



Lil Hanky Panky is ‘Gettin’ There’

May 31, 2023   Entertainment

Lil Hanky Panky is ‘Gettin’ There’

May 31, 2023
 Dancehall fusion artiste
Lil Hanky Panky (left) and Kash XO
Lil Hanky Panky (left) and Kash XO

Dancehall fusion artiste Lil Hanky Panky is excited about the release of a new single, Gettin' There, featuring US-based rapper Kash XO.

"It was great working with Kash XO on the single, the shoot was in Calabasas (California) and the concept was basically rich life, flexing, flossing, big-balling in front of a $50- million mansion. The song itself is just a fun song. On my part, I am talking about levelling up," she said. After releasing an EP last year, she is lining up a string of new releases for her growing fanbase.

Kash XO, who has been making waves in the music industry with his unique sound and captivating performances, was born and raised in Los Angeles. He grew up surrounded by music, which had a huge influence on him from a young age. He started writing his own music at age 16, and it wasn't long before his talent started to gain attention from people in the industry.

Kash XO's big break came in 2020 with the release of his single Glowin, which took the world by storm. The song received widespread critical acclaim and quickly went viral, amassing millions of streams on popular platforms like Spotify and SoundCloud. Now, the plan is to push Gettin There to the next tier with an aggressive social media and marketing plan across the US.

Lil Hanky Panky is excited about the project and the trajectory of her career.

"I plan to do a lot more collaborations over the summer," she said.

10)Cover of "Drive"

The Cars' 'Drive' Given Americana Makeover By David Starr

Keavin Wiggins | 05-13-2021
Movin' with Nancy Review

by Joe Viglione [-]

Sundazed released a 1996 CD version of the original Movin' With Nancy album, adding three bonus tracks to the 1968 soundtrack from her television special, and it earns high marks for documenting more of the fun and campy escapades of Frank Sinatra's daughter. Without the opportunity to surpass her dad the way Mira Sorvino or Charlie Sheen may have moved beyond Paul Sorvino and Martin Sheen in terms of popularity, Nancy Sinatra deserves credit for a sultry, hip image and the ability to hit a few home runs. It's easy to hit a home run, of course, when your father owns a piece of the record label, Reprise, and a Rodgers & Hammerstein composition makes its way onto track four, like "Younger Than Springtime," sung by "a very close relative." The uncredited Frank Sinatra performance is great, of course, and is followed by a Dean Martin/Nancy Sinatra "duet" on the Bobby Darin song "Things." It sure sounds like dad called up Martin and asked if he wouldn't mind Nancy overdubbing her voice on a pre-existing Martin track -- this was, of course, before the days of putting Natalie Cole on a Nat "King" Cole master. Despite the awkwardness of it, there is a certain charm that adds to the festivities. Make no mistake, this is a festive album. Heck, some kids go to the circus with their folks, Nancy Sinatra got to play at the record company. Her vocal style is on par with Claudine Longet and Jo Jo Laine, not the kind of singing to give Whitney Houston or Jackie DeShannon sleepless nights, but charming nonetheless. Where this Sinatra really shines is when she and producer Lee Hazlewood do the Sonny & Cher routine on the previous hit, "Jackson," and the real gem here, "Some Velvet Morning." When Nancy Sinatra has Hazlewood as her foil, she is outstanding. Though "Some Velvet Morning" was number nine out of her Top Ten hits as far as chart action goes, it is her strongest performance here, and proves she had more of a voice than maybe she even realized. She walks through Jimmy Webb's "Up, Up and Away," but it works, as does, surprisingly enough, the cover of Ray Charles' "What I'd Say," which closes the vinyl version of this project. Do the math: two hit singles, a duet with Dean Martin, an appearance by the Chairman of the Board (the legend, not the band), and superb production by Lee Hazlewood all make for a highly entertaining disc. Yes, she was lucky to have those doors open for her, but while other showbiz kids fell by the wayside, Movin' With Nancy delivered the goods. You can't help but like her.
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Late at Night Review

by Joe Viglione [-]

Motown was the perfect label for Billy Preston's late-'70s/early-'80s creativity, the Top Five "With You I'm Born Again" his biggest chart action since the string of hits he had for A&M in the early to mid-'70s. Pairing the Beatles/Rolling Stones keyboard player with Syreeta Wright on this glossy hit from the film Fast Break created a wondrous adult contemporary/gospel/rhythm & blues staple. The problem with the album Late at Night is that, outside of the hit, it is a recording, for the most part, lost in time. The title track and "All I Wanted Was You" are disco numbers, and even with Scherrie Payne of the latter day Supremes and Rolling Stones horn player Bobby Keyes on saxophone, this great artist squanders his talent on this limiting format, especially on the opening track "Give It Up, Hot." It's that same familiar voice, it's up-tempo and energetic, but half of the album also lacks identity. "You," on the other hand, closes out side one with startling urban pop. Yes, it has the Herman Melvin & the Blue Notes kind of dressing, but the song breaks through the trappings and could evolve as a pop hit with a different arrangement. Rita Coolidge worked Tom Snow's song with the same title the year before achieving chart action, and George Harrison went Top 20 in 1975 with yet another song titled "You." Billy Preston's co-write with Gloria Jones and Richard Jones could've followed suit. Side two continues the pop leanings of "You"; "It Will Come in Time" is a pure hybrid of Sly Stone's "Somebody's Watching You" flavored with Preston's own "Nothing From Nothing" beat. "I Come to Rest in You" sounds like it was written after Preston listened to "Georgia on My Mind" by Ray Charles. There's lots of musicians, and the album has lots of heart, but for an artist who graced the stage and is immortalized on the Concert for Bangla Desh album, he certainly had the opportunity to reinvent himself at Motown. Reuniting with Sly Stone, who worked with Preston on the Pickwick/Capitol release Organ Transplant, and maybe Stevie Wonder was what the doctor ordered, but the prescription just never got filled. Late at Night is not as much a bad effort as it is disappointing. It could have been so much more.
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Brainbox Review

by Joe Viglione


Holland's Brainbox were founded by Jan Akkerman in the mid-'60s. While H.P. Lovecraft kept changing members around the drummer, this band would release a record with totally new people in 1972, entitled Parts. Yet the original Brainbox do have qualities somewhat resembling the earlier H.P. Lovecraft, and their eponymous album is a worthwhile collection of musically diverse and eclectic performances. The decent liner notes call this "progressive pop," and in some respects it is, though they shift gears from the Simon & Garfunkel classic "Scarborough Fair/Canticle" to the 17-minute plus original "Sea of Delight," and take lots of other directions in between. The Damned had a song called "New Rose," which is where the French record label got its name, and there was the aforementioned Savage Rose, but Brainbox start the album with "Dark Rose," a blend of Jethro Tull meets the Mothers of Invention. Brainbox ups the ante by sliding into Tim Hardin and a very credible cover of "Reason to Believe" a full two years before Rod Stewart would get a B-side hit with it (the original A-side of the "Maggie Mae" single), they pull off a chameleon-like change on this to become folk rockers. Casimirz Lux has a very appealing voice with a bit of Stewart's rasp, making "Reason to Believe" a highlight of the album. The liner notes credit Jimmy Smith for writing "Baby, What You Want Me to Do," but the tracking properly gives it to Jimmy Reed, and his Top 40 1960 hit is as bluesy as you can get here, the band changing styles yet again and showing their grasp and appreciation of American music. From progressive rock to folk-rock to blues-rock to the folk-pop of Simon & Garfunkel, who is to say they weren't rewriting Blind Faith's lengthy "Do What You Like" by way of "Sea of Joy" for their epic "Sea of Delight"? The album is a dense amalgam of sounds and themes from England and America, but is reverent in its borrowing and presentation. Brainbox's rendition of "Summertime" sounds like Deep Purple adding heavy keyboard sounds and slowing up the Billy Stewart 1966 hit reinvention of the Gershwin tune from Porgy & Bess. Of course, Janis Joplin did it two years earlier than Brainbox and psychedelicized it with an immortal performance -- but a good song is a good song, and this is Jan Akkerman before he would give us "Hocus Pocus" from Focus, and that fact makes the album more than just a curiosity. Since these gents were so enamoured of American music, it seems credible that they took the Vanilla Fudge sound -- famous in Europe a year before it hit in America -- and put it on a Janis Joplin favorite. Released with five bonus tracks on CD, including additional versions of "Sea of Delight," this is much more than the "bargain bin" item many American record buyers passed it off as. It's a real diamond in the rough.                  

Sun Secrets Review by Joe Viglione [-]
Released without Eric Burdon's authorization, Sun Secrets is nothing for the singer to be ashamed of artistically. With approximately 24 minutes per side, Sun Secrets is a far cry from The Black Man's Burdon and the rhythms of the group War. As Mountain guitarist Leslie West would do a year after this when he formed the Leslie West Band, Burdon beats him to the punch with a self-titled group that rocks -- rocks harder than the Animals, rocks harder than War. It's innovative reinvention, and quite pleasing, not only to hear the three-piece unit blitzing behind the singer as he reinterprets Animals classics like "When I Was Young," "It's My Life," or the Hendrix/Cream riff-laden version of "Don't Let Me Be Misunderstood," but on the instrumental title track as well. The tragedy of it all is that, according to the singer's biography, Don't Let Me Be Misunderstood by Eric Burdon with J.Marshall Craig (Thunder's Mouth Press), Burdon did not want this material out. The tapes were signed to Capitol and released without his permission. Produced by Jerry Goldstein, they are called "rehearsal tapes" by the singer and feature the original lineup of what he says in his book is "The first in a long series of Eric Burdon band(s)." Capitol released two different versions of this disc -- the full-length commercial LP, and a "Radio Programming Aid" which has edits of everything except for the 13-minute Burdon co-write "Letter From the Country Farm." It's disheartening to read the agony for the star during these sessions and the touring from this period in his life, but it's refreshing to hear in these grooves that under adverse conditions the star still comes out on top artistically. The other Capitol release by the Eric Burdon Band, Stop, has been added to this collection and, according to his biography, "now appear together on one CD, Sun Secrets/Stop."

40)Blue Swede

Blue Swede - Out of the Blue Album Reviews, Songs & More | AllMusic

Out of the Blue Review


by Joe Viglione


Out of the Blue by Blue Swede leans more toward an American band like Wild Cherry than their European neighbors, the Shocking Blue, and that's a shame because the album is more listenable than one would picture after hearing their two Top Ten hits from the 1974 Hooked on a Feeling debut. Crassly commercial, they do no favors to Cher's number one hit from the previous year, 1973's "Half Breed," but Alan O'Day's "Flashback" comes off with credibility. Lead singer Bjorn Skifs and producer Ben Palmers co-write three of the songs here, "Why Don't You Go Your Way" sounding like a disco cover act emulating the Grass Roots. As funny as that sounds, it isn't as bad as the notion that description might conjure, and lo and behold, the album concludes with Grass Roots songwriters Lambert and Potters' "I Didn't Sing (In the New York Subway)," which does sound like a show band performing in Rob Grill's shadow. Skif's vocals fall somewhere between Rare Earth and the aforementioned Wild Cherry, not the thing to endear him to fans of the Velvet Underground. Following a dreadful rendition of "Baby I Need Your Lovin'," which is so insincere Levi Stubbs would be perfectly justified in filing a lawsuit for potential damage to his fan's memories, is a version of Lou Reed's "Rock & Roll" which destroys any of the compassion the high points of this album evoked from the listener. This is a remake of the Runaways' Kim Fowley's version, which itself was a copy of the Bob Ezrin/Mitch Ryder arrangement, a masterpiece which it is said Reed called the best cover of one of his tunes he had ever heard (at that point in time). There's no denying Blue Swede was tasteful in their selection of songs, but when they performed "Rock & Roll" on The Midnight Special television program it probably stifled sales. Lou Reed's "Rock & Roll" is an underground standard, and though the group had a good grasp of the English language, they failed to grasp the nuances of what makes something hip to those attracted to specific genres. What is unique, though, is the opening track, a bizarre concoction of the Joe South/Deep Purple smash "Hush" with Tommy James and Peter Lucia's "I'm Alive." This is borderline brilliant, a combination of two songs which work so well together someone might be able to do to Blue Swede what they did to Jonathan King when they ripped off his rendition of "Hooked on a Feeling" to get them all this U.S. attention in the first place. Any group with the good taste to put a Tommy James and Lou Reed composition on the same album at least can be lauded for having some good fan sense. It's just when you hear their original, "Don't Be Fooled by the Name," that, once again, everything gets shot to hell. This is not a parody, and because they do this with a straight face, the only thing that might stop you from smashing this disc against the wall is to consider it as warped humor. A tough one.   

Monday, May 08, 2023

May 2023 New Top 10 1)The Lost Weekend: May Pang / John Lennon 2)It Ain't Over 3)Picard, the Last Season 4) Jourdan, JONFX, Guardians of the Galaxy and more

 Send your music and films and books to demodeal{@}

It's the Joe Vig Top 40 for May 2023 

1)The Lost Weekend: May Pang / John Lennon

2)It Ain't Over  Yogi Berra Biopic

3)Picard, the Last Season

4) Jourdan

5)The Philosophy of Modern Song, a book by Bob Dylan 

(Lillian Roxon returns!)

1)The Lost Weekend, A Love Story

2)It Ain't Over   Yogi Berra Biopic

3) Picard the Last Season


Was just playing Frankie Lyman's "Why Do Fools Fall In Love" on the piano when Jamaican agent supreme, Racquel Reynolds, sent Jourdan's  Way Too Long ft. Liacay which is filled with Lyman flavors but is its own original, majestic song that is just so ....comfortable and wonderful to listen to.  And then it just stops.  Wow.  Three minutes and twenty six seconds that you will want to play over and over and over again.  It's Pop, it's Reggae, highly commercial and smooth as smooth can get

The Philosophy of Modern Song is Bob Dylan's first book of new writing since 2004's Chronicles: Volume One--and since winning the Nobel Prize for Literature in 2016.

Dylan, who began working on the book in 2010, offers his extraordinary insight into the nature of popular music. He writes over sixty essays focusing on songs by other artists, spanning from Stephen Foster to Elvis Costello, and in between ranging from Hank Williams to Nina Simone. He analyzes what he calls the trap of easy rhymes, breaks down how the addition of a single syllable can diminish a song, and even explains how bluegrass relates to heavy metal. These essays are written in Dylan's unique prose. They are mysterious and mercurial, poignant and profound, and often laugh-out-loud funny. And while they are ostensibly about music, they are really meditations and reflections on the human condition. Running throughout the book are nearly 150 carefully curated photos as well as a series of dream-like riffs that, taken together, resemble an epic poem and add to the work's transcendence.

In 2020, with the release of his outstanding album Rough and Rowdy Ways, Dylan became the first artist to have an album hit the Billboard Top 40 in each decade since the 1960s. The Philosophy of Modern Song contains much of what he has learned about his craft in all those years, and like everything that Dylan does, it is a momentous artistic achievement.

 Vintage Reggae Album by JonFX with songs like : 1.If I Could Have This Girl 2.Rude To Your Parents 3.Miracle 4.Work It Out 5.Rudeboy  6.Bad Cinderella 7.Adore You 8.Dancehall Nice Again


You can play repeatedly every track on Vintage Reggae presented by JONFX (if you don't believe me, click on the Deezer link where you can hear samples,) a composition like "Miracle" draws you in with precisely played memorable sound. There is so much reggae coming from all around the world, but JONFX and his authoritative understanding of how to entertain, tell a story, and make it work from track to track is a pure delight in this day and age of repetitive copying.  "Work It Out" pleasantly is an instantly good-feeling tone that builds an atmosphere around you.   Saturate yourself with this disc and the melodies will stay in your mind and follow you around in a good way.


When a Black Panther raid on the house of a dope dealer goes awry, an innocent young man is killed and the leader of the raid team, a Panther named Charles Henderson (Obba Babatunde), is sentenced to life in prison. Bestselling author Paul Freeman (Modine) offers a creative-writing class in Henderson's prison, initially looking for a story for his next book; but when Henderson becomes his student, Freeman starts to investigate Henderson's case and becomes convinced that, after 20 years, Henderson deserves to be released--but the next step is convincing the sister of the man whose death Henderson is responsible for. Redeemer is a bit obvious, but the script does tackle its subject from a variety of perspectives, the direction is clean and straightforward, and the performances have commitment and energy--Babatunde is particularly compelling. --Bret Fetzer

12)Staying Alive: Ozzy and Dweezil Zappa
this is fantastic

14)Peaches in Regalia   Dweezil

16)Hummingbird Syndicate
The opening track on the SOUND + LIGHT album. A wave rolls over the sea, gracefully.

Macey's Parade had a song that Jon Macey and Barry Marshall co-wrote, "Comical," a magnificent pop moment.  "Gracefully" follows in the jangle jangle guitar motif with this compelling and lovely song that comes in at 4:59 (5 minutes,) with a truly decorative video.  Grade A with a lovely pop/Gospel conclusion.  

17)Stephen Bishop ("On and On"  ) sends us a Demo that Got the Deal Saturday night, 5/20/23 via Twitter

18)Kat Quinn,  Big Life Teaser

Joe Deninzon & Stratospheerius One Foot in the Next World (Live at ProgStock)

Behind the Curtain (Live at ProgStock)”
Joe Deninzon & Stratospheerius Release Live Box Set (two CDs, two DVD/Blu-rays) on May 19
(Album release party: May 31 at the Iridium NYC)
Deninzon has been called the Jimi Hendrix of electric violin… his violin swoops, howls, and dive bombs, while charting an eccentric course that conjoins whiplash funk, spacey electronic, and progressive rock!!”
-Strings Magazine
Joe Deninzon & Stratospheerius are releasing their new live box set,
Behind the Curtain (Live at ProgStock)” on May 19 on Melodic Revolution Records.  The collection on two CDs and DVD/Blu-rays show this treasured electric violinist/singer-songwriter’s history of favorites in the past decade and a half in the rock scene. 
Game of Chicken” is a race to self-destruction. The country-inspired “Climbing,” and Joe’s co-write with Alex Skolnick “Heavy Shtettle,” are just part of Stratospheerius’ sound.  There are topical songs for speaking up against corrupt and hypocritical leaders, “Behind The Curtain,” “The Prism,” and “Take Your Medicine.”
One Foot in the Next World,” which is also topical, is the new music video out on YouTube at 
(Live at ProgStock)” features eclectic covers. King Crimson’s “Frame by Frame” a Queen-esque approach to muse’s “Hysteria,” and an unrehearsed cover of Chick Corea’s “Spain” with blind piano and flute virtuoso Rachel Flowers and Alex Skolnick. 
Behind the Curtain (Live at ProgStock)” is three years in the making; the collection is made up of his 2019 and 2021 live performances at the ultimate Northeast progressive rock festival, ProgStock. Writes festival attendee John Giordano in the new issue of UK’s “The Progressive Aspect, “The performance is so alive, I can almost feel the discomfort of the old theatre seat on my bum. Wow!”
Part of the (Live at ProgStock)” celebration includes the only USA show for the group this spring and summer at the Iridium, NYC, May 31.  Special guests for this performance and party are Randy McStine (Porcupine Tree), and Bill Hubauer (Neal Morse). Randy and Bill and Joe have shared bills and recording projects through the years.
Joe Deninzon & Stratospheerius’ previous studio album, “Guilty of Innocence” reached #4 on the Jamband/Relix charts in North America, and broke the European Top 200 Indy releases at 72. The group, which has 5 albums out, is signed to Melodic Revolution Records. 
Joe (who plays in orchestras for the Who, Bruce Springsteen, 50Cent, and as the concertmaster for Renaissance) and his bandmembers: (Jason Gianni-drums (The Ultimate Queen Celebration, Trans-Siberian Orchestra, Rock of Ages, Neal Morse Band), Michelangelo Quirinale-guitar (Thrilldriver), and Paul Ranieri-bass (Mark Wood, Riot Act), have streamed over 3 million times on Spotify, YouTube, and other digital services. | |

20)Diamonds and Rust - Joan Baez
Song Review by Joe Viglione [-]

A & M Records single #1737 is a haunting four minutes and forty-four seconds of music from Joan Baez which stands as a classic epic translating a love affair by two legends into equal parts paean/spiritual revenge. Calling her ex the "unwashed phenomenon" and someone good at keeping things "vague", she tells Bob Dylan and the world she needs "some of that vagueness now." "Now" is the end of 1975 and urban legend has it that this Top 35 hit (not nearly as big as her Top 3 "The Night They Drove Old Dixie Down" from 1971) was the product of some record company ultimatum to deliver a chart song or else. Much like the alleged demands put on Garland Jeffries which resulted in "Wild In The Streets" on Atlantic (and the "or else" anyways, or else being termination of residence at that particular label). If the myth is true, this is a pure pearl from the oyster's irritation, recorded between January 21-24 1975, it would gain momentum in October and November of that year. A truly magical excursion into the relationship between Bob Dylan and Joan Baez, the songstress has to deliver words on par with her stunning voice, and she does, matching her famous ex-lover and capturing a "Hollywood" relationship brilliantly. Bernie Gelb's liner notes shed some light on the creation of "Diamonds & Rust", noting it was the first track cut at the sessions. Baez equates gems and tarnish with thinking about the past, and concludes the ode/attack with the notation that she's already purchased that luxury, paid in full. Reading between the lines is half the fun, and Dylan's friend Buzzy Linhart says he can go on and on about the significance in these grooves, as can most fans of Dylan...and Baez. A classic in the truest form of the word, produced by Joan and David Kershenbaum with the singer on guitar as well as Moog and Arp Synthesizers. Exquisite, and the title of a superb and important album from this artist. For more insight into the workings of this great moment, one only has to go four more cuts into the record as Joan concludes side 1 with a parody of Bob Dylan's voice on his own "A Simple Twist Of Fate", which could be Baez reflecting on what she's just done - turned the tables.

21)Three Times in Love, Tommy James

Song Review by Joe Viglione  [-]   

Three Times in Love

Tommy James

"Three Times In Love" is as exquisite a pop confection as you'll find, a #1 Adult Contemporary hit for Tommy James which should have ushered in a whole new career for the singer/songwriter in the 1980's, one that could have had him giving Olivia, Elton, Helen and Barry a good run for their money on the pop charts. Millennium Records single #11785 came at the dawn of that new decade going Top 20 on the singles charts in February of 1980. The guitar strums are even lighter than Nick Lowe's hit, "Cruel To Be Kind" from the year before, the sentiment a lot more positive than Lowe, a song about falling in love head over heels, not once, not twice, but three times. It's survival of the fittest from the first love of teen years being a game and and ultimately fading away to the second time around finding the person in question older and wiser, The lyrics take a back seat to the gorgeous hook, a gliding vocal of "three times in love" over cascading acoustic guitars with a stunningly sweet lead right before the bridge. Tommy James made some good records for Fantasy in the '70's, including a wonderful re-make of "Tighter, Tighter", the hit he wrote and produced for Alive 'n Kickin'. The label change to Millennium Entertainment allowed this title track the opportunity to reach an audience, and it deserved to. Sophisticated adult pop by a craftsman who has the voice and intuitive charm, this number drives politely, swimming in pretty sounds and is a far cry from the garage rock of "Hanky Panky" which launched James' storied career. Of the 19 chart songs he wrote or performed, there's something extra special about this one. Co-written by Tommy James and guitarist/bassist Ronnie Serota, the song clocks in at four minutes and nine seconds. A Spanish version was also released, which has become something of a collectors item.


The Tomorrow War's Time Travel Rules Explained (Is There A Paradox?)

What are The Tomorrow War's time travel rules - and do these time travel rules serve to explain the paradox Amazon's sci-fi film may contain?

34)New  Paul McCartney with John Lennon

Did Paul McCartney write new?

  • " New " is a song written by Paul McCartney. It was originally recorded by McCartney and produced by English musician Mark Ronson for McCartney's sixteenth studio album New, and appears as the sixth track on the album.

New (Paul McCartney song) - Wikipedia

"New" was greeted positively by critics and the musical press. As well as being selected as BBC Radio 2's Record of the Week[4][5] and placed on their A-list,[6] the track was greeted as the "Track of the Day" by Mojo which praised its "doe-eyed optimism, irresistible melody" and "orchestrated pop arrangements".[7] Rolling Stone's Will Hermes, praised its "bouncy harpsichord-laden melody", giving it a four-star rating and drawing comparisons to the Beatles' "Got to Get You into My Life",[8] a view shared by The Daily Telegraph which described it as a "jaunty, Beatles-esque stomp".[9]

 / Source: TODAY

Paul McCartney is peeling back the curtain on his last conversation with his former Beatles bandmate John Lennon.

In his new book “The Lyrics,” the musician writes how he and Lennon spoke about baking bread the final time they spoke.

“It was very special to me that we reached that point, actually, because you had the whole horrible thing of the group breaking up,” he told “The Howard Stern Show.” “I think we just realized, ‘Come on, guys. We love each other. What are we doing? We’re messing around.’”

McCartney performed the song live on late night shows such as Jimmy Kimmel Live and Late Night with Jimmy Fallon as well as at the iHeartRadio Music Festival where he premiered it as well as several other songs off the new album.

Producer: Mark Ronson Producer, Additional Producer: Giles Martin Editing done by: Dae Lims Associated Performer, Background Vocalist, Drums: Abe Laboriel Jr. Associated Performer, Background Vocalist: Paul "Wix" Wickens Associated Performer, Background Vocalist, Guitar: Brian Ray Associated Performer, Background Vocalist, Guitar, Bouzouki: Rusty Anderson Associated Performer, Bass Guitar, Bouzouki, Piano, Harpsichord, Mellotron, Organ, Conga, Vocals, Maracas: Paul McCartney Associated Performer, Trumpet: Steve Sidwell Associated Performer, Baritone Saxophone: Dave Bishop Associated Performer, Tenor Saxophone: Jamie Talbot Composer Lyricist: Paul McCartney

35)Mission Impossible Dead Reckoning Part 1 

Mission: Impossible - Dead Reckoning Part One (2023)

Action, Adventure, Thriller

Official Trailer
Ethan Hunt (Tom Cruise) and his IMF team embark on their most dangerous mission yet: To track down a terrifying new weapon that threatens all of humanity before it falls into the wrong hands. With control of the future and the fate of the world at stake, and dark forces from Ethan's past closing in, a deadly race around the globe begins. Confronted by a mysterious, all-powerful enemy, Ethan is forced to consider that nothing can matter more than his mission – not even the lives of those he cares about most.

36)The Fat Man
Hudson was born Roy Harold Scherer, Jr., in Winnetka, Illinois, the only child of Katherine Wood, a telephone operator, and Roy Harold Scherer, Sr., an auto mechanic who abandoned the family during the depths of the Great Depression. As "Roy Clark" in The Fat Man

Song Review by Joe Viglione [-]

Like her eventual friend Helen Reddy it took Petula Clark many records before this fantastic breakthrough hit, "Downtown", although it ushered in 1965's first week with the #1 position on the U.S. charts. The anatomy of this brilliant Tony Hatch composition and production is as interesting as the sound. After the musical interlude the song explodes back into the middle 8 "and you may find somebody kind to help and understand you". The listener hears that drum roll from Little Peggy March's reworking of a French tune, what became early 1963's #1 smash "I Will Follow Him". It seems lightning does strike twice as Clark had recorded that title as well, along with an Italian language version of Dionne Warwick's "Anyone Who Had A Heart". The singer's range and intuitive skills coupled with Tony Hatch's full understanding of pop music resulted in a classic itself covered immediately by a diverse array of artists from Marianne Faithful to Ray Conniff. "Downtown" had a sequel as blatant as Lesley Gore's "Judy's Turn To Cry" in "I Know A Place", returning to the underground dungeon she calls in that song "a cellar full of noise" (not the mis-heard lyric "a south of Illinois", one of the most classic mondegreens in pop history). The "underground" of the downtown theme continued 11 hits and two years later with her admonition to a relationship "Don't Sleep In The Subway", all made possible by this seductive single, Warner Bros #5494 in the U.S., three minutes and one second of positive reinforcement that one didn't have to take the advice of The Drifter's 1962 hit of making that dangerous climb "Up On The Roof" when this old world got one down, the wonderful sax wailing in the background at the conclusion of this hit invites you to the films, the places that never close, the rhythm of the gentle bossa nova. The imagination needed in "Up On The Roof" is too solitary, the background singers beckon with their sensual advertisement that imagination is not necessary, dreams can come true and you'll be "happy again". Interesting that 15 years later Jon Macey would issue a stern warning when his group Tom Dickie & The Desires had an underground FM hit (of course) on Polygram with their advice, they didn't want to hear none of that "Downtown Talk". The simplicity of the sixties gave way to another sign of the times: heroin in the 1980's, yet this shimmering moment from 1965 inspired many and launched the hard working Pet Clark and her producer into the pop pantheon with its unique study of the music of the day, especially that by the chart climbing female artists now joined by this British actress. The sentiment was bound to work because it was not the imagination of The Drifters or the smack addressed by Tom Dickie & The Desires, this was the reality that here you may actually find "somebody kind to help and understand you" (add Little Peggy March drums).  


Part of the booklet that comes with our CD, THE DEMO THAT GOT THE DEAL
The Motown Deal ...Jimmy Miller Produces The Mannish Boys from U.K., Managed by Jo Jo Laine (

Boston's own: #64 on list. Jeffrey Allen “Skunk” Baxter

Formerly From: Guitarist of Steely Dan
Currently: Defense Consultant, US Dept. of Defense
Net Worth: $6 million*
Steely Dan guitarist Jeff Baxter has been in the music industry since 1968, but he has primarily turned to non-musical pursuits. He became a consultant for the Department of Defense almost by accident. He was looking into new music recording tech when he stumbled upon software written for missile programs. He then became a self-taught missile expert, writing a five-page paper about converting the Aegis anti-aircraft missile into a different defense system. After he gave his paper to a Congressman, they were so impressed that he hooked Baxter up with DoD professionals. And thus, his new career began.

39)PJ Colt

P.J. Colt Review


by Joe Viglione


This self-titled album from singer P.J. Colt gets into the history books as the first album recorded at Electric Lady Studio, and the participation of Jeff Baxter, who performed with Steely Danthe Doobie Brothers, and many others. Some reference guides list this album's year of release as 1970, others as 1976. There is no copyright on the disc, making 1970 seem like the release date; it certainly looks and sounds like a project from the early '70s. There are two standout tracks, "Grave Down by the River" and "Growing Old," although the record is pretty consistent and listenable all the way through. Colt originally released the song "Growing Old" on a single and an album by Boston band Dirty John's Hot Dog Stand on Amsterdam Records in 1970. The track has a spacy opening, while Colt's vocal sounds hauntingly like early Michael McDonald. "Growing Old" follows "Blues Train," a competent cross between Wilson Pickett's "Mustang Sally" and the Velvet Underground's "Train Comin' Round the Bend." The musicianship shines throughout; guitarist Baxter emerged a star after his involvement with "the Bosstown Sound" of producer Alan Lorber on the third Ultimate Spinach album, which is a testament to talent winning out. Ray Paret did the production here, listed in the smallest of type. He certainly did not get in the way of the band, musicians who cook on Bonnie Bramlett's "Someday," "Black Jesus" -- actually, on every track. Ed Costa's keyboards and the plethora of backing vocalists are all tastefully combined in the straightforward production and mix. There's a significant cover of Van Morrison's "Crazy Love," a song suited to Colt's vocal style, while the rendition of "Honky Tonk Women" -- try though it may -- does not achieve what it seeks: the drunken barroom Leon Russell atmosphere and attitude. Colt's originals are listenable blues-rock, from the funky opening track "Once in the Morning" to the blues-drenched "I'm Tired Now." Drummer Jim Wilkins, pianist Costa, and guitarist Baxter collaborated to pen the tune "Leave Me Alone," one of the album's more rocking and commercial numbers.

41)Joseph Anthony Viglione
I'm not related to this dude, and I am not this guy, but he came up under an image search for me so we bless him with being #41 this month

June 2023 Eric Burdon's Sun Secrets #40 Blue Swede Out of the Blue / Movin' With Nancy

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