Monday, January 02, 2023

January 2023 Top 40 Sean Walshe produced by Rob Fraboni, Jeff Beck with Producer Jimmy Miller, Janis Ian, Jackie DeShannon, Ian Hunter, Jethro Tull Interview, Huck 2 (Music) #17 Danny Gallagher Band and more

 Including Joe Viglione's review on Tower,, Barnes and,,, Somerville/Medford News etc. etc. etc. 


1)Sean Walshe

American Son   

 Artist: Sean Walshe

CD Title  American Son

Review Joe Viglione


The January 2023 release of Sean Walshe’s American Son is an easy accessible listen which brings back melody, strong lyrics and musical entertainment on record. It, hopefully, will reach that wider audience that it so richly deserves.  The musicians who interpret these compositions with producer/engineer Rob Fraboni’s guiding hand certainly know how to make hit records, and American Son is chock full of potential hits.  

“Fortune Favors the Brave” rips like “Brown Sugar” launching from Sticky Fingers, and who better to fine-tune such an adventure than the fellow who partnered with the great Jimmy Miller to blast “Heartbreaker” from the Rolling Stones’ Goats Head Soup into the top 40, Rob Fraboni. A splash of Mott the Hoople to round it out, this rocker has staying power clocking in at a compact 3:46.

Epiphany #4 has Walshe working with Fraboni to evoke shades of Bob Dylan’s Planet Waves, you can’t help but go looking for the past inspirations that makes this new work so comfortable, compelling and fun. “If I Could” clocks in at 3:22 with a dense yet elegant collection of sounds …is it a lost Beggar’s Banquet track?  Or early Glimmer Twins making a flip side to “Dandelion” or “She’s a Rainbow.”

The album’s contributions are many, the Beach Boys singer from Holland’s “Sail on Sailor,” Blondie Chaplin on guitar and vocals, Ivan Neville on piano and B-3

“Small Price to Pay” flips genres again, but as Carlos Santana’s 1999 Supernatural album defied the odds with so many different flavors becoming a worldwide smash, Walshe’s lyrics and chord changes create a feeling that allows the listener to go with the flow.  “Small Price to Pay” pulls you in, the lyrics reflect and offer solutions rather than admonish.  At the end of the day it’s about freedom, and the players cement the dance vibe with relish.  It’s truly remarkable and demands repeated spins …spins you’ll be delighted to make.

“B Who U R” has percussionist Kenny Aronoff obviously having fun while hard at work. It’s a big sound, halfway to Mad Dogs and Englishmen, and that’s the party aspect of these thirteen tracks.  Simply bursting with energy and delight.  James Perkins’ saxophone rocks along with the backing vocals that feel like the gals from the Stones’ “Tumblin’ Dice” exited that room to enter this room and continue their endless party.  “B Who U  R” shimmers and like “Small Price to Pay,” begs to put it on an endless loop.

During the recording of Keith Richards’ legendary Talk is Cheap record in 1988, the rock virtuoso  bounded across the room while this writer stood with his other producer, the great Jimmy Miller and said “Joe….Joe….you must meet Rob Fraboni.”  Maybe that was so thirty-five years later I would get to review another Fraboni disc that rocks with the same authority as Talk is Cheap, that speaks from the grooves, not the hype.   Miller and Fraboni, who crafted Goats Head Soup, brought their presence into the room where Talk is Cheap was made.  Rob Fraboni brings his trademark roots rock into the equation, (and some of his friend Jimmy’s timeless vibrations) for thirteen tracks that deserve to be heard around this world and beyond. 

Recorded at Rax-Trax Studio, Chicago, IL on January 24-February 3rd, March 20 – 21, 2022, the construction – from composition to performance delivers on every level, with world class production values you rarely hear on radio today.

Sean Walshe at the console with Producer/Engineer Rob Fraboni

2)Alice Cooper Live  I'M 18

3)Cher  - Joe V review on Wikipedia
(my personal Wikipedia was hacked when I shut down TV 3 Medford....retaliation!)

Robert Hilburn of the Los Angeles Times writes, "There were a lot of great records by female singers in the early days of rock ... None, however, reflected the authority and command that we associate with rock 'n' roll today as much as [Cher's] key early hits".[285] Some of Cher's early songs discuss subjects rarely addressed in American popular music such as divorce, prostitution, unplanned and underaged pregnancy, and racism.[283] According to AllMusic's Joe Viglione, the 1972 single "The Way of Love" is "either about a woman expressing her love for another woman, or a woman saying au revoir to a gay male she loved" ("What will you do/When he sets you free/Just the way that you/Said good-bye to me"). Her ability to carry both male and female ranges allowed her to sing solo in androgynous and gender-neutral songs.[286]

4)"Won't Be the Same" Phil DaRosa

A new single from Phil DaRosa is always a good thing, and the extravagant chant in "Won't Be the Same" is surrounded by soft percussive sounds, guitar lines and a terrific chorus.  "Wish upon a star and pray..."  Wonderful cover of Coldplay's "Trouble in Town" also up on his website.

5)RIP Jeff Beck


Jizz Whizz
Beck, Bogert & Appice
Song Review by Joe Viglione [-]

With an instant, slamming opening borrowed from the Jimi Hendrix tune, "Manic Depression" - revved up and mutated, of course - this rare instrumental track from the fabled Jimmy Miller sessions with Beck, Bogert & Appice lives up to its legend. The 1973 take's got that smooth edge Miller put on Motorhead when that band's Overkill and Bomber albums received the producer's midas touch six years after these sounds made it to tape. The big difference, though - Motorhead's "Fast" Eddie Clarke is no Jeff Beck, and Mr. Beck's guitar prowess is absolutely on fire here. Recorded at CBS Studios in London, the jam composition by Jeff Beck, Tim Bogert and Carmine Appice runs four minutes and twenty-four seconds and contains many of the elements which made BBA such a great jazz/rock powerhouse. With George Martin having worked on the Blow By Blow (1975) and Wired (1976) discs, this one cut puts Beck in the enviable position of having been produced by the two legendary men who made some of the greatest records by The Beatles and The Rolling Stones. Outside of the long ending to The Stones' "Can't You Hear Me Knocking", there are few instrumentals recorded by Miller, a man known for polishing and directing songs like The Move's "Blackberry Way", Traffic's "Dear Mr. Fantasy" and over a hundred Jagger/Richards classics. That it took 1991s Beckology box for this epic to make its worldwide debut speaks volumes about the industry - great Hendrixian sounds from Beck locked up for eighteen years deprived fans of some extraordinary stuff. A real find for those who appreciate both Beck and the legendary Stones' producer.
Jizz Whizz #JeffBeck Bogert & Appice
Song Review by @JoeViglione #JoeViglioneMedia rare instrumental track from fabled #producerJimmyMiller #JoePerry @RobFraboni read here: #RIPJeffBeck #guitar #Yardbirds #BeckBoxedSet #Ericclapton

6)I've Been Drinking - Jeff Beck Group with Rod Stewart

I've Been Drinking
Jeff Beck Group Song Review by Joe Viglione [-
Doris Tauber and Johnny Mercer's classic "I've Been Drinking" appeared on the British import Best Of Jeff Beck and was also the "B" side of Columbia 45 RPM DB 8359 in 1968. Produced by Mickie Most, it was not released on an album in America until 1989's Storyteller: The Complete Anthology Rod Stewart, rumor has it, because of a flaw on the master tape. Well on 1991sBeckology it sure sounds wonderful, Rod Stewart's ghost-echo voice behind his main vocal (which comes in after the guitar break, maybe that was the alleged tape flaw?) has a haunting effect next to Jeff Beck's fuzztone leads. In fact, Beck's guitar comes off like Python Lee-Jackson's "In A Broken Dream", a regional 1972 hit with Stewart on lead vocal. "I'm drinkin' again/ Thinkin' of when/You left me" sums it up. Rod's making the rounds, and is totally believable here, knowing that "there's no second time around", the broken-hearted vocal a total turn around from the explosive singer on "I Ain't Superstitious". The great Madeline Bell shows up on backing vocals, the Blue Mink singer an ever present voice during this explosion of rock/blues that happened towards the end of the 60s. But "I've Been Drinking" relies as much on Nicky Hopkins' pop piano as it does Rod Stewart's vocal, Beck's guitar more restrained here than perhaps at any time on work where he's the marquee name and not playing the role of session man. His fuzztone waits almost half a song before the guitar break, and only comes back before the fade out. The guitar playing is, of course, exquisite, but its quiet presence through most of the tune allows Rod Stewart the opportunity to stand front in center. The interplay with Madeline Bell is great and the three minutes and sixteen seconds of this once-rare (in America) Mickie Most 1968 recording from London's EMI Studios has always been a favorite of this writers and really deserved a chance to be a hit on its own.

7)JOHN CALE NEW ALBUM, MARCH 2023 John Cale celebrate his 81st birthday in March, enviable resumé not one to rest on his laurels Neither does he show any sign of slowing down releasing his 17th solo studio album, Mercy @GoonrGrrl @MickeyHitman #joeviglionemedia #velvetunderground #warhol

8)Bachman Turner Overdrive

 Bachman-Turner Overdrive [1984] Review

by Joe Viglione [-]

Eleven years after their 1973 eponymous debut on Mercury, Randy Bachman brings brother Tim Bachman, C.F. Turner, and original Chad Allan/Guess Who drummer Garry Peterson together for this very decent set, also self-titled Bachman-Turner Overdrive, on a Mercury subsidiary, Nashville's Compleat Records. Though Randy's final album with the group, 1977's Freeways, is the collectors item, this record has more punch, more direction, and lots more energy. The singer/songwriter seems somewhat revitalized, "For the Weekend" opening things up with the vocal hooks and singing guitar lines that made for great radio singles. C.F. Turner's "City's Still Growin'" bogs things down a bit -- it could have just as easily fit on the post-Randy Street Action and Rock N' Roll Nights albums, and been just as easily forgotten. For that matter, Tim Bachman and C.F. Turner's "Just Look at Me Now" almost qualifies for that distinction as well. There's no Blair Thornton here, no Jim Clench, and, as stated, drummer Robbie Bachman gets easily replaced by the original drummer for the Guess Who, but here's where these guys missed the boat: had Chad Allan from Brave Belt softened up the attack a bit with his contributions, which work so well with Randy Bachman, the album could have bridged the gap between the various versions of the Guess Who and BTO which were floating around confusing the public. "My Sugaree" is no doubt Randy Bachman's answer to Jerry Garcia's '70s FM hit "Sugaree." It is this, Bachman's cleverness and ability to cop riffs and disguise them, after all, which make these recordings worthwhile. "Another Fool" opens up side two with the same riff-heavy energy. Writer William Ruhlmann's original AMG essay on this album had it right when he stated: "By 1984, the band was a '70s nostalgia act, and there really was no audience for their new music." As good as it is, the 1995 Garry Peterson/Jim Kale adventure which they labeled the Guess Who, an album called Lonely One, might have fit into this time frame much better. With that album, as with this, they were ten years behind the times. Pioneer released a 1983 Guess Who reunion of Burton Cummings, Randy Bachman, and Garry Peterson (Peterson appearing to be the most amiable of the bunch, even showing up on Burton Cummings' solo discs) and 1986 saw the release of Compleat's Best of the Guess Who Live, so this BTO "reunion" of sorts fell right in the middle of those two Guess Who releases/class reunions. "Lost in a Fantasy" has those sparkling little guitar nuances that Randy does so well, a song that could find its way onto a Randy Bachman boxed set retrospective, but though it is a notch higher than the revered Freeways, there's nothing extraordinary enough to bring it over the top. C.F. Turner's "Toledo" is yet more ZZ Top-style diesel rock while the closer, Randy Bachman's "Service with a Smile," is "Taking Care of Business" redux. You can almost sing the original hit over this music. A fun adventure for fans, but no "Looking Out for #1," no "Hey You," no "Roll on Down the Highway." Just a little bit more effort and 1984's Bachman-Turner Overdrive could really have been fun. Too bad they didn't do a metallic version of "Shakin' All Over" or tried their hand at covering Burton Cummings. A little more flavor would have done the trick.

9)Tom "Satch" Kerans  "Silhouette"

Lost in that land of time, one silhouette in the moonlight, with a slinky, smart approach in the arrangement.  Very dramatic and compelling, with Sal Baglio and Jon Butcher in the WMWM listening to the song while it made its 91.7 fm debut.

Satch on WMWM 12:38 pm Saturday Jan 14 2023

see 2009 Boston Globe article:



You Know Me / Jackie DeShannon

Review by Joe Viglione [-]

                     It takes a few spins to understand, and it is one of this prolific singer's many, many recordings, but when you spend some quality time with You Know Me, it starts unraveling its secrets in ways that only a truly great recording can. "Any Heart" is pure power, with the band weaving textures around Jackie DeShannon's distinctive vocal, the guitar relentless as it sustains the wall of sound. A true labor of love, few artists can produce a song this strong, and the fact that it follows three equally powerful compositions is evidence of the majesty that sweeps across all 14 tracks. "Steal the Thunder" opens the album with authority -- the resonating grandeur Eric Carmen's "Hungry Eyes" contained, with a better hook. DeShannon places everything in perfect order, the vocal gliding over a groove that is rock-solid. "Wing Ryder" changes the pace, and you get the idea that this major songwriter is building an album more complex than Carole King's Tapestry -- sheer art for art's sake. It ebbs and flows with an elegance younger musicians are too impetuous to seek out. The keyboards and guitars in "Wing Ryder" fuse styles that Fleetwood Mac and the Eagles were employing. And that's the secret here: DeShannon hasn't made another singer/songwriter album, she has shouldered a project akin to filming a major motion picture. "Somewhere in America" has a smart guitar riff and a wailing sax in the distance for one of the few ecology songs that isn't hampered by bulky words. "Song for Sandra Jeanne (Rites of Passage)" is for the singer's poet mom. It's just beautiful, the album changing moods like a photo album with pages turning before you on the silver screen. Each song is an episode, with the title track a defiant affirmation of someone who has been with listeners through the years, from "Put a Little Love in Your Heart" to "Bette Davis Eyes." While Lou Adler's sparse production on Tapestry allowed Carole King to bare her soul, DeShannon gives us a dense production, thick and rich, a wide range of sounds that could reinvent AAA radio if given the chance to be heard with the same presence as her best-known tunes. "Just How Right You Are" and "Red Montana Sky" are both driving and two of the more commercial tracks, with subtle hints of past work slipping into the lyrics. At close to 60 minutes, the 14 tracks are very much like a double LP. "There Goes the One" is a pensive recommitment, as graceful saxophone blends with the keyboards and the charming line, "I love the books that he reads." "Vanished in Time" is clear and measured, a youthful exuberance embracing the wisdom of years. This is a transformation for the veteran songwriter, and she seems to be driven more by her incredible instincts than by record company mandate. Where You're the Only Dancer, To Be Free, and earlier albums had an agenda most artists have to deal with, "Raze" is sound and performance, which shows real control. The drums drive the vocals and guitar backs DeShannon up with more dominance than maybe any album she's ever made. "Red Montana Sky" keeps surfacing as the tune that should be embraced by radio. "Here On" seems out of place, the reggae too dramatic a departure for all the elements that came before. It throws the listener for a loop and has a different character than all the other tracks on You Know Me, but that's either the luxury or the downside of artistic freedom, take your pick. Covering the Beach Boys' "Trader," however, is a perfect conclusion, and a perfect vehicle for Jackie DeShannon's timeless voice on an album that may take years before it is fully appreciated.

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 Janis Joplin  "Trust Me" from Pearl

  Song Review by Joe Viglione  [-]

Songwriter Bobby Womack released this superb tune on his 1975 Safety Zone album, but in its form as the sleeper track on Janis Joplin's 1971 Pearl album, "Trust Me" emerges with great power, a performance that is Janis at her absolute best. Her voice goes from sweet in the first couple of lines to raspy when she so knowingly issues lines like "the older the grape, the sweeter the wine." Ken Pearson's organ works wonderfully alongside Bobby Womack's acoustic guitar and John Till's electric. Paul Rothchild's production work is simply amazing, choreographing this thick array of sounds and piecing them together perfectly, Brad Campbell's bass and Richard Bell's piano lines both dancing inside the changes. Listen to Clark Pierson's definite drums as the song fades out, a solid team effort recorded on September 25, 1970, just a week and a half before Janis would leave us. In a small catalog of work, "Trust Me" shows what truly gifted art Janis Joplin brought to this world. Having Womack participating is a treat, the element of the songwriter working with the interpreter and their camaraderie as a major contribution to this definitive version cannot be overlooked. The creative energy is in these grooves and one doesn't have to imagine how magical the room must have been when this music was made. It translates very well. As "Me & Bobby McGee" has been overplayed, "Trust Me" has been underexposed. This key piece of the Pearl album concisely shows Janis Joplin as the equal of Bessie Smith, Big Mama Thornton, Billie Holiday, Otis Redding and her other heroes. At certain moments during this song Joplin eclipses even those gods.



12)Lesley Gore  Ever Since

Review by Joe Viglione for,

 Personnel: Lesley Gore (vocals, background vocals); Lesley Gore; John Turner (bass instrument); Mike Errico (guitar, lap steel guitar); Blake Morgan (piano, music box, background vocals); Jonathan Ellinghaus (drums).
Audio Mixers: Blake Morgan ; Phil Nicolo.
Recording information: Engine Company Studios, New York, NY; Studio 4, PA.
Photographer: Mike Errico .
Arranger: Blake Morgan .
Lesley Gore released her first album as a singer/songwriter, Someplace Else Now, on Motown in 1972 and reunited with Quincy Jones for the A&M label's uneven but adventurous Love Me by Name in 1975. Amazingly, three decades later, the vocalist who is visible (and superb) on the oldies circuit has put together this subtle and brilliant ten-song collection on Engine Company Records. There is only one Ellen Weston/Lesley Gore collaboration here -- they wrote the entire two aforementioned albums if memory serves -- and that final track, "We Went So High," is a quiet piano and vocal reading that is a perfect bookend to the title track that begins this very powerful and intelligent collection of music. It's the sound of her voice, absolutely, but that voice has matured in an interesting way. Gore has always been a grade-A singer, so it isn't that the vocals have improved -- they have exquisitely evolved. "Better Angels" is as pensive as "We Went So High," written by this disc's producer/engineer/arranger, Blake Morgan, and recorded for his own Burning Daylight album, also on the Engine Company imprint. It is part of the interesting fabric this team puts together. Lesley is talking here in a more adult version of adult contemporary. "You Don't Own Me" is presented in this same -- methodical and soulful -- approach, which is the trademark of these recordings. She takes her huge 1964 hit (it was her second biggest on the charts) and breathes wonderful new life into it 41 years later. "Not the First" is the only song Gore writes with no collaboration -- and stylistically it is an up, which nicely separates it from the nightclub feel of most of the disc. As Janis Ian delivered a strong statement on her Billie's Bones release, and Jackie DeShannon on her stunning You Know Me disc, this is Gore's best work outside of her hit recordings. The musicians complement her with understanding, and Lesley utilizes the platform to touch your heart with the presence of a good old friend you haven't seen in years suddenly showing up at the door. It's a welcome return, and hopefully the start of much more music from this creative artist. Yes, Michael Gore co-writes with his sister, an understated and moving "Out Here on My Own." Just a lovely album quite worthy of your time. ~ Joe Viglione 

13)Billie's Bones   Janis Ian

Decades after their initial burst on the pop scene certain serious artists conjure up special recordings deserving of extra attention. A Jackie DeShannon will deliver something stunning like her wonderful You Know Me disc while Ian Hunter strikes hard with his powerful Rant. Janis Ian takes a more restrained approach, but the result is just as masterful on Billie's Bones, a collection of 13 songs recorded over three days in Nashville at Sound Emporium from June 9-11, 2003. Dolly Parton adds a complementary vocal to "My Tennessee Hills" as Janis takes the listener all over the world -- the beautiful "Paris in Your Eyes" preceding the instrumental "Marching on Glasgow," the poet taking the journey from the Southern states to Amsterdam as well. This is not a "folk" album, the always creative Janis Ian finding different melodies on her guitar giving a distinct flavor to each tune and the bevy of thoughtful lyrics. The title track is inspired by a previous work the artist published in her 1968 book Who Really Cares, Poems by Janis Ian. The lyrics to it open up the 14-page booklet while the original poem closes out the insert. "Billie is my idol, I wander through the desert of her later years," she writes in the earlier version concluding with "Tell them I am ash...and I have no tongue." The song has another perspective for the story: "All these years and all I've learned is just how brilliantly I fail." There is no failure here on this successful light rock collection displaying all sorts of musical elements -- the touch of country in "My Tennessee Hills," a jazz feel on "Matthew," the soft introspection of "Amsterdam." As the great Jimmy Miller put the Blind Faith album together in three days after the supergroup tried for months to record, Ian takes her paint brush and in three days creates an album that contains multiple ideas that entertain as they unravel in a unique and impressive fashion. It is a beautiful and fulfilling disc from her vast repertoire.                 

14)Ian Hunter  Rant 

The musical statement that is Rant includes textures and ideas that pick up where Brain Capers by Mott the Hoople left off. "Still Love Rock and Roll" ignites this set; it rocks with an authority that "All the Way From Memphis" only hinted at. As Dion DiMucci's Shu Bop album redefined the position of a '60s artist and delivered the goods, Hunter's Rant reveals a '70s artist refining his philosophy. Rant he does, with eloquence and a new fire. Every track works, entertaining and enlightening, taking the listener through curves and turns, reaching the zenith in track ten, "Ripoff." From the "that's all you've got to live for" lyric to the song title itself, this song is a perfect pop tune, full of anger, passion, slashing guitar sounds, a condescending vocal, and hooks that are real magnetic grabbers. With production that is absolutely topnotch, Hunter bids adieu to his homeland. Although "Ripoff" is guaranteed to keep "Sir" from being added to Hunter's name, he should still be knighted for delivering a kick-in-the-pants rock & roll song that every car radio should be blasting. The Rolling Stones haven't injected this much majesty into a single tune, let alone an album, in over a decade. R.E.M. could learn a thing or two from "Knees of My Heart"; it has the jangle jangle guitar, but where R.E.M. seems stuck in some past groove, Hunter utilizes that Nick Lowe/Bob Dylan/Byrds melancholic musical essay to great and satisfying effect. This album smartly moves sounds from guitar to keys, shifting moods, making a grand musical statement. "No One" is Hunter delivering a ballad with drive. This isn't "Ships," his Barry Manilow hit, nor is it Mad Shadows' pre-"All the Young Dudes" composition "You Are One of Us"; this has flavors of early British pop, guitar sounds from the George Harrison textbook, and a meaningful vocal from this rock & roll troubadour. Rant is a record that transcends so much of what is going on right now in music, a record that is much too good for radio today. The Columbia/Legacy compilation Once Bitten Twice Shy delivered 38 Ian Hunter solo titles in the year 2000, giving the world a clear picture of his post-Hoople work and paving the way for this sensational recording.                

15)Strings Attached, DVD
Ian Hunter

The DVD of Strings Attached could also be called Ian Hunter Lite, a nice bookend to the singer's Just Another Night: Live at the Astoria, London disc. The orchestration here, recorded in Oslo back in January of 2002, doesn't have (or require) the bombast found on Ian Anderson Plays the Orchestral Jethro Tull, but it is fun to see the always serious Hunter actually indulging in a more spirited, humorous, and playful mode. Of course, "Twisted Steel" is all business, and with more distance in time and space from the 9/11 tragedy, how many outside of Hunter's hardcore fans realize that this artist is effectively articulating the insanity of that day? The R.E.M.-style delivery works well in this setting, as does the rise and fall of the accompaniment in "Boy" and the pure pop of "23A Swan Hill." As with the Just Another Night DVD, there are some delicious soundcheck cuts and valuable interview material. And while Rod Stewart is selling millions of "Songbook" albums like a Columbia House special in the 1960s supermarket racks, one might think it parody for Ian Hunter to follow suit. Remarkably, the Mott the Hoople frontman successfully dips into that arena, providing a pleasant diversion from the mission at hand. Brook Benton, Bobby Darin Nat King Cole, Rosemary Clooney, and Bing Crosby have all sung the Eric Maschwitz/Manning Sherwin classic "A Nightingale Sang in Berkeley Square," and that gem provides a nice segue into Hunter's own "Michael Picasso." Def Leppard's Joe Elliott keeps showing up on Hunter's DVDs, and he provides the intro on a collection of orchestrated folk-rock that touches upon key moments in the songwriter's prolific career. The haunting approach to "Roll Away the Stone" breathes new life into a song that has never received the appreciation it deserves. To see this Oslo audience mouthing the words to "Saturday Gigs" provides another clue to what the U.S.A. missed when the song wasn't pushed in America, and when Mott the Hoople couldn't rejuvenate themselves with the addition of Mick Ronson. The insightful interviews add much and the rendition of "All the Young Dudes" is so campy gay that it could be considered politically incorrect in this era of Brokeback Mountain, when gay without the glitter is definitely the trend. Perhaps because Hunter is merely acting the part (where Gyllenhaal and Ledger might not be -- acting, that is), Strings Attached reminds viewers that the times they are a-changing. ~ Joe Viglione

more Ian Hunter reviews on Joe V's Rock and Roll Central


16)The Danny Gallagher Band


"A Little Hard Work and Time"  4:27

Danny Gallagher's smooth voice over this pop/blues ballad issues a terrific sentiment on a second time around, believing in companionship that the singer wants to be eternal. Like the sentiment from Neil Sedaka's hit for 5th Dimension "we'll take it slow" (as in "it's gonna take some time" here.)  It's a song of commitment and what it might take.

In Weymouth Jan 14 at Next Page Cafe'

17)Vanilla Fudge with Jeff Beck (MYSTERY)

Mystery - Vanilla Fudge with Jeff Beck
Review by Joe Viglione [-]

Quiet Riot's producer gives Vanilla Fudge -- whom producer Shadow Morton discovered in the late '60s -- a "bang your head" onslaught of big hair drums, compressed guitar, and tired homogenization. The fun psychedelic distortion of Vinny Martell is totally stripped away -- he is relegated to rhythm guitar on one song and backing vocals on three. That is a total travesty. It is one thing to have the leader of Beck, Bogert & Appice, one Jeff Beck, funk up "My World Is Empty," even under the disguise of J. Toad (shades of George Harrison in his L'Angelo Mysterioso garb), but this version of the Supremes is so far removed from what made Vanilla Fudge so special that, really, it should be included as a bonus track on a reissue of the 1973 Epic debut Beck, Bogert & Appice. One Ron Mancuso is listed under Martell in the credits, but he is the hip guitarist recruited for this calculated disc to replace Martell. His name might be in small print, but his sound is what is splashed all over this veteran group's comeback attempt. Proffer takes the once angelic voices and puts them through his machinery to come up with something that could be Patty Smyth's Scandal or even 38 Special. Clearly, this wasn't an attempt at former glories, but a stab at reinventing the band instead of putting their trademark arrangements on familiar tunes. This is everything fans of '60s music hate about the '80s. Whether it is the first track, "Golden Age Dreams," or the decent cover of Dionne Warwick's "Walk on By," or the song that took seven writers to compose, "Don't Stop Now," the drumbeat is incessant and is more Quiet Riot than Fudge. The worst track is probably "Hot Blood," which is Scott Sheets, Mark Stein, and Carmine Appice totally ripping off the chorus of Foreigner's 1978 hit "Hot Blooded." You can rest assured they would've been sued if this album sold, but where the covers are amusing, and some of the originals show sparks of ingenuity, "Hot Blood" is so bad that most bar bands would balk before sending it to an A&R man. That this was released on Foreigner's own label is even more appalling. The song that follows, "The Stranger," thankfully does not cop Billy Joel's riffs -- it is interesting because of the use of Vanilla Fudge's slow pace combined with metal of the day. Had the band gone totally heavy metal with this, perhaps taking a Black Sabbath signature tune like "Paranoid" and making it sound like their second Top 40 hit, the eternal "Take Me for a Little While," much of this could be excused. But "The Stranger"'s early promise quickly descends into a parody that makes it sound like a Spinal Tap outtake. For musicians who launched Cactus and who could lure Jeff Beck into this quagmire (maybe the reason he goes incognito here is for artistic rather than contractual reasons), it sure sounds like they took Ahmet Ertegun's money and ran. "Golden Age Dreams" is a clone of Loverboy's 1981 hit sound for "Turn Me Loose." So this new incarnation of Vanilla Fudge turned to imitating what was current rather than putting a refreshing stamp and change on contemporary records. What the original Fudge and Shadow Morton would've have done was take Fabian's 1959 hit, Turn Me Loose, and have it melt into an eight-minute-plus saga that contorts until it has a re-birth as a slowed down version of the Loverboy title. Someone should re-release this on CD with the Vinny Martell demos from this period. His demo tapes have a charm and sparkle that is absent on this disc. "Jealousy" might boast Jeff Beck, but it is flavored with the Jefferson Starship's "Jane" and "Find Your Way Back" riffs. Their success with this venture would have been assured had they given the Starship tune "Jane" that original Vanilla Fudge treatment, performed it at the pace of the title track here, "Mystery," and let Marty Balin sing the lead. Balin was practicing "Jane" before he jumped ship from the Starship -- it would have been a coup, and could have made all the difference in the world. It would have been a relief from the labor that listening to the track "It Gets Stronger" is. Nothing on early Vanilla Fudge is as difficult as this experiment.


18)Jimi Hendrix   I Don't Live Today

This mesmerizing performance takes the studio rendition to another level.  It is amazing.  The production, the clarity of the band, all makes for a superb slice of Jimi from the Live at the Los Angeles Forum April 26, 1969 disc.

 “I Don’t Live Today” from the new Jimi Hendrix Experience album Los Angeles Forum - April 26, 1969

Order the album: Los Angeles Forum - April 26, 1969 presents an extraordinary performance by the Jimi Hendrix Experience. Before a raucous, sold-out house, Hendrix, drummer Mitch Mitchell and bassist Noel Redding tore through a unique set featuring highlights such as "I Don't Live Today," "Purple Haze," "Red House," and an astonishing medley of "Voodoo Child (Slight Return)" and Cream's "Sunshine Of Your Love". This pristine recording, newly mixed by Hendrix's longtime engineer Eddie Kramer, captures the original Jimi Hendrix Experience in their unrivaled, peak form. A portion of this performance was previously included as part of a short-lived Westwood One radio documentary box set [Lifelines 1990-1992] but has been unavailable in any form for two decades and this marks its first release on vinyl. The album - complete with liner notes from ZZ Top's Billy Gibbons who witnessed the show first hand - is available on CD and 2xLP and the digital release marks the first Hendrix album available in spatial audio. Each format gives this seminal performance its proper platform, presenting the complete performance mixed directly from the original eight-track master tapes. Listen to Jimi Hendrix: Subscribe to the official Jimi Hendrix YouTube Channel: Watch more of Jimi Hendrix music videos: Follow Jimi Hendrix: Facebook: Twitter: Instagram: Website: Spotify: YouTube: #JimiHendrix #IDontLiveToday #Live

19)Soulsucker   Huck 2

"Soulsucker" (time: 4:15) is a dynamic, loud pop chant with intense guitars, pounding bass and drums with the title repeating throughout.  Perhaps a hard-rock-pop update of John Lennon's "How Do You Sleep" rebelling against the rebel whose "blood runs cold."  Wooly Mammoth's Dave Minehan and the band, Huck 2, do an amazing production job, a bit of Bob Ezrin's Alice Cooper work mixed with Todd Rundgren's Grand Funk/New York Dolls era sound.  

Huck 2 is 4 guys from Salem who have known each other since the 70’s.   Our 11 track album will be out in the spring and we will begin booking gigs when done recording in February. The record is being recorded at Wooly Mammoth Studio in Waltham by David Minehan. 

Huck 2 is: 

Dan Lundergan - Vocals, Guitar
Neil Reardon - Drums
Harry Sabean - Guitar, Vocals
Harry Z - Vocals, Bass 

“Soulsucker” written by Harry Zarkades
Engineered by David Minehan at Wooly Mammoth Studio, Waltham 
Produced by David Minehan & Huck 2 
Mastered by Jeff Lipton  and Mario Rice at Peerless Mastering, Newton, MA 

20)The Laissez Fairs  "Pretty Penny" 

On Marian Ferro's show 7:05 pm 1/3/23 Mark Skin Radio, excellent power-pop, pyschedelic rocking release with a very catchy hook and elegant guitars.

21) Terri Lee  Frozen Solid

"Frozen Solid" by Terri Lee  Soundcloud

Terri Lee  "Frozen Solid" on YouTube

TMRZoo  review of  Terri Lee's Nasty But Nice CD
 “Grow Old With You stylistically is in line with “Diamond in the Rough,” while the three minute sixteen second “Real Love,” (not the Beatles tune of the same name,) is pure pop with a driving beat. “Hold Me” does another 180 – which is great, adding diversity musically while the message stays the same: this is an album of romance that the title track doesn’t hint at. A CD full of surprises and one with much depth.

P.F. Sloan by Jimmy Webb - Track Info | AllMusic
REVIEW BY Joe Viglione

Song Review by Joe Viglione [-]
On his self-produced Words & Music release from 1970 songwriter Jimmy Webb does a dramatically different version of this tribute to Buzzy Linhart's ex-roommate,Phillip "Flip" Sloane. This is a major colleague writing an ode to one of the quirky but brilliant West Coast writers of song. Though Webb re-recorded this in 1977 with producer George Martin, it is still The Association's version which gets much attention. Their spacious and experimental production is interesting on a tune which relishes the harmonies, but seems a bit too far out for that crew. It is Webb's original rendition on the Words & Music album which is condensed and has some staying power. He sings it with sheer enthusiasm giving a protest song feel to a tune about a protest songwriter. Webb's original rendition is marvelous with a sincere charm. Picture early Neil Young singing on key. It's four minutes of a descending musical line and interesting hook which doesn't sound very much like Sloan's own work - remember, it's about him. "Don't sing this belongs to P.F. Sloan...from now on." Enter harmonica.

P.F. Sloan by Jimmy Webb - Track Info | AllMusic

Explore P.F. Sloan by Jimmy Webb. Get track information, read reviews, listen to it streaming, and more at AllMusic.

Lovin' Things Review by Joe Viglione [-]
True to form, Lovin' Things, the fourth album by the Grass Roots, contains another nugget in "The River Is Wide," a tremendous pop tune fusing a mainstream '60s sound with Phil Spector innovations. It's a wonderful Steve Barri production, their sixth hit record, and a song as brilliant as any of their first seven that hit the Top 40. Like labelmates Three Dog Night, this crew found great songs when producer Steve Barri and his former partner, P.F. Sloan, weren't writing them for the group. Unlike Three Dog Night, though, the band didn't pack an album with outside material poised for Top 40, and Lovin' Things is a perfect example of the two sides of this group. Larry Knechtel, Hal Blaine, Joe Osborn, and other name session folk are no doubt on the first two songs -- the title track, "Lovin' Things," and the hit, "The River Is Wide." Both songs carry big sound and great Rob Grill vocals, Warren Entner adding his fine voice to "The River Is Wide" as well, and though it was the fourth weakest of their 14 hits, it's still one of their best. There are two originals from guitarist Warren Entner and singer Grill, the enjoyable "(You Gotta) Live for Love" and a very interesting "Fly Me to Havana." "Havana" works because the band puts a Ray Davies/Kinks riff from "Till the End of the Day" into a mix with guitar sounds straight from the Count Five's "Psychotic Reaction." Consider that had the band issued more of this highly regarded '60s sound along with their slick radio hits, they would have crossed over to the realm where music by the Seeds and Chocolate Watchband continues to dwell: sacred territory. Though P.F. Sloan was gone by this point, they do cover two of his songs, "City Women" and "I Can't Help But Wonder, Elisabeth," as well as a Sloan/Barri title, "Baby, You Do It So Well." P.F. Sloan himself became an enigmatic minor-league Brian Wilson, in more ways than one, and adds a hipness that should make these albums more cherished in collectors circles than they are. Bob Mann's song "Pain" ends side one, and dramatically different from the group's material, as well as the Sloan and Barri stuff, it adds yet another dimension to this quirky made-for-record-company group. Let's face it, the Grass Roots were an effort by Dunhill Records to create a kind of Monkees without a television show, music produced to climb the Top 40. There's nothing wrong with that. In fact, despite the crass commercialism behind the Monkees, the band developed their own pop legacy from years of touring after their hit show. The problem with the Grass Roots was that they could have taken the original business plan and used it as a platform to become a very hip and very chic item. Just listen to the Gordon/Grant tune "I'm So Excited," which starts off side two, then play Ian Hunter's song of the same name which ends side two of his debut solo album six years after this in 1975. It's the exact melody opening each chorus, only Mick Ronson and Ian Hunter bring it all the way home. In order to carry a strange album track like "The Days of Pearly Spencer," Warren Entner needed to be as big a personality as an Ian Hunter, and he isn't. From singing on this album, he went on to manage Quiet Riot, and the members of the Grass Roots never managed to create an identity as strong as Micky Dolenz, Peter Tork, Davey Jones, and Mike Nesmith. Heck, even Dale "Buffin" Griffin and Peter Overend Watts from Mott had more name recognition in rock circles, and it's that lack of personality which held back a band with over a dozen hit records. As creative as these Steve Barri-produced 11 tracks are, more hit songs were necessary for this LP's survival. That's what this band was all about, and the photos of Grill, Entner, Coonce, and Bratton on the back of the album just didn't register with those who heard a little masterpiece like "The River Is Wide."
The Grass Roots - Lovin' Things Album Reviews, Songs & More | AllMusic
The Grass Roots - Lovin' Things Album Reviews, Songs & More | AllMusic
Discover Lovin' Things by The Grass Roots released in 1969. Find album reviews, track lists, credits, awards and more at AllMusic.

24)melissa etheridge

25)Hubert Sumlin  About Them Shoes

Review by Joe Viglione  [-]

Hubert Sumlin's About Them Shoes is a refreshingly pure blues recording which comes at a time when others are distorting the genre with various "contemporary" elements. The songs are from the repertoire of Muddy Waters -- seven tunes written by Waters (McKinley Morganfield), four by Willie Dixon, one from Carl C. Wright, and a beauty by Sumlin to close things out. Dixon's "I'm Ready" starts things off with Eric Clapton on lead guitar and vocals, the drums of Levon Helm, and Paul Oscher's oozing harmonica filling in nicely with David Maxwell's piano. It's bouncy and shows a side of Clapton not often present on his own albums. Sumlin's lead is tasty, giving way to Oscher's equally gritty wail. Waters' own "Still a Fool" has Keith Richards on lead vocals and sharing the guitar chores with Sumlin. It's got that Rolling Stones-ish ragged edge that producer Rob Fraboni knows so well; Fraboni's guiding hand never gets in the way of the musical process that flows across the CD. James Cotton's harp comes in to spice up "She's Into Something," which features percussionist George Recile on lead vocals and Helm back on the skins. Helm plays drums on eight of the 13 tracks, Recile on four, with the final number, Hubert Sumlin's only original, "Little Girl, This Is the End," closing the set without percussion. "Little Girl" features a charming interplay between Keith Richards and Sumlin's guitars, while Paul Nowinski adds a full-bottom bass to round things out. It's Sumlin's only

vocal contribution to the disc, and that voice swims in Fraboni's mix of upfront guitars. This particular song was premiered on Holly Harris' Blues on Sunday program on December 15, 2002, a few months before the album's release, and played next to the remastered "Love in Vain" from Let It Bleed, one could see why the distinctive Richards style is such an important component of the Rolling Stones' success. The two Keith Richards tracks as well as the two contributions from Clapton will get immediate attention, and they do not disappoint, but Blondie Chaplin's vocal on "Look What You've Done" as well as Paul Oscher's on "Come Home Baby" deserve to not get lost in the shuffle. Nathaniel Peterson and George Recile also get to take the mic (with David Johansen about to add some vocals at press time), but none of the changing voices disrupt the vibe or take away from the fun. These blues aren't sad, they are charging, energetic performances from musicians who catch the groove and drive it for all it's worth. Maxwell's piano on Waters' "Come Home Baby" adds frills behind the guitars of Sumlin and Bob Margolin, while Oscher's harmonica just screams. It's a stunning blend of tension and dynamite, and one of the disc's highlights. About Them Shoes could have taken the marquee talent and gone for a glitzy platform to bring Hubert Sumlin into the mainstream. Instead, they dive headfirst into what this music is all about, and in doing so have come up with a mini-masterpiece. It's one of those records that can run endlessly in the CD player and keep entertaining. Hopefully it will expand the audience of this deserving virtuoso.

26)Dave Mason  Alone Together

27)'Cause We've Ended as Lovers - Blow by Blow  Jeff Beck   

Cause We've Ended as Lovers
Jeff Beck Song Review by Joe Viglione [-]
Five minutes and forty-three seconds of Stevie Wonder's "Cause We've Ended As Lovers" speaks volumes without its lyrics from the late Syreeta Wright, just a sweeping instrumental produced by George Martin at AIR Studios, London, towards the end of 1974. The coy voice on Stevie Wonder Presents Syreeta is replaced here by a guitar crying with heartbreak. Essential lines like "When a love has gone and past/why does the good exceed the bad" can't be heard as Jeff Beck with the assistance of Richard Bailey's very subtle drums and Max Middleton's smooth and compelling keyboards just lets the pretty melody tell the story. The tonal quality Beck and Martin employ is borderline acid rock over the consistent and cautious Phil Chen bassline. The tone stays the same as the mania subsides, the tune concluding with Jeff exploring thoughtful notes and spreading them out in a quiet goodbye. Recorded just a year after laying down the ferocious "Jizz Whizz" with Rolling Stones producer Jimmy Miller, these two instrumentals have the guitar virtuoso speaking to and through two of the finest creators of 70s recordings, Miller and Martin. That "Jizz Whizz" ends one of the CDs on Beckology with this title opening another allows for quick comparisons of vintage Beck as understood by the two veteran greats. Originally released on the Blow By Blow disc.


Led Boots, Jeff Beck Group
Song Review by Joe Viglione [-]
An interesting component of the Jeff Beck catalog is the composition by keyboardist Max Middleton, a quirky and redundant riff called "Led Boots". Is this yet another acknowledgment that ex-YardbirdBeck ( and Middleton who joined shortly after the Truth and Beck Ola releases) could have taken on Led Zeppelin had they stayed the harder course - say Rod Stewart singing "You Shook Me" on Truth? If one takes Middleton's riff out of the jazz/fusion world Beck's music found itself in after his many evolutions, there's no doubt "Led Boots" would lend itself well to a "Kashmir"-type hard rock approach, and maybe tons of airplay years later on classic rock radio had they slowed the riff down and taken that road. But it is what it is, and as it stands, the George Martin produced track from Wired has become a musician's fave, covered by Vivian Campbell on the Jeffology tribute (a play on the Beckology boxed set title), Prashant Aswani on Rewired: A Tribute To Jeff Beck, as well as versions by Bunny Brunel and Ritchie Kotzen. It is four minutes of funk/rock from the 1976 Wired album which AMG's Mark Kirschenmann accurately describes as an "explosive opener ... where Beck erupts into a stunning solo of volcanic intensity." A compliment that is hard to re-phrase. The 1976 material seems light years away from the 1971 Steve Cropper produced Jeff Beck Group album and 1972's Rough & Ready and one also wonders if it wasn't a response by Middleton to - not only the success of the equally musical but less eloquent Led Zeppelin - but to the 1971 Black Sabbath song "Iron Man" which almost hit the Top 40 and eventually won a Grammy. "Heavy boots of lead" sang Ozzie while Max Middleton turned it the phrase around for his title and carved out a rock/funk/fusion tune which is just as influential in its circles as Tony Iommi's guitar lines are to the metalheads. There's even a cover band that took this song's title as their name.

Bonus: Jeff Beck and Rod Stewart, "People Get Ready"

29)Rock My Plimsoul - Jeff Beck (Truth)

Jeff Beck Rock My Plimsoul
Song Review by Joe Viglione
The traditional blues classic often credited to B.B. King and Joe Josea is claimed by "J.Rod" here and entitled "Rock My Plimsoul", although Beck, Dreja, McCarty and Page laid claim to a rendition cut prior to this. It is still the tune that everyone from Tina Turner to Otis Redding, Gene Vincent and hundreds of others have recorded for the better half of the last century. While John Kay and Steppenwolf turned the concept into a new song and a 60s rock anthem, Stewart and The Jeff Beck Group give the standard Arthur "Big Boy" Crudup/Lightnin' Hopkins explanation a good workout. In Britain a "plimsol" is a "rubber-soled cloth shoe", a.k.a. a sneaker. As he changed the spelling of "plynth", Stewart adds the "u" to make it soulful, "Rock My Plimsoul". Beck's guitar playing is great alongside Aynsley Dunbar's drums and Ronnie Wood's bass. Recorded at De Lane Lea Music in London, June, 1967, and produced by Mickie Most, this close to four minute excercise in blues-rock was originally the flip side of the "Tally Man" single. It's Jeff Beck's guitar that is the most revealing element here, embellishing the standard with his obsessive/compulsive but controlled passion. The sound effects he gets out of the guitar around three quarters through are quirky, dynamic and quite original.

30)Noel Flynn
31)Woman on the Track

33) Chloe Collins performing her song 'All Over Again" 

from "5@15" recorded at Grind Central Station/Nashville, TN Music Produced & Programmed by Mikey Reaves Video filmed in and around Dublin, Ireland (C) 2015 Collins House Music. Facebook -- Twitter -- Instagram -- Soundcloud --

34) Tina Turner

Live at Rio '88 Review


by Joe Viglione


"We're coming to you live from Rio" the superstar says after "I Can't Stand the Rain...," "and you know what? Rio is Hot!" Tina Turner exclaims on Rio' 88 -- Live in Concert Rio de Janeiro, the full title of the Live at Rio '88 DVD. This January 16, 1988 performance from Brazil contains 13 tracks while her double-audio CD recorded and released that same year, Tina Turner Live in Europe, contains 28 titles, more than double the content. All the songs here are represented on the audio CD from half a world away and both documents do a good job of displaying Turner at the height of her power. On a purely musical level this is fantastic, but that's Tina Turner for you, one of the most consistent performers in music history. Whether it is her own hit, the terrific "Better Be Good to Me," done almost double time here, or an expressive reading of Robert Palmer's "Addicted to Love" as well as the sultry version of the Beatles' "Help" -- which is so original it almost sounds like a new song -- it's just more evidence that the vocalist brings her "A" game to the stage all the time. Compare the work here to 1971's audio LP from a New York concert, What You Hear Is What You Get, and you'll find that this gem from South America taped 17 years later has the same incredible energy the singer is known for. There is just no let up -- Turner is perpetually on fire -- and it's captured pretty well on this short but appealing DVD which contains typical '80s pans of the stage, long shots from the audience, and other visuals that hold up pretty well decades after being recorded. During "Better Be Good to Me," members of the phenomenal band get a few moments to vamp during the tune, and that backing crew sizzles. This was originally released on VHS in 1988 on Polygram, reissued on DVD in 2000 from Image, and is now part of the EV Classics catalog from Eagle Vision, a company that has multiple Turner titles available. The one criticism is that throughout these various incarnations, why is there no bonus material or liner notes? If a cult band like the MC5 with their Kick out the Jams film/DVD can include four solid pages of information, why not treat a bona fide icon with a little more respect by going the extra mile? Certainly with legends like John Miles on board as guitarist and Deric Dyer playing bass, some after-the-fact interviews would play nicely with this short but very uplifting footage from the rock goddess. Consider Live at Rio '88 a very good snapshot of an important artist designed to whet the appetite for more.

35)Joe V published on Barnes and Noble 

Now on the Wow, Barnes and Noble still has some of my reviews on their site from long ago:
Editorial Reviews

The main concert coming in at under twenty-four minutes with "bonus material" at fifteen and a half minutes brings the total on this thin package to forty minutes of hardcore music, a fourth of it being an interview with band leader Mad Joe Black. It is especially distressing when the claim is that this DVD contains seventy-five minutes.
All Movie Guide - Joe Viglione

36)Loud Quiet Loud: Film about the Pixies

LoudQUIETloud: A Film About the Pixies 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 UndergroundAlexander 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: DavidKimJoey, and Frank (or is it Black?) are not JohnPaulGeorge, 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, "LennonMcCartneyHarrison, 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.

You can't put bald ego on tape and expect to find the magic. The magic with the Pixies has always been the music -- not their looks, not their persona -- but simply the sound they blasted from the stage of the Rat in Boston way back when. Gee, if only if only that fantastic set was what was inside this DVD case. Kelley Deal wielding a camera and asking a woman why she's there is supposed to be ironic. "My daughter Kim's in the Pixies; I'm here to see her." The home movie is great stuff, Kelley, of course, and being the woman's daughter is as well. But wouldn't it have been more fun to see mom running the camera and a great Breeders song appear from out of nowhere? Now, had these drawn-out moments been edited down and dropped into one of the many Pixies music videos out there -- for example, the December 15, 1986, appearance at WJUL (now WUML) in Lowell, MA, or the Los Angeles footage from October 30, 2004 -- this project would have taken on lots more meaning and historical importance. There is a cool 16-page black-and-white booklet with commentary from directors Steven Cantor and Matthew Galkin, but what they fail to note is that many of the bands that the Pixies influenced, with the exception of Nirvana and perhaps a handful of others, never reached the level of Roxy Musicthe CarsR.E.M., or other latter-day pioneers that the Velvet Underground spawned. The Cars inspired many more bands than the Pixies, for example, and a quirky documentary on those personalities would be more entertaining. Without the Cars there would be no "Every Breath You Take" from the Police, arguably their greatest hit. Without the Pixies there's a very good chance Kurt Cobain would have still made his mark. The filmmakers do nothing here to dispute that, which renders Loudquietloud: A Film About the Pixies a great concept that misses. The group -- and these filmmakers -- need to borrow the Barre Phillips Live in Vienna DVD (on the same label, Music Video Distributors) to see pure genius, and a simple interview with more value than egos continuing to get in the way of the creation of intriguing sounds. One would think after all these years they'd get it.

37)Free Forever

Forever Review


by Joe Viglione


Forever is an absolutely stunning double DVD on the British blues-pop band that reinvented the Rolling Stones' number one hit from 1969, "Honky Tonk Women," for their Top Five ticket to fame, "All Right Now," coming a year after the Stones classic. That half of this group, singer Paul Rodgers and drummer Simon Kirke, would form Bad Company and crank out hit after hit, chart action beginning in 1974, makes this compelling collection all the more valuable. There's so much great material on the two discs that one can spend hours exploring the restored archival footage, the new interviews, and perhaps the frosting on the cake -- multiple camera images from the Isle of Wight festival performance. You can literally remix your own version of "All Right Now" with all the footage made available from the cameras that captured the legendary festival. Five original videos from the band's early days along with material from The Beat Club in Germany and Granada TV from 1970 will keep the viewer happily busy. There are four different versions of "All Right Now" alone and commentary from RodgersKirkeAndy Fraser, New York Daily News critic Jim Farber, and Simon Kossoff, brother of the late Paul Kossoff. The interviews were recorded in May and June of 2006 and fit nicely with the seven pages David Clayton writes about the group on the nine-page flip side of the deluxe poster that comes with this double disc. For historians, the package is the quintessential prototype of a musical presentation that is so deep and complex it would be pretty difficult to download from the Web, the collection of sound and pictures lovingly put together to satisfy the devoted. The ten-song Isle of Wight concert is predominantly audio with photos, press clippings, 45 covers, and other such memorabilia added as visuals to the soundtrack. Three songs -- "Mr. Big," "Be My Friend," and "All Right Now" -- contain video footage from the festival and also feature split-screen views, multiple angles, and an original black-and-white edit as well. Truly overwhelming, this compilation is a must-have for fans of Paul RodgersBad Company, and Free, and captures their early history most effectively.

38) LANDER feat. Matt Hylom - Stone

Check out the Armada Music Top 100: Listen or download: Subscribe to Armada TV: With a beautifully strummed guitar and Matt Hylom’s soaring vocals, you just can’t go wrong. But when LANDER’s beat kicks in and adds to the magic, there’s no denying you’ve hit the jackpot. Songs will remain in our hearts forever, as if they’re carved in ‘Stone’. Connect with Armada Music ▶

39)Jethro Tull Ian Anderson

Ian Anderson talks about theater, the internet and Jethro Tull

(c)2019 Joe Viglione

 impressed my article survived the Gatehouse/Gannett alleged merger.

Ian Anderson talks about theater, the internet and Jethro Tull
Joe Viglione   

Jethro Tull with leader/vocalist Ian Anderson hit with "Hymn 43" on radio in the Boston area though, strangely, it topped out at #91 on the Billboard charts. But along with that airplay and concerts back in the day, those shows courtesy of promoter Don Law, the group had fantastic word-of-mouth (as did Led Zeppelin) in the high schools of the time.

An Anderson interview that ran on Newton's WNTN - AM in the 1970s (yes, the station that had Howard Stern as a young disc jockey) was totally inspiring. It was this writer's mission to share some words with the founder of the eclectic blues/folk/progressive/pop ensemble. I've been fortunate enough to have two discussions with Mr. Anderson, the second on July 12, 2019 in advance of the Sep. 11, 2019 date scheduled for the Chevalier theater in Medford.

The interview:

We're speaking with Ian Anderson of Jethro Tull about his work and the upcoming show at the recently reactivated Chevalier Theater in Medford, Massachusetts where the band is performing on September 11, 2019.

Hello Ian.

Ian: Hello there to you.

JV: As of September 2019, Jethro Tull will be added to the list of great names playing The Chevalier - Louis Armstrong, Frank Sinatra, Lou Rawls, even a speech by John F. Kennedy... Welcome to Medford.

Ian: Very exciting, and I suppose I could throw in a few more venues where it's fairly obvious we've shared a stage with the good and the great of history. Like playing in Ephesus (Istanbul, Turkey), a 2,000-year-old Roman amphitheater where famously St. Paul the Apostle addressed the crowds to try and persuade them of the virtues of Christianity, and...having performed there, sharing the stage there with St. Paul, I have to say, we actually got a better reception than he did, he kinda got booed offstage so we did better than that in 1991 when we played there.

Lots of places I've played, they're very special...whether it's a little theater somewhere or some grand ancient monument I do try to...upon the history and the feeling of the other people who walked out on the stage there to do whatever it is they do and take their life in their hands to go out there and try and entertain and win approval of an audience.

So you have to take that example. Never assume that it is going to be easy. Never assume that everybody in the crowd is actually a dyed in the wool fan. I think you always got to have that feeling that you've got to go out there and win them over just like the first time you ever...the first time I ever stepped foot in the USA when I came in the, the early part of 1969, because you have no idea what to expect. We could only go out there and do our best, keep our fingers crossed and hope that we didn't make fools of ourselves.

JV: 69' was that around the Boston Tea Party time?

Ian: Indeed. The Boston Tea Party was one of the very first shows we played. We opened up in New York and then went up to Boston where our equipment failed to make it. It was a scary show because we had to borrow equipment locally and it wasn't necessarily what we were used to. But, yeah, you kind of got used to the difficulty along the way when you're a lowly opening act. And the Boston Tea Party, run by one of the USA's great promoters, Don Law, that's a very memorable part of Jethro Tull's early success. So between Bill Graham's shows at the Fillmore East and Don Law in Boston, these were the early shows that got Jethro Tull talked about, and then we suddenly found out that promoters in the mid-west and on the west coast were talking about Jethro Tull too. So that early success through Bill Graham and Don Law was very important in getting the early word about Jethro Tull out there on the big stage of America.

JV: I worked for Don for about 18 years so he has my respect, and saw many a Jethro Tull show that he put on. The beauty of the Chevalier is that it was dormant for so many years, so it is great to see you in this venue because it is historic, beautiful but there was nothing happening there - after all those great acts so this is very special, Jethro Tull coming to this little area.

Ian: It's very important that theaters like that, when they get a new lease of life, that they can build up a loyalty from an audience that - perhaps - has not had the opportunity to enjoy them. So, we can only hope that our concert and other concerts at the Chevalier Theater will bring in an audience who will be loyal to the theater. Because that's the great advantage of having a great venue - is that people will choose to come there to see a whole bunch of other acts. It's not just about you, it's about the theater - it's about what that represents and becomes in terms of being a cultural and socially important part of any given neighborhood.

Just as the Fillmore East had its day and its huge loyalty; just like the Isle of Wight Festival even to this day still has loyalty and fans who will go there regardless of whose on, it's very important to keep that spirit alive and regeneration of old theaters from the great period of theater building in the 20s and 30s, that's a very important thing to support, for the acts who played there and for the audiences who buy the ticket. 

JV: There's a trend in Massachusetts that more cities and towns are booking concerts away from Boston. These little movie theaters have been reactivated like the Chevalier. Are you seeing this around the country and around the world?

Ian: Oh we've seen it in quite often in different parts of the USA. There are theaters of that era which have struggled to keep their doors open - some of them, regretfully, have ended up closing, some of them have had support from the community, from those who would help to fund it and open their doors to performing arts centers, and managed to make ends meet, which is great to see.

But it's kinda happened in the U.K. as well - we have some great, classic venues that most of which I have to say have not closed their doors. They were the ones I played in 1969 when we started playing the English theater venue circuit and pretty much all of them are still around today - all those great classic venues, they're still there. In some cases they've been revamped and improved, in some cases they are in need of a little coat of paint and and a little plumbing attention in the toilet backstage but, they're all still there, very few of them have closed their doors.

JV: We have one, just the next town over, the Regent (in Arlington, Massachusetts) which in the mid-60s would only play movies. But when I was in school, they had Little Anthony and the Imperials (circa 1964) - just out of the blue - and then in the 2000s they went to Bollywood, and now they're doing concerts again. It's great to go in and see in a smaller venue, Big Brother and The Holding Company.

Ian: Sure.

JV: It's really nice that you can go and talk to David Getz (of Big Brother) in person. It's a great feeling.

Ian: Yeah, and one of the good things about playing - why I have always enjoyed playing theaters - I'm much happier playing to 1500 people in a theatrical context because it's a little bit more, for me, suitable to the kind of music we do. I have a proscenium stage, there are wings to retreat into, you can make a theatrical presence and - above all - you can't reach out and touch everyone in the audience but it's certainly more of an intimate and direct experience than playing in Madison Square Gardens, or indeed, in the old Boston Gardens which was the kind of venue where you really didn't feel connected to the audience at all.

JV: The Rolling Stones just played (July 7, 2019) at Gillette Stadium this past Sunday (July 7, 2019); I was at home reviewing their Bridges to Bremen was a lot more fun for me not to be with 60,000 people.

Ian: Well, of course there are people who love that experience and being with a whole lot of other people and...enjoying things in a mass experience but I think a lot of us folks who actually really do like the feeling of being something a little more special.

Back in the early 70s when Jethro Tull was playing arenas and then in Shea Stadium, for example, in New York, then it wasn't exclusive. I was still playing theaters whenever I could. And telling our manager, please, I want to play in 2000 seat theaters, I don't want to play in the sports arenas or in football stadiums. I've always enjoyed playing theaters, and outside of the USA, most of the time that's what we've done. But, of course there are some times we find ourselves standing outdoors in the summer as I will be several times in Europe this year -- staring at a large crowd at some festival somewhere. Which, it's OK once in awhile; it's OK, but not every week let alone every night, that would drive me nuts. I like my theaters.

Joe V: The Jethro Tull website is amazing. I'm always looking for a clean and easy to read website. It reads like a virtual newspaper, was that the intent?

Ian: Well, it was set up really to be an informational website not only for the fans but also for the media. So it's always been constructed and revamped along those lines. It's not's certainly not a piece of social media where I invite comment or communication with fans because...I'm a bit of a loner, I don't really enjoy communicating one to one with people, I do that through my music.

I have no interest in entering into spirited or, indeed, unpleasant communication with those who use social media to vent their villainous spleens and use, to raise usually a very unpleasant language.

You know I'm afraid your President sets a very poor example in using social media to attack people in very unpleasant terms and I think, unfortunately, that does encourage others to do the same...and so I think whether you are just a member of the public or you are POTUS himself or, perhaps, herself, then I think you should behave in a statesmanly manner regardless of whether you are a true statesman or a member of the public communicating with somebody else.

I think it's important to have some manners and some decorum, and that's the way I try to be, and I never let our website become a voice box for my more controversial feelings and opinions which I tend most of the time to keep to myself.

JV: Well, I agree with you, but what I like about the site is that it's a resource - it has information that I can use as someone who appreciates Tull.

Ian: Yeah, and that's really the part that I think is important for media; I always said that there's so much on there that you can draw upon - and you're welcome to copy and past it because most of it is stuff I've written.

So, 95 percent of what is on our website comes from me tapping at the keyboard of a computer. That, in itself one big set of information and recollections and stuff that I have written. I'm very happy if people copy and paste and utilize that material and download photographs and images which will help them with their journalistic aspirations.

When I set out, when I was a teenager and thought seriously about being a journalist, we didn't have that sort of stuff we could draw upon; we had to find things out the hard way back then. So journalism, back then, was a much harder trade than it is in today's world of copy and paste.

JV: That's so good to hear because I'm nervous about using anyone's photos in my stories, but we can use them from the Jethro Tull website?

Ian: Absolutely, you can download a whole bunch of stuff there with my great approval and with my compliments, and indeed you can copy and paste anything you find there. It's there for you and other professionals in the media as well as the rank and file public. I sign endless photographs that I know, I recognize all too well, because they've downloaded them from our website.

I'm more than happy when people do that because that's what they are there for.

Indeed, many of them are there because they have areas of lighter tone for me to be able to sign those photographs or prints with a black Sharpie. I've made many a mistake in my early years coming up with album covers that had nowhere where you could actually sign be

Joe V: Are we talking about Stand Up?

Ian: Well that's a tricky one, yes, Stand Up's particularly difficult, and there have been a few others where it would be difficult to write on and find a clear space. Like the Thick as a Brick album, for example. Aqualung has got some clear space to sign on, but there have been a few that weren't terribly good from that perspective - and quite often when you're doing merchandising, it's very tempting to just stay in the world of black T Shirts, because as I keep telling the guy who does our merch designs... leave me a little space to sign my name. I have endless boxes of black T Shirts, Jethro Tull t-shirts in our warehouse that are impossible to sign.

JV: The entire Stand Up album is on YouTube for free. There's advertising on it. I'm wondering if the advertising revenue compensates for the lack of monies the internet offers, compared to radio and TV?

Ian: Well the problem with all of that is, you can chase YouTube and have things taken down, but as fast as you do it they get put up by somebody else using a different address. It is - it's the world we live in. It doesn't bother me as much as it must bother young artists who are struggling to make a living and who don't realize that the income they can derive from recorded work, audio and video is going to be virtually nothing compared to the glory days of record sales back in the 70s and 80s - that's just not possible anymore for artists.

It's only the absolute...the crème de la crème in commercial terms - people like Ed Sheeran - who will make a lot of money out of streaming and downloads, and perhaps some associated advertising from the people, those who put things up on YouTube and elsewhere. But trying to monetize stuff, the cost of doing it, the cost of administering all of that is, in manpower and fee terms, greater than your income, in most cases. So I don't think...really it pays to's only if something is thoroughly objectionable...or something really deeply unpleasant that I would probably go to the trouble to have things taken down.

A week later, they pop up again. Just like people who go on and alter your Wikipedia entry in scurrilous fashion, tossing in something that is either completely wrong or just meant to be a little joke. It's necessary for me once a year to go through my Wikipedia entries and make sure that they haven't been doctored for somebody's amusement. These things happen, unfortunately.


Joe Viglione  
P.O. Box 2392
Woburn MA 01888 

40)Trust Me
Larrington Walker  (Bobby Womack)



M3GAN – In Theaters January 6

Official Website | Facebook | Twitter | Instagram | YouTube | #M3GAN


She’s more than just a toy. She’s part of the family. 

From the most prolific minds in horror—James Wan, the filmmaker behind the Saw, Insidious and The Conjuring franchises, and Blumhouse, the producer of the Halloween films, The Black Phone and The Invisible Man—comes a fresh new face in terror. 

M3GAN is a marvel of artificial intelligence, a life-like doll programmed to be a child’s greatest companion and a parent’s greatest ally. Designed by brilliant toy-company roboticist Gemma (Get Out’s Allison Williams), M3GAN can listen and watch and learn as she becomes friend and teacher, playmate and protector, for the child she is bonded to. 


When Gemma suddenly becomes the caretaker of her orphaned 8-year-old niece, Cady (Violet McGraw, The Haunting of Hill House), Gemma’s unsure and unprepared to be a parent. Under intense pressure at work, Gemma decides to pair her M3GAN prototype with Cady in an attempt to resolve both problems—a decision that will have unimaginable consequences. 


Produced by Jason Blum and James Wan, M3GAN is directed by award-winning filmmaker Gerard Johnstone (Housebound), from a screenplay by Akela Cooper (Malignant, The Nun 2) based on a story by Akela Cooper and James Wan. 


The film also stars Ronny Chieng (Shang-Chi and the Legend of the Ten Rings), Brian Jordan Alvarez (Will & Grace), Jen Van Epps (Cowboy Bebop), Lori Dungey (The Lord of the Rings: The Fellowship of the Ring, extended edition) and Stephane Garneau-Monten (Straight Forward).


Universal Pictures and Blumhouse present an Atomic Monster production in association with Divide/Conquer. The film’s executive producers are Allison Williams, Mark Katchur, Ryan Turek, Michael Clear, Judson Scott, Adam Hendricks and Greg Gilreath. 


Genre: Horror

Cast: Allison Williams, Violet McGraw, Ronny Chieng, Brian Jordan Alvarez, Jen Van Epps, Lori Dungey, Stephane Garneau-Monten

Directed by: Gerard Johnstone

Screenplay by: Akela Cooper

Story by:  Akela Cooper & James Wan 

Producers: Jason Blum, James Wan

Executive Producers: Allison Williams, Mark Katchur, Ryan Turek, Michael Clear, Judson Scott, Adam Hendricks, Greg Gilreath

January 2023 Top 40 Sean Walshe produced by Rob Fraboni, Jeff Beck with Producer Jimmy Miller, Janis Ian, Jackie DeShannon, Ian Hunter, Jethro Tull Interview, Huck 2 (Music) #17 Danny Gallagher Band and more

 Including Joe Viglione's review on Tower,, Barnes and,,, Somerville/Medford Ne...