1 NOW AND THEN
THE BEATLES
12 min Documentary Film
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Book Overview
Longlisted for the 2020 Andrew Carnegie Medals for Excellence This blazingly intimate biography of Janis Joplin establishes the Queen of Rock & Roll as the rule-breaking musical trailblazer and complicated, gender-bending rebel she was. Janis Joplin's first transgressive act was to be a white girl who gained an early sense of the power of the blues, music you could only find on obscure records and in roadhouses along the Texas and Louisiana Gulf Coast. But even before that, she stood out in her conservative oil town. She was a tomboy who was also intellectually curious and artistic. By the time she reached high school, she had drawn the scorn of her peers for her embrace of the Beats and her racially progressive views. Her parents doted on her in many ways, but were ultimately put off by her repeated acts of defiance. Janis Joplin has passed into legend as a brash, impassioned soul doomed by the pain that produced one of the most extraordinary voices in rock history. But in these pages, Holly George-Warren provides a revelatory and deeply satisfying portrait of a woman who wasn't all about suffering. Janis was a perfectionist: a passionate, erudite musician who was born with talent but also worked exceptionally hard to develop it. She was a woman who pushed the boundaries of gender and sexuality long before it was socially acceptable. She was a sensitive seeker who wanted to marry and settle down--but couldn't, or wouldn't. She was a Texan who yearned to flee Texas but could never quite get away--even after becoming a countercultural icon in San Francisco. Written by one of the most highly regarded chroniclers of American music history, and based on unprecedented access to Janis Joplin's family, friends, band mates, archives, and long-lost interviews, Janis is a complex, rewarding portrait of a remarkable artist finally getting her due
https://www.discogs.com/release/7485771-Jimmy-Webb-PF-Sloan/image/SW1hZ2U6MTk5OTI1NTA=
4)P.F. Sloan Review by Joe Viglione https://www.allmusic.com/song/pf-sloan-mt0005639139
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 song...it belongs to P.F. Sloan...from now on." Enter harmonica.
5)"Don't Leave Me" Roxanne Fontana
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6)"Message Personnel" Francois Hardy
This 1973 track proves Francois Hardy should have been a huge star in America, why she wasn't is the mystery. This is not a novelty like the Singing Nun's "Dominique," serious music with soul. Have always loved Francois.
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7)"Nobody Knows You When You're Down and Out"
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https://youtu.be/lv9KW6TpcPg
Janis Joplin & Jorma Kaukonen - Nobody Knows You When You're Down And Out
8)"Follow You Back Home" Count Viglione
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Hey, I've never put myself on my Top 40, someone posted this on YouTube, it's about the third or fourth time someone put this song up on that site, I guess people like it. https://www.youtube.com/watch?v=s2aq7flc56E The Rolling Stones producer Jimmy Miller thought this sounded like my The Midnight Sun (which he produced and sang on,) but I don't agree. "See, you say Midnight Sun in this song" Jimmy said to me. Similar, maybe, but I like them both for different reasons.
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new single "Follow You Back Home (Special Version Vari-Speed Mix from Fargo)" on Spotify: https://distrokid.com/hyperfollow/countviglione/follow-you-back-home-special-version-vari-speed-mix-from-fargo @distrokid #joeviglionemedia @BTDRadio @btdrawtheline #musicsupervisors @maddow @Aerosmith @AriMelber @joeviglione @recordmachine @PlasticEp @KitotoLove
9) " I feel Love Coming On" Felice Taylor
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10)Janis Joplin
%20Janis%20Joplin%20-%20Codine%20(This%20is%20Janis%20Joplin)%20-%20YouTube.png)
https://www.youtube.com/watch?v=2XTTwY8r20I
11)"Drunk Among the Trees" Chalk Garden
https://youtu.be/MJo_NShOkuo?list=RDPFRApne8KA8
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12)Extended Mix UP THE LADDER TO THE ROOF ....THE SUPREMES PRODUCED BY FRANK WILSON
15)Just East of Nowhere Scot Lehigh
https://www.islandportpress.com/product-page/just-east-of-nowhere
Mixcloud
Soundcloud
16) "Waxing Gibbous Blue Moon"
A song that opens with a howling wolf will always get me to listen, and a word like "gibbous" (
1.(of the moon) having the observable illuminated part greater than a semicircle and less than a circle.) signs to an experimental group. The Tone Travelers arenot your conventional band. Good, shake things up. It
will keep your interest.
17) "Twilight Zone"
Even more experimental pop is found in Twilight Zone, not the tune by Golden Earring by any stretch. Funny that the group would send this to me, 11/4/23, as my review of the Just East of Nowhere book is noting how much out of the Twilight Zone (the TV show) that book is. The music here is crazy, in a good way, and cascades with voices and different instrumentation. Even deeper down the rabbit hole than "Waxing Gibbous Blue Moon" - Frank Zappa meets the band Varulven.
18) "Pereplut" Varulven - the band
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Pereplut is the group Black Sabbath gone Celtic. Amazing.
PEREPLUT - Varulven (Official Video)
Writing and directing: Glumotworec Eugen Spiritual King Arthur Cameraman Wladislaw Sorokin Sound mixed by Mikhail Barabanov at Infernal Records Editing and visual effects: Roman Nestedge Kirindas Special thanks for the provided props: Kirill Lutsan and club Chimera Ivan Dolbotrias Timophey Ponomariow Pereplut- 2022 https://pereplut.bandcamp ...
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21)Deafear - Grey World
https://youtu.be/3Tj3XlIIbtM?list=RDPFRApne8KA8
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22)Beautiful (demo) Carole King
https://www.youtube.com/watch?v=n5t9BkrqfBQ
This Bobby Womack song was found, worked up and recorded within a couple of hours. Joplin's guitarist John Till recalled in Mojo magazine May 2010: "Bobby was out in the lobby, standing by the Coke machine, strumming the song on his left-handed Guild Acoustic Archtop. Paul (Rothchild, producer) popped out to get a coffee, and a few minutes later he said, 'Come out here, I want you to hear something.' Next thing we knew we were back in the studio recording the song with the great Bobby Womack on guitar." https://www.songfacts.com/facts/janis-joplin/trust-me
Trust Me 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.
https://www.allmusic.com/song/trust-me-mt0026420285
Trust Me page on Facebook
https://www.facebook.com/watch/?v=1309024869493981
Legend Bobby Womack Dies at 70
Bobby Womack, a colorful and highly influential R&B singer-songwriter who influenced artists from the Rolling Stones to Damon Albarn, has died. He was 70.
Womack’s publicist Sonya Kolowrat said Friday that the singer had died, but she could provide no other details. With an incomparable voice few could match, Womack was a stirring singer and guitarist in his own right and a powerful songwriter whose hits like “Across 110th Street,” “If You Think You’re Lonely Now” and “I Wish He Didn’t Trust Me So Much” captured the imagination of future stars in rock ‘n’ roll and R&B. “He had a style that nobody else could ever capture,” longtime friend, gospel singer Candi Staton, said in a statement. “I loved him and I will miss him so, so very much.”In a statement, musician Peter Gabriel said: “I’m very sad to learn of Bobby Womack’s death … His songs and his voice have been so much a part of the fabric of so many musical lives. In recent years, it was great to see Richard Russell and Damon Albarn bringing his music back into our attention. He was a soul legend. Our thoughts and condolences are with his family and friends at this time.”Womack’s death comes as something of a surprise. Though he was diagnosed with Alzheimer’s disease two years ago and overcame addiction and multiple health issues, including prostate and colon cancer, recently, he seemed in good health and spirits when he performed earlier this month at the Bonnaroo Music & Arts Festival. He told the BBC in 2013 the Alzheimer’s diagnosis came after he began having difficulty remembering his songs and the names of people he had worked with. And there have been many.
One of the Glory Boys Review by Joe Viglione
Peter Noone's One of the Glory Boys has become a highly collectable vinyl recording fetching honorable numbers on e-Bay. If ever there was a great lost album by an artist that has sold in the tens of millions, this is the one. It is brilliant, and what's amazing is that none of this material shows up in Noone's live show. The album boasts great song selection, a cavalcade of stars, and sterling production from Spencer Proffer a year before he took Quiet Riot to the Top Ten with the Metal Health phenomenon. "(I Don't Want to Love You But)You Got Me Anyway" is one of the greatest radio songs of all time that never got to ride to the top of the charts. Sutherland Brothers & Quiver had a minor hit with it from their Lifeboat album, but Peter Noone gives it an entirely different flavor, a wonderful arrangement with Matt Andes from Jo Jo Gunne on guitar along with Lou Reed/Alice Cooper guitarist Steve Hunter and Randy Bishop on keyboards. It is too bad this track wasn't featured in the film Diamonds, which has this artist on the soundtrack; it could have done wonderful things both for the movie and this essential recording. What the singer from Herman's Hermits has done is followed up his poppy new wave band, the Tremblers, with a solo disc utilizing an artist whose own band made waves in the underground and showed promise. Roxy's Randy Bishop (not to be confused with Stephen Bishop of "On & On" fame) makes the best of this opportunity writing or contributing to five of the nine tracks on this disc. "I'm Gonna Rock Tonight" could have easily worked on the Tremblers' Twice Nightly project, but Bishop brings a bit of that singer/songwriter thing to the table which is a different feel than a band collaboration, the haunting "Grace" case in point, and something that Peter Noone's audience would find very appealing. This album could probably go gold if it got the push at the gigs of the artist formerly known as Herman; the rendition of Brian Holland's "Give Me Just a Little More Time" would easily find acceptance from the fans of Herman's Hermits and would provide a diversion to the familiar HH repertoire. The title track is like a lightened-up "Manifesto" from Roxy Music (no relation to the band formerly known as Roxy) and would be a solid opening number for Peter Noone's backing group to play before he takes the stage, Randy Bishop co-writing "One of the Glory Boys" along with Noone and Spencer Proffer. Enough can't be said about the solid musicianship as well as the arrangement of "Give Me Just a Little More Time"; this Chairmen of the Board Top Three tune from 1970 is a monster and could hit again at anytime. It doesn't sound like Herman's Hermits, Noone throwing in some scat à la Billy Stewart's "Summertime" from 1966 and truly breaking away from his original image and sound, but not so dramatic as to confuse his fans. Alan Parsons' reggae-tinged "Nothing Left to Lose" is strong, but even stronger is "Gone With the Wind," which has Beach Boy Bruce Johnston on backing vocals. Producer Jimmy Miller always said to bring the record executive in and have him perform on the disc to get that added push, but there is no need for that here. Johnston clearly knew the value of this project, at least historically, and it is on his CBS-distributed label. If ever there was a prime candidate for re-release and hit potential it is Peter Noone's One of the Glory Boys. This one is a sleeping giant patiently waiting to have its day in the sun.
Dream Kid Review by Joe Viglione
An artists conception of The Dream Kid looking out into a blue universe, standing in a clear cube with clouds and seagulls in his line of sight, is a colorful and good visual equivalent to the music inside this team-up of two musical forces. Songwriters Ian Sutherland and his brother Gavin Sutherland recruit three members of the Warner Bros. group Quiver -- drummer Willie Wilson, guitarist Tim Renwick, and bassist Bruce Thomas -- and come up with a smooth and very satisfying product. Gone is Quiver songwriter vocalist Cal Batchelor, and it is a unique transition concept. Where Chris Thomas produced 1972's Gone in the Morning album for Quiver, Muff Winwood is enlisted to guide the rhythm section and guitarist behind the singing and playing Sutherland Brothers. Interestingly enough, they've retained Quiver engineer Bill Price and cover artist Barney Bubbles from the Warner Bros. days and issue the newer sounds on Island. The album's history lesson aside, the music is an excellent early- to mid-'70s hybrid of folk-rock and pop, with more emphasis on the clever pop side of things. This is Eric Carmen's Raspberries gone underground with less of the jangle guitar -- sounds more borrowed from early Beatles' hits by way of latter day Traffic, and that comfortable silky vocal sound, especially on the five-minute-55-second suite which ends the album, track ten, comprised of three titles, "Rollin' Away," "Rocky Road," and "Saved By the Angel." These Ian Sutherland titles all melt into one another and are easy on the ears, good listening music, though there is nothing on this album as extraordinary as their minor hit "You Got Me Anyway" or the song Rod Stewart picked up from them, "Sailing." Like labelmates Traffic, this is an adult rock endeavor, meant for those who want to hear the lyrics as they take in the solid melodies. "Seagull" is a song that embodies what the band is all about, ebbing and flowing with hooks and pauses, not your typical rock outfit, which might explain why they slipped through the cracks without making a bigger noise. Peter Noone, like Stewart, was smart enough to cover their music, and it is a pity that "Flying Down to Rio" and "You and Me" didn't get more time on FM radio. "I Hear Thunder" and "Lonely Love" are standouts, precursors to AAA radio like Barclay James Harvest and Matthew's Southern Comfort. The strong lyrics are included on the album sleeve, and enough good things can't be said about this album: bouncy guitars and spirited rock which producer Muff Winwood squeezes into the grooves. You've got to spin it three or four times before it catches you; it's one of those special discs that doesn't grab the listener first time around, but when it does, it gets you good.
"Little Bit of Everything" opens up this new Foghat album - Sonic Mojo - and it is good old rock and roll, as is "I Don't Appreciate You." "Song for The Life of Me" is the killer track here, a beautiful seemingly biographical epic. Very nice. For the Foghat fans that go way back it is less blues and more fun rockin. Highly enjoyable. Joe Viglione
PREES RELEASE
FOGHAT
SET TO RELEASE LONG-AWAITED NEW ALBUM NOVEMBER 10
‘SONIC MOJO’
AVAILABLE ON CD AND 180 GRAM NEON PURPLE VINYL;
DEBUT SINGLE AND VIDEO,
“DRIVIN’ ON,”
OUT NOW
Sonic: a frequency with the audibility range
of the human ear of waves and vibration
Mojo: a charm or amulet thought to have magic powers
Sonic Mojo is exactly what FOGHAT will be
bringing to their loyal legion of fans on November 10 in the form of their
highly anticipated and long-awaited 17th studio album—their first in seven
years--on the band’s label, Foghat Records, which is distributed by
Select-O-Hits (part of the Sun Records family). It will be available as a single CD with 12-tracks and a
six-page gatefold cover, as well as an 11-track, limited edition 180gram,
purple neon vinyl. Digital pre-orders are now available here (including CDs available on Amazon), while
CD and vinyl (including autographed copies) and merchandise bundles are
available to pre-order here.
The album’s first
single, “Drivin’ On,” was released today (co-written by the late Kim Simmonds
from Savoy Brown), and a video for the song can be seen on the band’s official
YouTube page.
Check out what the band has to say about “Drivin’ On” here.
Two more songs will be released in the coming
months: “She’s a Little Bit of Everything” (also co-written by the late Kim
Simmonds) September 23, and “I Don’t Appreciate You” on October 20, which was
written by the four FOGHAT members.
From the opening notes of their 1972 self-titled
classic, to their bombastic multi-Platinum gem, FOGHAT LIVE, to 2016’s
slide guitar soaked UNDER THE INFLUENCE and right on through to their
upcoming album, Sonic Mojo, FOGHAT has always been about the
music. Music played loud. Music played live and music played that makes you
want to move.
On Sonic Mojo founding member,
drummer and leader of the pack Roger Earl is joined by stalwart guitarist,
engineer, and co-producer Bryan Bassett (Wild Cherry, Molly Hatchet), fun-loving
fan favorite bassist Rodney O’Quinn (Pat Travers Band), and on lead vocals and
guitar, Scott Holt (Buddy Guy) who has been the singer/guitarist of the band’s
recent side project Earl & the Agitators since 2015. In typical FOGHAT
fashion, there are a few surprises included on the album as well.
Three songs on Sonic Mojo have
special meaning for Roger Earl, as they were co-written
by Kim Simmonds, the man who gave Roger his first break back in 1967 as a
member of Savoy Brown. Sadly, shortly after writing these songs, Kim passed
away.
The first of the three Kim Simmonds co-writes,
“Drivin’ On,” is the debut single from Sonic Mojo. Vocalist/guitarist
Scott Holt smiles as he proudly sums up what this bluesy rocker means to the
band, “A song like ‘Drivin’ On’ celebrates the swamp funk blues of Slim Harpo
and the cosmic boogie of John Lee Hooker.” Part blues, part ZZ Top and part
FOGHAT this tune is destined to become a live, fan favorite.
“She’s a Little Bit of Everything” (also co-written
by the late Kim Simmonds), just like FOGHAT’s classic “Slow Ride” that starts
off with nothing but a drumbeat, followed by fuzzy guitar and, just like that
famous song, this one also celebrates woman, albeit in a totally classier way!
The third Simmonds co-write is the most emotional of bunch. “Time Slips Away”
penned when Kim was terminally ill, delivers a strong message that is both
beautiful and emotional.
Kim isn’t the only surprise on Sonic Mojo,
however. Roger has a famous brother named Colin Earl, most known for the song
“In the Summertime” by Mungo Jerry. Together, the two brothers and the rest of
the band created the most unique tune on the album titled “Wish I’d a Been
There.” The song is an ode to country music legend Hank Williams.
Foghat does country?
Well…sort of, but not really. This fun song shows
that this band, even after 50+ years of making music, isn’t afraid of trying
something new. And…like everything else they’ve tried, they do it well.
Sonic Mojo also sees FOGHAT tip their
hat to great artists that came before them, as well as giving plenty of winks
and nods from the current lineup. While there are songs on the album written by
Willie Dixon, (“Let Me Love You Baby”), B.B. King (“She’s Dynamite”), and Chuck
Berry (“Promised Land”), FOGHAT shows they can still boogie with the best of
them.
Elder statesmen, and band leader, Roger Earl has
played with enough of the greats to know when he’s in good company. “I love
playing and working with this band. During my almost 60-year music career, I
have had the honor of playing with some really great musicians. Lonesome Dave,
Rod Price, Craig MacGregor, Erik Cartwright, Nick Jameson, Tony Stevens and
Jeff Howell to name some that have graced this band. Many have sadly passed,
some have retired or moved on, but I have to say that the current lineup has been
one of the most inspirational for me, personally. Writing with Scott and Bryan
has come easy. Words and ideas just seem to fall out at any time and another
song is in the works. And Rodney’s input and bass playing has been invaluable.
We are a band in every sense of the word.”
Adds Scott Holt, “I feel like Sonic Mojo is a
perfect addition to the FOGHAT cannon. For over 50 years, this band has been a
celebration of the varied art forms and genres that were created in this
country. The pillars of Blues, Country, Soul, R&B and Jazz are woven into
the fabric of this band at the molecular level. Sonic Mojo is a Rock & Roll audio mojo hand. We convened
our spirits and went down to the crossroads at midnight and put some
Mississippi dirt, black cat bones, and moonlight into the bag, Kim Simmonds
donated some soul, the spirit of Dave, Rod and Craig were the essence that
created the supreme funk that is the finished product. A soulful expression, an
offering at the altar of Rock & Roll.”
“Making a record is an emotionally and physically
draining experience,” Holt continues. “As an artist you disengage every other
part of your being and focus on the art…the task at hand. You don’t record like
it’s going to live forever, but you know it’s going to live forever. You forget
to eat, to drink, you don’t sleep or rest until you’ve got your part correct,
and then you rethink it until it’s pronounced “finished.” (You’ll always hear
the part that you doubted, even after someone tells you that’s their favorite
part.) This record was made under battle conditions. Roger
was drumming with one good arm and would keep recording until the pain was too
much…and then do another take.”
Roger Earl tore a tendon in his shoulder while shoveling snow after an
intense blizzard at his New York home in January 2022. After spending most of
that year looking for a qualified surgeon, while touring relentlessly and
starting to record Sonic Mojo he finally had surgery in December
with a doctor who specialized in sports shoulder injuries. Because he knew he
would not be able to play up to his standards for a while after surgery, Roger
laid down all the drum tracks for Sonic Mojo in the couple of
months before the surgery, enduring a lot of pain, but doing whatever it took
to get the music right. Guess that’s why they call it the Blues!
Formed in 1971 when Lonesome Dave Peverett and
Roger Earl left the British blues-rock band, Savoy Brown, FOGHAT has earned
eight Gold records, one Platinum record and one double-Platinum record. They continue to release new music every few
years, and they’ve never stopped touring and recording although there have been
several ups and downs and
changes over the years. They sadly lost Lonesome Dave Peverett in 2000, Rod
Price in 2005, and Craig MacGregor in 2018, but Roger Earl keeps banging and
kicking to keep FOGHAT’s musical legacy going.
Here’s the Sonic Mojo track listing
(“She’s Dynamite” is only available on CD, not vinyl):
1. She’s a Little Bit of Everything (Simmonds/R. Earl/Bassett/Holt/O’Quinn)
2. I Don’t Appreciate You (R. Earl/Holt/Bassett/O’Quinn)
3. Mean Woman Blues (Claude DeMetrius)
4. Drivin’ On (Simmonds/R. Earl/Bassett/Holt/O’Quinn)
5. Let Me Love You Baby (Willie Dixon)
6. How Many More Years (Chester Burnett)
7. Song for Life (Rodney J. Crowell)
8. Wish I’d a Been There (C. Earl/R. Earl/Bassett/Holt/O’Quinn)
9. Time Slips Away (Simmonds/R. Earl/Bassett/Holt/O’Quinn)
10.
Black Days & Blue Nights (R.
Earl/Holt/Bassett/O’Quinn)
11.
She’s Dynamite (B. King Riley -- B.B. King)
12.
Promised Land (Chuck Berry)
Check out the band’s itinerary below, with more
shows to be announced and ticket info on Foghat.com:
DATE CITY VENUE
Sun 8/27 Riverhead,
NY The Suffolk Theater
Sat 9/2 Manistee,
MI Laborfest 2023
Mon 9/4 Syracuse,
NY New York State Fair
Sat 9/9 Chama,
NM Elevate Chama Drive-In
Wed 9/20 El
Dorado, AR First Financial
Music Hall
Thu 10/5 Topsfield,
MA Topsfield Fair 2023
Fri 10/6 Las
Vegas, NV Golden Nugget
Casino & Hotel
Thu 10/12 Fort
Myers, FL Caloosa
Sound Amphitheater
Sat 10/28 Laughlin,
NV The Edgewater Resort
Thu 11/2 Gary,
IN Hard Rock Live
Sat 11/4 Oshkosh,
WI Oshkosh Arena
Fri 11/17 San
Juan Capistrano, CA The Coach House
Sat 12/9 Atlantic
City, NJ Hard Rock Casino Hotel
Fri 1/26/24 Enoch,
AB. River Cree Resort
& Casino
Fri 2/2/24 Bremerton,
WA Admiral Theater
Sat 2/17/24 Parker,
CO Pace Center
* Sun 2/18/24 Solana
Beach, CA Belly Up Tavern
* Pre-sale: Wednesday, August 30 at 10:00am PT. Public on-sale: Friday,
September 1 at 10:00am PT.
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32) THE LAND OF MILK AND HONEY
ex·is·ten·tial·ism 101
a joe viglione essay
/ˌeɡzəˈsten(t)SHəˌliz(ə)m,ˌeksəˈsten(t)SHəˌliz(ə)m/ noun
A NICE PLACE TO VISIT with Larry Blyden - The Twilight Zone -vs CAVENDER IS COMING WITH Carol Burnett.
It"s
kind of like Mick Jagger writing "Heaven" https://youtu.be/V-HuYUaSjNU
and "Sympathy for the Devil." The Twilight Zone featured an angel,
Cavender (and as another angel, John Fiedler who played the demonic Jack the
Ripper in Star Trek a few years later) who made all Carole Burnett's wishes
come true. Dorothy wasn't in Kansas anymore and despite the usually reliable
director Christian Nyby, the episode that was a failed pilot failed as a
Twilight Zone show as well.
Burnett didn't want the millions of dollars....she should have
given them to me.
Then there's the other side of the coin where Larry Blyden plays
Rocky Valentine (like Eddie Murphy as Valentine in Trading Places) to Sebastian
Cabot's Pip (demon) in "A Nice Place to Visit." A demon gives Blyden
everything, and he doesn't want it; an angel gives Burnett everything, and she
doesn't want it. Sheesh. The moral of the story: Heaven and Hell are the same
place, depending upon your point of view, so take what you want and be happy.
Be it Blyden in the April 1960 episode of Twilight Zone or
Hal Sparks in the newer radio version with Stacy Keach released in June, 2013
(a series of radio broadcasts on the Twilight Zone from original scripts) it is
the character Valentime’s attitude that makes what could be heaven his hell.
Valentine calls “Pip” (the character played wonderfully by
Sebastian Cabot on tv, and a rather subdued Pip from narrator Stacy Keach (one
assumes as there is no credit for Pip that I can find) on radio) the nickname “Fats.” When he lived in the “real world,” before
getting shot by a policeman, Valentime was a small-time crook. In Hell the
character is still an idiot – a five year old brain seeking new thrills
The rub /conundrum here is that the joke the universe plays
on Valentime is that he is a victim of the creator. Valentine has more
opportunity for happiness in his alleged hell but doesn’t see it or understand
it, just as he approached life. And his
being incapable of figuring it out makes him a rat in a maze, which is why the
story itself, written by the brilliant Charles Beaumont, is the problem. Rod Serling’s extraordinary idea, the
Twilight Zone, often struggled with a happy ending. It made the Outer Limits, a
competing sci-fi show, less troublesome with its reality and conclusions in the
strange landscapes it created.
As difficult as the Twilight Zone is for this writer in its confounding
end results, the Ray Bradbury scripted I Sing the Body Electric (Episode 100,
or Season 3, Episode 35)is perhaps my favorite along with A Nice Place to Visit
(Season 1,Episode 28.)
Five years later on the radio show Theater Five had a
similar theme in The Land of Milk and Honey episode, according to
Wikipedia. Larry Blyden and Carol
Burnett played opposites in the two episodes mentioned here: Burnett in the
failed pilot, Cavender is Coming, and Blyden in A Nice Place to Visit. Interesting that Wikipedia has a photo of the
two together. Someone should use AI to merge the stories and make it a bit more
satisfying for that was my problem with Twilight Zone, great ideas unrealized
and missing their full potential.
Under Review: 1967-1969 Review by Joe Viglione
Where the Rolling Stones' Under Review: 1962-1966 had its moments with eight commentators giving us the beginnings of Stones history, this part two -- Under Review: 1967-1969 with a dozen critics and musicians interviewed -- is truly superior in its approach and in direction, a perfect segue to the unnamed part three of this trilogy from Chrome Dreams/Sexy Intellectual, the very excellent Under Review for Keith Richards. Critic Keith Altham is on all three documentaries as is Tom Keylock, and they add wonderful insight, notably Altham's essential critiques and historical perspective. Thomas Arnold is the narrator, as he is on the Richards disc, replacing Mandy O'Neal from the first volume, and the storyline is meatier as the "greatest rock & roll band in the world" moves into these new phases of psychedelia and what followed, the time labeled their "golden era" with guitarist Mick Taylor and producer Jimmy Miller enhancing the sounds the band would generate. The previous documentary ended with "(I Can't Get No) Satisfaction" while this edition opens with "Sympathy for the Devil," interesting bookends with so much territory to cover. Even die-hard Stones fans who know much about the history will embrace the clips, the perspectives, and the chronology.
Alan Clayson calls "Ruby Tuesday" the Stones version of "Yesterday," attributing the initial writing of "Ruby Tuesday" to Brian Jones -- Keith Altham also bringing up the fact it was a Brian Jones composition which Keith Richards and Mick Jagger added to; Clayson also notes how Bill Wyman came up with the riff to "Jumpin' Jack Flash" -- the many instances of this "plagiarism," as Clayson calls it that is part of the Stones legend, though the DVD doesn't go further intoMarianne Faithfull co-writing "Sister Morphine," Ry Cooder's contribution to the hit version of "Honky Tonk Women," Mick Taylor's work on "Time Waits for No One," and the late Jimmy Miller saying that Billy Preston actually wrote "Shine a Light." One could do a family tree on the alleged songwriter contributions, which this documentary actually initiates in a way. For the fans the inclusion of Anita Pallenberg's idea for the backing vocals on "Sympathy for the Devil" and Marianne Faithfull's action of giving Mick Jagger a book which helped develop the idea is essential food for thought on the making of Beggars Banquet.
Anthony DeCurtis and Keith Altham discuss the contributions of producer Miller, an often overlooked character in Stones lore, something that the producer's second wife, the late Gere Rock, said was a conscious effort on the part of the band to embrace his work while erasing his genius. There are so many "pivotal moments" to the group's progression, as Nigel Williamson notes during this period, that executive producer Rob Johnstone, editor Tom O'Dell, and the others behind the scenes deserve credit for condensing all this intense activity into such a compelling and cohesive form. It's a daunting task when one considers the recording of these masterful albums, critical hit singles, and the movies -- the films capturing the moment, clips from Peter Whitehead's 1966 movie Charlie Is My Darling, Jean-Luc Godard's 1968 amalgam that is One Plus One (aka Sympathy for the Devil), Michael Lindsay Hogg's 1968 lost archive The Rolling Stones Rock and Roll Circus, the Maysles Brothers and Charlotte Zwerin's 1970 epic Gimme Shelter, and the underground favorite, Nic Roeg and Donald Cammell's 1970 film Performance and its soundtrack, developed in great part by Jack Nitzsche and Ry Cooder, all helping bring this drama to another level.
https://www.allmusic.com/album/under-review-1967-1969-mw0001588069
The project also comes with full biographies of all the commentators, an interactive quiz titled "The Rolling Stones Digital Challenge" as well as a two-minute chat from Keith Altham discussing his attendance at the Beggars Banquet press reception where he was trying to interview producer Jimmy Miller while pies were flying. It's a clever moment with black-and-white footage of the famous event spliced into Altham's interview tape. Chrome Dreams also has a Keith Richards interview CD in release as well as a four-CD the Rolling Stones As It Happened audio interview set.
Sgt. Pepper’s Lonely Hearts Club Band (15 weeks, 1967-68)
A Hard Day’s Night (14 weeks, 1964)
Meet the Beatles! (11 weeks, 1964)
Abbey Road (11 weeks, 1969-70)
Beatles ’65 (nine weeks, 1965)
Help! (nine weeks, 1965)
The Beatles (aka The White Album) (nine weeks, 1968-1969)
Magical Mystery Tour (eight weeks, 1968)
1 compilation album (eight weeks, 2000-01)
Beatles VI (six weeks, 1965)
Rubber Soul (six weeks, 1966)
Revolver (six weeks, 1966)
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37)LOVE IS LIKE AN ITCHING IN MY HEART
38)YOU KEEP ME HANGING ON EXTENDED
39)Janis Joplin and Tom Jones
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40) Francois Hardy, about 2013
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Oldies but Goldies
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