1)One Love Bob Marley
Yah, man! One Love is the Real Deal!
Reinaldo Marcus Green
Kingsley Ben-Adir, Lashana Lynch, James Norton,
Tosin Cole, Anthony Welsh,
Michael Gandolfini, Umi Meyers, Nadine Marshall
Wednesday, February 14, 2024 Wide
One Love is going to spur record sales for the late icon, that is the first thing that came to mind as the 177 seat theater was filled to capacity for the Boston screening. Yah, man! Elegantly filmed by director Reinaldo Marcus Green, the story unfolds with little character development, something that could have benefited had a little bit more documentary-style been added to the story. For example, James Gandolfini's son, Michael Gandolfini, comes off as a rather goofy version of mega-promoter Howie Bloom, and James Norton's "Chris," as in Blackwell, head and founder of Island Records, well, the screen version is not as my interpretation from the Chris Blackwell book - The Islander: My Life in Music and Beyond. But, to paraphrase Atlantic Records founder Ahmet Ertegun, if you want the facts, do a documentary.
Boston - AMC Theater, the city was a madhouse on the night of the Bob Marley screening.
6) Ian Nelson Disposable Moments
The Joe Vig Top 40 Dot Com www.joevigtop40.com Our Fun Monthly Review of Pop Culture: Feb 2024 Top 40 MARLEY / Portrait of the Legend / Wesrok, Busy Signal - Don't Get Me Wrong, Ahmet Ertegun - two books on his life
8) Talitha Jae - Meet Me At The Window
Pousette-Dart Band 3 Review by Joe Viglione
Out of the four albums released by the Pousette-Dart Band on Capitol, Pousette-Dart Band 3 may be the most satisfying. The only song that received as much attention as "Amnesia," the title track and minor hit off of their second album, or "For Love," the David Finnerty of the Road Apples tune from their fourth disc, was the cover of the Lieber/Stoller/Ben E. King 1961 hit "Stand by Me." It is a good version, and the songs on side one are the usual fare from Jon Pousette-Dart's group: top-notch country-rock. But it is side two that really is extraordinary. "Louisiana," "Too Blue to Be True," and "Mr. Saturday Night" work almost as a trilogy. They are deep, dark, and not as bouncy as Don Covay's "I Stayed Away Too Long" on side one. The beautiful, acoustic "Where Are You Going," which ends this half of the program, sets up the second side nicely, and lends for a seamless flow if listening on compact disc. Pousette-Dart's voice is flawless, as is his playing on "Where Are You Going," which ends suspended in mid-air. As with that tune, all the songs on the second side are written by Jon Pousette-Dart, and along with the sterling performance, this is his best songwriting of these releases on Capitol. "Louisiana" has tension, eerie production, immaculate instrumentation, and just a great vocal walking next to the guitars. While the Eagles and Hall & Oates were enjoying success at this point in time, along with the resurgence of Crosby, Stills & Nash, Pousette-Dart Band's mellow Buffalo Springfield style on this album really should have garnered a huge audience. "Too Blue to Be True" brings it up a bit, the band cooking with excitement and power. That power continues in the semi-funk of "Mr. Saturday Night," three powerful statements by this important artist that somehow got lost in the shuffle of the music industry. Jon Pousette-Dart's appearance at the Paradise Theater in Boston at the end of 2000 with Jon Hall of Orleans and Jonathan Edwards of Orphan was their first live appearance together as a trio, having previously only recorded "Why Can't We Be Friends," the War tune for Rounder. That performance magnified what one of those performers put in these grooves. "Lord's Song" starts to conclude the album in the same fashion as side one, Pousette-Dart's voice and acoustic guitar are combined with his plaintive expression, and this time the band in the background is solidified by co-producer Dave Appell's strings swelling, rising up before the group kicks in with precision. An album that truly deserves a better fate than obscurity.