{"id":1,"date":"2013-08-18T06:27:22","date_gmt":"2013-08-18T06:27:22","guid":{"rendered":"http:\/\/musicbusinessmonthly.com\/?p=1"},"modified":"2017-06-20T13:02:41","modified_gmt":"2017-06-20T13:02:41","slug":"hello-world","status":"publish","type":"post","link":"http:\/\/musicbusinessmonthly.com\/?p=1","title":{"rendered":"THE HISTORY OF N.E. MUSIC BY JOE VIGLIONE"},"content":{"rendered":"<h1>Welcome to Music Business Monthly.com<\/h1>\n<p><em><strong>Back in the 1980s, around 1989 or so, we created Music Business Monthly.\u00a0 It was a paper edition that was published simultaneously with successful music seminars.\u00a0 Watch this site as we develop a new Music Business Monthly for 2017.<\/strong><\/em><\/p>\n<p><a href=\"http:\/\/musicbusinessmonthly.com\/wp-content\/uploads\/2013\/08\/cd-baby-photo.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-164\" alt=\"cd baby photo\" src=\"http:\/\/musicbusinessmonthly.com\/wp-content\/uploads\/2013\/08\/cd-baby-photo-300x300.jpg\" width=\"300\" height=\"300\" srcset=\"http:\/\/musicbusinessmonthly.com\/wp-content\/uploads\/2013\/08\/cd-baby-photo-300x300.jpg 300w, http:\/\/musicbusinessmonthly.com\/wp-content\/uploads\/2013\/08\/cd-baby-photo-150x150.jpg 150w, http:\/\/musicbusinessmonthly.com\/wp-content\/uploads\/2013\/08\/cd-baby-photo.jpg 576w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a><\/p>\n<p><strong>Editor and Publisher Joe Viglione\u00a0<\/strong>\u00a0 June 11, 2017, 11:53 pm\u00a0\u00a0<a href=\"http:\/\/joeviglione.com\/\">http:\/\/joeviglione.com<\/a><\/p>\n<p><a href=\"http:\/\/musicbusinessmonthly.com\/wp-content\/uploads\/2013\/08\/IMG_0138.mov\">IMG_0138<\/a><br \/>\n<strong>Our Blogspot information<\/strong>\u00a0<a title=\"http:\/\/musicbusinessmonthly.blogspot.com\/\" href=\"http:\/\/musicbusinessmonthly.blogspot.com\/\">http:\/\/musicbusinessmonthly.blogspot.com\/<\/a><br \/>\n<strong>MBM Prototype<\/strong><a href=\"http:\/\/mbmprototype.blogspot.com\/\">\u00a0http:\/\/mbmprototype.blogspot.com\/<br \/>\n<\/a><strong>The Joe Vig Top 40<\/strong>\u00a0<a title=\"http:\/\/www.joevigtop40.com\" href=\"http:\/\/www.joevigtop40.com\/\">http:\/\/www.joevigtop40.com<\/a><\/p>\n<p><strong>Music Business Monthly<\/strong><br \/>\n<strong>P.O. Box 2392<\/strong><br \/>\n<strong>Woburn, MA 01888<\/strong><br \/>\n<strong>demodeal {@} yahoo.com<\/strong><\/p>\n<p>Copyright (C)2017 Joe Viglione, All Rights Reserved<\/p>\n<p>Check out Gary&#8217;s Fanzines Page with photos of some of our original newsletters from the 1970s <a href=\"http:\/\/tinyurl.com\/garyfanzines\"><b>http:\/\/tinyurl.com\/garyfanzines<\/b><\/a><\/p>\n<p>____________________________________________________<\/p>\n<p><em><strong>Joe Viglione&#8217;s Original History of New England Music<\/strong><\/em><\/p>\n<p><a href=\"https:\/\/www.blogger.com\/profile\/15345741483306237598\">https:\/\/www.blogger.com\/profile\/15345741483306237598<\/a><\/p>\n<div id=\"header-wrapper\">\n<div id=\"header\">\n<div id=\"Header1\" data-version=\"1\">\n<div id=\"header-inner\">\n<div>\n<h1>Table Of Contents &#8211; Joe Viglione&#8217;s History of New England Rock<\/h1>\n<\/div>\n<div>\n<p>This table of contents will expand, of course, as more information is posted on the web. For more information: JVBiographies@yahoo.com Varulven Records P.O. Box 2392 Woburn, MA 01888 U.S.A.<\/p>\n<p><a href=\"http:\/\/musicbusinessmonthly.com\/wp-content\/uploads\/2013\/08\/gclefs_cause_mine_45.gif\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-151\" alt=\"gclefs_cause_mine_45\" src=\"http:\/\/musicbusinessmonthly.com\/wp-content\/uploads\/2013\/08\/gclefs_cause_mine_45-300x300.gif\" width=\"590\" height=\"590\" srcset=\"http:\/\/musicbusinessmonthly.com\/wp-content\/uploads\/2013\/08\/gclefs_cause_mine_45-300x300.gif 300w, http:\/\/musicbusinessmonthly.com\/wp-content\/uploads\/2013\/08\/gclefs_cause_mine_45-150x150.gif 150w\" sizes=\"auto, (max-width: 590px) 100vw, 590px\" \/><\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>nformation. Remember, To click on any chapter go to this address:<br \/>\n<a href=\"http:\/\/rocktableofcontents.blogspot.com\/\">http:\/\/rocktableofcontents.blogspot.com\/<\/a><\/p>\n<p>Table of Contents<\/p>\n<p>1)Foreword<\/p>\n<p>This information is part of my &#8220;life&#8217;s work&#8221;, the chronicling of the Boston Rock &amp; Roll Scene and its surrounding communities. Between the video taped for my TV shows VISUAL RADIO and<br \/>\nTV EYE as well as the audio from a variety of radio shows I hosted and\/or produced to the incredible tape archive I&#8217;ve built over the decades, these writings will come to life in audio and visual, a unique history of the scene from one of its documentarians.<\/p>\n<p>2)Ka-Ding Dong &#8211; The first days of Boston Rock &amp; Roll<br \/>\n1950s, early 1960s<br \/>\n<a href=\"http:\/\/newenglandrock.blogspot.com\/\">http:\/\/newenglandrock.blogspot.com\/<\/a><\/p>\n<p>3)The Sixties &#8211; The Bosstown Sound &#8211; Orpheus, Listening, Willie Loco, Ultimate Spiniach<br \/>\nThe Prince &amp; The Paupers, Barry &amp; The Remains<br \/>\n<a href=\"http:\/\/bostonthesixties.blogspot.com\/\">http:\/\/bostonthesixties.blogspot.com\/<\/a><\/p>\n<p>4) Hallucinations, J.Geils, Modern Lovers, Aerosmith<br \/>\nThe sixties to early seventies&#8230;<\/p>\n<p>5)J Geils Band<br \/>\ntons of J GEILS Biographies and reviews to posted here:<br \/>\n<a href=\"http:\/\/jgeilsband.blogspot.com\/\">http:\/\/jgeilsband.blogspot.com\/ <\/a><\/p>\n<p>6)The Early Seventies<br \/>\n<a href=\"http:\/\/bostontheseventies.blogspot.com\/\">http:\/\/bostontheseventies.blogspot.com\/<\/a><\/p>\n<p>1)The Quill 2)The Sidewinders 3)Fat 4)Milkwood (early Cars), 5)Swallow, 6)Duke &amp; The Drivers 7)James Montgomery 8)Stormin&#8217; Norman &amp; Suzy 9)P.J. Colt<br \/>\n==============================================================<\/p>\n<p>7)Andy Pratt<br \/>\nTons of Andy Pratt reviews on AMG will show up here soon.<\/p>\n<p>Temporary links:<br \/>\n<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;searchlink=ANDY%7CPRATT&amp;sql=11:h9ftxq85ldte%7ET2\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;searchlink=ANDY|PRATT&amp;sql=11:h9ftxq85ldte~T2<br \/>\n<\/a><a href=\"http:\/\/www.andypratt.com\/\"><br \/>\nhttp:\/\/www.andypratt.com<\/a><\/p>\n<p>When J Geils &amp; Andy Pratt played together<a href=\"http:\/\/maxwelledison.blogspot.com\/2004\/04\/andy-pratt-j.html\"><br \/>\nhttp:\/\/maxwelledison.blogspot.com\/2004\/04\/andy-pratt-j.html<\/a><\/p>\n<p>8)Willie &#8220;Loco&#8221; Alexander<br \/>\n<a href=\"http:\/\/willielocoalexander.blogspot.com\/\">http:\/\/willielocoalexander.blogspot.com\/<\/a><\/p>\n<p>9)The New Wave &#8211; Willie Alexander re-emerges, Reddy Teddy, Fox Pass,<br \/>\nAastral Projection<\/p>\n<p>10)Into the 1980s<br \/>\n<a href=\"http:\/\/bostontheeighties.blogspot.com\/\">http:\/\/bostontheeighties.blogspot.com\/<\/a><\/p>\n<p>11)Peter Calo, Carly Simon, Pamela Ruby Russell<br \/>\n<a href=\"http:\/\/petercaloreviews.blogspot.com\/\">http:\/\/petercaloreviews.blogspot.com\/<\/a><\/p>\n<p>12)Boston Compilations and more &#8211; Live at the Rat, Live at Studio B<br \/>\nFarrenheit, Joe Perry Project, Cowsills, Real Kids, The Outlets<br \/>\n<a href=\"http:\/\/bostoncompilations.blogspot.com\/\"> http:\/\/bostoncompilations.blogspot.com\/<\/a><\/p>\n<p>13)More Eighties<a href=\"http:\/\/eightiesboston.blogspot.com\/\"><br \/>\nhttp:\/\/eightiesboston.blogspot.com\/<\/a><\/p>\n<h3><a href=\"http:\/\/eightiesboston.blogspot.com\/2007\/07\/face-to-face-rings-jonzun-crew-robin.html\">Face To Face, The Rings, Jonzun Crew, Robin Lane, Didi Stewart. Rick Berlin, Rubber Rodeo, Mass, Treat Her Right<\/a><\/h3>\n<p>14)Boston Music Showcase &#8211; Harvey Wharfield and the best local music show on radio<br \/>\nThe 1990s<\/p>\n<p>15)The 1990s with Grateful Ted of SMUGGLER and more&#8230;<br \/>\n<a href=\"http:\/\/bostonnineties.blogspot.com\/\">http:\/\/bostonnineties.blogspot.com\/<\/a><\/p>\n<p>16)The New Millennium<a href=\"http:\/\/bostonnewmillennium.blogspot.com\/\"><br \/>\nhttp:\/\/bostonnewmillennium.blogspot.com<\/a>\/<\/p>\n<p>17)The Ongoing Process<\/p>\n<p>AFTER WORD<\/p>\n<div>\n<div>Posted by <a title=\"author profile\" href=\"https:\/\/www.blogger.com\/profile\/15345741483306237598\" rel=\"author\" data-gapiscan=\"true\" data-onload=\"true\" data-gapiattached=\"true\"> History of New England Rock <\/a> at <a title=\"permanent link\" href=\"http:\/\/rocktableofcontents.blogspot.com\/2007\/07\/table-of-contents-joe-vigliones-guide.html\" rel=\"bookmark\"><abbr itemprop=\"datePublished\" title=\"2007-07-09T11:18:00-07:00\">11:18 AM<\/abbr><\/a> <a href=\"https:\/\/www.blogger.com\/comment.g?blogID=639005705849568302&amp;postID=2958144747347723775\"> No comments: <\/a><\/p>\n<div><\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div>\n<div id=\"blog-pager\"><a href=\"http:\/\/rocktableofcontents.blogspot.com\/\">Home<\/a><\/div>\n<div>\n<div>Subscribe to: <a href=\"http:\/\/rocktableofcontents.blogspot.com\/feeds\/posts\/default\" target=\"_blank\" type=\"application\/atom+xml\">Posts (Atom)<\/a><\/div>\n<\/div>\n<div id=\"sidebar-wrapper\">\n<div id=\"sidebar\">\n<div id=\"BlogArchive1\" data-version=\"1\">\n<h2>Blog Archive<\/h2>\n<div>\n<div id=\"ArchiveList\">\n<div id=\"BlogArchive1_ArchiveList\">\n<ul>\n<li><a> \u25bc\u00a0 <\/a> <a href=\"http:\/\/rocktableofcontents.blogspot.com\/2007\/\"> 2007 <\/a> (1)\n<ul>\n<li><a> \u25bc\u00a0 <\/a> <a href=\"http:\/\/rocktableofcontents.blogspot.com\/2007\/07\/\"> July <\/a> (1)\n<ul>\n<li><a href=\"http:\/\/rocktableofcontents.blogspot.com\/2007\/07\/table-of-contents-joe-vigliones-guide.html\">Joe Viglione&#8217;s Guide to New England Music___________<\/a><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>______________________________________________________________<br \/>\n<strong>2)Ka-Ding Dong &#8211; The first days of Boston Rock &amp; Roll<\/strong><br \/>\n<strong>1950s, early 1960s<\/strong><br \/>\n<a href=\"http:\/\/newenglandrock.blogspot.com\/\">http:\/\/newenglandrock.blogspot.com\/<\/a><\/p>\n<div id=\"Header1\" data-version=\"1\">\n<div id=\"header-inner\">\n<div>\n<h1>Joe Viglione&#8217;s History of New England Rock &amp; Roll &#8211; an ongoing process&#8230;<\/h1>\n<\/div>\n<div>\n<p>Joe Viglione has written thousands of reviews for The All Media Guide, Allmusic\/Allmovie.com Among those are many reviews and biographies of Boston area artists. Keep in mind that this is strictly the reviews and information from his own personal files and is not meant to be a definitive guide to New England music &#8211; which is an ongoing and perpetual process. Write to joe at JVBiographies@yahoo.com or mail to Varulven Records\/P.O. Box 2392, Woburn, MA 01888 USA<\/p>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"Blog1\" data-version=\"1\">\n<div>\n<div>\n<h2>Sunday, July 15, 2007<\/h2>\n<div>\n<div>\n<div itemprop=\"blogPost\" itemscope=\"itemscope\" itemtype=\"http:\/\/schema.org\/BlogPosting\"><a name=\"1062990613318868383\"><\/a><\/p>\n<h3 itemprop=\"name\"><a href=\"http:\/\/newenglandrock.blogspot.com\/2007\/07\/chapter-1-1950s-and-early-1960s-reviews.html\">Chapter 1 1950s and early 1960s reviews<\/a><\/h3>\n<div><\/div>\n<div id=\"post-body-1062990613318868383\" itemprop=\"description articleBody\">Remember! To click on any chapter go to this address:<br \/>\n<a href=\"http:\/\/rocktableofcontents.blogspot.com\/\">http:\/\/rocktableofcontents.blogspot.com\/<\/a><a href=\"http:\/\/2.bp.blogspot.com\/_XDwdAyUP_ts\/RpBZk1gQHNI\/AAAAAAAAAAU\/0lzLZu2b334\/s1600-h\/gclefs_kading_red_78.gif\"><img decoding=\"async\" id=\"BLOGGER_PHOTO_ID_5084662468673805522\" alt=\"\" src=\"http:\/\/2.bp.blogspot.com\/_XDwdAyUP_ts\/RpBZk1gQHNI\/AAAAAAAAAAU\/0lzLZu2b334\/s320\/gclefs_kading_red_78.gif\" border=\"0\" \/><\/a><br \/>\nCHAPTER 1THE 1950sTHE G CLEFSChapter 1<br \/>\nThe G Clefs<br \/>\nDisc Jockey Little Walter DeVenne<br \/>\nHerb Reed and The Platters<br \/>\nLittle Joe Cook<br \/>\nBobby Hebb<br \/>\nMoulty andThe Barbarians<br \/>\nThe Fifth Estate<br \/>\nEden&#8217;s Children<br \/>\nListening<br \/>\nThe Beacon Street Union<br \/>\nJohn Lincoln Wright<br \/>\nBarry And The Remains<br \/>\nClean Living<br \/>\nAl Anderson<br \/>\nThe Modern Lovers<br \/>\nOrchestra Luna<br \/>\nRandy Roos<br \/>\nIncredible Two Man Band &#8211; Mickey Spiros<br \/>\nDavid Maxwell<br \/>\nJohn Sinclair with Ted Drozdowski<br \/>\nLivingston Taylor<br \/>\nKate Taylor<br \/>\nJames Taylor<br \/>\nPeter Calo<br \/>\nOrphan<br \/>\nJonathan Edwards<br \/>\nArthur FiedlerThis information was uploaded on July 7, 2007. There will be tons of commentary tying these stories together in the coming months including articles written by Mr. Viglione over the years for a number of print publications including but not limited to Discords Magazine (Washington),<br \/>\nThe Improper Bostonian, Irish Emigrant, Outlet (United Kingdom), Prize (L.A.), Musicians&#8217; Magazine, The Beat, The Boston Globe, The Real Paper, Boston Phoenix Bandguide, Rockwatch, Preview Magazine, Bang Magazine, Fffanzeen, New England Entertainment Digest, Arts Media Magazine, Artscope, Replication News, Medialine, Metronome, The Gloucester Daily Times, Pepperell Free Press, North Shore Sunday, Medford Transcript, Lexington Minuteman, Belmont Citizen, Arlington Advocate, The Chronicle (Arlington), The Suffolk Journal, Burlington Union, Stoneham Sun, Melrose Free Press, Billboard Magazine, Independent Music Producers Journal, Woburn Advocate, The Woburn Daily Times &amp; Chronicle, The Wakefield Daily Times &amp;amp;amp;amp;amp;amp; Chronicle, Goldmine Magazine, Discoveries Magazine (two national oldies publications), Radioworld, Inside\/Out Hudson Valley, his own Varulven Magazine which he founded in 1969 and many others as well as online publications including writer legend Al Aronowitz&#8217;s Blacklisted Journal, the All Media Guide (AMG), All Movie.com and the web pages they deliver (or have delivered) content to including Barnes &amp; Noble.com, Borders.com, VH-1.com, MTV.com, Country Music Channel, Rolling Stone.com, Starpulse, Get Music, Artist Direct, Ticketmaster Live, Amazon Canada, Django Music.com, SamGoody.com, Wherehouse.com, FYE, MSN, AOL, Yahoo Shopping dozens and dozens of online sites and in-store kiosks.Between April 17, 2007 and July 1, 2007 Mr. Viglione moved the Archives of Varulven Records<br \/>\n(because of a flood) to a new facility preserving this print, audio, video and other media for use on this site and other related enterprises. In order to get this rolling the reviews from the internet &#8211; mostly Allmusic.com, the Medford Trasncript and North Shore Sunday &#8211; are collected here via links and text. Unreleased interviews and commentary will be added.Keep in mind there are over 400 hours of interviews from Visual Radio including many Boston rock legends &#8211; Victor Moulton, Wayne Wadhams, the G Clefs, Barry Tashian &amp;amp;amp;amp;amp;amp; Billy Briggs of THE REMAINS, Willie &#8220;Loco&#8221; Alexander, Jonathan Richman, Richard Nolan, Jon Macey, Barry Marshall, Sal Baglio of The Stompers, Andy Pratt and many, many more.This may not be the definitive site on New England music but it certainly is fun, informative and entertaining. (C)2007 Joe ViglioneG CLEFS BIOGRAPHY on DJANGOMUSIC.COM<a href=\"http:\/\/www.djangomusic.com\/artist_bio.asp?pid=P+++186911&amp;amp;morebio=1\"><br \/>\n<\/a><a href=\"http:\/\/www.djangomusic.com\/artist_bio.asp?pid=P+++186911&amp;amp;morebio=1\">http:\/\/www.djangomusic.com\/artist_bio.asp?pid=P+++186911&amp;amp;morebio=1<\/a><br \/>\nTHE G CLEFS &#8220;KA-DING DONG&#8221; CD Review by Joe ViglioneIn September of 1956, the first rock &amp; roll hit record from the city that would launch <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:aifpxqw5ldae\">Aerosmith<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifrxqw5ldde\">Boston<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;sql=11:3iftxqw5ldfe\">The Cars<\/a>, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifrxqe5ldke\">J. Geils Band<\/a>, hit the Top 30 \u2014 <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:dnfqxqtgldte\">The G Clefs<\/a>&#8216; &#8220;Ka-Ding-Dong&#8221; on Pilgrim Records. With a career spanning close to 50 years, the hard working <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:SCOTT\">Scott<\/a> brothers created a body of work which deserves recognition. The ambiance of the final track in this collection, &#8220;To the Winner Goes the Prize&#8230; for more information:<br \/>\n<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0cfixqqhldfe\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0cfixqqhldfe<\/a>The above is a review of a 1995 compilation album entitled &#8220;Ka-Ding-Dong&#8221; released by<\/p>\n<p>The G Clefs. The review can be found on AllMusic.com here:<br \/>\n<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0cfixqqhldfe\"><br \/>\n<\/a>In 2000 The G Clefs released a second compilation &#8220;Then &amp; Now&#8221; on the G Clefs label. The AMG link to the review follows its inclusion here.<br \/>\n<i><br \/>\nThen and Now<\/i> is a collection of 15 songs by the five musicians who were the first Boston rock and roll band to have a national and international hit with &#8220;Ka Ding Dong&#8221; in 1956. <i>Then and Now<\/i> is the follow-up disc to the album <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:0cfixqqhldfe\"><i>Ka Ding Dong<\/i><\/a> featuring the four <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;sql=1:SCOTT\">Scott<\/a> brothers, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gjfrxqqgldhe\">Teddy<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;sql=1:LLANGA\">Llanga<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:09ftxq8hldde\">Chris<\/a>, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;sql=1:TIMOTHY\">Timothy<\/a> aka <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:TIM%7CPAYME\">Tim &#8220;Payme&#8221;<\/a> as in &#8220;pay me,&#8221; and their friend <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:RAY%7CGIPSON\">Ray Gipson<\/a>, collectively, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:dnfqxqtgldte\">the G Clefts<\/a>.<br \/>\nFor the complete review click here:<br \/>\n<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jjfyxqrkldae\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jjfyxqrkldae<\/a><\/p>\n<p>The Biography of THE G CLEFS<\/p>\n<p>Thanks to Little Walter DeVenne for helping me fact-check this G Clef bio after my interview with Teddy Scott.<br \/>\n<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:dnfqxqtgldte%7ET1\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;sql=11:dnfqxqtgldte~T1<\/a><\/p>\n<table id=\"bio\" width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Biography<\/td>\n<td align=\"right\" width=\"352\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">The G-Clefs is a highly flamboyant, well choreographed pop\/soul vocal group which has the distinction of having the first Boston area rock &amp; roll record to chart nationally, their 1956 hit &#8220;Ka Ding Dong&#8221;. Consisting offour brothers, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:TEDDY%7CSCOTT\">Teddy Scott<\/a> (b 2\/29\/36), <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:CHRIS%7CSCOTT\">Chris Scott<\/a> (b 2\/14\/37), guitarist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:TIM%7CPAYME%7CSCOTT\">Tim &#8220;Payme&#8221; Scott<\/a> (8\/23\/38), and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ILANGA%7CSCOTT\">Ilanga Scott<\/a> (b 7\/22\/40), along with their friend and neighbor <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:RAY%7CGIBSON\">Ray Gibson<\/a> (b 9\/24\/37), the band formed in Roxbury, Massachusetts, an area similar to New York&#8217;s Harlem, thirty years before <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:NEW%7CEDITION\">New Edition<\/a> would bring <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;sql=1:MAURICE%7CSTARR\">Maurice Starr<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MICHAEL%7CJONZUN%5C%27S\">Michael Jonzun&#8217;s<\/a> music to the world, The G-Clefs were the original pioneers from New England&#8217;s soon to be important music scene.for more information \/ entire bio click on: G CLEFS BIOGRAPHY on DJANGOMUSIC.COM<a href=\"http:\/\/www.djangomusic.com\/artist_bio.asp?pid=P+++186911&amp;amp;amp;morebio=1\"><br \/>\n<\/a><a href=\"http:\/\/www.djangomusic.com\/artist_bio.asp?pid=P+++186911&amp;amp;morebio=1\">http:\/\/www.djangomusic.com\/artist_bio.asp?pid=P+++186911&amp;amp;morebio=1<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>LITTLE WALTER<\/p>\n<p>I&#8217;ve written a number of stories on Walter and he&#8217;s appeared on Visual Radio at least three times, we have about four hours of documentary footage on Walter in his studio and in the clubs spinning discs.<\/p>\n<p>Credits on AMG<\/p>\n<p>AMG has &#8220;Little Walter DeVanne&#8221; which is, of course, a mis-spelling. AMG takes the information directly from the LP or CD. We hope to correct the AMG site at some point in the future.<\/p>\n<p><a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jvfexqtaldhe%7ET4\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jvfexqtaldhe%7ET4<\/a><\/p>\n<p>Here is their four page credit list for Walter DeVenne:<\/p>\n<p><a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wvfuxq85ldde%7ET4\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wvfuxq85ldde%7ET4<\/a><\/p>\n<p>First there was an article in Medialine, the former &#8220;Replication News&#8221;.<\/p>\n<p><b>Radio DJ Remasters Vintage Vee Jay, Sun Catalogs<\/b><br \/>\n<a href=\"http:\/\/www.medialinenews.com\/issues\/2000\/preparation\/0606\/0606.2.shtml\">http:\/\/www.medialinenews.com\/issues\/2000\/preparation\/0606\/0606.2.shtml<\/a><\/p>\n<p>that is followed by an article I wrote for THE MEDFORD TRANSCRIPT in September of 2006 which a radio chatboard absconded with <a href=\"http:\/\/www.websitetoolbox.com\/tool\/post\/bsnpubs\/vpost?id=1406752\">http:\/\/www.websitetoolbox.com\/tool\/post\/bsnpubs\/vpost?id=1406752<\/a><br \/>\n(the story follows the Medialine story).<\/p>\n<p><a href=\"http:\/\/3.bp.blogspot.com\/_XDwdAyUP_ts\/RpBd0FgQHPI\/AAAAAAAAAAk\/1fQhmzwmlvU\/s1600-h\/little%2Bwalter%2Bdevenne.jpg\"><img decoding=\"async\" id=\"BLOGGER_PHOTO_ID_5084667128713321714\" alt=\"\" src=\"http:\/\/3.bp.blogspot.com\/_XDwdAyUP_ts\/RpBd0FgQHPI\/AAAAAAAAAAk\/1fQhmzwmlvU\/s320\/little%2Bwalter%2Bdevenne.jpg\" border=\"0\" \/><\/a><\/p>\n<p>Radioworld has picked up the story and we&#8217;ve revamped it with more biographical information. It is very thorough and will be published in August of 2007, so keep watching this site.<\/p>\n<p><b>Radio DJ Remasters Vintage Vee Jay, Sun Catalogs<\/b><br \/>\nby Joe ViglioneWhen you walk into Walter DeVenne&#8217;s office\/recording studio, you have literally walked into a time machine. And &#8220;Little Walter&#8217;s Time Machine&#8221; is the name of his show when he&#8217;s on the road, or at WODS-FM in Boston, MA.<\/p>\n<p>On his desk is an order to re-master the entire Vee Jay catalog for the Collectables label, as well as an urgent call to put together <i>Sun Records: The Definitive Hits<\/i>.<\/p>\n<p>DeVenne doesn&#8217;t just master these records.<\/p>\n<p>&#8220;It&#8217;s going to sound the way the record sounded. I want it to sound the way I heard it when I dropped the needle on it (the record), not the way it was in the studio. There were probably only 12 people in the studio!&#8221;<\/p>\n<p>What DeVenne does is make the records &#8220;right,&#8221; the way people heard them on the radio, or the way the original mastering engineer put the material out to the world.<\/p>\n<p>&#8220;I was doing some Chuck Berry stuff for the radio, putting masters together for radio broadcast&#8211;not CD release,&#8221; he notes. DeVenne&#8217;s stereo mix of &#8220;Mony Mony&#8221; by Tommy James &amp; The Shondells delights listeners of Oldies 103 in Boston. The rest of the world has to hear the mono version on Roulette. DeVenne, who incidentally has the entire Roulette catalog in his vaults, opines that Chuck Berry&#8217;s original records &#8220;exploded off the turntable. The CDs didn&#8217;t explode. It&#8217;s the person doing the mastering that&#8217;s the key to it. It&#8217;s not going to sound the same (if the person mastering tries to go for a &#8216;clean&#8217; re-master as opposed to making it sound like the record sounded)&#8230;I want to hear it (with) the impact that it had. Authenticity!&#8221;<\/p>\n<p>Generally, DeVenne prefers stereo mixes when they&#8217;re available, but still wants the record to sound as close as it originally sounded on the radio. The worst-case scenario, the mastering engineer points out, is RCA&#8217;s reissue of the Sun Records masters by Elvis Presley: &#8220;Scratches in glorious stereo&#8230;that don&#8217;t correspond&#8221; (from speaker to speaker because a stereo needle was used from the mono acetate source).<\/p>\n<p>When I walked in, he was playing a hideous source tape from a client&#8211;a cassette made from a rare record. The song was &#8220;I Love You&#8221; by The Shadows. Walter heard a &#8220;tick&#8221; between second 2:17 and 2:18. He removed the tick and the hiss. He uses his pre-sets with different filters; he seeks the best source tapes. &#8220;They haven&#8217;t invented anything to take distortion out. You can hide it a little, [but] when they say &#8216;the distortion is gone&#8217; they&#8217;ve found a better source (tape).&#8221;<\/p>\n<p><i>The Doo Wop Box <\/i><\/p>\n<p><i>(Rhino) went gold selling 500,000 units to everyone&#8217;s surprise. Everyone but Little Walter. <\/i><\/p>\n<p><i>Of the Vee Jay project featuring early bluesmen, DeVenne comments, &#8220;I was in heaven doing the Jimmy Reed stuff. Peter Wolf (lead singer of the former J. Geils Band) was recently in the studio and said, &#8216;I have these records at home and they just don&#8217;t sound like that.'&#8221; Wolf was talking about the John Lee Hooker <i>Boom Boom <\/i><\/i><\/p>\n<p><i><i>album from 1959. It will be out in stereo for the first time on the Collectables label through a deal with Vee Jay and Rhino. &#8220;Gene Chandler was the last thing I did last week,&#8221; says DeVenne, of remixing &#8220;Duke Of Earl&#8221; in stereo from a better source for the Vee Jay project. DeVenne&#8217;s impressive credits include the German label Bear Family Records, for whom he has put together box sets of Little Richard, Fats Domino and The Platters. <\/i><\/i><\/p>\n<p><i><i>The studio&#8217;s wall is adorned by record covers. The vibe is further enhanced by the numerous stored CDs, DATs, and master tapes, housed securely in a facility a little north of Boston, and lovingly protected and put &#8220;right&#8221; by a legendary DJ of Boston radio. When you see &#8220;A&amp;R\/Mastering by Little Walter DeVenne,&#8221; you&#8217;ll know you&#8217;ve got the right thing. <\/i><\/i><\/p>\n<p><a href=\"http:\/\/www.websitetoolbox.com\/tool\/post\/bsnpubs\/vpost?id=1406752\"><br \/>\nhttp:\/\/www.websitetoolbox.com\/tool\/post\/bsnpubs\/vpost?id=1406752<\/a><\/p>\n<p>it is also on Walter&#8217;s own site <a href=\"http:\/\/www.littlewalter.com\/\" target=\"_blank\">http:\/\/www.littlewalter.com\/<\/a><\/p>\n<p>Time Machine comes back to the future<br \/>\nBy Joe Viglione\/ Correspondent<br \/>\nMedford (MA) Transcript<br \/>\nThursday, September 21, 2006<\/p>\n<p>For many years Little Walter DeVenne &#8211; legendary Boston disc jockey whose broadcasting creds include WBCN, WROR, WFNX, WMEX, WODS\/Oldies 103.3 and Medford\u2019s WXKS-AM 1430, before it turned into Boston\u2019s Progressive Talk &#8211; did his mastering from a studio outside of Medford Square. These days, DeVenne and his family are living in Derry, N.H., but he continues to master CDs and create his radio show, &#8220;Little Walter\u2019s Time Machine.&#8221; Today you can hear Little Walter\u2019s Time Machine Sunday nights on North Shore 104.9 FM WBOQ, from 8 p.m.-12 a.m., on the same station as the Red Sox. The program is syndicated nationally.<\/p>\n<p>DeVenne recently spoke about the radio show, his mastering work for a variety of record labels and his recent (and successful) battle against throat cancer. &#8220;We\u2019re on in Chicago, we\u2019re on in Cincinnati, we\u2019re on in Hawaii, we\u2019re all over the place,&#8221; the Boston area icon noted, adding he\u2019s also excited about returning to the club scene this Friday and Saturday night at the Terra Marra, near the Outback Steakhouse, off of Route 93 (at exit 47) in Methuen. &#8220;I worked on Route 1 for 20 years at a variety of venues. I\u2019ve been doing clubs for 40 years, starting out at the Beach Ball in Revere, opening for Aerosmith.&#8221;<\/p>\n<p>DeVenne\u2019s spinning creates an amazing vibe wherever he brings his extensive collection of music. With hip-hop and house music permeating the in-town clubs, the members of the Masspool DJ Association, Disc Jockeys Latinos Record Pool and other collaboratives would be wise to study at the feet of the master. DeVenne was mixing and scratching (well, literally scratching a record that need not be played) before most of the current jocks were even born.<\/p>\n<p>Battle with cancer<br \/>\nThough ever-present on radio, DeVenne was conspicuous in his absence on the club circuit. He was candid about what happened. &#8220;I noticed a couple of lumps in my neck and had my first operation in October. Like Dion (DiMucci of &#8220;The Wanderer&#8221; fame) said, \u2019If I didn\u2019t have a wife or a mother, I would never have sought medical advice because it didn\u2019t hurt!\u2019&#8221; he said. &#8220;It was just a couple of lumps in my neck. You gotta have someone to care for you to get these things looked at. It wasn\u2019t going away so my (very worried) wife brought me over to the doctors.<\/p>\n<p>&#8220;I went through cat scans and pet scans &#8211; none of it said it was cancer, it just said there were a couple of lumps in my throat,&#8221; he continued. &#8220;They were going to stick a needle in my neck so I told them to operate on me.&#8221; DeVenne started doing chemo and radiation, something he still recalls vividly. &#8220;They make a form-fitting face mask with netting so you can see through, (and) they screw it down. [That way I got] the radiation treatment in the same place on my neck,&#8221; he said. &#8220;The chemo is what I really had a reaction to and that\u2019s what put me in the hospital for a couple of weeks. I begged them to let me out, so my wife learned how to give me the IV. At 9 a.m., I\u2019d have to get up, take the IV &#8211; they left it in my arm for the two weeks with what looked like an RCA plug.&#8221;<\/p>\n<p>Still able to maintain his humor through what he termed a horrific experience, the radio legend declared of his therapy, &#8221; I only fell down a couple of times!&#8221; &#8220;When they put that radiation on the throat, it is like getting a super duper sunburn. The definitive sore throat, not being able to taste anything&#8221; DeVenne said. &#8220;It took about six months after the radiation for me to get my taste buds back and be able to swallow. (Though I hear) it\u2019s different for different people.<\/p>\n<p>But now Little Walter is back &#8211; on the air, in the clubs and at work with other music acts. &#8220;I did a Spike Jones package for Capitol Records which was funny, but not my usual kind of thing,&#8221; he said. &#8220;Today (Sept. 13), they are going to reissue \u2019The Knockouts meet the Genies.\u2019&#8221; On Sept. 17, DeVenne went to work on a Bobby Darin &#8220;two album on one&#8221; CD piece, as well as a similar Irma Thomas package for Liberty\/Capitol. &#8220;It\u2019ll be out soon,&#8221; he said of the mastering work. &#8220;Irma features \u2019Time Is On My Side,\u2019 she did the original that the Rolling Stones ripped off from her. She was so mad at them, she didn\u2019t sing the song for years. Note for note identical! She went on that soulful tour that Peter Wolf emceed seven or eight years ago with Chuck Jackson, Percy Sledge, Ben E. King and others.&#8221; Obscure music from groups like The Knockouts and The Genies are for collectors, for sure &#8211; and DeVenne knows how to put the music back together so that it sounds as authentic as it did when fans originally bought the tunes on vinyl.<\/p>\n<p>&#8220;That was fun,&#8221; he said in his always uptempo and highly recognizable radio voice. &#8220;I did that today, there was only about 14 tracks on the CD. This was for Collectibles.&#8221; Collectibles Records is a respected label which reissues music, with DeVenne usually overseeing that reproduction work. &#8220;I\u2019m real proud of some work I did with Dion,&#8221; he notes. &#8220;Collectibles came out with \u2019Dion &amp; Friends Live In New York.\u2019 This thing could\u2019ve been a one man Broadway show if he had decided to perform more than just the two nights. The new CD\u2019s got all his hits, all his new stuff, a couple of gospel tracks that are very palatable. It was an absolute magic night! You should see his face when he sings \u2019Teenager in Love.\u2019 I gave him the line, \u2019If I live to be 200 I\u2019m always going to be a teenager in love.\u2019 He uses that line in concert.&#8221;<\/p>\n<p>In DeVenne\u2019s studio, the phone always rings with someone famous on the other line. Nino Tempo of the song, &#8220;Deep Purple,&#8221; fame was on the phone at one point. Because of this, DeVenne is known worldwide, having done not only exhaustive radio work, but television appearances as well as a long resume of mastered recordings which can be found on Allmusic.com.<\/p>\n<p>The treasures in DeVenne\u2019s archives include dozens of live shows by Little Richard, including the only known live tape of Jimi Hendrix performing with Richard Penniman, Don &amp;amp;amp;amp;amp;amp; Dewey and Maxine Brown (although there is a studio 45 RPM of Jimi with Little Richard that was recorded around this period). Recorded way back when by DeVenne at the Back Bay Theater in Boston, the tape was mentioned when DeVenne was being interviewed for Visual Radio sometime in the 1990s. After the discovery, Experience Hendrix, Jimi Hendrix\u2019s family-owned company, heard the tape as re-played from the original broadcast tape from WTBS (now WMBR), the information landing in Steve Roby\u2019s Hendrix book, &#8220;Black Gold.&#8221; DeVenne\u2019s work with the PBS Doo Wop shows and the four CD sets of Doo Wop music on Rhino also needs to be mentioned.<\/p>\n<p>When asked who got him back into circulation after the hospitalization, it turns out to be his old friend Dion. &#8220;He\u2019s the first one to get me out of my house last month, he was over at the Mohegan Sun in August,&#8221; DeVenne said.<\/p>\n<p>On the air&#8230;<br \/>\nLooking to listen to Little Walter\u2019s Time Machine? You can log on to find information on affiliated stations on <a href=\"http:\/\/www.littlewalter.com\/\" target=\"_blank\">http:\/\/www.littlewalter.com\/<\/a> Check that site for online streaming to hear the show.<br \/>\nFor fans interested in sending their best wishes to the radio icon,<\/p>\n<p>More of my writings regarding these icons can be found in the book<br \/>\nTHE ALL MUSIC GUIDE TO THE BLUES<a href=\"http:\/\/books.google.com\/books?id=qYtz7kEHegEC&amp;pg=PT152&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lpg=PT152&amp;dq=little+walter+joe+viglione&amp;amp;amp;source=web&amp;ots=AL9Mt02vd_&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;sig=CfFlio9WO_lJwbNAIf8MLFOBOWQ\"><br \/>\nhttp:\/\/books.google.com\/books?id=qYtz7kEHegEC&#038;pg=PT152&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lpg=PT152&#038;dq=little+walter+joe+viglione&amp;amp;source=web&#038;ots=AL9Mt02vd_&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;sig=CfFlio9WO_lJwbNAIf8MLFOBOWQ<br \/>\n<\/a><\/p>\n<p>===============================================================<br \/>\nLITTLE JOE COOK, BOBBY HEBB, HERB REED<\/p>\n<p>These great R &amp; B artists migrated to the Boston area and call it their home.<\/p>\n<p>LITTLE JOE COOK<\/p>\n<p>A compilation on vinyl (later to be released on CD, perhaps slightly altered),<br \/>\nA BLAST FROM THE PAST is an important starting point for the music of<br \/>\nLittle Joe Cook<br \/>\n<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;sql=10:hzfrxql0ld0e\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:hzfrxql0ld0e<\/a><\/p>\n<p>&nbsp;<\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\"><\/td>\n<td align=\"right\"><\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">The Top 25 song from 1957, &#8220;Peanuts,&#8221; leads off this majestic 32-song compilation released by Little Joe Cook&#8217;s own Beantown International in 1997. This generous disc is a very easy listen for fans of rock &amp; roll, rhythm and blues, pop, and American music. The falsetto on &#8220;Peanuts&#8221; inspired <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;sql=11:aifexqr5ldde\">Frankie Valli<\/a>; in fact, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:h9fuxqq5ldte\">the Four Seasons<\/a> recorded the tune, although it was credited to another songwriter on their disc (and other covers as well, for a very long time).<br \/>\nComplete review here: <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;sql=10:hzfrxql0ld0e\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:hzfrxql0ld0e<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>In God We Trust<\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">Developed in August of 2002 and released some months later in 2003, Little Joe Cook&#8217;s 80th year, <i>In God We Trust<\/i> combines new renditions of previously written songs as well as material culled from 45s, much of it never before available on an album or CD. &#8220;Mr. Bush in the White House Chair&#8221; was actually written while Jimmy Carter was in office, and re-recorded with new lyrics at Cook&#8217;s home studio after the tragedy that was 9\/11\/2001.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>full review here:<br \/>\n<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:gxfexqqaldfe\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:gxfexqqaldfe<\/a><\/p>\n<p>Lady From The Beauty Shop<\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">This 1996 album comes almost 40 years after his Top 25 hit &#8220;Peanuts.&#8221; There are six studio tracks, beginning with the title tune, and five live performances from the Boston club the Cantab, ending with &#8220;Lady From the Beauty Shop.&#8221; In between is classic rock &amp; roll fused with&#8230;<br \/>\nFull review here:<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><a href=\"http:\/\/www.answers.com\/topic\/lady-from-the-beauty-shop?cat=entertainment\">http:\/\/www.answers.com\/topic\/lady-from-the-beauty-shop?cat=entertainment<\/a><\/p>\n<p><a href=\"http:\/\/www.answers.com\/topic\/lady-from-the-beauty-shop?cat=entertainment\">http:\/\/www.answers.com\/topic\/lady-from-the-beauty-shop?cat=entertainment<\/a><\/p>\n<p>HERB REED AND THE PLATTERS<\/p>\n<p>Herb Reed, like Little Joe, moved to the Boston area. He has played around New England for decades now. Here is a review of one of the group&#8217;s discs that I wrote for AMG:<\/p>\n<p>The New Golden Hits of THE PLATTERS<br \/>\n<a href=\"http:\/\/www.icebergradio.com\/album\/15376\/review\"><br \/>\nhttp:\/\/www.icebergradio.com\/album\/15376\/review<\/a><\/p>\n<p><a href=\"http:\/\/1.bp.blogspot.com\/_XDwdAyUP_ts\/RpBU2lgQHMI\/AAAAAAAAAAM\/9QHixOSPw5M\/s1600-h\/New+Golden+Hits+of+THE+PLATTERS.jpg\"><img decoding=\"async\" id=\"BLOGGER_PHOTO_ID_5084657276058344642\" alt=\"\" src=\"http:\/\/1.bp.blogspot.com\/_XDwdAyUP_ts\/RpBU2lgQHMI\/AAAAAAAAAAM\/9QHixOSPw5M\/s320\/New+Golden+Hits+of+THE+PLATTERS.jpg\" border=\"0\" \/><\/a><br \/>\n<a href=\"http:\/\/www.icebergradio.com\/album\/15376\">New Golden Hits Of The Platters<\/a> was the fourth album and first compilation on the Musicor label which garnered the last two of 23 Top 40 hits for the reconstituted group after they left Mercury. Those new songs, &#8220;I Love You 1,000 Times&#8221; from 1966 and 1967&#8217;s gem &#8220;With This Ring,&#8221; are included here, along with &#8220;Washed Ashore (On a Lonely Island in the Sea).&#8221; Those are the three original titles as recorded by the revamped <a href=\"http:\/\/www.icebergradio.com\/performer\/5154\/platters\">Platters<\/a>. Like <a href=\"http:\/\/www.icebergradio.com\/performer\/93355\/kenny-rogers\">Kenny Rogers<\/a>&#8216; <a href=\"http:\/\/www.icebergradio.com\/album\/542110\">Ten Years Of Gold<\/a> album on United Artists Records where he re-recorded five of his hits with <a href=\"http:\/\/www.icebergradio.com\/performer\/24317\/the-first-edition\">The First Edition<\/a> for his new label, <a href=\"http:\/\/www.icebergradio.com\/performer\/5154\/the-platters\">The Platters<\/a> used that same formula ten years before <a href=\"http:\/\/www.icebergradio.com\/performer\/93355\/rogers\">Rogers<\/a>&#8216; 1977 release. It is interesting hearing <a href=\"http:\/\/www.icebergradio.com\/performer\/133273\/sonny-turner\">Sonny Turner<\/a> with his take on some of the original hits, 1957&#8217;s &#8220;I&#8217;m Sorry&#8221; ten years after the fact, along with &#8220;Only You,&#8221; &#8220;The Great Pretender,&#8221; &#8220;You&#8217;ve Got The Magic Touch,&#8221; &#8220;My Prayer,&#8221; &#8220;Heaven on Earth,&#8221; &#8220;Twilight Time,&#8221; and &#8220;Smoke Gets in Your Eyes,&#8221; among others.<\/p>\n<p>Full review here:<a href=\"http:\/\/www.answers.com\/topic\/the-new-golden-hits-of-the-platters?cat=entertainment\"><br \/>\nhttp:\/\/www.answers.com\/topic\/the-new-golden-hits-of-the-platters?cat=entertainment<\/a><br \/>\n<a href=\"http:\/\/music.yahoo.com\/read\/review\/21708627\"><br \/>\nhttp:\/\/music.yahoo.com\/read\/review\/21708627<\/a><\/p>\n<p>1967<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:k9fuxqr5ldke\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;sql=10:k9fuxqr5ldke<\/a><\/p>\n<p>BOBBY HEBB<a href=\"http:\/\/www.djangomusic.com\/artist_bio.asp?pid=P++++30356&amp;morebio=1\"><br \/>\nhttp:\/\/www.djangomusic.com\/artist_bio.asp?pid=P++++30356&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;morebio=1<\/a><\/p>\n<p>When I found a copy of &#8220;Judy&#8221;, a 45 RPM on Crystal Ball Records (probably purchasing it in Central Square at Cheapo Records in the mid 1980s) I wrote to Bobby Hebb at the address on the disc. He wrote me a very nice letter back.<\/p>\n<p>Fast forward to 1995. After Marty Balin helped me launch Visual Radio as my first guest, Bobby Hebb agreed to appear on show #3. Joe Tortelli wrote a piece in Goldmine Magazine after Bobby appeared on the show while the reviews of his recordings I began writing for AllMusic.com around 2000.<\/p>\n<p>Bobby Hebb bio<br \/>\n<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kzftxq95ldke%7ET1\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;sql=11:kzftxq95ldke~T1<br \/>\n<\/a><br \/>\nThere is a ton of information, of course, as I am helping Mr. Tortelli compile the official biography of Bobby Hebb. Go to the above link to read the entire bio:<\/p>\n<table id=\"bio\" width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Biography<\/td>\n<td align=\"right\" width=\"352\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">Bobby Hebb made his stage debut on his third birthday, July 26, 1941, when tap dancer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:d9foxq90ldke\">Hal Hebb<\/a> introduced his little brother to show business at The Bijou Theater. This was an appearance on The Jerry Jackson Revue of 1942 even though it was 1941, &#8220;that was how Jerry, a big man in vaudeville in the &#8217;30s, &#8217;40s, and &#8217;50s, did things&#8221; noted the singer. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:HAROLD%7CHEBB\">Harold Hebb<\/a> was nine years of age at the time and the young brothers worked quite a few nightclubs before Bobby Hebb entered first grade. Nashville establishments like The Hollywood Palm, Eva Thompson Jones Dance Studio, The Paradise Club, and the basement bar in Prentice Alley as well as the aforementioned Bijou Theater found <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifqxql5ldae\">Bobby<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;sql=11:gjfqxq9hldje\">Hal<\/a> dancing and singing tunes like &#8220;Lady B. Good,&#8221; &#8220;Let&#8217;s Do the Boogie Woogie,&#8221; &#8220;Lay That Pistol Down Babe,&#8221; and other titles that were popular at that time. Hebb&#8217;s father, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:WILLIAM%7CHEBB\">William Hebb<\/a>, played trombone and guitar, his mother, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:OVALLA%7CHEBB\">Ovalla Hebb<\/a>, played piano and guitar, while his grandfather was a chef\/cook on the Dixie Flyer, an express train on the L&amp;N \u2014 Louisville &amp; Nashville railroad. Brother <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:HAROLD%7CHEBB\">Harold Hebb<\/a> would eventually join Excello recording artists <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:wifwxqlgldfe\">the Marigolds<\/a>, documented in <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JAY%7CWARNER\">Jay Warner<\/a>&#8216;s biography of singer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:jcfrxqu5ldfe\">Johnny Bragg<\/a>, the book Just Walkin&#8217; in the Rain<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>Complete bio here:<br \/>\n<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kzftxq95ldke%7ET1\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;sql=11:kzftxq95ldke~T1<br \/>\n<\/a><a href=\"http:\/\/www.djangomusic.com\/artist_bio.asp?pid=P++++30356&amp;morebio=1\">http:\/\/www.djangomusic.com\/artist_bio.asp?pid=P++++30356&amp;morebio=1<\/a><\/p>\n<p>SUNNY<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:hifpxq8gldke\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;sql=10:hifpxq8gldke<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">Produced by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0xfoxql5ldje\">Jerry Ross<\/a> and arranged by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:JOE%7CRENZETTI\">Joe Renzetti<\/a>, &#8220;Sunny&#8221; emerged from a twelve-song disc released on the Phillips label, a division of Mercury records. Although Bobby Hebb is known as &#8220;the song a day man,&#8221; he only composed three of the dozen titles included on this collection. The title track, of course, which was <i>the<\/i> song of the summer of 1966, &#8220;Yes or No or Maybe Not,&#8221; and &#8220;Crazy Baby.&#8221; The follow-up, &#8220;A Satisfied Mind,&#8221; was also a Top 40 hit that year, but it wasn&#8217;t until 1971, when <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifexqr5ldje\">Lou Rawls<\/a> had a Top 20 hit with &#8220;Natural Man,&#8221; did Hebb get another smash. A pity, and a definite statement about the music industry when a man as prolific and talented as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:ROBERT%7CVON%7CHEBB\">Robert Von Hebb<\/a> constructs and delivers pop tunes with a voice and feeling that crosses genres and ethnic boundaries.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>LOVE GAMES<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:azfixqy0ldhe\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;sql=10:azfixqy0ldhe<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">The voice and pen that crafted the multi-format standard &#8220;Sunny&#8221; took four years to create as exquisite an album of adult contemporary R&amp;B as you&#8217;ll find. This was recorded a full year before <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:hifexqr5ldje\">Lou Rawls<\/a> would hit with the Bobby Hebb\/<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wbfrxqegldte\">Sandy Baron<\/a> composition &#8220;A Natural Man,&#8221; three years before <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:BARRY%7CWHITE\">Barry White<\/a> would begin his reign of chart success, and two years before <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CO%5C%27JAYS\">the O&#8217;Jays<\/a> would help bring the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:GAMBLE\">Gamble<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:HUFF\">Huff<\/a> sound to the masses.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>THAT&#8217;S ALL I WANNA KNOW<br \/>\n<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dpfpxqqdldke\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;sql=10:dpfpxqqdldke<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">For Bobby Hebb&#8217;s first album of the new millennium, executive producer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fzfyxqwsldde\">R\u00fcdiger Ladwig<\/a> wanted to create something that would be unique and new to the veteran&#8217;s dedicated worldwide fan base \u2014 an overview of the songwriter\/performer&#8217;s career, generating a different sound with European musicians. It&#8217;s an effective move similar to <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:g9frxqu5ldhe\">Gordon Haskell<\/a>&#8216;s reinvention on the Road to Harry&#8217;s Bar live DVD. Recorded in Germany the week that the Iraq War began in March of 2003, and originally titled <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:hzftxqesldfe\"><i>Midnight Adventures<\/i><\/a> by Hebb, the music sounds like an antidote to the troubling situation that was brewing just a few countries away. But that&#8217;s the positive attribute of the masterpiece that is &#8220;Sunny,&#8221; here in duet form with vocalist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:jxfqxqyjldte\">Astrid North<\/a>, one of two duets tracked at the sessions (the second is available only on the CD single, with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wnfyxqtsldte\">Pat Appleton<\/a> singing in French). Producer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:fzfyxqwsldde\">Ladwig<\/a> keeps a very controlled sound throughout the disc, his ingenuity coming from the song selection and his history as a Hebb fan. There&#8217;s a remake of the lost Philips single &#8220;Bound by Love,&#8221; one of the many follow-ups to the original &#8220;Sunny&#8221; (which stays close to the original), and a quite wonderful cover of the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wxfyxqr5ld6e\">G. Love &amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp; Special Sauce<\/a> nugget<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>MOULTY &amp; THE BARBARIANS<br \/>\n<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;sql=11:jcfuxqugldje%7ET1\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jcfuxqugldje~T1<\/a><\/p>\n<table id=\"bio\" width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\"><\/td>\n<td align=\"right\" width=\"352\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">Victor Moulton, better-known in rock circles and to record collectors as the legendary Moulty of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:THE%7CBARBARIANS\">the Barbarians<\/a>, is an enigmatic figure whose appearance on the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:NUGGETS\">Nuggets<\/a> vinyl and CD compilations only added to his mystique. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:THE%7CBARBARIANS\">The Barbarians<\/a> formed on Cape Cod, MA, in the early &#8217;60s, were touted as America&#8217;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ROLLING%7CSTONES\">Rolling Stones<\/a>, and with appearances on TV&#8217;s <i>Shindig<\/i>, as well as in the film <i>The T.A.M.I. Show<\/i> with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:THE%7CSTONES\">the Stones<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CSUPREMES\">the Supremes<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;sql=1:LESLEY%7CGORE\">Lesley Gore<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:CHUCK%7CBERRY\">Chuck Berry<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;sql=1:JAMES%7CBROWN\">James Brown<\/a>, and others, they could have been just that. Under the aegis of record producer\/music executive <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DOUG%7CMORRIS\">Doug Morris<\/a>, the band had a couple of songs to go along with their image and sound. After their 1965 release on Laurie, the album originally entitled <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=2:THE%7CBARBARIANS\">The Barbarians<\/a> (now on CD as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:ARE%7CYOU%7CA%7CBOY%7COR%7CARE%7C\">Are You a Boy or Are You a Girl?<\/a>), along with the follow-up autobiographical hit &#8220;Moulty&#8221; (included on the CD re-releases of the album debut), the group switched to Mercury to record a still unreleased album and then disbanded. The single &#8220;Moulty&#8221; was essentially Moulton in New York with members of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:BOB%7CDYLAN\">Bob Dylan<\/a>&#8216;s band <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CHAWKS\">the Hawks<\/a>, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;sql=1:DOUG%7CMORRIS\">Doug Morris<\/a> at the helm again. The song was written by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MORRIS\">Morris<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;sql=1:ELIOT%7CGREENBERG\">Eliot Greenberg<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BARBARA%7CBAER\">Barbara Baer<\/a>, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;sql=1:ROBERT%7CSCHWARTZ\">Robert Schwartz<\/a>, and was released without the consent of the band, a fact that may have led to the defection to Mercury. The <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:NUGGETS\">Nuggets<\/a> compilation hinted that it may have been some of the musicians from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:LEVON%7C&amp;%7CTHE%7CHAWKS\">Levon<br \/>\n<\/a><a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;sql=1:LEVON%7C&amp;%7CTHE%7CHAWKS\">Full biography here:<br \/>\n<\/a><a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;sql=11:jcfuxqugldje%7ET1\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;sql=11:jcfuxqugldje%7ET1<\/a>From THE BAND&#8217;s web site, information from the interview with Moulty conducted by Joseph Tortelli and Joe Viglione on Visual Radio<a href=\"http:\/\/theband.hiof.no\/albums\/are_you_a_boy_or_are_you_a_girl.html\">http:\/\/theband.hiof.no\/albums\/are_you_a_boy_or_are_you_a_girl.html<\/a>The song &#8220;Moulty&#8221; from the 1966 Barbarians single &#8220;Moulty&#8221;\/&#8221;I&#8217;ll Keep On Seeing You&#8221; (Laurie 3326) was added to the songs from the original LP on the CD re-release of this Barbarians album. In interviews with members of the Barbarians, they claim that the Hawks (minus the departed Levon Helm) played on the track &#8220;Moulty&#8221;. This has later been confirmed by the Barbarians&#8217; one-handed drummer Victor &#8220;Moulty&#8221; Moulton, through his friend, artist and producer <a href=\"http:\/\/www.varulven.com\/joeviglione.html\">Joe Viglione<\/a> (who in 1998 released the compilation <a href=\"http:\/\/www.geocities.com\/SunsetStrip\/Palladium\/3285\/\">Boston Rock and Roll Anthology #20<\/a> on his own label Varulven Records, with two previously unreleased tracks credited to Moulty &amp; the Barbarians.)Here&#8217;s an excerpt from an interview Viglione did with Moulton for the July &#8217;98 issue of <a href=\"http:\/\/www.collect.com\/interest\/periodical.asp?Pub=DI&amp;amp;amp;amp;amp;cookie%5Ftest=1\">Discoveries<\/a> magazine:<br \/>\nDiscoveries: Did the Band &#8211; then known as the Hawks &#8211; play on &#8216;Moulty&#8217; as rumored in the liner notes to the Nuggets compilation? (Nuggets &#8211; Original Artifacts From The First Psychedelic Era (1965-1968), Elektra 7E-2006 1972, two LP set, includes &#8216;Moulty&#8217;.)Moulty: That&#8217;s more than just a rumor. A lot of the Hawks &#8211; the Bob Dylan band &#8211; backed me up on &#8216;Moulty.&#8217; I stayed in New York with my manager and road manager to try the &#8216;Moulty&#8217; thing. I sent the rest of the band back to Boston. We were just going to try this thing, so we brought in Dylan&#8217;s band, and we put it together. Just to try it. But it worked well, so they kept it. But as soon as the kids started yelling for &#8216;Moulty&#8217; we had to learn the song.Discoveries: How many songs did the musicians from the Band play on?Moulty: Just &#8216;Moulty.&#8217; They were great to work with. The harp player was an older gentlemen, a real professional. We had a great session. It went very smoothly because of Doug Morris. I did my thing, rearranged the words, did my talking, making it real. There&#8217;s a unique little story about &#8216;Moulty.&#8217; When that song came out, the reaction we got was odd and unexpected. When we&#8217;d play that song, it would do something to a lot of these kids out there. We noticed kids by the droves would come up crying and broken down. Some of the words in the song hit them hard. They would come and say things to me: &#8216;I wouldn&#8217;t have made it through such-and-such a time if it wasn&#8217;t for that song.&#8217; They would hug me and break down and cry. The words to the song are true. I didn&#8217;t make that up. All young people &#8211; all people &#8211; are hurting inside, and we have fears and hurts and things we try to overcome. Sometimes we try to cover them up, but they are there. A lot of people would tell me, &#8216;If it wasn&#8217;t for that song I wouldn&#8217;t have made it through my senior year,&#8217; or &#8216;I would have committed suicide.&#8217; They weren&#8217;t afraid to break down about it. So I understood it was a little more than a rock &#8216;n&#8217; roll song for these kids. I hit these kids in the heart. And it still goes on today. I didn&#8217;t realize that would happen. I didn&#8217;t even want them to release the thing.Discoveries: Was your anger about &#8216;Moulty&#8217; based on the fact that the Band played on it rather the Barbarians themselves?<br \/>\nMoulty: No. I made a deal with them that if I didn&#8217;t want it released, they wouldn&#8217;t release it. I said, &#8216;No.&#8217; Then they released it behind my back. We were mad. But to our surprise, it charted.SEE ALSO MAD SESSION 2\/22\/05 (The sons of Moulty)<\/p>\n<p>THE FIFTH ESTATE<\/p>\n<p>Wayne Wadhams biography<br \/>\n<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wzfpxqrgldke%7ET1\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;sql=11:wzfpxqrgldke~T1<br \/>\n<\/a><\/p>\n<p>DING DONG THE WITCH IS BACK<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;token=&amp;amp;amp;amp;amp;amp;sql=10:jzfpxqy5ldae\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;token=&amp;amp;amp;amp;amp;amp;sql=10:jzfpxqy5ldae<\/a><\/p>\n<p><a href=\"http:\/\/www.mp3.com\/albums\/30631\/summary.html\">http:\/\/www.mp3.com\/albums\/30631\/summary.html<\/a><\/p>\n<div id=\"bio\">\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">In the mid-&#8217;60s, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wzfpxqrgldke\">Wayne Wadhams<\/a> performed in a band called <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:THE%7CD-MEN\">the D-Men<\/a> that evolved into the Fifth Estate. They went Top 15 in 1967 with a novelty remake of the <i>Wizard of Oz<\/i> tune &#8220;Ding Dong! The Witch Is Dead!.&#8221; Their only hit on Jubilee Records is very misleading. This group should be as sought after as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MOULTY%7C&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;%7CTHE%7CBARBARIA\">Moulty &amp; the Barbarians<\/a>. This is a very generous collection of demos: songs they wrote for <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:hifuxqr5ldje\">the Righteous Brothers<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:k9ftxqr5ldfe\">Cilla Black<\/a>, and covers of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:fifpxqe5ldae\">Buddy Holly<\/a>&#8216;s &#8220;It&#8217;s So Easy&#8221;&#8221; and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:difuxq95ldke\">John Lee Hooker&#8217;s<\/a> &#8220;Boom Boom.&#8221; This album really goes across the &#8217;60s spectrum, which makes it so fun and so unique. The rhythm tracks to &#8220;I Wanna Shout\/Tomorrow Is My Turn&#8221; sound like <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:kiftxqr5ldde\">the Ventures<\/a> performing in your living room; the second portion of the song descends into a dirty &#8220;In-A-Gadda-Da-Vida&#8221;-type riff. With all the cult fascination for <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifoxqe5ldhe\">Roky Erickson<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:hifoxqw5ldfe\">the Chocolate Watchband<\/a>, it is amazing what the 64-plus minutes on this disc reveal, and even more amazing that this music isn&#8217;t as sought after as so many other bands from that era. A novelty hit, after all, hardly has the lustre of a <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifqxqr5ldae\">Standells<\/a> riff or <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;sql=11:0ifpxqr5ldje\">? &amp; the Mysterians<\/a>&#8216; organ passages. The unreleased 1966 single &#8220;How Can I Find the Way&#8221; sounds like <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:abfwxqygldde\">Barbara Harris<\/a> of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jifrxqwjldhe\">the Toys<\/a>. The liner notes on the back of the CD call this &#8220;A real first: the complete recorded output and memoirs of a group who recorded for four labels between 1964 and 1967.&#8221; The demo for their breakthrough hit, the cover from <i>The Wizard of Oz<\/i> (as well as the hit version) is here, and when you play that next to &#8220;Love Isn&#8217;t Tears Only,&#8221; their demo for <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:hifuxqr5ldje\">the Righteous Brothers<\/a>, the abilities of these New Englanders comes totally into focus.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<p>full review here: <a href=\"http:\/\/www.mp3.com\/albums\/30631\/summary.html\">http:\/\/www.mp3.com\/albums\/30631\/summary.html<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><a href=\"http:\/\/4.bp.blogspot.com\/_XDwdAyUP_ts\/RpBcCVgQHOI\/AAAAAAAAAAc\/TaspznK8PZ8\/s1600-h\/Estate.jpg\"><img decoding=\"async\" id=\"BLOGGER_PHOTO_ID_5084665174503202018\" alt=\"\" src=\"http:\/\/4.bp.blogspot.com\/_XDwdAyUP_ts\/RpBcCVgQHOI\/AAAAAAAAAAc\/TaspznK8PZ8\/s320\/Estate.jpg\" border=\"0\" \/><\/a><\/p>\n<p>WAYNE WADHAMS BIO<\/p>\n<p>See FIFTH ESTATE<br \/>\nFULL CIRCLE<br \/>\nBERKLEE COLLEGE OF MUSIC<br \/>\nSTUDIO B<\/p>\n<p><a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wzfpxqrgldke%7ET1\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wzfpxqrgldke%7ET1<\/a><\/p>\n<table width=\"972\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td rowspan=\"2\" valign=\"top\" width=\"432\">\n<table id=\"bio\" width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Biography<\/td>\n<td align=\"right\" width=\"352\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">Wayne Wadhams, founding member of the &#8217;60s pop group <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fpxqy5ldae\">the Fifth Estate<\/a>, was born on November 12, 1946, in Stamford, CT. He attended Stamford public schools and later Dartmouth College, graduating in June of 1969. Originally class of 1968, Wadhams took off a year plus to tour with <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:f9fpxqy5ldae\">the Fifth Estate<\/a> after &#8220;Ding Dong the Witch Is Dead&#8221; was a hit in mid-1967.At age nine, he lit on fire to become a theatrical pipe-organist, inspired by the million-selling LP <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:GEORGE%7CWRIGHT%7CAT%7CTHE%7C\">George Wright at the Mighty Wurlitzer Pipe Organ<\/a> on the HiFi label. Wadhams&#8217; parents bought him a piano in 1956, then a large Conn electronic organ in 1957. Taking lessons, he began appearing as a &#8220;child prodigy&#8221; at Hammond Organ Society meetings. He played for silent movies at the New Haven Paramount theater, which had a small Wurlitzer with all the bells and whistles; then concertized on larger pipe organs in Philly, Hartford, and finally once in 1959 at Radio City Music Hall, on their huge four-manual Wurlitzer still used daily before feature film presentations. At age 13, Wadhams was approached by managers, but his parents, fearful that he would miss out on a solid <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:azfpxq95ldte\">Eisenhower<\/a> science education and a respectable career, said no more organizing. He was crushed and gave up music until his last term at Rippowam High School, when <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:hifrxqw5ldse\">the Beatles<\/a> appeared on <i>The Ed Sullivan Show<\/i>, a pivotal moment in his career.Wadhams was enamored of early rock from <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxqe5ldje\">the Everly Brothers<\/a> and <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:fifpxqe5ldae\">Buddy Holly<\/a> through <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jifyxqe5ldde\">Little Richard<\/a> and R&amp;amp;amp;amp;amp;amp;B on the Motown and Stax labels. He adapted their songs to lively piano and organ arrangements, sneaking out of classes at Rippowam to play the school&#8217;s electronic church-style organ in the auditorium.Hooked on <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hifrxqw5ldse\">the Beatles<\/a>, Wadhams advertised for musicians to start a group and found <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:0bfexqe5ldhe\">Rick Engler<\/a>, an avid surf music fanatic and soon lead guitarist, working at a nearby Dairy Queen ice cream shop. <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3bfqxqr5ldde\">Doug Ferrara<\/a>, who re-strung his Strat with bass strings, unable to afford a real bass, was second guitaring to <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:0bfexqe5ldhe\">Engler<\/a> in his basement. Lyricist <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3cfixqq5ldde\">Don Askew<\/a> and Wadhams were already writing what would now be called &#8220;Shakespearean rap tunes&#8221; during classes at Rippowam: &#8220;Oh, Baby, you exceed the norm\/You&#8217;re the glass of fashion and the mold of form.&#8221; Wadhams told the All Media Guide a bit about this period: &#8220;<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:3cfixqq5ldde\">Don Askew<\/a> and <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3pfuxqegldte\">Bill Shute<\/a> were among the beat poets of the scene, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:3pfuxqegldte\">Bill<\/a> also playing guitar and mandolin in a folk\/bluegrass band whose motto, according to their card, was &#8216;just a-pickin&#8217; and a-grinnin.&#8217; <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:dbfexqe5ldse\">Ken Evans<\/a>, jazz drummer, answered one of the ads, showing up at our rehearsal space [Wadhams&#8217; parent&#8217;s basement] in a double-breasted black &#8216;n white checked suit &#8212; with beret &#8212; like a Hollywood gangster with his moll [actually his ex-wife Shelly] clad in sleek black leather, dangling from his arm.&#8221; Wadhams told AMG, &#8220;our first gig was outdoors at the Ezio Pinza Theater, Stamford, Connecticut.&#8221;<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:f9fpxqy5ldae\">The Fifth Estate<\/a> hit in April of 1967 with a cover of &#8220;Ding Dong the Witch Is Dead&#8221; adapted from the soundtrack to the film <i>The Wizard of Oz<\/i>. Released on Jubilee Records, it was translated into German, French, Japanese, and Italian along with the original English. The band was an important &#8217;60s group with more songwriting depth than a novelty hit might indicate. A compilation of their music, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jzfpxqy5ldae\"><i>Ding Dong the Witch Is Back!<\/i><\/a>, provides evidence of their fun spirit and keen sense of utilizing the pop\/rock format to express themselves in an entertaining way.Full biography here:<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wzfpxqrgldke%7ET1\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wzfpxqrgldke%7ET1<\/a>EDEN&#8217;S CHILDREN 1968<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;sql=10:kzfyxqt5ldke\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kzfyxqt5ldke<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">Despite production by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kzfexqlgldje\">Bob Thiele<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;sql=11:wcfexqlhld0e\">Frank Kofsky<\/a>&#8216;s horrifying liner notes comparing Eden&#8217;s Children to <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hnfexqr5ldte\">Jimi Hendrix<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:gifixqw5ldte\">Cream<\/a> are the only thing worse than this music. It&#8217;s a weak album, for sure, regardless of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:KOFSKY\">Kofsky<\/a>&#8216;s proclamation that <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:3pfqxqqgldae\">Richard Schamach<\/a> is a better vocalist than <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifixqw5ldde\">Jack Bruce<\/a>. He isn&#8217;t, nor can this Boston band reach the heights of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:gifqxqw5ldde\">Blue Cheer<\/a>, never mind <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifyxqe5ldte\">Mountain<\/a>. &#8220;Goodbye Girl&#8221; is one of the better tracks, resembling very bad <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:acfrxqw5ldke\">Bachman Turner Overdrive<\/a>. The modulation makes it painfully clear how weak a singer &#8220;Sham,&#8221; as ABC wanted the non-existent fans to call <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3pfqxqqgldae\">Richard Schamach<\/a>, really was. There&#8217;s no need for songs like &#8220;If She&#8217;s Right&#8221; with half-baked fuzz guitar, no groove, and drummer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:kpfexq8gld0e\">Jimmy Sturman<\/a> all over the map. Emerging from a world where <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:39fqxq95ldhe\">the Beacon Street Union<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:kpfexq95ldhe\">the Remains<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wnfyxq9kldfe\">Listening<\/a>, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:a9fexqw5ldae\">the Lost<\/a> were making musical waves, these poor souls are way out of that league. To be hyped as better than <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gifixqw5ldte\">Cream<\/a> no doubt created expectations this trio could never live up to. &#8220;I Wonder Why&#8221; is no &#8220;White Room,&#8221; and &#8220;Stone Fox&#8221; is a total embarrassment<br \/>\nFull review here: <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=10:kzfyxqt5ldke\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kzfyxqt5ldke<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>SURE LOOKS REAL Eden&#8217;s Children<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0zfyxqt5ldke\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;sql=10:0zfyxqt5ldke<\/a><br \/>\nReview<\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\"><\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\"><a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kzfexqlgldje\">Bob Thiele<\/a> is back producing, this time with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:JONATHAN%7CWHITCUP\">Jonathan Whitcup<\/a> helping out, and the genius photography of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hpfoxqljldse\">Elliot Landy<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:0ifrxqe5ldhe\">Bob Dylan<\/a>&#8216;s cameraman. It is amazing how much more style the band has with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hpfoxqljldse\">Landy<\/a>&#8216;s photos \u2014 stunning on the inside gatefold, buried inside an apple by photographer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:NORMAN%7CTRIGG\">Norman Trigg<\/a> on the front cover. The band had no image on their first ABC disc, and the rotten apple being eaten by a fly on the back of the LP pretty much sinks it for the band visually. &#8220;Sure Looks Real&#8221; and &#8220;Awakening,&#8221; the first and fifth tracks, actually are listenable. &#8220;Sure Looks Real&#8221; borrows heavily from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifqxqw5ldfe\">the Byrds<\/a>&#8216; &#8220;Eight Miles High&#8221; with vocals taken from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:fifwxqr5ldfe\">the Who<\/a>&#8216;s &#8220;I Can See for Miles.&#8221; <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3pfqxqqgldae\">Richard Schamach<\/a>&#8216;s vocals are as subdued as the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:3pfexqr5ldse\">Don Heckman<\/a> liner notes on this second chapter, but they fall apart, as does the band, on &#8220;Toasted,&#8221; &#8220;Spirit Call,&#8221; and &#8220;Come When I Call.&#8221; It feels like there was no budget here and some of the songs get a better shake than others. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:SHAMACH\">Shamach<\/a> writes nine tracks, bassist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:fjfuxqw5ldde\">Larry Kiley<\/a> pens two, but it doesn&#8217;t matter. &#8220;The Clock&#8217;s Imagination&#8221; is no <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gcfyxq95ldfe\">Strawberry Alarm Clock<\/a>, the vocals, drums, and barely audible folk guitar are augmented by poor backing vocals. Not only does this sound rushed, some of the material wouldn&#8217;t be worthy of inclusion on a soundtrack to filmmaker Ed Wood&#8217;s shoddy work. Even bands from the day like <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:a9ftxqy5ld0e\">Fat<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:apfwxq95ld6e\">Quill<\/a> had some merit and spark which Eden&#8217;s Children failed to find and embrace. There is no identity in the framework of &#8220;Things Go Wrong&#8221; and terrible fuzz guitar in the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:fjfuxqw5ldde\">Larry Kiely<\/a> composition &#8220;Wings,&#8221; which takes &#8220;I Don&#8217;t Need No Doctor&#8221; and decimates that famous riff, though it is hard to imagine this crew actually listening to blues artists. &#8220;Call It Design&#8221; has even less imagination. There are moments on <i>Sure Looks Real<\/i> which indicate better production, and a level of seriousness absent from this mess would have generated a better product. &#8220;Invitation&#8221; could work in the hands of a <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxqr5ldje\">Quicksilver Messenger Service<\/a> because they had direction and desire. &#8220;Echoes&#8221; has the vibe of a demo done in some basement. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:3pfqxqqgldae\">Richard Schamach<\/a>&#8216;s voice destroys a pretty melody and creative guitar playing. A notch above the first album, but the notion that they could have done worse than their self-titled debut is a frightening thought. The music on this record and its predecessor would haunt Boston rock &amp; roll for many years to come, despite the efforts of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:aifpxqw5ldae\">Aerosmith<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifrxqw5ldde\">Boston<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:3iftxqw5ldfe\">the Cars<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfpxqr5ldae\">the Jonzun Crew<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:hifqxqr5ld6e\">New Edition<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifuxqw5ldfe\">Tracy Chapman<\/a>, and other artists who found fame during the time they played in Boston, MA.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>LISTENING 1968<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=10:jzfpxqq0ldde\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jzfpxqq0ldde<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\"><a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jzfoxqqgldte\">Michael Tschudin<\/a> led the Boston-based band Listening, but it is the contributions by former <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;sql=11:giftxqr5ldde\">Velvet Underground<\/a> bassist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:k9fixqrgldae\">Walter Powers<\/a> and guitarist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:jifixqlgldhe\">Peter Malick<\/a> which make this album historic. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:k9fixqrgldae\">Powers<\/a> performed over the years with keyboardist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:fifixq8kld6e\">Willie Alexander<\/a> as members of Capitol Recording Artist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:a9fexqw5ldae\">the Lost<\/a>, the aforementioned <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:giftxqr5ldde\">Velvets<\/a>, and on <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:d9foxqwhld6e\"><i>Autre Chose<\/i><\/a>, a live album from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:ALEXANDER\">Alexander<\/a> released on New Rose in Paris. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jifixqlgldhe\">Peter Malick<\/a> is best known for being <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:3pfoxqygldhe\">Otis Spann<\/a>&#8216;s guitarist and a member of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wjfixqygld6e\">the James Montgomery Band<\/a> on Capricorn. Their legendary status in Boston rock &amp;amp;amp;amp;amp;amp; roll history brings positive notoriety to the fine music on this Vanguard release. &#8220;So Happy&#8221; is the poppiest tune, a cross between <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifrxqe5ldte\">the Monkees<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:dxfuxqlgldte\">the Mojo Men<\/a>, which is quite misleading. The album runs the gamut from pop to blues to jazz. &#8220;Baby Where Are You&#8221; is some strange fusion of Motown and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:difexqe5ld6e\">the Spencer Davis Group<\/a> which then veers off in a frenzy of effects and musical jam. Eight of the 11 tracks are written by keyboard\/vocalist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:jzfoxqqgldte\">Michael Tschudin<\/a>, with three titles attributed to the group. &#8220;See You Again,&#8221; one of the group efforts, is another jam with riffs <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fifwxqr5ldfe\">the Who<\/a> would greatly appreciate. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:3pfexql5ldse\">Phish<\/a>&#8216;s success validates how ahead of its time Listening truly was. There is certainly an identity here as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:TSCHUDIN\">Tschudin<\/a> takes the boys through all sorts of styles inside the tune &#8220;Laugh at the Stars.&#8221; Elements of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:hnfexqr5ldte\">Jimi Hendrix<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifwxqw5ldse\">the Band<\/a>, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:hifrxqr5ldde\">the Vanilla Fudge<\/a> swirl around in the pretty decent production by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wvfexqe5ld6e\">Michael Chechik<\/a>. Where peer group <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:j9fpxq85ldfe\">the Peanut Butter Conspiracy<\/a> sound forced, Listening is right on target. There&#8217;s just no hit single here that could launch these gentlemen from the trap known as &#8220;The Bosstown Sound.&#8221; &#8220;9\/8 Song&#8221; is definite jazz, kind of like latter-day <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifwxqr5ldje\">Rascals<\/a>, and we know how good that was, and how far it didn&#8217;t go. &#8220;Stoned Is&#8221; sounds like <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:giftxqr5ldde\">the Velvet Underground<\/a> performing &#8220;Chest Fever&#8221; by way of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifrxqr5ldje\">Lou Reed<\/a>&#8216;s &#8220;New York Stars&#8221; from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=10:g9fuxqt5ldke\"><i>Sally Can&#8217;t Dance<\/i><\/a>. It would fit perfectly on the &#8217;60s film soundtrack <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:hzfqxqqgld6e\"><i>Psych-Out<\/i><\/a>. <i>Listening<\/i> has punch and creativity which deserved a better fate.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>Beacon Street Union THE EYES OF THE BEACON STREET UNION 1968<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=10:hzfuxq95ldhe\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:hzfuxq95ldhe<\/a><\/p>\n<p>&nbsp;<\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\"><i>The Eyes of the Beacon Street Union<\/i> is a highly experimental album released around the time of the Bosstown sound. Much better than first albums from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:EDEN%5C%27S%7CCHILDREN\">Eden&#8217;s Children<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;sql=11:jpfoxql5ldhe\">Ultimate Spinach<\/a>, the disc, however, lacks direction \u2014 and cohesion. Vocalist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:difixql5ldfe\">John Lincoln Wright<\/a> has the same look that he sports 23 years later on his 1991 <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=2:HONKY%7CTONK%7CVERITE\">Honky Tonk Verite<\/a> CD, including his trademark cowboy hat, but the similarities between these two albums stop there. <i>The Eyes of the Beacon Street Union<\/i> is garage rock and psychedelia, and it is a trip. Where <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ORPHEUS\">Orpheus<\/a> opted for the serious pop of &#8220;Can&#8217;t Find the Time,&#8221; producer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:wbfqxqr5ldje\">Wes Farrell<\/a> includes a recitation by the late <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3zfexqugldte\">Tom Wilson<\/a>, producer of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=2:THE%7CVELVET%7CUNDERGROUN\">The Velvet Underground &amp; Nico<\/a>, acting very avant-garde: &#8220;Look into the gray\/look past the living streets of Boston\/look finally into the eyes of Beacon Street Union.&#8221; Well, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:WILSON\">Wilson<\/a> did a decent job with the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:V.U.\">V.U.<\/a>, but he&#8217;s no <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:gjfrxqugldke\">Crazy World of Arthur Brown<\/a> screaming the immortal line &#8220;I am the god of hellfire.&#8221; The band immediately dips into &#8220;My Love Is.&#8221; resplendent in <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:h9fexqugldje\">Robert Rhodes<\/a>&#8216; (aka music attorney <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:0pfoxq9gldje\">Robert Rosenblatt<\/a>) best <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifpxqr5ldje\">? &amp;amp;amp;amp;amp;amp; the Mysterians<\/a> keyboard sound, very cool &#8217;60s backing vocals, and guitars that are straight from the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:PSYCH%7COUT\">Psych Out<\/a> film soundtrack. In fact, this song would have fit perfectly on that album along with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:aifixqr5ldke\">the Seeds<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gcfyxq95ldfe\">Strawberry Alarm Clock<\/a>. Had <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:wbfqxqr5ldje\">Wes Farrell<\/a> kept the band on this track, the album might have more collectability. &#8220;Beautiful Delilah&#8221; is too novel to keep the momentum going, and &#8220;Sportin&#8217; Life&#8221; is lounge blues. Side two fares a bit better; &#8220;Speed Kills&#8221; and &#8220;Blue Avenue&#8221; are classic &#8217;60s psychedelia, a far cry from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:difixql5ldfe\">John Lincoln Wright<\/a>&#8216;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:SOUR%7CMASH%7CBOYS\">Sour Mash Boys<\/a>, and amazing that it is the legendary Massachusetts country artist singing. &#8220;South End Incident&#8221; refers to the South End of Boston, which has become quite trendy, but in the day <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifyxqr5ldje\">Jonathan Richman<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:MOE%7CTUCKER\">Moe Tucker<\/a> of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:giftxqr5ldde\">the Velvet Underground<\/a>, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:jifrxqr5ldse\">George Thorogood<\/a> would play that part of town \u2014 on the same bill! The music to the song might be an old blues riff, but the body of the work is &#8220;Heartbreaker&#8221; by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fifoxqe5ldke\">Grand Funk Railroad<\/a>, and one wonders if <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:09frxqy5ld0e\">Mark Farner<\/a> had this album and perhaps nicked this vamp a few years later? <i>The Eyes of the Beacon Street Union<\/i> slightly misses the mark, but must be commended for its original approach to this genre. The album cover looks like some history textbook that mistakenly got pressed by Mad Magazine. A mushroom next to an atomic bomb&#8217;s mushroom cloud ought to tell you enough about MGM&#8217;s packaging. A hit single and less cluttered album cover is what these musicians deserved, but what they have is, next to the album <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:LISTENING\">Listening<\/a> by the band of the same name and the hit single from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:ORPHEUS\">Orpheus<\/a>, the best work from the Bosstown sound.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>THE CLOWN DIED IN MARVIN GARDENS 1968 BEACON STREET UNION<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jzfuxq95ldhe\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jzfuxq95ldhe<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\"><i>The Clown Died in Marvin Gardens<\/i> is an original statement by a Boston group who was musically superior to <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:EDEN%5C%27S%7CCHILDREN\">Eden&#8217;s Children<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:jpfoxql5ldhe\">Ultimate Spinach<\/a>, but not as focused as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CREMAINS\">the Remains<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:THE%7CHALLUCINATIONS\">the Hallucinations<\/a> with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:PETER%7CWOLF\">Peter Wolf<\/a>, or the emerging <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:J.%7CGEILS%7CBAND\">J. Geils Band<\/a>. Where national groups like <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CPEANUT%7CBUTTER%7CCON\">the Peanut Butter Conspiracy<\/a> may have been misguided and sputtered with no direction, vocalist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:difixql5ldfe\">John Lincoln Wright<\/a> developed into a first-rate songwriter and a country singer with a purpose. Hearing his work on highly experimental tunes, like the title track or the impressionistic &#8220;May I Light Your Cigarette?,&#8221; is true culture shock. &#8220;The Clown&#8217;s Overture&#8221; seems pointless, yet &#8220;Angus of Aberdeen&#8221; is inspired and a bright spot in the morass that was the Bosstown Sound. The rave-up version of &#8220;Blue Suede Shoes&#8221; is great, the guitar funneled through effects and brimming with excitement. Full review link above.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>John Lincoln Wright HONKY TONK VERITE&#8217;<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB672AB78AEE02CA45A089FC8E454F5D6633F2DFC93&amp;sql=10:fpfpxqqgldde\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB672AB78AEE02CA45A089FC8E454F5D6633F2DFC93&#038;sql=10:fpfpxqqgldde<br \/>\n<\/a><br \/>\n=================================================================<br \/>\nBARRY AND THE REMAINS<\/p>\n<p>THE REMAINS SPOONFED<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=10:wxfuxqy5ldde\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:wxfuxqy5ldde<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">In 1978 legendary Boston area music executive <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:39fqxqqgldde\">Bruce Patch<\/a> re-released the even more legendary 1966 Epic album by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;sql=11:kpfexq95ldhe\">the Remains<\/a> on his Spoonfed Records label, augmenting the ten stereo songs from the original LP with four additional mono tracks. With the grooves cut into delicious red vinyl \u00e0 la the first pressings of the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:hifwxqu5ldhe\"><i>Bloodshot<\/i><\/a> album by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:0ifrxqe5ldke\">the J. Geils Band<\/a>, this 1978 limited edition is almost as much of a collectors&#8217; item as the band&#8217;s Epic debut. For the fans who played that debut into the ground, the addition of &#8220;Heart,&#8221; &#8220;Don&#8217;t Look Back,&#8221; &#8220;Thank You,&#8221; and &#8220;Say You&#8217;re Sorry&#8221; expands the experience, something that would happen again seven years later when New Rose Records&#8217; Fan Club subsidiary added even more cuts per side. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jjfyxqt5ldje\">Jon Landau<\/a> writes a paragraph of liner notes on the back calling the group &#8220;the most exciting American band of their time.&#8221; This reissue was produced by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:JEFFREY%7CJENNINGS\">Jeffrey Jennings<\/a>, mastered by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3jfyxq95ldae\">Ted Jensen<\/a> at Sterling Sound, and released at the time <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:39fqxqqgldde\">Patch<\/a> was moving the Spoonfed label operation from Boston to Malibu, CA. &#8220;Once Before&#8221; sounds as lovely and British Invasion as ever, while <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kpfpxqegldse\">Billy Sherrill<\/a>&#8216;s 1965 Nashville production of &#8220;Time of Day&#8221; features that great separation of tambourine and fuzz tone. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:hcfixq85ldke\">Billy Briggs<\/a>&#8216; keys add just enough spice to confirm that all the reverence for the group is justified. An October 3, 1978, article in the Boston Phoenix by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hnfpxq85ld0e\">James Isaacs<\/a> documents a meeting with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:39fqxqqgldde\">Patch<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gjfqxqwgldhe\">Barry Tashian<\/a> during the promotion of this release, at which time the singer commented, &#8220;I haven&#8217;t heard that in 12 years&#8221; (regarding the unreleased tracks). Though all this music has resurfaced on compact disc, this special edition is worth seeking out.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>THE REMAINS FAN CLUB<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=10:3cfexqtaldte\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:3cfexqtaldte<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">Released in 1985 on the Fan Club division of the French New Rose record label, this double disc is packaged in bright yellow with a gatefold and superb liner notes\/memories by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifrxqe5ldke\">J. Geils Band<\/a> frontman <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;sql=11:difyxqr5ldfe\">Peter Wolf<\/a> along with additional information by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kpfexq95ldhe\">Remains<\/a> bassist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:fifixqtgld6e\">Vern Miller<\/a>. With a whopping 28 tracks, it is seven cuts deeper than the 1991 Epic\/Legacy re-release, at least five of those bonus tracks from the Capitol Records demos included here, material released on Sundazed in 1996 as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:dzfoxqqhldde\"><i>Session With the Remains<\/i><\/a>. The inner sleeve contains songwriter credits as well as the year, studio, and city where each tune was recorded as well as information on who produced each track. It is really exquisite, and sounds great to boot. The eternal debate from those who saw the band in their heyday opening for <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:hifrxqw5ldse\">the Beatles<\/a> in 1966 is &#8220;what if they had been recorded properly.&#8221; <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hcfoxq85ldke\">William Briggs III<\/a> said that he felt the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=10:dzfoxqqhldde\"><i>Session With the Remains<\/i><\/a> CD did capture that spirit. &#8220;Talking &#8216;Bout You&#8221; certainly has a groove, while &#8220;Hang On Sloopy&#8221; is one of those fly-on-the-wall kind of moments, the band displaying much more of that garage aura than is revealed on the cut from the classic <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:kcfixqt5ldhe\"><i>Nuggets<\/i><\/a> compilation, &#8220;Don&#8217;t Look Back,&#8221; though that track helped perpetuate their legend. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:difyxqr5ldfe\">Peter Wolf<\/a>&#8216;s 1985 letter on the back cover giving the band credit for &#8220;power and control&#8221; of amplification, comparing them to <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fifwxqr5ldfe\">the Who<\/a>, is worth the price of admission. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:difyxqr5ldfe\">Wolf<\/a> should know; <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gjfqxqwgldhe\">Barry Tashian<\/a> lived in the same apartment complex and was present when the former <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:difyxqr5ldfe\">Peter Blankfield<\/a> recorded the famous &#8220;bathroom tapes&#8221; of his own band, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CHALLUCINATIONS\">the Hallucinations<\/a>. The essay by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:VERN%7CMILLER%7CJR.\">Vern Miller Jr.<\/a> sheds even more light on the group history, noting that one of the songs here, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifpxqr5ldhe\">Gram Parsons<\/a>&#8216; &#8220;Luxury Liner,&#8221; was recorded in Long Island during a brief 1976 reunion. For collectors of vinyl and hardcore fans of the band, of which there are many, this one is essential.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>MOVIN&#8217; ON 2002 BARRY AND THE REMAINS<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=10:fifrxq8sldse\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:fifrxq8sldse<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">As authentic a dozen tunes any fan of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kpfexq95ldhe\">the Remains<\/a> could hope for find a niche in the digital grooves of <i>Movin&#8217; On<\/i>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;sql=11:gjfqxqwgldhe\">Barry Tashian<\/a>&#8216;s distinctive voice picking up where he left off on the group&#8217;s last full album, which was, ah&#8230;1966? Almost 40 years in between releases sure beats the two years it took <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifyxqr5ld0e\">Sly Stone<\/a> to get a new disc out during his heyday! But it&#8217;s worth the wait as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:fifixqtgld6e\">Vern Miller<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BILL%7CBRIGGS\">Bill Briggs<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:kvfoxqu5ld0e\">Chip Damiani<\/a>, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gjfqxqwgldhe\">Tashian<\/a> deliver the goods. &#8220;You Never Told Me&#8221; and &#8220;Over You&#8221; could easily slip into <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:giftxqe5ldhe\">the Eagles<\/a>&#8216; repertoire, which is the dilemma for hardcore <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kpfexq95ldhe\">Remains<\/a> fans who always wanted their heroes to sustain that launch that culminated in a tour with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:hifrxqw5ldse\">the Beatles<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kzftxq95ldke\">Bobby Hebb<\/a>. And God knows <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:giftxqe5ldhe\">the Eagles<\/a> needed some real competition. &#8220;A Man&#8217;s Best Friend Is His Automobile&#8221; showed up on <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kzfuxq9gld0e\">Barry &amp;amp;amp;amp;amp;amp; Holly Tashian<\/a>&#8216;s 2002 release <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:knfwxqu0ldte\"><i>At Home<\/i><\/a> and gets the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:kpfexq95ldhe\">Remains<\/a> treatment here. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:g9fexqy0ldte\">Holly Tashian<\/a> contributes backing vocals to the album, the group also augmented by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:0zfuxq9gld0e\">Daniel Tashian<\/a> on vocals, percussion, and B-3 as well as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wcfixqyjldfe\">Angelo<\/a> on backing vocals, percussion, and a co-write on &#8220;Don&#8217;t Tell Me the Truth.&#8221; Speaking of which, for those who loved &#8220;Don&#8217;t Look Back,&#8221; the 45 rpm that ended up on the original <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=10:wpfexqyhld0e\"><i>Nuggets<\/i><\/a> before getting tagged onto the first <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kpfexq95ldhe\">Remains<\/a> disc, opening track &#8220;Don&#8217;t Tell Me the Truth&#8221; will satisfy their needs. &#8220;Listen to Me&#8221; is lots of fun as is the album closer, &#8220;Time Keeps Movin&#8217; On,&#8221; resplendent in sounds toward the end of the tune that would make <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:wxfpxqe5ldte\">Lothar &amp; the Hand People<\/a> proud, but the standout and potential hit is &#8220;Hard to Find (So Easy to Lose).&#8221; &#8220;The Power of Love&#8221; and &#8220;Ramona&#8221; both add to the legend, but it&#8217;s &#8220;Hard to Love&#8221; that could open up this band to a larger and well-deserved audience. As <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:aifpxqr5ldte\">the Zombies<\/a> tour, sometimes with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:a9fixqr5ldde\">Pete Best<\/a>&#8216;s collection of early <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:hifrxqw5ldse\">Beatles<\/a> music, the addition of Barry &amp; the Remains would make a potent trio of artists from an era whose popularity will remain perpetual. TheRemains.com is how to find this music if you can&#8217;t locate it in the usual places.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>BARRY AND HOLLY TASHIAN AT HOME 2002<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=10:knfwxqu0ldte\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:knfwxqu0ldte<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\"><a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gjfqxqwgldhe\">Barry Tashian<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;sql=11:g9fexqy0ldte\">Holly Tashian<\/a> look as happy on the front cover of <i>At Home<\/i> as they sound on this vibrant folk\/country album from the veteran couple. The six-page CD insert has notations on each of the 12 selections as well as an interesting essay on how the music was &#8220;recorded live with no &#8216;fixes in the mixes.'&#8221; The album&#8217;s simple quality makes it very appealing, from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:dvfpxq95ld0e\">Felice Bryant<\/a>&#8216;s &#8220;We Could,&#8221; which opens the disc like a girl-and-guy version of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:aifpxqe5ldje\">the Everly Brothers<\/a>, to a very interesting &#8220;A Man&#8217;s Best Friend Is His Automobile.&#8221; This is <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gjfqxqwgldhe\">Barry<\/a> giving the world a preview of a song also recorded for <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:kpfexq95ldhe\">the Remains<\/a>&#8216; reunion album, scheduled for later in 2002. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:g9fexqy0ldte\">Holly<\/a> only co-writes two of the five originals with her husband, who has a different collaborator on each of his compositions. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:g9fexqy0ldte\">Holly Tashian<\/a> calls their &#8220;These Little Things&#8221; the first shuffle they&#8217;ve written, though the couple has played them for years. Her &#8220;One More Me (The Cloning Song)&#8221; is an interesting take on &#8220;Dolly the cloned sheep,&#8221; about a housewife who could use some extra help around the house. And who better but a carbon copy of herself? Imagine the possibilities \u2014 this duo could duplicate themselves and be a country\/folk version of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:difexqe5ldfe\">the Mamas &amp;amp;amp;amp;amp;amp; the Papas<\/a>. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gjfqxqwgldhe\">Barry Tashian<\/a> draws from three different arrangements of two traditional tunes, and he blends &#8220;Whiskey Before Breakfast&#8221;\/&#8221;Beaumont Rag&#8221; together, the CD&#8217;s only instrumentals, both tunes &#8220;around for at least a century.&#8221; <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:jiftxql5ldde\">Buck Owens<\/a>&#8216; &#8220;There Goes My Love&#8221; has that <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxqe5ldje\">Everly Brothers<\/a> feel again, with the couple&#8217;s great harmonies and smooth playing. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:jnfyxqugldse\">Merle Kilgore<\/a>&#8216;s &#8220;More and More&#8221; follows suit, another poppy blues song, as is <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gjfqxqwgldhe\">Barry<\/a>&#8216;s &#8220;The Sound of Your Name.&#8221; They cover <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:gifpxqe5ldke\">Connie Francis<\/a>&#8216; &#8220;My Happiness,&#8221; a song from 1933 which charted for half a dozen artists over the years, and the performance is indicative of the album as a whole \u2014 warm and enjoyable. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:g9fexqy0ldte\">Holly<\/a> sings a version of &#8220;My Window Faces the South,&#8221; which she&#8217;s performed for 25 years but not recorded until now. &#8220;Watermelon Time in Georgia&#8221; closes the disc, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:gjfqxqwgldhe\">Barry<\/a>&#8216;s comments under the song are historically vital. When the guitarist was performing with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fifrxql5ldse\">Emmylou Harris<\/a> in the &#8217;80s, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:3ifrxql5ldse\">Merle Haggard<\/a> sang to them for about two hours at an Indianapolis Holiday Inn. That&#8217;s how this <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gnfexqu5ldhe\">Harlan Howard<\/a> song made it to this CD. <i>At Home<\/i> is a wonderful document of two important artists being themselves and putting their storytelling on record in a very comfortable setting.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>UP UP AND AWAY ARTHUR FIEDLER &amp;amp;amp;amp;amp;amp; THE BOSTON POPS 1968<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:3iftxq8gldhe\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:3iftxq8gldhe<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">Conductor <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jifoxql5ldfe\">Arthur Fiedler<\/a> is a revered name in New England music history and his Boston Pops run through gorgeous <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:d9fpxqe5ldte\">Richard Hayman<\/a> arrangements of familiar favorites on <i>Up, Up and Away<\/i>. A dramatic rendition of 1967 &#8216;s &#8220;Best Song&#8221; from the pen of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fpftxql5ldke\">Jimmy Webb<\/a> starts off the LP, adding sound colors as <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:gcfuxq95ld6e\">the 5th Dimension<\/a> production did, only without the vocals and different instrumentation, of course. Producer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hbfpxq95ldje\">Peter Dellheim<\/a> gives six paragraphs of insight in his liner notes, identifying that he picked up on the Minuet from <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:3cfrxqw5ldke\">J.S. Bach<\/a>&#8216;s Anna Magdalena Bach Notebook after hearing <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kjfyxqtgldae\">Diana Ross &amp;amp;amp;amp;amp;amp; the Supremes<\/a>&#8216; version of the tune &#8220;A Lover&#8217;s Concerto.&#8221; The amusing thing is that <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0pfixqe5ldfe\">the Toys<\/a> were emulating <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:gifyxqr5ldae\">the Supremes<\/a>&#8216; sound, and the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxqr5ldke\">Diana Ross<\/a> version the Boston Pops got its idea from was a tribute to the tribute. When <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:hifoxql5ldfe\">Ferrante &amp; Teicher<\/a> recorded the song on their <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=10:avfexqt5ldse\"><i>Getting Together<\/i><\/a> album, they called their arrangement &#8220;A Familiar Concerto,&#8221; denying <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0pfixqe5ldfe\">Toys<\/a> producers <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:0jfexqu5ldde\">Sandy Linzer<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:39frxqtgldte\">Denny Randell<\/a> the royalties for the updated composition. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:fpfexqq0ldte\">Arthur Fiedler &amp; the Boston Pops<\/a> sprinkle their magic on <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:w9fwxqw5ldse\">Paul Mauriat<\/a>&#8216;s hit &#8220;Love Is Blue,&#8221; along with &#8220;Lara&#8217;s Theme&#8221; from <i>Dr. Zhivago<\/i> &#8212; better known as <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifoxql5ldfe\">Ray Conniff<\/a>&#8216;s Top Ten hit from 1966, &#8220;Somewhere My Love.&#8221; <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:0ifyxqy5ldke\">Andr\u00e9 Previn<\/a>&#8216;s (Theme From) Valley of the Dolls is just perfect for this ensemble, majestic movements that bring out the sadness and despair of the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aiftxqw5ldhe\">Dionne Warwick<\/a> classic. &#8220;Cabaret&#8221; is a fun romp through the campy hit, while <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:hifrxqw5ldse\">the Beatles<\/a>&#8216; &#8220;Yesterday&#8221; and &#8220;Michelle&#8221; melt into the beautiful fabric as easily as the theme from <i>Georgy Girl<\/i>. <i>Up, Up and Away<\/i> is the perfection one expects from the Boston Pops, capturing some of the highlights with which 1968&#8217;s easy listening community was in tune. The amusing cover photo features an airplane on a runway with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jifoxql5ldfe\">Fiedler<\/a> surrounded by eight beautiful women.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<h3>Reviews on E Music.com 1\/07\/05<\/h3>\n<div>\n<div>Rick Berlin<br \/>\n<a href=\"http:\/\/www.emusic.com\/album\/10816\/10816492.html\">http:\/\/www.emusic.com\/album\/10816\/10816492.html<\/a>Pousette Dart Never Enough<br \/>\n<a href=\"http:\/\/www.emusic.com\/album\/10788\/10788101.html\">http:\/\/www.emusic.com\/album\/10788\/10788101.html<\/a>POUSETTE DART BAND 3<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=10:0xfwxqt5ldte\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0xfwxqt5ldte<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">Out of the four albums released by the Pousette-Dart Band on Capitol, <i>3<\/i> may be the most satisfying. The only song that received as much attention as &#8220;Amnesia,&#8221; the title track and minor hit off of their second album, or &#8220;For Love,&#8221; the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0bfrxqt5ldhe\">David Finnerty<\/a> of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;sql=11:ajftxqlgldse\">the Road Apples<\/a> tune from their fourth disc, was the cover of the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:LIEBER\">Lieber<\/a>\/<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:STOLLER\">Stoller<\/a>\/<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifuxqe5ldse\">Ben E. King<\/a> 1961 hit &#8220;Stand By Me.&#8221; It is a good version, and the songs on side one are the usual fare from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:jjfwxqlgldje\">Jon Pousette-Dart<\/a>&#8216;s group, top notch country\/rock. But it is side two that really is extraordinary. &#8220;Louisiana,&#8221; &#8220;Too Blue to Be True,&#8221; and &#8220;Mr. Saturday Night&#8221; work almost as a trilogy. They are deep, dark, and not as bouncy as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fuxqt5ldse\">Don Covay<\/a>&#8216;s &#8220;I Stayed Away Too Long&#8221; on side one. The beautiful, acoustic &#8220;Where Are You Going,&#8221; which ends this half of the program, sets up the second side nicely, and lends for a seamless flow if listening on compact disc. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:jjfwxqlgldje\">Pousette-Dart<\/a>&#8216;s voice is flawless, as is his playing on &#8220;Where Are You Going,&#8221; which ends suspended in mid-air. As with that tune, all the songs on the second side are written by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jjfwxqlgldje\">Jon Pousette-Dart<\/a>, and along with the sterling performance, this is his best songwriting of these releases on Capitol. &#8220;Louisiana&#8221; has tension, eerie production, immaculate instrumentation, and just a great vocal walking next to the guitars. While <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:giftxqe5ldhe\">the Eagles<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifwxqe5ld0e\">Hall &amp;amp;amp;amp;amp;amp; Oates<\/a> were enjoying success at this point in time, along with the resurgence of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kifoxqw5ldte\">Crosby, Stills &amp;amp;amp;amp;amp;amp; Nash<\/a>, Pousette-Dart Band&#8217;s mellow <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jifoxqw5ldde\">Buffalo Springfield<\/a> style on this album really should have garnered a huge audience. &#8220;Too Blue to Be True&#8221; brings it up a bit, the band cooking with excitement and power. That power continues in the semi-funk of &#8220;Mr. Saturday Night,&#8221; three powerful statements by this important artist that somehow got lost in the shuffle of the music industry. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:jjfwxqlgldje\">Jon Pousette-Dart<\/a>&#8216;s appearance at the Paradise Theater in Boston at the end of 2000 with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wpfoxqehldhe\">Jon Hall<\/a> of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:0ifuxqr5ld6e\">Orleans<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:abfoxq8hldhe\">Jonathan Edwards<\/a> of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:39fpxq85ldde\">Orphan<\/a> was their first appearance live together as a trio, having previously only recorded &#8220;Why Can&#8217;t We Be Friends,&#8221; the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifixqr5ldde\">War<\/a> tune for Rounder. That performance magnified what one of those performers put in these grooves. &#8220;Lord&#8217;s Song&#8221; starts to conclude the album in the same fashion as side one, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:jjfwxqlgldje\">Pousette-Dart<\/a>&#8216;s voice and acoustic guitar combined with his plaintive expression, this time the band in the background solidified by co-producer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:09frxqr5ld0e\">Dave Appell<\/a>&#8216;s strings swelling, rising up before the group kicks in with precision. An album that truly deserves a better fate than obscurity.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>NEVER ENOUGH POUSETTE DART BAND<br \/>\n(the same tune as Robin Lane&#8217;s WHEN THINGS GO WRONG)<br \/>\n<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=10:axfwxqt5ldte\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:axfwxqt5ldte<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">The title track of the fourth album from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JON%7CPOUSETTE-DART\">Jon Pousette-Dart<\/a>&#8216;s band is actually a cover of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;sql=11:jjfixqugld6e\">Robin Lane &amp; the Chartbusters<\/a>&#8216; &#8220;When Things Go Wrong,&#8221; reetitled &#8220;Never Enough,&#8221; but more than that, it&#8217;s a reworking with different lyrics. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:j9foxqu5ldde\">Lane<\/a>&#8216;s 3-song EP on manager <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gcfoxqwhldje\">Mike Lembo<\/a>&#8216;s Deli Platter Records was a phenomenon in the New England region in the late &#8217;70s. This song was also the title track of her 1980 Warner Bros. debut recorded by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:hifrxqw5ldhe\">Helen Reddy<\/a> producer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:dzfwxq8gldje\">Joe Wissert<\/a>. Pousette-Dart Band&#8217;s version reunites them with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:k9fqxqtgldje\">Norbert Putnam<\/a>, who oversaw their first two Capitol discs. It is an extraordinary glimpse at how a great melody failed to make the Top 40, recorded differently by two important artists, who themselves failed to make the national Top 40 with any of their discs. Like their contemporary <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:h9ftxq85ldte\">Andy Pratt<\/a>, these performers contributed much to music and got little in return. The second track, &#8220;Silver Stars,&#8221; is a wonderful instrumental by guitarist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:fvfuxqy5ldte\">John Curtis<\/a>, but the album&#8217;s highlight is &#8220;For Love,&#8221; a tune by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0bfrxqt5ldhe\">David Finnerty<\/a>, leader of Atlantic&#8217;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:aifexqe5ldse\">the Joneses<\/a>, who actually did hit the Top 40 in 1975 with a band called <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:ajftxqlgldse\">the Road Apples<\/a> and their tune &#8220;Let&#8217;s Live Together.&#8221; <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:0bfrxqt5ldhe\">Finnerty<\/a>&#8216;s &#8220;For Love,&#8221; as performed by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JON%7CPOUSETTE-DART\">Jon Pousette-Dart<\/a>, is so commercially viable for this point in time that it is a sin it got only minor airplay. It is as substantial as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:0ifuxqr5ld6e\">Orleans<\/a> or <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqe5ldje\">Firefall<\/a>, more creative and dynamic than what <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:giftxqe5ldhe\">the Eagles<\/a> were doing in the same format. The first and only <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JON%7CPOUSETTE-DART\">Jon Pousette-Dart<\/a> title on side one is &#8220;Cold Outside,&#8221; which brings horns into the mix; it, and bassist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gzfqxqqgldte\">John Troy<\/a>&#8216;s arrangement of the traditional &#8220;Hallelujah I&#8217;m A Bum,&#8221; are country funkish numbers \u2014 adequate, but not as strong as the first three tracks. Pousette-Dart&#8217;s co-write &#8220;Long Legs&#8221; opens side two, but that honor should have gone to &#8220;The Loving One,&#8221; a lilting pop tune by Pousette-Dart, with his gifted voice gliding over the keys and percussion. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:3cfuxqq5ldje\">Marc Aramian<\/a>&#8216;s composition, &#8220;We Never Give Up,&#8221; thankfully continues the tradition of pop that Pousette-Dart is so comfortable with. The band has a knack for adding polish to these strong hooks, more evidence that this fourth album was a real contender. With management by New England&#8217;s legendary promoter <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kjfoxqt5ldfe\">Don Law<\/a>, son of record producer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:DON%7CLAW,%7CSR.\">Don Law, Sr.<\/a>, the group had the connections and the talent to really make their mark. &#8220;Cheated&#8221; is another poppy tune by the band leader, leaning a bit more toward the country side of the group that was their foundation, something they significantly embellished with funk and pop. That is most evident in the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fvfuxqy5ldte\">John Curtis<\/a> original &#8220;Gotta Get Far Away,&#8221; which ends the album. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:JON%7CPOUSETTE-DART\">Jon Pousette-Dart<\/a> performed at the Paradise Theater in Boston towards the end of 2000 with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wpfoxqehldhe\">Jon Hall<\/a> of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:0ifuxqr5ld6e\">Orleans<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifuxqe5ldhe\">Jonathan Edwards<\/a> of the group <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:39fpxq85ldde\">Orphan<\/a>. It was their first appearance ever as a trio live \u2014 promoting their cover of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifixqr5ldde\">War<\/a>&#8216;s &#8220;Why Can&#8217;t We Be Friends&#8221; released on Rounder Records that year. The performance highlighted how important the music on this album is, and that <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:JON%7CPOUSETTE-DART\">Jon Pousette-Dart<\/a> is viable a couple of decades after creating this and the three other releases on Capitol.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>ORPHAN<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:39fpxq85ldde%7ET1\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:39fpxq85ldde~T1<\/a><\/p>\n<table id=\"bio\" width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Biography<\/td>\n<td align=\"right\" width=\"352\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">Orphan was the creation of songwriter\/singer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jcfixqtgldje\">Eric Lilljequist<\/a> (born January 1, 1948) who grew up in Massachusetts&#8217; Brockton\/Avon area, the ensemble emerging in the mid-&#8217;60s, a time when few bands in the region performed their own material. Originally calling the group Orphans, they dropped the plural during the first wave of musicians who worked with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:jcfixqtgldje\">Lilljequist<\/a> on his music. Managed by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ED%7CMOTTAU\">Ed Mottau<\/a>, a guitarist who worked with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:hifrxqe5ldde\">John Lennon<\/a> prior to <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:h9foxqy5ldje\">the Elephant&#8217;s Memory<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:MOTTAU\">Mottau<\/a> was in turn managed by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3pfexq8gld6e\">Paul Stookey<\/a> of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:fifpxqq5ldhe\">Peter, Paul &amp; Mary<\/a>. There were always famous names coming through <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:MOTTAU\">Mottau<\/a>&#8216;s house in Avon, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jcfixqtgldje\">Eric Lilljequist<\/a> got to meet them. Local entrepreneur <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:avfoxqw5ld6e\">Peter Casperson<\/a>, instrumental in the careers of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CFOOLS\">the Fools<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:39fuxqy5ldhe\">Duke &amp; the Drivers<\/a>, and other Boston-area entertainers, picked up Orphan, and they went from playing high schools and armories to landing more prestigious club dates as well as a recording contract with Epic Records.In the late &#8217;60s, while <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:jcfixqtgldje\">Lilljequist<\/a> was taking vocal lessons from legendary voice teacher <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DANTE%7CBAVONE\">Dante Bavone<\/a>, the man who worked with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:kbfyxqukldae\">Faye Dunaway<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:difyxqr5ldfe\">Peter Wolf<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:3zfpxqwgld0e\">Steven Tyler<\/a> and so many others, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jcfixqtgldje\">Lilljequist<\/a> met his musical partner, guitarist\/vocalist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:dxfyxqegldde\">Dean Adrien<\/a>, at the suggestion of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BAVONE\">Bavone<\/a>. The group spent an autumn recording nine singles for Epic Records; the CBS building in New York providing a great atmosphere and learning environment for the young artists. The two co-heads of Epic A&amp;R, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:0jfexqu5ldde\">Sandy Linzer<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:39frxqtgldte\">Denny Randell<\/a>, performed production duties for Orphan as they had for <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:fvfpxqrjldse\">Barbara Harris<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CTOYS\">the Toys<\/a>. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:0jfexqu5ldde\">Linzer<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:39frxqtgldte\">Randell<\/a> fostered cover versions of Orphan material; <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:knfrxqwgldte\">the Bandwagon<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:h9fuxqq5ldte\">the Four Seasons<\/a> doing renditions of this new sound; <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifexqr5ldde\">Frankie Valli<\/a> singing on <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:jcfixqtgldje\">Eric Lilljequist<\/a>&#8216;s song &#8220;He Gives Me Light.&#8221;After their stint at Epic and hoping for another deal, the band began recording on spec at Intermedia Studios in Boston where their friend <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifuxqe5ldhe\">Jonathan Edwards<\/a> tracked his hit &#8220;Sunshine.&#8221; They got offers and auditions with surprisingly more notice from Columbia, garnering interest from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:dvfrxq85ld6e\">Clive Davis<\/a> after leaving Epic. The offer from London Records allowed for more creative freedom so they signed a four-album deal with that label, tracking three albums starting with 1972&#8217;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:jxfpxqt5ldhe\"><i>Everyone Lives to Sing<\/i><\/a>, followed by 1973&#8217;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=10:kxfpxqt5ldhe\"><i>Rock &amp; Reflection<\/i><\/a>.During this time, they were performing on record and sometimes live with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:3ifuxqe5ldhe\">Jonathan Edwards<\/a>, and he often with Orphan, the two acts actually living in a big house in the Boston area for awhile. Four <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jcfixqtgldje\">Eric Lilljequist<\/a> compositions showed up on <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:3ifuxqe5ldhe\">Edwards<\/a>&#8216; 1973 Atco release <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:wbfexqqgldde\"><i>Have a Good Time for Me<\/i><\/a>, the title taken from the song &#8220;Have Yourself a Good Time for Me&#8221; which also appeared on Orphan&#8217;s final London release, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=10:0xfpxqt5ldhe\"><i>More Orphan Than Not<\/i><\/a>. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jcfixqtgldje\">Lilljequist<\/a> played on <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:3ifuxqe5ldhe\">Edwards<\/a>&#8216; first three Atco albums with the entire Orphan band backing him in Harvard Square, Cambridge, MA, on March 22 and 23 of 1974 for the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:0ifwxqt5ldse\"><i>Lucky Day<\/i><\/a> LP. It&#8217;s a fine document of Orphan live working with their folk star friend.Orphan played on many bills with the Castle Music stable of artists, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:0ifpxq95ldje\">Martin Mull<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CMCKINNEY%7CBROTHERS\">the McKinney Brothers<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:fpfpxqy0ldte\">Travis Shook &amp; the Club Wow<\/a>, and, of course, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:3ifuxqe5ldhe\">Jonathan Edwards<\/a>. They played all over the country, opening for <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jifwxqw5ldae\">the Allman Brothers Band<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:3ifqxqw5ldfe\">the Byrds<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifqxqr5ld6e\">the New Riders of the Purple Sage<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:gifqxqe5ldae\">Hot Tuna<\/a>, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JESSIE%7CCOLIN%7CYOUNG\">Jessie Colin Young<\/a>, even recording at <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:YOUNG\">Young<\/a>&#8216;s house. Orphan backed up <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifyxqw5ldse\">Chuck Berry<\/a> at the Cape Cod Coliseum and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:jcfixqtgldje\">Lilljequist<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:dxfyxqegldde\">Adrien<\/a> performed with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:acfqxqy5ldae\">Bo Diddley<\/a> at Symphony Hall. One special night was at a party for <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifrxqe5ldde\">John Lennon<\/a> in New York&#8217;s Tavern on the Greens off of Central Park at the time of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:hifrxqe5ldde\">Lennon<\/a>&#8216;s One to One concert. The <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifrxqw5ldse\">Beatle<\/a> arrived at his party while Orphan was performing on-stage.<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:dxfyxqegldde\">Dean Adrien<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jcfixqtgldje\">Eric Lilljequist<\/a> appear on <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=10:wzfpxqr0ldje\"><i>Tom Rush, Live at Symphony Hall, Boston<\/i><\/a>, released in 2001 on Varese Sarabande, and have performed over the years in a trio with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fifwxqq5ldhe\">Rush<\/a>. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:jcfixqtgldje\">Lilljequist<\/a>&#8216;s music has been recorded by acts as diverse as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:difpxqw5ldhe\">the Four Freshmen<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:gxfoxqlgldke\">Bruce MacPherson<\/a>, the band&#8217;s presence an important element of the Boston rock &amp; roll scene during the late &#8217;60s. The entire summer of 1967, the band performed at the Atlantic House in Provincetown, the group performing in one room while the likes of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:gifixq95ld0e\">Odetta<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:difuxq95ldke\">John Lee Hooker<\/a>, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:wifrxqw5ldhe\">Nina Simone<\/a> appeared on the larger stage. It was no doubt a magical summer, as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MOULTY%7C&amp;amp;amp;amp;amp;amp;%7CTHE%7CBARBARIA\">Moulty &amp; the Barbarians<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:giftxqr5ldde\">the Velvet Underground<\/a> were also making noise on Cape Cod, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CBARBARIANS\">the Barbarians<\/a> sometimes sharing bills with Orphan.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>ORPHAN EVERYONE LIVES TO SING 1972<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=10:jxfpxqt5ldhe\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jxfpxqt5ldhe<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">Somehow lost in the shuffle of Boston music are the albums by Orphan. Overshadowed by the cult status of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jjfwxqygldke\">Jonathan Richman &amp;amp;amp;amp;amp; the Modern Lovers<\/a>, or the ever present <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fyxqr5ldke\">Willie Loco Alexander<\/a>, the songs of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:jcfixqtgldje\">Eric Lilliequist<\/a> may be best represented on this recording. Produced by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:avfoxqw5ld6e\">Peter Casperson<\/a> at the legendary Intermedia Sound on Boylston Street in Boston, the dark green cover with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:dxfyxqegldde\">Dean Adrien<\/a> \u2014 who provides percussion and vocals, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jcfixqtgldje\">Lilliequist<\/a>, as well as the mysterious back photo, are welcome fragments of New England folk\/rock from the early &#8217;70s. While bandmate <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:3ifuxqe5ldhe\">Jonathan Edwards<\/a> was topping the local and national charts in December of 1971 with &#8220;Sunshine&#8221; on Capricorn Records, he showed up here with a vocal on &#8220;Look at Her,&#8221; interpreting a <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jcfixqtgldje\">Lilliequist<\/a> original with a hint of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:jifoxqw5ldae\">Aztec Two-Step<\/a>. Especially on the title track, and a very <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifuxqe5ldhe\">Jonathan Edwards<\/a>-ish &#8220;Fisherman,&#8221; <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:jcfixqtgldje\">Lilliequist<\/a> and Orphan created an intriguing blend of light pop which, in retrospect, should&#8217;ve been as big as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifuxqr5ld6e\">Orleans<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:3iftxqe5ldje\">Firefall<\/a>, and the bands that had tunes and lyrics but not the bevy of hits <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifexqw5ldae\">America<\/a> garnered. &#8220;Daylight Darkness&#8221; is like an answer to <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:k9fuxqe5ldde\">Jesse Colin Young<\/a> and the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifoxqr5ldfe\">Youngbloods<\/a>. These 1971 tunes released in 1972 are the best picture of the work of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:jcfixqtgldje\">Eric Lilliequist<\/a>. If <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifuxqe5ldhe\">Jonathan Edwards<\/a> gets a much deserved boxed set, perhaps the world will have a chance to discover Orphan and the important work they did in the early &#8217;70s<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>MORE ORPHAN THAN NOT 1974<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=10:0xfpxqt5ldhe\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0xfpxqt5ldhe<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">Caught in that netherworld after the Bosstown sound was forced upon everyone, and two years before the new wave would usher <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fifixq8kld6e\">Willie Alexander<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;sql=11:g9fqxqy5ldse\">the Fools<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfixq95ldhe\">the Rings<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:jjfixqugld6e\">Robin Lane and the Chartbusters<\/a>, and other Boston groups to national attention, only a handful of bands kept Boston on the map. Along with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxqw5ldae\">Aerosmith<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:jifwxqr5ld0e\">the Sidewinders<\/a>, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfpxqqgld6e\">the Modern Lovers<\/a> was Orphan. Recorded at Intermedia Sound (a studio that would be purchased by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:3iftxqw5ldfe\">the Cars<\/a> and renamed Syncro Sound, and where <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxqw5ldae\">Aerosmith<\/a> tracked their first album), the album has the distinction of being taped where <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:3ifuxqe5ldhe\">Jonathan Edwards<\/a> created his 1971 Top Five hit &#8220;Sunshine.&#8221; <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:EDWARDS\">Edwards<\/a>&#8216; presence on this album, playing acoustic guitar, harmonica, and providing backup vocals, makes it important historically. Sadly, there is only one original from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:3ifuxqe5ldhe\">Jonathan E. Edwards<\/a>, the tune &#8220;Train of Glory.&#8221; It is one of the highlights of the disc, along with a very <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxqr5ldje\">Quicksilver Messenger Service<\/a>-style rendition of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:jifuxqygldhe\">Van Morrison<\/a>&#8216;s &#8220;I&#8217;ve Been Working,&#8221; a truly unique &#8220;What Goes On&#8221; \u2014 cover of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifrxqw5ldse\">the Beatles<\/a>, not <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:giftxqr5ldde\">the Velvet Underground<\/a>, although Orphan could have done as nice a job with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CVU\">the VU<\/a>&#8216;s composition as they did with this <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:hifrxqe5ldde\">Lennon<\/a>\/<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MCCARTNEY\">McCartney<\/a>\/<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:fifwxqr5ldae\">Starkey<\/a> tune \u2014 and a couple of really fine <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jcfixqtgldje\">Eric Lilljequist<\/a> songs, &#8220;Don&#8217;t Go Fooling Me&#8221; and &#8220;Have Yourself a Good Time for Me.&#8221; The group should&#8217;ve hit big time on the country charts with &#8220;Have Yourself a Good Time,&#8221; its <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:3ifqxqw5ldfe\">Byrds<\/a>\/<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifixqe5ldje\">Flying Burrito Brothers<\/a> style evident. Perhaps it is the multidimensional focus which kept the band from the success that <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:EDWARDS\">Edwards<\/a> enjoyed with &#8220;Sunshine.&#8221; Certainly ahead of their time, the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jifuxqygldhe\">Van Morrison<\/a> cover bridges the gap from pop to rock to jam. Artists as diverse as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:jvfoxqw5ldfe\">Charlie Daniels<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3pfexql5ldse\">Phish<\/a> have been able to ride the &#8220;jam\/groove&#8221; wave, and Orphan would have fit in perfectly. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:3ifuxqe5ldhe\">Jonathan Edwards<\/a> teamed up with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wpfoxqehldhe\">Jon Hall<\/a> of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:0ifuxqr5ld6e\">Orleans<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jjfwxqlgldje\">Jon Pousette-Dart<\/a> in 2000. They have released one song on <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=2:ROUNDER\">Rounder<\/a>, a cover of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifixqr5ldde\">War<\/a>&#8216;s &#8220;Why Can&#8217;t We Be Friends,&#8221; which sounds like a very commercial extension of what was going on with Orphan 16 years prior. Seven of the 11 songs were written by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:jcfixqtgldje\">Lilljequist<\/a>, with &#8220;Overtime&#8221; the sole contribution by guitarist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:dxfyxqegldde\">Dean Adrien<\/a>. Any band that can boast the late <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:jvfqxqe5ldke\">Bobby Chouinard<\/a> (of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:39fuxqy5ldhe\">Duke &amp;amp;amp;amp;amp;amp; the Drivers<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifpxqr5ldae\">Billy Squier<\/a>, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:fifyxqw5ldte\">Alice Cooper<\/a> fame) as their drummer deserves to be in the history books. The record was produced by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:avfoxqw5ld6e\">Peter Casperson<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:jcfixqtgldje\">Eric Lilljequist<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:CASPERSON\">Casperson<\/a> being one of the men behind Castle Music, a management company that made some noise in the area. Orphan is a chillingly prophetic name for a band who delivered solid music but never achieved the recognition they deserved.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>KATE TAYLOR SISTER KATE<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=10:fcfuxq95ldfe\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:fcfuxq95ldfe<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">This classic recording by the sibling of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:LIVINGSTON\">Livingston<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;sql=1:JAMES%7CTAYLOR\">James Taylor<\/a> offers valuable insight for fans of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:CAROLE%7CKING\">Carole King<\/a>&#8216;s landmark album, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=2:TAPESTRY\">Tapestry<\/a>, but <i>Sister Kate<\/i> is also a great work in its own right. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:PETER%7CASHER\">Peter Asher<\/a> of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:PETER%7C&amp;%7CGORDON\">Peter &amp;amp;amp;amp;amp;amp; Gordon<\/a> was the guiding hand behind <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JAMES%7CTAYLOR\">James Taylor<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:LINDA%7CRONSTADT\">Linda Ronstadt<\/a>, and to have his vision of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:CAROLE%7CKING\">Carole King<\/a>&#8216;s &#8220;Where You Lead&#8221; and &#8220;Home Again&#8221; from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=2:TAPESTRY\">Tapestry<\/a> with the musicians who helped <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:KING\">King<\/a> paint her masterpiece is a major treat. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:LOU%7CADLER\">Lou Adler<\/a>&#8216;s perspective on these tunes was what helped reshape music in the &#8217;70s, and to have another successful producer issuing the same music at the exact moment in time is essential study for Musicology 101. &#8220;Where You Lead&#8221; has a totally different flavor from both <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:KING\">King<\/a>&#8216;s classic album track and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:BARBARA%7CSTREISAND\">Barbara Streisand<\/a>&#8216;s hit. Vocally, she&#8217;s not <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:CHI%7CCOLTRANE\">Chi Coltrane<\/a> or <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:JESSI%7CCOLTER\">Jessi Colter<\/a>, but Kate Taylor is very musical just the same. It&#8217;s interesting that she would do versions of two songs <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ROD%7CSTEWART\">Rod Stewart<\/a> covered. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:STEWART\">Stewart<\/a> got some serious airplay with &#8220;Handbags and Gladrags,&#8221; but he didn&#8217;t have <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:CAROLE%7CKING\">Carole King<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:LINDA%7CRONSTADT\">Linda Ronstadt<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MERRY%7CCLAYTON\">Merry Clayton<\/a>, and most of the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=2:TAPESTRY\">Tapestry<\/a> players on his version of the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MIKE%7CD%5C%27ABO\">Mike D&#8217;Abo<\/a> tune \u2014 Kate Taylor gets that honor. She also does a fine rendition of the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:ELTON%7CJOHN\">Elton John<\/a>\/<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BERNIE%7CTAUPIN\">Bernie Taupin<\/a> track which <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:STEWART\">Stewart<\/a> got FM album airplay with, &#8220;Country Comforts,&#8221; and takes it a step further by covering &#8220;Ballad of a Well Known Gun&#8221; from the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHN\">John<\/a>\/<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:TAUPIN\">Taupin<\/a> catalog as well. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BEVERLY%7CMARTYN\">Beverly Martyn<\/a>&#8216;s &#8220;Sweet Honesty&#8221; plays like <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:DONOVAN\">Donovan<\/a>&#8216;s &#8220;Season of the Witch,&#8221; and it works well for this place in time, but the real knockout tunes here are, coincidentally, Taylor&#8217;s rendition of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:LIVINGSTON%7CTAYLOR\">Livingston Taylor<\/a>&#8216;s &#8220;Be That Way,&#8221; and her takes on <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:JAMES%7CTAYLOR\">James Taylor<\/a>&#8216;s &#8220;Lo and Behold&#8221; and &#8220;You Can Close Your Eyes.&#8221; These three go right out of the park, so you can draw your own conclusions as to how well-schooled she was on the music being made by her brothers. The addition of &#8220;Jesus Is Just All Right&#8221; somewhat mars &#8220;Lo and Behold&#8221;; the two form a medley, with &#8220;Lo and Behold&#8217;s chorus pressing up against the &#8220;Jesus Is Just All Right&#8221; melody, but once again, the choice of what would become a &#8217;70s standard for <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CDOOBIE%7CBROTHERS\">the Doobie Brothers<\/a> two years later shows the intuitive nature of this project. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:MORT%7CSHUMAN\">Mort Shuman<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JERRY%7CRAGAVOY\">Jerry Ragavoy<\/a> got attention the year before when <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:JANIS%7CJOPLIN\">Janis Joplin<\/a>&#8216;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:PEARL\">Pearl<\/a> contained her dynamic version of their &#8220;Get It While You Can.&#8221; Kate Taylor is better suited to their &#8220;Look at Granny Run, Run,&#8221; and she does a fine job with it here. This is the album that got away, and all serious fans of pop, &#8217;70s rock, and good music in general owe it to themselves to seek <i>Sister Kate<\/i> out. It&#8217;s a very impressive work of art.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>ALEX TAYLOR 1971 WITH FRIENDS AND NEIGHBORS<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=10:fcfrxq95ldfe\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:fcfrxq95ldfe<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">1971 was the year of &#8220;Taylor Mania&#8221; with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:MUD%7CSLIDE%7CSLIM%7C&amp;amp;amp;amp;amp;%7CTHE%7C\">Mud Slide Slim &amp; The Blue Horizon<\/a> by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:JAMES%7CTAYLOR\">James Taylor<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:SISTER%7CKATE\">Sister Kate<\/a>&#8216;s album on Cotillion, and the equally brilliant <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=2:LIV\">Liv<\/a> by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:LIVINGSTON%7CTAYLOR\">Livingston Taylor<\/a>, on Warner Brothers. Alex Taylor&#8217;s <i>With Friends And Neighbors<\/i> is a very good album, enjoying the glow of his sibling&#8217;s excellent work, and emulating them on the first side. It&#8217;s more pop than one would think, which all changes when you flip the disc over to hear the bluesy jams like on <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:GREG%7CALLMAN\">Greg Allman<\/a>&#8216;s &#8220;Southbound&#8221; on side two. Acoustic guitarist&#8217;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:SCOTT%7CBOYER\">Scott Boyer<\/a>&#8216;s &#8220;Southern Kids&#8221; is up there with some of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:JAMES%7CTAYLOR\">James Taylor<\/a>&#8216;s finest work and with a plethora of guests from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:KING%7CCURTIS\">King Curtis<\/a> to Sweet Baby James himself on &#8220;Night Owl,&#8221; <i>With Friends and Neighbors<\/i> stands on its own as a very listenable and entertaining project. There&#8217;s not one original by Alex, but he does allow his musicians to contribute, lead guitarist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:TOMMY%7CTALTON\">Tommy Talton<\/a> penning &#8220;All In Line&#8221; while Boyer gets to include a second composition, &#8220;C Song&#8221; which ends side one. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BOBBY%7CAND%7CSHIRLEY%7CWOM\">Bobby And Shirley Womack<\/a>&#8216;s &#8220;It&#8217;s All Over Now&#8221; gets a fun reading, not as classic as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:THE%7CROLLING%7CSTONES\">The Rolling Stones<\/a> or <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ROD%7CSTEWART\">Rod Stewart<\/a> And <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:THE%7CFACES\">The Faces<\/a>, this one is slowed down and funky but has its charm, and utilizes the same band as on brother <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:LIVINGSTON%7CTAYLOR\">Livingston Taylor<\/a>&#8216;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=2:LIV\">Liv<\/a> album \u2014 <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BILL%7CSTEWART\">Bill Stewart<\/a> on drums, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:TOMMY%7CTALTON\">Tommy Talton<\/a> on lead guitar, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:PAUL%7CHORNSBY\">Paul Hornsby<\/a> on keyboards, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:JOHNNY%7CSANDLIN\">Johnny Sandlin<\/a> providing bass as well as producing the entire disc(<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JON%7CLANDAU\">Jon Landau<\/a> was the producer on <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=2:LIV\">Liv<\/a>). With the addition of acoustic guitarist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:SCOTT%7CBOYER\">Scott Boyer<\/a> and Alex Taylor on vocals, <i>With Friends And Neighbors<\/i> is the bookend album to <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=2:LIV\">Liv<\/a> that <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:SISTER%7CKATE\">Sister Kate<\/a> is to <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:CAROLE%7CKING\">Carole King<\/a>&#8216;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:TAPESTRY\">Tapestry<\/a> \u2014 <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:KATE%7CTAYLOR\">Kate Taylor<\/a> having employed the musicians (and a couple of the songs) from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:KING\">King<\/a>&#8216;s classic 70s release. What the world needs is a Taylor Family Boxed set with all the work from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=2:LIV\">Liv<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:SISTER%7CKATE\">Sister Kate<\/a>, <i>With Friends And Neighbors<\/i> and any other material from the sessions that gave birth to this trio of exquisite recordings. It doesn&#8217;t have the highs of a &#8220;Get Out Of Bed&#8221; which <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:LIVINGSTON%7CTAYLOR\">Livingston Taylor<\/a> gave us, but it is consistent and highly enjoyable nevertheless.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>LIVINGSTON TAYLOR 1970<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0cfuxq95ldfe\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=10:0cfuxq95ldfe<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">It would be difficult not to compare Livingston Taylor&#8217;s self-titled 1970 debut to his brother&#8217;s second solo release, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:09foxq85ldse\"><i>Sweet Baby James<\/i><\/a>, as the latter certainly brought attention to the former, but the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:jjfyxqt5ldje\">Jon Landau<\/a>-produced disc crafted in Macon, GA, is a world unto itself. Ten originals by Taylor along with one cover, the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:EARL%7CGREENE\">Earl Greene<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:azfyxq90ldte\">Carl Montgomery<\/a> country standard &#8220;Six Days on the Road,&#8221; make for a pleasant listen. &#8220;Sit on Back&#8221; is a bright enough opening, with &#8220;Doctor Man&#8221; bringing in a bit of the darkness. &#8220;My time&#8217;s at hand&#8221; is the same line <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gifpxqr5ldse\">James Taylor<\/a> used in the hit &#8220;Fire and Rain&#8221; and both brothers spent their time in the psych ward: &#8220;People with smiles\/They talk of a hand that they got from a man called the doctor man.&#8221; You would love to hear <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:0ifrxqr5ldje\">Lou Reed<\/a> take this on, and somehow the pretty guitar and arrangement are real paradoxes for what should be a dirge, the lyrics profoundly in need of a few spins to sink in. Because much of this album feels like the producer and the artists were getting their bearings, &#8220;Six Days on the Road&#8221; becomes one of the more accessible tracks. Versions by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:difqxql5ldfe\">Hank Snow<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:BLOODWYN%7CPIG\">Bloodwyn Pig<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifixqe5ldje\">the Flying Burrito Brothers<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:3ifrxq95ldae\">Taj Mahal<\/a>, and others proliferated, and this is not as ethereal as the artist&#8217;s cover of &#8220;On Broadway&#8221; from the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:acfuxq95ldfe\"><i>Liv<\/i><\/a> album, but in its simplicity the point still gets across. The LP cover photo is pretty out there, with Taylor looking down from a metal structure of some sort, his hair all frazzled, while the back cover has a darkened room which looks like a recording studio. &#8220;Packet of Good Times&#8221; is very up-tempo, while &#8220;Hush a Bye&#8221; brings things right back down and, like most of the project, is understated. It&#8217;s on <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=10:acfuxq95ldfe\"><i>Liv<\/i><\/a>, the second album, that things really come together. Sure, these songs are well constructed, but they still seem somewhat raw and no doubt influenced the way things would be tackled the second time around. Sister <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hpfrxq95ldte\">Kate<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:gifpxqr5ldse\">James<\/a> are referenced in &#8220;Carolina Day,&#8221; a song with more parallels. &#8220;Can&#8217;t Get Back Home&#8221; follows suit \u2014 impressive ditties with &#8220;In My Reply&#8221; up and &#8220;Lost in the Love of You&#8221; down again. The obvious yin yang would change on the next album, which should have been a huge breakthrough for this sensitive and special artist. The seeds of future work are here, and <i>Livingston Taylor<\/i> is a nice start to the singer&#8217;s interesting career.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>LIVINGSTON TAYLOR LIV<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;token=&amp;amp;amp;amp;amp;amp;sql=10:acfuxq95ldfe\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;token=&amp;amp;amp;amp;amp;amp;sql=10:acfuxq95ldfe<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">&#8220;Get Out of Bed&#8221; leads off <i>Liv<\/i>, the 1971 album from Livingston Taylor, and it is a brilliant and exciting slice of pop music which should have been a huge international smash. It is one of those songs that you want to play 50 or 60 times in a row, perfectly written and recorded. Produced by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BRUCE%7CSPRINGSTEEN\">Bruce Springsteen<\/a> mentor <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:JON%7CLANDAU\">Jon Landau<\/a> and managed by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DON%7CLAW\">Don Law<\/a>, the son of the legendary country record producer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:DON%7CLAW,%7CSR.\">Don Law, Sr.<\/a>, this Warner Bros. album had all the elements, and is more endearing than the two Top 40 hits this member of the famous Taylor family eventually garnered in 1978 and 1980. <i>Liv<\/i>&#8216;s original songs are uplifting and give brother <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JAMES%7CTAYLOR\">James Taylor<\/a> a good run for his money. &#8220;May I Stay Around&#8221; has a vibrant vocal working itself over the elegant acoustic guitar, the bright green colors of the album cover and the laid-back young Livingston sitting in a chair looking aloof just calls back to a time when this sort of music was exploding \u2014 <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:JIM%7CCROCE\">Jim Croce<\/a>, brother <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JAMES\">James<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:HARRY%7CCHAPIN\">Harry Chapin<\/a>, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:CAROLE%7CKING\">Carole King<\/a>, who he is closest to both vocally and sentimentally. The singer picks up the piano on &#8220;Open Up Your Eyes,&#8221; &#8220;Get Out of Bed,&#8221; &#8220;Be That Way,&#8221; and &#8220;Gentleman,&#8221; as well as the cover of &#8220;On Broadway,&#8221; and with the understated production of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:JON%7CLANDAU\">Jon Landau<\/a>, Livingston&#8217;s beautiful heartfelt vocals make this an extraordinary work of art. Most of the tunes are around the three-minute mark, except for &#8220;Easy Prey,&#8221; which gets over four-and-a-half; &#8220;Gentleman shows where the artist&#8217;s contemporary (one year younger than this Taylor) <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DAN%7CFOGELBERG\">Dan Fogelberg<\/a> found part of his sound, though the performance is not as pronounced as &#8220;Easy Prey,&#8221; the band kicking in early on that tune, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:BILL%7CSTEWART\">Bill Stewart<\/a> on drums, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:PAUL%7CHORNSBY\">Paul Hornsby<\/a> on electric piano, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:TOMMY%7CTALTON\">Tommy Talton<\/a> on lead guitar, performing breathy, moving stuff. A low-key <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:QUICKSILVER%7CMESSENGER\">Quicksilver Messenger Service<\/a> from the East Coast is what this album is, a musical journey full of delight and surprise. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:DAVE%7CWOODFORD\">Dave Woodford<\/a>&#8216;s flute on &#8220;Open Up Your Eyes&#8221; is perfect and essential, and this serious music is the antithesis of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:HUGO%7CMONTENEGRO%5C%27S%7CDAW\">Hugo Montenegro&#8217;s Dawn of Dylan<\/a> tribute album. <i>Liv<\/i> is the real thing by a troubadour who never really got the acclaim he deserved. Perhaps he was overshadowed by older brother <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:JAMES%7CTAYLOR\">James Taylor<\/a>, or maybe <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JONATHAN%7CEDWARDS\">Jonathan Edwards<\/a>&#8216; &#8220;Sunshine&#8221; going Top Five nationally the year this album was released edged out other music from Boston instead of putting a focus on the region. Politcal reasons for this not making him a huge star aside, what remains is a very strong album which cries out to get played again and again. Exquisite.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>LIVINGSTON TAYLOR MAN&#8217;S BEST FRIEND 1980<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=10:fcfixq95ldfe\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:fcfixq95ldfe<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\"><i>Man&#8217;s Best Friend<\/i> boasts superb musicianship, high production values, good song selection, beautiful vocal performances from Livingston Taylor, and an impressive cast of guest stars who do not get in the way of the singer\/songwriter. Though &#8220;First Time Love&#8221; broke the Top 40 for a couple of weeks in September of 1980, this album, much like his work on Atco a decade earlier, is superlative and deserved more chart activity. Converging on &#8220;Sunshine Girl&#8221; are drummer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JEFF%7CPORCARO\">Jeff Porcaro<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;sql=1:JEFF%7CBAXTER\">Jeff Baxter<\/a> from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:STEELY%7CDAN\">Steely Dan<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:THE%7CDOOBIE%7CBROTHERS\">the Doobie Brothers<\/a> (it should be noted, a fellow Bostonian), and ex-<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:TURTLES\">Turtles<\/a> <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:FLO%7C&amp;%7CEDDIE\">Flo &amp;amp;amp;amp;amp;amp; Eddie<\/a>, just the right touch to knock this one out of the park. &#8220;Sunshine Girl&#8221; is so sincere, such an uplifting composition and performance, that it makes it frustrating to hear these remarkable sounds and know that Epic Records or whoever couldn&#8217;t deliver this to the wide audience it deserved. Covers of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RANDY%7CNEWMAN\">Randy Newman<\/a>&#8216;s &#8220;Marie&#8221; and the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:STEVENSON\">Stevenson<\/a>\/<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:GAY\">Gay<\/a>\/<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:HUNTER\">Hunter<\/a> classic &#8220;Dancing in the Street&#8221; are fine, but the collaboration between <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BAXTER\">Baxter<\/a> and Taylor, &#8220;You Don&#8217;t Have to Choose,&#8221; like the aforementioned <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:JOHN%7CMANCHESTER\">John Manchester<\/a>\/Livingston Taylor title, &#8220;Sunshine Girl,&#8221; gives the listener insight to the artistry at play, insight you can&#8217;t find on the fun romps &#8220;Ready Set Go&#8221; and &#8220;Dancing in the Street.&#8221; It&#8217;s a nice mix, though. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:CARLA%7CTHOMAS\">Carla Thomas<\/a> dueting with Taylor while backed up by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:STEVE%7CCROPPER\">Steve Cropper<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CMEMPHIS%7CHORNS\">the Memphis Horns<\/a> is pretty phenomenal. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:BAXTER\">Baxter<\/a> takes to the keyboards on this cover of the Motown hit, giving <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:CROPPER\">Cropper<\/a> space, but who wouldn&#8217;t have loved to hear a guitar duel here? When the earthy dance stuff subsides, Taylor hits you with a co-write his wife, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:MAGGIE%7CTAYLOR\">Maggie Taylor<\/a>, helped him with, &#8220;Out of This World,&#8221; and not to sound clich\u00e9, it is out of this world. Taylor has a sweet, down-home folksy voice perfect for pop radio, and his delivery is magical, from the calypso-style &#8220;Face Like a Dog&#8221; to the beautiful rendition of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JON%7CHALL\">Jon Hall<\/a>&#8216;s 1975 hit, &#8220;Dance With Me.&#8221; <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:DON%7CHENLEY\">Don Henley<\/a> is on harmony vocal for the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ORLEANS\">Orleans<\/a> tune and, as stated above, these big-name artists do a marvelous job of complementing the music, not impeding it with overplaying. From his 1971 <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:JON%7CLANDAU\">Jon Landau<\/a>-produced LP <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:LIV\">Liv<\/a> to this <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:JOHN%7CBOYLAN\">John Boylan<\/a>\/<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JEFF%7CBAXTER\">Jeff Baxter<\/a> co-production almost a decade later (the producers doing their tracks separately, not collaborating), <i>Man&#8217;s Best Friend<\/i> continues the consistent musical saga of a musician who should be a huge star. Where brother <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:JAMES%7CTAYLOR\">James Taylor<\/a> is the icon, deservedly so, it is too bad room wasn&#8217;t made in the pantheon for this bright and talented artist. Livingston Taylor&#8217;s albums are refreshingly strong, and enhance radio when they get their chance to entertain. This one&#8217;s a contender for lost classic status.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>LIVINGSTON TAYLOR LIFE IS GOOD 1988<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:wcftxq85ldhe\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=10:wcftxq85ldhe<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">Ten years after his Top 30 hit &#8220;I Will Be in Love With You,&#8221; Livingston Taylor comes up with an album that has all the brightness of that song and the Top 40 &#8220;First Time Love&#8221; from 1980. The amazing thing about this artist is that he continually crafts top-notch albums that are highly entertaining, but has not connected with an audience on the same level as his brother, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gifpxqr5ldse\">James<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:difixqe5ldse\">Carole King<\/a>, or other mainstream soft rock artists. A touch of jazz for &#8220;Louie&#8221; is that magical addition to a folk\/adult contemporary album which makes for great crossover potential. The tribute to <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kcftxqq5ld0e\">Louis Armstrong<\/a> is an essential element of Taylor&#8217;s ability to put together albums that are extraordinary in their perfection. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:fifrxqe5ldhe\">Robbie Dupree<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gifpxqr5ldse\">James Taylor<\/a> add some vocals to this beautiful <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:jiftxqq5ldhe\">Artie Traum<\/a> production, and though there are no hits, there is also not a bad track here. Released on Critique Records, a label located ten miles north of Boston which had two Top 40 hits in 1995 with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kvfrxqugldae\">Nicki French<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:azfoxqt5ldfe\">2 Unlimited<\/a>, <i>Life Is Good<\/i> is worth seeking out. On &#8220;Mary Ann&#8221; he does dip into his brother&#8217;s domain, but it is just briefly and worthwhile. When they do a boxed set on the work of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:apfexq95ldte\">Alex<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:hpfrxq95ldte\">Kate<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gifpxqr5ldse\">James<\/a>, and Livingston Taylor, a few tracks from this release would be most welcome.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>JONATHAN EDWARDS HAVE A GOOD TIME FOR ME 1973<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=10:wbfexqqgldde\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:wbfexqqgldde<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">Jonathan Edwards is not considered a &#8220;country&#8221; artist per se, probably due to the success of &#8220;Sunshine&#8221; from his 1971 self-titled debut, but on his follow-up to the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:jifwxqt5ldse\"><i>Jonathan Edwards<\/i><\/a> album, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;sql=10:kifwxqt5ldse\"><i>Honky-Tonk Stardust Cowboy<\/i><\/a>, and some of his discs on Reprise, most notably <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:hzfwxqt5ld0e\"><i>Sailboat<\/i><\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=10:gzfwxqt5ld0e\"><i>Rockin&#8217; Chair<\/i><\/a>, he is indeed that. <i>Have a Good Time for Me<\/i> is a departure from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:kifwxqt5ldse\"><i>Honky-Tonk Stardust Cowboy<\/i><\/a> in that the artist is covering music by three of the songwriters from the Castle Hill Publishing group, a company owned by co-producer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:avfoxqw5ld6e\">Peter Casperson<\/a>, who also managed Edwards. Without the original compositions that were the bulk of the previous release, Edwards has an opportunity to put his stamp on outside material, which he does so well. There&#8217;s an excellent cover of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jifoxql5ldde\">Jimmie Rodgers<\/a>&#8216; &#8220;Travelin&#8217; Blues,&#8221; along with a lively, almost gospel rendition of the traditional &#8220;When the Roll Is Called Up Yonder.&#8221; The album starts off with longtime collaborator <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:jcfixqtgldje\">Eric Lilljequist<\/a>&#8216;s &#8220;Have Yourself a Good Time for Me,&#8221; which would appear in a different form on <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jcfixqtgldje\">Lilljequist<\/a>&#8216;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=10:0xfpxqt5ldhe\"><i>More Orphan Than Not<\/i><\/a> album a year later. On that album, Edwards was pretty much a bandmember, his photo on the cover with the other musicians. Here, &#8220;Have a Good Time&#8221; is lighter and more introspective, a forlorn statement to a significant other who can&#8217;t stay true, a perfect sentiment for country radio. &#8220;My Home Ain&#8217;t in the Hall of Fame&#8221; sounds like Bostonian <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:difixql5ldfe\">John Lincoln Wright<\/a>, and one wonders had the two teamed up, how they might have decimated the country charts with hits. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:hifuxqw5ldde\">David Bromberg<\/a> shows up on electric guitar, and the tune reappeared on Edwards&#8217; next album, the live <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:0ifwxqt5ldse\"><i>Lucky Day<\/i><\/a>, which actually has <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:39fpxq85ldde\">Orphan<\/a> backing him up nine months after the recording of this LP. But it is in this context on <i>Have a Good Time for Me<\/i> where Edwards excels as an interpreter: &#8220;Something borrowed from the friends of gold&#8221; the singer writes in his poem inside the gatefold of an album. If you&#8217;ve had it in your collection for years, you may find strange white blotches appearing on the front and back cover; the singer explained that he demanded and got it released on recycled materials. Along with the poem, it is his calligraphy lettering inside and out, making for a very personal collection of material that didn&#8217;t come from his pen, but does! Interesting indeed how he takes <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:g9fwxqwjld6e\">Malcolm McKinney<\/a>&#8216;s &#8220;Thirty Miles to Go&#8221; and makes it his own. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:g9fwxqwjld6e\">McKinney<\/a> contributes two titles here; <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3pfoxqr5ldhe\">Joe Dolce<\/a> is represented with three; and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jcfixqtgldje\">Eric Lilljequist<\/a> has four, including the title song. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:jpfexqe0ldae\">Dolce<\/a>&#8216;s &#8220;King of Hearts&#8221; has more of the pop flavor Edwards&#8217; fans from radio expect, the album working because the musicianship from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:difrxqw5ldae\">Al Anderson<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:hifuxqw5ldde\">Bromberg<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gpfixqqgldte\">Stuart Schulman<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:hifuxql5ldse\">Bill Keith<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jcfixqtgldje\">Lilljequist<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:3bfoxqw5ldde\">Bill Elliot<\/a>, and others blends in perfectly behind the singer. With the success of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:giftxqe5ldhe\">the Eagles<\/a> at this point in time, one wonders why this album didn&#8217;t do much much more. Perhaps it was too pure in its approach. It remains a very listenable and courageous work by an artist not content to clone past success but willing to follow his instincts.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>LUCKY DAY LIVE 1974 JONATHAN EDWARDS<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=10:0ifwxqt5ldse\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0ifwxqt5ldse<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\"><i>Lucky Day<\/i> is an important 15-song live document of Jonathan Edwards&#8217; music, recorded at what was a wonderfully intimate little venue in Harvard Square, Cambridge, MA, the late, lamented Performance Center. This perfect live show is enhanced by the presence of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ORPHAN\">Orphan<\/a> members <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;sql=1:ERIC%7CLILLJEQUIST\">Eric Lilljequist<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DEAN%7CADRIEN\">Dean Adrien<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:DAVE%7CCONRAD\">Dave Conrad<\/a>, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BOBBY%7CCHOUINARD\">Bobby Chouinard<\/a>, along with friends like <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:NRBQ\">NRBQ<\/a>&#8216;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:AL%7CANDERSON\">Al Anderson<\/a>, pianist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:BILL%7CELLIOT\">Bill Elliot<\/a>, violinist\/pianist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:STUART%7CSCHULMAN\">Stuart Schulman<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:LYNNIE%7CDALL\">Lynnie Dall<\/a>, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BILL%7CELLIOT\">Bill Elliot<\/a>. Though some of the material would naturally show up on other live discs by Edwards \u2014 &#8220;Shanty&#8221; appearing on 1980&#8217;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=2:LIVE\">Live<\/a> and &#8220;Lucky Day&#8221; on 2000&#8217;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:CRUISING%7CAMERICA%5C%27S%7CWA\">Cruising America&#8217;s Waterways<\/a> \u2014 these takes have staying power, making this one of Edwards&#8217; most satisfying releases. The title track, &#8220;Lucky Day,&#8221; works so much better with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:ORPHAN\">Orphan<\/a> backing him, and the violins on <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:M.%7CMCKINNEY%5C%27S\">M. McKinney&#8217;s<\/a> &#8220;Sometimes&#8221; flow beautifully next to Edwards&#8217; soulful voice. &#8220;Hit Parade of Love&#8221; is a hootenanny, while &#8220;Stop and Start It All Again&#8221; is one of the singer&#8217;s best country-pop numbers. There is country-rock all over this folksinger&#8217;s repertoire, and &#8220;That&#8217;s What Our Life Is&#8221; deserved to be a country &amp;amp;amp;amp;amp;amp; western hit. The covers of &#8220;My Home Ain&#8217;t in the Hall of Fame&#8221; and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MERLE%7CHAGGARD\">Merle Haggard<\/a>&#8216;s &#8220;Today I Started Loving You Again&#8221; give a glimpse of the range of Edwards&#8217; artistry. It&#8217;s interesting to note that <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:ORPHAN\">Orphan<\/a> labelmates <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CPOPPY%7CFAMILY\">the Poppy Family<\/a> covered this same <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:MERLE%7CHAGGARD\">Merle Haggard<\/a> tune on <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:POPPY%7CSEEDS\">Poppy Seeds<\/a>, along with an <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:AL%7CANDERSON\">Al Anderson<\/a> number a couple of years before this release. At the time that <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:TERRY%7CJACKS\">Terry Jacks<\/a> of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:THE%7CPOPPY%7CFAMILY\">the Poppy Family<\/a> was riding the airwaves with &#8220;Seasons in the Sun,&#8221; <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ORPHAN\">Orphan<\/a> and Jonathan Edwards recorded this album (on March 22 and 23 of 1974). The medley of &#8220;You Are My Sunshine&#8221; into Edwards&#8217; own smash &#8220;Sunshine&#8221; \u2014 including the lyrics he brought on-stage during this era (&#8220;Nixon&#8217;s got cards he ain&#8217;t showing&#8221;) \u2014 turned out to be a good bit of prophecy. Half the album contains covers and half is comprised of Jonathan Edwards originals, like the country-folk &#8220;Give Us a Song,&#8221; which begins the disc, and the short and lively &#8220;Everybody Knows Her,&#8221; which ends side one. The cover of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:THE%7CCHI%7CLITES\">the Chi Lites<\/a>&#8216; 1971 hit &#8220;Have You Seen Her&#8221; is complete parody, and that&#8217;s the one downside \u2014 a soulful reading of the tune by Jonathan Edwards might have had chart potential. &#8220;Don&#8217;t Cry Blue,&#8221; the other <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:M.%7CMCKINNEY\">M. McKinney<\/a> title, brings the energy level up, while <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:C.%7CDALL\">C. Dall<\/a>&#8216;s &#8220;Nova Scotia&#8221; shows Edwards in that sincere light his fans adore. Reopening these tapes recorded by legendary engineer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JAY%7CMESSINA\">Jay Messina<\/a> (who worked with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:AEROSMITH\">Aerosmith<\/a>, among others ) to expand this album and create a double CD of the performances would be a treasure. Not only is this a great moment in time for Jonathan Edwards, it displays the many talents of the hugely underrated <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ORPHAN\">Orphan<\/a> and captures an important period in Boston music history at a fun venue which no longer exists.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>MAN IN THE MOON JONATHAN EDWARDS<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=10:a9fwxqqjldde\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:a9fwxqqjldde<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\"><i>Man in the Moon<\/i> is one of the most satisfying and beautiful discs by singer\/songwriter Jonathan Edwards in a history filled with such work. The title track is simply amazing in its subtlety, but every track on this disc has a presence and deep emotion. The opening track, &#8220;Stay Down,&#8221; is like an up-tempo take on <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:SIMON%7C&amp;amp;amp;amp;amp;%7CGARFUNKEL\">Simon &amp; Garfunkel<\/a>&#8216;s &#8220;The Boxer,&#8221; and it drives with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:GARY%7CBURKE\">Gary Burke<\/a> from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CJOE%7CJACKSON%7CGROUP\">the Joe Jackson Group<\/a> on drums and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:DUKE%7CLEVINE\">Duke Levine<\/a> on guitar. The song was used for the credit roll of the film <i>The Mouse<\/i>, for which Edwards did the soundtrack. The singer\/songwriter has anecdotes about each tune printed beneath the lyrics in the generous ten-page booklet that comes with the CD and, historically, those liner notes are almost as important as the music. &#8220;Slave for Love&#8221; is a tune <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:WILLIE%7CDIXON\">Willie Dixon<\/a> co-wrote and wanted Edwards to cover \u2014 they performed on a show together in Boston during the late &#8217;60s, and three decades later the song finds its release here. It is tremendous, but so is Edwards&#8217; own &#8220;Whatever Gets You Through the Night&#8221; and keyboardist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:KENNY%7CWHITE\">Kenny White<\/a>&#8216;s &#8220;To Me,&#8221; which sounds like an Edwards original. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BURKE\">Burke<\/a>&#8216;s drums are as lovely as ever, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:HUGH%7CMCDONALD\">Hugh McDonald<\/a>&#8216;s bass is right on, and \u2014 with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:LEVINE\">Levine<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:MICHAEL%7CAHARON\">Michael Aharon<\/a>, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:AL%7CPETTIWAY\">Al Pettiway<\/a> \u2014 the band combines to forge a really impressive sound, a natural progression from what Edwards was doing with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:ORPHAN\">Orphan<\/a> years earlier. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MONICA%7CCOHEN\">Monica Cohen<\/a>&#8216;s cover art matches the music inside, and though label Rising Records seems to have gone the way of all flesh, the material can still be found at www.jonathanedwards.net. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:CHERYL%7CWHEELER\">Cheryl Wheeler<\/a>&#8216;s &#8220;Howl at the Moon&#8221; is covered here, and Edwards&#8217; own &#8220;Break Out of the Blue&#8221; is just stunning. Some great artists put out albums with highs and lows; songwriter <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DAVID%7CPOMERANZ\">David Pomeranz<\/a>&#8216; <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=2:IT%5C%27S%7CIN%7CEVERYONE%7COF%7CU\">It&#8217;s in Everyone of Us<\/a> comes to mind as a work of genius with inevitable filler. Edwards&#8217; <i>Man in the Moon<\/i> contains no flaws, and must be viewed as a favorite among his many discs even if not considered his best album by the general record-buying public. <i>Man in the Moon<\/i> is a major effort that deserves massive exposure.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>CRUISING AMERICA&#8217;S WATERWAYS (LIVE) JONATHAN EDWARDS<br \/>\n<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;token=&amp;amp;amp;amp;amp;amp;sql=10:0jfyxqrkldae\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;token=&amp;amp;amp;amp;amp;amp;sql=10:0jfyxqrkldae<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">This is an interesting recording from veteran artist Jonathan Edwards. With 11 new performances, including &#8220;live&#8221; versions of &#8220;Seven Daffodils&#8221; and &#8220;Let&#8217;s Talk Dirty in Hawaiian,&#8221; the album has some quaint and clever moments. &#8220;Sailboat,&#8221; with solid Jonathan Edwards acoustic guitar, probably should have been the opening track. That honor went to &#8220;Lucky Day,&#8221; a song with great sentiment, but lacking the expressive lyrics we&#8217;ve come to expect from the former member of Boston&#8217;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ORPHAN\">Orphan<\/a>. A very cool three-way segue happens with the acoustic guitar sound of &#8220;Sailboat&#8221; into <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:kvfixqt5ldke\">Paul Cooper<\/a>&#8216;s &#8220;This Island Earth&#8221; \u2014 on which Edwards sings a capella \u2014 into the exquisite piano piece &#8220;Lady.&#8221; The transition from song to song is very well done and shows different dimensions of this artist. A remake of his biggest hit, &#8220;Sunshine (Go Away Today),&#8221; is in the spirit of things, as are the funny lyrics to <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifyxqq5ldhe\">Cheryl Wheeler<\/a>&#8216;s &#8220;Is It Peace or Is It Prozac?&#8221; Edwards produced this disc with Media Artists Inc. and the liner notes give a bit more of a clue as to the artist&#8217;s intent: &#8220;The &#8220;tunes&#8221; are windows through which we glimpse human life&#8230;Our lives are the ultimate cruise: filled with sunny days and comforting ports; storms that give way to calm seas; and memories that eventually put everything into perspective.&#8221; There are no dates of recording, engineer notes, or even where the three previously released tracks are culled from. &#8220;Man in the Moon&#8221; is the title track from Edwards&#8217; 1997 previous release on the Rising Records label out of Philadelphia (www.risingrecords.com) and is perhaps the strongest cut on the album. All in all, this is a fun and worthwhile outing from a classy and important singer\/songwriter.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n<p>CLEAN LIVING 1972<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:wzfqxqw5ld0e\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=10:wzfqxqw5ld0e<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">Clean Living opened up for <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:LOU%7CREED\">Lou Reed<\/a> in Lenox, MA, in September of 1973, the first gig of the Rock &amp;amp;amp;amp;amp;amp; Roll Animal Tour, and to have this country-rock act opening for the debut of a band who would fuse punk and heavy metal, well, the plaid cover featuring a sunrise over a farm gives you an idea how out of place the music was that night. The six bandmembers are so non-descript on the back of the album you could replace it with the back cover photo of 1978&#8217;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:STILLWATER\">Stillwater<\/a> album <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=2:I%7CRESERVE%7CTHE%7CRIGHT\">I Reserve the Right<\/a> and not know the difference \u2014 that long hair, blue jeans, and sneaker wardrobe. But Vanguard thought enough of the group to issue this disc in both stereo and quadraphonic \u2014 and musically they deserve it. Few country rockers could pull off the a cappella majesty of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ALAN%7CB.%7CROTMAN\">Alan B. Rotman<\/a>&#8216;s &#8220;Jesus Is My Subway Line&#8221;; it&#8217;s a perfect one minute and fifty five seconds, and those vocals swell up behind the medley of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DAN%7CVELIKA\">Dan Velika<\/a>&#8216;s &#8220;Waterfall&#8221; mixed in with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:DAVID%7CCARRON\">David Carron<\/a>&#8216;s &#8220;Killers,&#8221; which follows the spiritual piece and ends the album. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:PAUL%7CLAMBERT\">Paul Lambert<\/a>&#8216;s steel guitar provides a creative counterpart to those incredible voices and it is a far cry from the party atmosphere of &#8220;In Heaven There Is No Beer.&#8221; Produced by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:MAYNARD%7CSOLOMON\">Maynard Solomon<\/a>, the album simply known as <i>Clean Living<\/i> is overflowing with musical ideas and brimming with talent, missing the mark because there is no one song which could publicize them to the mass market. They cover <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BOB%7CDYLAN\">Bob Dylan<\/a>&#8216;s &#8220;It Takes a Lot to Laugh, It Takes a Train to Cry&#8221; with bassist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:FRANK%7CSHAW\">Frank Shaw<\/a> handling the lead vocals, and it comes off like <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CGRATEFUL%7CDEAD\">the Grateful Dead<\/a> by way of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:CANNED%7CHEAT\">Canned Heat<\/a>, which is cool; there&#8217;s no denying the ensemble had oodles of talent. Rhythm guitarist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ROBERT%7CTEX%7CLAMOUNTA\">Robert &#8220;Tex&#8221; LaMountain<\/a> does a respectable job on <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:CHUCK%7CBERRY\">Chuck Berry<\/a>&#8216;s &#8220;Sweet Little Sixteen.&#8221; He sounds like <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MEATLOAF\">Meatloaf<\/a>. Put that in the mix with the instrumental &#8220;Congress Alley&#8221; and main singer\/guitar player <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:NORMAN%7CSCHELL\">Norman Schell<\/a> doing yet another spiritual number, &#8220;Jesus Is My Thing,&#8221; and you have the band covering all the bases, from gospel to rock to country to blues. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:SCHELL\">Schell<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:FRANK%7CSHAW\">Frank Shaw<\/a> do a nice duet on &#8220;Price I Pay,&#8221; and despite their being all over the map, the album works better than this band opening for Lou the Rock &amp; Roll Animal. In retrospect, had they combined their <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:CROSBY,%7CSTILLS%7C&amp;%7CNASH\">Crosby, Stills &amp;amp;amp;amp;amp;amp; Nash<\/a> leanings with their ability to skillfully do what <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CEAGLES\">the Eagles<\/a> found success with, they might&#8217;ve been huge. Without that focus, this remains an impressive work by consummate musicians which got filed in the vaults somewhere.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>AL ANDERSON <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=10:aifoxq95ldae\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:aifoxq95ldae<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">The happy-go-lucky almost Mardi Gras feel of &#8220;We&#8217;ll Make Love,&#8221; the second track on this 1972 solo disc from the man behind the North East&#8217;s legendary <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0pftxqr5ld6e\">Wildweeds<\/a> and their phenomenal Boston-area hit &#8220;No Good to Cry&#8221; (unfortunately, not on this disc, but an acoustic version might be a perfect addition to a future re-release), carries that distinctive almost gravel voice of Al Andersen. Though he would later join <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;sql=11:hifrxqr5ld6e\">N.R.B.Q.<\/a>, this earthy folk\/blues\/country platter was recorded between June and September of 1972 and is a wonderful snapshot of an underrated artist at that point in time. &#8220;Ain&#8217;t No Woman Finer&#8221; has <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:39fpxqrgld0e\">Jeff Potter<\/a>&#8216;s wailing harp that plays off of Andersen&#8217;s vocal sustain and snappy guitar work. The colorful and uniquely distorted cover photo of Andersen is almost psychedelic country, but there&#8217;s none of that here. His vocal on &#8220;You&#8217;re Just Laughing Inside&#8221; is reminiscent of early <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:0ifqxqe5ldse\">Elton John<\/a>, say the &#8220;Amoreena&#8221; or &#8220;Burn Down the Mission&#8221; period. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:dzfexqugldje\">Hank Williams<\/a>&#8216; &#8220;Honky Tonkin'&#8221; is the shortest track, but one of the liveliest. &#8220;Don&#8217;t Hold the Line&#8221; explodes toward the end, and it is one of the few tunes on here that gets really raucous. &#8220;I Just Want to Have You Back Again&#8221; is a simple two-and-a-half-minute tune \u2014 if <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:fifoxqw5ldte\">Jim Croce<\/a> were more laid-back, he&#8217;d probably have sounded like this, melodically it reminds one almost of early <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jifyxqe5ldfe\">Paul McCartney<\/a> solo \u2014 maybe the first <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:jifyxqe5ldfe\">McCartney<\/a> meets <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fifwxqr5ldae\">Ringo<\/a> on his <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=2:SENTIMENTAL%7CJOURNEY\">Sentimental Journey<\/a>. The closing title, &#8220;I Haven&#8217;t Got the Strength to Carry On&#8221; with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gpfuxqygldfe\">Tom Staley<\/a>&#8216;s drums and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:gjftxqy5ldfe\">Al Lepak<\/a>&#8216;s bass, form a nice framework for Andersen&#8217;s blues-driven guitar. Also released in &#8220;Quadrophonic&#8221; in the early &#8217;70s, it remains a sincere work by a veteran American artist.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>THE MODERN LOVERS<br \/>\nWe have an extraordinary Jonathan Richman interview in Varulven Magazine that we are going to publish here. Stay tuned.<\/p>\n<p>1)Astral Plane<br \/>\n2)Dignified and Old<br \/>\n3)Egyptian Reggae<br \/>\n4)Hospital<br \/>\n5)Ice Cream Man<br \/>\n6)She Cracked<\/p>\n<p><a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:wifqxqqaldje\">ASTRAL PLANE<br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=33:wifqxqqaldje<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>\n<table width=\"762\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td id=\"details\" valign=\"top\">\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td><\/td>\n<td rowspan=\"3\"><\/td>\n<td><\/td>\n<\/tr>\n<tr>\n<td>Jonathan Richman<\/td>\n<td><a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=17:92238\">\u00a0<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<div id=\"bio\">\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\"><\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">Quasi-mystical Jonathan is what we get on &#8220;Astral Plane&#8221;, a brilliant compostion of love in the world in-between &#8211; &#8220;If you won&#8217;t sleep with me, I&#8217;ll still be with you, I&#8217;m gonna meet you on the astral plane&#8221;. And how many actually do visit the people who get almost close to us during everyday life, achieving relationship goals in that realm between the &#8220;real world&#8221; and sleep? Smart underground poetry from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:JONATHAN%7CRICHMAN\">Jonathan Richman<\/a> at his most poignant, lyrics that glide away from the mainstream but are not too obscure for the intuitive underground rock fan. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CMODERN%7CLOVERS\">The Modern Lovers<\/a> kick in after the song begins with Jo Jo&#8217;s lonely announcement &#8220;Tonight I&#8217;m all alone in my room\/I&#8217;ll go insane&#8221; and in less than three minutes he projects his persona into your speakers to declare that his everpresent punk\/blues can evaporate with a journey plucked out of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:SRI%7CPAUL%7CTWITCHELL%5C%27S\">Sri Paul Twitchell&#8217;s<\/a> Eckankar teachings. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RICHMAN\">Richman<\/a> isn&#8217;t doing his spiritual excercises, though, he&#8217;s traveling through the Twilight Zone with the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:MODERN%7CLOVERS\">Modern Lovers<\/a> bashing out their own statement in a world separate from his imaginary lover. The song remains surprisingly consistent in attitude on the latter <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:KIM%7CFOWLEY\">Kim Fowley<\/a> demos (not the earlier ones Fowley did with engineer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:DINKY%7CDAWSON\">Dinky Dawson<\/a> ) as on the more popular Warners tapes which have the aura of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHN%7CCALE%5C%27S\">John Cale&#8217;s<\/a> finesse. The band resembles <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:THE%7CVELVET%7CUNDERGROUN\">The Velvet Underground<\/a> more than Jonathan sounding like <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:LOU%7CREED\">Lou Reed<\/a>. He comes off like a Bostonian fronting that venerable group, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:JERRY%7CHARRISON\">Jerry Harrison<\/a> copping the riffs of his producer, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DAVID%7CROBINSON\">David Robinson<\/a> doing his best <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:MOE%7CTUCKER\">Moe Tucker<\/a> while <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RICHMAN\">Richman<\/a> indulges in his wonderfully brash dementia. The record is so fantastic you actually want to break it over the singer&#8217;s head for abandoning this jangly guitar confronting keyboard sound, a style that is fresh and exciting years after it was tracked and never duplicated, even by its creator. &#8220;Astral Plane&#8221; is one of the greatest moments of pop merging with punk, Richman&#8217;s eccentricities leading many fans to the conclusion that the singer didn&#8217;t even get his wish in the dreamworld, and that, indeed, it was what drove him allegedly insane.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=33:gifwxqqaldje\">Dignified and Old<br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:gifwxqqaldje<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Song Review<\/td>\n<td align=\"right\">by Joe VIglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">Released on the expanded CD of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=2:THE%7CMODERN%7CLOVERS\"><i>The Modern Lovers<\/i><\/a> classic self-titled debut along with another rarity, &#8220;I&#8217;m Straight&#8221;, this is the same theme <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:PAUL%7CMCCARTNEY\">Paul McCartney<\/a> brought the world on <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=2:SGT.%7CPEPPERS%7CLONELY%7CH\"><i>Sgt. Peppers Lonely Hearts Club Band<\/i><\/a> singing &#8220;When I&#8217;m Sixty Four&#8221;, though Sir Paul had the commitment in hand while Sir Jonathan is wishin&#8217; and hopin&#8217; and thinkin&#8217; and prayin&#8217;. &#8220;My telephone doesn&#8217;t ring\/will she never call me\/blinding miserable sadness&#8221; It is the Richman that the original fans know and love, taking charge with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CMODERN%7CLOVERS\">The Modern Lovers<\/a> accentuating his story telling and exposed emotions. A live version appears on Rounder Records compilation of early seventies tracks, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=2:PRECISE%7CMODERN%7CLOVERS\"><i>Precise Modern Lovers Order<\/i><\/a>, which has more of a disonant jangle &#8211; a hollow guitar sound behind JR&#8217;s original poetry. Its consistent with his obsessive early mission for companionship, told always with a beckoning wide-eyed hope for a relationship to blossom and grow. The relationship here, however, seems to be like <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CTURTLES\">The Turtles<\/a> unrequited quest in &#8220;Happy Together&#8221;, a notion that&#8217;s foggy and fading fast. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:THE%7CMICROWAVE%7CORPHANS\">The Microwave Orphans<\/a> cover the tune on the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:IF%7CI%7CWERE%7CA%7CRICHMAN\"><i>If I Were A Richman<\/i><\/a> tribute cd with a harder edge, a much harder punkier edge, and give further proof that even the material Jonathan may have initially cast aside, tunes not included in the first go round of repertoire that made up the debut disc, was very insightful, clever, and the reason he developed such a strong following of admirers in the first place. It&#8217;s just another reason the original <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:MODERN%7CLOVERS\">Modern Lovers<\/a> should reunite for a tour to bring these gems back to life.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>EGYPTIAN REGGAE<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:hcfoxcthld0e\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=33:hcfoxcthld0e<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>\n<table width=\"762\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td id=\"details\" valign=\"top\">\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>Composed By<\/td>\n<td rowspan=\"3\"><\/td>\n<td><\/td>\n<\/tr>\n<tr>\n<td>Jonathan Richman<\/td>\n<td><a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=17:429755\">\u00a0<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<div id=\"bio\">\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Song Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">Taking a cue from the first Boston band in history to get a Top 40 hit, 50&#8217;s\/60&#8217;s legends <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:THE%7CG.%7CCLEFS\">The G. Clefs<\/a> with their reggae flavored Egyptian dance tune &#8220;Zoom Gali Gali&#8221;, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JONATHAN%7CRICHMAN\">Jonathan Richman<\/a> delivers superb quasi-flamenco guitar on this gypsy rant mixed with hoofbeats from the old west. &#8220;Egyptian Reggae&#8221; owes more to other influences than the music from the islands being performed under the pyramids that its title evokes, but its simple shuffle and Spanish flavors smartly speak to Richman&#8217;s followers on a level higher than his musical practical jokes.&#8221;Egyptian Reggae&#8221; is a triumph, a left field underground hit which needs no lyrics or vocals to get the message across. It is one of the best post-rock and roll <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:MODERN%7CLOVERS\">Modern Lovers<\/a> concoctions by this eccentric genius. Created with what <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RICHMAN\">Richman<\/a> might consider the fourth or fifth version of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:THE%7CMODERN%7CLOVERS\">The Modern Lovers<\/a>(though on record it might be the second on the verge of being the third, it gets confusing ) this instrumental softly rocks interrupted by a wonderful gong sound. On live albums as well as the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ANDY%7CPALEY\">Andy Paley<\/a> produced 1996 <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=2:SURRENDER%7CTO%7CJONATHAN\"><i>Surrender To Jonathan<\/i><\/a> disc ( Paley was on drums in the third, mid-70&#8217;s version of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CMODERN%7CLOVERS\">The Modern Lovers<\/a> which performed live at the Unicorn Coffeehouse in Boston ) its first appearance on record was with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:JONATHAN%7CRICHMAN\">Jonathan Richman<\/a> and future <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ROBIN%7CLANE%7C&amp;amp;amp;amp;amp;amp;%7CTHE%7CCHAR\">Robin Lane &amp; The Chartbusters<\/a> <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:LEROY%7CRADCLIFFE\">Leroy Radcliffe<\/a> playing guitar, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:D.%7CSHARPE\">D. Sharpe<\/a> on drums and percussion with<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:GREG%7C%5C%27CURLY%5C%27%7CKERANEN\">Greg &#8216;Curly&#8217; Keranen<\/a> on bass. Backed with &#8220;Roller Coaster By The Sea&#8221; on one 45 RPM and &#8220;Ice Cream Man&#8221; on another, the song is also credited to an <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:EARL%7CJOHNSON\">Earl Johnson<\/a> as co-author on some of the releases. The two minute and thirty-four second excursion has also been put on singles with &#8220;Morning Of Our Lives&#8221; and &#8220;Roadrunner&#8221; as different flips. What is &#8220;Egyptian Reggae&#8221; anyway? Do Egyptians play the music found in the Caribbean? Only Jonathan knows for sure. The Ready, Steady, Go website notes that this was &#8221; a major European hit&#8221; and, thankfully for the fans, it was a departure from unique inventions like &#8220;Dodge Veg-O-Matic&#8221; which, being committed to record, put Jonathan at risk of being committed. To an institution.&#8221;Egyptian Reggae&#8221; has some marvelous riffing and musical eloquence missing in the folk\/rock of the post-amplifiers <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:MODERN%7CLOVERS\">Modern Lovers<\/a>. It is a new permutation of folk\/rock, &#8220;Astral Plane&#8221; all grown up. Sure, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JONATHAN%7CRICHMAN\">Jonathan Richman<\/a> still has his tongue firmly in cheek, a serious <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:ALFRED%7CE.%7CNEWMAN\">Alfred E. Newman<\/a> on The Gong Show proving to the world that he can dig deep into his soul and come up with something clever and listenable. Then &#8220;I&#8217;m A Little Airplane&#8221; comes on and true fans start smashing things.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>\n<table width=\"100%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>Hospital<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfpxqqgld6e%20\"> The Modern Lovers<\/a><a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=33:jifwxqqaldje\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:jifwxqqaldje<\/a><\/td>\n<td align=\"right\"><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<tr>\n<td valign=\"top\" height=\"100%\">\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td valign=\"top\">\n<div id=\"results-table\">\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>\n<table width=\"762\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td id=\"details\" valign=\"top\">\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>Composed By Jonathan Richman<\/td>\n<td rowspan=\"3\"><\/td>\n<td><\/td>\n<\/tr>\n<tr>\n<td>Jonathan Richman<\/td>\n<td><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<div id=\"bio\">\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Song Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">With <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:JERRY%7CHARRISON%5C%27S\">Jerry Harrison&#8217;s<\/a> dirge-like keyboards this is the underground &#8220;Whiter Shade Of Pale&#8221;, a solemn slowed down sentiment originated by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:LOU%7CREED\">Lou Reed<\/a> in &#8220;Pale Blue Eyes&#8221; off of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:THE%7CVELVET%7CUNDERGROUN\">The Velvet Underground&#8217;s<\/a> first post- <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHN%7CCALE\">John Cale<\/a>. This track appears on the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:CALE\">Cale<\/a> produced eponymous <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MODERN%7CLOVERS\">Modern Lovers<\/a> album, though he&#8217;s not credited as the director of this particular performance. It was tracked at Intermedia Sound on Newbury Street in Boston where <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:MOULTY%7C&amp;%7CTHE%7CBARBARIA\">Moulty &amp;amp;amp;amp;amp;amp; The Barbarians<\/a> recorded 70&#8217;s tunes, where <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:AEROSMITH%5C%27S\">Aerosmith&#8217;s<\/a> &#8220;Dream On&#8221; was recorded, and where another Jonathan, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:JONATHAN%7CEDWARDS\">Jonathan Edwards<\/a>, created his Top 5 1971 hit, &#8220;Sunshine&#8221;. That the eventual drummer for <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CCARS\">The Cars<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:DAVID%7CROBINSON\">David Robinson<\/a>, is on this lament, and that his future band would go on to buy this fancy studio years later is a touch of irony. It&#8217;s also an indicator that had <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CMODERN%7CLOVERS\">The Modern Lovers<\/a> kept going in this direction, they could&#8217;ve been the landlords of the place where this mood piece came into the world.Jonathan talks about his own eyes as well as the woman he adores here, and the power that resides the eyes of that girl who lives in modern apartments. He&#8217;s a real stalker in this one, walking down her street with tears in his eyes. The dark romance is not something relegated to just his songs, urban legend has it Jonathan slept all night on the lawn in the rain outside the window of his future wife while she was married to (and sleeping with) someone else. Not to make this review read like The National Enquirer, it is important to note that this creative artist walked the line between the astral world and reality, truly involved in the romances he was writing and singing about.&#8221;Hospital&#8221; is a simply great melody from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:JONATHAN%7CRICHMAN\">Jonathan Richman<\/a>, melodies being one of the man&#8217;s true strengths. It is the organ that dominates this dramatic soap opera of a young guy going &#8220;to bakeries, all day long now, there&#8217;s a lack of sweetness in my life&#8221; &#8211; descending into some twisted self-tortured mental abuse &#8220;I can&#8217;t stand you&#8221;, pathos in dichotomy, emotions splitting like atoms over the ominous and slow mood set up by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CMODERN%7CLOVERS\">The Modern Lovers<\/a>. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:TALKING%7CHEADS\">Talking Heads<\/a> keyboard player <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JERRY%7CHARRISON\">Jerry Harrison<\/a> donated this tape to the album from his archives, and its position on the compilation release that became that landmark disc is essential. The tone sets it apart from the wild fury of many of the other songs it is included with, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:ROBINSON%5C%27S\">Robinson&#8217;s<\/a> powerful drums picking up the tempo in a way that possibly influenced <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CTALKING%7CHEADS\">The Talking Heads<\/a>, and many others. The song is simple, obtaining its power in the attitude and emotions. You can&#8217;t help but find this dark essay intriguing, but worry that because it is so well suited to a Psycho film that if a judge and jury got to hear it performed in a courtroom, the singer certainly would have found himself held for observation. This isn&#8217;t domestic violence, nor is it verbal abuse, it is the strange thoughts of a man who &#8220;can&#8217;t stand what you do, but I&#8217;m in love with your eyes.&#8221; As <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:JAMES%7CTAYLOR\">James Taylor<\/a> wrote in &#8220;Fire And Rain&#8221; about his friend at McLeans hospital dying just a couple of years before this episode, one has to wonder what put the subject matter into the &#8220;Hospital&#8221; in the first place? He knows where she lives. He&#8217;s scared once or twice, and he&#8217;s on her street late at night. You do the math. It&#8217;s where she got her eyes, and he can&#8217;t stand what she does because it makes him think about himself. Ok. Totally brilliant, malevolent and you just picture poor <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JERRY%7CHARRISON\">Jerry Harrison<\/a> needing therapy going from this gig to &#8220;Psycho Killer&#8221; in quick succession. Those who think <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:LOU%7CREED%5C%27S\">Lou Reed&#8217;s<\/a> &#8220;Sister Ray&#8221; was the most twisted thing you&#8217;ve ever heard give this another spin.<br \/>\nICE CREAM MAN JONATHAN RICHMAN<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:jifwxqqaldje\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:jifwxqqaldje<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Song Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">Sounding like a song by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:FRED%7CROGERS\">Fred Rogers<\/a> of TV&#8217;s Mr. Rogers fame, &#8220;Ice Cream Man&#8221; is <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:JONATHAN%7CRICHMAN\">Jonathan Richman<\/a> telling the record industry where to go, his version of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:METAL%7CMACHINE%7CMUSIC\"><i>Metal Machine Music<\/i><\/a>. The only problem is, where Richman&#8217;s hero, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:LOU%7CREED\">Lou Reed<\/a>, moved on from that moment in his career, Jonathan extended this trip to Neverland for decades. The melodic genius appropriately found one photo of himself upside down and that same picture rightside up in The Boston Phoenix weekly magazine, and for some, speculating on his motives became part of the fun. But for those blown away by the rugged innocence of songs like &#8220;Roadrunner&#8221; and &#8220;Astral Plane&#8221;, the departure from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:VELVET%7CUNDERGROUND\">Velvet Underground<\/a> influenced fury mixed with beat poetry to nursery rhymes like &#8220;My Little Kookenhaken&#8221; and this ditty frustrated fans no end. A personality with an ongoing need to do his music on his terms, that he has been able to survive the changes in the music industry (again, as does his mentor, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:LOU%7CREED\">Lou Reed<\/a> ) is a testament not to this song of devotion to the dude who brings dessert to the neighborhood but to <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JONATHAN%7CRICHMAN%5C%27S\">Jonathan Richman&#8217;s<\/a> absolute brilliance in being able to pull the wool over the eyes of the world. Listen to <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:H.A.R.M.\">H.A.R.M.<\/a> do their cover of this title on the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:IF%7CI%7CWERE%7CA%7CRICHMAN\"><i>If I Were A Richman<\/i><\/a> tribute cd and see the power of an artist who can influence others to engage in total silliness. It&#8217;s a power trip of immense proportions, done with amazing success, but the artist failing to see that timing is everything and &#8211; at a certain point &#8211; the Ice Cream Man has to pack up and go home at the end of the evening. Sitting in a living room with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:RICHMAN\">Richman<\/a> in the mid-seventies jamming on guitars it was clear being up close and personal how very bright, talented, and creative an individual he is. The simple guitar strums of &#8220;Ice Cream Man&#8221; and the forcing of great musicians to provide background vocals of &#8220;ding ding&#8221; is, well, humiliating and a waste of the great gifts God bestowed on all involved. &#8220;Do you like the ice cream man?&#8221; Richman asks on a live version to thunderous applause before going back into the chorus. The raw passion of the perverted &#8220;ding dong&#8221; in <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CVELVET%7CUNDERGROUN\">The Velvet Underground&#8217;s<\/a> &#8220;Sister Ray&#8221; is warped here to sound like some purified born-again Christian homogenized fluff. One cannot dissect this composition as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:THE%7CJEFFERSON%7CSTARSHI\">The Jefferson Starship&#8217;s<\/a> &#8220;Miracles&#8221; and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:LED%7CZEPPELIN%5C%27S\">Led Zeppelin&#8217;s<\/a> &#8220;Stairway To Heaven&#8221; demand study and appreciation. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:JONATHAN%7CRICHMAN\">Jonathan Richman<\/a> is clearly capable of composing a song as breathtaking and important as &#8220;Miracles&#8221; but has opted instead to beating his audience over the head with the same campfire-style approach found on &#8220;Ice Cream Man&#8221; and replicated in &#8220;Back In Your Life&#8221;. &#8220;Ice Cream Man&#8221; is the creation of a <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:PABLO%7CPICASSO\">Pablo Picasso<\/a> on a mission to spray paint graffiti all over the important gems that brought him an audience in the first place. Important work that will stand the test of time is tested like nature&#8217;s mosquito landing ker plunk in the ice cream cone delivered by the ice cream man. &#8220;Fly Into The Mystery&#8221; was a work of brilliance, detoured by a fly in the ointment.&#8221;Ice Cream Man&#8221; is the single greatest argument for Jonathan to phone up <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:JERRY%7CHARRISON\">Jerry Harrison<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ERNIE%7CBROOKS\">Ernie Brooks<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:DAVID%7CROBINSON\">David Robinson<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JON%7CFELICE\">Jon Felice<\/a> and re-create the sound that made his work legend. For his penance for punishing his faithful and devoted fans, present company included, extended twenty minute versions of each song from the first <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=2:MODERN%7CLOVERS\"><i>Modern Lovers<\/i><\/a> album at full volume are in order.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>She Cracked Jonathan Richman<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=33:hifwxqqaldje\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:hifwxqqaldje<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Song Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">One of the six <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:JOHN%7CCALE\">John Cale<\/a> produced &#8220;demos&#8221; from the combination of tapes which are the first <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MODERN%7CLOVERS\">Modern Lovers<\/a> album, &#8220;She Cracked&#8221; is the stuff <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:VELVET%7CUNDERGROUND\">Velvet Underground<\/a> fans&#8217; dreams are made of. It is <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JONATHAN%7CRICHMAN\">Jonathan Richman<\/a> mutating the as-yet unreleased Velvets tune, &#8220;Foggy Notion&#8221;, merging it with a bit of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:LOU%7CREED%5C%27S\">Lou Reed&#8217;s<\/a> &#8220;Sister Ray&#8221; vocal style (these vocals louder and easier to understand than Lou&#8217;s) while bringing the tempo up and adding lyrics that make sense probably only to the singer. He sings these words which tumble forth with such authority that one gets the idea it empowered him to venture forth into the world of Ice Cream Men and nursery rhymes, an obsession which frustrated the faithful to no end.<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RICHMAN\">Richman<\/a> calls himself &#8220;almost as good as Dick Tracy&#8221; in chronichling a timeline for this music in his liner notes to Bomp&#8217;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=2:THE%7CORIGINAL%7CMODERN%7CL\"><i>The Original Modern Lovers<\/i><\/a>, though it is the appreciative who take a song like this and evaluate it&#8217;s expressive originality more than the time and place from which it emerged. Piecing together the sounds generated by the early <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MODERN%7CLOVERS\">Modern Lovers<\/a> is more fun than listening to latter day groups who need computers to expand their already limited scope. If Jonathan&#8217;s attitude imploded the group, it is that same attitude which makes these performances of &#8220;She Cracked&#8221; fun and endearing decades after their creation. The <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:KIM%7CFOWLEY\">Kim Fowley<\/a> Los Angeles tapes featuring this song (from the Fall of 1973) are a doorway to view that <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:VELVET%7CUNDERGROUND\">Velvet Underground<\/a> influenced feel . Jonathan wanted the level of the &#8220;radio interference and dial-switching&#8221;, as he called it, down in the mix. It works pretty cool on that particular tape while the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:CALE\">Cale<\/a> take on it has more of what FM radio could embrace in its rock and roll infancy. Years later the two productions of this interesting observation of what she did and what he won&#8217;t do both stand the test of time. The <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:FOWLEY\">Fowley<\/a> supervised garage tapes an interesting blend of the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:YULE\">Yule<\/a> softer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:VELVET%7CUNDERGROUND\">Velvet Underground<\/a> group with the hard edged organ from the days when that band featured <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:JOHN%7CCALE\">John Cale<\/a>. &#8220;It&#8217;s all horizontal&#8221; <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RICHMAN\">Richman<\/a> calls out, and whether he likes it or not if <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:THE%7CVELVET%7CUNDERGROUN\">The Velvet Underground<\/a> was the rock messiah, this material was certainly the acts of the Apostle. As such, &#8220;She Cracked&#8221; is highly listenable and valuable to those who like trying to figure Jonathan out in a more traditional basement band setting.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>RANDY ROOS Mistral 1978 Spoonfed Records<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dcfixqw0ldde\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dcfixqw0ldde<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\"><a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fxfixqqgldhe\">Orchestra Luna<\/a>&#8216;s guitarist Randy Roos released his first solo album on Boston legend <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:39fqxqqgldde\">Bruce Patch<\/a>&#8216;s Spoonfed records, a label which would issue discs by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THIRD%7CRAIL\">Third Rail<\/a> produced by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:aiftxqr5ld6e\">Ric Ocasek<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:REDDY%7CTEDDY\">Reddy Teddy<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:THE%7CREMAINS\">the Remains<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:J.T.S.%7CFLYING\">J.T.S. Flying<\/a>, and others. &#8220;Stew&#8221; is a song that has some great wailing guitar behind percussion and rhythms, the early playing of this virtuoso falling somewhere between <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:difwxqy5ldhe\">Pat Metheny<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kifexqr5ldde\">Steve Vai<\/a>. The plethora of instruments utilized by the guitarist expose the talents he brought to <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:hpfuxqrjld6e\">Rick Berlin<\/a>&#8216;s quirky early work on Epic, the bold and highly experimental <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:ORCHESTRA%7CLUNA\">Orchestra Luna<\/a> disc. All those avant-garde notions are stripped away for a smooth and precise coloring of original tunes and collaborations which range from three and a half minutes to nearly eight minutes in length. The instrumentalist notes the different tools he uses to get the sounds on each song, &#8220;Platypus&#8221; containing more jazz improvisation, while &#8220;Inward Stroke&#8221; is just a lovely, subdued combination of mellow guitar sounds. &#8220;The Hunt&#8221; is a bit more driving, allowing Randy Roos the liberty to stretch. &#8220;Horizon Game&#8221; opens side two and has more exquisite playing, inspired ideas which are the furthest thing from redundant, sounds expanding on &#8220;Innisfree&#8221; and concluding with the seven-minute-plus &#8220;Marcel Marceau (Three Little Things),&#8221; the epic track on the <i>Mistral<\/i> album as &#8220;Doris Dreams&#8221; was to the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=2:ORCHESTRA%7CLUNA\">Orchestra Luna<\/a> disc. Released on translucent vinyl (as was a 45 on MCA by local pianist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:WILLIE%7CALEXANDER\">Willie Alexander<\/a>, it was a bit of the rage at the time), <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:MICHAEL%7CGIBBS\">Michael Gibbs<\/a>&#8216; liner notes could be more enlightening, though they add some insight \u2014 that he first encountered Roos when <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fxfixqqgldhe\">Orchestra Luna<\/a> opened for <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:difoxqy5ldde\">Weather Report<\/a> at <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:SYMPHONY%7CHALL\">Symphony Hall<\/a>, and that this is Randy Roos&#8217; first solo album. There would be many more, and it is definitely a gem.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>ORCHESTRA LUNA 1974 Epic<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=10:f9fixqlhld6e\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:f9fixqlhld6e<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">The <i>Orchestra Luna<\/i> album began the musical legacy of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hpfuxqrjld6e\">Rick Berlin<\/a>, the composer\/singer who goes by his birth name, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;sql=1:RICHARD%7CKINSCHERF\">Richard Kinscherf<\/a>, on this Epic Records debut in 1974. The seven-piece ensemble was truly groundbreaking in a world that doesn&#8217;t take kindly to innovation. Where <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fifwxqr5ldfe\">the Who<\/a> were content to write rock operas, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:KINSCHERF\">Kinscherf<\/a> and his band put opera to rock. This adventurous mix of songs, written as if they were Broadway show tunes backed by a rock band with jazz and classical influences, might sound like a bit much, and 11 minutes and 53 seconds of &#8220;Doris Dreams&#8221; never had a chance of Top 40 success, or an edit that could get it there, but that idiosyncrasy is part of what makes this album so daring, and special. Co-produced by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:f9foxqu5ldje\">Rupert Holmes<\/a>, the man who gave us &#8220;Escape (The Pina Colada Song,&#8221; a monster smash in 1979, and the cannibal anthem &#8220;Timothy&#8221; in 1971, the choice might not seem appropriate on the surface. But <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:HOLMES\">Holmes<\/a>&#8216; unheralded work for <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BARBARA%7CSTREISAND\">Barbara Streisand<\/a> and the Broadway musical <i>Drood<\/i> actually makes him a perfect choice to oversee this project. &#8220;Miss Pamela&#8221; has wonderful <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:dpfqxq9gldhe\">Randy Roos<\/a> guitars blending with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RICK%7CKINSCHERF\">Rick Kinscherf<\/a>&#8216;s pretty keyboards, keyboards that could have inspired <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:jifqxqe5ldse\">Billy Joel<\/a>, sounding very much like his 1978 hit &#8220;Just The Way You Are.&#8221; It&#8217;s when <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:KINSCHERF\">Kinscherf<\/a>&#8216;s expressive vocal kicks in that all comparisons to traditional pop go out the window. The cover of the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:ADLER\">Adler<\/a>\/<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ROSS\">Ross<\/a> classic (you gotta have) &#8220;Heart&#8221; is a standout here, as it was in their live show. Seven of the nine tracks are penned by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:RICK%7CKINSCHERF\">Rick Kinscherf<\/a>, and themes that resound in &#8220;Fay Wray&#8221; (the heroine from the epic <i>King Kong<\/i>) travel throughout the artist&#8217;s career. This album may be tough for some to take, but the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gzfrxqygldhe\">Tom Werman<\/a> liner notes put things in a nice perspective. They opened for <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:aifqxqugldae\">Roxy Music<\/a> in Boston when this album was released, and were even more avant-garde than the legendary headliner. The band dropped the &#8220;Orchestra&#8221; from their name and became the original Luna, releasing a 45, &#8220;Hollywood,&#8221; while the rest of their album was held up in litigation. They re-emerged as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fzfixqy5ldke\">Berlin Airlift<\/a>, then <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:RICK%7CBERLIN:%7CTHE%7CMOVI\">Rick Berlin: The Movie<\/a>. In 2001, the former <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RICK%7CKINSCHERF\">Rick Kinscherf<\/a>, known as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:hpfuxqrjld6e\">Rick Berlin<\/a>, fronted <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CSHELLEY%7CWINTERS%7CP\">the Shelley Winters Project<\/a>. That sound has little in common with the early pictures painted by the exquisite &#8220;Love Is Not Enough&#8221; or musically bizarre &#8220;Boy Scouts&#8221; off this album (&#8220;Back in the boy scout camp\/the moon was very full&#8221;). These themes, like the references and inspiration from films, continued to flavor <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:BERLIN\">Berlin<\/a>&#8216;s music through the years, although the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fxfwxqq0ldje\">Peter Barrett<\/a> narrations would fall away. Moody and impressive in its gamble, this is also noteworthy in that guitarist extraordinaire <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:dpfqxq9gldhe\">Randy Roos<\/a> can be heard in his formative years.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>INCREDIBLE TWO MAN BAND Mickey Spiros<\/p>\n<p><a href=\"http:\/\/artsmediamag.blogspot.com\/2006\/01\/70s-boston-rockers-return.html\">http:\/\/artsmediamag.blogspot.com\/2006\/01\/70s-boston-rockers-return.html<\/a><\/p>\n<p>Medford resident Mickey Spiros is one of the original 1960s rockers, a musician from a magical time that is the foundation for the currently vibrant Boston music scene. In 1965 or 66 he joined the band<br \/>\n&#8220;Freeborne&#8221; in Brookline, Massachusetts back in along with drummer Lou Lipson,<br \/>\nguitarist Bob Margolin, lead singer Nick Carstau and bassist David Codd. They got signed to Monitor Records out of New York city releasing the psychedelic classic &#8220;Peak Impressions&#8221; which is selling for ridiculous prices on eBay in February of 2005 &#8211; from $129.00 to $300.00 almost<br \/>\nthirty years later.<\/p>\n<p>Freeborne would play at The Psychedelic Supermarket, which was a big underground &#8220;supermarket&#8221; in Boston, and as legendary as The Boston Teaparty. Spiros stayed with Freeborne for two or three years, then went to finish his last year of high school in Los Angeles at Hollywood High School. He joined a band in California called &#8220;Freeway&#8221;, what he considers one of the best groups he ever played with, but was homesick for Boston. Returning to this area Spiros ended up at the Boston Tea Party<br \/>\nand saw keyboardist\/singer Lee Michaels and his drummer &#8220;Frosty&#8221; as the opening act for Rod Stewart &amp; The Small Faces in the 1960s.<\/p>\n<p>Mickey Spiros was sold on the idea of generating a big band sound with only two players, thus The Incredible Two Man Band, a.k.a. I.T.M.B., was born. Spiros would be the keyboardist\/lead singer also playing trumpet, bass pedals, acoustic guitar, and additional drums.<\/p>\n<p>The only drummer available at the time was Lou Lipson from Freeborne &#8211; but Lipson didn&#8217;t think a two man group would fly. So Spiros walked into Berkelee School of Music and found Bobby Lichtenfels. The owner of a hot nighspot known as &#8220;The Mohawk Club&#8221; gave them a house to practice in. &#8220;We did the right songs&#8221;, Mickey said, &#8220;not too many originals because we didn&#8217;t want to get shut down. We did Bee Gees, Lee Michaels&#8217; &#8220;Do You Know What I Mean&#8221;, Moody Blues, Emerson Lake &amp;amp;amp;amp;amp;amp; Palmer and some<br \/>\nfunky dance music as well. We ended up playing The Frolics, we were one of the biggest draws at the Frolics Ballroom at Salisbury, Beach. Over 1,000 people (would show up), the place was always packed.&#8221;<\/p>\n<p>The duo also performed at The Brothers Four in Nashua New Hampshire, Katy&#8217;s in Boston, Lucifer&#8217;s in Boston, The Boston Club (now The Paradise), the Commodore Ballroom and major bands like Detroit&#8217;s Frijid Pink (who hit with &#8220;House Of The Rising Sun&#8221;) found themselves opening for<br \/>\nI.T.M.B.<\/p>\n<p>According to the website the band toured New England as well as parts of upstate New York, California, Florida, and up and down the East Coast. They released 2 albums, titled &#8220;On My Way&#8221;, and &#8220;ITMB 2&#8243;, as well as releasing an 8-track tape.&#8221;<\/p>\n<p>Pure &amp; Easy Records label president John Visnaskas did some of the first graphics for the band back in the day. He says of the duo &#8220;It was a grand sight to see,at the time they were one of the best live acts<br \/>\nI&#8217;d ever seen.&#8221; &#8211; Visnaskas witnessed over one hundred of the band&#8217;s performances, seeing them up at the beach, Mr. C&#8217;s Rock Palace, The Turnpike Lounge on Route 3a, and it was &#8220;totally packed all the time.&#8221;<\/p>\n<p>While artists like Paul McCartney, Todd Rundgren and Emmit Rhodes were recording albums where they played all the instruments themselves, I.T.M.B. was actually going out and doing that routine live with no<br \/>\nmulti-tracking. &#8220;They were really really good in the day&#8221; stated Visnaskas. &#8220;What they did onstage was hard to translate to vinyl.&#8221;<\/p>\n<p>To translate the sound to record Mickey started writing originals. The biggest name studio outside of Boston proper was Aengus Recording Studio, where the original Cars recorded their obscure collector&#8217;s item &#8220;Milkwood&#8221; album. &#8220;We played The Red Barn out in Framingham and the studio was out there. Studio co-owner Bill Riseman came out to see us play and said he had a studio. Our manager, Harry Deshowitz, made a deal with him and maybe through Bill Riseman we met Adrian Barner.<\/p>\n<p>Adrian Barber, engineer for The Velvet Underground and Eric Clapton&#8217;s Cream, was producing the band Aerosmith&#8217;s first album at Intermedia in Boston, a studio later purchased by The Cars and turned into<br \/>\nSyncro Sound. Adrian Barber and his partner, Buddy Vergo, recorded the &#8220;ON MY WAY&#8221; disc on ITMB&#8217;s label. The title track was also released as a 45. &#8220;We hired real string players and musicians, a mini<br \/>\norchestra, maybe 8 pieces&#8221; Spiro noted about the classy touch to his debut album.<\/p>\n<p>The disc featured drummer Bob Licthtenfels. As Ronnie Stewart took over for Lichtenfels he is featured on the cover of the ITMB album. The band then went through a succession of drummers. Some of the<br \/>\npercussionists that made up the other half of I.T.M.B. were Joe Pafumi, Medford&#8217;s own Joe Petruzzeli, Jonathan Mover, and booking agent Norman Bloom. Petruzelli and Ronnie Stewart would join The Joe Perry Project (at different times, of course), that Aerosmith connection always in the<br \/>\nbackground.<\/p>\n<p>Around 1986 or 1987 or a little later Spiros joined show groups like The Joey Scott Band. In the mid 1980s Mickey started recording another album in his own studio &#8211; a 45 called &#8220;Ya Ya&#8221; came out around 1995 or<br \/>\n1996 with Norman Bloom on drums.<\/p>\n<p>Thinking about the performances way back when Spiros said &#8220;The expenses of moving the stuff was incredible, you needed a truck and a good sized road crew.<\/p>\n<p>Mickey moved to Medford in 2005 where he resides now, finishing up the newest I.T.M.B. disc and getting ready to play out again.<\/p>\n<p>The webpage is <a href=\"http:\/\/www.itmb.org\/\">http:\/\/www.itmb.org\/<\/a><\/p>\n<p>Joe Viglione is a rock critic for AllMusic.com and producer\/host of Visual Radio, a ten year old<br \/>\ntelevision program which interviews recording artists, authors and other personalities.<br \/>\nHe too is a 70&#8217;s rocker who has released a compilation &#8220;Lifeswork: 2005 and Counting&#8221; available on Emusic.com<\/p>\n<p>DAVID MAXWELL MAX ATTACK<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=10:wxfpxqwsld6e\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:wxfpxqwsld6e<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">Originally released on the Blue Max label in 2003, with this 95 North Records version appearing in 2005, the gifted David Maxwell&#8217;s piano opens this fun and important disc up with the mostly instrumental &#8220;Sticky Buns,&#8221; which drives like a cross between the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifrxqe5ldke\">J. Geils Band<\/a> debut and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;sql=11:difixqr5ldse\">Traffic<\/a> during their <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:apfuxq95ldke\"><i>John Barleycorn Must Die<\/i><\/a> phase. That jazz vs. blues battle continues later on the CD with the majestic and grooving &#8220;Moving Out of His World,&#8221; which absorbs moods from different genres and delivers true modern electric blues. Picture <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:f9fwxqw5ldde\">Jim Morrison<\/a> sitting at the piano in his sixties (though Maxwell is a good decade younger than <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fwxqw5ldde\">Jimbo<\/a> would have been at the time of this release), assuring the woman that the change in partners is nothing to fret over. &#8220;Hip-House Rock&#8221; changes things dramatically, an entertaining instrumental with plenty of lively space in between. Producer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:aifuxqqhldde\">Tino Gonzales<\/a> does a superb job keeping things crisp and not getting in the way of Maxwell&#8217;s arrangements on this material recorded between July and November of 2005. The piano on &#8220;Thanks for All the Women&#8221; is bright yet still dark in tone, a nice balance as the guitar answers are separated in the stereo mix. With <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifqxq95ldke\">James Cotton<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:0ifexq95ldke\">Ronnie Earl<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifixqr5ldje\">Duke Robillard<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:g9fpxqwgldse\">Pinetop Perkins<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hxfrxqtsldae\">Liane Carroll<\/a>, and the redoubtable <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:0ifexq95ldae\">Hubert Sumlin<\/a> as just some of the marquee guests, <i>Max Attack<\/i> is an engaging follow-up to 1997&#8217;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:3ifrxq8jldde\"><i>Maximum Blues Piano<\/i><\/a>. While &#8220;Handyman&#8221; is pure blues (not the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:0ifpxqr5ld0e\">Del Shannon<\/a>\/<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gifpxqr5ldse\">James Taylor<\/a> hit &#8220;Handy Man&#8221; written by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:3zftxq95ldje\">Otis Blackwell<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jjfixqlhld6e\">Jimmy &#8220;Handyman&#8221; Jones<\/a> \u2014 this disc is all Maxwell originals), the title track, &#8220;Max Attack,&#8221; opens jazzy with chirping horns before morphing back into a bluesy showcase \u2014 perhaps a nice intro to <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:j9frxqu5ldte\">Buzzy Linhart<\/a> concerts, as Maxwell is also that legend&#8217;s music director. Liner notes by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:abfuxqtgldde\">Ted Drozdowski<\/a> of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=11:jvfuxqykldae\">the Devil Gods<\/a> and the latter-day <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hvfwxqugldje\">Scissormen<\/a> make for a very nice package on this hour&#8217;s worth of music by a superb musician deserving more appreciation.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>JOHN SINCLAIR with Boston&#8217;s Ted Drozdowski<br \/>\nSTEADY ROLLIN&#8217; MAN LIVE<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=10:k9frxqt0ldhe\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:k9frxqt0ldhe<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">From New Orleans, John Sinclair wrote extensive liner notes to this collection of live performances recorded on mini disc by drummer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:dcfexqw5ld6e\">Eric Austin<\/a>. The sound quality is pretty good, with Sinclair&#8217;s voice booming out over relentless backing. This is not the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;sql=1:MC5\">MC5<\/a>. &#8220;Monk in Orbit&#8221; opens the disc, and the poet writes that this is a shorter version of the epic originally released on his 1997 disc with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kzfoxq85ldfe\">Wayne Kramer<\/a> entitled <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=10:fifuxqqjldae\"><i>Full Circle<\/i><\/a>. Half of the fun of this CD is reading the liners by Sinclair where he tells of how he came to Boston, and the tour which resulted in this project. He also goes over each of these selections giving his insight. After all, the Minister of Information of the White Panther Party can ramble on! Where most artists create and expect the listener to figure it out, Sinclair figures it out for you, which is a different kind of art. &#8220;Hellhound on My Trail&#8221; is allegedly an &#8220;account in verse of the untimely demise of the great Delta blues singer,&#8221; and it sounds like borderline revisionist history for blues artist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:ajfuxql5ldhe\">Robert Johnson<\/a>&#8216;s last days, rife with the F-word and other choice terms. The minister gets so explicit it no longer seems explicit. The band is adequate, called <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:HIS%7CBOSTON%7CBLUES%7CSCHO\">His Boston Blues Scholars<\/a>, they stay in the background to enable Sinclair to recite his poetry over the bluesy near psychedelic thump of the group. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DROZDOWSKI\">Drozdowski<\/a>, also a member of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;amp;amp;amp;amp;amp;sql=1:THE%7CDEVIL%7CGODS\">the Devil Gods<\/a> and former music editor of The Boston Phoenix, gets a chance to explode at the end of &#8220;Hellhound on My Train,&#8221; and he keeps that intensity for what Sinclair calls the &#8220;power rock version&#8221; of &#8220;Louisiana Blues.&#8221; It is the only thing vaguely resembling a song here. The artist doesn&#8217;t sing, he preaches. He preaches loud. And though this might not be for everyone, if you can get on his wavelength it can hold your attention. <i>Steady Rollin&#8217; Man<\/i> is a nice document of a political activist with a lot to say&#8230;it&#8217;s just kind of difficult figuring out what he is saying. But it&#8217;s a good record, and definitely unique.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>FOREWORD<\/p>\n<p>It is Saturday evening, 10:17 PM on July 7, 2007. Having written thousands of reviews for Allmusic.com with hundreds focused on the artists of New England I have wanted to compile these reviews in an online website along with additional commentary. In this age of video on the internet it is also important to remember that my TV show started in 1979 with rock and roll bands from the region appearing on TV Eye. In 1992 I developed a new program when I was about to leave 93.7 WCGY&#8217;s Boston Music Showcase and launched Visual Radio in the Spring of 1995.<\/p>\n<p>Twelve years later there are approximately four hundred hours of programming including interviews with Willie &#8220;Loco&#8221; Alexander, Andy Pratt, Jon Macey, Barry Marshall, Jonathan Richman, Lou Reed (who, while in The Velvet Underground, was the house band at The Boston Tea Party), Channel sound man Dinky Dawson, Sal Baglio of The Stompers, Morgan Huke of WMFO radio, Richard Nolan,<br \/>\nBilly Borgioli of The Real Kids, Little Joe Cook, Bobby Hebb, producer Anthony J. Resta, Leo Black of The Fools, June Millington of Fanny who now resides in Western Massachusetts and many more New England area artists.<\/p>\n<p>Utilizing the AMG reviews I&#8217;ve written as a starting point I will fill in the blanks with a variety of articles that have been published over the years as well as new information and unpublished material that we have under lock and key in &#8220;the vaults&#8221; known as &#8220;The Varchives&#8221; &#8211; the Varulven Archives. We spend over $200.00 a month storing tons of material (literally TONS &#8211; thousands and thousands of pounds of vinyl, magazines, tapes and other media), helping to preserve this scene which means so much to many of us. Some of the reviews will be from AMG with new material, some will be truncated with links to the AMG site.<\/p>\n<p>Objectivity is my goal&#8230;and with so many recordings to discuss the reader will clearly disagree in some instances&#8230; but we do our best&#8230;<\/p>\n<p>This blog is going to start with The G Clefs and continue from there. My take on it is not an encyclopedia, it is an understanding of the phenomenon that is Boston Rock &amp; Roll and New England Music from the (here he goes, people, be warned) perspective of one of the people who developed a record label, booked nightclubs from Cantones to The Paradise, produced and hosted radio and TV, managed and booked recording facilities, major record producers, engineers and recording artists&#8230; and someone who has chronicled our region in my various writings starting back in 1969 when I first launched Varulven Magazine. Having the worlds record for performances at Boston&#8217;s Best Concert Club &#8211; The Paradise Theater &#8211; over more years than anyone else, 49 starting with June 29, 1978, my experiences are important to get on the web before &#8220;bluesheimerz&#8221; sets in &#8211; Danny Klein of the J. Geils Band&#8217;s reference to musician memory loss.<\/p>\n<p>So there you have it. Enough about me for now, let me talk about some of my friends and colleagues&#8230;<br \/>\n10:31 PM<\/p>\n<p>Remember! To click on any chapter go to this address:<br \/>\n<a href=\"http:\/\/rocktableofcontents.blogspot.com\/\">http:\/\/rocktableofcontents.blogspot.com\/<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<td colspan=\"2\" align=\"center\" width=\"340\" height=\"275\">\n<div>\n<table id=\"right-sidebar\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/td>\n<\/tr>\n<tr>\n<td width=\"155\" height=\"1684\"><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<div>\n<div>Posted by <a title=\"author profile\" href=\"https:\/\/www.blogger.com\/profile\/15345741483306237598\" rel=\"author\" data-gapiscan=\"true\" data-onload=\"true\" data-gapiattached=\"true\"> History of New England Rock <\/a> at <a title=\"permanent link\" href=\"http:\/\/newenglandrock.blogspot.com\/2007\/07\/chapter-1-1950s-and-early-1960s-reviews.html\" rel=\"bookmark\"><abbr itemprop=\"datePublished\" title=\"2007-07-15T14:17:00-07:00\">2:17 PM<\/abbr><\/a> <a href=\"https:\/\/www.blogger.com\/comment.g?blogID=2863404031060127861&amp;postID=1062990613318868383\"> No comments: <\/a><\/p>\n<div><\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"blog-pager\"><a href=\"http:\/\/newenglandrock.blogspot.com\/\">Home<\/a><\/div>\n<div>\n<div>Subscribe to: <a href=\"http:\/\/newenglandrock.blogspot.com\/feeds\/posts\/default\" target=\"_blank\" type=\"application\/atom+xml\">Posts (Atom)<\/a><\/div>\n<\/div>\n<\/div>\n<div id=\"BlogArchive1\" data-version=\"1\">\n<h2>Blog Archive<\/h2>\n<div>\n<div id=\"ArchiveList\">\n<div id=\"BlogArchive1_ArchiveList\">\n<ul>\n<li><a> \u25bc\u00a0 <\/a> <a href=\"http:\/\/newenglandrock.blogspot.com\/2007\/\"> 2007 <\/a> (1)\n<ul>\n<li><a> \u25bc\u00a0 <\/a> <a href=\"http:\/\/newenglandrock.blogspot.com\/2007\/07\/\"> July <\/a> (1)\n<ul>\n<li><a href=\"http:\/\/newenglandrock.blogspot.com\/2007\/07\/chapter-1-1950s-and-early-1960s-reviews.html\">Chapter 1 1950s and early 1960s reviews<\/a><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<h2>About Me<\/h2>\n<dl>\n<dt><a href=\"https:\/\/www.blogger.com\/profile\/15345741483306237598\" rel=\"author\" data-gapiscan=\"true\" data-onload=\"true\" data-gapiattached=\"true\"> History of New England Rock <\/a><\/dt>\n<\/dl>\n<p>\u00a0_____________________________________________________<\/p>\n<p><strong>CHAPTER THREE<\/strong><\/p>\n<p><strong>3)The Sixties &#8211; The Bosstown Sound &#8211; Orpheus, Listening, Willie Loco, Ultimate Spiniach<\/strong><br \/>\n<strong>The Prince &amp; The Paupers, Barry &amp; The Remains<\/strong><br \/>\n<strong><a href=\"http:\/\/bostonthesixties.blogspot.com\/\">http:\/\/bostonthesixties.blogspot.com\/<\/a><\/strong><\/p>\n<div id=\"header\">\n<div id=\"Header1\" data-version=\"1\">\n<div id=\"header-inner\">\n<div>\n<h1>Boston &#8211; The Sixties &#8211; Joe Viglione&#8217;s History of New England Rock<\/h1>\n<\/div>\n<div>\n<p>To click on any chapter go to this address: http:\/\/rocktableofcontents.blogspot.com\/<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<h2>Monday, July 9, 2007<\/h2>\n<p><a name=\"5923928787000988630\"><\/a><\/p>\n<h3 itemprop=\"name\"><a href=\"http:\/\/bostonthesixties.blogspot.com\/2007\/07\/barry-and-remains.html\">Barry and The Remains, Robin MacNamara<\/a><\/h3>\n<div><\/div>\n<p>Remember, To click on any chapter in this book go to this address:<br \/>\n<a href=\"http:\/\/rocktableofcontents.blogspot.com\/\">http:\/\/rocktableofcontents.blogspot.com\/<\/a><\/p>\n<p>First re-release of REMAINS debut album with bonus tracks<\/p>\n<p>Review by Joe Viglione<br \/>\nIn 1978 legendary Boston area music executive <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:39fqxqqgldde\">Bruce Patch<\/a> re-released the even more legendary 1966 Epic album by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kpfexq95ldhe\">the Remains<\/a> on his Spoonfed Records label, augmenting the ten stereo songs from the original LP with four additional mono tracks. With the grooves cut into delicious red vinyl \u00e0 la the first pressings of the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:hifwxqu5ldhe\">Bloodshot<\/a> album by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifrxqe5ldke\">the J. Geils Band<\/a>, this 1978 limited edition is almost as much of a collectors&#8217; item as the band&#8217;s Epic debut. For the fans who played that debut into the ground, the addition of &#8220;Heart,&#8221; &#8220;Don&#8217;t Look Back,&#8221; &#8220;Thank You,&#8221; and &#8220;Say You&#8217;re Sorry&#8221; expands the experience, something that would happen again seven years later when New Rose Records&#8217; Fan Club subsidiary added even more cuts per side. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jjfyxqt5ldje\">Jon Landau<\/a> writes a paragraph of liner notes on the back calling the group &#8220;the most exciting American band of their time.&#8221; This reissue was produced by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JEFFREY%7CJENNINGS\">Jeffrey Jennings<\/a>, mastered by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3jfyxq95ldae\">Ted Jensen<\/a> at Sterling Sound, and released at the time <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:39fqxqqgldde\">Patch<\/a> was moving the Spoonfed label operation from Boston to Malibu, CA. &#8220;Once Before&#8221; sounds as lovely and British Invasion as ever, while <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kpfpxqegldse\">Billy Sherrill<\/a>&#8216;s 1965 Nashville production of &#8220;Time of Day&#8221; features that great separation of tambourine and fuzz tone. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hcfixq85ldke\">Billy Briggs<\/a>&#8216; keys add just enough spice to confirm that all the reverence for the group is justified. An October 3, 1978, article in the Boston Phoenix by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hnfpxq85ld0e\">James Isaacs<\/a> documents a meeting with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:39fqxqqgldde\">Patch<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gjfqxqwgldhe\">Barry Tashian<\/a> during the promotion of this release, at which time the singer commented, &#8220;I haven&#8217;t heard that in 12 years&#8221; (regarding the unreleased tracks). Though all this music has resurfaced on compact disc, this special edition is worth seeking out.<\/p>\n<p>Catalog #3305 Spoonfed Records 1967 LP<\/p>\n<p><a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:wxfuxqy5ldde\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:wxfuxqy5ldde<\/a><\/p>\n<p>==================================================================<\/p>\n<p>BAGATELLE 11 PM SATURDAY<\/p>\n<p><a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jvfoxq8kldse\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jvfoxq8kldse<\/a><\/p>\n<p>Reviewby Joe Viglione11:00 P.M. Saturday is a good title for this recording by the nine musicians who made up <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fpxqr5ldse\">Bagatelle<\/a>, who performed covers as well as originals. It is an anomaly in Boston rock &amp; roll history. Covering tunes from <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wifuxqw5ldde\">James Brown<\/a> to <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hifrxqw5ldse\">The Beatles<\/a>, the band consisted of three main vocalists, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:FRED%7CGRIFFITH\">Fred Griffith<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fvfoxqyjldse\">Rodney Young<\/a>, and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DAVID%7CREDTOP%7CTHOMAS\">David &#8220;Redtop&#8221; Thomas<\/a>. The fourth singer also played piano and percussion, the influential <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fyxqr5ldke\">Willie &#8220;Loco&#8221; Alexander<\/a>. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fyxqr5ldke\">Alexander<\/a>&#8216;s tune, &#8220;Everybody Knows,&#8221; is included here in a beautiful way. It would be re-recorded by producer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfwxqw5ld6e\">Craig Leon<\/a> for his 1978 debut, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jpfyxqu5ldfe\">Willie Alexander &amp; The Boom Boom Band<\/a> on MCA Records. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fpxqr5ldse\">The Bagatelle<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jbfpxqr5ld6e\">Larry Fallon<\/a> arranged this recording, the latter having worked with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:w9fexqu5ldse\">Keith<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hnfoxq95ldje\">The Looking Glass<\/a>, and producer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hxfoxq95ldke\">Jimmy Miller<\/a>, among others. The vocal harmonies on tunes like &#8220;Hey You&#8221; mixed with flute remind one of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifwxqr5ldje\">Rare Earth<\/a>. Coincidentally, they perform <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifwxqr5ldje\">Rare Earth<\/a>&#8216;s first hit, &#8220;(I Know) I&#8217;m Losing You,&#8221; but the version here is influenced by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kifqxqr5ldse\">the Temptations<\/a> 1966 hit. To hear a young <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fyxqr5ldke\">Willie Alexander<\/a>, the man who would usher in the new wave in Boston, singing &#8220;Back on the Farm&#8221; with horns and Motown style vocals is pretty groundbreaking. An a capella take of the traditional &#8220;Every Night&#8221; opens side two. Reminiscent of Boston&#8217;s <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:dnfqxqtgldte\">the G Clefs<\/a> with a mix of gospel and soul, it shows the wonderful diversity of this band. Their version of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifrxqe5ldae\">The Impressions<\/a> &#8220;I&#8217;ve Been Trying&#8221; sounds like a studio take until you hear the applause at the end. The saxophone of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:STEVE%7CSCHRELL\">Steve Schrell<\/a> and trumpet of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hnfexql5ldke\">Mark Gould<\/a> make for a jazzy version of &#8220;I Can&#8217;t Stand It,&#8221; but the lengthy improv disturbs the momentum of the album. Live covers of &#8220;I Feel Good&#8221; and the medley, including &#8220;Please, Please, Please,&#8221; &#8220;Gloria&#8221; (not the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jifuxqygldhe\">Van Morrison<\/a> tune), &#8220;Crying in the Chapel,&#8221; &#8220;I Only Have Eyes For You,&#8221; and &#8220;For Your Love,&#8221; make this an interesting document, but it is the inclusion of early <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fyxqr5ldke\">Willie Alexander<\/a> which makes it historic.<\/p>\n<p>===============================================================<\/p>\n<p>P.J. Colt<br \/>\n<a href=\"http:\/\/groovytunesday.com\/descriptions\/music\/pj_colt_debut.html\">http:\/\/groovytunesday.com\/descriptions\/music\/pj_colt_debut.html<\/a><br \/>\n<a href=\"http:\/\/www.mystrands.com\/album\/1017598\/reviews\">http:\/\/www.mystrands.com\/album\/1017598\/reviews<\/a><br \/>\n<a href=\"http:\/\/lgg.dose.ca\/music\/?qt=trackId&amp;q=T%20%20%20%2034529&amp;city\">http:\/\/lgg.dose.ca\/music\/?qt=trackId&amp;q=T%20%20%20%2034529&amp;city<\/a>=<\/p>\n<p>According to Boston area Music expert Count Joe Viglione, this self-titled album from singer P.J. Colt gets into the history books thanks to the participation of Jeff Baxter of The Ultimate Spinach, who later went on to Steely Dan, and many other groups. Some reference guides list this album&#8217;s year of release as 1970, others as 1976. There is no copyright on the disc, making 1970 seem like the release date; it certainly looks and sounds like a project from the early &#8217;70s. There are two standout tracks, &#8220;Grave Down By The River&#8221; and &#8220;Growing Old,&#8221; although the record is pretty consistent and listenable all the way through. Colt originally released the song &#8220;Growing Old&#8221; on a single and an album by the Boston band Dirty John&#8217;s Hot Dog Stand on Amsterdam Records in 1970. The track has a spacy opening, while PJ Colt&#8217;s vocal sounds hauntingly like early Michael McDonald. &#8220;Growing Old&#8221; follows &#8220;Blues Train,&#8221; a competent cross between Wilson Pickett&#8217;s &#8220;Mustang Sally&#8221; and the Velvet Underground&#8217;s &#8220;Train Comin&#8217; Round The Bend.&#8221; The musicianship shines throughout; guitarist Baxter emerged a star after his involvement with &#8220;The Bosstown Sound&#8221; of producer Alan Lorber on the third Ultimate Spinach album, which is a testament to talent winning out. Ray Paret did the production here, listed in the smallest of type. He certainly did not get in the way of the band. Ed Costa&#8217;s keyboards and the plethora of backing vocalists are all tastefully combined in the straightforward production and mix. The blues-rock styled set consists of: Once In The Morning; Grave Down By The River; Black Jesus; Crazy Love (Van Morrison song); Leave Me Alone; Blues Train; Growing Old; Someday (Bonnie Bramlett song); I&#8217;m Tired Now; and a great version of the Mick Jagger, Keith Richards Rolling Stones hit, Honky Tonk Women.<br \/>\n=================================================================================<\/p>\n<p><a href=\"http:\/\/1.bp.blogspot.com\/_XDwdAyUP_ts\/RpmG7t2rwlI\/AAAAAAAAABw\/0REg9rGJn1k\/s1600-h\/Beacon+Street+Union+Eyes.jpg\"><img decoding=\"async\" id=\"BLOGGER_PHOTO_ID_5087245614571045458\" alt=\"\" src=\"http:\/\/1.bp.blogspot.com\/_XDwdAyUP_ts\/RpmG7t2rwlI\/AAAAAAAAABw\/0REg9rGJn1k\/s320\/Beacon+Street+Union+Eyes.jpg\" border=\"0\" \/><\/a><\/p>\n<p>The Clown Died In Marvin Gardens<br \/>\n<a href=\"http:\/\/www.mp3.com\/albums\/24280\/reviews.html\">http:\/\/www.mp3.com\/albums\/24280\/reviews.html<\/a><\/p>\n<p>The Clown Died in Marvin Gardens is an original statement by a Boston group which was musically superior to Eden&#8217;s Children and Ultimate Spinach, but not as focused as the Remains, the Hallucinations with Peter Wolf, or the emerging J. Geils Band. Where national groups like the Peanut Butter Conspiracy may have been misguided and sputtered with no direction, vocalist John Lincoln Wright developed into a first-rate songwriter and country singer with purpose. Hearing his work on highly experimental tunes like the title track or the impressionistic &#8220;May I Light Your Cigarette?&#8221; is true culture shock. &#8220;The Clown&#8217;s Overture&#8221; seems pointless, yet &#8220;Angus of Aberdeen&#8221; is inspired and a bright spot in the morass that was &#8220;the Bosstown Sound.&#8221; The rave-up version of &#8220;Blue Suede Shoes&#8221; is great, the guitar funneled through effects and brimming with excitement. Therein lies the problem with this album, and this group. The most structured piece is a Carl Perkins cover while &#8220;A Not Very August Afternoon&#8221; feels like a song wanting to belong to some hippy movie that was never made. Where the Chocolate Watchband rocked with authority, the Beacon Street Union are feeling their way through the times, the business, and their music. Producer Wes Farrell should have nudged them into a more commercial direction and brought more accessible material to their attention. Wright is a major talent and had he the right direction this early in his career, who knows what kind of chart action he could have enjoyed. The tragedy of The Clown Died In Marvin Gardens is that it could have been so much more. ~ Joe Viglione, All Music Guide<\/p>\n<p>http:\/\/cgi.ebay.com\/BEACON-STREET-UNION-LP-The-Clown-Died-In-Marvin-Gardens_W0QQitemZ4755174053QQihZ003QQcategoryZ306QQrdZ1QQssPageNameZWD1VQQcmdZViewItem<\/p>\n<p>================================================================<\/p>\n<p>The Eyes of the Beacon Street Union<\/p>\n<p><a href=\"http:\/\/3.bp.blogspot.com\/_XDwdAyUP_ts\/RpKLUlgQHTI\/AAAAAAAAAA8\/f166pwfBpsU\/s1600-h\/Beacon+Street+Union.jpg\"><img decoding=\"async\" id=\"BLOGGER_PHOTO_ID_5085280115035741490\" alt=\"\" src=\"http:\/\/3.bp.blogspot.com\/_XDwdAyUP_ts\/RpKLUlgQHTI\/AAAAAAAAAA8\/f166pwfBpsU\/s320\/Beacon+Street+Union.jpg\" border=\"0\" \/><\/a><br \/>\n<a href=\"http:\/\/www.windowsmedia.com\/MediaGuide\/Templates\/AlbumInfo.aspx?a_id=R%20%20%20%2030174\">http:\/\/www.windowsmedia.com\/MediaGuide\/Templates\/AlbumInfo.aspx?a_id=R%20%20%20%2030174<\/a><\/p>\n<p><a>The Eyes of the Beacon Street Union is a highly experimental album released around the time of the Bosstown sound. Much better than first albums from Eden&#8217;s Children and Ultimate Spinach, the disc, however, lacks direction &#8212; and cohesion. Vocalist John Lincoln Wright has the same look that he sports 23 years later on his 1991 Honky Tonk Verite CD, including his trademark cowboy hat, but the similarities between these two albums stop there. The Eyes of the Beacon Street Union is garage rock and psychedelia, and it is a trip. Where Orpheus opted for the serious pop of &#8220;Can&#8217;t Find the Time,&#8221; producer Wes Farrell includes a recitation by the late Tom Wilson, producer of The Velvet Underground &amp; Nico, acting very avant-garde: &#8220;Look into the gray\/look past the living streets of Boston\/look finally into the eyes of Beacon Street Union.&#8221; Well, Wilson did a decent job with the V.U., but he&#8217;s no Crazy World of Arthur Brown screaming the immortal line &#8220;I am the god of hellfire.&#8221; The band immediately dips into &#8220;My Love Is.&#8221; resplendent in Robert Rhodes&#8217; (aka music attorney Robert Rosenblatt) best ? &amp; the Mysterians keyboard sound, very cool &#8217;60s backing vocals, and guitars that are straight from the Psych Out film soundtrack. In fact, this song would have fit perfectly on that album along with the Seeds and Strawberry Alarm Clock. Had Wes Farrell kept the band on this track, the album might have more collectability. &#8220;Beautiful Delilah&#8221; is too novel to keep the momentum going, and &#8220;Sportin&#8217; Life&#8221; is lounge blues. Side two fares a bit better; &#8220;Speed Kills&#8221; and &#8220;Blue Avenue&#8221; are classic &#8217;60s psychedelia, a far cry from John Lincoln Wright&#8217;s Sour Mash Boys, and amazing that it is the legendary Massachusetts country artist singing. &#8220;South End Incident&#8221; refers to the South End of Boston, which has become quite trendy, but in the day Jonathan Richman, Moe Tucker of the Velvet Underground, and George Thorogood would play that part of town &#8212; on the same bill! The music to the song might be an old blues riff, but the body of the work is &#8220;Heartbreaker&#8221; by Grand Funk Railroad, and one wonders if Mark Farner had this album and perhaps nicked this vamp a few years later? The Eyes of the Beacon Street Union slightly misses the mark, but must be commended for its original approach to this genre. The album cover looks like some history textbook that mistakenly got pressed by Mad Magazine. A mushroom next to an atomic bomb&#8217;s mushroom cloud ought to tell you enough about MGM&#8217;s packaging. A hit single and less cluttered album cover is what these musicians deserved, but what they have is, next to the album Listening by the band of the same name and the hit single from Orpheus, the best work from the Bosstown sound. ~ Joe Viglione, All Music Guide<\/a><\/p>\n<p>SWALLOW Out of the Nest<br \/>\n<a href=\"http:\/\/mmjb.mmguide.musicmatch.com\/album\/album.cgi?ALBUMID=1089985&amp;AMGLENGTH=full\">http:\/\/mmjb.mmguide.musicmatch.com\/album\/album.cgi?ALBUMID=1089985&amp;AMGLENGTH=full<\/a><\/p>\n<p>==================================================================================<br \/>\nRobin MacNamara went to school with one of the Rockin&#8217; Ramrods<\/p>\n<p>Here&#8217;s an excellent interview with Len Cirelli who talks about playing accordion and joining his first band &#8220;Robin &amp; The Hoods&#8221;. He goes on to say about Robin McNamara in the interview:<\/p>\n<p><a href=\"http:\/\/60spunk.m78.com\/ramrods.htm\">http:\/\/60spunk.m78.com\/ramrods.htm<\/a><\/p>\n<p>&#8220;I went to high school with Robin MacNamara and Ron Campisi. Our manager Bill Spence owned the three Surf Ballrooms and we played there with the other &#8220;Surf&#8221; groups, The Techniques, The Pilgrims, and others who I cannot remember right now. Robin and the Hoods was the first band I ever played in that played in public. The lead singer was Robin McNamarra who was a very talented singer and went on to have one hit solo record called &#8220;Lay a Little Lovin&#8217; On Me&#8221;.He later starred in the play &#8220;Hair&#8221; all over the states and in Europe.<\/p>\n<p>(the above info from the 60spunk.m78.com site linking McNarma with an essential Boston group)<\/p>\n<p><a href=\"http:\/\/cgi.ebay.com\/ROBIN-McNAMARA-Lay-a-Little-Lovin-on-Me-F7-7_W0QQitemZ220126058240QQihZ012QQcategoryZ113780QQrdZ1QQssPageNameZWD1VQQcmdZViewItem\">http:\/\/cgi.ebay.com\/ROBIN-McNAMARA-Lay-a-Little-Lovin-on-Me-F7-7_W0QQitemZ220126058240QQihZ012QQcategoryZ113780QQrdZ1QQssPageNameZWD1VQQcmdZViewItem<\/a><\/p>\n<p><a href=\"http:\/\/4.bp.blogspot.com\/_XDwdAyUP_ts\/RpmGUd2rwkI\/AAAAAAAAABo\/_V3XlKT-SnU\/s1600-h\/robin+macnamara.jpg\"><img decoding=\"async\" id=\"BLOGGER_PHOTO_ID_5087244940261179970\" alt=\"\" src=\"http:\/\/4.bp.blogspot.com\/_XDwdAyUP_ts\/RpmGUd2rwkI\/AAAAAAAAABo\/_V3XlKT-SnU\/s320\/robin+macnamara.jpg\" border=\"0\" \/><\/a><\/p>\n<p>Robin McNamara<br \/>\nReview by Joe Viglione<br \/>\nRobin McNamara&#8217;s album, titled after his big 1970 hit &#8220;Lay a Little Lovin&#8217; on Me,&#8221; appeared on Jeff Barry&#8217;s Steed label and features that singer from the Broadway show Hair along with his cast members. The 45, as well as its non-LP B-side &#8220;I&#8217;ll Tell You Tomorrow,&#8221; were both co-written by the singer and his producer, with songwriter Jim Cretecos helping out on the title track. That radio-friendly bubblegum confection brightened up the summer of 1970, but it is not indicative of the adult contemporary sound on the rest of this very listenable disc. The music on the Lay a Little Lovin&#8217; on Me LP is actually a better reflection of the hip Broadway shows of the day. Neil Goldberg&#8217;s &#8220;Now Is the Time&#8221; would fit just as well on the Godspell album, so different from the number 11 hit from July 1970, which no doubt inspired the likes of Richard Mondo, aka Daddy Dewdrop, and his irreverent 1971 novelty tune &#8220;Chick a Boom&#8221; &#8212; a frosty little bubblegum number like &#8220;Lay a Little Lovin&#8217; on Me.&#8221; McNamara is a credible songwriter on his own and it is a wonder he didn&#8217;t land a couple of other hits, but it&#8217;s more a wonder that he faded so quickly from the musical landscape. He did show up on radio station WMEX in Boston, allegedly ripping his shirt off like some Hair promo for DJ John H. Garabedian (famous for discovering the hit &#8220;Maggie Mae&#8221; for Rod Stewart ) and appears as a musician on a Monkees compilation, but he just didn&#8217;t reap the rewards promised by this very sophisticated endeavor. Side one ends with a tune co-written with Ned Albright called &#8220;Lost in Boston,&#8221; a fun little ditty mentioning Fenway Park that&#8217;s a lot like McNamara&#8217;s solo composition &#8220;Beer Drinkin&#8217; Man.&#8221; Albright and Bob Dylan cohort Steven Soles co-write a very the Band-ish &#8220;Together, Forever,&#8221; and they were responsible for &#8220;All Alone in the Dark&#8221; from the Monkees 1970 disc Changes. Jeff Barry was a co-producer of that Monkees event and this album&#8217;s engineer, Mike Moran, showed up there, as well, giving McNamara&#8217;s 11-song collection a certain value for the fans of that TV show. There are some great lost moments here, unexpected on a disc that became popular by putting the cast of a Broadway show on a tune appropriate for the Partridge Family. &#8220;Got to Believe in Love&#8221; could have changed the perception as it fuses the gospel of &#8220;Hang in There Baby&#8221; and &#8220;Glory, Glory&#8221; with the pop that brought this LP to the attention of the masses. This is a solid effort all the way around.<\/p>\n<p><a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dcfqxq8aldfe\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dcfqxq8aldfe<\/a><\/p>\n<p><a href=\"http:\/\/4.bp.blogspot.com\/_XDwdAyUP_ts\/RpmKEd2rwmI\/AAAAAAAAAB4\/GTxfxza5w6M\/s1600-h\/Robin+macnamara+lp+.jpg\"><img decoding=\"async\" id=\"BLOGGER_PHOTO_ID_5087249063429784162\" alt=\"\" src=\"http:\/\/4.bp.blogspot.com\/_XDwdAyUP_ts\/RpmKEd2rwmI\/AAAAAAAAAB4\/GTxfxza5w6M\/s320\/Robin+macnamara+lp+.jpg\" border=\"0\" \/><\/a><\/p>\n<p>The Stone Coyotes featuring Barbara Keith<\/p>\n<p>The legendary Barbara Keith performed with John Hall in an early Boston area band and went on to write &#8220;Free The People&#8221; which both Delaney &amp; Bonnie and Barbara<br \/>\nStreisand covered.<\/p>\n<p><a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:w9foxqtaldfe\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:w9foxqtaldfe<\/a><\/p>\n<p>Review by Joe Viglione<br \/>\nRide Away From the World takes Barbara Keith and her family band from the country-rock the Cowboy Junkies have been so successful with to a new wave level on the pounding opening track, &#8220;I Don&#8217;t Know Why,&#8221; and toward the end of the disc with an excellent read of Black Sabbath&#8217;s &#8220;Paranoid.&#8221; Though the original version with Ozzy Osbourne&#8217;s cutting voice is in a class by itself, this rendition makes some sense of the Sab signature tune. There are reworkings of some of Keith&#8217;s famous tunes: an excellent and different &#8220;Free the People&#8221; \u2014 the minor hit for Delaney &amp; Bonnie also covered by Streisand and Olivia Newton John \u2014 as well as the country classic &#8220;The Bramble &amp; the Rose.&#8221; Sounds change throughout the disc: the gritty axe on &#8220;Plain American Girl&#8221; turns into folk\/electric guitar on the final track, &#8220;Face on the Train,&#8221; which borrows much from Dylan&#8217;s &#8220;All Along the Watchtower,&#8221; covered by Keith on a previous album. An elaborate eight-page booklet contains lots of photographs, the lyrics, multiple websites (like www.stonecoyotes.com), and an intriguing mutated Mother Hubbard- or Alice in Wonderland-type painting on the back. John Tibbles, bassist and son of the singer and her husband drummer, plays lead guitar on four tracks, including &#8220;Slip and Shackle,&#8221; a song which borders on heavy metal. Black Sabbath could return the favor and easily cover this, and they actually should! The tone on Tibbles&#8217; guitar is a good contrast to what his mom is playing. &#8220;Cold Hard Winter&#8221; has a nice Rolling Stones &#8220;Salt of the Earth&#8221;\/Beggars Banquet feel, easing up the mood before the hard country-rock of &#8220;Pennsylvania Coal Mine.&#8221; &#8220;Born to Howl&#8221; is the title of their previous album; it turns into a song on this outing. The Tibbles family is the underground version of the Cowsills or the Partridge Family, music played with lots of heart and composed for the most part by a proven songwriter. Ride Away From the World is unique and interesting because it covers so much territory and does it so well.<\/p>\n<p><a href=\"http:\/\/3.bp.blogspot.com\/_XDwdAyUP_ts\/RpmsnN2rwnI\/AAAAAAAAACA\/MbKaEHxt5fk\/s1600-h\/stone+coyotes.jpg\"><img decoding=\"async\" id=\"BLOGGER_PHOTO_ID_5087287043825582706\" alt=\"\" src=\"http:\/\/3.bp.blogspot.com\/_XDwdAyUP_ts\/RpmsnN2rwnI\/AAAAAAAAACA\/MbKaEHxt5fk\/s320\/stone+coyotes.jpg\" border=\"0\" \/><\/a><\/p>\n<p>_______________________________________________-<\/p>\n<p>CHAPTER 4<br \/>\n4) Hallucinations, J.Geils, Modern Lovers, Aerosmith<br \/>\nThe sixties to early seventies&#8230;<\/p>\n<p>Modern Lovers Reviews on AllMusic.com by Joe Viglione<\/p>\n<p>to post soon<\/p>\n<p>____________________________________________________<\/p>\n<p><strong>CHAPTER FIVE<\/strong><\/p>\n<p>5)J Geils Band<br \/>\ntons of J GEILS Biographies and reviews to posted here:<br \/>\n<a href=\"http:\/\/jgeilsband.blogspot.com\/\">http:\/\/jgeilsband.blogspot.com\/<\/a><\/p>\n<div id=\"main-wrapper\">\n<div id=\"main\">\n<div id=\"Blog1\" data-version=\"1\">\n<div>\n<div>\n<h2>Thursday, July 12, 2007<\/h2>\n<div>\n<div>\n<div itemprop=\"blogPost\" itemscope=\"itemscope\" itemtype=\"http:\/\/schema.org\/BlogPosting\"><a name=\"6303675482167265667\"><\/a><\/p>\n<h3 itemprop=\"name\"><a href=\"http:\/\/jgeilsband.blogspot.com\/2007\/07\/j-geils-band-reviews-by-joe-viglione.html\">The J. Geils Band reviews by Joe Viglione<\/a><\/h3>\n<div><\/div>\n<div id=\"post-body-6303675482167265667\" itemprop=\"description articleBody\">J Geils Band Discography<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifrxqe5ldke%7ET2\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifrxqe5ldke~T2<\/a>Biographies from <a href=\"http:\/\/jvbiographies.blogspot.com\/\">http:\/\/jvbiographies.blogspot.com<\/a>20)Danny Klein<br \/>\n<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=Bej0xlf3e5cqp\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=Bej0xlf3e5cqp<\/a>21)John &#8220;J&#8221; Geils<br \/>\n<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=B13se4jn70wav\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=B13se4jn70wav<\/a>22)Seth Justman<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=Bi7fjzfaheh2k\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=Bi7fjzfaheh2k<\/a>23)Magic Dick<br \/>\n<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=Bty08b5z4tsq4\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=Bty08b5z4tsq4<\/a>24)Stephen Jo Bladd<br \/>\n<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=B6yhqoaeabijr\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=B6yhqoaeabijr<\/a>ALBUMSNIGHTMARES&#8230;AND OTHER TALES FROM THE VINYL JUNGLE 1974 <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kzftxqu5ldde\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kzftxqu5ldde<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\"><i>Nightmares&#8230;and Other Tales From the Vinyl Jungle<\/i> spawned the biggest Atlantic hit for the J. Geils Band, the wonderfully obsessive, questioning dilemma titled &#8220;Must of Got Lost.&#8221; Here the Geils Band are at the peak of their powers in the days prior to <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jifexqu5ldhe\"><i>Freeze Frame<\/i><\/a> and lustful songs like &#8220;Centerfold,&#8221; &#8220;Must of Got Lost&#8221; being the only of their three Atlantic Top 40 hits to land in the Top 15. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gjfpxqq5ldhe\">Seth Justman<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:difyxqr5ldfe\">Peter Wolf<\/a> share all the songwriting credits here, save the intriguing camp\/funk of the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifexqr5ldfe\">Andre Williams<\/a>\/<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:LEO%7CHUTTON\">Leo Hutton<\/a> composition &#8220;Funky Judge.&#8221; It&#8217;s <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:difyxqr5ldfe\">Peter Wolf<\/a>&#8216;s pantomime vocal entwined with the band&#8217;s serious blues that creates something very special. The final track, &#8220;Gettin&#8217; Out,&#8221; is five-minutes-plus of this intense, earthy rock, producer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:azfpxq9gldhe\">Bill Szymczyk<\/a> capturing in the studio that energy the band generated in concert. Bassist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3jfpxqe5ld0e\">Danny Klein<\/a> told AMG he loved the Jean Lagarrigue drawing on the album jacket, noting, &#8220;<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:difyxqr5ldfe\">Wolf<\/a> found the hand painting&#8230;(it) got in a best rock album cover art book.&#8221; This was a natural progression from 1973&#8217;s <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kifwxqu5ldhe\"><i>Ladies Invited<\/i><\/a>, the band&#8217;s arrangements working perfectly with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:azfpxq9gldhe\">Szymczyk<\/a>&#8216;s production, with &#8220;Detroit Breakdown&#8221; being a tip of the hat to the group&#8217;s second home outside of Boston. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kbfpxq95ldte\">Magic Dick<\/a> makes a great statement over <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gjfpxqq5ldhe\">Seth Justman<\/a>&#8216;s foundation piano sound, one that evolves from that instrument to organ, giving <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wbfpxq85ld0e\">J. Geils<\/a> a chance to throw some haunting guitar work over its conclusion. The song&#8217;s six-minute length is topped only by the nearly seven minutes of &#8220;Stoop Down #39,&#8221; perhaps a dig at <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifixqe5ldae\">the James Gang<\/a>&#8216;s &#8220;Funk #49&#8221; from four years prior. &#8220;Givin&#8217; It All Up&#8221; and &#8220;Look Me in the Eye&#8221; are the band showing precision in their craft, releasing quite a bit of music between 1973&#8217;s popular &#8220;Give It to Me,&#8221; the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kifwxqu5ldhe\"><i>Ladies Invited<\/i><\/a> album that same year, and this solid effort. The short, one-minute-14-second title track, &#8220;Nightmares,&#8221; sounds like an ode to nitrous oxide (laughing gas), and probably was. The album produces one of the effects of that drug: exhilaration, and is a fine example of their creative musical journey.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>BLOW YOUR FACE OUT THE J GEILS BAND LIVE 1976<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:fifwxqu5ldhe\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:fifwxqu5ldhe<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">Double-album live sets came into vogue in 1976 after <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PETER%7CFRAMPTON\">Peter Frampton<\/a>&#8216;s sales went through the roof for A&amp;M, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BOB%7CSEGER\">Bob Seger<\/a> found fame with <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:LIVE%7CBULLET\">Live Bullet<\/a> on Capitol, and the J. Geils Band released its second in-concert document in four years, <i>Blow Your Face Out<\/i>. There is great power in these grooves recorded over two nights, November 15 and November 19, at the now deconstructed Boston Garden and in Detroit at Cobo Hall. Here&#8217;s the beautiful dilemma with the Geils band: <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:LIVE:%7CFULL%7CHOUSE\">Live: Full House<\/a>, recorded in Detroit in April of 1972, contains five songs that became J. Geils standards, and none of them overlap on the 1982 EMI single live disc, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:SHOWTIME\">Showtime<\/a>, chock-full of their latter-day classics. Can you believe there is absolutely no overlap from the first or third live album on this double disc, which came in between (except for &#8220;Looking for a Love,&#8221; uncredited, which they slip into the intro of &#8220;Houseparty&#8221; on side two)? The Rhino CD contains <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JEFF%7CTAMARKIN\">Jeff Tamarkin<\/a>&#8216;s liner notes, while the original Atlantic album has an exquisite gatefold chock-full of photos, and inner sleeves with priceless band memo stuff \u00e0 la <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:GRAND%7CFUNK\">Grand Funk<\/a>&#8216;s <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:LIVE%7CALBUM\">Live Album<\/a>. Sides one and two are great, and three and four are even better. &#8220;Detroit Breakdown&#8221; rocks and grooves, with tons of audience applause&#8230;<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WOLFY\">Wolfy<\/a> and the polished authority of his monologues are in command as the band oozes into &#8220;Chimes&#8221; from 1973&#8217;s <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:LADIES%7CINVITED\">Ladies Invited<\/a>. About three and a half minutes longer than the five-minute original, it is one of many highlights on this revealing pair of discs. A precursor to 1977&#8217;s title track, &#8220;Monkey Island,&#8221; &#8220;Chimes&#8221; gives this enigmatic band a chance to jam out slowly and lovingly over its groove. There is so much to this album: the <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JANIS%7CJOPLIN\">Janis Joplin<\/a> standard &#8220;Raise Your Hand&#8221; written by <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:EDDIE%7CFLOYD\">Eddie Floyd<\/a>, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ALBERT%7CCOLLINS\">Albert Collins<\/a>&#8216; &#8220;Sno-Cone&#8221; from their first album, and &#8220;Truck Drivin&#8217; Man&#8221; beating <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BACHMAN-TURNER%7COVERDR\">Bachman-Turner Overdrive<\/a> to the punch. <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:B.B.%7CKING\">B.B. King<\/a> producer <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BILL%7CSZYMCZYK\">Bill Szymczyk<\/a> does a masterful job bringing it all together, and the band photos on back look&#8230;roguish. &#8220;Must of Got Lost,&#8221; &#8220;Where Did Our Love Go,&#8221; and &#8220;Give It to Me&#8221; are here in all their glory, a different glory than the studio versions, on an album that should have done for Geils what <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:LIVE%7CBULLET\">Live Bullet<\/a> and <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:FRAMPTON%7CCOMES%7CALIVE\">Frampton Comes Alive<\/a> did for their respective artists. If only a legitimate release of their 1999 tour would be issued to stand next to this monster &#8212; during that tour they combined the best elements of all three of their previous live discs. The J. Geils Band is more important and influential than the boys have been given credit for. It will be the live documents that ensure they eventually get their due, and <i>Blow Your Face Out<\/i> is a very worthy component that can still frazzle speakers.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>SONGS<\/p>\n<p>ANGEL IN BLUE<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:kjftxct5ldhe\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:kjftxct5ldhe<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Song Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">The majority of the hits by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CJ.GEILS%7CBAND\">The J.Geils Band<\/a> lingered in the &#8217;30&#8217;s section of the Top 40, with &#8220;Angel In Blue&#8221; the only one to actually hit and stop at 40. EMI America single #8100 has a lower catalog # than &#8220;Freeze-Frame and &#8220;Centerfold&#8221;, though it was popular in the summer of 1982 while the two aforementioned songs came earlier, reigning in the Top 5 during the winter prior. Arguably the smartest lyric in the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:J.%7CGEILS%7CBAND\">J. Geils Band<\/a> catalogue, this could be the subject matter from &#8220;Centerfold&#8221; all grown up. It&#8217;s a song about a stripper, but you wouldn&#8217;t know it if you didn&#8217;t listen closely &#8211; the melody so strong the words went right over many fans&#8217; heads. Those other Boston bad boys, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:AEROSMITH\">Aerosmith<\/a>, went Top 3 just six years later with their own &#8220;Angel&#8221;, hard rockers also going ultra-pop a la <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ALICE%7CCOOPER\">Alice Cooper<\/a> in the 1970&#8217;s. But the Geils band trumps all comers by bringing back Whitney&#8217;s mom, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:CISSY%7CHOUSTON\">Cissy Houston<\/a>, along with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:LUTHER%7CVANDROSS\">Luther Vandross<\/a> from the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:MONKEY%7CISLAND\"><i>Monkey Island<\/i><\/a> album and three other additional vocalists making for a touch of class over a drumbeat much like <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CTUBES\">The Tubes<\/a> &#8220;Don&#8217;t Touch Me There&#8221;. &#8220;We met in a bar\/Out on Chesapeake Bay&#8221; is hardly the scenario one thinks of when finding themselves in an episode of Touched By An Angel, and the story is quite sad, that of a person who never had dreams come true because she never had any dreams! Writer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:STEPHEN%7CTHOMAS%7CERLEWI\">Stephen Thomas Erlewine<\/a> calls this tune &#8220;terrific neo-doo wop.&#8221; It is that and more, a folk\/pop polished ballad different from any of their other nine Top 40 hits, four minutes and fifty-one seconds (on the album) of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PETER%7CWOLF\">Peter Wolf<\/a> reading <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:SETH%7CJUSTMAN%5C%27S\">Seth Justman&#8217;s<\/a> post- &#8220;Centerfold&#8221; wet dream.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>CENTERFOLD 45 RPM<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:djftxct5ldhe\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:djftxct5ldhe<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Song Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">Three minutes and thirty-seven seconds comprise EMI America single #8102, the culmination of a decade of chart activity, a gold single stuck at #1 for a month and a half after years and years and a half a dozen singles, only one going Top 15 in that span of time, the others all over the 30&#8217;s portion of the charts. It was &#8220;Centerfold&#8221; that finally did it for the <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:J.%7CGEILS%7CBAND\">J. Geils Band<\/a>, putting them on the top of the pop world. This is the &#8220;homeroom homeroom angel&#8221; from school literally turning into the angel in blue&#8230; pages of blue, that is. &#8220;Does she come complete\/always pulled me from my seat&#8221; such a great rhyme. <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PETER%7CWOLF%5C%27S\">Peter Wolf&#8217;s<\/a> lustful phrasing of &#8220;girly magazine&#8221; is so cool, it makes it even more distressing for fans that the singer and the band keyboardist\/songwriter couldn&#8217;t get along after reaching the pinnacle &#8211; the thing all the fellows in this ensemble worked so hard for. &#8220;Centerfold&#8221; is proof that the angst between <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JUSTMAN\">Justman<\/a> and <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WOLF\">Wolf<\/a> made for some great rock and roll, and while <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JOE%7CPERRY\">Joe Perry<\/a> and <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:STEVE%7CTYLER\">Steve Tyler<\/a> found a way to kiss and make up, this huge leap was the beginning of the end for the first phase of <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CJ.%7CGEILS%7CBAND\">The J. Geils Band<\/a>. There would be three additional hits, but the audience &#8211; and the bandmates &#8211; deserved more of this great stuff, this amalgam of rock, pop, blues and tongue-in-cheek humor. &#8220;Centerfold&#8221; might not be the most representative song by this band, certainly Give It To Me&#8221; and &#8220;Must Of Got Lost&#8221; have more of the blues that the group was built on, but with its &#8220;nah nah nah nah nah nah&#8221; pulled right out of <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JOE%7CSOUTH%5C%27S\">Joe South&#8217;s<\/a> &#8220;Hush&#8221; and turned upside down, it was commercial, cool, and a pop record that could stand up to repeated listenings. Na Na hey hey kiss her good-bye&#8230; &#8220;I hope that when this issue&#8217;s gone\/ I&#8217;ll see you when your clothes are on&#8221; just more excellent sexual tension and a total party as the song concludes with whistles on the fade out.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>DETROIT BREAKDOWN<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:jpfpxxlsld6e\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:jpfpxxlsld6e<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Song Review<\/td>\n<td align=\"right\">by Joe VIglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">The leadoff track on the <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:NIGHTMARES%7CAND%7COTHER%7C\"><i>Nightmares and Other Tales From the Vinyl Jungle<\/i><\/a> lp makes an even greater impact in its five and a half minute version on the live double-disc <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:BLOW%7CYOUR%7CFACE%7COUT\"><i>Blow Your Face Out<\/i><\/a> recorded in November of 1975. Though credited to <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PETER%7CWOLF\">Peter Wolf<\/a> and <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:SETH%7CJUSTMAN\">Seth Justman<\/a> the song is more of a full band jam opening with a quick snag of <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MAGIC%7CDICK%5C%27S\">Magic Dick&#8217;s<\/a> &#8220;Whammer Jammer&#8221; riff. &#8220;Detroit Breakdown quickly turns into another vehicle for Wolf to have some fun with the crowd&#8230; &#8220;Are you ready to do some stompin&#8217; baby?&#8221; Peter asks before belting out the title. With <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JUSTMAN%5C%27S\">Justman&#8217;s<\/a> piano the predominant instrument and <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MR.%7CGEILS\">Mr. Geils<\/a> offering tasty licks, the bass, drums and keys build a funky rhythm for <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MAGIC%7CDICK\">Magic Dick<\/a> to start a wailing. The song is as deep into the <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:J.%7CGEILS%7CBAND\">J. Geils Band<\/a> musical psyche as one can get, their own brand of blues\/rock defined here, Jay&#8217;s howling guitar picking up where <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MAGIC%7CDICK\">Magic Dick<\/a> leaves off, Wolf then working the crowd which responds to his chants giving way to Seth and Magic Dick doing battle back and forth over the vamp. Coming before the methodical &#8220;Chimes&#8221; on the live album it&#8217;s a good chance for the boys to break loose and strut their stuff individually and collectively. No one person could take credit for being <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CJ.%7CGEILS%7CBAND\">The J. Geils Band<\/a> and &#8220;Detroit Breakdown&#8221; shows just how powerful these six gentlemen could be when unified and pushing the energy level of the room frontwards, backwards and sideways. &#8220;Detroit breakdown\/motor city shakedown&#8221; is the major lyric, Wolf&#8217;s lines like &#8220;music is blasting\/we&#8217;re having a ball\/everybody in Boston\/we&#8217;re talkin&#8217; to y&#8217;all&#8221; might as well have been a taped monologue off of Peter&#8217;s radio show on 104.1 FM in Boston. The lyrics and the chords aren&#8217;t the necessary thing here, it&#8217;s the feel, and what&#8217;s on the plastic is a trademarked style that separaed this original group from those that came after &#8211; <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:AEROSMITH\">Aerosmith<\/a>, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BOSTON\">Boston<\/a>, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CCARS\">The Cars<\/a> and other major acts that launched out of New England.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>FREEZE FRAME 45<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:wjfrxct5ldhe\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:wjfrxct5ldhe<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Song Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">The title track of 1981&#8217;s <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:FREEZE%7CFRAME\"><i>Freeze Frame<\/i><\/a> album by the <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:J.GEILS%7CBAND\">J.Geils Band<\/a>, three minutes and fifty seven seconds of a <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:SETH%7CJUSTMAN\">Seth Justman<\/a>\/ <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PETER%7CWOLF\">Peter Wolf<\/a> tune &#8211; not to be confused with the title track composition of a <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:GODLEY%7C&amp;%7CCREME\">Godley &amp; Creme<\/a> (of <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:10-CC\">10-CC<\/a> fame) 1979 release &#8211; went gold and Top 4 on the heels of &#8220;Centerfold&#8217;s success, but is strong enough that it would have certainly achieved the same status even without the momentum of the previous single. As with the other two hits from the album, it is full of sexual innuendo &#8211; a novel idea of freezing a lovely moment in time &#8211; a wonderful one night stand. &#8220;Now I`m looking at a flashback Sunday&#8230;This freeze frame moment can`t be wrong&#8221; is the lyric and Wolfy sings it with suitable panache &#8211; just not as lewd as &#8220;Centerfold.&#8221; Recorded out at Long View Farm, the luxury studio in Western, Massachusetts, the stop\/go chorus was <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CJ.%7CGEILS%7CBAND\">The J. Geils Band<\/a> taking their early Atlantic sound and spiffing it up on EMI for more punch, and popularity. The elements that are the foundation of this group&#8217;s sound are sweetened up for radio, and was it ever a smart blend. The bizarre cover art only hints at the theme while a half a dozen horn players including <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:RANDY%7CBRECKER\">Randy Brecker<\/a> add some brass.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>LOOKING FOR A LOVE<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:dvftxzegldae\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:dvftxzegldae<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Song Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">This cover of a <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:J.W.%7CALEXANDER\">J.W. Alexander<\/a> \/ <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ZELDA%7CSAMUELS\">Zelda Samuels<\/a> tune is three minutes and forty-five seconds starting off side two of <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CJ.%7CGEILS%7CBAND%5C%27S\">The J. Geils Band&#8217;s<\/a> second album, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:THE%7CMORNING%7CAFTER\"><i>The Morning After<\/i><\/a>. Atlantic single #2844 came at the end of 1971\/ beginning of 1972 barely cracking the Top 40, but was an indication of things to come as the group would dominate the charts for a time a decade later. Initially &#8220;Looking For A Love&#8221; was their signature tune though they escaped the &#8220;one hit wonder&#8221; category within a year and a half, their three Atlantic singles in the early &#8217;70&#8217;s giving them some breathing room on the live concert circuit before they came back with seven more. A simple and driving drum beat opens this, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JANIS%7CJOPLIN%5C%27S\">Janis Joplin&#8217;s<\/a> &#8220;Move Over&#8221; intro from the <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:PEARL\"><i>Pearl<\/i><\/a> album in triple time, giving <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PETER%7CWOLF\">Peter Wolf<\/a> a superb introduction to radio listeners, his plea to the world for someone, anyone, to &#8220;help me find my baby.&#8221; Who can&#8217;t relate to the simplicity of the request, &#8220;I&#8217;m looking for a love to call my own?&#8221; Wolf argues his case with one line, the band responds with the title of the song, back and forth they go under <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:B.B.KING\">B.B.King<\/a> producer <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BILL%7CSZYMCZYK%5C%27S\">Bill Szymczyk&#8217;s<\/a> guiding hand. The interlude was the best advertisement in the world for the group &#8211; <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:J.%7CGEILS\">J. Geils<\/a> plays guitar for a few seconds followed by Dick&#8217;s harp to Seth&#8217;s keys back to the harp back to the keys, back to the intro. The backing vocals chant &#8220;I&#8217;m looking, I&#8217;m looking, I&#8217;m looking, I&#8217;m looking&#8221; while <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PETER%7CWOLF\">Peter Wolf<\/a> wails with the best of the blues masters going pop, frantic screams of desperation following promises the singer is making to the cosmos, what he would do if all his romantic hopes and dreams came true. The song zips by feeling a lot shorter than it is, a quick blast of energetic rock &amp; roll which should&#8217;ve been a much bigger hit. A five minute and sixteen second version opens up the double disc <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:MAR%7CY%7CSOL\"><i>Mar Y Sol<\/i><\/a> album, a Puerto Rico music festival from early April 1972. The live cut is even more driving and faster on this obscure <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:WOODSTOCK\"><i>Woodstock<\/i><\/a>-type collection of musical acts from the period. Opening an album with their current hit, an album which featured <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:B.B.KING\">B.B.King<\/a> at the peak of his commercial success along with <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DR.%7CJOHN\">Dr. John<\/a>, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JONATHAN%7CEDWARDS\">Jonathan Edwards<\/a>, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CALLMAN%7CBROTHERS\">The Allman Brothers<\/a> and others, must&#8217;ve been invigorating for this ensemble and the extended manic performance has a raspy <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PETER%7CWOLF\">Peter Wolf<\/a> as frantic as the band, all in hyperdrive. It&#8217;s a track that should be added as a bonus to their greatest hits package(s) as it shows another side of the tune that started it all for this important group.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>LOVE STINKS<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:jpfoxvlhldse\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:jpfoxvlhldse<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Song Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">Three minutes and forty-four seconds of heavy, heavy blues\/pop make up EMI\/America 45 RPM #8039, a definite ode to romance gone wrong. Imagine <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:LOU%7CREED%5C%27S\">Lou Reed&#8217;s<\/a> &#8220;Vicious&#8221; as performed by his <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ROCK%7C&amp;%7CROLL%7CANIMAL\">Rock &amp; Roll Animal<\/a> band on <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:LOU%7CREED%7CLIVE\"><i>Lou Reed Live<\/i><\/a> at half-speed and you&#8217;ve got the riff, &#8220;Louie, Louie&#8221; gone hard rock with drums another Bostonian, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BILLY%7CSQUIER\">Billy Squier<\/a>, would use exactly a year later on his Top 20 hit &#8220;The Stroke&#8221;. You can actually sing &#8220;Vicious, you hit me with a flower&#8221; over the music. The <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PETER%7CWOLF\">Peter Wolf<\/a> here isn&#8217;t the lustful schoolboy of the <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:FREEZE-FRAME\"><i>Freeze-Frame<\/i><\/a> album from 1981, it&#8217;s the Mad Magazine episode where they dubbed his ex-wife <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:FAYE%7CRUNAWAY\">Faye Runaway<\/a>. And speaking of <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:RUNAWAYS\">Runaways<\/a>, it&#8217;s a song that fits <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JOAN%7CJETT\">Joan Jett<\/a> well and her <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BLACKHEARTS\">Blackhearts<\/a> went and performed it on the soundtrack to the film Mr. Wrong. The oddity for <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CJ.%7CGEILS%7CBAND\">The J. Geils Band<\/a> is that it&#8217;s such a simple riff rocker far removed from the novel integrity of &#8220;Give It To Me&#8221; or the unbridled exuberance of &#8220;Looking For A Love&#8221;. The refinement of this band from an earthy bunch of blues fanatics to polished rock and roll act made for some fun, but did it lead to their going their separate ways for so many years? <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:SETH%7CJUSTMAN%5C%27S\">Seth Justman&#8217;s<\/a> production technique is solid as a rock, and recorded out at the legendary Longview Farm in Western Massachusetts there&#8217;s a controlled intensity and in the pocket performance. Only edging the lower rungs of the Top 40 in May of 1980 this song and others on the album pointed the group in its new direction which would turn them into a platinum act. Years later it is totally different from what <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PETER%7CWOLF\">Peter Wolf<\/a>, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DANNY%7CKLEIN\">Danny Klein<\/a> and <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JAY%7CGEILS\">Jay Geils<\/a>\/ <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MAGIC%7CDICK\">Magic Dick<\/a> would put on their solo projects, solid blues and, in Jay&#8217;s case, some jazz. &#8220;Love Stinks&#8221; is <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CJAY%7CGEILS%7CBAND\">The Jay Geils Band<\/a> as rock stars, and during the reunion tour in 1999 they played all this material with finesse and a vengeance. Isolated from their catalog, though, &#8220;Love Stinks&#8221; is a definite anomaly.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>PACK FAIR AND SQUARE<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:3ifixqtrld6e\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:3ifixqtrld6e<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Song Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\"><a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:J.%7CGEILS%7CBAND\">J. Geils Band<\/a> are to be commended for picking up a title by swamp\/blues artist <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BIG%7CWALTER%7CPRICE\">Big Walter Price<\/a>, the song &#8220;Pack Fair and Square&#8221; showing up on their Atlantic debut and on <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:FULL%7CHOUSE%7CLIVE\"><i>Full House Live<\/i><\/a> as well.The two minute and one second studio version is an even shorter hundred and one seconds!!! on the live disc. <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JON%7CLANDAU\">Jon Landau<\/a> praises the tune in his Rolling Stone Magazine review of their debut lp by saying &#8220;straight blues done as good as it can be done. The harp dominates&#8230;with its perfect lines and tone&#8230;&#8221; <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:LANDAU\">Landau<\/a> should know as he was the original producer on the band&#8217;s initial sessions for Atlantic about a year before the <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DAVE%7CCRAWFORD\">Dave Crawford<\/a>\/ <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BRAD%7CSHAPIRO\">Brad Shapiro<\/a>\/ <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:GEOFFREY%7CHASLAM\">Geoffrey Haslam<\/a> album was released. For such a young group one has to marvel at the authenticity they poured into the grooves with years of roadwork still ahead of them. &#8220;Pack Fair And Square&#8221; is evidence that they were musically more mature than most with superb intuition &#8211; not only in the choice of this material &#8211; but in its execution. The live take is speedier and more condensed, a <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PETER%7CWOLF\">Peter Wolf<\/a> monologue underscored by some gorgeous <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:SETH%7CJUSTMAN\">Seth Justman<\/a> frills before they dive into the song with total intensity, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MAGIC%7CDICK%5C%27S\">Magic Dick&#8217;s<\/a> harp taking it to another level, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:STEPHEN%7CBLADD\">Stephen Bladd<\/a> pounding away and the singer\/frontman showing a real understanding of the roots he&#8217;s digging up. &#8220;Hard Driving Man&#8221; comes two songs later, and don&#8217;t think the identical meter in the titles of both tunes is mere coincidence &#8211; <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:J.GEILS%7CBAND\">J.Geils Band<\/a> drew from their influences, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PETER%7CWOLF\">Peter Wolf<\/a> and <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:J.%7CGEILS\">J. Geils<\/a> perhaps subconciously finding their own songwriter voices from the material they discovered and regenerated so well.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>WHAMMER JAMMER<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:gpfwxxealdhe\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:gpfwxxealdhe<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Song Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">The studio version of &#8220;Whammer Jammer&#8221; is on the <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:J.%7CGEILS%7CBAND%5C%27S\">J. Geils Band&#8217;s<\/a> second disc, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:THE%7CMORNING%7CAFTER\"><i>The Morning After<\/i><\/a>, with a killer live take on their third lp and first stage recording <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:FULL%7CHOUSE%7CLIVE\"><i>Full House Live<\/i><\/a>. It&#8217;s a short ( two minutes, twenty-one seconds) but lively cover of a <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JUKE%7CJOINT%7CJIMMY\">Juke Joint Jimmy<\/a> tune which allows <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:RICHARD%7CSALWITZ\">Richard Salwitz<\/a>, a.k.a. <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MAGIC%7CDICK\">Magic Dick<\/a>, to do his thing. Covered by harp player <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MIKE%7CSTEVENS\">Mike Stevens<\/a> on a 1992 release, this was the song that really put <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MAGIC%7CDICK\">Magic Dick<\/a> on the map as the quintessential rock &amp; roll harmonica man. Where a <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:STEVIE%7CWONDER\">Stevie Wonder<\/a> will make the harp a sweet sounding instrument helping him rejoice sentiments like &#8220;I Was Made To Love Her&#8221;, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MAGIC%7CDICK\">Magic Dick<\/a> does the opposite, burning sounds into the consciousness as deftly as any great lead guitarist. Playing against <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:SETH%7CJUSTMAN%5C%27S\">Seth Justman&#8217;s<\/a> honky tonk piano, Peter and Jay stay back so that Dickie can do his thing. Songwriter <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JUKE%7CJOINT%7CJIMMY\">Juke Joint Jimmy<\/a> is a legendary figure with the <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:GEILS\">Geils<\/a> crew, having also written &#8220;Cruisin&#8217; For A Love&#8221; and &#8220;It Ain&#8217;t What You Do (It&#8217;s How You Do It&#8221;). One informed (and anonymous) source said &#8220;his 45 rpm was his first and only album.&#8221;<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<div>\n<div>One Last Kiss from Sanctuary lp <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:g9fwxblhldde\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:g9fwxblhldde<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Song Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">Sounding more like <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BLUE%7COYSTER%7CCULT\">Blue Oyster Cult<\/a> with a heavy and fatalistic song, the group&#8217;s Top 40 debut on the EMI America label &#8211; 45 RPM #8007 &#8211; is four minutes and twenty-two seconds of <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:J.GEILS%7CBAND\">J.Geils Band<\/a> taking their blues\/rock and pouring more gloss and pop into it than ever before. That&#8217;s because <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JOE%7CWISSERT\">Joe Wissert<\/a>, producer of <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:EARTH,%7CWIND%7C&amp;%7CFIRE\">Earth, Wind &amp; Fire<\/a>, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:GORDON%7CLIGHTFOOT\">Gordon Lightfoot<\/a>, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:HELEN%7CREDDY\">Helen Reddy<\/a> as well as another Boston phenomenon, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ROBIN%7CLANE%7C&amp;%7CTHE%7CCHAR\">Robin Lane &amp; The Chartbusters<\/a>, made things nice and slick for the <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:GEILS\">Geils<\/a> guys. <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:HELEN%7CREDDY%5C%27S\">Helen Reddy&#8217;s<\/a> producer, one might say? Well, the production is much better than the job <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WISSERT\">Wissert<\/a> did with <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ROBIN%7CLANE\">Robin Lane<\/a>, this title coming four years and a couple of months after Jay, Seth, Peter, Danny, Stephen and <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MAGIC%7CDICK\">Magic Dick<\/a> went Top 12 when <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BILL%7CSZYMCZYK\">Bill Szymczyk<\/a> cut &#8220;Give It To Me&#8221; at <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JERRY%7CRAGOVOY%5C%27S\">Jerry Ragovoy&#8217;s<\/a> Hit Factory. That purist element is still inherent in the music, though this new sound only reached #35, but the liquid guitar under the verses and the borderline metal sound everywhere else was certainly something new and derived from <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:B.O.C.\">B.O.C.<\/a>, a flavor that New York group would borrow back for their own &#8220;Burnin&#8217; For You&#8221; single a couple of years later. This isn&#8217;t the <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:J.%7CFRANK%7CWILSON\">J. Frank Wilson<\/a> and <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CCAVALIERS\">The Cavaliers<\/a> tragedy, &#8220;Last Kiss&#8221; from 1964, but it is a sixties sound built into a hard rock foundation. Over a <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:RONETTES\">Ronettes<\/a> &#8220;Be My Baby&#8221; drumbeat (which comes out of nowhere) <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PETER%7CWOLF\">Peter Wolf<\/a> tells his paramour &#8220;the good times are the best times\/the bad times fade away&#8221; but that&#8217;s just the set up for the fact that it&#8217;s over&#8230;&#8221;the feeling&#8217;s gone, I can feel it in my veins&#8221;. The final chorus comes long before the song ends with the simple and ominous riff in repeat mode allowing <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JAY%7CGEILS\">Jay Geils<\/a> to play some great rock and roll guitar. This ensemble was becoming more chameleon like as their sound evolved and the focus mutated into a popular song direction. The album <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:SANCTUARY\"><i>Sanctuary<\/i><\/a> itself may have been a declaration of independence &#8211; free from the restrictions of the previous record deal, and <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MAGIC%7CDICK%5C%27S\">Magic Dick&#8217;s<\/a> harp playing is more consistent with a pop\/rock commercial sound, blending in as a component of a unified front. Perhaps the producer had the ambiance and feel of this episode emulating <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:EARTH,%7CWIND%7C&amp;%7CFIRE\">Earth, Wind &amp; Fire<\/a> as it all works magnificently, a balanced evolution and far cry from the earthy first steps on Atlantic.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<div><\/div>\n<div>Must Of Got Lost Blow Your Face Out lp<\/div>\n<div><a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;uid=CASS80305221859&amp;sql=X60447\" target=\"_blank\" rel=\"nofollow\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;uid=CASS80305221859&amp;sql=X60447<\/a><\/div>\n<\/div>\n<\/div>\n<div>\n<div>Posted by <a title=\"author profile\" href=\"https:\/\/www.blogger.com\/profile\/15345741483306237598\" rel=\"author\" data-gapiscan=\"true\" data-onload=\"true\" data-gapiattached=\"true\"> History of New England Rock <\/a> at <a title=\"permanent link\" href=\"http:\/\/jgeilsband.blogspot.com\/2007\/07\/j-geils-band-reviews-by-joe-viglione.html\" rel=\"bookmark\"><abbr itemprop=\"datePublished\" title=\"2007-07-12T12:45:00-07:00\">12:45 PM<\/abbr><\/a> <a href=\"https:\/\/www.blogger.com\/comment.g?blogID=974866043797187572&amp;postID=6303675482167265667\"> No comments: <\/a><\/p>\n<div><\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"blog-pager\"><a href=\"http:\/\/jgeilsband.blogspot.com\/\">Home<\/a><\/div>\n<div>\n<div>Subscribe to: <a href=\"http:\/\/jgeilsband.blogspot.com\/feeds\/posts\/default\" target=\"_blank\" type=\"application\/atom+xml\">Posts (Atom)<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"sidebar-wrapper\">\n<div id=\"sidebar\">\n<div id=\"BlogArchive1\" data-version=\"1\">\n<h2>Blog Archive<\/h2>\n<div>\n<div id=\"ArchiveList\">\n<div id=\"BlogArchive1_ArchiveList\">\n<ul>\n<li><a> \u25bc\u00a0 <\/a> <a href=\"http:\/\/jgeilsband.blogspot.com\/2007\/\"> 2007 <\/a> (1)\n<ul>\n<li><a> \u25bc\u00a0 <\/a> <a href=\"http:\/\/jgeilsband.blogspot.com\/2007\/07\/\"> July <\/a> (1)\n<ul>\n<li><a href=\"http:\/\/jgeilsband.blogspot.com\/2007\/07\/j-geils-band-reviews-by-joe-viglione.html\">The J. Geils Band reviews by Joe Viglione<\/a><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"Profile1\" data-version=\"1\">\n<h2>About Me<\/h2>\n<div>\n<dl>\n<dt><a href=\"https:\/\/www.blogger.com\/profile\/15345741483306237598\" rel=\"author\" data-gapiscan=\"true\" data-onload=\"true\" data-gapiattached=\"true\"> History of New England Rock <\/a><\/dt>\n<\/dl>\n<p><a href=\"https:\/\/www.blogger.com\/profile\/15345741483306237598\" rel=\"author\">View my complete profile<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<p><strong>CHAPTER SIX<\/strong><\/p>\n<p>6)The Early Seventies<br \/>\n<a href=\"http:\/\/bostontheseventies.blogspot.com\/\">http:\/\/bostontheseventies.blogspot.com\/<\/a><\/p>\n<p>1)The Quill 2)The Sidewinders 3)Fat 4)Milkwood (early Cars), 5)Swallow, 6)Duke &amp; The Drivers 7)James Montgomery 8)Stormin&#8217; Norman &amp; Suzy 9)P.J. Colt<\/p>\n<p>______________________________________<\/p>\n<div id=\"header\">\n<div id=\"Header1\" data-version=\"1\">\n<div id=\"header-inner\">\n<div>\n<h1>Boston &#8211; The Seventies &#8211; Joe Viglione&#8217;s History of New England Rock<\/h1>\n<\/div>\n<div>\n<p>To click on any chapter go to this address: http:\/\/rocktableofcontents.blogspot.com\/<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"crosscol-wrapper\"><\/div>\n<div id=\"sidebar-wrapper\">\n<div id=\"sidebar\">\n<div id=\"BlogArchive1\" data-version=\"1\">\n<h2>Blog Archive<\/h2>\n<div>\n<div id=\"ArchiveList\">\n<div id=\"BlogArchive1_ArchiveList\">\n<ul>\n<li><a> \u25bc\u00a0 <\/a> <a href=\"http:\/\/bostontheseventies.blogspot.com\/2007\/\"> 2007 <\/a> (1)\n<ul>\n<li><a> \u25bc\u00a0 <\/a> <a href=\"http:\/\/bostontheseventies.blogspot.com\/2007\/07\/\"> July <\/a> (1)\n<ul>\n<li><a href=\"http:\/\/bostontheseventies.blogspot.com\/2007\/07\/fat-1970-reviewby-joe-viglione.html\">The Early Seventies and beyond &#8211; Quill, The Sidewi&#8230;<\/a><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"Profile1\" data-version=\"1\">\n<h2>About Me<\/h2>\n<div>\n<dl>\n<dt><a href=\"https:\/\/www.blogger.com\/profile\/15345741483306237598\" rel=\"author\" data-gapiscan=\"true\" data-onload=\"true\" data-gapiattached=\"true\"> History of New England Rock <\/a><\/dt>\n<\/dl>\n<p><a href=\"https:\/\/www.blogger.com\/profile\/15345741483306237598\" rel=\"author\">View my complete profile<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div>\n<h2>Monday, July 9, 2007<\/h2>\n<div>\n<div>\n<div itemprop=\"blogPost\" itemscope=\"itemscope\" itemtype=\"http:\/\/schema.org\/BlogPosting\"><a name=\"9077823540693157277\"><\/a><\/p>\n<h3 itemprop=\"name\"><a href=\"http:\/\/bostontheseventies.blogspot.com\/2007\/07\/fat-1970-reviewby-joe-viglione.html\">The Early Seventies and beyond &#8211; Quill, The Sidewinders, Fat, Milkwood, Swallow<\/a><\/h3>\n<div><\/div>\n<div id=\"post-body-9077823540693157277\" itemprop=\"description articleBody\">Remember! To click on any chapter go to this address: <a href=\"http:\/\/rocktableofcontents.blogspot.com\/\">http:\/\/rocktableofcontents.blogspot.com\/<\/a>1)The Quill<br \/>\n2)The Sidewinders<br \/>\n3)Fat<br \/>\n4)Milkwood<br \/>\n5)Swallow<br \/>\n6)Duke &amp; The Drivers<br \/>\n7)James Montgomery<br \/>\n8)Stormin&#8217; Norman &amp; Suzy<br \/>\n9)P.J. Colt<br \/>\n10)Billy Squier&#8217;s PIPER<br \/>\n11)Orchestra Luna (1974)The QuillThe Quill has two distinctions that put them into the history books! They were the opening act at Woodstock and their leader helped create the intro to Andy Pratt&#8217;s classic &#8220;Avenging Annie.&#8221;<br \/>\nThough they performed in the 1960s this Cotillion release was in 1970, thus we start the music of the 70s with QUILL<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:3xfexqy5ld0e\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:3xfexqy5ld0e<\/a><br \/>\n<a href=\"http:\/\/www.hmv.co.jp\/product\/detail\/959542\">http:\/\/www.hmv.co.jp\/product\/detail\/959542<\/a><br \/>\nReviewby Joe Viglione<br \/>\nQuill opened up the Saturday festivities at Woodstock in 1969, though some may say the real claim to fame for <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fjfyxqw5ldse\">Jo Unk Khol<\/a> (aka <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3pfpxqlhldfe\">John Cole<\/a>) is the sound effects he makes (uncredited) at the beginning of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:h9ftxq85ldte\">Andy Pratt<\/a>&#8216;s 1973 classic &#8220;Avenging Annie.&#8221; The group&#8217;s self-produced album is one of the better offerings from &#8220;The Bosstown Sound,&#8221; as was <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:h9ftxq85ldte\">Pratt<\/a>&#8216;s 1971 Polydor release <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:fxfrxqt5ldte\">Records Are Like Life<\/a>. Perhaps it is no coincidence that both were recorded by the mysterious Boston-area engineer who went by one name, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:j9fpxqr5ldke\">Aengus<\/a>. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jcfwxqqjld0e\">Steven McDonald<\/a> originally wrote in AMG that &#8220;Quill came and went in 1970, leaving a single album behind as evidence of their existence. The band hurtled into the depths of psychedelia with results that are both painful and entertaining.&#8221; <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jcfwxqqjld0e\">McDonald<\/a> went on to call the music &#8220;a self-indulgent mess with some promise and much racket.&#8221; Actually, the six compositions by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3pfpxqlhldfe\">John<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DAN%7CCOLE\">Dan Cole<\/a>, along with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:N.%7CRED%7CROCKET%7CROGER\">N. &#8220;Red Rocket&#8221; Rogers<\/a>&#8216; &#8220;Too Late,&#8221; deserve to be remembered a little bit better than that. Perhaps the entire album was too far out to include &#8220;I Had Too Much to Dream Last Night&#8221; or &#8220;Journey to the Center of the Mind,&#8221; titles like &#8220;Thumbnail Screwdriver&#8221; and &#8220;Tube Exuding&#8221; giving the impression that these were bad <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfoxql5ldhe\">Ultimate Spinach<\/a> or <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:d9frxqy5ldje\">Eden&#8217;s Children<\/a> outtakes. That&#8217;s far from reality. The music is more toward the entertaining than the painful end of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jcfwxqqjld0e\">McDonald<\/a>&#8216;s spectrum. And though they, like <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfixq95ldfe\">Sweetwater<\/a>, failed to catch on as other acts from the Woodstock festival did (unlike <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0pfuxq95ldte\">Ten Wheel Drive<\/a>, who were said to have turned the gig down to settle in near obscurity), there is something special in these grooves and the pastel\/half-psychedelic cover with esoteric lyrics spread across the inside of the Unipak gatefold. Despite the zany pseudonyms the bandmembers embraced, this record has more smarts than anything <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:dpftxql5ldae\">Zager &amp; Evans<\/a> ever put to plastic. There are jazzy overtones mixed in with the mayhem and experimentation far beyond anything <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfoxql5ldhe\">Ultimate Spinach<\/a>, the dreadful <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:d9frxqy5ldje\">Eden&#8217;s Children<\/a>, and even the beloved <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:39fqxq95ldhe\">the Beacon Street Union<\/a> from that &#8220;Bosstown Sound&#8221; era attempted to create. Maybe it was the marketing, maybe it was the damage caused by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:d9frxqy5ldje\">Eden&#8217;s Children<\/a>, there&#8217;s no doubt Quill deserved a better fate. If only Cotillion, the label that released the Woodstock triple and double LPs, had put this and other groups out as part of a &#8220;Woodstock&#8221; series.The Sidewinders 1972<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jxfrxq85ldke\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jxfrxq85ldke<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">The Sidewinders opened for <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxqw5ldae\">Aerosmith<\/a> just as &#8220;Dream On&#8221; was starting to break in the early &#8217;70s and, with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfixqtgld0e\">Patti Smith<\/a> guitarist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3jfexqq5ldfe\">Lenny Kaye<\/a> producing, singer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:d9ftxqqgld6e\">Andy Paley<\/a> had the distinction of fronting the only true power pop ensemble to record in the early days of the Boston scene. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfpxqqgld6e\">The Modern Lovers<\/a> were the essential punk band, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:39fpxq85ldde\">Orphan<\/a> with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifuxqe5ldhe\">Jonathan Edwards<\/a> were the folkies, and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wbfpxq85ld0e\">J. Geils<\/a> had the blues market, leaving the most commercial sound to the Sidewinders. Though <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifpxqr5ldae\">Billy Squier<\/a> would join the Sidewinders, he had yet to bring them &#8220;Telephone Relation,&#8221; one of their two best songs, and the lack of material held back not only this album, but the eventual <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:d9ftxq85ldde\">Paley Brothers<\/a> disc for Sire featuring <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:d9ftxqqgld6e\">Andy<\/a> and his brother <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:f9ftxqqgld6e\">Jonathan Paley<\/a>, who would join Elektra&#8217;s <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:d9frxq85ldae\">the Nervous Eaters<\/a>. It&#8217;s not that this self-titled debut doesn&#8217;t have its moments &#8212; &#8220;The Bumble Bee&#8221; is a cool instrumental, &#8220;Told You So&#8221; brings back memories of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MOULTY%7C&amp;%7CTHE%7CBARBARIA\">Moulty &amp; the Barbarians<\/a>, and &#8220;Rendezvous&#8221; (the best song on the album) could work for a contemporary teeny bop artist. That was the dilemma with rock &amp; rollers choosing pop, something that <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fwxqr5ldae\">the Atlantics<\/a> would find out a few years later. The pretty guitars of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0pfpxq9gldke\">Eric &#8220;Rose&#8221; Rosenfeld<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:dcfrxqwjld6e\">Mike Reed<\/a> are a perfect setting for <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PALEY\">Paley<\/a>&#8216;s voice. But <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ROSENFELD\">Rosenfeld<\/a> was a monster guitarist, like <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifpxqr5ldae\">Squier<\/a>, and this album hardly showcases his skills. You can hear elements of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifexqw5ldse\">Barry &amp; the Remains<\/a> on side two&#8217;s &#8220;O Miss Mary&#8221; and &#8220;Got You Down&#8221;; maybe they were emulating <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gjfqxqwgldhe\">Barry Tashian<\/a>&#8216;s group that opened for <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hifrxqw5ldse\">the Beatles<\/a>, when perhaps they should&#8217;ve been putting some <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifoxqe5ldse\">Kinks<\/a> riffs into this material. &#8220;Slip Away&#8221; has the most creativity here, but only hints at the potential. &#8220;Reputation&#8221; isn&#8217;t as mean as <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifqxqe5ldse\">Joan Jett<\/a> or <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wifqxqr5ld6e\">the New York Dolls<\/a> could make that concept. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:d9ftxqqgld6e\">Andy Paley<\/a> would go on to produce the <i>Shag<\/i> film soundtrack for Sire, as well as <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jvfyxqe5ldae\">Madonna<\/a> on the <i>Dick Tracy<\/i> soundtrack, and this effort of his, with photos taken at the Chelsea Hotel in New York, is a true artifact of early-&#8217;70s Boston music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>FAT 1970<br \/>\n<a href=\"http:\/\/www.mp3.com\/albums\/30465\/reviews.html\">http:\/\/www.mp3.com\/albums\/30465\/reviews.html<\/a><br \/>\nReviewby Joe Viglione<\/p>\n<p>Engineered by legends <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0vftxqe5ldae\">Roy Cicala<\/a> who worked with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:apfixq95ld6e\">Genya Ravan<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:j9fpxqt5ldje\">Lori Burton<\/a>, and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hifrxqe5ldde\">John Lennon<\/a>, along with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hxfrxq9gldhe\">Shelly Yakus<\/a> (spelt <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hxfrxq9gldhe\">Shelly Yokas<\/a> on the album jacket) of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kifwxqr5ld6e\">Stevie Knicks<\/a> and so many others fame, Fat is comprised of five men who, other than this outing, appear to have remained pretty much unknown. According to urban legend, this production by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gjfoxq95ldje\">Eddie Jason<\/a> saw only 400 copies released by RCA. For a band coming at the end of the debacle known as &#8220;The Bosstown Sound,&#8221; this actually plays better than <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:d9frxqy5ldje\">Eden&#8217;s Children<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfoxql5ldhe\">Ultimate Spinach<\/a>. With a cover photo of five dudes dressed like they are going camping, no image whatsoever, these longhairs deliver a decent set of tunes, despite the fact they aren&#8217;t stellar musicians. There is a spirit here, however, from &#8220;Shape I&#8217;m In&#8221; on side two, to the lengthy &#8220;Journey&#8221; and &#8220;Highway.&#8221; &#8220;Black Sunday&#8221; is inspired and has a sound very influenced by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxqr5ldje\">Quicksilver Messenger Service<\/a>. Via default they seem to have created a strange amalgam of East Coast blues and psychedelia that <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfoxql5ldhe\">Ultimate Spinach<\/a> was searching for. &#8220;Country Girl&#8221; has <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gifixqw5ldte\">Cream<\/a> riffs galore, and where you might expect a folk tune, it rocks out. Where <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:09fyxqr5ldke\">Alive &amp; Kickin&#8217;<\/a> released the same year on Roulette and were woefully deficient on the musical side of things, these cats have a style and a sound. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wifoxq8gld0e\">Peter Newland<\/a>&#8216;s voice and harp reflect the darkness <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3jftxqq5ldke\">James Kaminski<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jcftxqr5ldte\">Michael Benson<\/a> lay down with their guitars. Not a bad recording for a band with no look and riffs that <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:acfrxqw5ldke\">Bachman Turner Overdrive<\/a> would explore and exploit just four years later. &#8220;Duck Sweat&#8221; is the bluesy rock that the cover indicates, but &#8220;Lonely Lady&#8221; and &#8220;Mine Eyes Have Seen&#8221; take the group into other directions. An interesting artifact.<\/p>\n<p><a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jzfwxqy5ldke\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jzfwxqy5ldke<\/a><\/p>\n<p>====================================================================<\/p>\n<p>MILKWOOD How&#8217;s The Weather (Early Cars) 1972<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jxfixqe5ldde\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jxfixqe5ldde<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">For fans of <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">the Cars<\/a> this release pre-dates <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:RICK%7C&amp;%7CTHE%7CRABBITS\">Rick &amp; the Rabbits<\/a> &#8212; the name that <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfpxqqgld6e\">Modern Lover<\/a> <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifyxqr5ldje\">Jonathan Richman<\/a> gave <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aiftxqr5ld6e\">Richard Ocasek<\/a> and <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fpxqlgldae\">Ben Orzechowski<\/a> prior to their becoming <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:CAPTAIN%7CSWING\">Captain Swing<\/a>, the band that evolved into <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">the Cars<\/a>. Recorded at Aengus Studios in Fayville, MA, where <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:h9ftxq85ldte\">Andy Pratt<\/a> created his classic &#8220;Avenging Annie,&#8221; the trio includes <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jnftxq95ldte\">Jas Goodkind<\/a> on lead acoustic and electric guitars, supplemented by various friends. Track three is the only non-<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aiftxqr5ld6e\">Ocasek<\/a> original, written by the late <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:w9fexqlgld0e\">Ben Orr<\/a>, and &#8220;Lincoln Park&#8221; is an example of why <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">Cars<\/a> fans have called this <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aiftxqr5ld6e\">Ocasek<\/a> and <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:w9fexqlgld0e\">Orr<\/a>&#8216;s <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kifoxqw5ldte\">Crosby, Stills &amp; Nash<\/a> phase. <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gvfrxqlkldde\">Greg Hawks<\/a> was working with <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifpxq95ldje\">Martin Mull<\/a> and his <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:FABULOUS%7CFURNITURE\">Fabulous Furniture<\/a>, but he appears on this album playing baritone, soprano sax, and doing the horn arrangements. <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jjfpxqt5ldde\">Jeff Lass<\/a> plays the keyboards here, although <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gvfrxqlkldde\">Hawks<\/a> would join <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">the Cars<\/a> and create a sound so admired that <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jifyxqe5ldfe\">Paul McCartney<\/a> would fly <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gvfrxqlkldde\">Greg<\/a> to England to perform on his &#8220;Motor of Love&#8221; on the <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:w9ftxqq5ldse\"><i>Flowers in the Dirt<\/i><\/a> album. &#8220;Bring Me Back&#8221; is a wonderful early <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aiftxqr5ld6e\">Ocasek<\/a> essay, and this album shows the &#8217;80s pop ensemble in a delicate and charming light. Only &#8220;Timetrain Wonderwheel&#8221; hints at the direction <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aiftxqr5ld6e\">Ocasek<\/a> would eventually take. The vibe is like <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:AMERICA\">America<\/a>&#8216;s &#8220;Sandman,&#8221; and this is as close to <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:difpxqw5ld0e\"><i>Panorama<\/i><\/a> as you are going to find here. The experimental sounds and jams make it the strongest track on <i>How&#8217;s the Weather<\/i>. <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gvfrxqlkldde\">Hawks<\/a>&#8216; horns are nothing short of brilliant, and they play like his innovative keyboards that were so essential to <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">the Cars<\/a>&#8216; eventual success. The vocal phrasings on this song are significant, and &#8220;Timetrain Wonderwheel&#8221;&#8216;s importance as an artifact of a band prior to its greatness cannot be ignored. &#8220;Makeshift Pawn&#8221; opens side two and sounds like a low-key <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:j9fqxqy5ldfe\">David Gates<\/a> or <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gifoxqe5ldhe\">England Dan<\/a>\/<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0vfexqr5ldse\">John Ford Coley<\/a>. Hearing the material is astounding when one thinks of the sci-fi overtones of &#8220;Moving in Stereo.&#8221; These guys had the chops and passion in &#8220;The Light Won&#8217;t Burn&#8221; as well as &#8220;Winter Song,&#8221; but there&#8217;s no denying that there&#8217;s little hint of the change in direction that would bring <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aiftxqr5ld6e\">Ocasek<\/a>, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:w9fexqlgld0e\">Orr<\/a>, and <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gvfrxqlkldde\">Hawks<\/a> to superstardom during the &#8217;80s. &#8220;Along the Way&#8221; truly sounds like <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:dvfuxqy5ld0e\">Crosby<\/a>, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jifexqr5ldae\">Stills<\/a>, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aiftxqr5ld6e\">Ocasek<\/a> &amp; <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:w9fexqlgld0e\">Orr<\/a>.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>SWALLOW LPs 1972, 1973<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:09foxq9jldje%7ET2\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:09foxq9jldje%7ET2<\/a><\/p>\n<p>SWALLOW OUT OF THE NEST 1972 Cotillion<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dcfexq95ldse\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dcfexq95ldse<\/a><\/p>\n<p>Reviewby Joe Viglione<br \/>\nThe first album from Swallow was produced by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gvfixqlgldhe\">Jean Paul Salvatori<\/a>, who put together the excellent <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:fnfpxq85ld6e\">Bootleg Him!<\/a> double LP of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifqxq95ld0e\">Alexis Korner<\/a> material this same year, 1972. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:dcftxqr5ld6e\">Jeff &#8220;Skunk&#8221; Baxter<\/a> of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfoxql5ldhe\">Ultimate Spinach<\/a>, later with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jifwxqr5ldae\">Steely Dan<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifqxqe5ldhe\">the Doobie Brothers<\/a>, appears on &#8220;Come Home Woman,&#8221; an original from bassist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifixqtgld6e\">Vern Miller Jr.<\/a>, who was part of the band who opened for <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hifrxqw5ldse\">the Beatles<\/a> in 1966, the legendary <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifexqw5ldse\">Barry &amp; the Remains<\/a>. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifixqtgld6e\">Miller<\/a>&#8216;s presence adds collectability to this debut. &#8220;Come Home Woman&#8221; would have been perfect for <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifqxq95ld0e\">Alexis Korner<\/a>, come to think of it, a bluesy lament which begins with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:dcftxqr5ld6e\">Baxter<\/a>&#8216;s wonderful guitar work and picks up steam, letting <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jjfyxqy5ldae\">George Leh<\/a> open up and battle the horns &#8212; the voice and instruments stir things up so fine. &#8220;Aches and Pains&#8221; is one of the four <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifixqtgld6e\">Vern Miller Jr.<\/a>\/<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jjfyxqy5ldae\">George Leh<\/a> co-writes, and it is gospel-tinged blues which spills over onto &#8220;Common Man.&#8221; There&#8217;s real personality here, music perhaps a little too earthy for the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifpxqw5ldde\">Blood, Sweat &amp; Tears<\/a> crowd, but authentic to the max. Recorded and mixed where <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxqw5ldae\">Aerosmith<\/a> cut &#8220;Dream On&#8221; and where <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifuxqe5ldhe\">Jonathan Edwards<\/a> of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ORPHAN\">Orphan<\/a> tracked &#8220;Sunshine,&#8221; &#8220;Out of the Nest&#8221; is post-Bosstown serious singing and playing. When it is all instrumental, as on pianist\/tenor saxman <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:dzfyxq8gldae\">David Woodford<\/a>&#8216;s &#8220;Shuffle,&#8221; Boston veteran <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gzfqxqygld0e\">Parker Wheeler<\/a> gets a chance to give a counterpoint to <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifrxqe5ldke\">J. Geils Band<\/a> harp player <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kbfpxq95ldte\">Magic Dick<\/a>. The harmonica on &#8220;Shuffle&#8221; admirably replaces <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jjfyxqy5ldae\">George Leh<\/a>&#8216;s distinctive vocal. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jjfyxqy5ldae\">Leh<\/a>&#8216;s got that <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:d9foxqy5ldte\">Nick Gravenites<\/a> gravel growl on &#8220;Something Started Happening,&#8221; a tune with charging dynamics, perhaps this band&#8217;s strong suit. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifixqtgld6e\">Miller<\/a>&#8216;s &#8220;Brown Eyed Baby Boy&#8221; is a plea for love with a solid hook that would work well for <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kpfexq95ldhe\">the Remains<\/a> since that group started recording again in the new millennium. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wifqxqr5ldae\">The Staple Singers<\/a>&#8216; composition &#8220;Why Am I Treated So Bad,&#8221; also covered by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:difixqr5ldte\">Cannonball Adderley<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kpfwxqr5ldhe\">the Sweet Inspirations<\/a>, adds another dimension to the mix, the organ of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3vfqxql5ldte\">Bob Camacho<\/a> getting to have its say. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:dcfuxqq5ldje\">Mick Aranda<\/a>&#8216;s creative drumming is also worthy of note. Out of the Nest is an excellent document of early-&#8217;70s Boston roots rock\/blues music with just a touch of jazz. This would make a nice two-fer CD with its follow-up, 1973&#8217;s self-titled <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:hxfixqr0ldse\">Swallow<\/a>.<\/p>\n<p>SWALLOW 1973<\/p>\n<p><a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:hxfixqr0ldse\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:hxfixqr0ldse<\/a><\/p>\n<p>Reviewby Joe Viglione<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:39fuxqy5ldhe\">Duke &amp; the Drivers<\/a> had fun living out their fantasy on ABC Records but, under the aegis of the redoubtable <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0vfuxq95ldse\">Buddy Buie<\/a> and with help from <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CATLANTA%7CRHYTHM%7CSE\">the Atlanta Rhythm Section<\/a>, Boston&#8217;s Swallow were very serious about their craft, and it shows on this collection of understated blues-rock. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:VERN%7CMILLER,%7CJR.\">Vern Miller, Jr.<\/a> of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CREMAINS\">the Remains<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jjfyxqy5ldae\">George Leh<\/a>, and New England personalties <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gzfqxqygld0e\">Parker Wheeler<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:dnfwxqq5ld6e\">Phil Greene<\/a> (the extra &#8220;e&#8221; is missing from the legendary engineer&#8217;s name on this disc) are four of the nine musicians who make up the large outfit. On one of the all-time worst album covers &#8212; a green martian hand holding the nose of the man in the moon (presumably, so he can swallow) &#8212; the nine musicians are displayed above a moonscape, their names out of order with the photos. In 1973, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CATLANTA%7CRHYTHM%7CSE\">the Atlanta Rhythm Section<\/a> emerged from the remnants of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CCLASSICS%7CIV\">the Classics IV<\/a> and, with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wvfwxqr5ldje\">J.R. Cobb<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fcfpxqw5ldae\">Barry Bailey<\/a> of that group on this disc, along with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gzfrxqlgldke\">B.J. Thomas<\/a>\/<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:k9fqxqy5ldde\">Friend &amp; Lover<\/a>\/<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BILLIE%7CJOE%7CROYAL\">Billie Joe Royal<\/a> producer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BUIE\">Buie<\/a>, one would think Warner Bros. would have been more serious about this outing. Most of the titles are by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MILLER\">Miller<\/a>, making the album a statement by the man <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3jfpxqe5ld0e\">Danny Klein<\/a> of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CJ.%7CGEILS%7CBAND\">the J. Geils Band<\/a> calls his favorite bass player. Two co-writes by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:LEH\">Leh<\/a> are included, along with two <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:difwxqr5ld6e\">Randy Newman<\/a> songs, &#8220;Illinois&#8221; and the often covered &#8220;I&#8217;ll Be Home.&#8221; Although <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BUIE\">Buie<\/a> co-wrote all the hits of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CATLANTA%7CRHYTHM%7CSE\">the Atlanta Rhythm Section<\/a>, his magic is not added here, and perhaps that is what is missing. The record is better than decent &#8212; it is very good &#8212; despite the fact there is no hit to launch it from obscurity. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:GREENE\">Greene<\/a> went on to engineer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BEAVER%7CBROWN\">Beaver Brown<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jifqxqr5ld6e\">New Kids on the Block<\/a>, and the sessions this writer did with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kiftxq95ldke\">Buddy Guy<\/a> in 1986, while blind singer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:LEH\">Leh<\/a> developed a following and great reputation performng around the Boston area. &#8220;Georgia, Pack My Bags&#8221; isn&#8217;t a hit, nor is &#8220;Rockin&#8217; Shoes&#8221;; perhaps the closest thing to a potential chart climber is &#8220;Don&#8217;t Tell Mama,&#8221; some kind of answer, not to <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifixq95ldke\">Etta James<\/a>, but to <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3vfexq95ldhe\">Savoy Brown<\/a>&#8216;s minor hit from their 1971 <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:STREET%7CCORNER%7CTALKING\">Street Corner Talking<\/a> album, &#8220;Tell Mama.&#8221; At least they showed respect for their elders! There was much potential here; it&#8217;s too bad the label and\/or management mishandled the look of the album, and failed to give this large group a couple of songs their musicianship could work with to reach the masses. But, for fans of the legendary <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:REMAINS\">Remains<\/a>, it is another chapter in the career of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifixqtgld6e\">Vern Miller<\/a> and an essential item in order for their collections to be complete.<\/p>\n<p>DUKE &amp; THE DRIVERS Biography<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:39fuxqy5ldhe\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:39fuxqy5ldhe<\/a><\/p>\n<p>Biographyby Joe Viglione<br \/>\nBlue blood young men turned musicians, this aggregation got together sometime in 1973 jamming on obscure rhythm &amp; blues titles for fun and somehow it clicked. The name Duke &amp; the Drivers evolved out of one of their myriad parties where they played for friends and consumed a cocktail called an Orange Driver, grain alcohol vodka and some orange drink. When people asked the name of the band, it was up to the harmonica-playing saxophonist who doubled as comedian, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifixqugld6e\">Rhinestone Muddflaps<\/a> (birth name <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ANDO%7CHIXSON\">Ando Hixson<\/a>), to say &#8220;Duke&#8217;s not here.&#8221; When people asked where Duke was, they got the standard reply: &#8220;Out drinking the orange drivers,&#8221; and thus the name Duke &amp; the Drivers were born. Contemporaries of the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifrxqe5ldke\">J. Geils Band<\/a> with album jackets less ominous than the diesel driven&#8217; <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:acfrxqw5ldke\">Bachman-Turner Overdrive<\/a>, it was original bassist and owner of the Boston based Jelly Records, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifexqygldde\">Greg Morton<\/a>, who got them booked at the legendary Western Front outside of Central Square in Cambridge, MA. They went into the club with only 25 minutes of music in their repertoire, extending the tunes into an early version of what would become jam band style, taking an intermission, and going back to perform the same elongated set again. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifixqugld6e\">Rhinestone Muddflaps<\/a> would wear lights on his head, rubber gloves on his hands, and trampoline skates, honing an identity as the comic out front. Other bandmembers included drummer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jbfpxqq5ldhe\">Dr. Feelgood Funk<\/a> (birth name <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifwxqegldhe\">Danny McGrath<\/a> ), <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:dbftxq95ldje\">Sam Deluxe<\/a> on electric and acoustic guitar and vocals, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifixqyjld0e\">Joe Lilly<\/a> (of Lilly Pharmaceuticals ), electric and slide guitarist\/vocalist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hvfoxql5ldae\">Cadillac Jack<\/a> (born <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:HENRY%7CEATON\">Henry Eaton<\/a>, later to be a newscaster and district attorney), and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MISSISSIPPI%7CTOM%7CSWIFT\">Mississippi Tom Swift<\/a> on keyboards and ARP strings.With success on the club level, the goal shifted to obtaining a major-label recording contract. By December 1973, they were opening for <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifrxqr5ldje\">Lou Reed<\/a>&#8216;s legendary &#8220;Rock &#8216;n&#8217; Roll Animal&#8221; band at Boston&#8217;s Orpheum Theater and generating a buzz. They performed dates with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CLESLIE%7CWEST%7CBAND\">the Leslie West Band<\/a> as well as <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifqxqw5ldde\">Blue \u00d6yster Cult<\/a> with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gifwxqr5ldte\">ZZ Top<\/a> opening for Duke &amp; the Drivers on the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifqxqw5ldde\">Blue \u00d6yster Cult<\/a> show. Personal manager <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:avfoxqw5ld6e\">Peter Casperson<\/a> of Boston&#8217;s Castle Music Productions signed them to ABC Records in 1973, with their debut album produced and engineered by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kjfuxqr5ldhe\">Eddie Kramer<\/a> appearing in 1974. That album, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:wzfyxqt5ld6e\">Cruisin&#8217;<\/a>, featured a minor hit song, &#8220;What You Got,&#8221; and the band started to make some real noise. Prior to the recording, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifexqygldde\">Greg Morton<\/a> was replaced by bassist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hvfixq85ldte\">Koko Dee<\/a>, the first of many personnel changes. A second album was recorded, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:3zfuxqt5ld6e\">Rollin&#8217; On<\/a>, with percussionist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jbfpxqq5ldhe\">Dr. Feelgood Funk<\/a> being replaced by the drummer from the band <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ORPHAN\">Orphan<\/a>, the late <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jvfqxqe5ldke\">Bobby Chouinard<\/a> (dubbed <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kcfrxqy5ld0e\">Bobby Blue Sky<\/a> for his role with Duke), who would go on to work with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifpxqr5ldae\">Billy Squier<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifyxqw5ldte\">Alice Cooper<\/a>, and many others. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:3zfuxqt5ld6e\">Rollin&#8217; On<\/a> failed to generate another radio hit and the band started feeling the pressure. Shortly after the LP&#8217;s release in September 1976, the group broke up. With bookings to fulfill through 1977, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hpfyxq8gldte\">Tom Swift<\/a> contacted drummer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MARK%7CHIGHLANDER\">Mark Highlander<\/a>, who had opened for Duke &amp; the Drivers with his group <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CCONNECTION\">the Connection<\/a> in 1975, both artists being managed at one point or another by the man who orchestrated <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxqw5ldae\">Aerosmith<\/a>&#8216;s comeback, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:TIM%7CCOLLINS\">Tim Collins<\/a>. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ANDO%7CHIXSON\">Ando Hixson<\/a> left, as did <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hvfixq85ldte\">Koko Dee<\/a> with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifexqygldde\">Greg Morton<\/a> coming back to play bass. Vocalist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifixqyjld0e\">Joe Lilly<\/a> took a leave of absence and was replaced by his brother <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:ajfqxqu5ldae\">George Lilly<\/a> and a reconstituted band holed up at the legendary Cambridge Music Complex practicing for three to four weeks until their debut at three sold-out shows over the 1977 July 4th weekend at The Frolics Ballroom in Salisbury Beach, MA. In August 1977, they recorded a 45 RPM &#8220;Looking for a Fox&#8221; b\/w &#8220;Wonderful Love&#8221; at Northern Studios in Maynard, MA. Their summertime tour took them to Cleveland&#8217;s Agora Ballroom, a concert broadcast live on WMMS. They opened for <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hifwxqr5ldae\">Starz<\/a> at the Tomorrow Theater in Youngstown and performed on bills with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifyxqw5ldte\">Elvis Costello<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifixqr5ldse\">Pat Travers<\/a>, and others. Worcester\/Boston radio station WAAF broadcast the group live from Northern Sound on the day <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jifuxqr5ldhe\">Elvis Presley<\/a> died, August 16, 1977, with approximately 1,000 people jammed into the studio atop a Woolworths five-and-dime. Despite the success of the live broadcast, the popularity began to wane and the group filled out its contractual obligations, ending it all at a high school gig in April 1978. There were reunion shows in the &#8217;90s and in 1993, a &#8220;20th Anniversary&#8221; commemorative live CD of a performance on a radio show from the &#8217;70s (Rock Around the World) was released featuring <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jvfqxqe5ldke\">Bobby Chouinard<\/a> on drums. The band still gets attention, the 45 of &#8220;Looking for a Fox&#8221; used on a national televised broadcast of the New England Patriots football team in 2001. Drummer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MARK%7CHIGHLANDER\">Mark Highlander<\/a> is still active, teaming up with bassist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3jfpxqe5ld0e\">Danny Klein<\/a> of the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifrxqe5ldke\">J. Geils Band<\/a> for their blues group <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:STONE%7CCRAZY\">Stone Crazy<\/a>.<\/p>\n<p>CRUISIN&#8217; 1975<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:wzfyxqt5ld6e\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:wzfyxqt5ld6e<\/a><\/p>\n<p>Reviewby Joe Viglione<br \/>\nThe only photo of the band has six faces peering out of a rearview mirror on the back cover. Duke &amp; the Drivers look like <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CJ.%7CGEILS%7CBAND\">the J. Geils Band<\/a>, and listening to &#8220;Ain&#8217;t Nothing a Young Girl Can Do for Me&#8221; with blindfold on will make one swear it is indeed <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CJ.%7CGEILS%7CBAND\">the J. Geils Band<\/a>. That was part of the charm of this &#8217;70s blues-rock act out of Boston. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:EDDIE%7CKRAMER\">Eddie Kramer<\/a>&#8216;s production, especially on the big regional hit &#8220;What You Got,&#8221; is immense. No, it didn&#8217;t land in the national Top 40, but it should have. The arrangement sounds like <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:GRAND%7CFUNK%7CRAILROAD\">Grand Funk Railroad<\/a>&#8216;s Top Three hit from December 1974; <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:J.ELLISON\">J.Ellison<\/a>&#8216;s &#8220;Some Kind of Wonderful&#8221; and the thunderous drums from <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:RHINESTONE%7CMUDFLAPPS\">Rhinestone Mudflapps<\/a> (aka, the late, great <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BOBBY%7CCHOUINARD\">Bobby Chouinard<\/a>) are explosive dance stuff. The song should have catapulted them to fame and &#8220;Lovebones&#8221; from side two would have been a nice follow-up. The demo to &#8220;Lovebones&#8221; had a magic of its own and would be a nice bonus track addition to a CD re-release of this first effort. A blues-rock band covering <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:GAMBLE%7C&amp;%7CHUFF\">Gamble &amp; Huff<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:OTIS%7CREDDING\">Otis Redding<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DON%7CCOVAY\">Don Covay<\/a>, and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:IKE%7CTURNER\">Ike Turner<\/a> in a world that was home to <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CCARS\">the Cars<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:AEROSMITH\">Aerosmith<\/a> was risky stuff indeed, more so because this band walked on sacred ground with tongue planted firmly in cheek. Regardless, &#8220;What You Got&#8221; is a classic, and the reformed <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:J.GEILS%7CBAND\">J.Geils Band<\/a> would do well to consider adding it to their repertoire. The urban legend is that management for the band hired a flatbed truck parked outside of the big Top 40 radio station in Boston asking why they weren&#8217;t playing &#8220;What You Got.&#8221; It got added into rotation and brightened up the airwaves for awhile. Cruisin&#8217; has some fine moments recorded with great care by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:EDDIE%7CKRAMER\">Eddie Kramer<\/a>, and is worth searching for.<\/p>\n<p>ROLLIN&#8217; ON 1975<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:3zfuxqt5ld6e\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:3zfuxqt5ld6e<\/a><\/p>\n<p>Review<br \/>\nby Joe Viglione<br \/>\nDuke &amp; the Drivers were contemporaries of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifrxqe5ldke\">the J. Geils Band<\/a> and opened for them on many a bill. Where <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kjfuxqr5ldhe\">Eddie Kramer<\/a> produced their first LP, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:39fqxqugld0e\">Deke Richards<\/a> came aboard to oversee this second and final album for ABC Records. In the early &#8217;90s, the band would release a CD of a live performance thanks to original bassist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifexqygldde\">Greg Morton<\/a>, owner of Jelly Records. Their penchant for reworking old blues tunes and putting the &#8220;Duke&#8221; stamp on them is evidenced here. Two titles from <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:dxfrxqugldke\">Eddie Bocage<\/a>, who co-wrote &#8220;Keep a Knockin'&#8221; with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jifyxqe5ldde\">Little Richard<\/a>, appear on this disc, &#8220;Check Your Bucket&#8221; and &#8220;Check Yourself.&#8221; &#8220;Bucket&#8221; was a Boston-area favorite when the band opened for <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:dzfexqygldje\">Leslie West<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifrxqr5ldje\">Lou Reed<\/a> in the &#8217;70s. The title track, &#8220;Rollin&#8217; On,&#8221; written by guitarist\/vocalist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:dbftxq95ldje\">Sam Deluxe<\/a> &#8212; whose real name is <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifixqyjld0e\">Joe Lilly<\/a> of Lilly Pharmaceuticals &#8212; sounds like an extended sequel to the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:acfrxqw5ldke\">Bachman Turner Overdrive<\/a> hit from the year before, &#8220;Roll on Down the Highway.&#8221; Duke &amp; the Drivers were very clever in being blatant about their inspirations, but camouflaging all the musical stuff that turned them on. The result is hardly original, but that is their charm. The only other original on the album is <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hvfoxql5ldae\">Cadillac Jack<\/a>&#8216;s &#8220;Love on My Hands.&#8221; &#8220;Jack&#8221; is actually <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:HENRY%7CEATON\">Henry Eaton<\/a>, who became a newsman for Boston&#8217;s WLVI, TV 56, and in 2001, is an elected official, Assistant District Attorney or something. A far cry from rocking and rolling on Boston stages. The song is another Boston R&amp;B meets the Philly sound. It sounds cool decades after the fact, but when recorded it was totally annoying. Pre-rap, rockers were really against disco, and this song is some weird hybrid of the two. &#8220;Check Yourself&#8221; has <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:dbftxq95ldje\">Sam Deluxe<\/a> sounding so much like <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:difyxqr5ldfe\">Peter Wolf<\/a> one wonders if it is a tribute band with sax performing on this cut. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:D.%7CGREG\">D. Greg<\/a>&#8216;s &#8220;Let Me Be Your Handyman&#8221; reads like an inverted &#8220;Sunshine of Your Love&#8221; riff with sentiment heavily borrowed from <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JIMMY%7CJOHNSON%5C%27S\">Jimmy Johnson&#8217;s<\/a> 1960 hit &#8220;Handyman.&#8221; &#8220;I&#8217;ll Take Good Care of You,&#8221; written by producer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:39fqxqugld0e\">Deke Richards<\/a>, opens side two. It is very unlike Duke &amp; the Drivers, the sound of Philadelphia over a melody and keyboard fragrance which may have inspired <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jifqxqe5ldse\">Billy Joel<\/a>&#8216;s 1983 hit &#8220;Allentown.&#8221; The similarities are striking. Recorded at Northern Studio in Maynard, MA, and the Sound Factory in West Los Angeles, Rollin On fits nicely next to <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifrxqe5ldke\">the J. Geils Band<\/a>&#8216;s earthy R&amp;B-flavored rock.<br \/>\nTracks<\/p>\n<p>JAMES MONTGOMERY High Roller 1974<br \/>\n<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kifexqygldfe\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kifexqygldfe<\/a><\/p>\n<p><a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hzfwxqe5ldke\">James Montgomery Band<\/a><\/p>\n<p>Release Date 1974<br \/>\nRecording Date Jun 1974-Jul 1974<br \/>\nLabel Capricorn<\/p>\n<p>Review<br \/>\nby Joe Viglione<br \/>\nJames Montgomery&#8217;s 1974 release on Capricorn\/Warner Brothers has the harp playing vocalist in fine form. With <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3pfoxqygldhe\">Otis Spann<\/a> guitarist <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jifixqlgldhe\">Peter Malick<\/a>, the six-piece ensemble crafted a serious album of blues-pop with production by <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jbfpxqq5ld6e\">Tom Dowd<\/a> and the man who would hit with <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fiftxqw5ldse\">the Bee Gees<\/a> shortly after this, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gcfpxq95ldte\">Albhy Galuten<\/a>. Side two is more accessible. &#8220;Sing You a Love Song&#8221; is written and sung by drummer <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:w9fixqtgldhe\">Chuck Purro<\/a>, and that&#8217;s the interesting thing about <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wjfixqygld6e\">the James Montgomery Blues Band<\/a>: Four different musicians share the lead vocals, and only one of them is the star. Guitarist <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:acfpxqr5ldse\">Peter Bell<\/a> shares the lead with Montgomery on the <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kifrxqr5ldje\">Otis Redding<\/a> tune that ends the album, &#8220;Ten Page Letter.&#8221; This title, along with five others, was recorded in June of 1974 at Atlantic Recording Studios in New York, with <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jbfpxqq5ld6e\">Tom Dowd<\/a> assisting engineer <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:g9fyxqqgldfe\">Gene Paul<\/a>; &#8220;I Can&#8217;t Stop (No, No, No),&#8221; &#8220;Schoolin&#8217; Them Dice,&#8221; &#8220;Sing You a Love Song,&#8221; and &#8220;Try It&#8221; were recorded in July at Capricorn Recording Studios, Macon, Georgia. Another interesting thing is that the bluesier tunes were placed on side one and the poppier songs made it to the second, but both studios&#8217; sessions are pretty evenly represented on each side of the disc. Keyboardist <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gvfwxqw5ld6e\">David Case<\/a> sounds up on &#8220;Any Number Can Play,&#8221; and Montgomery does a terrific job with <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jzfyxqqgld0e\">Allen Toussaint<\/a>&#8216;s &#8220;Brickyard Blues.&#8221; During this interesting period of Boston rock &amp; roll, James Montgomery&#8217;s band escaped the &#8220;Bosstown Sound&#8221; tag by sticking to its roots. Too bluesy to be mistaken for <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifrxqe5ldke\">the J. Geils Band<\/a>, Montgomery is a well-loved personality in New England, and this record is a respectable outing by a very talented bunch<\/p>\n<p>OCEAN OF LOVE STORMIN&#8217; NORMAN &amp; SUZY 1978<br \/>\nThe follow up to their debut album on their own label, probably called FANTASY RAG,<\/p>\n<p><a href=\"http:\/\/2.bp.blogspot.com\/_XDwdAyUP_ts\/RpKfLVgQHVI\/AAAAAAAAABI\/dDgf-J0bbSM\/s1600-h\/stormin%27.jpg\"><img decoding=\"async\" id=\"BLOGGER_PHOTO_ID_5085301946354507090\" alt=\"\" src=\"http:\/\/2.bp.blogspot.com\/_XDwdAyUP_ts\/RpKfLVgQHVI\/AAAAAAAAABI\/dDgf-J0bbSM\/s320\/stormin%27.jpg\" border=\"0\" \/><\/a><\/p>\n<p><a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:f9fuxqyhldte\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:f9fuxqyhldte<\/a><\/p>\n<p>Reviewby Joe Viglione<br \/>\n&#8220;Wrongside Boogie&#8221; on the major-label debut by <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3jfixqujld6e\">Suzy Williams<\/a> and <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jxfuxqtgldde\">Norman Zamcheck<\/a>, aka Stormin&#8217; Norman &amp; Suzy, takes a cue from <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifwxqw5ldhe\">Bette Midler<\/a>&#8216;s first Top Ten hit, 1973&#8217;s &#8220;Boogie Woogie Bugle Boy, but doesn&#8217;t take the concept far enough. Former Gridley, CA, resident <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3jfixqujld6e\">Suzy Williams<\/a> emulates <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kifwxq95ldae\">Bessie Smith<\/a> on the vocals and, perhaps not so strangely, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:g9foxqugld0e\">Jack Richardson<\/a>&#8216;s production presents this music as a period piece as well. That&#8217;s a mistake. <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifqxqe5ld0e\">The Guess Who<\/a> mentor could have given some of the gloss he gave his Canadian band to this Boston-based outfit during a time when <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3jfixqujld6e\">Suzy<\/a>&#8216;s identifiable voice could have found its way onto pop radio. He oversees eight of the nine songs, with the title track supervised by <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0jfexqu5ldde\">Sandy Linzer<\/a> of <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:h9fuxqq5ldte\">Four Seasons<\/a>\/<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0pfixqe5ldfe\">the Toys<\/a> fame. That tune, &#8220;Ocean of Love,&#8221; borrows heavily from <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:giftxqw5ldhe\">Barbra Streisand<\/a>&#8216;s adult contemporary radio hit version of <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fiftxqr5ld6e\">Laura Nyro<\/a>&#8216;s &#8220;Time and Love&#8221; from earlier in the &#8217;70s. The direction this duo needed was the sound of a <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:giftxqw5ldhe\">Streisand<\/a> record like <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:wpfwxqt5ldae\">Stoney End<\/a>, not the melody. <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3jfixqujld6e\">Suzy<\/a> does her best &#8220;Second Hand Rose&#8221; throughout the disc, and she is a character but the presentation is limiting. A song like &#8220;Green&#8221; veers off into jazz territory when it needed a jolt of <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifoxqr5ld0e\">Spanky &amp; Our Gang<\/a>. The strongest number is the final one, &#8220;Stay Awake Awhile,&#8221; with a dreamy groove and sublime backing vocals. <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3jfixqujld6e\">Suzy<\/a> takes the song to a place beyond <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gifexqr5ldae\">Rod Stewart<\/a> and <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifqxqe5ldje\">the Faces<\/a>&#8216; &#8220;Flying,&#8221; and this sounds like the sequel to that classic. Ocean of Love is an admirable effort, but too much of an anachronism. With talents like <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0jfexqu5ldde\">Linzer<\/a> and <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:g9foxqugld0e\">Richardson<\/a> at the helm, it could have been so much more.<br \/>\nPJ COLT with Skunk Baxter<\/p>\n<p>Skunk Baxter played with so many people, Buzzy Linhart, Carly Simon, The Ultimate Spinach and many others. Check out his credits<\/p>\n<p>Jeff &#8220;Skunk&#8221; Baxter Credits<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:dcftxqr5ld6e%7ET4\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:dcftxqr5ld6e%7ET4<\/a><\/p>\n<p>PJ Colt 1976<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;token=&amp;sql=10:g9fqxqlhldhe\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;token=&amp;sql=10:g9fqxqlhldhe<\/a><\/p>\n<p>Reviewby Joe Viglione<br \/>\nThis self-titled album from singer P.J. Colt gets into the history books thanks to the participation of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:dcftxqr5ld6e\">Jeff Baxter<\/a>, who performed with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jifwxqr5ldae\">Steely Dan<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifqxqe5ldhe\">the Doobie Brothers<\/a>, and many others. Some reference guides list this album&#8217;s year of release as 1970, others as 1976. There is no copyright on the disc, making 1970 seem like the release date; it certainly looks and sounds like a project from the early &#8217;70s. There are two standout tracks, &#8220;Grave Down by the River&#8221; and &#8220;Growing Old,&#8221; although the record is pretty consistent and listenable all the way through. Colt originally released the song &#8220;Growing Old&#8221; on a single and an album by Boston band <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DIRTY%7CJOHN%5C%27S%7CHOT%7CDOG%7C\">Dirty John&#8217;s Hot Dog Stand<\/a> on Amsterdam Records in 1970. The track has a spacy opening, while Colt&#8217;s vocal sounds hauntingly like early <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MICHAEL%7CMCDONALD\">Michael McDonald<\/a>. &#8220;Growing Old&#8221; follows &#8220;Blues Train,&#8221; a competent cross between <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifrxqr5ldhe\">Wilson Pickett<\/a>&#8216;s &#8220;Mustang Sally&#8221; and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:giftxqr5ldde\">the Velvet Underground<\/a>&#8216;s &#8220;Train Comin&#8217; Round the Bend.&#8221; The musicianship shines throughout; guitarist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BAXTER\">Baxter<\/a> emerged a star after his involvement with &#8220;the Bosstown Sound&#8221; of producer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:w9foxqu5ldte\">Alan Lorber<\/a> on the third <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfoxql5ldhe\">Ultimate Spinach<\/a> album, which is a testament to talent winning out. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jcfoxq8gldhe\">Ray Paret<\/a> did the production here, listed in the smallest of type. He certainly did not get in the way of the band, musicians who cook on <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fpxq95ldje\">Bonnie Bramlett<\/a>&#8216;s &#8220;Someday,&#8221; &#8220;Black Jesus&#8221; &#8212; actually, on every track. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ED%7CCOSTA\">Ed Costa<\/a>&#8216;s keyboards and the plethora of backing vocalists are all tastefully combined in the straightforward production and mix. There&#8217;s a significant cover of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jifuxqygldhe\">Van Morrison<\/a>&#8216;s &#8220;Crazy Love,&#8221; a song suited to Colt&#8217;s vocal style, while the rendition of &#8220;Honky Tonk Women&#8221; &#8212; try though it may &#8212; does not achieve what it seeks: the drunken barroom <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifwxqr5ldke\">Leon Russell<\/a> atmosphere and attitude. Colt&#8217;s originals are listenable blues-rock, from the funky opening track &#8220;Once in the Morning&#8221; to the blues-drenched &#8220;I&#8217;m Tired Now.&#8221; Drummer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JIM%7CWILKINS\">Jim Wilkins<\/a>, pianist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:COSTA\">Costa<\/a>, and guitarist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BAXTER\">Baxter<\/a> collaborated to pen the tune &#8220;Leave Me Alone,&#8221; one of the album&#8217;s more rocking and commercial numbers.<\/p>\n<p>PIPER<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:3bfixq85ld6e\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:3bfixq85ld6e<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\"><a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifpxqr5ldae\">Billy Squier<\/a> wrote a great song when he was in <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CSIDEWINDERS\">the Sidewinders<\/a>, a song that didn&#8217;t make it to their <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3jfexqq5ldfe\">Lenny Kaye<\/a>-produced RCA album but is here in all its glory. &#8220;Telephone Relation&#8221; is an exquisite pop tune, overshadowed only by the even poppier &#8220;Who&#8217;s Your Boyfriend,&#8221; which should have been as big a hit as &#8220;The Stroke,&#8221; &#8220;In the Dark,&#8221; and &#8220;Everybody Wants You.&#8221; The great thing about Piper is that <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:SQUIER\">Squier<\/a> emerged with authority as a solid front man, guitarist, and singer\/songwriter. The elements that make this disc so good are what is wrong with solo efforts by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">the Cars<\/a>&#8216; <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kpfixqw5ldfe\">Elliot Easton<\/a> or <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ALICE%7CCOOPER\">Alice Cooper<\/a>&#8216;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gpfoxqy5ldfe\">Michael Bruce<\/a>. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:SQUIER\">Squier<\/a> took his former singer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:d9ftxqqgld6e\">Andy Paley<\/a>&#8216;s pretty-boy stance and re-evaluated the formula <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CSIDEWINDERS\">the Sidewinders<\/a> were toying with. Piper rocks a bit harder than <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CSIDEWINDERS\">the Sidewinders<\/a> and lighter than <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:SQUIER\">Squier<\/a>&#8216;s solo work. Pop suits <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:SQUIER\">Squier<\/a> better than the all-out assault of hard rock his later work is known for. <i>Piper<\/i> and the excellent follow-up <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:fnfixqugldte\"><i>Can&#8217;t Wait<\/i><\/a> are two essential albums by this very talented artist.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>CAN&#8217;T WAIT PIPER<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:fnfixqugldte\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:fnfixqugldte<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">The promise of the first Piper album&#8217;s classic track &#8220;Who&#8217;s Your Boyfriend&#8221; is realized with the title song from Piper&#8217;s second and last disc before <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifpxqr5ldae\">Billy Squier<\/a> found fame and fortune on his own, <i>Can&#8217;t Wait<\/i>. Co-written by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:SQUIER\">Squier<\/a> and Boston magazine contributor\/liner note essayist for <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldhe\">Frank Sinatra<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hnfpxq85ld0e\">James Isaacs<\/a>, everything is turned up a notch, starting with this sublime pop sensation, the song &#8220;Can&#8217;t Wait.&#8221; <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifpxqr5ldae\">Billy Squier<\/a> sounds more comfortable singing lead, and where his future producer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kjfuxqr5ldhe\">Eddie Kramer<\/a> mixed the first album, future <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ROLLING%7CSTONES\">Rolling Stones<\/a> engineer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0jfuxqw5ldfe\">Chris Kimsey<\/a> does the boards and co-production on this disc. &#8220;Anyday&#8221; and &#8220;Blues for the Common Man&#8221; certainly have that early to mid-&#8217;70s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ROLLING%7CSTONES\">Rolling Stones<\/a> feel, as does the beautiful &#8220;Now Aint the Time.&#8221; Hindsight is always 20\/20, but Piper had the potential to breakthrough as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:HEART\">Heart<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifuxqw5ldfe\">Cheap Trick<\/a>, and other star acts of the time garnered mainstream acceptance and longevity. Who&#8217;s to say that <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:SQUIER\">Squier<\/a>&#8216;s stardom as an arena rocker would be matched had he evolved with these musicians. It is tough to compete with drummer extraordinaire, the late <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jvfqxqe5ldke\">Bobby Chouinard<\/a>, and guitarist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:h9fyxq95ldse\">Jeff Golub<\/a>, who worked with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:SQUIER\">Squier<\/a> shortly after this, but songs like &#8220;Drop By and Stay&#8221; have an appeal that works for both the metal heads and housewives content to hear something poppy on the radio. &#8220;Drop By and Stay&#8221; was co-written by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:SQUIER\">Squier<\/a> and former Elektra A&amp;R rep, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MAXANNE%7CSARTORI\">Maxanne Sartori<\/a>. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:SARTORI\">Sartori<\/a> was instrumental in the success of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxqw5ldae\">Aerosmith<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">the Cars<\/a>, and &#8220;Drop By And Stay&#8221; is one of the albums highlights. &#8220;See Me Through&#8221; may not be as intense as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CSTROKE\">the Stroke<\/a>, but that is its charm. The band really sparkles and shines on this collection. &#8220;Little Miss Intent&#8221; is a precursor to &#8220;Everybody Wants You,&#8221; <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:SQUIER\">Squier<\/a>&#8216;s 1982 Top 35 hit. Where <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHN%7CCOUGAR\">John Cougar<\/a> performing a cover of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifqxqe5ldhe\">the Doors<\/a> &#8220;Crystal Ship&#8221; on MCA prior to his success is an embarrassment, this early material by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifpxqr5ldae\">Billy Squier<\/a> is not only something to be proud of, it stands the test of time and should be recognized as important music, not just the early work by an &#8217;80s star.<br \/>\nORCHESTRA LUNA now on CD from the Market Square Records label in Europe<br \/>\n<a href=\"http:\/\/www.marketsquarerecords.co.uk\/news28.htm\">http:\/\/www.marketsquarerecords.co.uk\/news28.htm<\/a>Release Date: 07\/02\/2007The <a href=\"http:\/\/www.fye.com\/viewfdsearch.htm?similarType=find&amp;query=Orchestra%20Luna\">Orchestra Luna<\/a> album began the musical legacy of <a href=\"http:\/\/www.fye.com\/viewfdsearch.htm?similarType=find&amp;query=Rick%20Berlin\">Rick Berlin<\/a>, the composer\/singer who goes by his birth name, <a href=\"http:\/\/www.fye.com\/viewfdsearch.htm?similarType=find&amp;query=Richard%20Kinscherf\">Richard Kinscherf<\/a>, on this Epic Records debut in 1974. The seven-piece ensemble was truly groundbreaking in a world that doesn&#8217;t take kindly to innovation. Where <a href=\"http:\/\/www.fye.com\/viewamgrefdata.htm?aritstId=76088\">the Who<\/a> were content to write rock operas, <a href=\"http:\/\/www.fye.com\/viewfdsearch.htm?similarType=find&amp;query=Kinscherf\">Kinscherf<\/a> and his band put opera to rock. This adventurous mix of songs, written as if they were Broadway show tunes backed by a rock band with jazz and classical influences, might sound like a bit much, and 11 minutes and 53 seconds of &#8220;Doris Dreams&#8221; never had a chance of Top 40 success, or an edit that could get it there, but that idiosyncrasy is part of what makes this album so daring, and special. Co-produced by <a href=\"http:\/\/www.fye.com\/viewamgrefdata.htm?aritstId=94719\">Rupert Holmes<\/a>, the man who gave us &#8220;Escape (The Pina Colada Song,&#8221; a monster smash in 1979, and the cannibal anthem &#8220;Timothy&#8221; in 1971, the choice might not seem appropriate on the surface. But <a href=\"http:\/\/www.fye.com\/viewamgrefdata.htm?aritstId=31888\">Holmes<\/a>&#8216; unheralded work for <a href=\"http:\/\/www.fye.com\/viewamgrefdata.htm?aritstId=112652\">Barbara Streisand<\/a> and the Broadway musical <a href=\"http:\/\/www.fye.com\/viewfdsearch.htm?similarType=find&amp;query=Drood\">Drood<\/a> actually makes him a perfect choice to oversee this project. &#8220;Miss Pamela&#8221; has wonderful <a href=\"http:\/\/www.fye.com\/viewfdsearch.htm?similarType=find&amp;query=Randy%20Roos\">Randy Roos<\/a> guitars blending with <a href=\"http:\/\/www.fye.com\/viewfdsearch.htm?similarType=find&amp;query=Rick%20Kinscherf\">Rick Kinscherf<\/a>&#8216;s pretty keyboards, keyboards that could have inspired <a href=\"http:\/\/www.fye.com\/viewamgrefdata.htm?aritstId=35694\">Billy Joel<\/a>, sounding very much like his 1978 hit &#8220;Just The Way You Are.&#8221; It&#8217;s when <a href=\"http:\/\/www.fye.com\/viewfdsearch.htm?similarType=find&amp;query=Kinscherf\">Kinscherf<\/a>&#8216;s expressive vocal kicks in that all comparisons to traditional pop go out the window. The cover of the <a href=\"http:\/\/www.fye.com\/viewamgrefdata.htm?aritstId=392\">Adler<\/a>\/<a href=\"http:\/\/www.fye.com\/viewamgrefdata.htm?aritstId=61607\">Ross<\/a> classic (you gotta have) &#8220;Heart&#8221; is a standout here, as it was in their live show. Seven of the nine tracks are penned by <a href=\"http:\/\/www.fye.com\/viewfdsearch.htm?similarType=find&amp;query=Rick%20Kinscherf\">Rick Kinscherf<\/a>, and themes that resound in &#8220;Fay Wray&#8221; (the heroine from the epic <a href=\"http:\/\/www.fye.com\/viewfdsearch.htm?similarType=find&amp;query=King%20Kong\">King Kong<\/a>) travel throughout the artist&#8217;s career.TO READ MORE OF THE AMG\/FYE REVIEW:<a href=\"http:\/\/www.fye.com\/Orchestra-Luna-Front-Page_stcVVproductId18548363VVcatId455366VVviewprod.htm\">http:\/\/www.fye.com\/Orchestra-Luna-Front-Page_stcVVproductId18548363VVcatId455366VVviewprod.htm<\/a>THE COUNT<\/p>\n<p><a href=\"http:\/\/www.btinternet.com\/%7Eprocess\/archive\/links.htm\">http:\/\/www.btinternet.com\/~process\/archive\/links.htm<\/a><\/p>\n<p><a href=\"http:\/\/community.webtv.net\/TheMadFaxer\/rockjournalistjoe\" target=\"_blank\">Joe Viglione<\/a>, Boston superstar and otherwise known as The Count, produced one of my all-time favourite albums <i>I&#8217;m a Star<\/i> which includes an ace version of the Velvets&#8217; <i>Foggy Notion<\/i>, and the stunning <i>&#8216;We&#8217;re Gonna Run the Night Away&#8217;<\/i>. Still big on Lou Reed too, judging by his website. For more music stuff go to <a href=\"http:\/\/www.varulven.com\/\" target=\"_blank\">Varulven<\/a>.<\/p>\n<p>&nbsp;<\/p>\n<p>The night I met Willie Loco:<\/p>\n<p>at the Plymouth Rock Party &#8211; which I audiotaped &#8211; Willie playing &#8220;Mass. Ave&#8221; with THE MEZZ<\/p>\n<p><a href=\"http:\/\/www.rockinboston.com\/themezz.htm\">http:\/\/www.rockinboston.com\/themezz.htm<\/a><\/p>\n<p>Joe Harvard&#8217;s site says:<br \/>\nIt puts Asa Records right there with Garage Records and Joe Viglione&#8217;s Varulven one of the first local labels. Asa Brebner also went on to be member of Robin Lane and the Chartbusters, start a band with ex-Dire Straits guitarist Dave Knopfler, and form\/front a couple of excellent bands: the Grey Boys and Idle Hands.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<div>\n<div>Posted by <a title=\"author profile\" href=\"https:\/\/www.blogger.com\/profile\/15345741483306237598\" rel=\"author\" data-gapiscan=\"true\" data-onload=\"true\" data-gapiattached=\"true\"> History of New England Rock <\/a> at <a title=\"permanent link\" href=\"http:\/\/bostontheseventies.blogspot.com\/2007\/07\/fat-1970-reviewby-joe-viglione.html\" rel=\"bookmark\"><abbr itemprop=\"datePublished\" title=\"2007-07-09T11:37:00-07:00\">11:37 AM<\/abbr><\/a> <a href=\"https:\/\/www.blogger.com\/comment.g?blogID=3399548500098676237&amp;postID=9077823540693157277\"> No comments: <\/a><\/p>\n<div><\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"blog-pager\"><a href=\"http:\/\/bostontheseventies.blogspot.com\/\">Home<\/a><\/div>\n<div>\n<div>Subscribe to: <a href=\"http:\/\/bostontheseventies.blogspot.com\/feeds\/posts\/default\" target=\"_blank\" type=\"application\/atom+xml\">Posts (Atom)<\/a><\/div>\n<div><\/div>\n<div><strong>CHAPTER 7<\/strong><\/div>\n<div>_______________________________________<\/div>\n<div>7)Andy Pratt<br \/>\nTons of Andy Pratt reviews on AMG will show up here soon.Temporary links:<br \/>\n<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;searchlink=ANDY%7CPRATT&amp;sql=11:h9ftxq85ldte%7ET2\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;searchlink=ANDY|PRATT&amp;sql=11:h9ftxq85ldte~T2<br \/>\n<\/a><a href=\"http:\/\/www.andypratt.com\/\"><br \/>\nhttp:\/\/www.andypratt.com<\/a>When J Geils &amp; Andy Pratt played together<a href=\"http:\/\/maxwelledison.blogspot.com\/2004\/04\/andy-pratt-j.html\"><br \/>\nhttp:\/\/maxwelledison.blogspot.com\/2004\/04\/andy-pratt-j.html<\/a><\/div>\n<div>\n<h1>Chapter EIGHT Willie &#8220;Loco&#8221; Alexander<\/h1>\n<p>8)Willie &#8220;Loco&#8221; Alexander<br \/>\n<a href=\"http:\/\/willielocoalexander.blogspot.com\/\">http:\/\/willielocoalexander.blogspot.com\/<\/a><\/p>\n<div id=\"header-wrapper\">\n<div id=\"header\">\n<div id=\"Header1\" data-version=\"1\">\n<div id=\"header-inner\">\n<div>\n<h1>Willie Loco Alexander<\/h1>\n<\/div>\n<div>\n<p>To click on any chapter go to this address: http:\/\/rocktableofcontents.blogspot.com\/ A Full Chapter on Willie &#8220;Loco&#8221; Alexander<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"crosscol-wrapper\"><\/div>\n<div>\n<div>\n<h2>Monday, July 9, 2007<\/h2>\n<div>\n<div>\n<div itemprop=\"blogPost\" itemscope=\"itemscope\" itemtype=\"http:\/\/schema.org\/BlogPosting\"><a name=\"8656538492555910180\"><\/a><\/p>\n<h3 itemprop=\"name\"><a href=\"http:\/\/willielocoalexander.blogspot.com\/2007\/07\/willie-loco-alexander.html\">Willie &#8220;Loco&#8221; Alexander album reviews<\/a><\/h3>\n<div><\/div>\n<div id=\"post-body-8656538492555910180\" itemprop=\"description articleBody\">Willie &#8220;Loco&#8221; Alexander deserves a full book or two for himself, so the least we can do is give him an entire chapter. Remember, to click on any chapter go to this address:<br \/>\n<a href=\"http:\/\/rocktableofcontents.blogspot.com\/\">http:\/\/rocktableofcontents.blogspot.com\/<\/a>A similar page can be found here:<br \/>\n<a href=\"http:\/\/williealexander.blogspot.com\/\">http:\/\/williealexander.blogspot.com\/<\/a><br \/>\n<a href=\"http:\/\/bostonrr.blogspot.com\/\">http:\/\/bostonrr.blogspot.com\/<\/a>2nd MCA album Meanwhile&#8230;Back In The States<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kpfyxqu5ldfe\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kpfyxqu5ldfe<\/a>Reviewby Joe Viglione<br \/>\nThis album should have been listed in the VH1 book Casualties of Rock, the phenomenal sound and fury of Willie Alexander &amp; the Boom Boom Band condensed and distilled into a homogenized and compressed postcard that hardly represented what the band was all about. In the first place, crediting bassist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:SEVERIN%7CGROSSMAN\">Severin Grossman<\/a>, guitarist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BILLY%7CLOOSIGIAN\">Billy Loosigian<\/a>, and drummer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DAVID%7CMCLEAN\">David McLean<\/a> with co-authoring &#8220;Mass. Ave.,&#8221; the solo underground hit single that relaunched Willie Alexander&#8217;s career, is downright blasphemy. Yes, the Boom Boom Band was a rock &amp; roll treasure on the level of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CROLLING%7CSTONES\">the Rolling Stones<\/a>, a powerful, self-contained unit that could shake the rafters with their distinct and unbelievable sound, but they weren&#8217;t around when Alexander stepped out of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CVELVET%7CUNDERGROUN\">the Velvet Underground<\/a> with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CLOST\">the Lost<\/a> bassist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WALTER%7CPOWERS\">Walter Powers<\/a> and recorded &#8220;&#8216;Cause I&#8217;m Taking You to Bed&#8221; at the Orson Welles Recording Studio (a studio under the famous theater in Harvard Square, Cambridge). That vintage recording completely blows away the remake, slyly entitled &#8220;For Old Time&#8217;s Sake&#8221; to get by the MCA censors. You read that right, &#8220;Rhythm Asshole Baby&#8221; became &#8220;R.A. Baby&#8221; for the almighty gods at the record label, while &#8220;Gourmet Baby,&#8221; a song about cunnilingus, was transformed into &#8220;Pass the Tabasco&#8221; &#8212; and you can only imagine the frustration for an artist of integrity like Alexander, who was told to sing &#8220;I want to kiss you but you give me the hives&#8221; (the original lyrics were &#8220;I want to eat you but you give me the hives&#8221;). Not only were the lyrics censored, the sound was hollowed out, and producer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:CRAIG%7CLEON\">Craig Leon<\/a> got the band to play by the numbers. Here is the best example of genius being stripped and tortured. The bandmates seemingly went along with this fiasco, implying that Alexander was too &#8220;loco&#8221; to be given to the public in his raw form. Well, guess what, boys? You got all your fame from <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WILLIE%7CLOCO%7CALEXAND\">Willie &#8220;Loco&#8221; Alexander<\/a> being just that. Imagine telling <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MICK%7CJAGGER\">Mick Jagger<\/a> to sit still and clean up his lyrics? Alexander and the boys imploded, walking away from a third MCA release, and both factions cut demos with producer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:LEON\">Leon<\/a> on their own &#8212; Alexander recording four eerie and brilliant tracks that have never seen the light of day, but which head him in the direction of what he would put out on RCA in Europe for <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:SOLO%7CLOCO\">Solo Loco<\/a>, vindication that he could get signed without the band that he rocked Boston with. The Boom Boom Band cut three sides with the late <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MATTHEW%7CMCKENZIE\">Matthew McKenzie<\/a> of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:REDDY%7CTEDDY\">Reddy Teddy<\/a> with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:LEON\">Leon<\/a>, but the tapes stayed on the shelf. What did find its way out of this maze was a blistering version of their live standard, &#8220;Dirty Eddie.&#8221; Frustrated by the restrictions of MCA, the band tore into that filthy song about golden showers and Alexander released it independently so the world could see what the group was really all about. The flip side of the 45 was an even dirtier, if you can imagine that: &#8220;She Wanted Me&#8221; (aka &#8220;Nazi Nola,&#8221; for scenester Nola Rezzo) is a song about anal intercourse. Alexander took <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CVELVET%7CUNDERGROUN\">the Velvet Underground<\/a> one step further &#8212; that band he was in was named after an S&amp;M book, but Alexander&#8217;s songs were usually about his own sexual escapades and depravity, real underground stuff that you won&#8217;t find on Meanwhile&#8230;Back in the States. The tragedy of it all is that his music was commercially viable, chock-full of hooks and solid riffs, but not transferred to vinyl the way it should have been. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:STEPHAN%7CLOVELACE\">Stephan Lovelace<\/a>&#8216;s earlier production of &#8220;You Looked So Pretty When&#8221; was <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PHIL%7CSPECTOR\">Phil Spector<\/a> meets <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JIMMY%7CMILLER\">Jimmy Miller<\/a>, classic <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:STONES\">Stones<\/a> by way of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CRONETTES\">the Ronettes<\/a>. Here <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:LEON\">Leon<\/a> plays Dr. Frankenstein and does a <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:RAY%7CCONNIFF\">Ray Conniff<\/a> version of a hard rock classic. Now if that isn&#8217;t enough to make the fans faint and the band implode, well, &#8220;Hitchhiking&#8221; and &#8220;Mass. Ave.,&#8221; two songs that needed no censorship, still fail to make the grade, giving Alexander the good sense to go hitchhiking on Mass Ave. rather than put up with any more of this. The two MCA releases were issued in Britain under the title <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:PASS%7CTHE%7CTABASCO\">Pass the Tabasco<\/a>, and despite this frightening essay on record industry misconduct, are worth picking up to get a glimpse of a couple of rock &amp; roll albums that could have redefined &#8217;80s rock and the so-called new wave.==================================================================== Willie Loco&#8217;s Boom Boom Band back up Sal Maida&#8217;s wife:Lisa Burns<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;uid=CASS70310091935&amp;sql=Arm6atr3lkl7x\" target=\"_blank\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;uid=CASS70310091935&amp;sql=Arm6atr3lkl7x<\/a>(Maida played in Roxy Music, Milk &#8216;n Cookies, Velveteen)Reviewby Joe Viglione<br \/>\nThe problem with Lisa Burns&#8217; solo album on MCA is the same trouble that plagued her backing band here on its two albums on the same label: the guy who got them into the studio, producer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfwxqw5ld6e\">Craig Leon<\/a>. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfwxqw5ld6e\">Leon<\/a> is a talented guy, and his demos for <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WILLIE%7CALEXANDER%7C&amp;%7CTH\">Willie Alexander &amp; the Boom Boom Band<\/a>, along with his demos for <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:09ftxqy5ld6e\">DMZ<\/a>, another Boston band, were superb. But given a budget and the big room of Suntreader Studio in Sharon, VT, and this album, with its neo-<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wpfoxqt5ldte\">Phil Spector<\/a> sound, just falls apart. What a shame. On paper, it&#8217;s a great idea. The talent is here, somewhere in the grooves; it just is not as cohesive as <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfwxqw5ld6e\">Leon<\/a>&#8216;s own hit, the remake of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:39fyxqwhldse\">Spirit in the Sky<\/a> under the guise of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:g9fyxqy5ld6e\">Doctor &amp; the Medics<\/a>. &#8220;Slow Burn&#8221; would be great girl group pop except that <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wifuxqegld0e\">David McLean<\/a>&#8216;s drums are too far up in the mix, the backing vocals are too far down, and the pretty frills just don&#8217;t have the ooomph that <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wpfoxqt5ldte\">Spector<\/a> and his clones put into their radio-friendly productions. &#8220;In the Streets&#8221; is <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wnftxq95ldse\">Annie Golden<\/a> of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3pfpxq95ldae\">the Shirts<\/a> meets <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gpfyxqegld6e\">the Shangri-Las<\/a>, with really great material and a performance that gets lost. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfwxqw5ld6e\">Leon<\/a> failed to properly record <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifixq8kld6e\">Willie Alexander<\/a>&#8216;s &#8220;You Looked So Pretty When,&#8221; originally put to independent plastic by the late producer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kjfexq85ldse\">Stephen Lovelace<\/a>. That tune, cut around the same time as these songs on the second <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BOOM%7CBOOM\">Boom Boom<\/a> album on MCA, probably during the same session, would have been perfect for Burns&#8217; more than adequate vocals. But <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfwxqw5ld6e\">Leon<\/a>&#8216;s underproduction does no justice to any of this pop; where <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kjfexq85ldse\">Lovelace<\/a> successfully merged <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wpfoxqt5ldte\">Spector<\/a>&#8216;s sentiment with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kifoxqr5ldke\">Sex Pistols<\/a>-style rock &amp; roll, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfwxqw5ld6e\">Leon<\/a> strips it all down. Oh, there&#8217;s the &#8220;Be My Baby&#8221; drumbeat to open the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jvfixq85ldke\">DeShannon<\/a> classic &#8220;When You Walk in the Room,&#8221; and three <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifqxqqgldke\">Moon Martin<\/a> covers, including &#8220;Love Gone Bad&#8221; (with its melody almost borrowed from <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:djfpxqrgldte\">Tommy James<\/a>&#8216; &#8220;Tighter Tighter&#8221;), but hitting it out of the park is another issue. It is <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CBOOM%7CBOOMS\">the Boom Booms<\/a> backing up Burns here, with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:a9fwxq8hldke\">Billy Loosigian<\/a> on guitar, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hnfixqq5ldae\">Severin Grossman<\/a> on bass, and the aforementioned <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wifuxqegld0e\">David McLean<\/a> on drums. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifixq8kld6e\">Willie Alexander<\/a>, the guy whose talent brought this crew together, is nowhere to be found on this record (he&#8217;s also missing from <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:giftxqr5ldde\">the Velvet Underground<\/a>&#8216;s <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:3cfyxql5ldte\">Squeeze<\/a> album on Polygram, sad to say). It&#8217;s been said that the band, and perhaps the producer, felt <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifixq8kld6e\">Alexander<\/a> was too &#8220;far out&#8221; to be commercial. It is <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifixq8kld6e\">Alexander<\/a>&#8216;s eccentricities that garnered the attention in the first place; his compositions and incredible backing vocal work, along with his passion for <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0pfyxq95ldse\">Ronnie Spector<\/a>&#8216;s hits, could have contributed here. &#8220;Some Sing, Some Dance,&#8221; a tune later recut by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:RAY%7CPAUL%7C&amp;%7CEMMIT%7CRHOD\">Ray Paul &amp; Emmit Rhodes<\/a>, misses the mark, and so does the exquisite &#8220;Victim of Romance,&#8221; another <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifqxqqgldke\">Moon Martin<\/a> tune that just sounds like the recording was rushed. The opening cover of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kiftxqw5ldde\">the Box Tops<\/a>&#8216; hit &#8220;Soul Deep&#8221; is an excellent choice, but sounds like it is lost in a vacuum. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WILLIE%7CALEXANDER%7C&amp;%7CTH\">Willie Alexander &amp; the Boom Boom Band<\/a> had a three-album deal with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfwxqw5ld6e\">Leon<\/a> and MCA; infighting dissolved the group, and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfwxqw5ld6e\">Leon<\/a> went on to produce demos for the band without <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifixq8kld6e\">Alexander<\/a>, and demos for <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifixq8kld6e\">Alexander<\/a> without the band. The tragedy of the Lisa Burns album is that, had everyone been on the same page as a team, with Burns opening for <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifixq8kld6e\">Alexander<\/a> and utilizing the same backing band, &#8217;70s and &#8217;80s rock could have been redefined. These are large talents who got lost in the mix, and the 20\/20 vision of hindsight sheds light on the failure of this recording to bring these artists to the public. A real lesson in musical waste. &#8220;Tell Tale Heart,&#8221; another co-write by the singer, should be done the right way by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0pfyxq95ldse\">Ronnie Spector<\/a>; it would be vindication for Burns and for the forgotten soldier responsible for these musicians to be able to record in the first place, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifixq8kld6e\">William Spence Alexander<\/a>. Good voice, great songs, wonderful musicianship, weak record. You figure it out.<\/p>\n<hr \/>\n<p>Solo Loco 1980<\/p>\n<p>Interesting thing is that I was interviewed for Billboard Magazine by the late Roman Kozak the same day the New Rose\/RCA disc arrived in my mailbox from France. These were &#8220;heady times&#8221; indeed at the dawn of the New Wave. If I could only go back now, twenty-seven years later, with the knowledge I have, so much more could have been accomplished. Hindsight being 20\/20&#8230;<\/p>\n<p><a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:w9fixqwhld6e\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:w9fixqwhld6e<\/a><\/p>\n<p>Reviewby Joe Viglione<br \/>\nIt opens with a mournful wail that is the a cappella version of &#8220;Tennessee Waltz,&#8221; the number one <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PATTI%7CPAGE\">Patti Page<\/a> 1950 hit that <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:SAM%7CCOOKE\">Sam Cooke<\/a> reworked in 1964. Both artists never imagined this rendition, the naked voice defiant after his band and MCA deal collapsed. The genius of Solo Loco is best displayed on the French release on New Rose\/R.C.A. Here tunes like &#8220;Are You Leaving&#8221; and &#8220;Eyes Are Crossed&#8221; provide the proof, as if any was needed, to why <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CBOOM%7CBOOM%7CBAND\">the Boom Boom Band<\/a> got signed to MCA in the first place. Willie&#8217;s songs have the inspiration, the intensity, the individuality that make for good listening, if not stardom. &#8220;Small Town Medley&#8221; is the kind of musical departure that <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CBOOM%7CBOOM%7CBAND\">the Boom Boom Band<\/a> and producer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:CRAIG%7CLEON\">Craig Leon<\/a> did not understand. It&#8217;s sheer brilliance, reuniting with his bassist in <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CVELVET%7CUNDERGROUN\">the Velvet Underground<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WALTER%7CPOWERS%7CIII\">Walter Powers III<\/a>, engineer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:TED%7CST.%7CPIERRE\">Ted St. Pierre<\/a> providing the intense guitars. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WALTER%7CPOWERS\">Walter Powers<\/a> also adds a throbbing bassline to &#8220;It&#8217;s All Over,&#8221; an amalgam of sound, intricate piano lines, and drumming from Willie with multi-layered vocals, and percussion sounds the artist obtained by playing the drum sticks on the floor of the recording studio. Truly a work of art. &#8220;Hit and Run&#8221; is avant-garde techno jazz, the album event no doubt a catharsis for Alexander. He scribbles his voice, keyboards, and soul all over Solo Loco. With help from guitarist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PETER%7CDAYTON\">Peter Dayton<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MINISTRY\">Ministry<\/a> bassist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BRAD%7CHALLEN\">Brad Hallen<\/a>, and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:LORD%7CMANUEL%7CSMITH\">Lord Manuel Smith<\/a>&#8216;s exotic synthesizer noises, Alexander brings 11 originals and two covers to life in this cleverly warped sound environment. The album is a career moment, the electronic and eerie &#8220;No Way Jose&#8221; and the 45 that landed the deal, &#8220;Gin,&#8221; concluding side one with perhaps the two most commercial songs on the record. Alexander would stay on New Rose for many years. Though there was major-label interest from Arista, Polygram, and RCA in the United States, his wife at the time signed the album to <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:GREG%7CSHAW\">Greg Shaw<\/a>&#8216;s Bomp label. The Bomp release came out a year later with a different cover, rearranged tracking and without the lengthy &#8220;So Tight,&#8221; a techno punk song about Harvard Square that has a great groove. Solo Loco contains an image of Willie Alexander duplicated eight times on the front and back cover with a stunning kaleidoscope of color schemes. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PATRICK%7CMATH%C3%89\">Patrick Math\u00e9<\/a> at New Rose understood the tremendous talent he had signed and packed it lovingly. All one has to do is listen to the explosive remake of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:GENE%7CVINCENT\">Gene Vincent<\/a>&#8216;s &#8220;Be Bop a Lula&#8221; to hear the forces at play, forces of total artistic expression.<\/p>\n<hr \/>\n<p>Willie &#8220;Loco&#8221; Alexander&#8217;s Greatest Hits, Vol. 1<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:h9foxqwhld6e\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:h9foxqwhld6e<\/a><\/p>\n<p>Reviewby Joe Viglione<br \/>\nIt may have been <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:apfixq95ld6e\">Genya Ravan<\/a> who said, &#8220;What&#8217;s the point of putting out a &#8216;greatest hits&#8217; album if you have no hits&#8221;; the thinking, of course, is to use the words &#8220;best of&#8221; instead. But to the French, Boston, New York, and L.A. underground, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:acfyxql5ld6e\">Willie &#8220;Loco&#8221; Alexander<\/a> is a true hero, an artist who is both prolific and original, and to those fans, these are his &#8220;hits.&#8221; Outside of the live double LP <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:d9foxqwhld6e\">Autre Chose<\/a> on New Rose and the ultra rare <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:SPERM%7CBANK%7CBABIES\">Sperm Bank Babies<\/a> LP (only 500 were pressed of this circa-1977 WERS radio broadcast by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WILLIE%7CALEXANDER%7C&amp;%7CTH\">Willie Alexander &amp; the Boom Boom Band<\/a>), there are three studio collections of Alexander&#8217;s work on the market, Northeast&#8217;s 1991 U.S. release <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:BOOM%7CBOOM%7CGA%7CGA\">Boom Boom Ga Ga<\/a>, Fan Club&#8217;s <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:FIFTEEN%7CYEARS%7COF%7CROCK\">Fifteen Years of Rock &amp; Roll With Willie Alexander<\/a> on New Rose&#8217;s subsidiary released in France in 1990, and 1985&#8217;s <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:WILLIE%7CLOCO%7CALEXANDER\">Willie Loco Alexander&#8217;s Greatest Hits<\/a>, also released in France on the Fan Club imprint. Eight of the titles here show up again five years later on the 20-track CD but, surprisingly, six of the titles were replaced. Of the six that you can find on <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:WILLIE%7CLOCO%7CALEXANDER\">Willie Loco Alexander&#8217;s Greatest Hits<\/a>, two of them are absolutely vital &#8212; the &#8220;You Looked So Pretty When&#8221; 45 and its flip &#8220;Hit Her Wid de Axe.&#8221; The original producer, the late <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:STEPHAN%7CLOVELACE\">Stephan Lovelace<\/a>, was going through a divorce and refused to mail the original masters to the artist, so engineer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hjfoxqq5ldke\">Karen Kane<\/a> EQ&#8217;d the original 45s of the two aforementioned titles and Willie&#8217;s solo debut 45 &#8220;Mass. Ave.&#8221; and &#8220;Kerouac.&#8221; &#8220;You Looked So Pretty When,&#8221; in particular, is essential to the story of this artist. The production, for an independent 45, is stunning: It&#8217;s a rock &amp; roll band emulating <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wpfoxqt5ldte\">Phil Spector<\/a>&#8216;s &#8220;wall of sound&#8221; without a wall of sound, just with their instruments. It survives as one of the finest moments from the new wave of 1976. Decades later, it is still a powerful rock &amp; roll statement, as is &#8220;Pup Tune,&#8221; which both Fan Club releases shamelessly lift from the vintage <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:LIVE%7CAT%7CTHE%7CRAT\">Live at the Rat<\/a> album. Both French releases incorrectly label the song as &#8220;Pop Tune,&#8221; but that is so misleading. In actuality, it is a demented, sizzling rock masterpiece regarding Alexander&#8217;s obsession with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0pfyxq95ldse\">Ronnie Spector<\/a>, a song about some omnisexual drunken stupor where a dog eats someone&#8217;s panties and does unmentionable things with them. It is sheer brilliance, the maniacal performance of the band, with Loco screaming &#8220;baby I love you&#8221; over the ending. As Alexander writes in the brief liners, &#8220;This record is ten years of vinyl nuts and guts. Loco Boom Boom Gaga Rock &amp; Roll.&#8221; Don&#8217;t let his eccentricities throw you off the scent; this is a very clever man with lots of rock, jazz, folk, and punk sensibilities. His version of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:j9fqxqrgldhe\">Doc Pomus<\/a>&#8216; &#8220;Lonely Avenue&#8221; is authentic, while the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hifyxqr5ldde\">Gene Vincent<\/a> cover, &#8220;Be Bop a Lula,&#8221; is one of the most unique versions of this tune you will ever hear. Recorded after the breakup of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CBOOM%7CBOOM%7CBAND\">the Boom Boom Band<\/a> for New Rose\/RCA in 1980, it shows Alexander truly <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:w9fixqwhld6e\">Solo Loco<\/a>. His ability to create rhythms with the piano or the drums and his grasp of desperation are what rock &amp; roll is all about. The downside here is that the mastering of &#8220;Be Bop a Lula&#8221; sounds horrible on this disc, not as pure as what is on <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:w9fixqwhld6e\">Solo Loco<\/a> or the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:NEW%7CROSE%7C1980-2000\">New Rose 1980-2000<\/a> boxed set. &#8220;Be Bop a Lula&#8221; sounds great on those releases, coming through loud and clear. This 14-song album holds lots of keys to Loco the artist. &#8220;Bass Rocks&#8221; is about Gloucester, MA, but the key riff is <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifrxqr5ldje\">Lou Reed<\/a>&#8216;s &#8220;White Light\/White Heat&#8221; melody. As a former member of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:giftxqr5ldde\">the Velvet Underground<\/a>, that melody is the only remnant Alexander chooses to give to the world, subliminally, to acknowledge his past. This album covers only the period starting in 1975 with the release of the classic &#8220;Kerouac&#8221; single, so there is none of his work for <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:a9fexqw5ldae\">the Lost<\/a> on Capitol or <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fpxqr5ldse\">Bagatelle<\/a> on ABC Records. It&#8217;s a freeze frame of the solo work this dedicated artist has released to the world, a good collection of important moments in Willie Alexander&#8217;s career.<\/p>\n<hr \/>\n<p>A GIRL LIKE YOU 1982 New Rose<\/p>\n<p><a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:f9foxqwhld6e\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:f9foxqwhld6e<\/a><\/p>\n<p>Reviewby Joe Viglione<br \/>\nElectro Acoustic Studios moved from the ambience of Boston&#8217;s theater district (the drag queens would reportedly have knife fights outside this space across from where the famous Coconut Grove fire happened), the facility where the previous <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:SOLO%7CLOCO\">Solo Loco<\/a> masterpiece was etched, way up to Bethel, ME, a studio in transition changing dramatically the sound of an artist in transition. If <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:SOLO%7CLOCO\">Solo Loco<\/a> was vindication, the artist in complete control after losing his band and MCA contract, A Girl Like You is a trip deeper into the mind of this creative artist, further into the insightful ramblings of Willie Loco&#8217;s psyche while he was assembling his new group. Commercial music this is not, though it reunites Alexander with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WALTER%7CPOWERS\">Walter Powers<\/a>, who was with the singer\/songwriter when they performed in <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CVELVET%7CUNDERGROUN\">the Velvet Underground<\/a>. Alexander downplays that part of his career, though he should be proud of it now; the tragedy was that <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CVELVETS\">the Velvets<\/a> didn&#8217;t pull a <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DOOBIE%7CBROTHERS\">Doobie Brothers<\/a>, allowing Willie Alexander&#8217;s material to shift the course of the group the way <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MICHAEL%7CMACDONALD\">Michael MacDonald<\/a> gave that institution a new direction. Alexander is the beatnik to <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:LOU%7CREED\">Lou Reed<\/a>&#8216;s street poet. Where Alexander gave us the wonderfully eerie &#8220;Video Games&#8221; on this 1982 disc, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:REED\">Reed<\/a> countered with &#8220;My Red Joystick&#8221; in 1984, with Alexander drawing from his Kerouac obsessions and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:REED\">Reed<\/a> coming from the school of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DELMORE%7CSCHWARTZ\">Delmore Schwartz<\/a>; it&#8217;s too bad <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:REED\">Reed<\/a> and Alexander didn&#8217;t team up and push the manager <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:SESNICK\">Sesnick<\/a> out the door, the pairing would have been pure magic. And at the very least they could have played together at the arcade. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHN%7CDUNTON-DOWNER\">John Dunton-Downer<\/a> adds bizarre tenor saxophone, and the brilliant guitar work is from the late <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MATTHEW%7CMACKENZIE\">Matthew MacKenzie<\/a>. The odd thing here is that when <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CBOOM%7CBOOM%7CBAND\">the Boom Boom Band<\/a> and Willie Alexander went their separate ways, there was still a third album due on the MCA contract. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MATTHEW%7CMACKENZIE\">Matthew MacKenzie<\/a> fronted <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CBOOM%7CBOOM%7CBAND\">the Boom Boom Band<\/a> and tracked tapes with producer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:CRAIG%7CLEON\">Craig Leon<\/a> while <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:LEON\">Leon<\/a> produced four sides with solo Alexander as well. The shame of it is that they should have brought <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MACKENZIE\">MacKenzie<\/a> into the original <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BOOM%7CBOOM%7CBAND\">Boom Boom Band<\/a> to keep the peace, and much of this could have been the third MCA album. &#8220;Dock of the Bay&#8221; is fun, but it doesn&#8217;t have the manic intensity of &#8220;Be Bop a Lula&#8221; from <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:SOLO%7CLOCO\">Solo Loco<\/a>, or the effect the live <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BOOM%7CBOOM\">Boom Boom<\/a> rendition of &#8220;All I Have to Do Is Dream&#8221; had on audiences. &#8220;Great Balls of Fire,&#8221; on the other hand, delivers what Loco&#8217;s fans expect in a more subdued fashion. A Girl Like You works best when it plays exotic rock; &#8220;Bite the Bullet&#8221; is underground techno that is the antithesis of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CHUMAN%7CLEAGUE\">the Human League<\/a>. Dedicated to <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THELONIOUS%7CMONK\">Thelonious Monk<\/a>, A Girl Like You is another reason why the great <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:GENYA%7CRAVAN\">Genya Ravan<\/a> will make comments like, &#8220;I think Willie is the best thing since sliced bread.&#8221; &#8220;The Only Time&#8221; is Alexander&#8217;s reinvention of the blues, while &#8220;Oh, Daddy, Oh&#8221; would&#8217;ve played relentless on <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MAYNARD%7CG.%7CKREBS\">Maynard G. Krebs<\/a>&#8216; transistor had the song been around during the Dobie Gillis era. New Rose labelmates <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CTROGGS\">the Troggs<\/a> caused a stir with A Girl Like You and Alexander takes the concept a step further. Not his most accessible album, but an important link in his deep and valuable catalog.<\/p>\n<hr \/>\n<p>AUTRE CHOSE LIVE 1982<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:d9foxqwhld6e\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:d9foxqwhld6e<\/a><\/p>\n<p>Reviewby Joe Viglione<br \/>\nArguably the most concise overview of the prolific and quite valuable career of Willie Loco Alexander, this live album was recorded two years after he signed to what was the RCA-distributed New Rose Records label. His wailing cover of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:TENNESSE%7CWALTZ\">Tennesse Waltz<\/a> retains the stark madness of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:w9fixqwhld6e\">Solo Loco<\/a>, his post-<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:djfyxqugldae\">Boom Boom Band<\/a> release and New Rose debut. With the two prior MCA albums distributed in Paris by Barclay, there was an audience, and this band delivers the goods. The double vinyl includes a wonderful gatefold which has photos of the bandmembers with dates and cities &#8212; Bordeaux on March 7, 1982; Mont De Marsan on April 6, 1982; Paris March 23, 24, and 25 &#8212; 13 dates listed in all. Beyond the great document of a true cult figure, this is also the reunion of post-<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifrxqr5ldje\">Lou Reed<\/a> <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:VELVET%7CUNDERGROUND\">Velvet Underground<\/a> members Alexander and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:k9fixqrgldae\">Walter Powers<\/a>. Though they toured the U.K. twice with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jxfexq9gldse\">Doug Yule<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MOE%7CTUCKER\">Moe Tucker<\/a>, the eventual Polydor release, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:3cfyxql5ldte\">Squeeze<\/a> was <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jxfexq9gldse\">Doug Yule<\/a> with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DEEP%7CPURPLE%5C%27S\">Deep Purple&#8217;s<\/a> drummer, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fixqlgldte\">Ian Paice<\/a>. This is partially what <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:SQUEEZE\">Squeeze<\/a> should have been, and, on that level, it is of great historical importance. &#8220;Gin,&#8221; the single that got Alexander signed to New Rose\/RCA is here in a beautiful and rare live version. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jifoxqegldse\">Joan McNulty<\/a>, who produced the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BUZZCOCKS\">Buzzcocks<\/a> live album <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:LEST%7CWE%7CFORGET\">Lest We Forget<\/a> on R.O.I.R., was adamant about the recording of &#8220;Gin,&#8221; which led to the European contract. The subtle version recorded here is evidence that <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0jfyxqugldae\">the Confessions<\/a> were truly the band for Willie Alexander; beyond <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:a9fexqw5ldae\">the Lost<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CBAGATELLE\">the Bagatelle<\/a>, and his extraordinary <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:djfyxqugldae\">Boom Boom Band<\/a>, these are musicians who treat Loco with the respect he deserves. When <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CBOOM%7CBOOM%7CBAND\">the Boom Boom Band<\/a> imploded, there was a third album that never got recorded for MCA, so producer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfwxqw5ld6e\">Craig Leon<\/a> did two sets of demos, one with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:REDDY%7CTEDDY\">Reddy Teddy<\/a>&#8216;s <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MATTHEW%7CMCKENZIE\">Matthew McKenzie<\/a> on vocals backed by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CBOOM%7CBOOM%7CBAND\">the Boom Boom Band<\/a>, and a set with Willie Alexander solo. MCA passed on both, but two years on, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MCKENZIE\">McKenzie<\/a> joined <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0jfyxqugldae\">the Confessions<\/a> along with &#8220;Ricky &#8220;Rock It&#8221; Rothchild&#8221; from <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:GARY%7CSHANE\">Gary Shane<\/a> and his band. The unreleased &#8220;Killer in a Trenchcoat,&#8221; which was drenched in keyboards on the unreleased <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfwxqw5ld6e\">Craig Leon<\/a> demo, rocks out here in its first official release. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:djfyxqugldae\">Boom Boom Band<\/a> classics from &#8220;Radio Heart&#8221; to &#8220;Dirty Eddie,&#8221; &#8220;Home Is,&#8221; and &#8220;Hit Her Wid De Axe&#8221; are all catalogued in the exciting chaos that Willie Alexander projects when things are clicking. They click on Autre Chose, the album named after the French restaurant outside of Harvard Square in Cambridge, MA, where the artist had a day gig. 18 selections are here, uncensored, so you hear Loco do the things that made MCA cringe. Great stuff. The photos, the song selection, the performances, the dates of the gigs &#8212; everything is here except where each song was recorded. This is two ex-members of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:giftxqr5ldde\">the Velvet Underground<\/a> touring Europe years later producing an album as vital as 1984&#8217;s brilliant <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:LOU%7CREED%7CLIVE%7CIN%7CITAL\">Lou Reed Live in Italy<\/a>. An obscure single like &#8220;B.U.Baby&#8221; makes for a tremendous closer, with the band injecting the right jolts; the version here blows away the rare 45 rpm. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hpfexq9gldae\">Ricky Rothchild<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MATTHEW%7CMCKENZIE\">Matthew McKenzie<\/a> both passed away since this was recorded, but it stands as a terrific snapshot of a great band, and an artist that helped shape the rock &amp; roll scene in Boston who, despite releases on Capitol, ABC, MCA, RCA, and myriad independents, has never been given the recognition he deserves. If they gave Grammys out for the best music recorded in a year as opposed to what is popular, Autre Chose would have been a frontrunner in 1982.<\/p>\n<hr \/>\n<p><a href=\"http:\/\/bp3.blogger.com\/_XDwdAyUP_ts\/R5PuQr78RzI\/AAAAAAAAACs\/elPh9Jxr4G4\/s1600-h\/Willie+Alexander.jpg\"><img decoding=\"async\" id=\"BLOGGER_PHOTO_ID_5157727968708806450\" alt=\"\" src=\"http:\/\/bp3.blogger.com\/_XDwdAyUP_ts\/R5PuQr78RzI\/AAAAAAAAACs\/elPh9Jxr4G4\/s320\/Willie+Alexander.jpg\" border=\"0\" \/><\/a><\/p>\n<hr \/>\n<p>Willie Loco Alexander<br \/>\nP.O. Box 796<br \/>\nGloucester, MA 01930<\/p>\n<hr \/>\n<p>DOG BAR YACHT CLUB 2006<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:g9fixqtdld6e\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:g9fixqtdld6e<\/a><\/p>\n<p>Reviewby Joe Viglione<\/p>\n<p>When <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:djfyxqugldae\">Willie &#8220;Loco&#8221; Alexander &amp; the Boom Boom Band<\/a> split after 1979&#8217;s <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kpfyxqu5ldfe\">Meanwhile&#8230;Back in the States<\/a> on MCA, Alexander immediately picked up the slack by having a Boston area power trio, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifpxqr5ld6e\">the Neighborhoods<\/a>, back him up on-stage while he began recording the first of his many releases on the European New Rose label. The original <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:djfyxqugldae\">Boom Boom Band<\/a> reunited 23 years later, only to go into the studio owned by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifpxqr5ld6e\">the Neighborhoods<\/a>&#8216; guitarist\/vocalist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jifexqtgldje\">David Minehan<\/a>. The results are phenomenally great, only proving that had the rock &amp; roll minefields not existed to stand in this juggernaut&#8217;s way, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:djfyxqugldae\">Willie Alexander &amp; the Boom Boom Band<\/a> would have emerged as Boston&#8217;s answer to <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifoxqr5ldje\">the Rolling Stones<\/a>, and then some. While there is new material here, the band doesn&#8217;t shy away from recovering some of the music Alexander released after the split. &#8220;Oh Daddy Oh&#8221; from 1982&#8217;s <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:f9foxqwhld6e\">A Girl Like You<\/a> album gets a driving new finish, while &#8220;Ogalala,&#8221; originally issued on 1997&#8217;s <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dcfwxqyhld6e\">Persistence of Memory Orchestra<\/a> CD, has a new perspective that gives Alexander the platform to go &#8220;loco,&#8221; the stuff that made this group so irresistible in the first place. &#8220;Who Killed Deanna&#8221; from 1999&#8217;s <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jvfuxqlkldhe\">East Main Street Suite<\/a> is one of the album&#8217;s highlights &#8212; the &#8220;Som-Som-Somerville&#8221; hook is haunting inside a true murder mystery that happened on the outskirts of Boston. That album also featured a track entitled &#8220;Ocean Condo II,&#8221; which was a reworking of the original &#8220;Ocean Condo&#8221; from 1988&#8217;s <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:j9foxqwhld6e\">The Dragons Are Still Out<\/a>, reprised here with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:a9fwxq8hldke\">Billy Loosigian<\/a>&#8216;s amazing guitar work as &#8220;Ocean Condo III,&#8221; of course. The band also rocks out &#8220;AAWW&#8221; &#8212; which some of the fans decipher as &#8220;All American Woman Wife&#8221; &#8212; the flip of a 45 that was originally intensified by the band from the live <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:d9foxqwhld6e\">Autre Chose<\/a> album in 1982. It&#8217;s a tasty way for the devoted to see how this material would&#8217;ve played out had <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:djfyxqugldae\">the Boom Boom Band<\/a> stayed together. Even the underground classic &#8220;Telephone Sex&#8221; from 1984&#8217;s <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:g9foxqwhld6e\">Taxi-Stand Diane<\/a> EP finds itself resurrected here to good effect. Keep in mind that this group began by picking up the material Alexander was releasing on the independent Garage label in the mid-&#8217;70s, so one also gets the vibe that the group is truly going back to its roots and reinventing stuff that Willie did separately. A cover of scenester <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wjfqxqukld6e\">Emily XYZ<\/a>&#8216;s &#8220;Hey Kid&#8221; gives the band a different &#8220;new wave&#8221; feel, while Alexander and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:a9fwxq8hldke\">Loosigian<\/a> combine to write four new tunes, including the interesting &#8220;Mystery Training,&#8221; which dips into Willie&#8217;s jazzier influences. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:djfyxqugldae\">The Boom Booms<\/a> deliver close to 60 minutes of triumph, an album that is among their finest studio work to date, equal to the superb (and still missing in action) <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfwxqw5ld6e\">Craig Leon<\/a>-produced demos from Dimension Studios in 1977 that landed them their deal with MCA. Dog Bar Yacht Club is no fluke; in performance <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:djfyxqugldae\">Willie Alexander &amp; the Boom Boom Band<\/a> play this material flawlessly and with the fury they had when they reigned as the kings of the Boston scene.<\/p>\n<hr \/>\n<p>WILLIE LOCO BOOM BOOM GAGA &#8211; FIFTEEN YEARS OF ROCK &amp; ROLL<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kbftxq95ldse\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kbftxq95ldse<\/a><\/p>\n<p>Reviewby Joe Viglione<br \/>\nReleased a year after the French label New Rose issued <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:FIFTEEN%7CYEARS%7COF%7CROCK\">Fifteen Years of Rock &amp; Roll With Willie Alexander<\/a>, this is pretty much the same album with different cover art and some track discrepancies. It, of course, being a year older is <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WILLIE%7CLOCO\">Willie &#8220;Loco&#8221;<\/a> presenting 16 years of his solo work. None of the material from <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CBAGATELLE\">the Bagatelle<\/a> on ABC Dunhill, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CLOST\">the Lost<\/a> on Capitol, or his <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BOOM%7CBOOM%7CBAND\">Boom Boom Band<\/a> work released on MCA appears here, with the exception of &#8220;Dirty Eddie,&#8221; the song considered &#8220;too dirty&#8221; to put out on either MCA release, it stands as a testament to what could have been had producer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:CRAID%7CLEON\">Craid Leon<\/a> just let Willie be Willie. Boom Boom Ga Ga, references to some of Alexander&#8217;s scat remarks and his wonderfully juvenile promotional scribblings &#8212; &#8220;ga ga rock&#8221; &#8212; taking this musical form back to its primal stages, is vindication for Alexander in the same way that <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DIDI%7CSTEWART\">Didi Stewart<\/a>&#8216;s <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:ONE%7CTRUE%7CHEART\">One True Heart<\/a> (not coincidentally, on the same record company) made her statement away from the politics of her major group and difficult business relationships. Both Alexander and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DIDI%7CSTEWART\">Didi Stewart<\/a> are true artists, and prime examples of how the business can stand in the way of important art. The art is here, from his regional hit single with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ERIK%7CLINDGREN\">Erik Lindgren<\/a> which opens both the European and American versions of this disc, &#8220;In the Pink,&#8221; to &#8220;Kerouac&#8221; and &#8220;Mass. Ave., his two <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:STEPHAN%7CLOVELACE\">Stephan Lovelace<\/a>-produced local singles. The late <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:STEPHAN%7CBAERENWALD\">Stephan Baerenwald<\/a>, brother to <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ROBIN%7CLANE%7C&amp;%7CTHE%7CCHAR\">Robin Lane &amp; the Chartbuster<\/a>&#8216;s <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:SCOTT%7CBAERENWALD\">Scott Baerenwald<\/a>, was the perfect producer for El Loco. His works of genius, the &#8220;You Looked So Pretty When&#8221; and &#8220;Hit Her Wid De Axe&#8221; singles included on the American release, but not the French. The two Garage Records 45&#8217;s which were the demos that landed him his MCA contract, and the single &#8220;Gin,&#8221; which got him the New Rose\/RCA deal, are picture perfect moments in Willie Alexander&#8217;s career. The fans of Loco may take this album for granted, having heard the songs so many times live and on previous releases, but for the world at large, Boom Boom Ga Ga is important history of a man with incredible musical depth and insight. It exists through sheer hard work and years of relentless performing. The live versions of &#8220;Pup Tune&#8221; and &#8220;At the Rat&#8221; from the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:LIVE%7CAT%7CTHE%7CRAT\">Live at the Rat<\/a> album are two other key moments in the career, as is &#8220;In the Pink.&#8221; This is actually an extension of 1985&#8217;s <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:WILLIE%7CALEXANDER%5C%27S%7CGR\">Willie Alexander&#8217;s Greatest Hits<\/a> which came out on Fan Club\/New Rose in Paris, and because his catalog is so extensive, the 22 tracks make it more accurate than the single LP, but far from comprehensive. Some day Willie &#8220;Loco&#8221; Alexander will have the six-CD boxed set that he deserves, one of America&#8217;s great underground heroes who has a catalog so vast and so musical that it is scary.<\/p>\n<hr \/>\n<p>LOCO LIVE 1976 CAPTAIN TRIP, JAPAN<\/p>\n<p><a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:hcfpxqe0ldae\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:hcfpxqe0ldae<\/a><\/p>\n<p>Reviewby Joe Viglione<br \/>\nWillie Alexander and the Boom Boom Band signed a three-album deal with producer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfwxqw5ld6e\">Craig Leon<\/a> and MCA records back in the &#8217;70s, but the group imploded after tracking just two albums which failed to capture their magic. Decades later, the Tokyo-based Captain Trip records has seen fit to issue this single CD, which includes portions of two live shows and a bonus 45 rpm. It achieves what the major-label releases did not. The CD begins with material engineered by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JESSE%7CHENDERSON\">Jesse Henderson<\/a> at Boston&#8217;s notorious nightspot the Rat on August 27, 1976, exactly one month before the recordings this band made for the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:LIVE%7CAT%7CTHE%7CRAT\">Live at the Rat<\/a> album (September 27, 28, and 29 with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JESSE%7CHENDERSON\">Jesse Henderson<\/a> as well). &#8220;Pup Tune,&#8221; &#8220;At the Rat,&#8221; and &#8220;Kerouac&#8221; sound much clearer on this CD, a better mix than what was released on the legendary double LP from the nightclub, and three more songs to boot. The performances are excellent. Eight additional titles were recorded in May of 1976 at the Club in Cambridge by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ERIK%7CLINDGREN\">Erik Lindgren<\/a> of the band <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MOVING%7CPARTS\">Moving Parts<\/a>. Dramatically different than the Rat recordings, this earlier tape is muddier &#8212; bootleg quality, but that doesn&#8217;t stop the power from seeping through. These are historic concert tapes of the band performing &#8220;For Old Time&#8217;s Sake&#8221; (aka &#8220;Cause I&#8217;m Taking You to Bed&#8221;), &#8220;Garbage Man,&#8221; and a rare live version of &#8220;Gin,&#8221; the single that landed Willie Alexander his post-MCA deal with New Rose\/RCA in Europe. The woman in the audience talking at the prelude of &#8220;Garbage Man&#8221; is totally annoying, and it is a sin marring what is a fine performance. This is a slow, very nasty version of the sexual escapade that is &#8220;Garbage Man&#8221; &#8212; as close to the sound of Alexander&#8217;s former group, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:giftxqr5ldde\">the Velvet Underground<\/a>, as the Boom Boom Band cared to get. This song, along with &#8220;Dirty Eddie,&#8221; caused much controversy in the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:LOCO\">&#8220;Loco&#8221;<\/a> camp. Reportedly, the band became afraid of letting Alexander be Alexander on MCA, but the whole reason they got signed was because of his ability to write great rock &amp; roll with no inhibitions. Hearing this CD will thrill as well as infuriate the devoted followers of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WILLIE%7CLOCO\">Willie Loco<\/a> because it preserves the power of his performance, and proves that producer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfwxqw5ld6e\">Craig Leon<\/a> and the members of the Boom Boom Band should&#8217;ve just let loose in the studio and allowed the artist the opportunity to do what he does best. The demos that secured the deal with MCA were brilliant, and there was no need to re-record them except in a live setting. &#8220;Mass. Ave.&#8221; is an all-out rocker on this CD, the May performance one of the Boom Boom Band&#8217;s earlier shows boasting a raw energy and enthusiasm resulting in total artistic expression. &#8220;Rock &#8216;n&#8217; Roll Lick #76,&#8221; a masterpiece of song construction, is sublime and, along with &#8220;Rhythm a Baby,&#8221; reveal how cohesive and extraordinary this ensemble was. People say that <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BARRY%7C&amp;%7CTHE%7CREMAINS\">Barry &amp; the Remains<\/a> were a live phenomenon which studio recordings failed to capture. That could be said of the Boom Boom Band as well. However, this disc, and the long out-of-print <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:SPERM%7CBANK%7CBABIES\">Sperm Bank Babies<\/a> live radio broadcast from 1976, are able to set the record straight. This is primal <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:acfyxql5ld6e\">Willie &#8220;Loco&#8221; Alexander<\/a> with his <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:djfyxqugldae\">Boom Boom Band<\/a> before the politics and the recording industry did a number on them. What it lacks in production is more than made up for with the spirit and energy that sizzle in these CD grooves. The two bonus tracks at the end were released on Somor records and are outtakes from the MCA sessions recorded by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfwxqw5ld6e\">Craig Leon<\/a>. &#8220;Dirty Eddie&#8221; was perhaps the finest single tune produced for MCA and was rejected for being &#8220;too dirty.&#8221; The band, the label, management, and the producer attempted to &#8220;refine&#8221; Willie Alexander, and in doing so, stifled him and derailed their gravy train. &#8220;She Wanted Me (Nazi Nola),&#8221; a live reggae track recorded in the studio, is completely raunchy, and half trying, obliterates the other recordings that were released on the two MCA <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:djfyxqugldae\">Boom Boom Band<\/a> albums. France and Japan revere <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WILLIE%7CLOCO%7CALEXANDER\">Willie Loco Alexander<\/a> for the genius that he is, and this album, despite the jarring caused by the three different tape sources, is very powerful and lots of fun.<\/p>\n<hr \/>\n<p>BAGATELLE 11 PM SATURDAY<\/p>\n<p><a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jvfoxq8kldse\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jvfoxq8kldse<\/a><\/p>\n<p>Reviewby Joe Viglione<br \/>\n11:00 P.M. Saturday is a good title for this recording by the nine musicians who made up <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fpxqr5ldse\">Bagatelle<\/a>, who performed covers as well as originals. It is an anomaly in Boston rock &amp; roll history. Covering tunes from <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wifuxqw5ldde\">James Brown<\/a> to <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hifrxqw5ldse\">The Beatles<\/a>, the band consisted of three main vocalists, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:FRED%7CGRIFFITH\">Fred Griffith<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fvfoxqyjldse\">Rodney Young<\/a>, and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DAVID%7CREDTOP%7CTHOMAS\">David &#8220;Redtop&#8221; Thomas<\/a>. The fourth singer also played piano and percussion, the influential <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fyxqr5ldke\">Willie &#8220;Loco&#8221; Alexander<\/a>. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fyxqr5ldke\">Alexander<\/a>&#8216;s tune, &#8220;Everybody Knows,&#8221; is included here in a beautiful way. It would be re-recorded by producer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfwxqw5ld6e\">Craig Leon<\/a> for his 1978 debut, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jpfyxqu5ldfe\">Willie Alexander &amp; The Boom Boom Band<\/a> on MCA Records. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fpxqr5ldse\">The Bagatelle<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jbfpxqr5ld6e\">Larry Fallon<\/a> arranged this recording, the latter having worked with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:w9fexqu5ldse\">Keith<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hnfoxq95ldje\">The Looking Glass<\/a>, and producer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hxfoxq95ldke\">Jimmy Miller<\/a>, among others. The vocal harmonies on tunes like &#8220;Hey You&#8221; mixed with flute remind one of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifwxqr5ldje\">Rare Earth<\/a>. Coincidentally, they perform <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifwxqr5ldje\">Rare Earth<\/a>&#8216;s first hit, &#8220;(I Know) I&#8217;m Losing You,&#8221; but the version here is influenced by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kifqxqr5ldse\">the Temptations<\/a> 1966 hit. To hear a young <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fyxqr5ldke\">Willie Alexander<\/a>, the man who would usher in the new wave in Boston, singing &#8220;Back on the Farm&#8221; with horns and Motown style vocals is pretty groundbreaking. An a capella take of the traditional &#8220;Every Night&#8221; opens side two. Reminiscent of Boston&#8217;s <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:dnfqxqtgldte\">the G Clefs<\/a> with a mix of gospel and soul, it shows the wonderful diversity of this band. Their version of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifrxqe5ldae\">The Impressions<\/a> &#8220;I&#8217;ve Been Trying&#8221; sounds like a studio take until you hear the applause at the end. The saxophone of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:STEVE%7CSCHRELL\">Steve Schrell<\/a> and trumpet of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hnfexql5ldke\">Mark Gould<\/a> make for a jazzy version of &#8220;I Can&#8217;t Stand It,&#8221; but the lengthy improv disturbs the momentum of the album. Live covers of &#8220;I Feel Good&#8221; and the medley, including &#8220;Please, Please, Please,&#8221; &#8220;Gloria&#8221; (not the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jifuxqygldhe\">Van Morrison<\/a> tune), &#8220;Crying in the Chapel,&#8221; &#8220;I Only Have Eyes For You,&#8221; and &#8220;For Your Love,&#8221; make this an interesting document, but it is the inclusion of early <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fyxqr5ldke\">Willie Alexander<\/a> which makes it historic.<\/p>\n<hr \/>\n<p><a href=\"http:\/\/www.townonline.com\/northshoresunday\/homepage\/x225115227\"><br \/>\nhttp:\/\/www.townonline.com\/northshoresunday\/homepage\/x225115227<\/a><\/p>\n<hr \/>\n<p>SAY, HEY WILLIE<\/p>\n<p>By Joe Viglione<br \/>\nGateHouse News Service<br \/>\nFri Aug 03, 2007, 01:43 PM EDT<br \/>\nBeverly &#8211;<\/p>\n<p>As far as rock musicians go, Gloucester\u2019s Willie \u201cLoco\u201d Alexander is not your usual suspect. When he walks through a door, you don\u2019t have to clear a path for his ego. He\u2019s not loud, he\u2019s not showy and instead of asking if you know who he is, he\u2019s a lot more likely to ask who you are.<\/p>\n<p>For those who don\u2019t know Alexander, he is to the Boston music scene sort of what Andy Warhol is to art. During the \u201970s, he broke down barriers and fused rock, jazz and blues into an original sound delivered with no reservations. For more than 40 years he\u2019s been performing with a number of different bands, beginning with The Lost, later with Bagatelle and then there was a short stint with The Velvet Underground. But Boston fans know him and love him best for the music he gave them with the Boom Boom Band, a fixture at the Rat in Kenmore Square during the heyday of punk.<\/p>\n<p>Along the way Alexander has been called a lot of things, from musical genius to cult hero to rock \u2019n\u2019 roll survivor.<\/p>\n<p>\u201cI knew of Willie through musician friends in Boston who spoke of him reverentially (\u2018Dude, he played with the Velvet Underground!\u2019),\u201d says bass player Mike Rivard, who with his trance-funk outfit Club d\u2019Elf is a bit of a Boston fixture himself. \u201cI was struck by his old-school Boho persona, and admired his ability to retain a kind of child-like creative space, with a flavor of the Beats to it.\u201d<\/p>\n<p>Alexander himself gives one of the best quick takes of his own style in a short video shot a while back when he and his band, the Persistence of Memory Orchestra, were touring the Basque Country in Northern Spain.<\/p>\n<p>\u201dThe first time I got here they were calling me garage rock. I never thought I was garage rock. I thought I was pretty accomplished \u2026 I mean, I don\u2019t read music, but I know what I\u2019m doing on my instrument,\u201d says Alexander, who insists he never played in a garage \u2014 maybe a lot of basements, but never a garage.<\/p>\n<p>\u201cNow, it\u2019s called punk jazz or avant-garde something or other. It doesn\u2019t matter, they call me something different every decade.\u201d<\/p>\n<p>Then, a voice off camera asks Alexander what a group of kids milling in the background would call him.<\/p>\n<p>\u201cOld,\u201d he laughs.<\/p>\n<p>Older maybe, but never old. Alexander is busy these days spinning off a new sound from the Persistence of Memory Orchestra and digging down into his Gloucester roots for new directions.<\/p>\n<p>And Gloucester should be thrilled. For centuries, artists have used colors, words and songs to make Gloucester look beautiful, mysterious and sometimes heartbreaking. Alexander\u2019s music has done something different \u2014 it\u2019s made Gloucester look cool.<\/p>\n<p>Fisheye for the Gloucester guy<\/p>\n<p>Alexander has a new album in the works from the Fisheye Brothers, the same guys who play in the Persistence of Memory Orchestra \u2014 Jim Doherty on drums, Stephen Silbert on guitar and Mark Chenevert on sax. Alexander handles the piano.<\/p>\n<p>\u201cIt seemed like a good time for a new project,\u201d he says. \u201cWe have a new name for a new vision.\u201d<\/p>\n<p>Alexander says the new music is a little more guitar-oriented than the work he\u2019s been doing for the past few years. But that hardly describes the Fisheye Brothers. The new sound is actually a scorching, salted-earth confluence of psychedelia and pure punk abandon \u2014 a punishing, bruising sonic assault. Think Iggy meets Lemmy by way of Bevis Frond and Comets on Fire.<\/p>\n<p>As for the content, the band\u2019s name says it all.<\/p>\n<p>\u201cA lot of the songs will be about Gloucester,\u201d he says. And why not?<\/p>\n<p>\u201cI love Gloucester, this is where I lived as a boy. My dad was a Baptist minister; I live about a block from where his church was,\u201d he says.<\/p>\n<p>The Old First Baptist Church of Gloucester, near City Hall, was directed by the Rev. Edward Gordon Alexander. Willie went to the Forbes School through the third grade and then the Central Grammar.<\/p>\n<p>\u201cThey have old people in one of them, other people in the other one now,\u201d Alexander says. \u201cCondos are the big trend &#8230; churches don\u2019t have choirs in them, they\u2019ve converted to people living in them.\u201d<\/p>\n<p>His mother was in the Cape Anne Symphony. \u201cShe played the violin,\u201d recalls Alexander. \u201cI run into people here, they knew my dad and stuff. It\u2019s really nice hearing reports of what life was like back then. I don\u2019t see too many of my generation from school \u2014 I guess the people I went to school with left, they didn\u2019t go fishing.\u201d<\/p>\n<p>Alexander already has a batch of Gloucester-inspired songs, including \u201cLady of Good V\u201d \u201dBass Rocks\u201d and the somewhat eerie \u201cFishtown Horribles,\u201d a song which draws on Gloucester\u2019s annual Horribles Parade.<\/p>\n<p>And like so much of Alexander\u2019s music, the songs thump with contagious rhythms. Hear an Alexander song once and you\u2019re safe \u2014 hear it twice and you\u2019re doomed to have it play in your head all day.<\/p>\n<p>But Alexander\u2019s contribution to the Gloucester art community goes beyond the music he records and performs with his various bands. He recently completed the soundtrack for Gloucester filmmaker Henry Ferini\u2019s film about poet Charles Olson, \u201cPolis Is This.\u201d Alexander and Ferrini have worked together before on short films that combine the filmmaker\u2019s eye for odd visual detail with the musician\u2019s ear for rhythms both with notes and words.<\/p>\n<p>And Alexander\u2019s own artwork, collages of images, headlines and words, are a favorite in Gloucester. Like one of his heroes, Jack Kerouac, Alexander strings together words and pictures that bump together and sometimes shoot off jarring new ideas. Call it free expression, call it poetry, call it whatever you like \u2014 it makes you think and feel, and that\u2019s the point.<\/p>\n<p>Alexander says he plans to have some of his artwork on display when he and the Persistence of Memory Orchestra play at the West End Theater on Main Street in Gloucester next month. That show may be a good chance to hear some of the material from the Fisheye Brothers\u2019 new album.<\/p>\n<p>\u201cAbout half the stuff is about Gloucester,\u201d says Alexander. The other half is about the Pacific Northwest and the \u201cemerald green hillsides, timbered mountains and pristine lakes\u201d of Idaho. Alexander says he makes that trip frequently; it\u2019s home for his wife, photographer Anne Rearick.<\/p>\n<p>\u201cThey\u2019ve got hot rodders out there, the drive-in restaurants with girls on roller skates &#8230; it\u2019s like the \u201950s in Boise, Idaho,\u201d says Alexander who was particularly impressed with the number of souped-up cars that showed up at a Fourth of July barbecue.<\/p>\n<p>\u201cNot that I know how to drive. I write songs about them,\u201d he says. \u201cThey have a big book and record store; we saw a Snake River stampede, a rodeo out there &#8230; I haven\u2019t written my rodeo song, but I know it will come.\u201d<\/p>\n<p>Vintage Loco<\/p>\n<p>Although there is plenty on the horizon for Alexander, there are fans that still want to hear the old numbers. The best shot for that might be Aug.16, when Alexander joins blues artist Dave Sag for a night of music at the Rhumbline in Gloucester. Sag has a residency there, and he invites a variety of guest artists to perform their own music on his nights.<\/p>\n<p>There\u2019s no guarantees, but there will probably be a lot of requests for \u201cMass. Ave.,\u201d a 1975 release that, to this day, still stands as a Boston rock \u2019n\u2019 roll anthem. Horror writer Stephen King, who also has a popular column in Entertainment Weekly, calls the song one of the greatest rock \u2019n\u2019 roll songs ever.<\/p>\n<p>\u201c(Mass. Ave.) has a rattle-box guitar and the weirdest male falsetto ever laid down,\u201d says King, who calls it \u201cBoston punk at its best.\u201d King puts Alexander in a class with the Rolling Stones, the Beach Boys, Chuck Berry and Elvis Presley.<\/p>\n<p>But so do a lot of other people. Now that there is a Music Museum of New England being put together \u2014 an online site that will eventually be a physical, tangible place to see and hear artifacts from the New England music scene \u2014 Alexander is getting more attention. And maybe a little more of the credit he genuinely deserves.<\/p>\n<p>Although you can listen to the Fisheye Brothers or the Persistence of Memory Orchestra and appreciate them for the music they\u2019re performing today, with Alexander you almost have to consider the history.<\/p>\n<p>Alexander and his band, The Lost, opened The Boston Tea Party, Boston\u2019s seminal rock club \u2014 sort of a New England version of CBGB\u2019s \u2014 on Jan. 20, 1967. From The Lost, Willie went on to Bagatelle, an R &amp; B-styled band that one could compare to the latter-day Boston group Tavares.<\/p>\n<p>Another important name on Alexander\u2019s resume is of course the Velvet Underground. Led by Lou Reed, the band that blazed the trail for an entire decade\u2019s worth of punk and new wave artists that followed.<\/p>\n<p>When Reed left the Velvet Underground, Alexander was invited to join and tour Europe. Alexander suggested they change the name, so as not to step on Reed\u2019s shoes, but when he got off the plane he was disappointed to see the marquee still said \u201cThe Velvet Underground.\u201d<\/p>\n<p>Willie was signed to MCA records in 1976 thanks to \u201cMass. Ave.,\u201d which was pounding out on the jukebox at the Rat, then the known as the Rathskellar Nightclub. Two albums were released, but infighting stifled the third. Willie recorded a disc on his own, \u201cSolo Loco,\u201d and landed on the RCA-distributed New Rose label in Europe in 1980. That\u2019s four major labels in a span of 15 years, a vast catalog of sound and songs, but not the fame that Alexander deserved.<\/p>\n<p>Still, Alexander has his loyal fans, particularly among Boston\u2019s family of rock musicians. For a lot of people who have followed in his footsteps, he\u2019s been the leading light who opened doors for younger peers.<\/p>\n<p>Rivard remembers playing with Willie at a tribute show for Mark Sandman, who headed up the Hypnosonics and Morphine, two other big-name Boston bands, before he died in 1999.<\/p>\n<p>\u201cI was one of the many musician friends who came together that day to pay tribute to Mark and ended up backing up Willie on the Morphine song \u2018Super Sex,\u2019\u201d recalls Rivard. \u201cHe rocked it, and I know Mark would have been proud.\u201d<\/p>\n<p>And that\u2019s the type of comment that would probably make Alexander proud. The music, and what you can do with it, has always been the thing that\u2019s counted most.<\/p>\n<p>\u201cI still enjoy playing \u2014 if I didn\u2019t I wouldn\u2019t do it,\u201d says Alexander, who admits he still gets nervous before he performs. \u201cBut I do it, I just do it because it seems like the best way to express yourself \u2014 to communicate something.\u201d<\/p>\n<\/div>\n<div>\n<div>Posted by <a title=\"author profile\" href=\"https:\/\/www.blogger.com\/profile\/15345741483306237598\" rel=\"author\" data-gapiscan=\"true\" data-onload=\"true\" data-gapiattached=\"true\"> History of New England Rock <\/a> at <a title=\"permanent link\" href=\"http:\/\/willielocoalexander.blogspot.com\/2007\/07\/willie-loco-alexander.html\" rel=\"bookmark\"><abbr itemprop=\"datePublished\" title=\"2007-07-09T11:45:00-07:00\">11:45 AM<\/abbr><\/a> <a href=\"https:\/\/www.blogger.com\/comment.g?blogID=6787284305209016362&amp;postID=8656538492555910180\"> No comments: <\/a><\/p>\n<div><\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"blog-pager\"><a href=\"http:\/\/willielocoalexander.blogspot.com\/\">Home<\/a><\/div>\n<div>\n<div>Subscribe to: <a href=\"http:\/\/willielocoalexander.blogspot.com\/feeds\/posts\/default\" target=\"_blank\" type=\"application\/atom+xml\">Posts (Atom)<\/a><\/div>\n<div>___________________________________________-<\/div>\n<div>CHAPTER NINE<\/div>\n<div><\/div>\n<div>9)The New Wave &#8211; Willie Alexander re-emerges, Reddy Teddy, Fox Pass,<br \/>\nAastral Projection<\/div>\n<div>___________________________________________<\/div>\n<div><\/div>\n<div><\/div>\n<div><\/div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>_____________________________________________________<\/p>\n<h1>We interrupt the History of New England Music for our first post on this new site from 2014. Music Business Monthly was established in the 1980s to present seminars to Boston Area Musicians<\/h1>\n<p>This post is from the Intercollegiate Broadcast System seminar which Joe Viglione puts panels together for at Simmons College<\/p>\n<h1>October 25, 2014<br \/>\nSimmons College\/IBS Northeast Radio Conference<\/h1>\n<p><strong>October 25, 2014, Boston,MA<\/strong><br \/>\nIBS holds over 200 educational seminars with over 300 speakers\/panel members attended by over 2,000 delegates every year!<br \/>\n<a href=\"http:\/\/www.collegebroadcasters.us\/content\/conferences\/fallcoast.html#Boston\">IBS\/Simmons College Radio\/Webcasting Conference<\/a><\/p>\n<p><strong>Joe Viglione is moderating two panels, a radio panel and a record company panel.<\/strong><\/p>\n<p><strong>10:30 AM\u00a0\u00a0\u00a0 Featuring<\/strong><\/p>\n<p><strong>Rick Harte of Ace of Hearts Records<\/strong><\/p>\n<p><strong>Tony Rocks &#8211; Session guitarist with Jonzun Crew, New Kids on the Block, Peter Wolf<\/strong><\/p>\n<p><strong>Ken Evans &#8211;\u00a0 The Fifth Estate, first band to have a Top 10 hit with a song from The Wizard of Oz<\/strong><\/p>\n<p><strong>Joseph Tortelli &#8211; critic, writer of liner notes<\/strong><\/p>\n<p><strong>Joe Black &#8211; Carved In Stone Media<\/strong><\/p>\n<p><strong>Steve Gilligan &#8211; bassist The Stompers, Fox Pass<\/strong><\/p>\n<p><strong>Kenny Selcer<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>This even is hosted by Simmons College at FENWAY Radio\/Webcast Conference.<\/p>\n<h2>When<\/h2>\n<ul>\n<li>Saturday, October 25, 2014<\/li>\n<\/ul>\n<h2>Location, Registration, and Schedule<\/h2>\n<ul>\n<li>Simmons College<br \/>\n2 Avenue Louis Pasteur, Boston, MA<\/li>\n<\/ul>\n<h2>Registration<\/h2>\n<ul>\n<li><a href=\"https:\/\/events.r20.constantcontact.com\/register\/eventReg?oeidk=a07e9kr3o2n825ebc72&amp;oseq=&amp;c=&amp;ch=\" target=\"_blank\">To register at $45 per delegate (click below)(includes FREE lunch and morning beverages. donuts\/bagels): <\/a><\/li>\n<li><a href=\"https:\/\/events.r20.constantcontact.com\/register\/eventReg?oeidk=a07e9kr3o2n825ebc72&amp;oseq=&amp;c=&amp;ch=\" target=\"_blank\">Click here to register delegates using an American Express, VISA, MasterCard, or Discover Card.<\/a><\/li>\n<li><a href=\"http:\/\/www.collegebroadcasters.us\/content\/conferences\/2014-Fall-Conf\/2014REG-IBS-FallConf.pdf\" target=\"_blank\"><strong>IBS Fall Conference(s) Registration Form (PDF Download)<\/strong><\/a><\/li>\n<\/ul>\n<h2>Schedule and Promotional Materials<\/h2>\n<ul>\n<li><a href=\"http:\/\/www.collegebroadcasters.us\/content\/conferences\/2013IBSBoston\/10NOV2013-IBS-Boston-Schedule.pdf\" target=\"_blank\">IBS Boston 2013 Program for 2014 Planning<\/a><\/li>\n<\/ul>\n<p>The 2013 conference featured speakers\/panelists for 2014 planning included:<\/p>\n<ul>\n<ul>\n<li><strong>Allen Myers<\/strong> (Formally of the FCC Staff). This is Allen&#8217;s 40th year of attending<br \/>\nIBS Conferences and Conventions keeping IBS Members informed on FCC matters.<\/li>\n<li><strong>Craig Schwalb \u00e2\u20ac\u201c WPRO \u00e2\u20ac\u201c Providence<\/strong><\/li>\n<li><strong>Mark Wood \u00e2\u20ac\u201c Executive Producer \u00e2\u20ac\u201c TTN-HD Productions <\/strong><\/li>\n<li><strong>Holland Cook \u00e2\u20ac\u201c national radio programmer\/consultant and contributor to \u201cTalkers\u201d magazine<\/strong><\/li>\n<li><strong>CBS Boston<\/strong><\/li>\n<li><strong>Greater Media Boston<\/strong><\/li>\n<li><strong>Walter McDonough \u00e2\u20ac\u201c founder of the FMC: Future of Music Coalition<\/strong><\/li>\n<li><strong>Station Manager Roundtable Forum<\/strong><\/li>\n<li><strong>Start Your Own <\/strong><\/li>\n<li><strong>Live Music at Lunch with Peter Mancini<\/strong><\/li>\n<li><strong>Record Label<\/strong><\/li>\n<li><strong>Women in Media<\/strong><\/li>\n<li>_______________________________________________<\/li>\n<\/ul>\n<\/ul>\n<p><b>Listen to &#8220;Hylas&#8221; the one hit song from the one hIT <\/b><b>wonder band Jason and the Argonauts<\/b><\/p>\n<div><a href=\"https:\/\/soundcloud.com\/jas-on-7\/hylas\"><b>https:\/\/soundcloud.com\/jas-on-7\/hylas\u00a0<\/b><\/a><\/div>\n<p>&nbsp;<\/p>\n<p>The play has performances at 3 PM October 18 and 25 (Saturdays) and 7 PM on October 19 and 26 (Sundays)<\/p>\n<p><a href=\"http:\/\/theplayjason.blogspot.com\/2014\/10\/examiner-posts-information-on-jason.html\">http:\/\/theplayjason.blogspot.com\/2014\/10\/examiner-posts-information-on-jason.html <\/a><\/p>\n<div id=\"yui_3_16_0_1_1411667255000_3859\"><\/div>\n<p><a href=\"http:\/\/musicbusinessmonthly.com\/wp-content\/uploads\/2013\/08\/10304870_10152676674665349_5610634605722325281_n.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-22\" alt=\"10304870_10152676674665349_5610634605722325281_n\" src=\"http:\/\/musicbusinessmonthly.com\/wp-content\/uploads\/2013\/08\/10304870_10152676674665349_5610634605722325281_n-300x111.jpg\" width=\"300\" height=\"111\" srcset=\"http:\/\/musicbusinessmonthly.com\/wp-content\/uploads\/2013\/08\/10304870_10152676674665349_5610634605722325281_n-300x111.jpg 300w, http:\/\/musicbusinessmonthly.com\/wp-content\/uploads\/2013\/08\/10304870_10152676674665349_5610634605722325281_n-624x232.jpg 624w, http:\/\/musicbusinessmonthly.com\/wp-content\/uploads\/2013\/08\/10304870_10152676674665349_5610634605722325281_n.jpg 792w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a><\/p>\n<h1><a href=\"https:\/\/maps.google.com\/maps?ie=UTF-8&amp;q=club+bohemia+cantab+august+8+Thursday&amp;fb=1&amp;gl=us&amp;hq=club+bohemia+cantab+august+8+Thursday&amp;cid=0,0,8069624388703954653&amp;ei=V1P8UZLaKpHE4AOutICQCg&amp;ved=0CJUBEPwSMAs\" target=\"_hplink\">Directions to the club\u00a0<\/a><\/h1>\n<p><b>DIRECTIONS TO CLUB BOHEMIA IN CENTRAL SQ at the CANTAB,\u00a0 <\/b><b>738 Massachusetts Ave, Cambridge, MA 02139\u00a0\u00a0\u00a0\u00a0 tel: (617)354 2685<\/b><\/p>\n<p>Click here:<\/p>\n<table width=\"1\">\n<tbody>\n<tr>\n<td valign=\"top\"><\/td>\n<td valign=\"top\"><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><a href=\"https:\/\/maps.google.com\/maps?ie=UTF-8&amp;q=club+bohemia+cantab+august+8+Thursday&amp;fb=1&amp;gl=us&amp;hq=club+bohemia+cantab+august+8+Thursday&amp;cid=0,0,8069624388703954653&amp;ei=V1P8UZLaKpHE4AOutICQCg&amp;ved=0CJUBEPwSMAs\">https:\/\/maps.google.com\/maps?ie=UTF-8&amp;q=club+bohemia+cantab+august+8+Thursday&amp;fb=1&amp;gl=us&amp;hq=club+bohemia+cantab+august+8+Thursday&amp;cid=0,0,8069624388703954653&amp;ei=V1P8UZLaKpHE4AOutICQCg&amp;ved=0CJUBEPwSMAs<\/a><\/p>\n<p>__________________________________________<\/p>\n<p>&nbsp;<\/p>\n<p>____________________________________________________<\/p>\n<p>THE HISTORY OF NEW ENGLAND MUSIC<\/p>\n<p>BY JOE VIGLIONE<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>chapter 10<\/p>\n<p>10)Into the 1980s<br \/>\n<a href=\"http:\/\/bostontheeighties.blogspot.com\/\">http:\/\/bostontheeighties.blogspot.com\/<\/a><\/p>\n<div id=\"Header1\" data-version=\"1\">\n<div id=\"header-inner\">\n<div>\n<h1>CHAPTER TEN Boston &#8211; The Eighties &#8211; Joe Viglione&#8217;s History of New England Rock<\/h1>\n<\/div>\n<div><a title=\"http:\/\/bostontheeighties.blogspot.com\/\" href=\"http:\/\/bostontheeighties.blogspot.com\/\" target=\"_blank\">\u00a0http:\/\/bostontheeighties.blogspot.com\/<\/a><\/div>\n<\/div>\n<\/div>\n<div>\n<h2>Tuesday, July 10, 2007<\/h2>\n<div>\n<div>\n<div itemprop=\"blogPost\" itemscope=\"itemscope\" itemtype=\"http:\/\/schema.org\/BlogPosting\"><a name=\"5207004253382422014\"><\/a><\/p>\n<h3 itemprop=\"name\"><a href=\"http:\/\/bostontheeighties.blogspot.com\/2007\/07\/brian-maes-brad-delp-rtz.html\">Brian Maes, Brad Delp &amp; RTZ<\/a><\/h3>\n<div><\/div>\n<div id=\"post-body-5207004253382422014\" itemprop=\"description articleBody\">Remember! To click on any chapter go to this address:<br \/>\n<a href=\"http:\/\/rocktableofcontents.blogspot.com\/\">http:\/\/rocktableofcontents.blogspot.com\/<\/a>1)til tuesday<br \/>\n2)Young Snakes<br \/>\n3)RTZ \/ Barry Goudreau<br \/>\n4)Brad Delp Tribute<br \/>\n5)Robert Ellis Orrall<br \/>\n6)Human Sexual Response<br \/>\n7)Hirsh Gardner<br \/>\n8)Robin LaneBARRY GOUDREAU<br \/>\n<a href=\"http:\/\/www.legacyrecordings.com\/Barry-Goudreau\/Barry-Goudreau.aspx\"><br \/>\nhttp:\/\/www.legacyrecordings.com\/Barry-Goudreau\/Barry-Goudreau.aspx<\/a><br \/>\nTogether with alum from the band <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wifrxqw5ldde\">Boston<\/a>, Barry Goudreau put together an interesting nine songs recorded in Nashville and Los Angeles. It&#8217;s the distinctive <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wifrxqw5ldde\">Boston<\/a> guitar sound with more basic rock &amp; roll. &#8220;What&#8217;s a Fella to Do&#8221; could be a sequel to &#8220;Rock and Roll Band&#8221;; &#8220;Mean Woman Blues&#8221; goes in an almost <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wifixqe5ldje\">Foghat<\/a> direction. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gvfqxqt5ldde\">Fran Cosmo<\/a>&#8216;s vocals feel a bit more British than <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wbfexq95ldje\">Brad Delp<\/a>, and &#8220;Leavin&#8217; Tonight&#8221; leans more toward producer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kifrxq9hldfe\">Mike Chapman<\/a> and the sound of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hifuxqr5ldae\">the Sweet<\/a> than one would expect. Goudreau&#8217;s guitar and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:SYB%7CHASHIAN\">Syb Hashian<\/a>&#8216;s drums are a powerful combo &#8212; no bassist is listed. The song &#8220;Dreams&#8221; gave Goudreau&#8217;s self-titled debut the radio attention it deserved, and a bit of a following. This track definitely sounds like the band <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wifrxqw5ldde\">Boston<\/a> which, rumor has it, upset <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wpfuxqqgldfe\">Tom Scholz<\/a>. In 1992 singer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DELP\">Delp<\/a> and guitarist Goudreau joined <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gifrxq9gldfe\">Brian Maes &amp; the Memory<\/a>. They rode the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gifrxq9gldfe\">Maes<\/a> original &#8220;Until Your Love Comes Back Around&#8221; into the Top 30 in America, and the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:RETURN%7CTO%7CZERO\">Return to Zero<\/a> album was a nice reunion for the two major forces behind this. &#8220;Life Is What We Make It&#8221; and &#8220;Cold Cold World&#8221; are good slices of American hard rock. More refined than <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifoxqe5ldke\">Grand Funk Railroad<\/a> and not as slick as the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3pfqxql5ld6e\">Mickey Thomas<\/a> version of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gifwxqr5ldae\">Starship<\/a>, the <i>Barry Goudreau<\/i> album is a fun record free from the restrictions of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wpfuxqqgldfe\">Scholz<\/a>&#8216;s meticulous production. While &#8220;Cold Cold World&#8221; may evoke thoughts of the song &#8220;Long Time,&#8221; the string quartet on &#8220;Sailin&#8217; Away&#8221; gives the album a depth and identity. Just a bunch of professional musicians playing what they like and coming up with a gem.<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dzfexq85ldje\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dzfexq85ldje<\/a>til tuesday First album VOICES CARRY (Epic)<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kpfqxq95ldje\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kpfqxq95ldje<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">&#8216;Til Tuesday&#8217;s debut album, <i>Voices Carry<\/i>, contains hip photo imagery (<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:AIMEE%7CMANN\">Aimee Mann<\/a>&#8216;s smile on the back is priceless and beautiful) and excellent songwriting, all credited to drummer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MICHAEL%7CHAUSMAN\">Michael Hausman<\/a>, guitarist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ROBERT%7CHOLMES\">Robert Holmes<\/a>, keyboard player <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JOEY%7CPESCE\">Joey Pesce<\/a>, and bassist\/singer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:AIMEE%7CMANN\">Aimee Mann<\/a>. The follow-up would be more specific as to who wrote what. While most bands from Boston suffered from lack of production, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MIKE%7CTHORNE\">Mike Thorne<\/a> does a decent job on much of the album and excellent work on the title track. Former manager <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RANDALL%7CBARBERA\">Randall Barbera<\/a> spoke with this writer prior to the album&#8217;s recording, when <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:HUMAN%7CLEAGUE\">Human League<\/a>\/<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:PETE%7CSHELLEY\">Pete Shelley<\/a> producer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MARTIN%7CRUSHENT\">Martin Rushent<\/a> was being considered for the task. The question for fans was, like <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CCARS\">the Cars<\/a> before them, what was wrong with the hit demo of &#8220;Love in a Vacuum,&#8221; which saturated Boston airwaves prior to the record deal? As good a job as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MIKE%7CTHORNE\">Mike Thorne<\/a> did on the song &#8220;Voices Carry,&#8221; the world at large has not heard the inspired and innovative recording that was the original &#8220;Love in a Vacuum.&#8221; If memory serves, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:WILL%7CGARRETT\">Will Garrett<\/a> did the production work, and like certain tracks by the band <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:PRIVATE%7CLIGHTNING\">Private Lightning<\/a>, the demo to &#8220;Love in a Vacuum&#8221; was superior to what came out on Epic. As <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ROY%7CTHOMAS%7CBAKER\">Roy Thomas Baker<\/a> polished &#8220;Just What I Needed&#8221; for <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CCARS\">the Cars<\/a>, filling it with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:QUEEN\">Queen<\/a>-style thickness, the new wave edge of the demo, on release on Rhino&#8217;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:CARS%7CDELUXE\">Cars Deluxe<\/a>, will give a good example of the transition these songs go through. The big difference is that the original &#8220;Love in a Vacuum&#8221; was perfect and needed no changing, and the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MIKE%7CTHORNE\">Mike Thorne<\/a> version is over-produced, creating a good album track when the true follow-up hit was actually in hand. Epic\/Legacy simply has to expand this disc with the original &#8216;Til Tuesday demos. &#8220;Don&#8217;t Watch Me Bleed&#8221; has the same kind of mesmerizing bass that makes &#8220;Voices Carry&#8221; so captivating, while the final track, &#8220;Sleep,&#8221; could be <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CHUMAN%7CLEAGUE\">the Human League<\/a> going deep into the underground. The song would also work well with a girl group hero like <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BARBARA%7CHARRIS\">Barbara Harris<\/a> of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CTOYS\">the Toys<\/a>, showing the versatility of this unique ensemble. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:AIMEE%7CMANN\">Aimee Mann<\/a>&#8216;s major-label debut shows rapid maturity when compared to her <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:BARK%7CALONG%7CWITH%7CTHE%7CY\">Bark Along With the Young Snakes<\/a> EP, and there&#8217;s something about this combination of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:PESCE\">Pesce<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:HAUSMAN\">Hausman<\/a>, and the brilliant <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ROBERT%7CHOLMES\">Robert Holmes<\/a> that would make a &#8216;Til Tuesday reunion a welcome thing. The haunting lyrics and dark tones of the keys and bass on songs like &#8220;I Could Get Used to This&#8221; or &#8220;No More Crying&#8221; separate this recording from the work of similar &#8217;80s bands. &#8220;Looking Over My Shoulder&#8221; has a bubbling intensity which <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:HOLMES\">Holmes<\/a>&#8216; guitar adds drama to. <i>Voices Carry<\/i> may have achieved success because of the MTV video, but there were nine other songs to go along with the hit, and this album and its follow-ups should have had as much commercial success as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CCARS\">the Cars<\/a>, because artistically, they are equal to that band&#8217;s dynamic debut.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>the YOUNG SNAKES BARK ALONG WITH THE YOUNG SNAKES<br \/>\n<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:ajfixqlkldae\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:ajfixqlkldae<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">The Young Snakes were a trio of musicians who toured the Boston area relentlessly in the early &#8217;80s, featuring <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MICHAEL%7CEVANS\">Michael Evans<\/a> on drums, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DOUGLAS%7CVARGAS\">Douglas Vargas<\/a> on guitar\/vocals, and the unmistakable sound of a young <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:AIMEE%7CMANN\">Aimee Mann<\/a> leading the way. This 1982 release actually has half of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:%5C%27TIL%7CTUESDAY\">&#8216;Til Tuesday<\/a>, with singer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:AIMEE%7CMANN\">Aimee Mann<\/a> and a guest appearance by her eventual drummer (and eventual manager), <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MICHAEL%7CHAUSMAN\">Michael Hausman<\/a>. It&#8217;s an ambitious debut with more funk than <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:%5C%27TIL%7CTUESDAY\">&#8216;Til Tuesday<\/a> and latter-day <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:AIMEE%7CMANN\">Aimee Mann<\/a> would display. The songs are interesting: &#8220;Give Me Your Face&#8221; is along the lines of fellow local rockers <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:NEW%7CMAN\">New Man<\/a>, while &#8220;Suit Me&#8221; is a lighter and more professional version of what <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MISSION%7COF%7CBURMA\">Mission of Burma<\/a> was cranking out at the time. The Young Snakes are more cohesive than <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BURMA\">Burma<\/a>, their attack more precise, the message more clear. With <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MANN\">Mann<\/a> co-writing all five tunes with guitarist\/vocalist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DOUGLAS%7CVARGAS\">Douglas Vargas<\/a>, the state-of-mind hook of &#8220;Suit Me&#8221; on side one melts into &#8220;Don&#8217;t Change Your Mind&#8221; on side two, a dreamy vocal with static instrumentation, the beginnings of the wonderful musical paradox which <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MANN\">Mann<\/a> would perfect on the first <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:%5C%27TIL%7CTUESDAY\">&#8216;Til Tuesday<\/a> album. &#8220;The Way the World Goes&#8221; plays with the exotic rock <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:YOKO%7CONO\">Yoko Ono<\/a> would experiment with on the flip of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHN%7CLENNON\">John Lennon<\/a> singles, the scratchy &#8220;Why&#8221; or &#8220;Walking on Thin Ice&#8221; guitars <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ONO\">Ono<\/a> had the honor of working with. &#8220;Not Enough&#8221; sounds like a relationship on the skids, with the voice struggling with the dilemma and the musicians reflecting it \u2014 a very original episode. This EP is absolutely important to get a handle on the early work of the eventual Oscar nominee (<i>Magnolia<\/i> soundtrack), and maybe a re-release of this, along with live Young Snakes material and the superb <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:%5C%27TIL%7CTUESDAY\">&#8216;Til Tuesday<\/a> demos (if memory serves, produced by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:WILL%7CGARRETT\">Will Garrett<\/a>), would be a treat for the fans who visit her web page. This first effort by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:AIMEE%7CMANN\">Aimee Mann<\/a> is something she can be proud of.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>RTZ RETURN TO ZERO <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:d9fexqy5ld6e\"><br \/>\n<\/a><a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:d9fexqy5ld6e\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:d9fexqy5ld6e<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">&#8220;Until Your Love Comes Back Around&#8221; hit Top 30 in February of 1992, and helped forge a new identity for ex-<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifrxqw5ldde\">Boston<\/a> guitarist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fyxqy5ldte\">Barry Goudreau<\/a> as well as perpetual <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifrxqw5ldde\">Boston<\/a> member, vocalist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BRAD%7CDELP\">Brad Delp<\/a>. Definite &#8217;80s rock, the opening track, &#8220;Face the Music,&#8221; could have worked on a latter day <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:STARSHIP\">Starship<\/a> album as well. On paper this looked like a huge act. The stadium veteran <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DELP\">Delp<\/a> fronting what became <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:PETER%7CWOLF\">Peter Wolf<\/a>&#8216;s band, bassist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gcfwxqq5ldke\">Tim Archibald<\/a> from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gxfyxqqgldhe\">New Man<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifqxqw5ldfe\">California Raisins<\/a>\/<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ROBERT%7CELLIS%7CORRAL\">Robert Ellis Orral<\/a> drummer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:dpftxqugldje\">David Stefanelli<\/a>, and keyboardist\/songwriter <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gifrxq9gldfe\">Brian Maes<\/a>. The latter three are also a self-contained unit known as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BRIAN%7CMAES%7C&amp;%7CTHE%7CMEMO\">Brian Maes &amp; the Memory<\/a>, and they brought a cohesion to RTZ which helped the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifrxqw5ldde\">Boston<\/a> band refugees deliver the goods. &#8220;There&#8217;s Another Side&#8221; is right up there with the opening track, a grade-A effort, only overshadowed by the beauty of the hit ballad &#8220;Until Your Love Comes Back Around.&#8221; Live they would perform &#8220;Dreams,&#8221; the song from the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:BARRY%7CGOUDREAU\">Barry Goudreau<\/a> album that <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wpfuxqqgldfe\">Tom Scholz<\/a> allegedly felt sounded TOO much like his group, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifrxqw5ldde\">Boston<\/a>. They were careful with <i>Return to Zero<\/i> to lean more towards <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BRAD%7CDELP\">Brad Delp<\/a>&#8216;s pop side, &#8220;All You&#8217;ve Got&#8221; a perfect example proving <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:GOUDREAU\">Goudreau<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DELP\">Delp<\/a> a formidable writing team. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wcfpxql5ldhe\">Chris Lord-Alge<\/a>&#8216;s production is straightforward, no nonsense let&#8217;s capture this excellent band exactly as they are. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:GOUDREAU\">Goudreau<\/a>&#8216;s guitar bursts on &#8220;All You&#8217;ve Got&#8221; are short and sweet, and combine his masterful playing with a bit of the band <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifrxqw5ldde\">Boston<\/a>&#8216;s magical sound. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DELP\">Delp<\/a> recorded three solo songs in the summer of 1988 at Mission Control Studios which went from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifrxqw5ldse\">Beatles<\/a> to <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jifwxqr5ldae\">Steely Dan<\/a> in the influences that made up their essence. That sound would have benefited RTZ in a very big way. Sure, &#8220;This Is My Life&#8221; has some of that tension as well as some of those ideas, but like most of this disc, the band becomes overpowering, and the material, although exquisite and beautiful, tends to sound dated. They manufactured a sound and stuck with it, but had these artists thrown a few more elements into this &#8220;debut,&#8221; if it can be called that, they might have been able to penetrate part of the timeless <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jifwxqr5ldae\">Steely Dan<\/a>\/<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifrxqw5ldse\">Beatles<\/a> marketplace, and not just the arena rock domain they were aiming for. Perhaps what is truly amazing is that the millions upon millions of fans rabid for a new <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifrxqw5ldde\">Boston<\/a> album didn&#8217;t devour this package which, despite its flaws, has a lot to offer. Between the variety of musicians there was an overabundance of good material, and Giant\/Reprise, by not fostering a half a dozen or more albums, did the world a great disservice. &#8220;Rain Down on Me&#8221; is hard hitting without the excess of a <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3pfqxql5ld6e\">Mickey Thomas<\/a>, or the bombast that <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gifrxqe5ldse\">Journey<\/a> tended to overdo. The music is big, but controlled, and all involved are cognizant of the ever important pop hook. Yes, it is &#8217;80s rock in the &#8217;90s, but if you are in the mood for that style of music, <i>Return to Zero<\/i> has integrity and will hold your interest.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>RETURN TO ZERO LOST<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0bfqxqukldde\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0bfqxqukldde<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">The release of the 11-track <i>Lost<\/i> album by Return to Zero on the Japanese Avalon label in 2000 found U.S. domestic re-release in 2005 on keyboard player <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gifrxq9gldfe\">Brian Maes<\/a>&#8216; own Briola Records, with the exotic and very artsy <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fwxqyhldfe\">Ron Pownall<\/a> cover on the import replaced by drummer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:dpftxqugldje\">David Stefanelli<\/a>&#8216;s more subdued graphics and the disc retitled <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:LOST%7CIN%7CAMERICA\">Lost in America<\/a> by RTZ. It&#8217;s terrific. Following the RTZ debut album and tour, the arena rockers recorded this material in <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifrxqw5ldde\">Boston<\/a> guitarist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fyxqy5ldte\">Barry Goudreau<\/a>&#8216;s basement, with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fyxqy5ldte\">Goudreau<\/a> replacing <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wcfpxql5ldhe\">Chris Lord-Alge<\/a> as engineer\/producer. The bandmembers embrace this sudden freedom of expression by dipping into a variety of pop bags that suit them very well. &#8220;Violent Days&#8221; is a sublime <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:09fexqtgld0e\">R.E.M.<\/a>-style light rocker with a hook that won&#8217;t quit. The enormous talents of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wbfexq95ldje\">Brad Delp<\/a> have always been restrained in the confines of the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifrxqw5ldde\">Boston<\/a> project \u2014 his solo recordings along with his uncanny ability to sing the parts of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifrxqe5ldde\">John<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jifyxqe5ldfe\">Paul<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifrxqe5ld0e\">George<\/a>, <i>and<\/i> <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fifwxqr5ldae\">Ringo<\/a> in his <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifrxqw5ldse\">Beatles<\/a> tribute, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BEATLEJUICE\">Beatlejuice<\/a>, are evidence of his creative spark, perhaps the most underrated major star in Boston (the city). &#8220;Turn This Love Around&#8221; is certainly a strange title for a band that hit the Billboard Top 40 with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gifrxq9gldfe\">Brian Maes<\/a>&#8216; &#8220;Until Your Love Comes Back Around,&#8221; this unique and different composition written by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wbfexq95ldje\">Delp<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fyxqy5ldte\">Goudreau<\/a>, and drummer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:dpftxqugldje\">Dave Stefanelli<\/a>. It&#8217;s a majestic Brit-pop episode resplendent in <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifrxqe5ld0e\">George Harrison<\/a>-style guitars. &#8220;One in a Million,&#8221; with its &#8217;50s flavors, could easily have fit on <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fiftxqr5ldhe\">Robert Plant<\/a>&#8216;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifpxqe5ldae\">Honeydrippers<\/a> project. OK, maybe RTZ have more of a modern edge, so they take that vintage R&amp;B and bring it to the end of the century. &#8220;Change for Change&#8221; could be a long-lost sequel to 1989&#8217;s &#8220;Sowing the Seeds of Love&#8221; by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifpxqr5ldse\">Tears for Fears<\/a> \u2014 plenty of &#8220;I Am the Walrus&#8221; flavors to go round \u2014 while the slick structure of the opening track, &#8220;When You Love Someone,&#8221; leans more toward <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:djfuxqrgldhe\">Jefferson Starship<\/a> or, dare it be suggested, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:a9foxq85ldse\">Orion the Hunter<\/a> by way of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fifpxqw5ldae\">Bryan Adams<\/a>. It&#8217;s a melting pot of styles culminating in a nod to, of all people, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifrxqw5ldfe\">Eric Carmen<\/a>&#8216;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifwxqr5ldje\">Raspberries<\/a> on &#8220;Dangerous,&#8221; concluding the album with a driving pop sound good for cruising around with the convertible top down. The frivolity is welcome, as this essential follow-up has a much more relaxed feel than its predecessor. The balance brought by way of the light atmosphere does not in any way inhibit the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifqxqw5ldfe\">Byrds<\/a>-meets-<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifixqr5ldse\">Traveling Wilburys<\/a> folk-rocker &#8220;Don&#8217;t Lead Me On&#8221; from succinctly offering some of the CD&#8217;s best moments and reiterating them in one song. It&#8217;s one of the rare moments when Uncle Irving let one get away, and that&#8217;s a pity. Much of this album deserves to be played over and over again on the radio.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>BRAD DELP, AN APPRECIATION<br \/>\n<a href=\"http:\/\/www.townonline.com\/northshoresunday\/news\/x1909635070\">http:\/\/www.townonline.com\/northshoresunday\/news\/x1909635070<\/a><\/p>\n<div>By Joe Viglione<\/div>\n<div>GateHouse Media<\/div>\n<div>Fri Mar 30, 2007, 12:57 PM EDT<\/div>\n<hr \/>\n<div>Story Tools: <img decoding=\"async\" title=\"Email This\" alt=\"Email This\" src=\"http:\/\/northshoresunday.static.ghm.zope.net\/resources\/global\/images\/tools_email.gif\" \/> <a href=\"mailto:?subject=Brad%20Delp:%20An%20appreciation&amp;body=http:\/\/www.townonline.com\/northshoresunday\/news\/x1909635070\">Email This <\/a>| <img decoding=\"async\" title=\"Print This\" alt=\"Print This\" src=\"http:\/\/northshoresunday.static.ghm.zope.net\/resources\/global\/images\/tools_print.gif\" \/> <a href=\"http:\/\/www.blogger.com\/post-edit.g?blogID=6934830596998129410&amp;postID=5207004253382422014#\">Print This <\/a><\/div>\n<div>\n<div>Beverly &#8211;<\/div>\n<p>Brad Delp was probably the most obscure superstar in the history of rock and roll. Think about it for a moment. The fellow who went to Danvers High School was the voice on recordings that sold in the same multi-platinum (platinum equals a million sales) league as the Beatles, Whitney Houston, Fleetwood Mac, the Rolling Stones and others in that select and elite group. But where a David Lee Roth or a Sammy Hagar could emerge as a \u201cname\u201d from inside the Van Halen household, the band Boston was always synonymous with Tom Scholz.<\/p>\n<p>The kids who purchased Boston albums never really got to see Brad Delp, the recording artist. They got to hear a rock star reach amazing notes to complement the equally amazing guitar-based songs of Tom Scholz.<\/p>\n<p>Scholz, as leader of the band Boston, has gotten a lot of negative press since the tragic suicide of his group\u2019s most familiar lead vocalist, but that is because it sells papers. Anyone being part of something that huge has to just thank his lucky stars. Will there be battles when a band hits the big time? Absolutely \u2014 look at all the names mentioned above.<\/p>\n<p>Why Brad Delp didn\u2019t utilize the platform to go forth on his own as Steve Perry from Journey did, as Lou Gramm from Foreigner did, as so many frontmen in rock were able to do, had to do with his own personality more than his talent not being marketed properly. His talent was enormous and this writer is probably more aware of it than most: I was the manager of Mission Control Studios in the summer of 1988, and it was the solo recordings by Brad Delp that were among some of the most magical moments these ears heard that summer.<\/p>\n<p>When The Cars\u2019 vocalist Ben Orr died of pancreatic cancer on Oct. 3, 2000, it was a major tragedy \u2014 the true end of The Cars. But Ben\u2019s five-month battle with cancer was one of those hopeless situations that one approaches with resignation, sadness, and the thought that there was nothing else that could be done. The suicide of Brad Delp, on the other hand, sent shockwaves through the New England music community. No one saw this coming, including this writer.<\/p>\n<p>&nbsp;<\/p>\n<p>Loose ends, sleepless nights<\/p>\n<p>I met with Brad on Feb. 10 at The Regent Theater after a Beatlejuice performance. He saw me as he was signing autographs and said \u201cJoe, wait there!\u201d So I patiently waited for the fellow I first met in 1988 (though he appeared on a Jim Femino track, \u201cParty Tonight,\u201d that my record label issued in 1983). You\u2019ve heard the rumors about him being \u201cthe nicest guy in rock and roll,\u201d and outside of his untimely passing and the way it was done, he truly was.<\/p>\n<p>So here I am a day shy of a month before Brad would leave us and he\u2019s talking to me about my <em>North Shore Sunday<\/em> article on the late Jo Jo Laine, a girl he dated in the early 1970s when they lived on in Danvers. These two people from the same street were drawn to the same music \u2014 both attended the Beatles at Suffolk Downs in 1966, though separately. Both became larger than life and both remained a lot more obscure than they should\u2019ve been.<\/p>\n<p>\u201cHey Joe&#8230;Great To Finally Meet You! Best of luck! Brad Delp Boston 88!\u201d says the autograph on this writer\u2019s copy of the Third Stage album from the group known as Boston. Perhaps Brad\u2019s humility was part of what kept him from being a household name, despite being the voice on the biggest selling debut in rock history. According to About.com, the first \u201cBoston\u201d album has sold 17 million units as of 2003 \u2014 17 million units and every track a staple on classic rock radio. Oldies as well as classic rock, satellite radio stations and college DJs all play \u201cMore Than A Feeling\u201d repeatedly, the voice of Brad Delp echoing out of radios and iPods everywhere.<\/p>\n<p>There are so many loose ends with this untimely death that it has generated many sleepless nights for those who knew the singer. He is larger than life in death, larger than he ever was performing to hundreds of thousands of fans over the years. Millions and millions buying his voice on record, millions and millions more hearing that voice on the radio. He is probably the biggest unknown superstar of all time. Think about it. How does one sell that many records without being a household name until his eerie and troubling death?<\/p>\n<p>Those who knew Brad personally were especially rattled by the event. David Bieber of the Boston Phoenix noted that former Boston manager, Charlie McKenzie, passed away five years earlier almost to the day \u2014 I believe it was March 8, 2002. A fellow who opened for the band Boston, singer Bobby Hebb, said three words to me when we spoke: \u201cWe lost Brad.\u201d<\/p>\n<p>Bradley saw the legendary Bobby Hebb, former Rockport resident, perform \u201cSunny\u201d on Aug. 18, 1966 at Suffolk Downs, opening for The Beatles. When I saw him Feb. 10, Brad agreed to do an interview regarding Bobby\u2019s performance with Mr. Hebb\u2019s biographer, who coincidentally lives a few blocks away from The Regent Theater where Beatlejuice played. When I mentioned that Beatlejuice, Bobby Hebb, The Remains, The Ronettes and The Cyrkle should all do a Beatles 41st anniversary reunion show, Brad noted that he would be on tour with Boston, and that he would be getting married that very day, Aug. 18, 2007.<\/p>\n<p>One wonders if a man is about to be married, is going on tour with one of the biggest bands in the world, and is happy playing the songs of his favorite band, the Beatles, why he would kill himself in such a determined, uncharacteristic and harrowing way.<\/p>\n<p>A man in crisis<\/p>\n<p>Let me clarify this. I have only had kind, wonderful and pleasant thoughts of Brad Delp ever since meeting him in 1988. He was a nice person I knew, though we were never close friends or even associates \u2014 we were two individuals who traveled the same circles who shared a mutual respect. We had wonderful conversations when we did get to talk to one another.<\/p>\n<p>Now I\u2019m downright angry. Angry that if he had a mental illness, why no one close to him did anything about it. Why didn\u2019t record industry didn\u2019t have safeguards in place to protect such an important voice? That question can be said of many, many great artists, and just shows how skewed the priorities in the record industry are. Protect the copyright over flesh and blood human beings!<\/p>\n<p>For the past week I\u2019ve not been able to sleep well, ever since the news of his passing by his own hand. I could be OK with it if he had had a heart attack or passed away as Ben Orr did, because of an illness, but not this way, not an exit that is both grisly, chilling and destructive to those who loved his voice and who appreciated him.<\/p>\n<p>It is shocking that I never saw this coming. Looking into his eyes and speaking to him exactly one month before his death gave me no indication that he was a man in crisis.<\/p>\n<p>Meanwhile, Brad did have a hit without Boston. It came in 1992 with his band RTZ, featuring Tim Archibald, Brian Maes and Barry Goudreau, a group of musicians who created incredible music with Brad that went pretty much unappreciated.<\/p>\n<p>There are three RTZ albums available and if you are looking to remember this great singer, seek them out. They are treasures and show more of the man\u2019s talent, more than just what the world knows from the hit songs of the band Boston.<\/p>\n<p>My hope is that Brad Delp pulled a Jim Morrison and vanished to parts unknown. I don\u2019t think it is fair to blame Tom Scholz \u2014 those in the know realize it is a much more complex situation than that, and over time more of the story will unfold. In a world where life seems to have little value, where we read of so much tragedy that the old clich\u00e9 \u201cone death is a tragedy, hundreds are statistics\u201d becomes all the more telling.<\/p>\n<p>There is anger here because so many people claim they loved and cared for Brad, but if they did, it didn\u2019t help in the end. And Brad Delp was one life worth saving.<\/p>\n<p><em>Joe Viglione is a freelance writer.<\/em><\/p>\n<\/div>\n<p>FIXATION ROBERT ELLIS ORRAL 1981<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dxfqxqt5ldhe\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dxfqxqt5ldhe<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">Producer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JOSHIAH%7CSPAULDING\">Joshiah Spaulding<\/a> released the American version of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:FLEETWOOD%7CMAC\">Fleetwood Mac<\/a> guitarist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:PETER%7CGREEN\">Peter Green<\/a>&#8216;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:IN%7CTHE%7CSKIES\">In the Skies<\/a> disc on his Sail Records in 1979, and, two years later, the man who would run the prestigious Wang Center in Boston, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:SPAULDING\">Spaulding<\/a>, helps keyboardist Robert Ellis Orrall create his <i>Fixation<\/i> album. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RANDY%7CROOS\">Randy Roos<\/a> of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ORCHESTRA%7CLUNA\">Orchestra Luna<\/a> shows up as a guest artist here, and it is kind of coincidental because the bands that emerged from that outfit, the original <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:LUNA\">Luna<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BERLIN%7CAIRLIFT\">Berlin Airlift<\/a>, were creating many of the sounds that canvas this album. Robert Ellis Orrall takes <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RICK%7CKINSCHERF\">Rick Kinscherf<\/a>&#8216;s quirky and eccentric ideas and makes them mainstream, veering off into a <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JOE%7CJACKSON\">Joe Jackson<\/a> kind of arena, especially on &#8220;How Can She (Even Like That Guy),&#8221; which is a slight re-write of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CJOE%7CJACKSON%7CGROUP\">the Joe Jackson Group<\/a>&#8216;s &#8220;Is She Really Going Out With Him.&#8221; The material isn&#8217;t all that original, but it is very good; a song like &#8220;Actually&#8221; has its moments, and &#8220;Call The Uh-Oh Squad&#8221; got regional play for the singer\/songwriter, and deservedly so. It is a standout novelty track you wouldn&#8217;t expect to hear from this crew. In two years time, Orrall would hit the Top 30 with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:CARLENE%7CCARTER\">Carlene Carter<\/a> on a song released from his <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:SPECIAL%7CPAIN\">Special Pain<\/a> EP, and these beginnings on Why-Fi\/RCA are a nice start with the calliope keyboard sounds and Orrall&#8217;s intense and heartfelt vocals. As <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JOE%7CJACKSON\">Joe Jackson<\/a> borrowed heavily from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ELVIS%7CCOSTELLO\">Elvis Costello<\/a>, the Robert Ellis Orrall group borrows heavily from Jackson and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RICK%7CBERLIN\">Rick Berlin<\/a>, these short two- and three-minute songs following in <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:COSTELLO\">Costello<\/a>&#8216;s footsteps as well. Orrall&#8217;s material would get stronger, more polished, and he and his group would forge an identity of their own, but while <i>Fixation<\/i> draws from many elements, it is a worthwhile first chapter for the Lynnfield, MA, native who circumvented Boston&#8217;s underground rock scene, while becoming an essential part of it because of the major-label releases. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DAVID%7CSTEFANELLI\">David Stefanelli<\/a> of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RTZ\">RTZ<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CBELOVED%7CFEW\">the Beloved Few<\/a>, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CCALIFORNIA%7CRAISIN\">the California Raisins<\/a> is on drums keeping things grooving, as he always does, and <i>Fixation<\/i> has moments which hold up well years after its recording.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>CONTAIN YOURSELF (1984) ROBERT ELLIS ORRAL<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:j9fpxqlhldhe\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:j9fpxqlhldhe<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">As each early-&#8217;80s album by Robert Ellis Orrall progressed, they got better and better. &#8220;Walking Through Landmines&#8221; is very smart dance music, leaning towards modern rock. Fusing the slick <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ROXY%7CMUSIC\">Roxy Music<\/a> avant-garde with the most commercial aspects of underground rock, Orrall&#8217;s musical journey becomes all the more inviting. &#8220;She Takes a Chance&#8221; is exotic, and the inclusion of drummer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DAVID%7CSTEFANELLI\">David Stefanelli<\/a>&#8216;s first wife, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JANE%7CBALMOND\">Jane Balmond<\/a>, brings a bit of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BERLIN%7CAIRLIFT\">Berlin Airlift<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BALMOND\">Balmond<\/a>&#8216;s former band, into the mix. Robert Ellis Orrall was very much a mass-market version of what <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RICK%7CBERLIN\">Rick Berlin<\/a> was up to at the time, so it is all very logical. &#8220;Alibi&#8221; has producer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ROGER%7CBECHIRIAN\">Roger Bechirian<\/a> co-writing with the singer and musician <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:SIMON%7CBYRNE\">Simon Byrne<\/a>, and the song is as solid as the rest of the work here. &#8220;Kids With Guns&#8221; takes Robert&#8217;s &#8220;Call The Uh Oh Squad&#8221; from his <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:FIXATION\">Fixation<\/a> LP to another level, as this natural extension to <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:SPECIAL%7CPAIN\">Special Pain<\/a> provides the songwriter\/vocalist a chance to stretch. Keyboard player <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BRIAN%7CMAES\">Brian Maes<\/a> and drummer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:STEFANELLI\">Stefanelli<\/a> also performed on <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BECHIRIAN\">Bechirian<\/a>&#8216;s production of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:SIMON%7CBYRNE\">Simon Byrne<\/a>, who sings background vocals on this disc. They would later back <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BRAD%7CDELP\">Brad Delp<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BARRY%7CGOUDREAU\">Barry Goudreau<\/a> of the band <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BOSTON\">Boston<\/a>, whose <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:RTZ\">RTZ<\/a> hit in 1992 with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MAES\">Maes<\/a>&#8216; &#8220;Until Your Love Comes Back Around.&#8221; As good as <i>Contain Yourself<\/i> is, with &#8220;(I Hear) Your Heartbeat&#8221; and &#8220;Spitting in Fatsos Eyes,&#8221; one wonders if the bandmembers contributed a bit more how successful it could&#8217;ve been? <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:HAWKWIND\">Hawkwind<\/a>\/<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CPOGUES\">the Pogues<\/a> engineer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:PAUL%7CCOBBOLD\">Paul Cobbold<\/a> brings the techno sound he gave to the opening track, &#8220;Walking Through Landmines,&#8221; back to his production work on &#8220;Little Bits of Love,&#8221; the only two songs <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BECHIRIAN\">Bechirian<\/a> did not have participation on; it sounds a bit like <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:PETER%7CGODWIN\">Peter Godwin<\/a>&#8216;s &#8220;Images of Heaven,&#8221; the techno of &#8220;There&#8217;s Nothing Wrong With You&#8221; following suit. &#8220;That Dream&#8221; is as consistent as everything else on <i>Contain Yourself<\/i>, an excellent effort by a group that should have put out a dozen or so records.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>SPECIAL PAIN ROBERT ELLIS ORRAL<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;token=&amp;sql=10:gvfrxqy5ldse\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;token=&amp;sql=10:gvfrxqy5ldse<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">Two years after his Why-Fi\/RCA debut, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:FIXATION\">Fixation<\/a>, the sound of Robert Ellis Orrall here is much more polished, as is the look, and it is all ready for prime time. &#8220;Tell Me If It Hurts&#8221; kicks off this maxi-EP; a great cover photo of the singer has him looking ever so serious, and the music is just that, with the title of the disc, <i>Special Pain<\/i>, taken from a line in the opening song. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ROGER%7CBECHIRIAN\">Roger Bechirian<\/a>&#8216;s production is much more contemporary than that which <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JOSHIAH%7CSPAULDING\">Joshiah Spaulding<\/a> got on <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:FIXATION\">Fixation<\/a>; there is more depth, with the group sounding like <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CFIXX\">the Fixx<\/a>, whose &#8220;Saved By Zero&#8221; was out this same year (maybe the EP should have been called FIXXation 2!). The guitar is grittier, the saxophone subdued, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DAVID%7CSTEFANELLI\">David Stefanelli<\/a>&#8216;s drums rock like that other famous Boston drummer named David, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DAVID%7CROBINSON\">David Robinson<\/a> of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CCARS\">the Cars<\/a>. It&#8217;s a major progression for the group, and it&#8217;s too bad &#8220;Senseless&#8221; wasn&#8217;t a big, big hit, but that&#8217;s OK because &#8220;I Couldn&#8217;t Say No,&#8221; a duet with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:CARLENE%7CCARTER\">Carlene Carter<\/a>, was. Producer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BECHIRIAN\">Bechirian<\/a> worked with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:CARTER\">Carter<\/a>&#8216;s one-time husband, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:NICK%7CLOWE\">Nick Lowe<\/a>, as well as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ELVIS%7CCOSTELLO\">Elvis Costello<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CMONKEES\">the Monkees<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:WANG%7CCHUNG\">Wang Chung<\/a>, and others. He also produced <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:CARTER\">Carter<\/a>&#8216;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:C%5C%27EST%7CC%7CBON\">C&#8217;est C Bon<\/a> album this same year, 1983. The amusing thing is that, where <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:FIXATION\">Fixation<\/a> copped <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:COSTELLO\">Costello<\/a> in many ways, the band found itself working with that artist&#8217;s engineer\/producer and came off sounding like a <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RUPERT%7CHINE\">Rupert Hine<\/a> production \u2014 not a bad thing at all. &#8220;Facts and Figures&#8221; even has that &#8220;Saved By Zero&#8221; feel; the smart sounds of British pop for a Boston band were just what the doctor ordered. It&#8217;s great stuff, and a shame it is limited to five tracks of a mini-LP. The hit is an anomaly; it went Top 30 that spring with heavy vocals and a slick pop sound a little different from the rest of this disc, but just as exhilarating.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>IN A ROMAN MOOD HUMAN SEXUAL RESPONSE<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:3xfexql5ld6e\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:3xfexql5ld6e<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">&#8220;Andy Fell,&#8221; &#8220;Pound,&#8221; and &#8220;Land of the Glass Pinecones&#8221; are three extraordinary pieces of music on an equally extraordinary album. For those who felt producer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:azfwxqlgldde\">Mike Thorne<\/a> missed the mark with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:TIL%7CTUESDAY\">til tuesday<\/a> and some of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CSHIRTS\">The Shirts<\/a> <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:STREET%7CLIGHT%7CSHINE\">Street Light Shine<\/a> album, he redeems himself here recording this essential Boston band with accuracy, something many of the contemporaries of Human Sexual Response failed to get, great production. Andy didn&#8217;t fall in &#8220;Andy Fell,&#8221; nor was he pushed. He jumped. It&#8217;s a song about suicide at a dormitory, a frightening and haunting prophecy since this practice became in vogue at campuses around Boston in the late 90s. The drums on &#8220;Marone Offering&#8221; kick right in, as does <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wbfrxq85ldte\">Rich Gilbert<\/a>&#8216;s incessant guitar. The band&#8217;s genius was generated by the multiple vocalists fronting a perfect rock unit. Imagine a hard rock <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:TEMPTATIONS\">Temptations<\/a> during their experimental period fronted by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CB-52%5C%27S\">the B-52&#8217;s<\/a>. It&#8217;s a strange mixture that worked thanks to a combination of talents, all who contributed mightily. &#8220;Keep A Southern Exposure&#8221; is not one of the band&#8217;s more well known tunes, but it provides insight towards their unlimited creativity and able to execute. Discovered by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kpfoxq9gldhe\">Don Rose<\/a> who went on to form the legendary Rykodisc label before it was purchased by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:CHRIS%7CBLACKWELL\">Chris Blackwell<\/a>, the two HSR Passport albums were re-released on Eat Records, distributed by Rykodisc. Eat was <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kpfoxq9gldhe\">Don Rose<\/a>&#8216;s imprint prior to the creation of Rykodisc. &#8220;Blow Up&#8221; is the closest they came to sounding like <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CB52\">The B52<\/a>&#8216;s, a violent song about destruction with the classic line &#8220;faster pussycats kill kill.&#8221; &#8220;House Of Atreus&#8221; is a strange one, a long <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jcfuxqw5ldte\">Larry Bangor<\/a> epistle which leads into what might be their finest moment, &#8220;Land Of The Glass Pinecones.&#8221; This song takes the theme of &#8220;Lucy In The Sky With Diamonds&#8221; even deeper. Though &#8220;What Does Sex Mean To Me&#8221; from the first album got into the film <i>Threesome<\/i>, and while both the demo and lp version of &#8220;Jackie O&#8217;Nassis&#8221; became hits as well as their signature tune, &#8220;Land Of The Glass Pinecones&#8221; is a sacred moment in modern rock. It&#8217;s pure magic with intense voices and blitzing bass and guitars. Members of this band branched off to become <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:f9foxqe5ldde\">The Zulus<\/a>, while <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fifyxqtjld0e\">Dini Lamot<\/a> re-emerged as the successful and highly notorious drag queen <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MUSTY%7CCHIFFON\">Musty Chiffon<\/a>, including <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JACKIE%7CO%5C%27NASSIS\">Jackie O&#8217;Nassis<\/a> in his stage act. Outside of a few &#8220;reunion&#8221; gigs, this essential act is no more, yet <i>In A Roman Mood<\/i> remains a tremendous work of art just waiting to be rediscovered. Seek out the 12&#8243; single of &#8220;Pound from this LP.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>HIRSH GARDNER WASTELAND FOR THE BROKEN HEARTS (2003)<br \/>\n<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:wxfuxqwaldae\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:wxfuxqwaldae<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">For fans of arena rockers <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:f9ftxq85ldae\">New England<\/a> who wanted and needed more from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wbftxqr5ld6e\">John Fannon<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfqxqegldke\">Gary Shea<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wzftxqrgld0e\">Jimmy Waldo<\/a> and drummer Hirsh Gardner there were obscure tapes by many artists utilizing the group&#8217;s trademark sound, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wbftxqr5ld6e\">Fannon<\/a> and Gardner producing recordings when <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:f9ftxq85ldae\">New England<\/a> went their separate ways in 1983. 15 years after the breakup, New York&#8217;s GB Music re-issued the original three-LP catalog on CD including a 20th anniversary, 10-song collection of demos for a fourth disc, &#8220;New England -1978&#8221;. The liner notes implied that the band may reunite. And reunite they did, for a couple of moments, on Hirsh Gardner&#8217;s long awaited solo album, <i>Wasteland for Broken Hearts<\/i>. The band showed up on the excellent final track, &#8220;More Than You&#8217;ll Ever Know,&#8221; a song with a theme similar to their 1979 Top 40 hit, &#8220;Don&#8217;t Ever Wanna Lose Ya,&#8221; and on &#8220;Welcome Home,&#8221; co-written by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wbftxqr5ld6e\">John Fannon<\/a>: another fine song which seems like a sequel to the group&#8217;s &#8220;Explorer Suite,&#8221; the title track to their second album from 1980. As fellow Bostonian <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fifixq8kld6e\">Willie Alexander<\/a> found his music being released in Japan on the Captain Trip label, GB Music licensed this to the Japanese company Marquee.<i>Wasteland for Broken Hearts<\/i> is a remarkable record, engineered and produced by Gardner, who wrote all the songs, with the exception of the aforementioned &#8220;Welcome Home,&#8221; as well as a cover of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3pfixqygld0e\">John Spinks<\/a>&#8216; 1986 Top 10 hit with his band <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gifixqr5ld6e\">The Outfield<\/a>, &#8220;Your Love.&#8221; &#8220;Your Love&#8221; is most impressive, and though it complements the work well, the nugget here is the title track. &#8220;Wasteland for Broken Hearts&#8221; has <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BUDDY%7CSULLIVAN\">Buddy Sullivan<\/a> on bass and lead guitars with Gardner providing vocals, drums and keyboards. It is an amazing re-creation of the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:f9ftxq85ldae\">New England<\/a> sound and is everything that group&#8217;s fans could hope for. &#8220;Don&#8217;t You Steal&#8221; continues the assault; it&#8217;s a solid picture of the music Gardner is so familiar with, the singer\/composer again playing drums and keys with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3bfpxq8kld0e\">Jim Smith<\/a> on lead and rhythm and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:CHRIS%7CCARVALLO\">Chris Carvallo<\/a> on bass. What is happening on this disc is that different musicians step up to the plate giving the songs subtle flavoring while maintaining the precise vocal-heavy dreamy crunch <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:f9ftxq85ldae\">New England<\/a>&#8216;s fan base adores. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ANDRE%7CMAQUERA\">Andre Maquera<\/a> adds his bass and guitar to &#8220;She Is Love.&#8221; The first three songs very, very strong. The pair are joined by two more musicians for &#8220;Thunder In Her Heart,&#8221; with double bass on a tune that would no doubt have garnered more chart action for the group <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifuxqw5ldae\">Asia<\/a>. Gardner&#8217;s wife, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:TRACIE%7CGARDNER\">Tracie Gardner<\/a>, who met Hirsh in the 1980s when he was producing her Boston band &#8220;The Core&#8221;, shows up on the pretty &#8220;When The Sky Cries,&#8221; along with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MICHELA%7CGARDNER\">Michela Gardner<\/a>, and on &#8220;Hold Me In Your Dreams,&#8221; which former <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:f9ftxq85ldae\">New England<\/a> producer and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fifoxqe5ldse\">Kiss<\/a> member <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifqxqr5ldae\">Paul Stanley<\/a> would be wise to cover. This album is a complete and sterling work by a journeyman artist staying true to the sounds he has worked with for over 25 years.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>ROBIN LANE HEART CONNECTION E.P.<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:axftxqe0ld6e\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:axftxqe0ld6e<\/a><br \/>\nOne live track, three studio, all written or co-written by Robin Lane, and the last gasp from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:dbfqxqwgldte\">The Chartbusters<\/a> before their reunion in June of 2001 is this four song E.P. from 1984. Gone is <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:LEROY%3Cbr%20\/%3E%3Cbr%20\/%3ERADCLIFFE\">Leroy<\/a><\/p>\n<p>Radcliffe replaced by keyboardist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:WALLY%7CJ.%7CBAIER\">Wally J. Baier<\/a> and &#8220;additional guitarist&#8221; <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BILLY%7CLOOSIGIAN\">Billy Loosigian<\/a> from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CJONESES\">The Joneses<\/a> \/ <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:WILLIE%7CALEXANDER%5C%27S%7CBO\">Willie Alexander&#8217;s Boom Boom Band<\/a>. Cool double entendre is this &#8220;old message&#8221; with better production values than the three Warner Brothers releases. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ANDY%7CPRATT\">Andy Pratt<\/a> keyboard player and Arista artist himself <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ANDY%7CMENDELSON\">Andy Mendelson<\/a> engineered allowing <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:dbfqxqwgldte\">The Chartbusters<\/a> the total control they never had on the major label discs. It shows with vastly improved sound and fury. The <i>Heart Connection<\/i> e.p. has an authority that the band exuded in live performance at clubs in and around Boston, and would be a delight coupled on cd with their Deli Platters three song single which generated so much interest when Robin Lane hooked up with the ex-members of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CMODERN%7CLOVERS\">The Modern Lovers<\/a>.<\/p>\n<\/div>\n<div>\n<div>Posted by <a title=\"author profile\" href=\"https:\/\/www.blogger.com\/profile\/15345741483306237598\" rel=\"author\" data-gapiscan=\"true\" data-onload=\"true\" data-gapiattached=\"true\"> History of New England Rock <\/a> at <a title=\"permanent link\" href=\"http:\/\/bostontheeighties.blogspot.com\/2007\/07\/brian-maes-brad-delp-rtz.html\" rel=\"bookmark\"><abbr itemprop=\"datePublished\" title=\"2007-07-10T11:20:00-07:00\">11:20 AM<\/abbr><\/a> <a href=\"https:\/\/www.blogger.com\/comment.g?blogID=6934830596998129410&amp;postID=5207004253382422014\"> No comments: <\/a><\/p>\n<div><\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div itemprop=\"blogPost\" itemscope=\"itemscope\" itemtype=\"http:\/\/schema.org\/BlogPosting\"><a name=\"1655596775663688883\"><\/a><\/p>\n<h3 itemprop=\"name\"><a href=\"http:\/\/bostontheeighties.blogspot.com\/2007\/07\/story-of-mass.html\">The story of MASS<\/a><\/h3>\n<div><\/div>\n<div id=\"post-body-1655596775663688883\" itemprop=\"description articleBody\">MASS<\/p>\n<pre><tt><tt>MASS BIOGRAPHY\r\n<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fwxqw5ldse%7ET1\" target=\"_blank\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fwxqw5ldse~T1<\/a>\r\n\r\nNEW BIRTH re-released on CD!  May 2007!\r\n<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:09fexqq5ldae\" target=\"_blank\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:09fexqq5ldae<\/a>\r\n\r\nVOICES IN THE NIGHT\r\n<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:k9fexqq5ldae\" target=\"_blank\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:k9fexqq5ldae<\/a>\r\n\r\nTAKE YOU HOME\r\n<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:j9fexqq5ldae\" target=\"_blank\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:j9fexqq5ldae<\/a>\r\n\r\nBEST ONES\r\n<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0nfwxqtkldje\" target=\"_blank\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0nfwxqtkldje<\/a><\/tt><\/tt><\/pre>\n<\/div>\n<div>\n<div>Posted by <a title=\"author profile\" href=\"https:\/\/www.blogger.com\/profile\/15345741483306237598\" rel=\"author\" data-gapiscan=\"true\" data-onload=\"true\" data-gapiattached=\"true\"> History of New England Rock <\/a> at <a title=\"permanent link\" href=\"http:\/\/bostontheeighties.blogspot.com\/2007\/07\/story-of-mass.html\" rel=\"bookmark\"><abbr itemprop=\"datePublished\" title=\"2007-07-10T11:19:00-07:00\">11:19 AM<\/abbr><\/a> <a href=\"https:\/\/www.blogger.com\/comment.g?blogID=6934830596998129410&amp;postID=1655596775663688883\"> No comments: <\/a><\/p>\n<div><\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div itemprop=\"blogPost\" itemscope=\"itemscope\" itemtype=\"http:\/\/schema.org\/BlogPosting\"><a name=\"4876996624207703333\"><\/a><\/p>\n<h3 itemprop=\"name\"><a href=\"http:\/\/bostontheeighties.blogspot.com\/2007\/07\/john-cate.html\">John Cate<\/a><\/h3>\n<div><\/div>\n<div id=\"post-body-4876996624207703333\" itemprop=\"description articleBody\">John Cate<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfpxqwkldae%7ET1\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfpxqwkldae~T1<\/a><\/p>\n<table id=\"bio\" width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Biography<\/td>\n<td align=\"right\" width=\"352\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">John Cate resides west of Boston, MA, and writes melodic songs with a worldly perspective. Born April 11, 1955, in Liverpool, England, to American ex-pats his parents settled in New England circa 1960. Cate began playing and singing at the age of nine after seeing <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:hifrxqw5ldse\">the Beatles<\/a> on <i>The Ed Sullivan Show<\/i>. Many boys of Italian descent learned the accordion and that was true of Cate, whose first musical instruments included the bass guitar and cello, along with the air-powered keyboard made famous on <i>The Lawrence Welk Show<\/i>. Though the accordion has made its way onto some great pop records, it is interesting how, like other guys from his era, Cate wanted to rock. The calling of his musical influences and heroes \u2014 <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:aifoxqr5ldje\">the Rolling Stones<\/a>, <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifrxqe5ldhe\">Bob Dylan<\/a>, <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifexqr5ldhe\">Tom Petty<\/a>, <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:fifuxqr5ld6e\">Roy Orbison<\/a>, <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:hifrxqw5ldse\">the Beatles<\/a>, and AM Radio Top 40 hits of the &#8217;60s \u2014 is what led to the mixture Cate regards &#8220;a legitimate roots rock sound and style with pop hooks.&#8221;Cate&#8217;s musical career began as bass player with <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:djfoxq8kldae\">Zamcheck<\/a>, named after <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:djfoxq8kldae\">Mark Zamcheck<\/a>, a successful regional band that toured with <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:fifqxqt5ldje\">Gary Burton<\/a> and <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:difwxqy5ldhe\">Pat Metheny<\/a>, played the Newport Jazz Festival, and was managed by the notorious <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:STEVE%7CSESNICK\">Steve Sesnick<\/a>, who was responsible for putting <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:giftxqr5ldde\">the Velvet Underground<\/a> on tour in Europe without <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifrxqr5ldje\">Lou Reed<\/a>. The six-string acoustic was always at the ready, and introspection won over technique giving way to classic American folk-rock singing and songwriting that marks his style today.Cate formed his own recording company, American Music Partners, which spawned the Rose Hip Records label, and began putting out his music in 1996. His first solo record, <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=10:3nfpxql0ldae\"><i>Set Free<\/i><\/a>, was released that year and was heard by producer <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:wpfpxqyhldse\">Anthony Resta<\/a>, who worked with such acts as <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:axfwxqegld0e\">Shawn Mullins<\/a>, <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:fxfoxqw5ldje\">Collective Soul<\/a>, and <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:hifrxqe5ldhe\">Duran Duran<\/a>, among others. <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:wpfpxqyhldse\">Resta<\/a> introduced Cate to Heavy Hitters Publishing, a company that keeps Cate&#8217;s five-record catalog active in network television shows like <i>Touched by an Angel<\/i>, <i>Jack &amp; Jill<\/i>, <i>All My Children<\/i>, <i>The Young &amp; the Restless<\/i>, and many other programs that utilize songs by the singer\/ songwriter.At his record release party in January of 2001 for his fourth album, simply called <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=10:hpfyxqe0ldje\"><i>The John Cate Band<\/i><\/a>, with his friends <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:axfexqwgldae\">the Swinging Steaks<\/a> co-headlining the bill, the band showed a proficiency for combining commercial singalong pop with an earthier, more traditional American sound. It&#8217;s a nice combination that complements <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:axfexqwgldae\">the Swinging Steaks<\/a> country-rock perfectly as both bands don&#8217;t get in each other&#8217;s way, yet provide enough in common to entertain their respective audiences. The two bands tour the U.S. together when schedules permit. It also presents a united front apart from Cate&#8217;s initial work as a singer\/songwriter.In 1996, he released his first CD, <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=10:3nfpxql0ldae\"><i>Set Free<\/i><\/a>, followed by two releases in 1998: <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=10:kbfpxql0ldje\"><i>American Night<\/i><\/a> and <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=10:dnfpxql0ldae\"><i>Never Lookin&#8217; Back<\/i><\/a>, his first with the John Cate Band. After the early 2001 release of <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=10:hpfyxqe0ldje\"><i>The John Cate Band<\/i><\/a>, he got to work on the fifth album, 2002&#8217;s <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=2:V\">V<\/a>.Cate frequently performs in and around New England, in Nashville, TN, and in the Midwestern states, where he has been named an &#8220;Honorary Hoosier.&#8221; His goals are to have a domestic release with an American label similar to his dealings with Blue Rose, expanding his touring base, and increasing his visibility and presence in Nashville. He writes happy songs and loves being part of the songwriting community.John Cate&#8217;s first reaction to meeting <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:hifrxqe5ld0e\">George Harrison<\/a> on a flight to London was: &#8220;Man, do you look like your Dad!&#8221; who Cate knew from Liverpool. Cate also hosts a monthly songwriter showcase at the House of Blues in Cambridge, MA. He co-ventured this long-standing series with <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:jcftxqy5ldke\">Billy Block<\/a>&#8216;s highly successful Western Beat Showcase, which runs weekly in Nashville and Los Angeles, and includes a monthly magazine and nationally syndicated radio show. Western Beat performers have included <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:hiftxqe5ldhe\">Steve Earle<\/a>, <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:fifrxql5ldse\">Emmylou Harris<\/a>, <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:kifexqrgldte\">Buddy<\/a> and <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:jxfoxq95ldke\">Julie Miller<\/a>, and many others.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>John Cate Discography<\/p>\n<p>SET FREE 1996<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:3nfpxql0ldae\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:3nfpxql0ldae<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">There is a na\u00efvet\u00e9 to John Cate&#8217;s first album, entitled <i>Set Free<\/i>, that escapes many groups, and it is this charm that makes songs like &#8220;Phoenix&#8221; and &#8220;Wire in the Wind&#8221; extra special. As disc jockey <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:KEN%7CSHELTON\">Ken Shelton<\/a> says in the liner notes, &#8220;When I listen to the music of <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CJOHN%7CCATE%7CBAND\">the John Cate Band<\/a>, I hear a lot of familiar voices,&#8221; and you&#8217;ll hear the echoes of <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHN%7CCAFFERTY\">John Cafferty<\/a> of <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:BEAVER%7CBROWN\">Beaver Brown<\/a> and <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:SAL%7CBAGLIO\">Sal Baglio<\/a> of <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CSTOMPERS\">the Stompers<\/a>, bands that found inspiration in <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:SPRINGSTEEN\">Springsteen<\/a> and <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:NEIL%7CYOUNG\">Neil Young<\/a>. You&#8217;ll hear those influences, but the imprints of <i>Set Free<\/i> have Cate&#8217;s vision of life, and his lyrical perspective is much different from all of the above. There&#8217;s a pensive reading of &#8220;American Night&#8221; that would become the title of an acoustic album released after this in 1998, the mandolin from <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:PAUL%7CCANDILORE\">Paul Candilore<\/a> just one reason why <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:CANDILORE\">Candilore<\/a> is the secret weapon in Cate&#8217;s arsenal. It sounds like the exact take from the <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=2:AMERICAN%7CNIGHT\">American Night<\/a> album, but that&#8217;s OK, as it is a strong song and a fine presentation. &#8220;Six Chances&#8221; rocks out fine with a fury often displayed by the singer&#8217;s colleagues, <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CSWINGING%7CSTEAKS\">the Swinging Steaks<\/a>. &#8220;Last Train Home&#8221; and &#8220;Temptation&#8221; have more of the &#8220;American music&#8221; sound, which is Cate&#8217;s home and what he does best. When <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHN%7CCOUGAR%7CMELLENCAM\">John Cougar Mellencamp<\/a> attempts to play <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:LOU%7CREED\">Lou Reed<\/a> it is second rate, but Cate successfully gets that <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:REED\">Reed<\/a> vamp down on &#8220;Temptation&#8221;; it&#8217;s more serious than <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:MELLENCAMP\">Mellencamp<\/a>, probably because one gets the feeling Cate hasn&#8217;t studied <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:REED\">Reed<\/a> and this is from the singer&#8217;s own experience. &#8220;Phoenix&#8221; is a standout that you&#8217;ll keep coming back to, as you&#8217;ll want to give second and third looks to <i>Set Free<\/i>, an album by an artist whose evolution keeps unfolding in interesting ways. And it&#8217;s nice to see local figure <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:LAURIE%7CGELTMAN\">Laurie Geltman<\/a> helping out on backing vocals.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>1998 AMERICAN NIGHT<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kbfpxql0ldje\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kbfpxql0ldje<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">For John Cate&#8217;s second album, he chose to follow the lead of one of his heroes and cut a record on his four-track at home, as <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:BRUCE%7CSPRINGSTEEN\">Bruce Springsteen<\/a> did with <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=2:NEBRASKA\">Nebraska<\/a>. The result is a very personal 11-song CD dedicated to his dad, Louis Caterine. <i>American Night<\/i> has enthusiastic compositions coupled with pure artistic expression, with the three other members who make up <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CJOHN%7CCATE%7CBAND\">the John Cate Band<\/a> providing sparse accompaniment. On &#8220;It&#8217;s Allright,&#8221; Cate shows that <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:SPRINGSTEEN\">Springsteen<\/a> isn&#8217;t his only influence; the <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:BOB%7CDYLAN\">Bob Dylan<\/a> vocals would make Cate a prime candidate for a <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:DYLAN\">Dylan<\/a> tribute band. &#8220;Diamond Dust&#8221; is more original, the musicianship downright eerie. There&#8217;s something to be said for impromptu recording \u2014 the essence of the original impressions that created the songs is captured \u2014 and if the liner notes didn&#8217;t mention the lo-fi aspect (though additional recording was done at the professional Metropolis facility), the listener would be hard-pressed to think this wasn&#8217;t a more expensive endeavor. According to the copyrights, the material was written between 1994 and 1998, and this is the only one of John Cate&#8217;s annual album offerings to have a two-year space between its release and that which came before. It&#8217;s commendable that an independent artist would release such an introspective album; as the <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:DYLAN\">Dylan<\/a> and <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:SPRINGSTEEN\">Springsteen<\/a> types know, these kinds of projects reach a limited audience, but if Cate and his bandmates reach a higher level of success, this beautifully packaged material will be appreciated down the road.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>NEVER LOOKIN&#8217; BACK 1998<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dnfpxql0ldae\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dnfpxql0ldae<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">&#8220;One Last Mile&#8221; gives a loud kick as the third album from John Cate, <i>Never Lookin&#8217; Back<\/i>, opens with <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:SEARCHERS\">Searchers<\/a> riffs and <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:VENTURES\">Ventures<\/a>-style guitars, the image of the four men coming down what looks like church steps on the front and back covers of the CD making for a mysterious movie-type photo. Cate does his best <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:DYLAN\">Dylan<\/a> on &#8220;This Isn&#8217;t Goodbye,&#8221; the prolific songwriter playing with styles and sounds that make him happy. Going through the music on Cate&#8217;s first four albums, there are no revelations; <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CJOHN%7CCATE%7CBAND\">the John Cate Band<\/a> creatively package things they like and present those things to the world with their own stamp, but their mission is not to reinvent rock &amp; roll. The title track is compact and precise, and there&#8217;s no nonsense whatsoever. For those who feel <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:NEIL%7CYOUNG\">Neil Young<\/a> can get too cutesy, or that <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHN%7CCOUGAR%7CMELLENCAM\">John Cougar Mellencamp<\/a> is spending too much time in front of the mirror, <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CJOHN%7CCATE%7CBAND\">the John Cate Band<\/a> attack the material with the drive of perfectionists looking for an intangible refined sound like the surfers in <i>The Endless Summer<\/i> were seeking the perfect wave. &#8220;Never Lookin&#8217; Back&#8221; has that exciting, explosive guitar work generated from slamming the tunes out night after night in bar after bar. &#8220;Never Love Again&#8221; opens up with more anger; it seems someone never told Cate to never say never, as the word starts off three of the 11 titles \u2014 and there are more negative contractions like &#8220;won&#8217;t&#8221; and &#8220;can&#8217;t&#8221; in other song titles. &#8220;Never Love Again&#8221; has the thumping authority of <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:BOB%7CSEGER\">Bob Seger<\/a>&#8216;s &#8220;Fire Down Below,&#8221; but what&#8217;s needed is <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:BETTE%7CMIDLER\">Bette Midler<\/a> to jump on-stage and teach something to these guys. As the aforementioned rock stars <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:COUGAR\">Cougar<\/a> and <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:YOUNG\">Young<\/a> do get indulgent, Cate and his group need to lighten up. They are as serious as a judge, where a little touch of sly humor would really bring this material home. &#8220;Can&#8217;t Let Go&#8221; comes across as perhaps the album&#8217;s strongest track, and it is up there with the best of <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CSWINGING%7CSTEAKS\">the Swinging Steaks<\/a>; it&#8217;s remarkable how much <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CJOHN%7CCATE%7CBAND\">the John Cate Band<\/a> resemble this other group that Cate has worked closely with. &#8220;Down in the Hole&#8221; and &#8220;Never Was Enough&#8221; are also in that pop vein with a country twang. This is almost like Boston&#8217;s version of <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CEAGLES\">the Eagles<\/a> and <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:J.D.%7CSOUTHER\">J.D. Souther<\/a>, with <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CSWINGING%7CSTEAKS\">the Swinging Steaks<\/a> being <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CEAGLES\">the Eagles<\/a> and Cate being <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:SOUTHER\">Souther<\/a>. Not a bad formula to emulate, and a series of fine albums by both groups adds a dimension to New England&#8217;s vibrant music scene, a dimension that deserves more attention. &#8220;Everything Is Love&#8221; and &#8220;You Won&#8217;t See Me&#8221; are more driving pop\/original music from the pen of <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:GIAN%7CS.%7CCATERINE\">Gian S. Caterine<\/a> and his <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHN%7CCATE%7CBAND\">John Cate Band<\/a>, essential songs that make <i>Never Lookin&#8217; Back<\/i> the album you need as the introduction if you&#8217;ve yet to encounter this ensemble.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>JOHN CATE BAND 2001<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:hpfyxqe0ldje\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:hpfyxqe0ldje<\/a><\/p>\n<div id=\"bio\">\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">John Cate&#8217;s fourth album, his second with the John Cate Band, is a blend of roots rock and pure pop. &#8220;Mercy Road&#8221; kicks the album off with folk guitar, keys, and a bit of songwriting that is precise. One can&#8217;t deny the appeal of <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:giftxqe5ldhe\">the Eagles<\/a>, but they were homogenized to the point where some of the songs felt like they were printed out of a computer. &#8220;Mercy Road&#8221; is a tune that radio fans wish <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:giftxqe5ldhe\">the Eagles<\/a> could&#8217;ve put together. &#8220;It&#8217;s Over&#8221; is even better: a great hook, wonderful setup, and vocals that display the sadness a breakup always creates, no matter who was at fault. Cate comes across much better on record, his live performance for the release of this disc felt like the band was trying to re-create what is on the CD. &#8220;It&#8217;s Over&#8221; is very much like <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:axfexqwgldae\">the Swinging Steaks<\/a>, a former Capricorn artist which tours with Cate on occasion. &#8220;No Other Place&#8221; is the kind of song we&#8217;d expect to hear from <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:gifpxqr5ldse\">James Taylor<\/a> if he were a few decades younger. Where <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:gifpxqr5ldse\">Taylor<\/a> went from Boston to London, John Cate was born in Liverpool, England, but was raised in the U.S. &#8220;Standin&#8217; Here Alone&#8221; feels like <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifixqr5ldse\">Traveling Wilburys<\/a> without the <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:difqxqe5ldfe\">Jeff Lynne<\/a> production; very appealing. The harmonica and subdued vocal in &#8220;Ride Away&#8221; is a nice change before &#8220;Circles&#8221; shifts gears. This music isn&#8217;t original, but drummer <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:3pfixqlgldje\">Gary Rzab<\/a>, bassist <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:aifwxqegldhe\">Danny McGrath<\/a>, and guitarist\/keyboard\/mandolin player <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:hvftxqq5ldhe\">Paul Candilore<\/a> present a full sound behind Cate&#8217;s voice and music. &#8220;Circles&#8221; gives <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:hvftxqq5ldhe\">Candilore<\/a> a chance to sing lead, <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:3pfixqlgldje\">Rzab<\/a> getting his opportunity on the next song, &#8220;Tears,&#8221; a very <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:jifyxqe5ldfe\">McCartney<\/a>\/early-<a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:hifrxqw5ldse\">Beatles<\/a> sounding piece. It&#8217;s all very well constructed and played pop\/folk\/roots rock. These cats emulate their heroes, and the result is very listenable and very radio friendly. Cate&#8217;s music has been utilized on the network television shows <i>Touched By an Angel<\/i>, <i>All My Children<\/i>, and <i>The Young &amp; the Restless<\/i>, among others, and for good reason. His voice is tender on &#8220;Ain&#8217;t the Same,&#8221; and all the songs catch a good groove. <a href=\"http:\/\/bostontheeighties.blogspot.com\/cg\/amg.dll?p=amg&amp;sql=11:hvftxqq5ldhe\">Candilore<\/a> is a more than adequate accompanist with his talents displayed on &#8220;Time Has Come,&#8221; a very nice, laid-back song with mandolin and reverb guitar. A reflection of what is on the 12 tracks on this self-titled album.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td colspan=\"2\" align=\"left\"><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<div>\n<div>Posted by <a title=\"author profile\" href=\"https:\/\/www.blogger.com\/profile\/15345741483306237598\" rel=\"author\" data-gapiscan=\"true\" data-onload=\"true\" data-gapiattached=\"true\"> History of New England Rock <\/a> at <a title=\"permanent link\" href=\"http:\/\/bostontheeighties.blogspot.com\/2007\/07\/john-cate.html\" rel=\"bookmark\"><abbr itemprop=\"datePublished\" title=\"2007-07-10T08:10:00-07:00\">8:10 AM<\/abbr><\/a> <a href=\"https:\/\/www.blogger.com\/comment.g?blogID=6934830596998129410&amp;postID=4876996624207703333\"> No comments: <\/a><\/p>\n<div><\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<h2>Monday, July 9, 2007<\/h2>\n<div>\n<div itemprop=\"blogPost\" itemscope=\"itemscope\" itemtype=\"http:\/\/schema.org\/BlogPosting\"><a name=\"7774049000730116054\"><\/a><\/p>\n<h3 itemprop=\"name\"><a href=\"http:\/\/bostontheeighties.blogspot.com\/2007\/07\/swinging-steaks.html\">Swinging Steaks, The Rain Dogs, Adam Sherman&#8217;s The Souls<\/a><\/h3>\n<div><\/div>\n<div id=\"post-body-7774049000730116054\" itemprop=\"description articleBody\">The Lines Will You Still Love Me When I&#8217;ve Lost My Mind (1987)<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:gjfexqu0ld6e\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:gjfexqu0ld6e<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">1987&#8217;s <i>Will You Still Love Me When I&#8217;ve Lost My Mind?<\/i> features future <i>Rage TV<\/i> host <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ERIC%7CHAFNER\">Eric Hafner<\/a> as the main songwriter and vocalist backed up by three musicians, replacing the four other Lines who appeared on the 1984 release <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:fjfexqu0ld6e\"><i>Dirty Water<\/i><\/a>. They, in turn, had replaced the original four musicians from the 1982 release <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:hjfexqu0ld6e\"><i>Live at the Metro<\/i><\/a>, which included <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfexqwkldhe\">Jamie Walker<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PAT%7CDREIER\">Pat Dreier<\/a>, who split off to become <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CDRIVE\">the Drive<\/a> and, eventually, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:axfexqwgldae\">the Swinging Steaks<\/a>. That <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfexqwkldhe\">Jamie Walker<\/a> was the main songwriter of the original band put a lot on the shoulders of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ERIC%7CHAFNER\">Eric Hafner<\/a>, giving extra meaning to the name of the record company he co-owned with longtime manager\/attorney <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PAUL%7CCARCHIDI\">Paul Carchidi<\/a>, Sideman Records. But the sidemen actually sound pretty good here, and it is the singer\/songwriter who disappoints. Maybe <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:HAFNER\">Hafner<\/a> had run out of creative juice after so many disappointments; he just can&#8217;t take the solid accompaniment here and hit a home run. &#8220;Snowbound&#8221; goes nowhere, and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:HAFNER\">Hafner<\/a>&#8216;s voice sounds pretentious and contrived. Also, there are no cover songs, something that spiced up other releases by the Lines. Including their rendition of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gifwxqr5ld6e\">Olivia Newton-John<\/a>&#8216;s &#8220;Physical&#8221; would have been a treat, as it was a regional hit for this band that doubled as a suburban cover act. Listening to the song &#8220;Some Day&#8221; is nothing but painful. There are certainly worse recordings, it&#8217;s that this band had the potential and so badly misses the mark here, which is almost worse than having done nothing at all. There&#8217;s more life than on <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kpfrxql5ldse\">Bob Pfeifer<\/a>&#8216;s 1987 LP <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:gcfpxqw5ldae\"><i>After Words<\/i><\/a>, but the bottom line is there is so much better music out in the world that to try to like something that sounds so forced is a chore. That isn&#8217;t what entertainment is all about. &#8220;Rain on Me&#8221; abandons the simple sincerity of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:difpxqr5ldae\">Split Enz<\/a>, who the original Lines emulated, and replaces it with mechanical <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifrxqe5ldae\">Billy Idol<\/a>\/<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hifexqr5ld0e\">Simple Minds<\/a> style mid-&#8217;80s rock. Side two doesn&#8217;t fare much better; &#8220;Indian Summer&#8221; is one of the better titles and performances, but it&#8217;s still no great shakes. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfexqwkldhe\">Jamie Walker<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:axfexqwgldae\">the Swinging Steaks<\/a> broke away from this ensemble and made quite a name for themselves, while the Lines kept beating their original concept into the ground. After a decade, it became too familiar, too old, and lost any charm or enthusiasm which made the band a fun night on the town. This album asks the question <i>Will You Still Love Me When I&#8217;ve Lost My Mind?<\/i>, and in doing so risks hearing the answer, the word &#8220;no&#8221; from longtime fans. A very tough listen.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>Swinging Steaks Suicide At The Wishing Well 1992<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:h9fixqt0ldhe\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:h9fixqt0ldhe<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">Members of Boston&#8217;s <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hpfrxql5ldte\">the Drive<\/a> reinvented themselves with this very strong 1992 release on their own Thrust label, and the departure from the slick pop <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hpfrxql5ldte\">the Drive<\/a> was known for is immediate. Imagine if you will a band that sounds like <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifoxqr5ldje\">the Rolling Stones<\/a> when they transform themselves into their &#8220;Country Honk,&#8221; &#8220;Moonlight Mile,&#8221; and &#8220;Dead Flowers&#8221; persona to have a good idea of what the Swinging Steaks are all about. Some of these tracks appear on the band&#8217;s Capricorn debut, but this powerful collection of 15 tunes and two hidden tracks is classic and it landed them the deal after garnering airplay on Boston&#8217;s WBOS. &#8220;Bone Bag&#8221; features <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wbfrxq85ldte\">Rich Gilbert<\/a> on pedal steel, but the song has more crunch than you&#8217;d expect for a country\/pop disc. &#8220;Beg, Steal or Borrow&#8221; has a <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifqxqw5ldfe\">Byrds<\/a> kind of vibe with intensity that shows the maturity and development the guys garnered on the Boston scene. That artistry culminates in track 15; the late <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hxfoxq95ldke\">Jimmy Miller<\/a> steps in with a rare re-creation of one of his classic <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifoxqr5ldje\">Rolling Stones<\/a> productions as &#8220;Live With Me&#8221; is covered &#8212; allegedly with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:h9fixqugldke\">Keith Richards<\/a> guitar lines played by the Steaks, riffs that <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hxfoxq95ldke\">Miller<\/a> pulled from the original version. It is exquisite and a tribute to <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hxfoxq95ldke\">Jimmy<\/a>&#8216;s genius, recorded just a few years before his passing. Highlights on this CD are the sublime &#8220;Circlin&#8217;,&#8221; written by vocalist\/guitarist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3nfyxq95ldhe\">Tim Giovanniello<\/a>, its tentative riff and eerie ambience are just perfect for the melancholy vocal. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfexqwkldhe\">Jamie Walker<\/a>&#8216;s title track is the exact opposite, but equally as strong. And that is the secret of the Steaks&#8217; success. Rather than hit you with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hifrxqe5ldde\">Lennon<\/a>\/<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jifyxqe5ldfe\">McCartney<\/a> or <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hifixqe5ldae\">Jagger<\/a>\/<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:h9fixqugldke\">Richards<\/a> co-writing, the two identities give this group its identity.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>Southside Of The Sky 1993<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kjfwxqlgldae\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kjfwxqlgldae<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">When the Swinging Steaks were signed to Capricorn Records, the label produced seven tracks and lifted five more from their 1992 debut <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:h9fixqt0ldhe\"><i>Suicide at the Wishing Well<\/i><\/a>. &#8220;Do Me a Favor&#8221; and &#8220;Circlin'&#8221; were taken as is, while the songs &#8220;Beg, Steal or Borrow,&#8221; &#8220;Right Through You,&#8221; and the title track &#8220;Suicide at the Wishing Well&#8221; were remixed by producer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:ajfqxqq5ldde\">Gary Katz<\/a> and engineer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:axfrxq9gldse\">Wayne Yergellun<\/a>. For their major label debut, the failure to include <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hxfoxq95ldke\">Jimmy Miller<\/a>&#8216;s superior production of the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hifixqe5ldae\">Mick Jagger<\/a>\/<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:h9fixqugldke\">Keith Richards<\/a> composition &#8220;Live With Me&#8221; was a definite oversight, but maybe <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0zfexqrgld0e\">Phil Walden<\/a>&#8216;s label was interested more in the country-pop side of this group. &#8220;Do Me a Favor&#8221; still sounds like a distant cousin to <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hifixqw5ldde\">Jackson Browne<\/a>&#8216;s &#8220;Redneck Friend,&#8221; while &#8220;Circlin'&#8221; is the best overall track &#8212; a masterpiece by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3nfyxq95ldhe\">Tim Giovanniello<\/a>. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfexqwkldhe\">Jamie Walker<\/a>&#8216;s new title track, &#8220;Southside of the Sky,&#8221; opens the album for 45 seconds, and then is reprised with the nearly three-minute full version at the album&#8217;s close. It&#8217;s a good song one expects from these highly consistent journeymen. Their debut contained 17 songs, and this now out of print album featured seven new tracks; compiling both as a single unit of their music from 1992-1993 would be advisable.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>SUNDAY BEST 2003<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jvftxqualdke\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jvftxqualdke<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\"><i>Sunday Best<\/i> is a sophisticated progression for the Swinging Steaks as they capture and carry the flag <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hifixqe5ldje\">the Flying Burrito Brothers<\/a> once held and waved so high. Released on their own Thrust Records in America and on Blue Rose in Europe, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3nfyxq95ldhe\">Tim Giovanniello<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfexqwkldhe\">Jamie Walker<\/a> split up the writing chores again along with a couple of tunes from the pen of keyboardist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kbfrxqu5ldse\">Jim Gambino<\/a>. One of those tunes, &#8220;Stupid,&#8221; is simply fantastic &#8212; great pop hooks with effective playing to embellish the solid refrain. It and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3nfyxq95ldhe\">Giovanniello<\/a>&#8216;s &#8220;Bad Day&#8221; are among the standouts &#8212; the very special compositions that always seem to work their way onto the Steaks&#8217; projects. &#8220;Pictures&#8221; is right up there with those two, another song of holding on &#8212; guitarist\/vocalist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3nfyxq95ldhe\">Giovanniello<\/a> just &#8220;waiting for the rain&#8221; so he can pull out the pictures he&#8217;s saved for that kind of day. It&#8217;s an inspired vocal performance to match the lyrics with the band to maintain the energy. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfexqwkldhe\">Walker<\/a>&#8216;s contributions are to this project what <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifoxqw5ldde\">Lindsey Buckingham<\/a>&#8216;s work was to <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gifuxqe5ldje\">Fleetwood Mac<\/a>&#8216;s <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jifpxqy5ld0e\"><i>Tusk<\/i><\/a> album: good, consistent, and the glue that keeps it all together. His &#8220;Light of the Moon&#8221; is a nice conclusion to the effort, effective in its melancholy. <i>Sunday Best<\/i> is not the knockout punch this band is capable of, but there&#8217;s not a bad track on it, and a few sail over the fence. At close to an hour playing time, it&#8217;s an ambitious and realized effort from the veteran New England act.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><a href=\"http:\/\/www.answers.com\/topic\/lost-souls?cat=entertainment\"><br \/>\n<\/a><\/p>\n<div>\n<div><a href=\"http:\/\/www.answers.com\/main\/Record?a=AMG%20Albums%20Shopping%Link&amp;url=http%3A%2F%2Fanswers.shopping.com%2FxFS%3FKW%3DLost%2BSouls%2BRaindogs%26FN%3DMedia%26FD%3D96649%26linkin_id%3D7000800\" target=\"AnswersQueryWindow\"><img decoding=\"async\" alt=\"Lost Souls\" src=\"http:\/\/content.answers.com\/main\/content\/img\/amg\/pop_albums\/5\/7\/e\/c57619u0iex.jpg\" \/><br \/>\n<\/a><center><\/center><\/div>\n<ul>\n<li><b>Release Date:<\/b> 1990<\/li>\n<li><b>Genre:<\/b> Rock<\/li>\n<li><b>Label:<\/b> Atlantic<\/li>\n<li><b>Total Time:<\/b> 44:02<\/li>\n<\/ul>\n<\/div>\n<ul>\n<li><b>Artist:<\/b> <a href=\"http:\/\/www.answers.com\/topic\/raindogs\" target=\"_top\">Raindogs<\/a><\/li>\n<\/ul>\n<p><a href=\"http:\/\/www.answers.com\/topic\/lost-souls?cat=entertainment\"><br \/>\nhttp:\/\/www.answers.com\/topic\/lost-souls?cat=entertainment<\/a><br \/>\nLost Souls<\/p>\n<p>As <a href=\"http:\/\/www.answers.com\/topic\/swinging-steaks\" target=\"_top\">the Swinging Steaks<\/a> abandoned their slick 1980s pop for country-rock when the 1990s came around, Mark Cutler&#8217;s <a href=\"http:\/\/www.answers.com\/topic\/raindogs\" target=\"_top\">Raindogs<\/a> did the same, but got it out of the starting gate a bit earlier on this Atco debut, Lost Souls. The album leans more to the rock than country side, with standout tunes like &#8220;Cry for Mercy&#8221; and &#8220;This Is the Place&#8221; among the dozen offered here. &#8220;I&#8217;m Not Scared&#8221; owes much to <a href=\"http:\/\/www.answers.com\/topic\/gregg-allman\" target=\"_top\">Gregg Allman<\/a> and is decent, while &#8220;Phantom Flame&#8221; is extraordinary, up there with the best of <a href=\"http:\/\/www.answers.com\/topic\/swinging-steaks\" target=\"_top\">the Swinging Steaks<\/a>, <a href=\"http:\/\/www.answers.com\/topic\/johnny-cunningham\" target=\"_top\">Johnny Cunningham<\/a>&#8216;s fiddle and Cheryl Hodges&#8217; backing vocals bringing it that nice <a href=\"http:\/\/www.answers.com\/topic\/charlie-watts\" target=\"_top\">Rolling Stones<\/a> feel when the greatest rock &amp; roll band in the world gave its style a <a href=\"http:\/\/www.answers.com\/topic\/the-flying-burrito-brothers-1\" target=\"_top\">Flying Burrito Brothers<\/a> flavor. &#8220;The Higher Road&#8221; and &#8220;Too Many Stars&#8221; are competent rockers though they don&#8217;t burst out like some of the other tracks, and that&#8217;s the downside here. Cutler&#8217;s voice isn&#8217;t distinctive enough to elevate some of the more pedestrian numbers and like another &#8220;critic&#8217;s darling&#8221; band, <a href=\"http:\/\/www.answers.com\/topic\/the-tragically-hip\" target=\"_top\">the Tragically Hip<\/a>, the lesser songs in the repertoire &#8212; say &#8220;Nobody&#8217;s Getting Out&#8221; &#8212; weigh the other selections down like an anchor. Lost Souls is perfectly played material and an interesting debut, but there&#8217;s not enough personality to send this over the top. &#8220;Cry for Mercy&#8221; sounds slightly like a harbinger of what Gregg Alexander and his <a href=\"http:\/\/www.answers.com\/topic\/new-radicals\" target=\"_top\">New Radicals<\/a> would bring to the world in 1998. Problem is, there&#8217;s no &#8220;You Get What You Give&#8221; here, and that&#8217;s what this singer\/songwriter and his band were in dire need of. Nice to see Myanna Pontoppidan of Girls Night Out as part of the Hubcap Horns employed on this outing. ~ Joe Viglione, All Music Guide<\/p>\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td valign=\"top\" width=\"582\">\n<div id=\"results-table\">\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td><\/td>\n<\/tr>\n<tr>\n<td valign=\"top\">\n<table width=\"342\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td width=\"45\"><\/td>\n<td width=\"45\"><\/td>\n<td width=\"132\"><\/td>\n<td width=\"120\"><\/td>\n<\/tr>\n<tr>\n<td><\/td>\n<td><\/td>\n<td><\/td>\n<td><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<div>\n<div>Posted by <a title=\"author profile\" href=\"https:\/\/www.blogger.com\/profile\/15345741483306237598\" rel=\"author\" data-gapiscan=\"true\" data-onload=\"true\" data-gapiattached=\"true\"> History of New England Rock <\/a> at <a title=\"permanent link\" href=\"http:\/\/bostontheeighties.blogspot.com\/2007\/07\/swinging-steaks.html\" rel=\"bookmark\"><abbr itemprop=\"datePublished\" title=\"2007-07-09T21:27:00-07:00\">9:27 PM<\/abbr><\/a> <a href=\"https:\/\/www.blogger.com\/comment.g?blogID=6934830596998129410&amp;postID=7774049000730116054\"> No comments: <\/a><\/p>\n<div><\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<p><a name=\"2282531787807849783\"><\/a><\/p>\n<h3 itemprop=\"name\"><a href=\"http:\/\/bostontheeighties.blogspot.com\/2007\/07\/80s-boston-rock-roll.html\">The 80s, Boston Rock &amp; Roll<\/a><\/h3>\n<div><\/div>\n<p>The Table Of Contents is here:<br \/>\n<a href=\"http:\/\/rocktableofcontents.blogspot.com\/\">http:\/\/rocktableofcontents.blogspot.com\/<\/a><\/p>\n<p>If the 1970s was the decade of the independent record in Boston the 80s resulted in many a Boston area group getting signed to major labels or major independents. Here is a variety of different recordings I&#8217;ve reviewed for AllMusic.com<\/p>\n<p>Down Avenue<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0ifexqtaldhe\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0ifexqtaldhe<\/a><br \/>\nThe Dream 1983 e.p. (Early EXTREME)<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:avfyxqr0ldke\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:avfyxqr0ldke<\/a><br \/>\nFarrenheit<br \/>\nThe Fools SOLD OUT 1980<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:fzfpxqy5ldte\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:fzfpxqy5ldte<\/a><br \/>\nThe Fools &#8211; Heavy Mental<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:gzfpxqy5ldte\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:gzfpxqy5ldte<\/a><br \/>\nGIRLS NIGHT OUT 1985<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jvfyxqr0ldke\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jvfyxqr0ldke<\/a><br \/>\nJon Butcher Axis<br \/>\nJon Butcher Axis 1983<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0vfixqt5ldje\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0vfixqt5ldje<\/a><br \/>\nWishes 1987<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:fvfoxq95ld6e\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:fvfoxq95ld6e<\/a><br \/>\nSTIFF LITTLE BREEZE Jon Butcher Axs<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:09ftxq9aldhe\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:09ftxq9aldhe<\/a><br \/>\nAn Ocean In Motion Live in Boston 1984 Jon Butcher Axis<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kzfpxqwaldse\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kzfpxqwaldse<\/a><br \/>\nJon Butcher Axis Live At The Casbah<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kjfuxqyaldse\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kjfuxqyaldse<\/a><br \/>\nNew England 1st Album<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0xfexqr5ldae\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0xfexqr5ldae<\/a><br \/>\nNew England &#8220;Explorer Suite&#8221;<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:axfexqr5ldae\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:axfexqr5ldae<\/a><br \/>\nNew England Walking Wild<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:wxfexqr5ldae\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:wxfexqr5ldae<\/a><br \/>\nNew England 1978<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kvftxqualdke\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kvftxqualdke<\/a><br \/>\nNew England Greatest Hits Live<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dcfuxq8aldte\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dcfuxq8aldte<\/a><br \/>\nNew Man<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:09frxqlhld6e\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:09frxqlhld6e<\/a><br \/>\nNovember Group November Group<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0pfixqqhldte\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0pfixqqhldte<\/a><br \/>\nNovember Group Persistent Memories (1983)<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:apfixqqhldte\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:apfixqqhldte<\/a><br \/>\nNovember Group (A &amp; M Records) Work That Dream 1985<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:g9fyxqlhld6e\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:g9fyxqlhld6e<\/a><br \/>\nRobin Lane &amp; The Chartbusters<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jjfixqugld6e%7ET1\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jjfixqugld6e~T1<\/a><br \/>\n1980 Robin Lane &amp; The Chartbusters debut<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0xfoxqq5ldde\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0xfoxqq5ldde<\/a><br \/>\nImitation Life<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:axfoxqq5ldde\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:axfoxqq5ldde<\/a><br \/>\n5 Live<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kxfoxqq5ldde\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kxfoxqq5ldde<\/a><br \/>\nPrivate Lightning<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:3xftxqy5ldje\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:3xftxqy5ldje<\/a><br \/>\nCOMPILATIONSLIVE AT THE METRO Press A Dent Records<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:hjfexqu0ld6e\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:hjfexqu0ld6e<\/a><br \/>\nWCOZTHE BEST OF THE BOSTON BEAT<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:hjfrxqw0ldde\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:hjfrxqw0ldde<\/a><br \/>\nWCOZ Best Of The Boston Beat Vol 2<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kpftxqyhld0e\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kpftxqyhld0e<\/a><\/p>\n<p>The Reviews<\/p>\n<p>Down Avenue<\/p>\n<p><a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0ifexqtaldhe\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0ifexqtaldhe<\/a><br \/>\nReview by Joe Viglione<\/p>\n<p><a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ALVAN%7CLONG\">Alvan Long<\/a> was the drummer in Boston&#8217;s <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3xfuxqqgldhe\">November Group<\/a> on its 1982 self-titled EP, and was joined by bassist\/vocalist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DON%7CFOOTE\">Don Foote<\/a> for 1983&#8217;s follow-up, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:apfixqqhldte\">Persistent Memories<\/a>. They branched off on their own, releasing this five-song EP on the 6L6 label the same year <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3xfuxqqgldhe\">November Group<\/a> signed to A&amp;M, 1985. &#8220;Girlfriend&#8221; sounds like <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfpxqr5ldae\">the Jonzun Crew<\/a> with snappy drums and &#8217;80s club\/dance keyboards identifying immediately what Down Avenue is all about: a group that was as derivative as it was engaging. The mid-&#8217;80s brought a number of artists into this sterile but interesting realm, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ADVENTURE%7CSET\">Adventure Set<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:g9fpxqy5ld0e\">Face to Face<\/a> also making noise in Massachusetts and beyond, the artist&#8217;s identities all merged into a synth\/dance amalgam on radio and in the clubs. Only <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kpfexqq5ldte\">Michael Jonzun<\/a> and his brother <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfyxqugld6e\">Maurice Starr<\/a> broke out of the mold, with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3pfqxqqgldhe\">Laurie Sargent<\/a> from <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:g9fpxqy5ld0e\">Face to Face<\/a> also carving a niche beyond the pack. The sad thing is that Down Avenue is among the best players of this sound just before it all fell off the ledge into manufactured disposable Muzak. This EP as well as the release by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ADVENTURE%7CSET\">Adventure Set<\/a> are the last vestiges of decent Boston music before the scene exploded and band names proliferated on a daily basis. &#8220;Nighttime&#8221; is another good melody and performance, though there is nothing here that jumps out at you as an unarguable hit. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifqxqugldae\">Roxy Music<\/a> was performing this exact same sentiment on <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:a9fqxqy5ld6e\">Avalon<\/a> with far more personality, and for all the slick production and smooth musicianship, there is absolutely nothing to grab onto here. It could be anyone singing &#8220;Nighttime&#8221; and any group of musicians crafting these sounds. The three songs on side two, &#8220;Winter&#8217;s Past,&#8221; &#8220;Way Down the Avenue,&#8221; and &#8220;These 4 Walls&#8221; melt into a seamless essay devoid of peaks and valleys. &#8220;Winter&#8217;s Past&#8221; sounds like a soft rock version of the band <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:f9ftxq85ldae\">New England<\/a>&#8216;s classic &#8220;Don&#8217;t Ever Wanna Lose Ya.&#8221; &#8220;Way Down the Avenue&#8221; could be the band&#8217;s theme song with the hook lifted from <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jifpxqr5ldae\">Bruce Springsteen<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kifexqe5ldfe\">Manfred Mann<\/a> the decade before &#8212; &#8220;That&#8217;s where the fun is&#8221; sounds like it stepped out of &#8220;Blinded By the Light.&#8221; Nothing here is as outstanding as <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ADVENTURE%7CSET\">Adventure Set<\/a>&#8216;s &#8220;Blue Is for Boys,&#8221; but there&#8217;s nothing bad here either. The band was rumored to have signed with RCA and probably did, but then vanished as quickly as <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3xfuxqqgldhe\">November Group<\/a> did on A&amp;M. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wjftxqlgld6e\">Charles Pettigrew<\/a>&#8216;s vocals are slick and soulful, but they are pipes in need of a song that was more than just pleasant background music.<\/p>\n<p>The Dream 1983 e.p. (Early EXTREME)<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:avfyxqr0ldke\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:avfyxqr0ldke<\/a><\/p>\n<p>Review by Joe Viglione<br \/>\nBefore <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:GARY%7CCHERONE\">Gary Cherone<\/a> joined <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:VAN%7CHALEN\">Van Halen<\/a> this group sold the band name the Dream to one of the major TV networks after their brilliant local manager, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JOANNE%7CCODI\">Joanne Codi<\/a>, initiated a lawsuit (she was clever enough to trademark the name). When the TV show Dreams launched (about a rock band trying to make it), suddenly this group had the cash to cut a video of their regional hit penned by lead singer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:CHERONE\">Cherone<\/a>, &#8220;Mutha (Don&#8217;t Wanna Go to School Today).&#8221; This original lineup was the band that made incredible waves in Boston, opening for <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:NIGHTRANGER\">Nightranger<\/a> at the Orpheum Theater and drawing crowds wherever they played. Along with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:GIRLS%7CNIGHT%7COUT\">Girls Night Out<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:RICK%7CBERLIN:%7CTHE%7CMOVI\">Rick Berlin: The Movie<\/a>, they were a dominant force on the live music scene in New England during the &#8217;80s. Keyboard player <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MIKA%7CWATSON\">Mika Watson<\/a> added a dimension missing when drummer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PAUL%7CGEARY\">Paul Geary<\/a> (famous for managing <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:GODSMACK\">Godsmack<\/a>) and singer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:GARY%7CCHERONE\">Gary Cherone<\/a> became <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:EXTREME\">Extreme<\/a> on A&amp;M Records. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PETER%7CHUNT\">Peter Hunt<\/a>&#8216;s contributions on guitar and songs were vital. &#8220;The Mask&#8221; and &#8220;See the Light,&#8221; two of his three compositions on this six-song EP, were, along with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:GARY%7CCHERONE\">Gary Cherone<\/a>&#8216;s &#8220;Mutha,&#8221; the songs that launched the band. Had there not been a Dreams TV show the band would not have been called <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:EXTREME\">Extreme<\/a>. &#8220;The Mask&#8221; is quite simply a brilliant rock song, full of pop melody and progressive riffs. &#8220;See the Light&#8221; is a hard rock takeoff on &#8220;Eight Miles High&#8221; by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CBYRDS\">the Byrds<\/a>, while <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:HUNT\">Hunt<\/a>&#8216;s &#8220;Why&#8221; is the sort of break song that an album needs to divert the listener from the musical similarities inherent in any set of recordings. Quoting Edgar Allan Poe&#8217;s line, &#8220;All that we see or seem is but a dream within a dream,&#8221; is the kind of stuff that separates this early incarnation from the onslaught that was the major-label band who hit with &#8220;More Than Words&#8221; in 1991. Sure, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:NUNO%7CBETTENCOURT\">Nuno Bettencourt<\/a>&#8216;s guitar and songwriting skills were essential to that aggregation, but there was something special about the band when <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PAUL%7CMANGONE\">Paul Mangone<\/a> was on bass instead of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PAT%7CBADGER\">Pat Badger<\/a>, and when <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MIKA%7CWATSON\">Mika Watson<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PETER%7CHUNT\">Peter Hunt<\/a> created a firm foundation for <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:GARY%7CCHERONE\">Gary Cherone<\/a>&#8216;s voice and stage antics. They were a very special band and this EP is an important and highly listenable document of what came first.<\/p>\n<p>Farrenheit<\/p>\n<p>The Fools SOLD OUT 1980<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:fzfpxqy5ldte\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:fzfpxqy5ldte<\/a><\/p>\n<p>Review<br \/>\nby Joe Viglione<br \/>\nThe major-label debut of vocalist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MIKEGERARD\">Mike Gerard<\/a>, guitarists <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3cfqxqe5ldde\">Richie Bartlett<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:STACYPEDRICK\">Stacy Pedrick<\/a>, drummer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:w9fpxqwgldje\">Chris Pedrick<\/a>, and bassist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hbfixqt5ldte\">Doug Forman<\/a>, collectively the Fools, stands as a concise and well recorded musical statement by an important Boston group. Produced by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PETESOLLEY\">Pete Solley<\/a>, the band escaped the curse of New England groups suffering inferior recordings in major studios. &#8220;Spent the Rent&#8221; is a powerful rocker, while &#8220;Easy for You&#8221; is a tender ballad and shows what a pro bunch these musicians posing as jokers were. &#8220;It&#8217;s a Night for Beautiful Girls&#8221; was a smash in the New England region but made no real dent nationally, and, for some strange reason, EMI-America put the song that established them in their hometown, a parody of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THETALKINGHEADS\">the Talking Heads<\/a>&#8216; &#8220;Psycho Killer,&#8221; entitled &#8220;Psycho Chicken,&#8221; as a 45 rpm inside the album jacket, but not included on the 12&#8243; vinyl. Produced by guitarist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:RICHARDBARTLETT\">Richard Bartlett<\/a>, who would go on to join <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BENORR\">Ben Orr<\/a>&#8216;s solo project, and engineered by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:LUNA\">Luna<\/a> producer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JAYMANDEL\">Jay Mandel<\/a>, &#8220;Psycho Chicken&#8221; was so much of what this band was about. The original four-track basement recording got tons of local airplay in and around the Boston area, and was as much a hit as &#8220;It&#8217;s a Night for Beautiful Girls.&#8221; The 45 rpm is on white vinyl, saying that either their management or the record label knew the importance of this tongue-in-cheek side of the group. A cover of the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:LEIGH\">Leigh<\/a>\/<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:CHARLAP\">Charlap<\/a> classic &#8220;I Won&#8217;t Grow Up&#8221; just doesn&#8217;t have the sparkle that <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:difqxqw5ldfe\">David Byrne<\/a>&#8216;s underground hit generated as re-written with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:FORMAN\">Forman<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:GIRARD\">Girard<\/a>, the two main songwriters for the Fools. &#8220;Night Out&#8221; begins the album with a burst of three minute pop followed by &#8220;Fine With Me,&#8221; &#8220;Don&#8217;t Tell Me,&#8221; and the title track, &#8220;Sold Out&#8221; \u2014 all well-crafted pop songs with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hifrxqw5ldse\">Beatles<\/a> guitar lines and enough jangle to qualify them for underground pop rockers, somewhere between the radio friendliness of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THERASPBERRIES\">the Raspberries<\/a> with the seriousness <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifqxqw5ldse\">Badfinger<\/a> brought to their work. While their contemporaries <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:a9ftxqu5ldke\">Human Sexual Response<\/a> stretched the boundaries, the Fools tempered the joking and sought respectability. Years later, Sold Out stands as a very respectable and very important debut album by a band that was able to play the local circuit for more than a decade after its release as one of the major draws in New England. Not a bad accomplishment, and an indication that they deserved national recognition and could have entertained the masses had EMI kept working their discs beyond the second release, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:gzfpxqy5ldte\">Heavy Mental<\/a>, which followed in 1981. Just listen to the blend of American music and British pop that is &#8220;Sad Story,&#8221; the only song clocking in over four minutes, and a beautiful one at that.<\/p>\n<p>The Fools &#8211; Heavy Mental<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:gzfpxqy5ldte\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:gzfpxqy5ldte<\/a><\/p>\n<p>Review<br \/>\nby Joe Viglione<br \/>\nThe Fools were a phenomenally successful Boston band in the 1970s and 1980s, but, as often happens, were not presented accurately to the world on their major-label debut, or its follow up. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PETESOLLEY\">Pete Solley<\/a>&#8216;s pedestrian production on the 1980 release <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:fzfpxqy5ldte\">Sold Out<\/a> is almost indiscernible when compared to <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fwxqrgldhe\">Vini Poncia<\/a>&#8216;s presentation of the band a year later. A song like &#8220;Around The Block&#8221; cries for the zaniness that this group injected into their parody of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THETALKINGHEADS\">The Talking Heads<\/a> a few years earlier, but even the great riff is kind of muddied. The problem isn&#8217;t so much bad production, something many of their peers from Boston had to deal with (a much more serious problem than the curse of the &#8220;Bosstown Sound&#8221;). Indeed, the problem here is what befell <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WILLIEALEXANDER\">Willie Alexander<\/a> on MCA \u2014 it feels like the record label was normalizing the group. &#8220;Local Talent&#8221; has this smooth recording which emulates <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifyxqrgld6e\">John Cougar Mellencamp<\/a>, to the point where lead singer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MIKEGIRARD\">Mike Girard<\/a> actually sounds like a young <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MELLENCAMP\">Mellencamp<\/a> on this track about ladies of the night, not local bands. &#8220;What I Tell Myself&#8221; opens side two, and it sounds like a mainstream pop version of the band <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:difyxqe5ld6e\">Deep Purple<\/a>. It is telling that while their first album yielded the excellent &#8220;It&#8217;s A Night For Beautiful Girls,&#8221; it is the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifuxqr5ld6e\">Roy Orbison<\/a> cover here, &#8220;Running Scared,&#8221; which is the outstanding track on Heavy Mental. These were mental times for Boston rock &amp; roll (a local D.J., <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:CAPTAINP.J\">Captain P.J<\/a>. actually had the phrase &#8220;Go Mental&#8221; and would create havoc at Boston area shows), but there is nothing chaotic, crazy, or even marginally psychotic about Heavy Mental. &#8220;Lost Number&#8221; is another title which should sound like <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxqr5ldde\">The Tubes<\/a>, not a subdued <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifwxqw5ldte\">Eddie Cochran<\/a>. The Fools really had it together, and where <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MIKEGIRARD\">Mike Girard<\/a> could sound like <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifuxqr5ld6e\">Roy Orbison<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHNMELLENCAMP\">John Mellencamp<\/a>, he sounds like <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hpfrxql5ldke\">Fee Waybill<\/a> a bit on &#8220;Lost Number,&#8221; but the band sounds like someone putting handcuffs on <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxqr5ldde\">The Tubes<\/a>, where this band was a more suburban &#8220;let&#8217;s have some outrageous fun&#8221; act and needed to be given more latitude. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:RICHBARTLETT\">Rich Bartlett<\/a> is an incredible player, but like <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kpfixqw5ldfe\">Elliot Easton<\/a> in <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">The Cars<\/a>, he was restrained from being the blazing guitar star he was quite capable of being at this point in time. He would actually join <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BENORR\">Ben Orr<\/a> of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">The Cars<\/a> in the late 90s, and had the creative freedom to reinvent that band&#8217;s Top 40 hits. Bassst <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hbfixqt5ldte\">Doug Forman<\/a> sings the lead on &#8220;Last Cadillac On Earth,&#8221; a heavy urban rocker with more emphasis on riffs, more like <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wifixqe5ldje\">Foghat<\/a>. How their management or record label intended to market a group clearly being pushed into directions different from their stage show is a good study in the problems of the record industry, but it failed to give The Fools a platform to create and grow. They were able to sell tons of records on their own label in the Northeast after their two albums on EMI-America, and maybe their record deal raised their profile and helped them affirm their position in New England, but they deserved much more. Producer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fwxqrgldhe\">Vini Poncia<\/a> has displayed great pop sensibilities, but none of them are obvious on Heavy Mental, an album too sane for its own good.<\/p>\n<p>GIRLS NIGHT OUT 1985<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jvfyxqr0ldke\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jvfyxqr0ldke<\/a><\/p>\n<p>Review<br \/>\nby Joe Viglione<br \/>\nOne of the greatest tragedies in Boston rock &amp; roll history, and something the world is the worse for, is this difficult document of one of the best &#8217;80s bands from New England, Girls Night Out. For a group who approximately grossed over a quarter of a million dollars in a two-year period, they were saddled with arguably the worst cover art in Boston history, substandard production by the usually reliable <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:CHRISLANNON\">Chris Lannon<\/a>, and evidence that radio-station politics, mismanagement, and too many cooks can do more than spoil the stew; politics can stand in the way of important art. Nothing on this record jumps out at you like the eight-track demo of &#8220;Matter of Time,&#8221; the regional radio hit recording that helped launch <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:GNO\">GNO<\/a>&#8216;s career. The failure to re-track &#8220;Matter of Time,&#8221; a song that was like a girl group version of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:%5C\">&#8216;Til Tuesday<\/a>&#8216;s &#8220;Voices Carry,&#8221; is the true crime of the heart here. The great <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JIMMYMILLER\">Jimmy Miller<\/a> produced a cover of &#8220;Baby It&#8217;s You&#8221; for lead guitarist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WENDYSOBEL\">Wendy Sobel<\/a> in 1983, and the version is sultry, moody, and brilliant, but is not included here. The three songs <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JIMMYMILLER\">Jimmy Miller<\/a> did with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WENDYSOBEL\">Wendy Sobel<\/a>, one-seventh of this band, blow away this entire disc. &#8220;Affair of the Heart,&#8221; &#8220;Love Under Pressure,&#8221; &#8220;Calling Doctor Love,&#8221; and &#8220;Crime of the Heart&#8221; are studied performances with none of the excitement the girls displayed on-stage. The precision is the kind of homogenization one expects from a major label, not from an independent group, and it feels like the act was being directed from the pages of This Business of Music rather than by the creative instincts of a professional. The results are disappointing. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DIDISTEWART\">Didi Stewart<\/a> wrote all the material, and there is no doubt she is a genius, but her talent was inhibited by business forces behind the scenes. Rumor has it that <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MADONNA\">Madonna<\/a>\/<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BRIANWILSON\">Brian Wilson<\/a> producer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ANDYPALEY\">Andy Paley<\/a> was interested in signing the group, but the manager allegedly would not agree to the terms. If that urban myth is true, it is a shame, for <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PALEY\">Paley<\/a> could have taken &#8220;Affair of the Heart&#8221; and given it the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PHILSPECTOR\">Phil Spector<\/a> treatment. The songs are all first-rate, it is just that they have nothing to them; they are two-dimensional recordings with flawed sounds (listen to the lame drum slap in the middle of &#8220;Affair of the Heart&#8221;). These are pedestrian performances from ladies who bowled people over in concert; a version of &#8220;Love Under Pressure&#8221; is included that sounds like it is stuck in a pressure cooker. There&#8217;s no mastering credit, but that essential element is thin at best. Girls Night Out&#8217;s exquisite staple, &#8220;When You Were Mine,&#8221; shows up five years later on the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:ONETRUEHEART\">One True Heart<\/a> album by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DIDISTEWART\">Didi Stewart<\/a>, and it is total vindication, showing what the songwriter could do away from the confines of a democracy. Bits and pieces of what this phenomenal group was all about have surfaced elsewhere. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ALIZONLISSANCE\">Alizon Lissance<\/a> has released discs with her local group, and other members \u2014 <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MYANNA\">Myanna<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WENDYSOBEL\">Wendy Sobel<\/a>, and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DIDISTEWART\">Didi Stewart<\/a> \u2014 are off doing their own thing; reunions of this post-<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:AMPLIFIERS\">Amplifiers<\/a> band <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:STEWART\">Stewart<\/a> fronted happen once in a blue moon. This writer brought <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DIDISTEWART\">Didi Stewart<\/a> to the 1992 <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MARTYBALIN\">Marty Balin<\/a> sessions in New Hampshire, and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BALIN\">Balin<\/a> was thrilled at the prospect of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:STEWART\">Stewart<\/a> and her friend, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ELLIEMARSHALL\">Ellie Marshall<\/a> of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THEMODERNLOVERS\">the Modern Lovers<\/a>, singing on his album, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:BETTERGENERATION\">Better Generation<\/a>. That idea was nixed by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:KARENDEAL\">Karen Deal<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BALIN\">Balin<\/a>&#8216;s wife, yet another example of people interfering in important art. With the cash that was coming in through the high demand for this group and the combination of originals and covers packing their shows, Girls Night Out should have released a superb album on their own and let a major label pick it up. Seven great artists who should have had original guitarist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PATTYLARKIN\">Patty Larkin<\/a> return to jam with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WENDYSOBEL\">Wendy Sobel<\/a> on this were left out in the cold when these recordings failed to generate the same excitement as the band did live. The original demo tapes, the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JIMMYMILLER\">Jimmy Miller<\/a> sessions with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:SOBEL\">Sobel<\/a>, a live radio broadcast or recording from a nightclub, and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DIDISTEWART\">Didi Stewart<\/a> solo material \u2014 all combined \u2014 could have made this affair memorable. Listening to this decades after it was recorded is still a heartbreak to those who witnessed the excitement of the girls live. This EP is a great excuse for these talented ladies to re-form on their 20th anniversary and create the album they are still capable of putting together.<br \/>\nJon Butcher Axis<\/p>\n<p>Jon Butcher Axis 1983<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0vfixqt5ldje\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0vfixqt5ldje<\/a><\/p>\n<p>Jon Butcher is a journeyman guitarist whose <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHANNA%7CWILDE\">Johanna Wilde<\/a> band was legendary in the New England region in the late 70&#8217;s. While the &#8220;New Wave&#8221; and &#8220;Punk Rock&#8221; scenes were exploding, Butcher kept to what he did best: mainstream hard rock. By the time this Polydor deal materialized much of his better known tunes had been in circulation for quite some time. &#8220;New Man&#8221; originally appeared on a 1980\/1981 compilation from radio station WCOZ, it opens up side two here, but, like most of the album, is hampered by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PAT%7CMORAN%5C%27S\">Pat Moran&#8217;s<\/a> pedestrian production.&#8221;Cant Be The Only Fool&#8221; and &#8220;Send One Care Of&#8221; lack personality here, the producer and record label failing to polish Jon Butcher&#8217;s consistent songwriting. Add to that mix the fact that his management company had a falling out with the major concert promoter in his hometown, you have an act that had to move to Los Angeles in order to find an environment more conducive to the creative process. &#8220;Life Takes A Life&#8221; is haunting here, and may be the best track on the record; &#8220;It&#8217;s Only Words,&#8221; &#8220;Ocean In Motion&#8221; and &#8220;New Man&#8221; were popular live and remain highlights of this record, but the power trio never got to shape their own identity. The crunching chords made Jon Butcher more like <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifuxqr5ldse\">Pete Townshend<\/a> performing in <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CJIMI%7CHENDRIX%7CEXPE\">The Jimi Hendrix Experience<\/a>. Like <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jifpxqr5ldde\">Robin Trower<\/a>, Butcher performed in the shadow of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JIMI\">Jimi<\/a>, good material but not as creative and memorable as the prototype, and without the production and promotion skills of a <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:avfoxqw5ldse\">Chas Chandler<\/a>. A decent album that could have been so much more if the people around this artist understood what the music was all about.<\/p>\n<p>Wishes 1987<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:fvfoxq95ld6e\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:fvfoxq95ld6e<\/a><\/p>\n<p>Reviewby Joe Viglione<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fqxqt5ldje\">Jon Butcher<\/a> says he never should have bet his heart if he &#8220;couldn&#8217;t pay the price&#8221; in Wishes, which might be the guitarist&#8217;s most introspective album and most potent artistic statement. The production by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fqxqt5ldje\">Butcher<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:k9ftxqrgldte\">Spencer Proffer<\/a> is crisp and elegant. Here&#8217;s a songwriter controlling his own destiny with help from <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kifoxqe5ldje\">Foreigner<\/a>\/<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxqw5ldae\">Aerosmith<\/a> sideman <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0nfpxq95ldhe\">Thom Gimbel<\/a>, longtime drummer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fcfqxqy5ldke\">Derek Blevins<\/a>, and bassist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ROB%7CJEFFRIES\">Rob Jeffries<\/a>. These are all <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fqxqt5ldje\">Jon Butcher<\/a> originals with one co-write, &#8220;A Little Bit of Magic,&#8221; which has the assistance of a person with one name only, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:h9fixqygldhe\">Raun<\/a>, from another Pasha\/<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:k9ftxqrgldte\">Spencer Proffer<\/a> group, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gzfuxq85ldae\">Isle of Man<\/a>. &#8220;Living for Tomorrow&#8221; continues the spirit of the first tune, &#8220;Goodbye Saving Grace,&#8221; with the singer&#8217;s strong voice augmented by guitarmanship finally coming into its own. His musicianship takes a backseat to the song and production though, which is a good thing &#8212; leave the flash for the stage. Wishes has solid statements in each song and throughout the grooves. The old adage &#8220;If wishes were horses, then beggars would ride&#8221; is changed here to &#8220;If wishes were horses&#8230;then dreamers would ride,&#8221; written over and under a solitary picture of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fqxqt5ldje\">Butcher<\/a> on the inner sleeve. He sounds like <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jifoxqr5ldje\">Paul Rodgers<\/a> on &#8220;Holy War&#8221; taking much from <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fiftxqe5ldje\">the Firm<\/a>, a group who hit two years before this 1987 disc. &#8220;Holy War&#8221; takes on <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jxfoxqqkldje\">Jimmy Swaggart<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kjfrxqwhldfe\">Jerry Fallwell<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BILLY%7CGRAHAM\">Billy Graham<\/a>, and other evangelists to great effect, while the title track treads on ground more familiar to <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fqxqt5ldje\">Butcher<\/a>, the music of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hnfexqr5ldte\">Jimi Hendrix<\/a>. &#8220;Wishes&#8221; is a wonderful tune which borrows heavily from &#8220;The Wind Cries Mary&#8221; both lyrically and musically before emerging halfway through as its own entity. &#8220;Churinga&#8221; closes out side one, a creative instrumental displaying this band&#8217;s ability to groove. These grooves immediately make their way to side two with &#8220;Long Way Home,&#8221; a blending of percussion and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fqxqt5ldje\">Jon Butcher<\/a>&#8216;s gritty guitar. &#8220;Show Me Some Emotion&#8221; harkens back to the sound of early <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fqxqt5ldje\">Jon Butcher Axis<\/a>, with better production than their Polygram debut. The co-write, &#8220;A Little Bit of Magic,&#8221; picks up where &#8220;Wishes&#8221; left off, and though the lyrics may be the weakest on the disc, the song&#8217;s climbing guitar evokes <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gjfpxqrgldte\">Santana<\/a> from that guitar star&#8217;s &#8220;She&#8217;s Not There&#8221; period ten years earlier. &#8220;A Little Bit of Magic&#8221; should have been a big hit. So too &#8220;Angel Dressed in Blue,&#8221; elements of commercial artists from the day blend into the mix, making this a stronger album from <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:k9ftxqrgldte\">Spencer Proffer<\/a> than his <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wifpxqr5ldje\">Quiet Riot<\/a> smash three years earlier. Rather than &#8220;bang your head,&#8221; the music here is articulate and determined. &#8220;Partners in Crime&#8221; and &#8220;Prisoners of the Chain&#8221; add to this dynamic effort, the final track a hard ballad which would have been a nice direction for <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifpxqw5ldse\">Bad Company<\/a>. It sounds like that band seeking more modern sounds and closes out an impressive work by a journeyman revising the formula which brought him regional success in the Boston area.<\/p>\n<p>STIFF LITTLE BREEZE Jon Butcher Axs<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:09ftxq9aldhe\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:09ftxq9aldhe<\/a><\/p>\n<p>Reviewby Joe Viglione<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:fzfpxq8aldfe\">A Stiff Little Breeze<\/a> is a superb album from <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fqxqt5ldje\">the Jon Butcher Axis<\/a>, getting straight As in pacing, performance, and material. Jon Butcher personally essays, the tales behind each tune found in the eight-page booklet brimming with photos and rich in band history. As the music crosses decades, Butcher cleverly splashes some of his favorite phrasings throughout the melodies and production, making it very, very appealing. &#8220;The Tiger in the Tall Grass&#8221; borrows heavily from early <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gifexqr5ldae\">Rod Stewart<\/a>\/<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifqxqe5ldje\">Faces<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hifrxqw5ldse\">Beatles<\/a> backing vocals, and, most notably, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jifyxqe5ldfe\">Paul McCartney<\/a>&#8216;s &#8220;That Would Be Something&#8221; from his first solo album. &#8220;Wicked Woman&#8221; (the title of a <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wifexqe5ldse\">Janis Joplin<\/a> bootleg, a fact that couldn&#8217;t have escaped Butcher&#8217;s notice) adds some culture shock from what precedes it &#8212; the kind of polished &#8217;80s rock that <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hifexqw5ldde\">Bon Jovi<\/a>&#8216;s &#8220;Livin&#8217; on a Prayer&#8221; provided, only this Jon plays it so cool, slipping in a bit of &#8220;Purple Haze&#8221; into the mix. And speaking of such things, &#8220;Red House&#8221; is a standout. This artist has certainly come up with enough diverse sounds to separate him from his major influence &#8212; but when he dives into <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hnfexqr5ldte\">Hendrix<\/a> territory, it is with true understanding and wild abandon. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hnfexqr5ldte\">Jimi<\/a>&#8216;s friend <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:j9frxqu5ldte\">Buzzy Linhart<\/a> heard this version of &#8220;Red House&#8221; and noted that the tune has become the &#8220;Stormy Monday Blues&#8221; of the new millennium, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:j9frxqu5ldte\">Linhart<\/a> most impressed with what Butcher did with this often overworked cover. &#8220;A Light Texas Rain,&#8221; like the title track that begins the set, is short, sweet, and gloriously simple. Many Butcher albums have seeds of greatness, but <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:fzfpxq8aldfe\">A Stiff Little Breeze<\/a> is no mere collection of B-sides and outtakes; it is an impressive blend of this important artist&#8217;s thoughts, emotions, and performances. &#8220;Money&#8221; is like some catchy response to <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifexqe5ldde\">Cyndi Lauper<\/a>&#8216;s hit &#8220;Money Changes Everything,&#8221; with a clever aside from Butcher in the liner notes. &#8220;Beal St.&#8221; is <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:ajfuxql5ldhe\">Robert Johnson<\/a>\/<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jifpxqr5ldse\">Mick Taylor<\/a> slide guitar blues, the final of 14 tracks that make up this favorite of all of Jon Butcher&#8217;s releases. The excellent cover art features the state of Massachusetts on a map that looks like parchment an archaeologist would read from to find hidden treasure. Most appropriate.<\/p>\n<p>An Ocean In Motion Live in Boston 1984 Jon Butcher Axis<\/p>\n<p><a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kzfpxqwaldse\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kzfpxqwaldse<\/a><\/p>\n<p>Reviewby Joe Viglione<br \/>\nJon Butcher cut a path through the Boston rock &amp; roll scene when his <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHANNA%7CWILDE\">Johanna Wilde<\/a> band started making some noise as a terrific mainstream act like their contemporary, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfwxqr5ldje\">Charlie Farren<\/a>, bucking the &#8220;new wave&#8221; trend and establishing a presence by staying true to the music&#8217;s mission. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHANNA%7CWILDE\">Johanna Wilde<\/a> evolved into <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fqxqt5ldje\">Jon Butcher Axis<\/a>, and that both of his 1980s major label releases on Polydor are out of print in the new millennium certainly leaves a void for fans, of which there were many. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:fzfuxqqaldte\">Ocean In Motion: Live In Boston 1984<\/a> helps fill that void, despite its flaws. An allegedly &#8220;live&#8221; CD of vintage <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fqxqt5ldje\">Jon Butcher Axis<\/a> &#8212; said to be from Boston&#8217;s The Channel Club in 1984 &#8212; sounds too clean to be recorded in front of an audience. The same loop of applause with an annoying and lengthy whistle comes up in between tracks (most noticeably on an otherwise excellent &#8220;Don&#8217;t Say Goodnight.&#8221;) The Dayton, Ohio label Atom Records must be commended for getting Butcher&#8217;s music out there, but it&#8217;s like that studio version of &#8220;Fortune Teller&#8221; that <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifoxqr5ldje\">the Rolling Stones<\/a> tagged on to <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:39foxqt5ldde\">Got Live If You Want It!<\/a>: the fake applause just desecrates otherwise fine music. Seven tunes can be found on the first Polydor LP, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0vfixqt5ldje\">Jon Butcher Axis<\/a> released in 1983, three also appeared on the follow-up, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kzfixql5ldte\">Stare At The Sun<\/a>: the songs &#8220;Victims,&#8221; &#8220;Walk On The Moon,&#8221; and &#8220;Don&#8217;t Say Goodnight,&#8221; while the 11th title, &#8220;Not Fade Away,&#8221; is a cover of the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kpfqxqe5ldde\">Norman Petty<\/a>\/<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wifixqtjldhe\">Charles Hardin<\/a> song made famous by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifoxqr5ldje\">The Rolling Stones<\/a>. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kifoxqe5ldje\">Foreigner<\/a>&#8216;s <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0nfpxq95ldhe\">Thom Gimbel<\/a>, who performs with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxqw5ldae\">Aerosmith<\/a> and is producing <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ADRIAN%7CPERRY\">Adrian Perry<\/a>, son of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifexqr5ldhe\">Joe Perry<\/a>, appears on all tracks on keys, backing vocals, and saxophone, though he wasn&#8217;t an official bandmember. Jon Butcher gives anecdotes and impressions about his material in the colorful six-page liner note booklet, and that is very substantial. It&#8217;s an elegant package chock full of photos and insight. It&#8217;s too bad there&#8217;s not a <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fqxqt5ldje\">Jon Butcher Axis<\/a> live album from the time this group was busy opening for the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifrxqe5ldke\">J. Geils Band<\/a> when that ensemble was at the height of their fame. Yes, it&#8217;s great to have this music available on CD, and maybe <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:SCOTT%7CKINNISON\">Scott Kinnison<\/a> and Atom Records will go through the vaults for a broadcast from radio station WCOZ and\/or find other material from the day. Just hearing this material again makes one point very clear &#8212; Jon Butcher put together some of the most concise and melodic hard rock\/pop tunes from Boston&#8217;s &#8217;70s\/early &#8217;80s scene, and deserved much more success than he achieved. www.jonbutcher.com is the official web page.<\/p>\n<p>Jon Butcher Axis Live At The Casbah<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kjfuxqyaldse\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kjfuxqyaldse<\/a><\/p>\n<p>Reviewby Joe Viglione<br \/>\nJon Butcher&#8217;s first DVD is a rare concert videotaped by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BOB%7CBOYD\">Bob Boyd<\/a>&#8216;s crew at The Casbah in Manchester, New Hampshire. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BOYD\">Boyd<\/a> owned a professional video company which got permission to tape New England bands like <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifpxqr5ld6e\">the Neighborhoods<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3xfwxqegldse\">the Stompers<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CNEW%7CMODELS\">the New Models<\/a>, and many others in the 1980s. This exquisite 75-minute-plus concert is prime Butcher, displaying the man&#8217;s power, stage presence, and keen sense of rock &amp; roll. More revealing than the CD <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kzfpxqwaldse\">Ocean in Motion: Live in Boston 1984<\/a>, which Atom Records pressed prior to this release, you get to see Jon Butcher&#8217;s tight band in a fine audiovisual performance &#8212; <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kifoxqe5ldje\">Foreigner<\/a>\/<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxqw5ldae\">Aerosmith<\/a> keyboard\/saxophone player <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0nfpxq95ldhe\">Thom Gimbel<\/a> (also the producer of whiz kid <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ADRIAN%7CPERRY\">Adrian Perry<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifexqr5ldhe\">Joe Perry<\/a>&#8216;s son); ex-<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gxfyxqqgldhe\">New Man<\/a>\/<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0pftxqt5ld6e\">RTZ<\/a> bassist extraordinaire <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gcfwxqq5ldke\">Tim Archibald<\/a>, and longtime Butcher drummer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fcfqxqy5ldke\">Derek Blevins<\/a>. Jon says &#8220;Merry Christmas. . .see you in &#8217;85&#8221; at the end of &#8220;When You Were Mine&#8221; (not the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wpfwxqy5ld6e\">Didi Stewart<\/a> \/ <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:h9fpxqt0ldde\">Girls Night Out<\/a> tune from the exact same year), giving the time frame for when this important piece of New England music history happened. It&#8217;s one of three unreleased tunes that offers longtime fans something extra. There aren&#8217;t many frills on the DVD, but the audio is excellent, and the camerawork pretty steady &#8212; choppy at some points &#8212; but that just adds to the rock &amp; roll vibe. Nice to watch next to Blue Wild Angel: Jimi Hendrix Live at the Isle of Wight, not because of the eternal comparisons between Jon Butcher and his mentor, but because of the stark differences seen between the two. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fqxqt5ldje\">Jon Butcher Axis<\/a> was a band with choreography and a resume for each member that made them more than sidemen. This DVD captures the key compositions &#8212; &#8220;New Man&#8221; (the name of one of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gcfwxqq5ldke\">Tim Archibald<\/a>&#8216;s groups), &#8220;Life Takes a Life,&#8221; &#8220;It&#8217;s Only Words,&#8221; &#8220;Ocean in Motion,&#8221; and more &#8212; with a dynamic show that eclipses some of the singer&#8217;s studio recordings. Grade A.<\/p>\n<p>New England 1st Album<\/p>\n<p><a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0xfexqr5ldae\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0xfexqr5ldae<\/a><\/p>\n<p>Reviewby Joe Viglione<br \/>\nProduced by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifqxqr5ldae\">Paul Stanley<\/a> of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifoxqe5ldse\">Kiss<\/a> who was also represented by manager Bill Aucoin, this Boston band&#8217;s debut still stands as their finest. &#8220;Hello, Hello, Hello,&#8221; much like <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifyxqw5ldte\">Alice Cooper<\/a>&#8216;s use of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jjfwxqw5ldje\">Rolf Kemp<\/a>&#8216;s &#8220;Hello Hooray,&#8221; is a nice opener, but the lyrics are more like <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kifwxqr5ld6e\">Stevie Nicks<\/a> witchcraft and magic. Song two is the most classic statement made by writer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wbftxqr5ld6e\">John Fannon<\/a> and his group New England. &#8220;Don&#8217;t Ever Wanna Lose Ya&#8221; is perhaps the shortest poem\/song on record by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wbftxqr5ld6e\">Fannon<\/a>, but it is his most famous. There are swirling keyboards by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wzftxqrgld0e\">Jimmy Waldo<\/a> and the precision the band is known for in performance. Like another Boston-based group, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fuxq85ldte\">Private Lightning<\/a> on A&amp;M with their local hit &#8220;Physical Speed,&#8221; these groups were ahead of their time and exploring sounds that were not identified with the city that brought the world <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfpxqqgld6e\">the Modern Lovers<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxqw5ldae\">Aerosmith<\/a>, and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfpxqr5ldae\">the Jonzun Crew<\/a>. But with three albums on a major label, and superb production, New England had a good shot at the brass ring and a tune with all the elements of &#8220;hit&#8221; in this track. &#8220;P.U.N.K.&#8221; is also a song that generated attention. About a punk, and certainly not punk rock, although the band frequented (and played) the clubs like the Paradise and the Rat, which, no doubt, helped inspire this. &#8220;Shall I Run Away&#8221; has a great vocal from <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wbftxqr5ld6e\">Fannon<\/a> and is the best tune next to &#8220;Don&#8217;t Ever Wanna Lose Ya&#8221; &#8212; mellow with cosmic guitars, a unique sound removed from the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wifuxqw5ldae\">Asia<\/a> style producer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfoxqugldte\">Mike Stone<\/a> and the band New England became known for, almost <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifqxqugldae\">Roxy Music<\/a>. And that is where the band could&#8217;ve really made its mark, by being more experimental and less like the arena rock bands of the day. &#8220;Alone Tonight&#8221; is a great song held back by the &#8220;overproduction,&#8221; to quote the late <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifoxqr5ldje\">Stones<\/a> producer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hxfoxq95ldke\">Jimmy Miller<\/a> and his idea of the New England sound. The thick production on this music is incessant. &#8220;Nothing to Fear&#8221; has hooks a plenty and the voice more prominent; &#8220;Shoot&#8221; is like a progressive <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gifoxqw5ldse\">Black Sabbath<\/a> riff sped up and gone pop. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wbftxqr5ld6e\">Fannons<\/a>&#8216; great ideas and lyrics seem to get lost in some of the instrumentation of &#8220;Turn Out the Light.&#8221; That stage life which <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifqxqr5ldae\">Paul Stanley<\/a> knows so well from the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifoxqe5ldse\">Kiss<\/a> hit &#8220;Beth&#8221; is the theme of &#8220;The Last Show.&#8221; &#8220;Encore&#8221; concludes the album with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wbftxqr5ld6e\">Fannon<\/a> almost sounding like <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jifoxqr5ldde\">Roger Waters<\/a> in delivery and idea. New England deserves recognition for years of hard work and the creation of a very important tune from the late &#8217;70s. The cover photo has Terminator-style lightning (so did <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fuxq85ldte\">Private Lightning<\/a>&#8216;s cover, of course) and the band being delivered from out the blue.<\/p>\n<p>New England &#8220;Explorer Suite&#8221;<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:axfexqr5ldae\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:axfexqr5ldae<\/a><\/p>\n<p>Reviewby Joe Viglione<br \/>\nThis sophomore effort by the Boston-based group New England &#8212; produced by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfoxqugldte\">Mike Stone<\/a>, who also worked with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jifpxqr5ldje\">Queen<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gifrxqe5ldse\">Journey<\/a>, and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wifuxqw5ldae\">Asia<\/a> &#8212; is a very large-sounding work by a band that deserved to be as popular as <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfoxqugldte\">Stone<\/a>&#8216;s other clients. &#8220;Honey Money&#8221; is certainly not <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifoxqw5ld0e\">ABBA<\/a>; the song&#8217;s subject is the almighty dollar and its impact on musicians, and the ethereal vocals wrap themselves around a theme that could be delivered to a girlfriend as well as a fellow rocker. &#8220;Livin&#8217; in the Eighties&#8221; has a hard-hitting melody and keyboards that fall somewhere between <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifuxqr5ldfe\">Gary Wright<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:abfuxqe5ldhe\">Brian Eno<\/a>. &#8220;Conversation&#8221; has <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fjfqxq85ldde\">Nick Lowe<\/a>-style guitars (much like &#8220;Cruel to Be Kind&#8221;) &#8212; a nice change from the incessant bombast <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfoxqugldte\">Stone<\/a> and bandleader <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wbftxqr5ld6e\">John Fannon<\/a> splash on these tunes. It emerges as one of the best tracks on this release. &#8220;It&#8217;s Never Too Late&#8221; has a great pop hook, but &#8220;Explorer Suite&#8221; is the big production number, the &#8220;We Will Rock You&#8221; showpiece that New England and this album are remembered for. &#8220;Seal It With a Kiss&#8221; is rife with thick keyboards, backing vocals, and &#8217;80s guitar. A renegade &#8220;Secret Agent Man&#8221; for the &#8217;80s, the tune &#8220;Hey You&#8217;re on the Run&#8221; sounds like <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wifoxqr5ldse\">Triumvirat<\/a> meeting the band <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wifrxqw5ldde\">Boston<\/a> by way of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hifuxqr5ldae\">the Sweet<\/a>. &#8220;No Place to Go&#8221; is as elegant a ballad as <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:difoxqr5ldfe\">Yes<\/a> or <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jifpxqr5ldje\">Queen<\/a> could devise, but with more of an edge. New England has that cosmic edge, making the group truly an &#8220;underground&#8221; darling among arena rock bands, and having a group with this much talent performing at regional clubs was a treat. Bassist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfqxqegldke\">Gary Shea<\/a> and keyboardist\/backing vocalist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wzftxqrgld0e\">Jimmy Waldo<\/a> would eventually join <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifqxqw5ldae\">Alcatrazz<\/a> after the breakup of New England, while <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wbftxqr5ld6e\">Fannon<\/a> and drummer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:abfixqu5ldfe\">Hirsh Gardner<\/a> got into record production. They all remained personalities on the Boston music scene. Managed by Bill Aucoin (who handled <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifoxqe5ldse\">Kiss<\/a>) and with major producers and a great sound, it&#8217;s amazing that the band didn&#8217;t sell millions of records. Like another regional band, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:h9fpxq9kldje\">Riser<\/a> (produced by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:g9foxqugld0e\">Jack Richardson<\/a>), New England might have just been in the wrong part of the country for this style of music. Had the band become a bit more avant-garde \u00e0 la <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:abfuxqe5ldhe\">Eno<\/a>, New England might have found the larger audience that <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfoxqugldte\">Stone<\/a> helped <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gifwxqr5ldde\">U2<\/a> garner and that this band sought so passionately. And perhaps this album is too much of a good thing. Where a <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hifrxqw5ldse\">Beatles<\/a> album has ebb and flow, New England hits you with all its artillery. New England&#8217;s three major label releases, with bonus tracks, are being sold on the internet (http:\/\/www.newenglandrocks.com), as is a fourth CD of early material. A reunion album is planned; perhaps on this release the group will find the balance so necessary to finally achieving success.<\/p>\n<p>New England Walking Wild<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:wxfexqr5ldae\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:wxfexqr5ldae<\/a><\/p>\n<p>Reviewby Joe Viglione<br \/>\nIf the first album by New England is the band&#8217;s best musical statement, Walking Wild is where the group could have gone. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifwxqr5ldke\">Todd Rundgren<\/a> was the perfect choice to help tone down the ostentatious <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfoxqugldte\">Mike Stone<\/a> sounds, and the magician from <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jifexqr5ldde\">Utopia<\/a> brings this band a welcome and wonderful blend of progressive music and experimental rock. The very British and very cool &#8220;You&#8217;re There&#8221; is the standout; although it never got the attention of the first album&#8217;s &#8220;Don&#8217;t Ever Wanna Lose Ya,&#8221; the second album&#8217;s &#8220;Explorer Suite,&#8221; and this album&#8217;s single &#8220;DDT&#8221; (&#8220;Dirty Dream Tonight&#8221;), it cries for attention and renewed interest. Great pop backing vocals reminiscent of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:KLAATU\">Klaatu<\/a>&#8216;s &#8220;Calling Occupants&#8221; &#8212; a hit for <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hifrxqw5ldfe\">the Carpenters<\/a> &#8212; make this pure pop song a very satisfying ending to this disc, as creative as Boston area colleagues <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">the Cars<\/a> at their best. &#8220;L-5&#8221; is co-written by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifwxqr5ldke\">Todd Rundgren<\/a>, keyboard player <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wzftxqrgld0e\">Jimmy Waldo<\/a>, and singer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wbftxqr5ld6e\">John Fannon<\/a> &#8212; the first time <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wbftxqr5ld6e\">Fannon<\/a> is not credited as the sole songwriter (<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifwxqr5ldke\">Rundgren<\/a> wrote the lyrics, with music by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wbftxqr5ld6e\">Fannon<\/a>\/<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wzftxqrgld0e\">Waldo<\/a>). This is a neat science fiction kind of tune that fans of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifwxqr5ldke\">Todd<\/a> should seek out. &#8220;She&#8217;s Gonna Tear You Apart&#8221; features lyrics by drummer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:abfixqu5ldfe\">Hirsh Gardner<\/a> and music by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:abfixqu5ldfe\">Gardner<\/a>\/<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wbftxqr5ld6e\">Fannon<\/a>\/<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wzftxqrgld0e\">Waldo<\/a> &#8212; three-fourths of the band. It&#8217;s another change in style with a verse almost like one by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3cfyxq95ld6e\">.38 Special<\/a>, before the band suddenly slips into a <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">Cars<\/a>\/<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifqxqugldae\">Roxy Music<\/a> motif. The perfect example of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifwxqr5ldke\">Rundgren<\/a>&#8216;s production work being so distinctive from <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfoxqugldte\">Mike Stone<\/a>&#8216;s is &#8220;Elevator,&#8221; which would almost be punk rock except for the precise big vocal sound and everything being in tune. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wbftxqr5ld6e\">Fannon<\/a>&#8216;s lyrics are succinct and almost angry, from &#8220;He&#8217;s fashionably mad\/Rebel eyes\/Fearless type\/Raging force&#8221; on the title track to &#8220;Hit me,&#8221; the first words in &#8220;Holdin&#8217; Out on Me.&#8221; <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">The Cars<\/a> sang &#8220;You&#8217;re All I&#8217;ve Got Tonight,&#8221; and New England countered with &#8220;Be my &#8220;Dirty Dream Tonight.&#8221; Walking Wild has found a new life re-released on the GB Music label out of New York City (http:\/\/www.newenglandrocks.com). A fourth disc by New England (demos recorded prior to the GB Music deal) has been issued on that label as well, along with reissues of the band&#8217;s first two discs. Four New England albums is not a lot for such a creative bunch of guys. Keyboard player <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wzftxqrgld0e\">Jimmy Waldo<\/a> and bassist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfqxqegldke\">Gary Shea<\/a> formed a band called <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifqxqw5ldae\">Alcatrazz<\/a> after the breakup of the group. Had they been able to develop New England&#8217;s music for a few more records, they might have been a force to reckon with. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wbftxqr5ld6e\">John Fannon<\/a>&#8216;s work with Boston area singer\/songwriter <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PETER%7CZICKO\">Peter Zicko<\/a> actually has many of the elements that New England forged. Drummer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:abfixqu5ldfe\">Hirsh Gardner<\/a> did much production work in the &#8217;80s around the Boston area, and perhaps a disc of his material would give New England fans a bit more insight regarding what might&#8217;ve been.<\/p>\n<p>New England 1978<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kvftxqualdke\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kvftxqualdke<\/a><\/p>\n<p>Reviewby Joe Viglione<br \/>\nNew England 1978 provides the world with a glimpse of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wbftxqr5ld6e\">John Fannon<\/a>&#8216;s music prior to it being put through the rock &amp; roll machine of major labels, major management, and major record producers. Released about 20 years after the band&#8217;s formation, these ten &#8220;demos&#8221; are even more sophisticated than <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">the Cars<\/a>&#8216; early recordings from around the same period, and like those legendary <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aiftxqr5ld6e\">Ric Ocasek<\/a> compositions, these early sketches are superb. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wzftxqrgld0e\">Jimmy Waldo<\/a>&#8216;s keyboard sound on &#8220;Don&#8217;t Ever Wanna Lose Ya&#8221; is reminiscent of early <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:difyxqe5ld6e\">Deep Purple<\/a> from their Tetragrammaton days. If the hit version of this song was overpowering, this original take stands up as a terrific rendition. It very well could have been the hit with its <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">Cars-ish<\/a> thumping rhythm guitar and keyboard sweeps. This disc also contains early versions of &#8220;Hello, Hello, Hello,&#8221; &#8220;Turn Out the Light,&#8221; &#8220;Shoot,&#8221; &#8220;Nothing to Fear,&#8221; and &#8220;Alone Tonight&#8221; from their first, self-titled 1979 debut; one song, &#8220;Searchin,&#8221; from 1980&#8217;s <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:axfexqr5ldae\">Explorer Suite<\/a> and three previously unreleased titles &#8212; &#8220;Candy,&#8221; &#8220;I&#8217;ll Be There,&#8221; and &#8220;Even When I&#8217;m Away.&#8221; Conceived as a retrospective, the CD captures the spirit of a group that &#8220;from 1977 through 1979 rehearsed 8 hours a day and journeyed to a small studio in Philly to record the demos that eventually would result in a recording contract with MCA\/Infinity Records,&#8221; according to the group&#8217;s drummer. The music once heard only by heads of record labels like <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:dvfrxq85ld6e\">Clive Davis<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:azfyxq8gldfe\">Chris Wright<\/a>, and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hxfyxqugldke\">Neil Bogart<\/a> really could have been released as the group&#8217;s first disc and is as entertaining as any of New England&#8217;s commercial offerings. &#8220;Nothing to Fear&#8221; and &#8220;Searchin'&#8221; both have vocals that sound like <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifrxqw5ldse\">the Beach Boys<\/a> battling the group <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:difoxqr5ldfe\">Yes<\/a>, and that&#8217;s a compliment. The pop sound of &#8220;Don&#8217;t Worry Baby&#8221; combined with the heaviness of &#8220;Roundabout&#8221; works better than it might sound on paper. The 12-page booklet that comes with the material includes lyrics but not enough background information. With plenty of space on the CD, the almost 38 minutes of music would have been enhanced with a radio interview from the day, or even a new audio of the band telling its story. Regardless, New England 1978 is a real find for both fans and people unaware of the group and its unique blend of ultra-power pop.<\/p>\n<p>New England Greatest Hits Live<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dcfuxq8aldte\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dcfuxq8aldte<\/a><\/p>\n<p>Reviewby Joe Viglione<br \/>\nIn the eight-page booklet that accompanies Greatest Hits Live, the first ever live album from 1970s\/&#8217;80s arena rockers New England, lead singer\/frontman <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wbftxqr5ld6e\">John Fannon<\/a> notes that &#8220;We didn&#8217;t have a lot of live stuff recorded.&#8221; A double LP of on-stage performances following the release of their first three studio discs could have been the key to bring New England to that much wider audience enjoyed by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wifuxqw5ldae\">Asia<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wifrxqw5ldde\">Boston<\/a>, and some of the groups they opened for: <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kifoxqw5ld0e\">AC\/DC<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gifrxqe5ldse\">Journey<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqr5ldae\">Styx<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gifwxqr5ldke\">Rush<\/a>, and, of course, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifoxqe5ldse\">Kiss<\/a>. Less progressive than <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jifixqe5ldje\">Focus<\/a> but with enough of a stadium sound to separate them from the underground Massachusetts music community they emerged from, this in-concert disc is heavy with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wzftxqrgld0e\">Jimmy Waldo<\/a>&#8216;s keyboards and gives an overview of some of the material the band made popular in the first phase of their major-label experience. As with GB Music&#8217;s <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:w9fpxqr5ldse\">Baker Gurvitz Army<\/a> release, this is called Greatest Hits Live, which is a bit misleading. Missing are &#8220;Honey Money,&#8221; &#8220;D.D.T.&#8221; (&#8220;be my dirty dream tonight&#8221;), and &#8220;Walking Wild,&#8221; arguably among their most familiar tunes, and the group&#8217;s fan base may have preferred a title like &#8220;New England Live, Vol. 1.&#8221; Surely there must be more tapes out there, and they would be a welcome addition to the suddenly growing New England catalog. The liner notes don&#8217;t give much information on the source of this recording &#8212; the date, who recorded it, and so on, though <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wbftxqr5ld6e\">Fannon<\/a> does mention between songs that it is a second show in San Francisco. All the material from the 1979 self-titled first album except &#8220;Turn Out the Light&#8221; appears here along with three tunes from 1980&#8217;s <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:axfexqr5ldae\">Explorer Suite<\/a> &#8212; the title track, &#8220;You&#8217;ll Be Born Again,&#8221; and &#8220;Hey You&#8217;re on the Run&#8221; &#8212; putting this recording in the 1980 time frame. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wbftxqr5ld6e\">Fannon<\/a> saying from the stage, &#8220;This is a song off our album. It&#8217;s called &#8216;Hello, Hello, Hello&#8217;,&#8221; in the singular indicates that this recording may be before the release of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:axfexqr5ldae\">Explorer Suite<\/a>. The song rocks out live, as does their exquisite hit single from the summer of 1979, &#8220;Don&#8217;t Ever Wanna Lose Ya.&#8221; The instruments cut through, and the album is a fairly good representation of the band. They are four musical fellows, so everything is played very much as originally recorded. A lovely &#8220;You&#8217;ll Be Born Again&#8221; closes out the dozen-song set on this historically important document of this underrated ensemble. Impressions from the bandmembers and more specifics in the booklet &#8212; which does sport a nice array of photographs &#8212; would have been helpful, but at the end of the day it is the music that has to do the talking, and it is represented here in fine fashion.<\/p>\n<p>New Man<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:09frxqlhld6e\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:09frxqlhld6e<\/a><\/p>\n<p>Reviewby Joe Viglione<br \/>\nNew Man was a slick and precise Boston band who performed dance rock in the mid-&#8217;80s. Not as avant-garde as their contemporaries <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:NOVEMBER%7CGROUP\">November Group<\/a>, the self-titled album became more a platform for the individual talents of the bandmembers. Without the commercial songs which catapulted <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ABC\">ABC<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:CULTURE%7CCLUB\">Culture Club<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:SPANDAU%7CBALLET\">Spandau Ballet<\/a>, and similar acts to superstardom, this debut disc stood little chance of success. Everything is recorded and performed to perfection &#8212; a song like &#8220;Way Over There&#8221; is as emotionless as &#8220;Beautiful Rose&#8221; or &#8220;Bad Boys.&#8221; What the band really needed was to latch onto a solid cover, as <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:STORIES\">Stories<\/a> did with &#8220;Brother Louie,&#8221; a title that could bring this listenable and highly danceable album out of the cutout bins. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:SCOTT%7CGILMAN\">Scott Gilman<\/a>&#8216;s &#8220;Say Your Prayers&#8221; and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:TIM%7CARCHIBALD\">Tim Archibald<\/a>&#8216;s &#8220;Love Real&#8221; are two of the more memorable pieces, but there is nothing extraordinary that jumps out and makes one crazy to buy the record. &#8220;She Can&#8217;t Let Him Go&#8221; has the machine-like thumps that <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CRINGS\">the Rings<\/a> put into &#8220;Let Me Go,&#8221; but the difference in those two songs is the difference between a potential hit and a song that is just average. Producer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JOE%7CMARDIN\">Joe Mardin<\/a> appears to have recognized the individual talents of the bandmembers, with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BOB%7CGAY\">Bob Gay<\/a> and others appearing on <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CBEE%7CGEES\">the Bee Gees<\/a>&#8216; <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:E.S.P.\">E.S.P.<\/a> album that he also produced, while <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:TIM%7CARCHIBALD\">Tim Archibald<\/a> hooked up with a Boston band who did climb the Top 40, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:RTZ\">RTZ<\/a> and their album <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:RETURN%7CTO%7CZERO\">Return to Zero<\/a>. The New Man project is likeable enough &#8212; certainly not a bad record &#8212; but it&#8217;s not a disc by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CCARS\">the Cars<\/a> or <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:TRACY%7CCHAPMAN\">Tracy Chapman<\/a>, either. New Man might be the purest example of the importance of the song as a vehicle and the lack of a breakthrough hit immobilizing years of hard work. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:SCOTT%7CGILMAN\">Scott Gilman<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MARK%7CJONES\">Mark Jones<\/a> do not possess remarkable or distinctive voices either, which added to the dilemma. An instrumental version of this disc could have been fun.<\/p>\n<p>November Group November Group<\/p>\n<p><a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0pfixqqhldte\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0pfixqqhldte<\/a><\/p>\n<p>Reviewby Joe Viglione<br \/>\nThis debut by the ex-members of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WUNDERKIND\">Wunderkind<\/a> on a label owned by the record chainNewbury Comics contains five songs and lots of heart. Less derivative than their releases on Braineater and A&amp;M, this is probably November Group in a pure, na\u00efve state. &#8220;Pictures of the Homeland&#8221; sounds more searching than militant, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ALVAN%7CLONG\">Alvan Long<\/a>&#8216;s drums very present riding <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ANN%7CPRIM\">Ann Prim<\/a>&#8216;s precise and novel riff. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:RAPHAEL%7CGASPARELLO\">Raphael Gasparello<\/a> is playing the tight elastic bass prior to eventual <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DOWN%7CAVENUE\">Down Avenue<\/a> musician <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DON%7CFOOTE\">Don Foote<\/a> taking over making this limited edition E.P. a good document of the band while it was refining the dancey bouncy music regional fans loved.&#8221;Shake It Off&#8221; has the hollow vocals that Boston acts like <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CMACHINES\">The Machines<\/a> were lifting liberally from <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DEVO\">Devo<\/a>, reprised on side two&#8217;s &#8220;We Dance&#8221;. &#8220;Flatland&#8221; has the sparse machine gun guitar\/keys trade-off and a splashy group chorus of &#8220;hey&#8221; to break things up, but it is hard to differentiate it from &#8220;Pictures Of The Homeland&#8221;, and that&#8217;s the major flaw here. Intense, professional and hard working, November Group stayed within the framework of their original concept when that concept should have included, should have demanded, creative growth.They never got out of the techno-rock rut and without melody that monotone vocal might as well have been the hammer and scythe in a machine shop it was emulating. &#8220;The Popular Dance&#8221;, like everything else on this self-titled first effort, is a cool title caught in a redundant carbon copy of a tape loop. It has charm but gets tired by the time you get to the fifth track. Too bad the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WUNDERKIND\">Wunderkind<\/a> 45 wasn&#8217;t included as a bonus track, the band&#8217;s earlier incarnation was not as serious, and was at times more powerful. A live album might have captured the magic more effectively than the black and white image this music projected and became in the studio, for November Group was something to be experienced in the dance venues, dark music echoing in dark clubs.<\/p>\n<p>November Group Persistent Memories (1983)<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:apfixqqhldte\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:apfixqqhldte<\/a><\/p>\n<p>Reviewby Joe Viglione<br \/>\nIn the driving &#8220;I Live Alone,&#8221; <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3cfixq8gldfe\">Ann Prim<\/a>&#8216;s machine-gun vocal echoes a monotone <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kpfwxqe5ldke\">Greta Garbo<\/a> by way of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifoxqw5ld6e\">Marlene Dietrich<\/a>. The band had a powerful presence live in concert, and lots of angst that gets subdued when translated to vinyl in a studio. Good production work by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3cfixq8gldfe\">Ann Prim<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:A.%7CKIRBY\">A. Kirby<\/a>, who goes by the name of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kcfqxqrgld0e\">Kearney Kirby<\/a>, became the trademark of these warriors. Everything is so serious with November Group &#8212; &#8220;Night Architecture&#8221; sounds and feels contrived, but that doesn&#8217;t take away from its beauty. Whether <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PRIM\">Prim<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:KIRBY\">Kirby<\/a> were doing this as a calculated business move (which MCA recording artist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CRINGS\">the Rings<\/a> appeared to be doing before them) or if these songs emerged because it was their art at the time, isn&#8217;t the point. For what it is, it is very good. Where an instrumental version of &#8220;Put Your Back to It&#8221; might have been fun, actually putting an instrumental like &#8220;Night Architecture&#8221; on a disc is a bit redundant. All this techno rock seems to work well sans vocals on the dancefloor anyway &#8212; and the voice takes so long to kick in on &#8220;Heart of a Champion&#8221; that side two is very much like one long dance mix. &#8220;Heart of a Champion&#8221; is excellent, though it shows the group&#8217;s limitations; of all their material it sounds the most dated. This is <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifixqe5ld6e\">Devo<\/a> in a very serious light. &#8220;Heart of a Champion&#8221; is &#8220;Whip It&#8221; with a longer chorus. It is the first track, &#8220;Put Your Back to It,&#8221; which is the hit. This is the original long version of a song they would re-record for their A&amp;M Records disc, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:g9fyxqlhld6e\">Work That Dream<\/a>. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DON%7CFOOTE\">Don Foote<\/a> on vocals and bass, and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ALVAN%7CLONG\">Alvan Long<\/a>, the drummer who appeared on the first November Group EP, left for their own group shortly after this. Although not very original, these are good sounds worth finding and dancing to again.<\/p>\n<p>November Group (A &amp; M Records) Work That Dream 1985<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:g9fyxqlhld6e\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:g9fyxqlhld6e<\/a><\/p>\n<p>Reviewby Joe Viglione<br \/>\nWhen <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CANN%7CPRIM%7CBAND\">the Ann Prim Band<\/a> performed around Boston in the late &#8217;70s, they were a blues outfit. The guitarist\/vocalist re-emerged and re-invented her sound with a band called <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WUNDERKIND\">Wunderkind<\/a>, which evolved into November Group. This six-song release on A&amp;M came after a four-song outing on Braineater Records titled <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:apfixqqhldte\">Persistent Memories<\/a> in 1983, and another six-song recording on Modern Method in 1982. &#8220;Arrows Up to Heaven&#8221; on this disc is peppered with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfpxqr5ldae\">the Jonzun Crew<\/a>&#8216;s timeless &#8220;Tonight,&#8221; flavored with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:azfuxq85ld6e\">Peter Godwin<\/a>&#8216;s &#8220;Images of Heaven,&#8221; and it sounds great. &#8220;The Promise&#8221; is some mixture of &#8220;Some Like It Hot,&#8221; the 1985 hit from <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:POWER%7CSTATION\">Power Station<\/a> &#8212; it&#8217;s the same chorus, in fact, and has <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hifoxqw5ld0e\">ABC<\/a>&#8216;s &#8220;Look of Love&#8221; keyboard riff and a splash of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:h9fqxqr5ldke\">After the Fire<\/a>&#8216;s 1983 smash &#8220;Der Kommissar.&#8221; Talk about mopping riffs &#8212; these gals make <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:g9fixqr5ldae\">Randy Bachman<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aiftxqr5ld6e\">Ric Ocasek<\/a>, men who admit to nicking other&#8217;s people&#8217;s music, look clandestine by comparison. &#8220;Careful (A Life Is a Fragile Thing&#8221; is blatant <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifpxqe5ldje\">Eurythmics<\/a>. As serious as November Group was, the blues-rock so essential to <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PRIM\">Prim<\/a> as an artist was absorbed by the hip sounds of the day. &#8220;Work That Dream&#8221; was released as an A&amp;M single and featured a six-minute instrumental version and a five-minute extended mix. Recorded in Frankfurt, Germany, by producer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:dnfrxqr5ldhe\">Peter Hauke<\/a>, the music is first-class, but the real hit is &#8220;Put Your Back to It,&#8221; a two-minute shorter version of the song that was released on Braineater two years prior to this. Like some soundtrack to the film Metropolis, Work That Dream stands as a professional and entertaining set of sounds from an &#8217;80s band that deserved international airplay.<\/p>\n<p>Private Lightning<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:3xftxqy5ldje\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:3xftxqy5ldje<\/a><\/p>\n<p>Review<br \/>\nby Joe Viglione<br \/>\nThe tremendous music created in Boston, despite the overwhelming financial success of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxqw5ldae\">Aerosmith<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">the Cars<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0zfwxqy5ldse\">Bobby Brown<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hifqxqr5ld6e\">New Edition<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jifqxqr5ld6e\">New Kids on the Block<\/a>, and others, never received the respect and opportunity afforded other cities like Seattle, New York, Memphis, and San Francisco. Private Lighting is another case of a band with depth and an overabundance of talent, not getting a fair shake. &#8220;Physical Speed&#8221; opens this album with the ultimate car song. The theme of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifyxqr5ldje\">Jonathan Richman<\/a>&#8216;s &#8220;Roadrunner&#8221; reactivated by a band well versed with driving on America&#8217;s Technology Highway, Route 128. Vocalist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:dvfqxqlgldfe\">Adam Sherman<\/a> performed the song over the same backing tracks in French. That version, &#8220;Vitesse Physique,&#8221; never made it to the disc, but received airplay in New England. Originally produced by songwriter <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:azfuxq8gldke\">David Wolfert<\/a>, who also recorded <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifoxqw5ldte\">Peter Criss<\/a>&#8216; 1980 solo disc, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:OUTOFCONTROL\">Out of Control<\/a>, at Air Studios, Montserrat, A&amp;M pulled <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:azfuxq8gldke\">Wolfert<\/a> from these sessions and the disc ended up being produced and engineered by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hvftxql5ldae\">Robin Geoffrey Cable<\/a>. The curse of not releasing the demos strikes again. Clearly, the label did not have faith in the original producer, yet the band&#8217;s versions of &#8220;Song of the Kite&#8221; and &#8220;Physical Speed&#8221; got lots of local airplay in the Boston area, as did the tapes by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">the Cars<\/a> before them. This unique band, featuring the violin of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kzfpxqegldhe\">Patty Van Ness<\/a>, the songs and guitar of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0zfpxqegldhe\">Paul Van Ness<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:dvfqxqlgldfe\">Sherman<\/a>&#8216;s distinctive voice, augmented by keys, bass, and drums provided by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wjfrxqq5ldde\">Eric Kaufman<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:djfwxqw5ld6e\">Steve Keith<\/a>, and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0zfixq8gldae\">Scott Woodman<\/a> respectively, knew how to record their music. The demos have a bite that is missing on this re-creation. Still, the album has merit. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:dvfqxqlgldfe\">Adam Sherman<\/a>&#8216;s &#8220;Heartbeat&#8221; has tension, has drive. The drums don&#8217;t have the greatest sound in the world and they are up in the mix, \u00e0 la <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fcfixqw5ldse\">Roy Thomas Baker<\/a>&#8216;s vision of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">the Cars<\/a>. That sound hampers &#8220;Bright City&#8221; and the rest of the disc. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifqxqw5ldfe\">John Cale<\/a> would have been the perfect producer for this group. He understands string work in a rock context, and his A&amp;R and production work for everyone from <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfpxqqgld6e\">the Modern Lovers<\/a> to <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wifixqr5ldde\">Jennifer Warnes<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifwxqr5ld6e\">Nico<\/a> could have brought this mix together successfully. A song like &#8220;Cultists of True Fun&#8221; demanded that kind of eccentric professionalism. Managed by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:FREDHELLER\">Fred Heller<\/a>, who didn&#8217;t seem to know what to do with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifwxqygldte\">Mott the Hoople<\/a>, this is a band that should have enjoyed the success that <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wbfpxq85ld0e\">J. Geils<\/a> and the aforementioned <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">Cars<\/a> worked hard for and achieved. A truly original sound, songs like &#8220;Side of the Angels&#8221; needs power rather than the homogenization here. Singer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:dvfqxqlgldfe\">Adam Sherman<\/a> came to Boston from New York when post-<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifrxqr5ldje\">Lou Reed<\/a> <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:giftxqr5ldde\">Velvet Underground<\/a> member <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:difpxqqjldse\">George Nardo<\/a> invited him to be part of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0pfwxq95ldje\">the Rockets<\/a>, a band represented by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:VELVETS\">Velvets<\/a> manager <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:STEVESESNICK\">Steve Sesnick<\/a>. In 2001, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:dvfqxqlgldfe\">Sherman<\/a> found a song of his covered by ex-<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfpxqqgld6e\">Modern Lover<\/a> <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ELLIOTMURPHY\">Elliot Murphy<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifoxqqgldfe\">Ian Matthews<\/a> of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:ajfexqygldse\">Matthews Southern Comfort<\/a> on their duo disc, proving good talent does get recognized, but also proving that record labels and management can inhibit musical growth. This album is a testament to great music being shipwrecked by the business. You can hear through the production flaws, though, and the magic, somehow, bursts through.<\/p>\n<p>Robin Lane &amp; The Chartbusters<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jjfixqugld6e%7ET1\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jjfixqugld6e~T1<\/a><\/p>\n<p>Biography<br \/>\nby Joe Viglione<br \/>\nRobin Lane &amp; The Chartbusters emerged in 1979 when the backing vocalist\/guitarist on the song &#8220;Round &amp; Round&#8221; from <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:NEILYOUNG%5C\">Neil Young&#8217;s<\/a> <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:EVERYBODYKNOWSTHIS\">Everybody Knows This Is Nowhere<\/a> album landed an album deal of her own with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:LARRYUTTAL%5C\">Larry Uttal&#8217;s<\/a> Private Stock Records and needed a band. The daughter of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DEANMARTIN%5C\">Dean Martin&#8217;s<\/a> musical director, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:KENNYLANE\">Kenny Lane<\/a>, told AMG: &#8220;I as an x-hippie chick went looking for my knights in Rat punkdom during the summer of 1978.&#8221; She was hanging out at the legendary Boston nightclub The Rat in Kenmore Sq. and &#8220;lured&#8221; the musicians in with the recording contract offer from the label which had put out records by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BLONDIE\">Blondie<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:FRANKIEVALLI\">Frankie Valli<\/a>, an imprint which folded before they could record. The band thought she was &#8220;cute and cheeky&#8221; and they loved her songs, so they decided to stick with her and wait it out until they got another record deal, which didn&#8217;t take too long.Personally managed by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MIKELEMBO\">Mike Lembo<\/a> before she hooked up with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MODERNLOVERS\">Modern Lovers<\/a> <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:LEROYRADCLIFFE\">Leroy Radcliffe<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ASABREBNER\">Asa Brebner<\/a> along with drummer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:TIMJACKSON\">Tim Jackson<\/a> and bassist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:SCOTTBAERENWALD\">Scott Baerenwald<\/a> (a member of Boston &#8217;70&#8217;s pioneers <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:REDDYTEDDY\">Reddy Teddy<\/a> as well as the live touring band for <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THEARCHIES\">The Archies<\/a> ), Lembo had secured Robin a record deal with Private Stock and a publishing contract with Leeds Music, later MCA Music, now Universal. &#8220;He managed a friend of mine, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PETERC.JOHNSON\">Peter C. Johnson<\/a>, half man &#8211; half tape&#8230;.who was using art and tape in his live performances way before what was normal&#8221; Lane told All Media Guide.The Chartbusters tracked a demo tape at Northern Studios featuring the original &#8220;When Things Go Wrong&#8221;, &#8220;Why Do You Tell Lies&#8221; and &#8220;The Letter&#8221; (a different song than <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THEBOXTOPS\">The Box Tops<\/a> hit and an excellent tune. ) A local disc jockey suggested they make a single out of the recordings, so manager <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MIKELEMBO\">Mike Lembo<\/a> created a label, Deli Platters, and the 3 song EP was released with a black and white picture sleeve selling a phenomenal amount of copies in New England and on the East Coast, with tons of free press coming from the venture.Guitarist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ASABREBNER%5C\">Asa Brebner&#8217;s<\/a> web page notes that Robin Lane &amp; The Chartbusters signed to Warner Brothers by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JERRYWEXLER\">Jerry Wexler<\/a>. Two videos were made along with two albums and a live EP between 1980 and 1981. Lane told AMG years later that &#8220;We should have stuck to the grass roots, but who knew? &#8230;.we were blinded by the stars in our eyes.&#8221; One example of how tough it was &#8220;when things go wrong&#8221;, as her minor hit went, was when they recorded the 5 song live EP at the Orpheum Theater in Boston. &#8220;the kids were banging on the doors (of the theater) where we were to be recorded&#8230;there was no sound check for us, utter pandemonium erupted &#8230;they recorded us and put it out &#8230; no overdubs, no nothing&#8221;. Exit guitarist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:LEROYRADCLIFFE\">Leroy Radcliffe<\/a> and The Chartbusters dissolved though Robin re-appeared with a techno\/rock EP in 1984 entitled <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:HEARTCONNECTION\">Heart Connection<\/a>. It was the original group with the additions of keyboardist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WALLYJ.BAIER\">Wally J. Baier<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WILLIELOCOALEXAND\">Willie &#8220;Loco&#8221; Alexander &amp; The Boom Boom Band<\/a> guitarist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BILLYLOOSIGIAN\">Billy Loosigian<\/a>. The &#8220;grass roots&#8221; approach that appeals to Robin so much made <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:HEARTCONNECTION\">Heart Connection<\/a> as entertaining as the original three song EP on Deli Platters which started it all.During their time away from each other the individual members kept busy, Robin wrote songs for notable artists and in 1995 released a critically acclaimed CD, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:CATBIRDSEAT\">Catbird Seat<\/a>. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ASABREBNER\">Asa Brebner<\/a> embarked on a solo career while <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:TIMJACKSON\">Tim Jackson<\/a> began teaching at a college, but in the cyclical world of music comrades often reunite and in 2001 in a Boston suburb, The Chartbusters got on stage again, captured on video by a local television program. More gigs followed and a new album, cleverly titled <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:WHENTHINGSGORIGHT\">When Things Go Right<\/a> &#8211; a take off on their signature tune &#8211; found itself being recorded with new guitarist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PATWALLACE\">Pat Wallace<\/a> taking the place of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:RADCLIFFE\">Radcliffe<\/a> on second guitar. The re-release of the group&#8217;s first, self-titled Warner Brothers album coincidentally materialized on the Collectors Choice label with liner notes by AMG&#8217;s <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:RICHIEUNTERBERGER\">Richie Unterberger<\/a> around the time of the recording of the 2002 reunion disc. Robin Lane teaches in Western Mass, began a seminar, &#8220;Giving Youth A Voice&#8221;, and has written a biography with all the details of her legendary Boston band, The Chartbusters. Her web page is <a href=\"http:\/\/www.randomrogue.com\/robinlane\">http:\/\/www.randomrogue.com\/robinlane<\/a>.<\/p>\n<p>1980 Robin Lane &amp; The Chartbusters debut<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0xfoxqq5ldde\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0xfoxqq5ldde<\/a><\/p>\n<p>Review<br \/>\nby Joe Viglione<br \/>\nHer three song EP on manager <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MIKELEMBO\">Mike Lembo<\/a>&#8216;s Deli Platters label, featuring &#8220;The Letter&#8221; (an original not recorded for this album), &#8220;Why Do You Tell Lies,&#8221; and &#8220;When Things Go Wrong,&#8221; reportedly sold in excess of 10,000 units, many in the Northeast. Robin Lane&#8217;s Warner Brothers debut was produced by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:dzfwxq8gldje\">Joe Wissert<\/a> and features the musicianship of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wcfwxq85ldhe\">Asa Brebner<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:j9fqxqtgldae\">Leroy Radcliffe<\/a> on guitars, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0nfexq85ldfe\">Tim Jackson<\/a> on drums, and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0cfexqw5ld0e\">Scott Baerenwald<\/a> on bass. With alum from <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jjfwxqygldke\">Jonathan Richman&#8217;s Modern Lovers<\/a> and all band members singing, they had the elements for mega success. These songs are all great, but the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:dzfwxq8gldje\">Wissert<\/a> production stripped the band of what made them so popular in the Boston area. The three guitar attack onstage sounded like <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifqxqw5ldfe\">The Byrds<\/a> with a superb female vocalist. The lack of guitar in the middle of &#8220;Don&#8217;t Cry&#8221; with just an annoying cymbal ride is the kind of sparse production which turned a powerful act into a low-key <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifuxqr5ldhe\">Pretenders<\/a> on record. That&#8217;s the problem when a record label doesn&#8217;t understand the nuances of great musicians and the are they are creating. Warner released a five song EP of the band recorded live at the Orpheum Theater in Boston in 1980, sold at a special price \u2014 kind of admitting that the first album lacked the magic the band generated in performance. The live EP, produced by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0nfoxq95ldde\">Michael Golub<\/a>, captures some of that sparkle, but it too misses the mark with the guitars mixed way down. Hearing a song like &#8220;Why Do You Tell Lies&#8221; on the studio recording, without the lush guitar sound it cries out for, is discouraging. This is a band that deserved to craft pop hits for radio and were never given the proper chance. The songwriting and musicianship breaks through the thin production, and you can hear the potential. &#8220;Many Years Ago&#8221; and &#8220;Waiting in Line&#8221; actually sound very &#8217;90s, the high end and the hollow sound would actually come into vogue years later. But that&#8217;s not what this band was about. There are some great songs here, especially &#8220;When Things Go Wrong.&#8221; One can only hope someone comes along to record this material in a way that it can be appreciated by the masses. &#8220;Be Mine Tonite&#8221; is heavier, but still feels restrained. The inner sleeve contains the lyrics and some very cool snapshots of the band.<\/p>\n<p>Imitation Life<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:axfoxqq5ldde\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:axfoxqq5ldde<\/a><\/p>\n<p>Review<br \/>\nby Joe Viglione<br \/>\nThe bane of many a band from Boston is the curse of bad record production, and that curse struck <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jjfixqugld6e\">Robin Lane &amp; the Chartbusters<\/a> perhaps more than any other group. Where <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fwxqr5ldae\">the Atlantics<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fuxq85ldte\">Private Lightning<\/a> only got one opportunity, Warner afforded <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jjfixqugld6e\">the Chartbusters<\/a> two albums and a five-song live EP. All three featured phenomenal songs that were not recorded by the label with the love and care that the artist deserved. The three-song EP, released on manager <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gcfoxqwhldje\">Mike Lembo<\/a>&#8216;s Deli Platters label, had all the elements that pointed to stardom for Robin Lane. A great original entitled &#8220;The Letter,&#8221; not the song performed by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifoxqw5ldfe\">Alex Chilton<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kiftxqw5ldde\">the Box Tops<\/a>, did not get re-recorded by Warner Bros., and the sound is dramatically different from the slick treatment &#8220;Rather Be Blind&#8221; gets on this album, Imitation Life. &#8220;Solid Rock,&#8221; resplendent in <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:FLAMINGGROOVIES\">Flaming Groovies<\/a> riffs and girl group possibilities, gets lost in <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxq9gldje\">Gary Lyons<\/a> souped up engineering. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0nfexq85ldfe\">Tim Jackson<\/a>&#8216;s drums sound lightweight, and there are more references to angels, like the very <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfixqtgld0e\">Patti Smith<\/a>-sounding first track on this album, &#8220;Send Me an Angel.&#8221; Where the bands self-titled debut the year before should have had more of the lush <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifqxqw5ldfe\">Byrds<\/a> twelve-string guitar sounds, this album takes the group even further from that format. The guitar solo on &#8220;Pretty Mala&#8221; is almost heavy metal, so far removed from what this group was all about. The band had its own identity, but the attempts to get it to sound like <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kjftxq8gldhe\">the Patti Smith Group<\/a> by way of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifuxqr5ldhe\">the Pretenders<\/a> strips away the heart and soul of a truly creative entity. Drummer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0nfexq85ldfe\">Tim Jackson<\/a> co-writes &#8220;Idiot&#8221; with Lane, and it is one of the strongest tracks on the disc. With better production it would have hit single written all over it. It has a neat little guitar riff, summery pop melody, and easy vocals by Lane. Just a year later she would put backing vocals on <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:h9ftxq85ldte\">Andy Pratt<\/a>&#8216;s superb <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kpftxq80ld6e\">Fun in the First World<\/a> album produced by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jjfixqugld6e\">the Chartbusters<\/a>&#8216; guitarist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:j9fqxqtgldae\">Leroy Radcliffe<\/a>, who was also Lane&#8217;s significant other for awhile. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:j9fqxqtgldae\">Radcliffe<\/a>&#8216;s production of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:h9ftxq85ldte\">Andy Pratt<\/a> is everything this album needed, exactly what is missing on songs like &#8220;For You,&#8221; the moody final track with Lane&#8217;s beautifully melancholic vocal set somewhere between the instruments and not far up enough in the mix, too many effects keeping the words from being distinctive. The first album&#8217;s inner sleeve contained all the lyrics, and this second LP has etchings by guitarist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wcfwxq85ldhe\">Asa Brebner<\/a>, which, although humorous, might&#8217;ve been better as a promo. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wcfwxq85ldhe\">Brebner<\/a>&#8216;s solo album, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:gvftxqukldde\">I Walk the Streets<\/a>, released almost 20 years later, contains the sounds that should&#8217;ve been inserted into these grooves. &#8220;Rather Be Blind&#8221; is a driving pop tune with guitars that cry to sparkle and sound so subdued and lost in some reverb quagmire. This album is a heartbreaker, such a great performance lost in the mix. Producer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxq9gldje\">Gary Lyons<\/a> worked with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kifoxqe5ldje\">Foreigner<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jifpxqr5ldje\">Queen<\/a>, and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hifixqr5ld6e\">the Outlaws<\/a>, a prescription that makes for an album as hard to take sonically as <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jifqxqe5ldje\">Extreme<\/a>&#8216;s first major label disc. &#8220;What the People Are Doing&#8221; has a great spy movie guitar riff and haunting vocals, the guitar bursts at the end of the song really striking. It&#8217;s an epic that fades into the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gifwxqr5ldje\">Ramones<\/a>-ish title track, &#8220;Imitation Life.&#8221; Robin Lane&#8217;s vision was stifled by poor recording and imitation art that the band and she cannot be blamed for. Imitation Life, by producer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxq9gldje\">Gary Lyons<\/a>, and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:dzfwxq8gldje\">Joe Wissert<\/a>&#8216;s ideas for the first album, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0xfoxqq5ldde\">Robin Lane &amp; The Chartbusters<\/a>, were forces that did nothing to further this important group&#8217;s career. The song &#8220;Say Goodbye&#8221; is classic Robin Lane, and Warner Bros. should invest in remixing both these potentially classic albums for compact disc. There are great songs here that could be rerecorded decades later by artists in need of hits.<\/p>\n<p>5 Live<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kxfoxqq5ldde\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kxfoxqq5ldde<\/a><\/p>\n<p>Review<br \/>\nby Joe Viglione<br \/>\nComing in between the first album, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0xfoxqq5ldde\">Robin Lane &amp; The Chartbusters<\/a> and 1981&#8217;s <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:axfoxqq5ldde\">Imitation Life<\/a> was this five song E.P. from Warner Brothers which included a cover of what was an FM hit for <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifwxqr5ldfe\">The Who<\/a> and an AM hit for <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THEGUESSWHO\">The Guess Who<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHNNYKIDD%5C\">Johnny Kidd&#8217;s<\/a> Shakin&#8217; All Over, it not so coincidentally follows Robin Lane&#8217;s song about an earthquake, 8.1. The band was one of Boston&#8217;s best live acts, with some of the members having gone through rigorous regimentation at the hands of the brilliant and equally difficult <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifyxqr5ldje\">Jonathan Richman<\/a> as his <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MODERNLOVERS\">Modern Lovers<\/a>. This is the best production of the three platters on Warner Brothers, but it still fails to capture that sweeping <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BYRDS\">Byrds<\/a> meets <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:FLAMIN%5C\">Flamin&#8217; Groovies<\/a> sound which made Robin so very popular in Boston. This is the fourth version of When Things Go Wrong to find its way onto vinyl, two studio versions by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:dbfqxqwgldte\">The Chartbusters<\/a> and one by the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:POUSETTEDARTBAND\">Pousette Dart Band<\/a> failed to get the national attention the song deserves. Robin Lane&#8217;s voice is shot, the liners noting that this was recorded at &#8220;the end of a grueling summer tour that took the band over 14,000 miles of highway&#8221;. It sounds it. Had Warner Brothers taped the group prior to the tour in a small Boston club where they ruled, they would have captured the nuances of Robin Lane&#8217;s beautiful voice, and the sparkling musicianship which truly broke new ground for a Boston band. They were one of the best and their major label marriage failed to document what the band was all about. Lost My Mind, When You Compromise and 8.5 are originals not on either studio album, and the band sounds more like the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:B52%5C\">B52&#8217;s<\/a> performing on the big Orpheum stage. That beautiful condensed sound is enlarged here, and Robin Lane sounds like a female <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kifyxqr5ldke\">Fred Schneider<\/a> on some of this, through no fault of her own. This remains an important document of an important time. Still, it would have been nice to have more of the concert on this disc, with a better mix. Even the addition of the group&#8217;s original 3 song demo could have made this medium priced project a tool to break this essential band with.<br \/>\ntil tuesday<\/p>\n<p>Private Lightning<\/p>\n<p>COMPILATIONS<br \/>\nLIVE AT THE METRO Press A Dent Records<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:hjfexqu0ld6e\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:hjfexqu0ld6e<\/a><\/p>\n<p>Review<br \/>\nby Joe Viglione<br \/>\nNot to be confused with Live at the Metro by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gifrxqe5ldde\">the Legendary Pink Dots<\/a> from 1999, this 1981 compilation, sponsored by radio station WBCN, was the brainchild of advertising executive Sam Uvino and was in response to competing station WCOZ&#8217;s <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:hjfrxqw0ldde\">The Best of the Boston Beat<\/a> series. Playing catch-up, WBCN endorsed an additional album, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:A%7CWICKED%7CGOOD%7CTIME,%7CV\">A Wicked Good Time, Vol. 2<\/a> released by local record retailer Newbury Comics. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fvftxqrgldae\">Someone &amp; the Somebodies<\/a> start things off, the only band represented on both WBCN discs, while <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3xfwxqegldse\">the Stompers<\/a> close out side one, that band also being represented on WCOZ&#8217;s <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:hjfrxqw0ldde\">The Best of the Boston Beat, Vol. 1<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:hjfrxqw0ldde\">The Best of the Boston Beat, Vol 2<\/a>. The dynamics (or politics) of the two competing stations certainly had an impact on how the Boston scene, already damaged from the ridiculous &#8220;Bosstown Sound&#8221; of the &#8217;60s, was perceived outside the city limits. That WBCN allowed fake applause to be added to this disc is reprehensible, but the studio owner where the tapes were mastered (uncredited here, but it was the Sound Design facility in Burlington where <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:h9frxqu5ldte\">the Lines<\/a> often recorded) fessed up to it. If you can ignore the stadium applause on a disc taped at a 1500-seat venue, you can enjoy some of the music by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:CITY%7CTHRILLS\">City Thrills<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fvftxqrgldae\">Someone &amp; the Somebodies<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3xfwxqegldse\">the Stompers<\/a>, and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fuxq85ldte\">Private Lightning<\/a>. Keep in mind The Metro used to be the legendary Ark\/Boston Tea Party, evolved into a gay bar known as Cabaret, turned into Boston-Boston and 15 Lansdowne Street over the years, with dominance in the &#8217;80s while known as The Metro. It was the happening place for bigger bands during the week, and morphed into a disco on weekend nights. Live at the Metro contains early work by the original <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0zftxqq0ldde\">Lines<\/a>, featuring members who would go on to form <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:axfexqwgldae\">the Swinging Steaks<\/a>, some of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:axfqxqegldfe\">Sal Baglio<\/a>&#8216;s choice tracks with his <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3xfwxqegldse\">Stompers<\/a>, and material from rock critic <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:TRISTRAM%7CLOZAW\">Tristram Lozaw<\/a> when his band, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fvftxqrgldae\">Someone &amp; the Somebodies<\/a>, were happening. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CNEW%7CMODELS\">The New Models<\/a> come off as pretentious and drab, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:ajftxqu5ldse\">Casey Lindstrom<\/a> lost without his producer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aiftxqr5ld6e\">Ric Ocasek<\/a> to inject some life into uninspired material. But <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3xftxqujldae\">Barb Kitson<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHNNY%7CANGEL%7CCARMEN\">Johnny &#8220;Angel&#8221; Carmen<\/a> rock on &#8220;Don&#8217;t Come Back&#8221; and &#8220;Last to Know,&#8221; the former WERS DJ <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3xftxqujldae\">Kitson<\/a> tossing the &#8220;F&#8221; word nonchalantly as only she can. Their band comes out unscathed, as do <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3xfwxqegldse\">the Stompers<\/a>, in a strange merging of mainstream and underground styles. In theory, this was a good idea, but WBCN did a very poor job of documenting the scene&#8217;s important music, and the result is a curious artifact that doesn&#8217;t respect the artists performing on the disc or the scene in general. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gnfyxqykldte\">Carter Alan<\/a>, who should know better, probably cringes now that he put his name on the liner notes to this. Despite WCOZ&#8217;s inconsistent choice of musicians, that radio station wins the battle when it comes to integrity on these compilation discs. Fake applause, sheesh. What ever happened to having respect for art? From the community that launched the brilliant <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:gcfpxqe0ldae\">Live at the Rat<\/a> and the important <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:LIVE%7CAT%7CJACKS\">Live at Jacks<\/a> albums, much more was expected, and the potential for something very special went unrealized.<\/p>\n<p>1981 Press A Dent Records 616717<\/p>\n<p>WCOZ<\/p>\n<p>THE BEST OF THE BOSTON BEAT<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:hjfrxqw0ldde\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:hjfrxqw0ldde<\/a><\/p>\n<p>Review<br \/>\nby Joe Viglione<br \/>\nBoston radio station WCOZ went to number one in the &#8217;70s when radio programmer John Sebastian (no relation to <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifpxqe5ldfe\">the Lovin&#8217; Spoonful<\/a>&#8216;s singer) created his <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wifexqe5ldde\">Led Zeppelin<\/a> format. Thanks to the energies and devotion of DJ Leslie Palmiter and her &#8220;Boston Beat&#8221; Sunday night radio program, music from the New England region obtained airplay on this 50,000 watt mega station on 94.5 FM (replaced years later by dance and rap Top 40), a signal as instrumental in the breaking of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">the Cars<\/a>&#8216; demo, &#8220;Just What I Needed,&#8221; as the rival WBCN. This 1979 release is a real time capsule and despite the flaws \u2014 a few suburban bands who lack sparkle and innovation \u2014 there are some rarities by groups who went on to national prominence. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHANNAWILD\">Johanna Wild<\/a> became <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fqxqt5ldje\">Jon Butcher Axis<\/a> and their &#8220;Suzanne&#8221; was a Boston area classic, the antithesis of the new wave so important to 1979, but still relevant. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hpfuxqrjld6e\">Rick Berlin<\/a>&#8216;s original <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fxfixqqgldhe\">Luna<\/a> is here, and he&#8217;s listed as <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:RICKKINSCHERF\">Rick Kinscherf<\/a>, but the 45 RPM &#8220;Hollywood&#8221; from the notorious <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JAYMANDEL\">Jay Mandel<\/a> production sessions which cost the band a deal with Cleveland International is included here, the natural extension of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fxfixqqgldhe\">Orchestra Luna<\/a> gone rock. There&#8217;s a live tape of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3xfwxqegldse\">the Stompers<\/a>, who would later sign with Boardwalk, recorded February 13, 1979, at the Paradise Theater \u2014 the band is always more energetic live. A pivotal track from <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fwxqr5ldae\">the Atlantics<\/a> is &#8220;I&#8217;m Hooked&#8221; \u2014 it was the band with original guitarist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfqxqu0ldde\">Jeff Locke<\/a>, who was their essential pop songwriter. He was replaced by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fpxqegldse\">Fred Pineau<\/a> when the band signed a label deal and released <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jpfuxq85ld0e\">Big City Rock<\/a>, so this is one of the few places to find music from the original act, who were one of the biggest draws in their day. When you look at the lineup of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHANNAWILD\">Johanna Wild<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:g9fqxqy5ldse\">the Fools<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fwxqr5ldae\">the Atlantics<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfexql5ld6e\">Thundertrain<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3xfwxqegldse\">the Stompers<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kxftxqygldse\">the Johnny Barnes Group<\/a>, and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fxfixqqgldhe\">Luna<\/a> you are seeing an impressive roster which could have put 5,000 people in a hall if presented on one bill; they were all that popular. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfexql5ld6e\">Thundertrain<\/a>&#8216;s version of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hifqxqr5ldae\">the Standells<\/a>&#8216; &#8220;Dirty Water&#8221; is classic. It is not on their 1977 <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0cfoxql5ldhe\">Teenage Suicide<\/a> LP; this song was released two years later with blues master <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hzfwxqe5ldke\">James Montgomery<\/a> on harp and with production by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:39fuxqy5ldhe\">Duke &amp; the Drivers<\/a>&#8216; <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:EARTHQUAKEMORTON\">&#8220;Earthquake&#8221; Morton<\/a>. Five years later, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxqw5ldae\">Aerosmith<\/a>&#8216;s <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifexqr5ldhe\">Joe Perry<\/a> would record &#8220;Dirty Water&#8221; with a band called <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:h9frxqu5ldte\">the Lines<\/a>, while <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hnftxqegldhe\">Mach Bell<\/a> was <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifexqr5ldhe\">Perry<\/a>&#8216;s lead singer on MCA Records, that coincidence making this release all the more historically important. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hnftxqegldhe\">Bell<\/a>&#8216;s insane vocals on the WCOZ compilation \u2014 rambling about &#8220;the Boston strangler&#8221; and such \u2014 give his version the edge, even over that West Coast band <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hifqxqr5ldae\">the Standells<\/a>. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JOANNEBARNARD\">Joanne Barnard<\/a>&#8216;s &#8220;Don&#8217;t Break My Heart&#8221; is wonderful pop recorded out at Long View Farm, as was the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfexql5ld6e\">Thundertrain<\/a> track. Permanent Press record exec <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:w9fyxqrkldhe\">Ray Paul<\/a> shows up with an interesting &#8220;Lady Be Mine Tonight&#8221; which features local scenester <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MR.CURTNAIHERSEY\">Mr. Curt Naihersey<\/a>. All in all, this is one of the better time capsules of Boston music and the first of three compilation albums from radio station WCOZ.<\/p>\n<p>1979 LP WCOZ L331021<\/p>\n<p>The Best Of The Boston Beat Vol. 2<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kpftxqyhld0e\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kpftxqyhld0e<\/a><\/p>\n<p>Review<br \/>\nby Joe Viglione<br \/>\nRadio stations sponsoring compilations of local recording groups was the rage in the &#8217;80s, and some important musical time capsules were created. When acts hit from those discs, those time capsules turned into collectors&#8217; items. The first volume of now-defunct radio station WCOZ&#8217;s The Best of the Boston Beat (named after DJ Lesley Palmiter&#8217;s excellent Sunday night local music program) was issued on WCOZ Records, manufactured by Infinity Records, in 1979 (the station&#8217;s major competition, by the way, was Infinity Broadcasting). This second set, released in 1981, is on the Starsteam label out of Houston, TX. Starstream Records\/Big Music America may have been a company which specialized in radio station LP projects, as the disc came with a ballot for voting on the album&#8217;s best track and there was a national 25,000 dollar grand prize and a &#8220;record contract&#8221; (no specifics other than that). &#8220;Big Music America has gone into major cities all across the country to solicit tapes,&#8221; is the claim on the back cover. Years after the regional album&#8217;s creation, no such &#8220;battle of the bands&#8221; mentality is necessary. Classic tracks by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fqxqt5ldje\">the Jon Butcher Axis<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfuxqq5ldke\">Balloon<\/a> (who featured future <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gjfwxqygldje\">Joe Perry Project<\/a> lead singer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfwxqr5ldje\">Charlie Farren<\/a>), soon-to-be Boardwalk recording artists <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3xfwxqegldse\">the Stompers<\/a>, along with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHNNYBARNES\">Johnny Barnes<\/a> and a band with future producer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jjfpxqt5ldae\">Chris Lannon<\/a> as guitarist, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:ajfrxq9gld6e\">Midnight Traveller<\/a>, give the album credibility the contest could not. Musically, the best tracks are &#8220;Shutdown&#8221; from <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3xfwxqegldse\">the Stompers<\/a>, &#8220;Roll Me&#8221; from <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHNNYBARNES\">Johnny Barnes<\/a> featuring the gifted <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:CRAIGCOVNER\">Craig Covner<\/a> on guitar, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfwxqr5ldje\">Charlie Farren<\/a> singing &#8220;Political Vertigo,&#8221; and a classic early rendition of &#8220;New Man&#8221; by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fqxqt5ldje\">the Jon Butcher Axis<\/a>, more driving than the remake on their Polygram debut. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0xfrxqljldje\">Anne English<\/a> gets a nice runner-up status with &#8220;All I&#8217;m Waiting for Is You,&#8221; while the other artists provide a snapshot of a moment in Boston music history. &#8220;Rock on the Radio&#8221; by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:dzfwxqugldse\">Mark Williamson<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:AMERICANTEEN\">American Teen<\/a> is mainstream hard pop, while <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:ajfrxq9gld6e\">Midnight Traveller<\/a> travels that same road. It&#8217;s a good thing the tracks were not put back to back, as they sound very similar. Keep in mind, this is when radio programmer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifixqr5ldke\">John Sebastian<\/a> (not the singer\/songwriter) brought WCOZ to 9.1 in the ratings by offering the world a steady diet of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wifexqe5ldde\">Led Zeppelin<\/a>. That was the format of the station and this second volume reflects the album rock mindset. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0jfexqlgldje\">Powerglide<\/a> is another band who made some noise, but like the aforementioned <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:AMERICANTEEN\">American Teen<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:ajfrxq9gld6e\">Midnight Traveller<\/a>, they were not part of what was considered the &#8220;underground&#8221; of the day. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3xfwxqegldse\">The Stompers<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3vfpxql5ldke\">Jon Butcher<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfuxqq5ldke\">Balloon<\/a> with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfwxqr5ldje\">Charlie Farren<\/a>, and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHNNYBARNES\">Johnny Barnes<\/a> were able to cross into both arenas \u2014 the suburban club scene as well as the Boston rock &amp; roll crowd \u2014 but none of these groups were totally embraced by the world where <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:d9frxq85ldae\">the Nervous Eaters<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WILLIEALEXANDER\">Willie Alexander<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifexqr5ldje\">the Real Kids<\/a>, and other members of the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:gcfpxqe0ldae\">Live at the Rat<\/a> clique performed and\/or caused trouble. This album&#8217;s lack of music from that world is a drawback \u2014 the artists who got airplay on DJ Palmiter&#8217;s show were not fully represented by &#8216;Coz&#8217;s Rock &#8216;n&#8217; Roll Album: The Best of the Boston Beat, Vol. 2. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jvfyxqwgld0e\">Trapper<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gxfpxql5ldse\">the Smith Brothers<\/a>, and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0jfpxqegldke\">Witch One<\/a> may have names that evaporated as quickly as their respective careers as bands did; their inclusion is a departure from the first volume, which had an impressive nine artists of the 12 being those who were more firmly established, but the &#8220;I exist therefore I am&#8221; philosophy earns them their place when someone picks up this rare collection and gets to hear some voices from the past. When you put this collection alongside <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wzfpxqrgldke\">Wayne Wadhams<\/a>&#8216; 1975 <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:3zfyxqy0ldae\">Chef&#8217;s Salad<\/a> compilation and the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:LIVEATJACKS\">Live at Jacks<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:gcfpxqe0ldae\">Live at the Rat<\/a> recordings, along with other collections of local music, you get a better focus. There were three compilations in radio station WCOZ&#8217;s series before they changed call letters and went dance music\/rap.<\/p>\n<p>&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;<br \/>\nWARREN SCOTT of THE CHANNEL<\/p>\n<p>Warren Scott of THE CHANNEL Profile in Medford Transcript<br \/>\nMusic maker<br \/>\nBy Joe Viglione\/ Correspondent<br \/>\nThursday, November 30, 2006<\/p>\n<p><a href=\"http:\/\/www.townonline.com\/medford\/artsLifestyle\/view.bg?articleid=624580&amp;format=&amp;page=1%3Cbr%3E\">Warren Scott<\/a><\/p>\n<p><a href=\"http:\/\/www.bostonsbestliverock.com\/\">http:\/\/blog.myspace.com\/index.cfm?fuseaction=blog.view&amp;friendID=81551548&amp;blogID=200696285<\/a><\/p>\n<p>Check out Dinky Dawson&#8217;s CHANNEL website<br \/>\n<a href=\"http:\/\/www.bostonsbestliverock.com\/\">http:\/\/www.bostonsbestliverock.com<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>Scott managing Chevalier venue<\/p>\n<p>Warren Scott has close to three decades of experience as one of the major booking agents in New England. As talent buyer for The Channel nightclub, he brought national and international acts into the Boston area. Two of Roy Orbison&#8217;s last three performances before his passing were at The Channel; Greg Kihn had the room completely jammed when &#8220;Jeapordy&#8221; was a hit in 1983, while local legends Rick Berlin: The Movie and Girls Night Out featuring Didi Stewart were able to bring a huge audience into a Boston venue and generate the stir that made them two of the areas most exciting artists.<\/p>\n<p>Today the city of Medford hosts Scott&#8217;s company, Boston Event Works, managing the prestigious Chevalier Theatre. The Marvelettes, Shirley Alston Reeves, local heroes New England and The Fools, all participated in recent memorable nights at the historic concert hall. The same hall, which, in the past, has also hosted immortal names such as Louis Armstrong, Frank Sinatra and John F. Kennedy.<\/p>\n<p>Recently, Scott sat down for a Q&amp;A about his business and managing the Chevalier.<\/p>\n<p>Q: Warren, when did you open Boston Event Works?<br \/>\nA: 2002<\/p>\n<p>Q: Concerted Efforts used to be located on Salem Street in Medford, John Gentile and Mickey O&#8217;Halloran worked in the suburbs in the 70s &#8211; Mickey working out of Mass. Ave in Arlington. How do you find working five miles north of Boston compared to Boston proper, and how has Medford responded to having a major booking agency within the city limits?<\/p>\n<p>A: You don&#8217;t necessarily need to be in a metro city to run an office like BEW. With phones and e-mail, you could be anywhere as long as you are in touch and in tune to the needs of the market you are servicing.<\/p>\n<p>It&#8217;s great to be here in Medford, it supplies a great business atmosphere with location and local amenities, especially being located in the Chevalier Theater; it&#8217;s a natural fit.<br \/>\nQ: Warren, you&#8217;ve certainly worked some of the finest rooms in New England. The Pia Zadora show at the Opera House that you were involved with was a real treat. Here&#8217;s this movie actress in films that weren&#8217;t memorable onstage with Sinatra&#8217;s band and holding her own. She brought the house down if I recall.<br \/>\nWould it be fair to say that the Chevalier is as acoustically perfect as the Opera House, and as important to this region?<br \/>\nA: Most definitely, it&#8217;s a beautiful room. Acoustically it&#8217;s perfect, not a bad seat in the house, a beautiful structure, with as many seats to challenge any national concert hall.<br \/>\nQ: Could you introduce us to the staff of Boston Event Works?<br \/>\nA: Well I&#8217;m not as &#8220;news shy&#8221; as they may be, but we have a full-time staff with Julie in administration, Kevin and Ron in the contemporary club booking department, Aaron heads up the college division, Dave in the wedding and me at the helm of special events. Then we have show production managers that work out of the office producing the shows and events we put together for clients all over the USA.<\/p>\n<p>http:\/\/www.townonline.com\/medford\/artsLifestyle\/view.bg?articleid=624580&#038;format=&#038;page=2<\/p>\n<p>Music maker<br \/>\n[continued from previous page]<\/p>\n<p>Q: You have a large roster of artists. Who are some of the most in-demand performers you represent?<br \/>\nA: Good question, and me not being right in the contemporary department, I&#8217;ll try to answer &#8230;Let&#8217;s see, Boston Event Works represents, Audible Mainframe, Eclective Collective, The Well, The Brightwings, NBFB, Gordon Stone Band, Fungus Amungus, Sucka Brown, Parker House &amp; Theory, VINX, Oneside, Arcoda, Lucy Vincent, Ramoniacs, Jumpstreet.<br \/>\nQ: The region has changed dramatically since the 1970s with The Rathskellar, The Kenmore Club, The Club in Cambridge, The Channel, Jumpin&#8217; Jack Flash, Jack&#8217;s in Cambridge and other vital clubs fading into memory.<\/p>\n<p>What are your thoughts on the changing marketplace?<br \/>\nA: It&#8217;s happening too fast and without care for the music industry itself. Music is a driving force in many people&#8217;s lives, whether it&#8217;s recorded or live, and it&#8217;s the live portion of music Boston metro is lacking.<br \/>\nThere is swiftly becoming far too few live entertainment stages. For a region this large, the amount of actual viewing space for start-up, new bands, is small. We&#8217;ve got a fair amount of large venues to see nationals but the younger bands are sacrificing terribly.<\/p>\n<p>There is just nowhere to play, far less rooms are functioning now from even five to 10 years ago. One time there were 20 plus moderate sized clubs that presented live music, what are there now, six, eight??<\/p>\n<p>If you are a band who is releasing a new product and wants to showcase in a strong 400-seat room, it&#8217;s tough to find. If the room is out there, if you don&#8217;t mind waiting three months to get a slot. (Problem is) the production (professional lights and sound) is not.<\/p>\n<p>Again, a lessening support for live music.<\/p>\n<p>Q: Malden has My Honey Fitz, Arlington&#8217;s &#8220;Right Turn&#8221; has major acts in for charity events, do you think a nightclub in Medford, or a consistent music presence at the Chevalier, is something the suburbs are ready for?<\/p>\n<p>A: It&#8217;s always up to the city. A regular rotation of events at The Chevalier would work as long as the interval of time between shows worked.<\/p>\n<p>Q: What are Boston Event Works immediate goals?<\/p>\n<p>A: To continue to grow, booking the hottest bands into (what&#8217;s left of) the clubs in this region, allowing us to bring visiting businesses and corporations to this area the best entertainment with the best and newest production.<\/p>\n<p>Q: What fun things can Medford residents look forward to from the Chevalier?<\/p>\n<p>A: We&#8217;ve got a bunch of events happening &#8211; Brendon from Nashville will be in for three nights, Whoopie Goldberg will be visiting in April and the region&#8217;s best theatrical shows on the Chevalier large stage.<\/p>\n<p>Q: Boston Event Works specializes in all aspects of live music presentation, event management and promotional support. How do you choose the entertainment?<\/p>\n<p>A: Besides the many national attractions we work with, the locals and regionals are decided on by reviewing websites and promotional packages they submit to the agency.<\/p>\n<p>http:\/\/www.townonline.com\/medford\/artsLifestyle\/view.bg?articleid=624580&#038;format=&#038;page=3<\/p>\n<p>Music maker<br \/>\n[continued from previous page]<\/p>\n<p>For people interested in submitting material, the address is: Warren Scott Boston Event Works PO Box 180 Medford, MA 02155 (PH) 781-395-1732 (FX) 781-395-1733.<\/p>\n<p>Q: Would you kindly give us some of your most memorable moments in rock &amp; roll in the Boston area.<\/p>\n<p>A: Working the Sarah Vaughn and Muddy Waters show at Berklee Performance Center, one of my first was unbelievable, Fela Kuti at The Hynes, Bunnie Wailer at The Wang Center, Ray Charles at Lynn Auditorium, Frank Zappa at Winter Island in Salem, The Ramones at The Main Event in Lynn (a.k.a. &#8220;The Harbor House&#8221;) circa 1978; The Repacements, Miles Davis, Pobert Palmer, Morrissey at The Opera House, Bo Diddley and Roy Orbison double header in Volvo Tennis Chamionship opening, John Denver, same place, different night, or Jerry Lee Lewis: who admitted some profound news to (former Globe critic)Jim Sullivan and I, Divine and John Waters, Jello Biafra &amp; the Dead Kennedy&#8217;s whos name was changed to The DK&#8217;s per order of The State House, Cameo, Grandmaster Flash &amp; Melle Mel who when I paid, showed me who was in charge by using a 38 for a paper weight, The Gap Band, Charlie Watts Orchestra, The Young Snakes, Johnny Thunders, Billy Bragg, Dwight Youkum, Ian Dury and the Blockheads who opened up for an unknown John Cougar, Wendy O &amp; The Plasmatics (no ping pong balls), Joan Jett, The Slits, Big Black, The Speedies, Motorhead, Meatloaf, Eisterzende Neubarton, Alice in Chains, Fine Young Cannibals with a fire alarm, everybody left the club then everybody went back in, there where 2000 people there that night, James Brown, who I had to talk into not flying back to Detroit because of his suite, it was at the embassy suites hotel in Allston and he was told him it was a full $3,000 suite, come to find out , it cost $149, Getting drunk with AC\/DC; when I drank&#8230;George Clinton and The P-Funk Allstars, Iggy Pop, Pere Ubu, Gary Glitter, The GoGo&#8217;s, Thompson Twins, Gary Newman, GNO, Freddie Kruger, Freddie McGregor, English Beat; our House Band, The Birthday Party, John Cale, JJ Cale, Tony Bennett, The Cramps at Halloween, multiple years in a row, Putting together the first ever Spinal Tap performance (and they did 4 shows!), Ron Wood of the Rolling Stones again &amp; The Mysterians, The Jam, Dennis Brown, Sly and Robbie, B-52&#8217;s regular yearly X-Mas gigs, Phillip Glass, and Goo Goo Dolls who I used to pay $400 a night &#8230; all happened at the best nightclub America has seen&#8230;The Channel.<\/p>\n<p>Thanks for sharing those memories with us, Warren.<\/p>\n<p>Remember! To click on any chapter go to this address:<br \/>\n<a href=\"http:\/\/rocktableofcontents.blogspot.com\/\">http:\/\/rocktableofcontents.blogspot.com\/<\/a><\/p>\n<p>BERLIN AIRLIFT 1980<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:fbfwxqqgld0e\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:fbfwxqqgld0e<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>Review by Joe Viglione<\/p>\n<p>Released eight years after the brilliant Orchestra Luna album on Epic, the eclectic music of Rick Berlin takes a more pop aim, which can be described as &#8220;progressive underground.&#8221; Emerging from the same Boston scene as Willie Alexander and the Nervous Eaters, the commercial local hits &#8220;It&#8217;s You I Love,&#8221; &#8220;Over The Hill,&#8221; and &#8220;Don&#8217;t Stop Me From Crying&#8221; garnered them a huge audience, while tunes like &#8220;Can I Fall in Love&#8221; and &#8220;Airlift&#8221; were explorations in stretching the boundaries. Taking the Beatles into Journey&#8217;s arena rather than the world of the Velvet Underground, this album is actually producer Bill Pfordresher&#8217;s re-working of an album cut when the band was known as the original Luna. They had dropped the Orchestra from the name and replaced Randy Roos with Steven Paul Perry, giving the band a harder edge. The &#8220;Hollywood&#8221; 45 was released in between Orchestra Luna and Berlin Airlift under the name Luna. The band had a deal in hand with Cleveland International (yet another CBS label &#8212; this album as well as the former were on CBS affiliated labels) but the producer of Luna held out for too much money, keeping the band from signing, and changing history. This album would be dramatically different had the original Luna tapes seen the light of day. Also, &#8220;Don&#8217;t Stop Me From Crying,&#8221; a driving ballad with superb vocals that Queen made popular, was pretty established locally, making it difficult to re-launch a song people were already familiar with. Aerosmith faced this when &#8220;Dream On&#8221; charted twice nationally, once because of Boston airplay, and later because other cities picked up on it. Berlin Airlift, its wonderful music aside, is a perfect example of politics interfering in the recording process. It, unfortunately, is a big part of this album&#8217;s legacy. The film themes run throughout, as usual. The album&#8217;s back cover dressed up like a frame from celluloid, and the line &#8220;sad movies they take me away&#8221; makes the emphasis. The incessant chant of &#8220;Don&#8217;t Stop Me&#8221; is a grabber, and not your usual radio hook. Rick Kinscherf Berlin&#8217;s lyrics are direct and controversial as well as innovative. &#8220;Over the Hill&#8221; is the reverse of Gary Puckett&#8217;s &#8220;Young Girl,&#8221; about an older man, out &#8220;to rob the cradle,&#8221; dating a seventeen year old. Stevie Knicks worked that theme as well, but, somehow, a woman going there isn&#8217;t as frightening for radio programmers as men in a spring\/summer fling. The song was a big smash in Boston, but Handshake Records was busy putting out the Pope&#8217;s spoken word disc, which might&#8217;ve been a financial detriment &#8212; executive Ron Alexenburg&#8217;s label went by the wayside, further affecting this effort. Jane Balmond&#8217;s keyboards and Rick Berlin&#8217;s performances are nicely complemented by Steven Paul Perry&#8217;s Mick Ronson-style guitar, and tunes like &#8220;My Heart Ain&#8217;t Big Enough for You&#8221; and &#8220;It&#8217;s You I Love&#8221; bring the original Orchestra Luna concept to a place where rock fans can appreciate it without having to think too much. Despite its production flaws, the sound is a bit thinner than the band was used to, and some of the material having been overworked, Berlin Airlift is still a very good document of an important band. They would re-emerge as Rick Berlin: The Movie after this, recording more radio-friendly songs, many of which have yet to see the light of day. Epic\/Legacy would be wise to combine Orchestra Luna and Berlin Airlift with some of the more popular rarities on a single CD as vital early work from Rick Berlin, who continues to write, record, and perform his unique musical vision.<\/p>\n<p>RICK BERLIN LIVE AT JACQUES<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:gbfyxqukld6e\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:gbfyxqukld6e<\/a><\/p>\n<p>Review by Joe Viglione<\/p>\n<p>&#8220;The monster arrives in the dark,&#8221; Rick Berlin sings in &#8220;Miracle,&#8221; one of 15 songs recorded live at the notorious drag queen bar in Boston&#8217;s Bay Village, Jacques. Located across the street from where the Cocoanut Grove nightclub burned to the ground forcing changes in laws, it is probably the only bar in New England with a midnight license. Captured here is the ambiance with veteran singer\/songwriter Rick Berlin, whose Monday night performances at this venue rivals Little Joe Cook&#8217;s work at the Cantab for longevity. It is amazing what one man can do with a voice, piano, and audience. &#8220;(I Like) Straight Guys&#8221; is humorous in the pitter patter piano and the effective vocal, ending with a climactic &#8220;honk if you love Jesus&#8230;&#8221; &#8212; the &#8220;f&#8221; word (three letters, not four) trailing off in the distance. Berlin, formerly known as Rick Kinscherf when signed to Epic Records in the &#8217;70s with his group Orchestra Luna, is in total control with piano runs and a vocal sound moving closer to John Cale than Berlin&#8217;s work with his fusion and hard rock bands ever displayed. Jane Friedman, who worked with Cale, also represented Rick Berlin at one point in time, and she&#8217;s thanked on the disc, but the comparison between the two artists was never evident until Live at Jacques. The recording is excellent, with keyboards and voice spaced nicely, violin, harmonica, and backing vocals coming in on different titles. &#8220;Police Boy in Prague&#8221; is simply a title that may have been a bit much even for the CBS release when the band was known as Berlin Airlift. Then things were subtle, innuendo, and double entendre. Berlin compares a boy in Prague lying in his arms to a violin, as the violin plays behind him. This is Rick, as he sings in &#8220;Be Yourself,&#8221; totally immersed in his art in an appreciative arena, dangerous music being generated in a dangerous nightclub. It&#8217;s a far cry from the days when Berlin opened for Roxy Music or drew thousands of patrons into the Channel club, where his band was among the top draws. &#8220;I would rather have a fag for a son than a drunk for a husband,&#8221; he sings in &#8220;Be Yourself.&#8221; Berlin hasn&#8217;t gone after the gay market as other artists position themselves. He is just performing because he has to, and producer Dan Cantor has captured the moment in all its glory.<\/p>\n<p>GEORGE THOROGOOD<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jpfqxq95ldhe\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jpfqxq95ldhe<\/a><\/p>\n<h2>Reviews<\/h2>\n<p><em>George Thorogood is forever consistent and Maverick is more of the blues\/rock driving sound the journeyman guitarist is known for. John Lee Hooker&#8217;s &#8220;Crawling King Snake&#8221; is what you expect from this crew while &#8220;Memphis, Tennessee&#8221; bursts at the seams with George&#8217;s trademark slide and Hank Carter&#8217;s saxophone. Recorded at the legendary Dimension Sound Studio in July of 1984 on the outskirts of Boston, the earthy sound catches all the band&#8217;s primal energy from opener &#8220;Gear Jammer&#8221; to the wailing sax of &#8220;Long Gone.&#8221; There are only four originals from Thorogood, the album chock full of Johnny Otis, Chuck Berry, Carl Perkins, John Lee Hooker and others. It is territory that the group has covered on pretty much every previous record, but it&#8217;s done with the artistic passion that makes it real. The vocal on &#8220;What a Price&#8221; full of torment, it&#8217;s a nice contrast to the rocking numbers. <\/em><\/p>\n<p align=\"right\">&#8211; Joe Viglione, All Music Guide<\/p>\n<p align=\"right\"><a href=\"http:\/\/cgi.ebay.com\/George-Thorogood-the-Destroyers-Maverick_W0QQitemZ150140843825QQcmdZViewItem#ebayphotohosting\">\u00a0<\/a><\/p>\n<p><a href=\"http:\/\/cgi.ebay.com\/George-Thorogood-the-Destroyers-Maverick_W0QQitemZ150140843825QQcmdZViewItem#ebayphotohosting\">http:\/\/cgi.ebay.com\/George-Thorogood-the-Destroyers-Maverick_W0QQitemZ150140843825QQcmdZViewItem#ebayphotohosting<br \/>\n<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">George Thorogood is forever consistent and <i>Maverick<\/i> is more of the blues\/rock driving sound the journeyman guitarist is known for. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHN%7CLEE%7CHOOKER%5C%27S\">John Lee Hooker&#8217;s<\/a> &#8220;Crawling King Snake&#8221; is what you expect from this crew while &#8220;Memphis, Tennessee&#8221; bursts at the seams with George&#8217;s trademark slide and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:HANK%7CCARTER%5C%27S\">Hank Carter&#8217;s<\/a> saxophone. Recorded at the legendary Dimension Sound Studio in July of 1984 on the outskirts of Boston, the earthy sound catches all the band&#8217;s primal energy from opener &#8220;Gear Jammer&#8221; to the wailing sax of &#8220;Long Gone.&#8221; There are only four originals from Thorogood, the album chock full of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHNNY%7COTIS\">Johnny Otis<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:CHUCK%7CBERRY\">Chuck Berry<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:CARL%7CPERKINS\">Carl Perkins<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHN%7CLEE%7CHOOKER\">John Lee Hooker<\/a> and others. It is territory that the group has covered on pretty much every previous record, but it&#8217;s done with the artistic passion that makes it real. The vocal on &#8220;What a Price&#8221; full of torment, it&#8217;s a nice contrast to the rocking numbers.<br \/>\nTHE PIXIES Loudquietloud: A Film About the Pixies<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:wvfuxqydldde\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:wvfuxqydldde<\/a><\/p>\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td valign=\"top\" width=\"582\">\n<div id=\"results-table\">\n<div id=\"bio\">\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">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 &#8220;one of the most influential bands of all time&#8221; is the kind of overreach that takes away from the fun, and a philosophy that holds this elegant \u2014 and at times gorgeous \u2014 production back. What should be an important addition to their musical catalog quickly evaporates into a DVD fanzine \u2014 not a bad thing in itself, but not the type of vehicle that will recruit many new fans or beg repeated plays. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0pfpxqy5ldje\">Frank Black<\/a> (aka <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfyxqy5ldke\">Black Francis<\/a>) doesn&#8217;t have the presence of a <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fyxqr5ldke\">Willie &#8220;Loco&#8221; Alexander<\/a>, 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 <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:giftxqr5ldde\">the Velvet Underground<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fyxqr5ldke\">Alexander<\/a> has the &#8220;street cred&#8221; that would make a mere phone conversation compelling. Watching <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfyxqy5ldke\">Black Francis<\/a> engaged on the telly about the ego conflicts with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jvfrxq85ldfe\">Kim Deal<\/a> is hardly as enlightening as, say, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hbfrxqlgld6e\">Ralph J. Gleason<\/a> presenting a legendary 1965 <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifrxqe5ldhe\">Bob Dylan<\/a> press conference. Therein lies the problem: <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:djfyxq85ldse\">David<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jvfrxq85ldfe\">Kim<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gpfwxqqgld6e\">Joey<\/a>, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0pfpxqy5ldje\">Frank<\/a> (or is it <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfyxqy5ldke\">Black<\/a>?) are not <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifrxqe5ldde\">John<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jifyxqe5ldfe\">Paul<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifrxqe5ld0e\">George<\/a>, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fifwxqr5ldae\">Ringo<\/a>, nor does this film contain the supreme irreverence of <i>A Hard Day&#8217;s Night<\/i> or <i>Help!<\/i> And just as one Boston area WZLX disc jockey asked on-air, in all seriousness, &#8220;<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifrxqe5ldde\">Lennon<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jifyxqe5ldfe\">McCartney<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifrxqe5ld0e\">Harrison<\/a>, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fifwxqr5ldae\">Starkey<\/a>? Who is this <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fifwxqr5ldae\">Starkey<\/a> guy?,&#8221; few people on the planet could ever find the missing Pixies link, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfyxqy5ldke\">Charles Thompson<\/a>. This film is not for the masses, but for Pixies fans, a cult that loves the sound and wants the music, and it&#8217;s the music here that is the most powerful thing. Sadly, there&#8217;s just not enough of it. The personalities don&#8217;t jump off the screen, so the home movie&#8217;s best footage outside of the snippets of music are some of the sights \u2014 the band recording in Iceland, a hotel front in Chicago. The DVD becomes as frustrating as the group&#8217;s breakup.You can&#8217;t put bald ego on tape and expect to find the magic. The magic with the Pixies has always been the music \u2014 not their looks, not their persona \u2014 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. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kcfpxq9gldde\">Kelley Deal<\/a> wielding a camera and asking a woman why she&#8217;s there is supposed to be ironic. &#8220;My daughter <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jvfrxq85ldfe\">Kim<\/a>&#8216;s in the Pixies; I&#8217;m here to see her.&#8221; The home movie is great stuff, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kcfpxq9gldde\">Kelley<\/a>, of course, and being the woman&#8217;s daughter is as well. But wouldn&#8217;t it have been more fun to see mom running the camera and a great <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifuxqw5ldde\">Breeders<\/a> 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 \u2014 for example, the December 15, 1986, appearance at WJUL (now WUML) in Lowell, MA, or the Los Angeles footage from October 30, 2004 \u2014 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 <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:STEVEN%7CCANTOR\">Steven Cantor<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MATTHEW%7CGALKIN\">Matthew Galkin<\/a>, but what they fail to note is that many of the bands that the Pixies influenced, with the exception of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifexqr5ld6e\">Nirvana<\/a> and perhaps a handful of others, never reached the level of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifqxqugldae\">Roxy Music<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">the Cars<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:09fexqtgld0e\">R.E.M.<\/a>, or other latter-day pioneers that <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:giftxqr5ldde\">the Velvet Underground<\/a> spawned. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">The Cars<\/a> inspired many more bands than the Pixies, for example, and a quirky documentary on those personalities would be more entertaining. Without <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">the Cars<\/a> there would be no &#8220;Every Breath You Take&#8221; from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gifyxqr5ldhe\">the Police<\/a>, arguably their greatest hit. Without the Pixies there&#8217;s a very good chance <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hvfqxqr5ldje\">Kurt Cobain<\/a> 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 \u2014 and these filmmakers \u2014 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&#8217;d get it.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>copyright 2017 joe viglione, all rights reserved<br \/>\n11)Peter Calo, Carly Simon, Pamela Ruby Russell<br \/>\n<a href=\"http:\/\/petercaloreviews.blogspot.com\/\">http:\/\/petercaloreviews.blogspot.com\/<\/a><\/p>\n<div id=\"Header1\" data-version=\"1\">\n<div id=\"header-inner\">\n<div>\n<h1>Pamela Ruby Russell, Peter Calo, Carly Simon, Alex Taylor, Bellvista, Ingrid Saxon<\/h1>\n<\/div>\n<div>\n<p>A Chapter of Joe Viglione&#8217;s Guide to New England Music write jvbiographies@yahoo.com<\/p>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div>\n<h2>Wednesday, July 11, 2007<\/h2>\n<div>\n<div>\n<div itemprop=\"blogPost\" itemscope=\"itemscope\" itemtype=\"http:\/\/schema.org\/BlogPosting\"><a name=\"6627137193135514779\"><\/a><\/p>\n<h3 itemprop=\"name\"><a href=\"http:\/\/petercaloreviews.blogspot.com\/2007\/07\/guitaristsongwriterproducer-peter-calo.html\">Guitarist\/Songwriter\/Producer Peter Calo, Pamela Ruby Russell, Carly Simon, Liv Taylor, Alex Taylor, Kate Taylor, Ingrid Saxon<\/a><\/h3>\n<div><\/div>\n<div id=\"post-body-6627137193135514779\" itemprop=\"description articleBody\">Remember! To click on any chapter go to this address:<br \/>\n<a href=\"http:\/\/rocktableofcontents.blogspot.com\/\">http:\/\/rocktableofcontents.blogspot.com\/<\/a>Peter Calo plays guitar on the soundtrack to the new film HAIRSPRAY (2007). He is also working with Carly Simon and Jimmy Webb on their upcoming recording project.Bellvista THE PAINTER 1982 with PETER CALO<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:gjfrxqw0ldde\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:gjfrxqw0ldde<\/a><\/p>\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>\n<table width=\"100%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>The Painter<br \/>\n<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fzfoxq90ldse%20\">Bellvista<\/a><\/td>\n<td align=\"right\">\n<div id=\"sendto\"><a href=\"mailto:?Subject=allmusic.com%3A%20Bellvista%20%2D%3E%20The%20Painter&amp;body=A%20friend%20has%20sent%20you%20the%20following%20link%20from%20allmusic.com.%20%0D%0AClick%20on%20the%20link%20below%2C%20or%20copy%20and%20paste%20the%20link%20into%20your%20browser%3A%20%0D%0A%0D%0Ahttp%3A\/\/www.allmusic.com\/cg\/amg.dll%3Fp%3Damg%26sql%3D10%3Agjfrxqw0ldde%7ET00%0D%0A%0D%0AVisit%20allmusic.com%20at%20http%3A\/\/www.allmusic.com%20for%20more%20information%20and%0D%0Ato%20explore%20hundreds%20of%20thousands%20of%20artists%20and%20albums.\"><img decoding=\"async\" alt=\"\" src=\"http:\/\/www.blogger.com\/i\/pages\/site\/icons\/email.gif\" border=\"0\" \/><br \/>\n<\/a><\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<tr>\n<td valign=\"top\" height=\"100%\">\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"center\" valign=\"center\" width=\"200\">\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td valign=\"top\"><img decoding=\"async\" title=\"no cover\" alt=\"no cover\" src=\"http:\/\/www.blogger.com\/i\/pages\/site\/icons\/no_cover-large.gif\" \/><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<table cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td><img loading=\"lazy\" decoding=\"async\" alt=\"\" src=\"http:\/\/www.blogger.com\/i\/spacer.gif\" width=\"25\" height=\"5\" \/><\/td>\n<\/tr>\n<tr>\n<td colspan=\"3\">\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>\n<div id=\"left-sidebar-title\">Artist<\/div>\n<\/td>\n<\/tr>\n<tr>\n<td><img loading=\"lazy\" decoding=\"async\" alt=\"\" src=\"http:\/\/www.blogger.com\/i\/spacer.gif\" width=\"1\" height=\"1\" \/><\/td>\n<\/tr>\n<tr>\n<td><a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fzfoxq90ldse\">Bellvista<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<tr>\n<td colspan=\"3\">\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>\n<div id=\"left-sidebar-title\">Album<\/div>\n<\/td>\n<\/tr>\n<tr>\n<td><img loading=\"lazy\" decoding=\"async\" alt=\"\" src=\"http:\/\/www.blogger.com\/i\/spacer.gif\" width=\"1\" height=\"1\" \/><\/td>\n<\/tr>\n<tr>\n<td>The Painter<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<tr>\n<td colspan=\"3\">\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>\n<div id=\"left-sidebar-title\">Release Date<\/div>\n<\/td>\n<\/tr>\n<tr>\n<td><img loading=\"lazy\" decoding=\"async\" alt=\"\" src=\"http:\/\/www.blogger.com\/i\/spacer.gif\" width=\"1\" height=\"1\" \/><\/td>\n<\/tr>\n<tr>\n<td>1982<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<tr>\n<td colspan=\"3\">\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>\n<div id=\"left-sidebar-title\">Label<\/div>\n<\/td>\n<\/tr>\n<tr>\n<td><img loading=\"lazy\" decoding=\"async\" alt=\"\" src=\"http:\/\/www.blogger.com\/i\/spacer.gif\" width=\"1\" height=\"1\" \/><\/td>\n<\/tr>\n<tr>\n<td><img loading=\"lazy\" decoding=\"async\" alt=\"\" src=\"http:\/\/www.blogger.com\/i\/spacer.gif\" width=\"1\" height=\"1\" \/><\/td>\n<\/tr>\n<tr>\n<td>En Route<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<tr>\n<td colspan=\"3\">\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td><\/td>\n<\/tr>\n<tr>\n<td><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<tr>\n<td colspan=\"3\">\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td><\/td>\n<\/tr>\n<tr>\n<td><\/td>\n<\/tr>\n<tr>\n<td><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<tr>\n<td colspan=\"3\">\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<td valign=\"top\" width=\"582\">\n<div id=\"results-table\">\n<div id=\"bio\">\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">Jazz guitarist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jvfuxql5ldfe\">Peter Calo<\/a>&#8216;s brilliance is all over this 1982 debut by his band Bellvista. Years before his film soundtracks and work with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifexqr5ld0e\">Carly Simon<\/a>, this out-of-print six-song instrumental album contains 36 minutes of exquisite musicianship. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hjfpxqujldje\">Chris Brown<\/a> does a fine job of capturing <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jvfuxql5ldfe\">Calo<\/a>&#8216;s borderline rock solo in the opener, the nine-minute-and-22-second &#8220;Once Upon a Fantasy.&#8221; <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fqxqrgldae\">Jeff Potter<\/a>&#8216;s drums hit <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:CHIP%7CGRAHAM\">Chip Graham<\/a>&#8216;s electric bass head on. Boston Globe critic <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:J.%7CHARPER\">J. Harper<\/a> is the executive producer and writes the liner notes. He heard the band at Ryles, a famous Boston area jazz club, two years prior to this recording and says that the band was together only six months before he saw them. In a bit of hyperbole he states &#8220;Bellvista means &#8216;good view&#8217; \u2014 of the sound of the &#8217;80s and beyond,&#8221; but decades after the critic penned those words, it would be hard to disagree with him. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jvfuxql5ldfe\">Calo<\/a> proved himself with his fine solo releases along with his efforts on recordings for luminaries of the film and music world. The band theme &#8220;Belle Vista,&#8221; separating their name, is pretty and more restrained than the fiery first track. These are all <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jvfuxql5ldfe\">Calo<\/a> originals, with an interesting suite that makes up side two. There&#8217;s &#8220;The Poet (For Elaine),&#8221; followed by the album&#8217;s shortest tune, a three-minute &#8220;The Dancer,&#8221; and the <i>tour de force<\/i> nine-minute title track, &#8220;The Painter.&#8221; This is an album that needs to be re-released with anything the band may have left in the tape vaults. Perhaps there&#8217;s a live show that could fill out a full-length compact disc. It&#8217;s extraordinary from top to bottom in sound, performance, and packaging.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>Spoonerism 1983<a href=\"http:\/\/shopping.yahoo.com\/p:Spoonerism:1921649682\"><br \/>\nhttp:\/\/shopping.yahoo.com\/p:Spoonerism:1921649682<\/a><\/p>\n<table width=\"100%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr valign=\"top\">\n<td><small>From AMG Reviews<\/small>Peter Calo&#8217;s Spoonerism six-song EP from 1983 displays his clever grasp of pop, especially on &#8220;When It&#8217;s Good,&#8221; which has the markings of multi-format smash written all over it. This was released on Calo&#8217;s own En Route label and is another example of how record companies in the &#8217;80s failed to do what they did in the &#8217;60s &#8212; to pick up great regional music once it found its way out into the world on its own. The black-and-white cover is as clever as the music, unique artwork by Richard Fitzhugh on the front, the four-piece band facing each other at a coffee shop, with Calo peering at the listener from inside a mirror on the back. Side one is titled &#8220;Concave&#8221; and is hollow and curved like the inside of a circle, while side two is called &#8220;Convex&#8221; and is curved out, like the outside of a sphere. Three songs have vocals, while three are instrumental. &#8220;Next to You&#8221; is George Benson-style jazz-pop, some scat singing with dancing guitar and keys. &#8220;Sunbathing&#8221; contains no voices, and needs none &#8212; it is just a stunningly beautiful piece of music. With the high profile this artist would receive working with singer Carly Simon, along with crafting Hollywood soundtracks, it is really a shame that this exquisite song hasn&#8217;t been rediscovered and had the chance to penetrate the consciousness of the masses. Both &#8220;Sunbathing&#8221; and &#8220;When It&#8217;s Good&#8221; are outstanding finds, well-produced statements packaged with care. The record was engineered and mixed by Phil Green, former guitarist in the band Swallow, and some of the music goes into territory explored by another great Boston jazz artist, ex-Orchestra Luna guitarist Randy Roos, whose Mistral album has much in common with Peter Calo&#8217;s Spoonerism. The curve of a spoon and the curve of a circle reflect this sound, which takes diverse elements from Atlanta Rhythm Section, Genesis, and other artists, but comes up with its own uniqueness. &#8220;There&#8217;s a Reason&#8221; is the only song which has a collaborator, co-written with Elaine Davies, while the fine musicianship of the bandmembers is on display in another instrumental, &#8220;Captain Squirrel Cheeks.&#8221; PCB, the Peter Calo Band, released another track, &#8220;Fine Line,&#8221; on The Boston Rock Roll Anthology, Vol. 7 around this time. All of this is music which should be made available again, and perhaps will, as journeyman Peter Calo is an artist who many respect and appreciate.- Joe Viglione, All Music Guide<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>The Boston Rock &amp; Roll Anthology Volume #7 1987 PCB (Peter Calo Band) &#8220;Fine Line&#8221;<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;searchlink=PCB&amp;sql=11:wcftxqrdldfe%7ET0\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;searchlink=PCB&amp;sql=11:wcftxqrdldfe~T0<\/a><br \/>\n<a href=\"http:\/\/cgi.ebay.com\/Rare-Test-Pressing-Boston-R-R-Anth-7-Willie-Alexander_W0QQitemZ4834576844QQihZ017QQcategoryZ618QQrdZ1QQssPageNameZWD1VQQcmdZViewItem\"><br \/>\nhttp:\/\/cgi.ebay.com\/Rare-Test-Pressing-Boston-R-R-Anth-7-Willie-Alexander_W0QQitemZ4834576844QQihZ017QQcategoryZ618QQrdZ1QQssPageNameZWD1VQQcmdZViewItem<br \/>\n<\/a><\/p>\n<p>Cape Ann 1995<a href=\"http:\/\/www.fye.com\/Cape-Ann-Cast-Recordings_stcVVproductId2735222VVcatId459717VVviewprod.htm\"><br \/>\nhttp:\/\/www.fye.com\/Cape-Ann-Cast-Recordings_stcVVproductId2735222VVcatId459717VVviewprod.htm<br \/>\n<\/a><a href=\"http:\/\/www.music.com\/release\/cape_ann\/1\/\">http:\/\/www.music.com\/release\/cape_ann\/1\/<\/a><\/p>\n<p><b>Genre<\/b>: <a href=\"http:\/\/www.fye.com\/viewfdsearch.htm?query=New%20Age\">New Age<\/a><br \/>\n<b>Release Date:<\/b> 07\/25\/1995<br \/>\n<b>Run Time:<\/b> 51:16<\/p>\n<p><a href=\"http:\/\/www.fye.com\/viewfdsearch.htm?similarType=find&amp;query=Peter%20Calo\">Peter Calo<\/a>&#8216;s delightful <b>instrumental<\/b> album, <a href=\"http:\/\/www.fye.com\/viewfdsearch.htm?similarType=find&amp;query=Cape%20Ann\">Cape Ann<\/a>, was recorded in between his work on two records by <a href=\"http:\/\/www.fye.com\/viewamgrefdata.htm?aritstId=111555\">Carly Simon<\/a>, 1994&#8217;s <a href=\"http:\/\/www.fye.com\/viewfdsearch.htm?similarType=find&amp;query=Letters%20Never%20Sent\">Letters Never Sent<\/a> and 1997&#8217;s <a href=\"http:\/\/www.fye.com\/viewfdsearch.htm?similarType=find&amp;query=Film%20Noir\">Film Noir<\/a>. <a href=\"http:\/\/www.fye.com\/viewamgrefdata.htm?aritstId=65793\">Simon<\/a> says &#8220;What a joy and what a find!&#8221; about her guitarist in the accompanying booklet, and for fans who go all the way back to his 1982 <b>jazz<\/b> group <a href=\"http:\/\/www.fye.com\/viewfdsearch.htm?similarType=find&amp;query=Bellvista\">Bellvista<\/a>&#8216;s four-song EP, <a href=\"http:\/\/www.fye.com\/viewfdsearch.htm?similarType=find&amp;query=The%20Painter\">The Painter<\/a>, or 1983&#8217;s <a href=\"http:\/\/www.fye.com\/viewfdsearch.htm?similarType=find&amp;query=Spoonerism\">Spoonerism<\/a> by <a href=\"http:\/\/www.fye.com\/viewfdsearch.htm?similarType=find&amp;query=the%20Peter%20Calo%20Band\">the Peter Calo Band<\/a>, this is a unique and exciting setting for <a href=\"http:\/\/www.fye.com\/viewfdsearch.htm?similarType=find&amp;query=Calo\">Calo<\/a>. The virtuoso guitarist brings forth creative bursts and ideas over 14 titles, many in the four-minute range. Outside of sounds from his own voice as an instrument on <b>&#8220;Candlelight&#8221;<\/b> or <a href=\"http:\/\/www.fye.com\/viewfdsearch.htm?similarType=find&amp;query=Bob%20Patton\">Bob Patton<\/a>&#8216;s soprano sax on track four, <b>&#8220;Pashka,&#8221;<\/b> the CD is filled with bright, lightly played guitar <b>improvisations<\/b>. Each melody has its own distinct character and is very pleasant. <b>&#8220;The Devil&#8217;s Game&#8221;<\/b> and <b>&#8220;Early Sunday Bells of Summer&#8221;<\/b> clock in at one minute and 55 seconds and one minute and 57 seconds, respectively, the former acting as a nice bridge between longer essays, while <b>&#8220;Early Sunday Bells of Summer&#8221;<\/b> brings the CD to a close. A photo of <a href=\"http:\/\/www.fye.com\/viewfdsearch.htm?similarType=find&amp;query=Calo\">Calo<\/a> on the rocks of Cape Ann with the water behind him reflects the easy mood of this <b>new age<\/b>\/<b>jazz<\/b> solo <b>instrumental<\/b> album. Very pleasant.<\/p>\n<p>~Joe Viglione, All Music Guide<\/p>\n<p>Wired to The Moon (1998) Peter Calo<a href=\"http:\/\/music.msn.com\/album\/?album=10449804&amp;menu=review\"><br \/>\nhttp:\/\/music.msn.com\/album\/?album=10449804&amp;menu=review<\/a><br \/>\nPeter Calo has worked with Kate Taylor (sister of James Taylor), was musical arranger for Carly Simon, performed on the soundtrack to the DeNiro film Flawless, among other admirable exploits in the business of music. A journeyman from Boston, relocated to New York City, this album is chock of full of the smooth pop and finely crafted tunes that Calo is known for. On &#8220;Situation Totally Insane&#8221; Calo plays mandolin, shakers, acoustic guitar, whistles, and sings the lead and backing vocals. He sounds like one voice of the Everly Brothers on &#8220;Memory of You&#8221; and evokes the sound of Hall &amp; Oates if they were successful solo. &#8220;Way Up on a Mountain,&#8221; the tune which starts off the CD, &#8220;The Way You Looked,&#8221; the exquisite &#8220;Full Moon Tango,&#8221; the title track, and &#8220;The Wind and the Waves&#8221; are all fascinating. In fact, these five songs make strong candidates for appearance in film &#8212; perhaps that is where Calo is shaping his career. Lilting and smart pop, it&#8217;s adult contemporary with spirit and soul. If you admire Harriet Schock and Laura Nyro, Calo writes on that level. It&#8217;s the kind of music you wish Billy Joel would put out&#8230; it&#8217;s more serious than Joel and deserves to be as commercial. Calo&#8217;s musicianship is so fine he could easily crossover to other formats. &#8220;Driftwood&#8221; is simply acoustic guitar, dobro, bass, and vocal riffs of Lauren Kinhan and Rob Markus. Ever hear bluegrass-jazz? From the wah-wah guitar of &#8220;Guns Are Not Enough&#8221; to the final track, &#8220;I Don&#8217;t Know If It&#8217;s Love,&#8221; Calo does things vocally and lyrically that seem to be missing in pop today. This is not just Triple-A format; there are more than a couple of hits in this compact disc. ~ Joe Viglione, All Music Guide<\/p>\n<p>Cowboy Song<br \/>\n<a href=\"http:\/\/www.answers.com\/topic\/cowboy-song?cat=entertainment\">http:\/\/www.answers.com\/topic\/cowboy-song?cat=entertainment<br \/>\n<\/a><a href=\"http:\/\/music.barnesandnoble.com\/search\/product.asp?ean=98374014129\"><br \/>\nhttp:\/\/music.barnesandnoble.com\/search\/product.asp?ean=98374014129<\/a><\/p>\n<p>Cowboy Song<\/p>\n<ul>\n<li><b>Artist:<\/b> Peter Calo<\/li>\n<li><b>Flags:<\/b> Lyrics are included with the album<\/li>\n<\/ul>\n<h3>Review<\/h3>\n<p>Peter Calo is known as both a jazz performer and session man, but on Cowboy Song (&#8220;Contemporary Arrangements of Songs From the American West&#8221;) he turns his attention to traditional songs of the American frontier. The liner notes explain that the artist was inspired by the composition &#8220;Red River Valley,&#8221; with its theme of parted lovers. Calo found many of these tunes in a book published in 1910 by University of Texas professor <a href=\"http:\/\/www.blogger.com\/topic\/john-a-lomax\" target=\"_top\">John Lomax<\/a>, as well as in poet <a href=\"http:\/\/www.blogger.com\/topic\/carl-sandburg\" target=\"_top\">Carl Sandburg<\/a>&#8216;s collection The American Songbag. What he&#8217;s created is an extraordinary 13-track collection of new interpretations of timeless melodies. Both ambitious and commendable, the artist flavors these renditions with his impeccable timing, sparse but eloquent instrumentation, and a sense of adventure. &#8220;Shenandoah&#8221; starts the album off, followed by a medley of &#8220;I Ride an Ol&#8217; Paint&#8221;\/&#8221;St. James Infirmary.&#8221; These are the performances with the most jazz influence, but things get decidedly more Old West with &#8220;A Cowboy&#8217;s Lament,&#8221; featuring Antoine Silverman&#8217;s very nice violin work. Calo essays his thoughts on much of the material in the liner notes, and the eight-page booklet is very detailed. The musicians attack this material as if it is their own, and that&#8217;s the beauty of Cowboy Song &#8212; sincere reworking of music, much of which came from a time before tape recorders. In probably the same fashion as classical music has floated down the rivers of time, so too &#8220;Red River Valley&#8221; is reborn with cello, violin, and Calo&#8217;s acoustic guitar. &#8220;The Old Chisholm Trail&#8221; gets a slinky, eerie treatment, with Mike Harvey&#8217;s vocals and what sounds like wah-wah meets slide guitar. The guitarist calls these &#8220;songs of the cowboys, the way I hear them now,&#8221; and his vision is itself as exciting a find as the old sheet music that inspired him. The almost instrumental of <a href=\"http:\/\/www.blogger.com\/topic\/hank-williams\" target=\"_top\">Hank Williams<\/a> &#8220;I&#8217;m So Lonesome I Could Cry&#8221; is a far cry from <a href=\"http:\/\/www.blogger.com\/topic\/b-j-thomas\" target=\"_top\">B.J. Thomas<\/a>. Mike Harvey adds only dashes of vocal sound, blending it in with the electric guitars and violin. &#8220;Home on the Range&#8221; plays like <a href=\"http:\/\/www.blogger.com\/topic\/jimi-hendrix\" target=\"_top\">Jimi Hendrix<\/a> doing an acoustic version of his classic &#8220;Star Spangled Banner,&#8221; while Calo&#8217;s jazz roots invade the country picking of &#8220;Oh, Dem Golden Slippers.&#8221; &#8220;The Streets of Laredo,&#8221; &#8220;Yellow Rose of Texas,&#8221; &#8220;Jesse James,&#8221; and other selections get the treatment, and it is most enjoyable. There are lyrics to nine of the songs and even a bibliography. A really different kind of project worthy of attention. ~ Joe Viglione, All Music Guide<\/p>\n<p>Peaceful Easy Feeling: The Music of The Eagles by Peter Calo<a href=\"http:\/\/music.barnesandnoble.com\/search\/product.asp?ean=98374017328\"><br \/>\nhttp:\/\/music.barnesandnoble.com\/search\/product.asp?ean=98374017328<\/a><\/p>\n<h3><b>All Music Guide \/ Barnes &amp; Noble<br \/>\n<\/b><\/h3>\n<p>Multi-instrumentalist <a href=\"http:\/\/music.barnesandnoble.com\/search\/results.asp?z=y&amp;ctr=112061\">Peter Calo<\/a> is a familiar name to fans of <a href=\"http:\/\/music.barnesandnoble.com\/search\/results.asp?z=y&amp;ctr=69350\">Carly Simon<\/a>, <a href=\"http:\/\/music.barnesandnoble.com\/search\/results.asp?z=y&amp;ctr=74302\">Linda Eder<\/a>, and contemporary film soundtracks, here putting his energies into no vocal takes on a dozen songs made famous by <a href=\"http:\/\/music.barnesandnoble.com\/search\/results.asp?z=y&amp;ctr=68190\">the Eagles<\/a>, just as his <i>Here Comes the Sun<\/i> disc on the same label, Rhode Island&#8217;s North Star Records, is an &#8220;instrumental tribute to <a href=\"http:\/\/music.barnesandnoble.com\/search\/results.asp?z=y&amp;ctr=67732\">the Beatles<\/a>.&#8221; It&#8217;s a far cry from the smooth jazz\/rock of his PCB unit which performed in Boston two decades prior to this in 1983, the artist moving into a <a href=\"http:\/\/music.barnesandnoble.com\/search\/results.asp?z=y&amp;ctr=66256\">Roger Williams<\/a>\/<a href=\"http:\/\/music.barnesandnoble.com\/search\/results.asp?z=y&amp;ctr=66241\">Ferrante &amp; Teicher<\/a>\/<a href=\"http:\/\/music.barnesandnoble.com\/search\/results.asp?z=y&amp;ctr=108795\">Perry Botkin Jr.<\/a> area with this work. Calo plays piano, banjo, lap steel, guitars, and additional string and percussion programming with appearances by <a href=\"http:\/\/music.barnesandnoble.com\/search\/results.asp?z=y&amp;ctr=1118779\">Anja Wood<\/a> on cello, <a href=\"http:\/\/music.barnesandnoble.com\/search\/results.asp?z=y&amp;ctr=119026\">Clint deGanon<\/a> on drums, and other players all laying back and letting the popular melodies take center stage. They succeed at supplying a pleasant and entertaining backdrop without going overboard. That&#8217;s the dilemma for fans of Calo&#8217;s work as on many of the songs he has to be technician rather than innovator. They do embrace &#8220;One of These Nights&#8221; and create a haunting work which pulls away from the pack, the strings taking the place of the Eagles&#8217; backing vocals with the guitars bringing the copyright to a different time and place. &#8220;Hotel California&#8221; gets a lovely Spanish feel as does, naturally, &#8220;Tequila Sunrise.&#8221; These tracks show the most improvisation and because of that stand out to those who have followed Calo&#8217;s work. &#8220;Lyin&#8217; Eyes,&#8221; &#8220;Desperado,&#8221; &#8220;Peaceful Easy Feeling,&#8221; and &#8220;New Kid in Town&#8221; are more by-the-book &#8212; soothing to listen to but sticking to the program as the Eagles&#8217; own performance on &#8220;Best of My Love&#8221; does. The band&#8217;s success came from keeping it all very simple and what is interesting here is a virtuoso like Calo holding back. It&#8217;s a lovely work that will appeal to many, though fans would be more interested in the guitarist putting more of his creative spark into the mix as he did on his introspective and very satisfying <i><a href=\"http:\/\/music.barnesandnoble.com\/search\/product.asp?z=y&amp;wrk=5842864\">Cowboy Song<\/a><\/i> album. <i>Joe Viglione<\/i><\/p>\n<p>Here Comes the Sun: An Instrumental Tribute to the Beatles<br \/>\n<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jvfuxql5ldfe%20\">Peter Calo<\/a><br \/>\n<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:f9fqxqqaldfe\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:f9fqxqqaldfe<\/a><\/p>\n<p>PETER CALO article from Arts Media Magazine<br \/>\n<a href=\"http:\/\/artsmediamag.blogspot.com\/2006\/01\/peter-calo-article.html\"><br \/>\nhttp:\/\/artsmediamag.blogspot.com\/2006\/01\/peter-calo-article.html<\/a><\/p>\n<h2>Wednesday, January 18, 2006<\/h2>\n<div><a name=\"113760770022387680\"><\/a><\/p>\n<h3>Peter Calo Article<\/h3>\n<div>\n<p>&nbsp;<\/p>\n<p>PETER CALO RETURNS TO BOSTON, ORPHEUM THEATER 11\/19\/05<\/p>\n<p>By Joe Viglione<\/p>\n<p>Peter Calo was born in a small town in Alberta Canada and moved to Boston with his family when he was in high school, 9th grade. At that point in time he took up the guitar and within two years or so was invited by the MIT Classical Guitar Society (founded in 1971 by Vo Ta Han) to perform a concert at Kresge Auditorium in Cambridge. &#8220;I started out playing classical guitar, that was my first love along with the blues and funk&#8221; the guitarist said from his home in Croton on Hudson, New York in an interview mid-October, 2005.<\/p>\n<p>By 1982 his jazz band Bellvista released a six song E.P. followed by his own &#8220;Spoonerism&#8221; in 1983 and a track, &#8220;Fine Line&#8221;, on 1985&#8217;s &#8220;Boston Rock &amp; Roll Anthology Vol. #7&#8221; (Varulven), the first real look at Calo on record performing rock &amp; roll.<\/p>\n<p>With Sarah Caldwell and Leonard Bernstein in Bernstein&#8217;s masterpiece, &#8220;Mass&#8221;, Peter Calo was the only person to have performed both the singing role of the rock musician in that opera as well as playing the guitar. &#8220;After the performance Leonard Bernstein came up and gave me a hug as I took my bow &#8211; I&#8217;m looking for the photo of that&#8221; (in Calo&#8217;s personal archives).<\/p>\n<p>A mainstay of the Boston scene, Calo was involved as an original member of both Down Avenue (the band which had Charles Pettigrew of Charles &amp; Eddie &#8220;Would I Lie To You&#8221; fame) and The Heavy Metal Horns. After his stints with both groups Peter moved to New York where<br \/>\nhe began doing session work, producing and eventually hooked up with Carly Simon, beginning what is now a ten year relationship with the legendary singer\/songwriter.<\/p>\n<p>Calo noted, on his work with Carly: &#8220;we&#8217;ve been working off and on for ten years&#8230;the first tour was 1995. I met her in August &#8211; we did an impromptu gig.&#8221; They also did a concert taped exclusively for &#8220;Lifetime&#8221; and Calo&#8217;s datebook filled up quickly. Over the years he&#8217;s performed on shows with Dobey Gray, Debbie Boone, Lesley Gore as well as &#8220;The New York Voices&#8221;, a four<br \/>\npiece vocal band which toured with Peter as part of the backing trio, performing on their 1993 GRP album, &#8220;What&#8217;s Inside&#8221;, as well as their 1998 RCA disc &#8220;New York Voices Sing The Songs Of Paul Simon&#8221;. He also worked on Carly Simon&#8217;s 1994 disc &#8220;Letter&#8217;s Never<br \/>\nSent&#8221; (Arista&#8221; and her Grammy nominated 1997 disc &#8220;Film Noir&#8221;. A long-time member of the Broadway show &#8220;Hairspray&#8221;&#8216;s orchestra, he is on their Grammy winning 2002 cast album on Sony. &#8221; He goes to bat for the artist when he&#8217;s producing&#8221; said well-known Boston<br \/>\nvocalist Pamela Ruby Russell. &#8220;He&#8217;s very inspiring, I learned so much from him. He&#8217;s kind, professional, very organized, great producer &#8230;and a guitarmaster.&#8221; Russell also feels that Calo&#8217;s<br \/>\nmusical vocabulary is phenomenal &#8220;because he plays in so many genres, in so many types of music.&#8221; With so many accolades a second opinion was needed, so Arts Media Magazine contacted New York chanteuse Ingrid Saxon, daughter of Vaudeville star David Sorin-Collyer<br \/>\n&#8211; the man who was vocal coach to Bette Midler, Barry Manilow, Paul Simon and so many others. &#8220;It was awesome recording with him, he&#8217;s brilliant&#8221; said Saxon &#8211; echoing Pamela Russell&#8217;s sentiments from hundreds of miles away. &#8220;Before we even went into the studio he<br \/>\ncame to my voice studio with his equipment, recorded my rehearsal with Paul Trueblood so that we could hear it back, and started giving us input. His ears are so incredible, (and) he directed both of us. He really directed us musically like the third set of ears, it was incredible.&#8221; Saxon knows show business, having appeared on &#8220;Ryan&#8217;s Hope&#8221; and &#8220;Days Of Our Lives&#8221; soaps, continuing with &#8221; He&#8217;s very encouraging, really suportive. Peter knows so much about the recording process &#8211; he&#8217;s been on so many sessions; he knew how to work with the engineer, work with the pro-tools. He had every angle covered.&#8221;<\/p>\n<p>Along with involvement soundtrack to the 1999 Robert De Niro film &#8220;Flawless&#8221; and other movies, Calo&#8217;s recorded output is becoming voluminous &#8211; work with Linda Eder, Rosie O&#8217;Donnell, Joe Pesci, David Osborne, Kate Taylor, Kate&#8217;s nephew Ben Taylor, and, of course, Ben&#8217;s mom, Carly Simon. Which brings us back to Boston and the Orpheum show, November 19, 2005. Peter Calo will be performing with opener Ben Taylor &#8211; son of both James Taylor and Carly Simon, as well as with Carly. The songs, of course, will truly move the audience along<br \/>\nwith Simon&#8217;s presence (her star-power cameo in 2004&#8217;s &#8220;Little Black Book&#8221; made that movie so extra special), but Calo&#8217;s signature guitar lines can&#8217;t be ignored. In a concert with Mary Gatchell in Epping New Hampshire in May of 2005 his guitarwork fit with Gatchell&#8217;s keyboards so hand-in-glove. Mary Gatchell&#8217;s &#8220;Indigo Rose&#8221; album was produced by Calo, who may tour New<br \/>\nEngland in 2006 with a number of his acts including opera singer Adelmo, Ingrid Saxon, Mary Gatchell, Pamela Ruby Russell and others.<\/p>\n<p>With all this output his own work gets somehow lost in the shuffle. It shouldn&#8217;t. Peter Calo&#8217;s &#8220;Cowboy Song&#8221; album is historical and an instant classic that should be in libraries across the country. The artist recorded contemporary arrangements of songs from the American West including &#8220;Shenandoah&#8221;, &#8220;Red River Valley&#8221;, and &#8220;I&#8217;m So Lonesome I Could Cry.&#8221; A big departure from his instrumental tribute albums to The Eagles and The Beatles, two separate discs, on the North Star label, and his own &#8220;Wired To The Moon&#8221; and &#8220;Cape Ann&#8221; albums. For more information on this influential and important artist who worked many a Boston\/Cambridge nightclub and theater, go to<a href=\"http:\/\/www.petercalo.com\/\"> http:\/\/www.petercalo.com<\/a><br \/>\n<a href=\"http:\/\/artsmediamag.blogspot.com\/2006\/01\/70s-boston-rockers-return.html\"><br \/>\n<\/a><\/p>\n<\/div>\n<\/div>\n<p><a href=\"http:\/\/artsmediamag.blogspot.com\/2006\/01\/70s-boston-rockers-return.html\">http:\/\/artsmediamag.blogspot.com\/2006\/01\/70s-boston-rockers-return.html<\/a><\/p>\n<p>A Lot of Livin&#8217; To Do Ingrid Saxon &#8211; Produced by Peter Calo<a href=\"http:\/\/www.amazon.com\/gp\/cdp\/member-reviews\/A3CQQWHDGTK5ZN?ie=UTF8&amp;sort_by=MostRecentReview\"><br \/>\nhttp:\/\/www.amazon.com\/gp\/cdp\/member-reviews\/A3CQQWHDGTK5ZN?ie=UTF8&#038;sort_by=MostRecentReview<br \/>\n<\/a><\/p>\n<div><img loading=\"lazy\" decoding=\"async\" alt=\"\" src=\"http:\/\/ec1.images-amazon.com\/images\/G\/01\/x-locale\/common\/customer-reviews\/stars-5-0._V47081849_.gif\" width=\"64\" height=\"12\" border=\"0\" \/> <b>Ingrid Saxon&#8217;s extraordinary voice<\/b>, October 14, 2006<\/div>\n<p>Intuition is the key element a vocalist must possess in order to move an audience with a recorded or live performance. Ms. Saxon may have achieved that intangible force on her own, or perhaps by osmosis as her dad, the legendary David Sorin-Collyer, vocal coached Bette Midler, Paul Simon, Michael Bolton, The Ramones, Melissa Manchester, Buzzy Linhart, Moogy Klingman and so many others. Young Ingrid grew up in that environment and went on to put her voice to children&#8217;s recordings on<br \/>\nthe Polygram and Playskool imprints, some produced by another legend, Bugs Bower, (credits including Burt Bacharach, Bing Crosby, Bobby Rydell and Ingrid!). Producer Peter Calo understand&#8217;s Saxon&#8217;s enormous talent and creates a mood with Paul Trueblood&#8217;s piano not unlike the sparse John Lennon\/Plastic Ono Band album where the accompaniment adds flavor but the voice is allowed to work its magic. Taking on chestnuts like &#8220;Tenderly&#8221; or Sondheim&#8217;s &#8220;A Little Night Music&#8221; is a gargantuan task. The trio know the risks and superbly reinvent these standards with this formula of bare elegance. On contemporary standards, Melissa Manchester and Carole Bayer Sager&#8217;s &#8220;Come In From The Rain&#8221;, it is without The Captain and Tennille&#8217;s wonderful backing tracks, so all that is there is the voice with the 1 AM cabaret piano and producer creating the closing time drama. Though Saxon seems to spend more of her time with her television work and live show, &#8220;A Lot Of Livin&#8217; To Do&#8221; is so strong that it requires an immediate encore. Perhaps a live disc if her workload is too demanding and if Trueblood isn&#8217;t off on tour with Marianne Faithful. The Petula Clarke medley appears on a very cool compilation disc which also features Doris Troy, Ray Manzarek, Marty Balin and Bobby Hebb. Superb company indeed.<\/p>\n<p>Highway of Dreams Pamela Ruby Russell Produced by Peter Calo<br \/>\n<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jzfwxqt0ldde\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jzfwxqt0ldde<\/a><\/p>\n<p><a href=\"http:\/\/allgame.com\/cg\/amg.dll?p=amg&amp;sql=10:jzfwxqt0ldde\">http:\/\/allgame.com\/cg\/amg.dll?p=amg&amp;sql=10:jzfwxqt0ldde<\/a><\/p>\n<table cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">&#8220;Tengo Razon,&#8221; a beautiful essay, is sung in Spanish, embellished by <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3nfqxqe5ldke\">Evan Harlan<\/a>&#8216;s accordion, which is on four of the ten tracks that embody <i>Highway of Dreams<\/i> by Bostonian Pamela Ruby Russell. An album that boasts <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifexqr5ld0e\">Carly Simon<\/a> guitarist and arranger <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jvfuxql5ldfe\">Peter Calo<\/a> playing numerous instruments and co-producing, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wiftxqr5ldse\">&#8216;Til Tuesday<\/a> guitarist <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:knfyxqy5ldae\">Robert Holmes<\/a>, and others finds incredible unity and a truly original sound. &#8220;Avenue of Tears&#8221; combines these talents for a rather complex presence behind Russell&#8217;s dominant voice. The pan flutes and charango of <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ROBERTO%7CCACHIMUEL\">Roberto Cachimuel<\/a> play along the dirge-like guitar. Imagine <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gifoxqw5ldse\">Black Sabbath<\/a> getting subdued and backing <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hifwxqe5ldje\">Marianne Faithfull<\/a>. Comparisons will also be made to <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:wifqxqegldke\">Loreena McKennitt<\/a>, with lots of haunting keyboards, voices, and flutes finding their way into these folk-rock arrangements. <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jvfuxql5ldfe\">Calo<\/a> is a formidable talent, and he brings so much out of Russell &#8212; the party atmosphere of &#8220;Is There Any Love&#8221; takes the sounds <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:g9frxq85ld6e\">Lulu<\/a> and <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hpfuxql5ldhe\">Twiggy<\/a> were crafting in &#8217;60s pop, redefines them, and re-establishes them. Co-producer <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:h9fexqqgldfe\">Bob Patton<\/a>&#8216;s baritone saxophone comes out of nowhere on &#8220;Is There Any Love,&#8221; replaced by <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ANA%7CPACANOSKA\">Ana Pacanoska<\/a>&#8216;s violin, more flutes, and more accordion. This music is dense and thought-provoking, but it doesn&#8217;t take away from the performance. &#8220;Sounds of the Sea&#8221; features kena, soaring solos, and <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0xftxq8hldae\">Miguel Jimenez<\/a> on the pan flutes. Russell is a character, and her very serious music has a charm that many musicians fail to express in the recording process. &#8220;Boxcar&#8221; is a great opening, specifically the drone of &#8220;Walk Thru Fire&#8221; where &#8220;we glimpse through fire and the future.&#8221; It feels like gypsies spying on a black mass listening to this tune &#8212; incredibly moody and perceptive. There is little of the shrill homogenized Top 40 production that stops so many good records from becoming great. <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:abfuxq95ldfe\">Ernesto Diaz<\/a> plays strong gothic percussion on &#8220;Walk Thru Fire,&#8221; setting up the listener for the tour de force performance: the title number. The singer walks across a roadway that reaches over water and into the stars with a full moon above her and a red rose piercing the blue. The cover is an exquisite reflection of this great song, with heavy contributions from <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:knfyxqy5ldae\">Holmes<\/a>. It&#8217;s rare to find a statement like <i>Highway of Dreams<\/i>; music this good shouldn&#8217;t get lost in the shuffle of life.6 CARLY SIMON SONG REVIEWS by JOE VIGLIONE:<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520C89B2C45F6A672FE19D650DA971F28455A92B63E45913E65CA46F68BA5DBB674B466AEF631A65A0FD686EF5CFCD86C393A9D8EDB&amp;uid=CAW040510191304&amp;sql=11:7ud0yl4jxpnb%7ET3\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;amp;token=ADFEAEE47319DD49A87520C89B2C45F6A672FE19D650DA971F28455A92B63E45913E65CA46F68BA5DBB674B466AEF631A65A0FD686EF5CFCD86C393A9D8EDB&amp;uid=CAW040510191304&amp;sql=11:7ud0yl4jxpnb~T3<br \/>\n<\/a><br \/>\nNOBODY DOES IT BETTER<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520C89B2C45F6A672FE19D650DA971F28455A92B63E45913E65CA46F68BA5DBB674B466AEF631A65A0FD686EF5CFCD86C383D9D8EDB&amp;sql=33:17420r6au40p\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&#038;token=ADFEAEE47319DD49A87520C89B2C45F6A672FE19D650DA971F28455A92B63E45913E65CA46F68BA5DBB674B466AEF631A65A0FD686EF5CFCD86C383D9D8EDB&#038;sql=33:17420r6au40p<br \/>\n<\/a><br \/>\nTHE RIGHT THING TO DO<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520C89B2C45F6A672FE19D650DA971F28455A92B63E45913E65CA46F68BA5DBB674B466AEF631A65A0FD686EF5CFCD86C383D9D8EDB&amp;sql=33:lfuw6o3h71y0\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&#038;token=ADFEAEE47319DD49A87520C89B2C45F6A672FE19D650DA971F28455A92B63E45913E65CA46F68BA5DBB674B466AEF631A65A0FD686EF5CFCD86C383D9D8EDB&#038;sql=33:lfuw6o3h71y0<br \/>\n<\/a><br \/>\nTHAT&#8217;S THE WAY I&#8217;VE ALWAYS HEARD IT SHOULD BE<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520C89B2C45F6A672FE19D650DA971F28455A92B63E45913E65CA46F68BA5DBB674B466AEF631A65A0FD686EF54F6DE60373E8AFEC61D&amp;sql=33:v4320r6aw48c\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&#038;token=ADFEAEE47319DD49A87520C89B2C45F6A672FE19D650DA971F28455A92B63E45913E65CA46F68BA5DBB674B466AEF631A65A0FD686EF54F6DE60373E8AFEC61D&#038;sql=33:v4320r6aw48c<br \/>\n<\/a><br \/>\nMOCKINGBIRD<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520C89B2C45F6A672FE19D650DA971F28455A92B63E45913E65CA46F68BA5DBB674B466AEF631A65A0FD686EF54F6DE60373E8AFEC61D&amp;sql=33:hv841vy6zzxa\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&#038;token=ADFEAEE47319DD49A87520C89B2C45F6A672FE19D650DA971F28455A92B63E45913E65CA46F68BA5DBB674B466AEF631A65A0FD686EF54F6DE60373E8AFEC61D&#038;sql=33:hv841vy6zzxa<br \/>\n<\/a><br \/>\nHAVEN&#8217;T GOT TIME FOR THE PAIN<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520C89B2C45F6A672FE19D650DA971F28455A92B63E45913E65CA46F68BA5DBB674B466AEF631A65A0FD686EF54F6DE60373E8AFEC61D&amp;sql=33:2n8uakokdm3b\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520C89B2C45F6A672FE19D650DA971F28455A92B63E45913E65CA46F68BA5DBB674B466AEF631A65A0FD686EF54F6DE60373E8AFEC61D&amp;sql=33:2n8uakokdm3b<br \/>\n<\/a><br \/>\nANTICIPATION<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520C89B2C45F6A672FE19D650DA971F28455A92B63E45913E65CA46F68BA5DBB674B466AEF631A65A0FD686EF54F6DE60373E8AFEC61D&amp;sql=33:zmen975gkr0t\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&#038;token=ADFEAEE47319DD49A87520C89B2C45F6A672FE19D650DA971F28455A92B63E45913E65CA46F68BA5DBB674B466AEF631A65A0FD686EF54F6DE60373E8AFEC61D&#038;sql=33:zmen975gkr0t<br \/>\n<\/a>SONG REVIEWS FROM:<br \/>\nTHE BEST OF CARLY SIMON, Jim Newsom review<br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&#038;token=ADFEAEE47319DD49A87520C89B2C45F6A672FE19D650DA971F28455A92B63E45913E65CA46F68BA5DBB674B466AEF631A65A0FD686EF54F6DE60373E89FEC61D&#038;sql=10:usj97i8jg7xr=====================================================<br \/>\nSISTER KATE KATE TAYLOR<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520C89B2C45F6A672FE19D650DA971F28455A92B63E45913E65CA46F68BA5DBB674B466AEF631A65A0FD686EF5CFCD56C3C3A9D8EDB&amp;sql=10:bzd9kent7q7m\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&#038;token=ADFEAEE47319DD49A87520C89B2C45F6A672FE19D650DA971F28455A92B63E45913E65CA46F68BA5DBB674B466AEF631A65A0FD686EF5CFCD56C3C3A9D8EDB&#038;sql=10:bzd9kent7q7m<br \/>\n<\/a><br \/>\nALEX TAYLOR WITH FRIENDS &amp; NEIGHBORS<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520C89B2C45F6A672FE19D650DA971F28455A92B63E45913E65CA46F68BA5DBB674B466AEF631A65A0FD686EF5CFDDC6C3F3C9D8EDB&amp;sql=10:uguh6jah71u0\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&#038;token=ADFEAEE47319DD49A87520C89B2C45F6A672FE19D650DA971F28455A92B63E45913E65CA46F68BA5DBB674B466AEF631A65A0FD686EF5CFDDC6C3F3C9D8EDB&#038;sql=10:uguh6jah71u0<br \/>\n<\/a><br \/>\nLIVINGSTON TAYLOR 1970<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520C89B2C45F6A672FE19D650DA971F28455A92B63E45913E65CA46F68BA5DBB674B466AEF631A65A0FD686EF5CFDDD6C3C389D8EDB&amp;sql=10:xr5a8qttbt94\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&#038;token=ADFEAEE47319DD49A87520C89B2C45F6A672FE19D650DA971F28455A92B63E45913E65CA46F68BA5DBB674B466AEF631A65A0FD686EF5CFDDD6C3C389D8EDB&#038;sql=10:xr5a8qttbt94<br \/>\n<\/a><br \/>\nLIV 1971<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520C89B2C45F6A672FE19D650DA971F28455A92B63E45913E65CA46F68BA5DBB674B466AEF631A65A0FD686EF5CFDDD6C3C389D8EDB&amp;sql=10:dukmikl6bb39\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&#038;token=ADFEAEE47319DD49A87520C89B2C45F6A672FE19D650DA971F28455A92B63E45913E65CA46F68BA5DBB674B466AEF631A65A0FD686EF5CFDDD6C3C389D8EDB&#038;sql=10:dukmikl6bb39<br \/>\n<\/a><br \/>\nMAN&#8217;S BEST FRIEND 1980<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520C89B2C45F6A672FE19D650DA971F28455A92B63E45913E65CA46F68BA5DBB674B466AEF631A65A0FD686EF5CFDDD6C3C389D8EDB&amp;sql=10:4d6gtq2ztu4o\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&#038;token=ADFEAEE47319DD49A87520C89B2C45F6A672FE19D650DA971F28455A92B63E45913E65CA46F68BA5DBB674B466AEF631A65A0FD686EF5CFDDD6C3C389D8EDB&#038;sql=10:4d6gtq2ztu4o<br \/>\n<\/a><br \/>\nLIFE IS GOOD 1988 LIVINGSTON TAYLOR<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520C89B2C45F6A672FE19D650DA971F28455A92B63E45913E65CA46F68BA5DBB674B466AEF631A65A0FD686EF5CFDDD6C3C389D8EDB&amp;sql=10:zsd3vwdva9ek\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520C89B2C45F6A672FE19D650DA971F28455A92B63E45913E65CA46F68BA5DBB674B466AEF631A65A0FD686EF5CFDDD6C3C389D8EDB&amp;sql=10:zsd3vwdva9ek<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<div>\n<div>Posted by <a title=\"author profile\" href=\"https:\/\/www.blogger.com\/profile\/15345741483306237598\" rel=\"author\" data-gapiscan=\"true\" data-onload=\"true\" data-gapiattached=\"true\"> History of New England Rock <\/a> at <a title=\"permanent link\" href=\"http:\/\/petercaloreviews.blogspot.com\/2007\/07\/guitaristsongwriterproducer-peter-calo.html\" rel=\"bookmark\"><abbr itemprop=\"datePublished\" title=\"2007-07-11T21:46:00-07:00\">9:46 PM<\/abbr><\/a> <a href=\"https:\/\/www.blogger.com\/comment.g?blogID=7736528256963331561&amp;postID=6627137193135514779\"> No comments: <\/a><\/p>\n<div><\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"blog-pager\"><a href=\"http:\/\/petercaloreviews.blogspot.com\/\">Home<\/a><\/div>\n<div>\n<div>Subscribe to: <a href=\"http:\/\/petercaloreviews.blogspot.com\/feeds\/posts\/default\" target=\"_blank\" type=\"application\/atom+xml\">Posts (Atom)<\/a><\/div>\n<\/div>\n<p>_____________________________________<\/p>\n<p>CHAPTER TWELVE THE RECORDED COMPILATIONS<br \/>\n12)Boston Compilations and more &#8211; Live at the Rat, Live at Studio B<br \/>\nFarrenheit, Joe Perry Project, Cowsills, Real Kids, The Outlets<br \/>\n<a href=\"http:\/\/bostoncompilations.blogspot.com\/\"> http:\/\/bostoncompilations.blogspot.com\/<\/a><\/p>\n<div id=\"Header1\" data-version=\"1\">\n<div id=\"header-inner\">\n<div>\n<h1>Boston Compilations<\/h1>\n<\/div>\n<div><\/div>\n<\/div>\n<\/div>\n<div id=\"Blog1\" data-version=\"1\">\n<div>\n<div>\n<h2>Monday, July 9, 2007<\/h2>\n<div>\n<div>\n<div itemprop=\"blogPost\" itemscope=\"itemscope\" itemtype=\"http:\/\/schema.org\/BlogPosting\"><a name=\"7069275153979055830\"><\/a><\/p>\n<h3 itemprop=\"name\"><a href=\"http:\/\/bostoncompilations.blogspot.com\/2007\/07\/boston-area-compilations-rathskellar.html\">Boston Area Compilations, The Rathskellar and other oddities<\/a><\/h3>\n<div><\/div>\n<div id=\"post-body-7069275153979055830\" itemprop=\"description articleBody\"><a href=\"http:\/\/bp1.blogger.com\/_XDwdAyUP_ts\/RpL11VgQHXI\/AAAAAAAAABU\/SEIHgI04ZV4\/s1600-h\/Live+At+The+Rat.jpg\"><img decoding=\"async\" id=\"BLOGGER_PHOTO_ID_5085397225909001586\" alt=\"\" src=\"http:\/\/bp1.blogger.com\/_XDwdAyUP_ts\/RpL11VgQHXI\/AAAAAAAAABU\/SEIHgI04ZV4\/s320\/Live+At+The+Rat.jpg\" border=\"0\" \/><\/a><br \/>\nJust click on the link under each chapter to read the information. Remember, To click on any chapter go to this address:<br \/>\n<a href=\"http:\/\/rocktableofcontents.blogspot.com\/\">http:\/\/rocktableofcontents.blogspot.com\/<\/a><a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:gcfpxqe0ldae\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:gcfpxqe0ldae<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">In 2001 the legendary building that housed Boston&#8217;s infamous Rat was demolished, but this recording (catalog #528, same as the address for the establishment on Commonwealth Avenue in the heart of Boston) remains as evidence of what transpired in that &#8220;cellar full of noise.&#8221; Inspired by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wjfrxqr5ldke\">Hilly Kristal<\/a>&#8216;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:LIVE%7CAT%7CCBGB%5C%27S\">Live at CBGB&#8217;s<\/a>, this is truly the companion double LP to that disc on Atlantic, though the Boston compilation came close but failed to obtain major-label release. Recorded September 27, 28, and 29th, 1976, at the dawn of the &#8220;new wave,&#8221; important and historic live recordings of some of the scenemakers live on within these grooves. Far from a definitive document \u2014 you won&#8217;t find early <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JON%7CBUTCHER\">Jon Butcher<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:CHARLIE%7CFARREN\">Charlie Farren<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:FOOLS\">Fools<\/a>, or <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:NERVOUS%7CEATERS\">Nervous Eaters<\/a> here, despite the fact that <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CEATERS\">the Eaters<\/a> ruled at The Rat \u2014 but you will find classic <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fyxqr5ldke\">Willie Alexander<\/a> after his stint with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:giftxqr5ldde\">the Velvet Underground<\/a> and before his MCA deal (which came when <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BLUE%7COYSTER%7CCULT\">Blue Oyster Cult<\/a> wife\/rock critic <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DEBBIE%7CFROST\">Debbie Frost<\/a>, played <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ALEXANDER\">Alexander<\/a>&#8216;s single on The Rat jukebox for producer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfwxqw5ld6e\">Craig Leon<\/a>). Along with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:WILLIE%7CLOCO\">Willie Loco<\/a> there is very early <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DMZ\">DMZ<\/a>, so early that the drummer is future member of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">The Cars<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DAVID%7CROBINSON\">David Robinson<\/a>, as well as an early, vintage version of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RICHARD%7CNOLAN%5C%27S\">Richard Nolan&#8217;s<\/a> vital band <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THIRD%7CRAIL\">Third Rail<\/a>. This is the only place where you can find the original <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:SUSAN\">Susan<\/a> with guitarists <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:TOM%7CDICKIE\">Tom Dickie<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHN%7CKALISHES\">John Kalishes<\/a> \u2014 years before <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fifqxqe5ldse\">Joan Jett<\/a> guitarist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RICKY%7CBIRD\">Ricky Bird<\/a> replaced <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:KALISHES\">Kalishes<\/a>, and decades before <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHN%7CKALISHES\">John Kalishes<\/a> joined the late <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BEN%7CORR\">Ben Orr<\/a> of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">the Cars<\/a> in solo projects in the 1990s. The rock history lesson is important to understand the impact of not only the musicians on this album, but the influence of the nightclub which spawned <i>Live at the Rat<\/i>. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fyxqr5ldke\">Willie Alexander<\/a>&#8216;s manic &#8220;Pup Tune&#8221; is perhaps the most concise representation of the Rat sound \u2014 it is grunge, it is deranged, it is a no-holds barred performance which has been re-released on best-of compilations and treasured over the years as a true musical gem. Of the 19 tracks, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fyxqr5ldke\">Willie Alexander<\/a> is the only artist who gets three cuts: &#8220;At the Rat,&#8221; the club&#8217;s anthem; the aforementioned tribute to <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RONNIE%7CSPECTOR\">Ronnie Spector<\/a> that is &#8220;Pup Tune&#8221;; and a live version of the original Garage Records 45 which began this new phase of his career, his ode to &#8220;Kerouac.&#8221; <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MARC%7CTHOR\">Marc Thor<\/a>, a legendary performer who never got a full album out, utilizes members of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THUNDERTRAIN\">Thundertrain<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DMZ\">DMZ<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CBOIZE\">the Boize<\/a>, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THIRD%7CRAIL\">Third Rail<\/a> for his &#8220;Circling L.A.,&#8221; co-written by scenemaker <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:NOLA%7CREZZO\">Nola Rezzo<\/a>. Eventual <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ROULETTE\">Roulette<\/a> recording artist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:SASS\">Sass<\/a> do &#8220;Rocking in the USA,&#8221; and, like <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:SUSAN\">Susan<\/a>, and even <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THUNDERTRAIN\">Thundertrain<\/a>, bring a more mainstream sound to the underground rock represented by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CBOIZE\">the Boize<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THIRD%7CRAIL\">Third Rail<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DMZ\">DMZ<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CINFLIKTORS\">the Infliktors<\/a>, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CREAL%7CKIDS\">the Real Kids<\/a>. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CREAL%7CKIDS\">The Real Kids<\/a> add &#8220;Who Needs You&#8221; and &#8220;Better Be Good&#8221; to the party, while this early <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MONO%7CMANN\">Mono Mann<\/a> phase has his &#8220;Ball Me Out&#8221; and &#8220;Boy From Nowhere&#8221; titles. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THUNDERTRAIN\">Thundertrain<\/a> crackle with &#8220;I&#8217;m So Excited&#8221; and &#8220;I Gotta Rock,&#8221; <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MACH%7CBELL\">Mach Bell<\/a>&#8216;s growl and stage antics the thing that made this otherwise suburban band an essential part of this scene. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BELL\">Bell<\/a> would go on to front <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CJOE%7CPERRY%7CPROJECT\">the Joe Perry Project<\/a> on their final disc on MCA before <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxqw5ldae\">Aerosmith<\/a> reformed, and the resum\u00e9 action of some of these players makes their performances here all the more valuable. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:LOCO%7CLIVE%7C1976\">Loco Live 1976<\/a>, an album which includes tracks by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fyxqr5ldke\">Willie Alexander<\/a> recorded exactly one month before <i>Live at the Rat<\/i>, is available on a Tokyo label, Captain Trip Records, and it serves as a good glimpse of what was going on before this pivotal center of new sounds brought in tons of recording gear and taped for posterity a very magical period in Boston history.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>Chef&#8217;s Salad: The Sound Of Boston From Studio B<br \/>\nVarious Artists<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:3zfyxqy0ldae\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:3zfyxqy0ldae<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">Prior to <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:LIVE%7CAT%7CTHE%7CRAT\">Live at the Rat<\/a> there were few compilations documenting the vital Boston music scene. Producer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wzfpxqrgldke\">Wayne Wadhams<\/a>, who hit the Top 40 in the &#8217;60s with his band <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fpxqy5ldae\">the Fifth Estate<\/a> and their version of &#8220;Ding Dong the Witch Is Dead,&#8221; recorded this collection along with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MILES%7CSIEGEL\">Miles Siegel<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wpfyxqtgldhe\">Allen Smith<\/a>. It survives as an important document of excellent music from New England in the mid-&#8217;70s. A black and white photo on the back features 25 of the participants \u2014 their hairstyles and clothing quite telling \u2014 making for a warm community atmosphere. &#8220;30 Seconds With Michael Fremer&#8221; is perhaps the best-known bit and the highest-profile personality from this point in time. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:difwxqy0ldse\">Michael Fremer<\/a> was a comedian and disc jockey who used to emcee major concerts in the region. A full-length album with his bits was released on Kant Tell Records (a take-off of K-Tel, and it is as funny as this highlight on <i>Chef&#8217;s Salad<\/i>. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wzfpxqrgldke\">Wadhams<\/a> was pushing &#8220;the sound of Boston,&#8221; and his original composition for <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hbfyxqqkldde\">the Gang Band<\/a> is a good ribbing at <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfyxqqjldse\">the Sound of Philadelphia<\/a> that <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kbftxqu5ldse\">Gamble &amp; Huff<\/a> made so popular in the &#8217;70s. It&#8217;s an excellent instrumental, and is a good indication of where <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fpxqy5ldae\">the Fifth Estate<\/a> might have headed. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:SAMADHI\">Samadhi<\/a>&#8216;s &#8220;Freedom Spark&#8221; is another instrumental, and it is a cross between <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:difixqr5ldse\">Traffic<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:a9fpxq95ldse\">Full Circle<\/a> (the CBS band produced by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wzfpxqrgldke\">Wadhams<\/a>). <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MOON%7COVER%7CMIAMI\">Moon Over Miami<\/a> made a little noise during this era, and they would have been perfect on a bill with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:difoxqw5ldae\">the Average White Band<\/a>. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:j9fuxq9gldke\">Stu Nunnery<\/a>&#8216;s pop\/adult contemporary &#8220;Suddenly&#8221; opens the album. The performance is great, but the song doesn&#8217;t have that something extra that <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:39frxqy5ldje\">Randy Edelman<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:09fwxq85ld0e\">Tim Moore<\/a> were able to instill into their well-crafted singer\/songwriter albums. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DON%7CEBBETT\">Don Ebbett<\/a> fares a little better, as do <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ERVIN%7C&amp;%7CFORD\">Ervin &amp; Ford<\/a>. &#8220;The River and Your Wings,&#8221; written by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JONATHAN%7CW.%7CHELFAND\">Jonathan W. Helfand<\/a>, has a gospel\/funk feel, and despite all the styles poured into this <i>Chef&#8217;s Salad<\/i> \u2014 the folk-rock of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DENIS%7CO%5C%27NEILL\">Denis O&#8217;Neill<\/a>, country sounds of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BILL%7CERVIN\">Bill Ervin<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:dcfrxqlgldje\">Kenny Dulong<\/a> \u2014 the reggae, pop, and comedy come together seamlessly, probably due to <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wzfpxqrgldke\">Wadham<\/a>&#8216;s experience. What remains is a snapshot that the music scene it represents can be proud of.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>FULL CIRCLE<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dcfqxqe5ldde\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dcfqxqe5ldde<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">The <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wnfixqqgldde\">Allen Weinberg<\/a> cover of this CD features a beautiful photograph by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:CHIP%7CSIMMONS\">Chip Simmons<\/a> showing fields, a mountain reaching up to fluffy white clouds against a blue sky, and a young girl holding a white Hula-Hoop above her head. This cover is a good reflection of the instrumental sounds recorded in Studio A of Boston&#8217;s Berklee College and mixed at Rainbow Studios in Oslo, Norway. The music of keyboardist, arranger, and composer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gbfuxqugldfe\">Karl Lundeberg<\/a> is pretty and mellow. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wcfuxqu5ldje\">Anders Bostrom<\/a>&#8216;s flute glides alongside <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jnftxqw5ldde\">Philip Hamilton<\/a>&#8216;s percussion and use of voice as an instrument, especially in the third track, &#8220;Croton Drive.&#8221; Producer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wzfpxqrgldke\">Wayne Wadhams<\/a>, who had a hit in the &#8217;60s with his group <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CFIFTH%7CESTATE\">the Fifth Estate<\/a>, is known for getting a sparkling clean sound, while allowing the group members to be themselves. He&#8217;s the perfect complement to this five-piece group. Their performance on &#8220;San Sebastian&#8221; is smooth and inspired. If <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ENYA\">Enya<\/a> performed with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kbfuxqw5ldje\">Edgar Froese<\/a>, it might sound something like this subtle but intense series of compositions.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>SUSAN<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:gcfqxq95ldse\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&#038;sql=10:gcfqxq95ldse<br \/>\n<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">Susan was the hard rock band that got the gigs at the Rat in Boston in the &#8217;70s. Their thunderous sound was created in no small part by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3nfwxqugldae\">John Kalishes<\/a>, who could have passed as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:dzfexqygldje\">Leslie West<\/a>&#8216;s little brother. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3nfwxqugldae\">Kalishes<\/a> would join the late <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:w9fexqlgld0e\">Ben Orr<\/a> to create a <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifexqe5ldde\">Led Zeppelin<\/a>-meets-<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">the Cars<\/a> group toward the end of the &#8217;90s. It is that powerful sound that is missing from <i>Falling in Love Again<\/i>. The original Susan was documented on the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:LIVE%7CAT%7CTHE%7CRAT\">Live at the Rat<\/a> album and those two tracks give a hint of their significance. By the time they landed a management contract with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifexqygldte\">Tommy Mottola<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kvfuxql5ld0e\">Ricky Byrd<\/a> had replaced <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3nfwxqugldae\">Kalishes<\/a> and despite <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kvfuxql5ld0e\">Byrd<\/a>&#8216;s enormous talent \u2014 he would eventually join <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0jfixqygldhe\">Joan Jett &amp; the Blackhearts<\/a> \u2014 the change came too quickly. This album sounds like a band in transition rather than a strong debut. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kvfuxql5ld0e\">Byrd<\/a> shines on &#8220;A Little Time,&#8221; one of two strong tracks on side one, but the band&#8217;s performance on another <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kvfuxql5ld0e\">Byrd<\/a> composition, &#8220;I Was Wrong,&#8221; is downright embarrassing for a group once so mighty. &#8220;Marlene,&#8221; which features <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifoxqw5ld6e\">Marlene Dietrich<\/a>, and &#8220;Falling in Love Again&#8221; have that &#8220;Be My Baby&#8221; drum sound and comes closest to what Susan was all about. The <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:LELAND\">Leland<\/a> brothers were a phenomenal rhythm section, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0jftxqy5ldse\">Charles Leland<\/a> had that <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:giftxqw5ldde\">Bowie<\/a> look down pat. It was <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:LELAND\">Leland<\/a> who was the star during their club days, but on this debut, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:LELAND\">Leland<\/a> doesn&#8217;t fit with the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:abfrxq95ldte\">Tom Dickie<\/a> and &#8220;Ricky Bird&#8221; material he has to work with. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DICKIE\">Dickie<\/a> brings some life to the record with his vocals on &#8220;Really Gonna Show,&#8221; but the material is still substandard. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:abfrxq95ldte\">Tom Dickie<\/a> maintained his relationship with the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MOTTOLA\">Mottola<\/a> organization, moving over to Mercury to record two albums as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:TOM%7CDICKIE%7C&amp;%7CTHE%7CDESI\">Tom Dickie &amp; the Desires<\/a>. <i>Falling in Love<\/i> could have been so much more \u2014 it&#8217;s a document of a band recording after their prime, and even decent songs like &#8220;Don&#8217;t Let Me Go&#8221; and &#8220;Love the Way&#8221; aren&#8217;t strong enough to carry this disappointing and fragmented production.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>TOM DICKIE COMPETITION<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0zfwxqr5ldke\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0zfwxqr5ldke<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">Tom Dickie reinvented his formula after the failure of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfyxq95ldfe\">Susan<\/a> on RCA. He brought half of Boston&#8217;s underground band <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:FOX%7CPASS\">Fox Pass<\/a> on board \u2014 guitarist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfrxq9gldde\">Mike Roy<\/a> and singer\/songwriter\/poet <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hpfrxqr5ldde\">Jon Macey<\/a> (formerly <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hpfrxqr5ldde\">Jon Hall<\/a>, who changed his name to <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hpfrxqr5ldde\">Macey<\/a> to avoid confusion with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHN%7CHALL\">John Hall<\/a>, leader of the group <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifuxqr5ld6e\">Orleans<\/a>). &#8220;Downtown Talk&#8221; kicks off the <i>Competition<\/i> LP and remains the best song by this pop band. Resplendent with drug references, &#8220;Downtown Talk&#8221; has a hard-hitting riff and catchy melody. The title track&#8217;s calypso feel is a nice diversion from the rest of the LP. &#8220;Waiting, Waiting&#8221; has a boss riff and is perhaps the album&#8217;s best performance. With Champion Entertainment and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifexqygldte\">Tommy Mottola<\/a> to open doors for Tom Dickie &amp; the Desires, including gigs with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifwxqe5ld0e\">Hall &amp; Oates<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifuxqw5ldfe\">Cheap Trick<\/a>, this band had multiple opportunities, but <i>Competition<\/i> is a pastiche of sounds, and the record misses the mark. The very creative album cover, with the band members looking in and out of mirrors, hints at the potential. &#8220;Downtown Talk&#8221; was a regional hit, but the great underground songs that <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hpfrxqr5ldde\">Macey<\/a> and Dickie forged in the &#8217;70s playing Boston area clubs are conspicuous in their absence. &#8220;You&#8217;ve Lost&#8221; and &#8220;Count on You&#8221; have melodies and are catchy pop, but something is missing. Perhaps producer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hpftxqlgld6e\">Martin Rushent<\/a> was miscast for this recording. The <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:giftxqr5ldde\">Velvet Underground<\/a>\/<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:djfpxqrgldte\">Tommy James<\/a> roots, so much a part of the regional success of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:FOX%7CPASS\">Fox Pass<\/a>, have been traded in as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jbfyxqqjld6e\">the Desires<\/a> emulate <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3cfyxq95ld6e\">.38 Special<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifyxqr5ldae\">Survivor<\/a>. The result is much too calculated and homogenized for these talented people.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>THE ELEVENTH HOUR Tom Dickie 1982<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dpfuxqq0ldfe\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dpfuxqq0ldfe<\/a><\/p>\n<div id=\"bio\">\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">With a crisper sound than its predecessor, the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:gpfrxq9gldje\"><i>Competition<\/i><\/a> LP, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:apfyxqygldae\">Ed Sprigg<\/a>&#8216;s production of <i>The Eleventh Hour<\/i> helps the revamped <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fjfexqugld0e\">Tom Dickie &amp; the Desires<\/a>, but not enough. Singer\/songwriters Tom Dickie and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hpfrxqr5ldde\">Jon Macey<\/a> as well as guitarist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfrxq9gldde\">Mike Roy<\/a> are all playing synthesizers, replacing <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kvfqxqtgldke\">Gary Corbett<\/a> from the first album. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:avfrxqy5ldte\">Mickey Currey<\/a> has departed, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wpfexqlgldke\">Chuck Sabo<\/a> handles the drums and percussion on this disc. With the band having a chance to jell since <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:gpfrxq9gldje\"><i>Competition<\/i><\/a>, the songs are more concise, perhaps even a little more determined, yet they are hampered by the big &#8217;80s sound, which was not what these pop fellows were about. &#8220;Victimless Crime&#8221; is probably the best-known song from this collection, presenting the baseless philosophy that drug abuse creates harm only to the addict and no one else suffers effects from it. Interesting that, years after writing this, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hpfrxqr5ldde\">Macey<\/a> became a drug counselor preaching the tenets of Narcotics Anonymous. For songs tinged with drug innuendo when they aren&#8217;t being blatant about it, there is none of the abandon that marked groups from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifoxqr5ldje\">the Rolling Stones<\/a> or <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxqw5ldae\">Aerosmith<\/a> to <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gifqxqw5ldde\">Blue Cheer<\/a> when they invoked psychedelic privilege. &#8220;Stolen Time&#8221; may be the best example of where the record goes wrong, with its poppiness mired in &#8217;80s production that, as stated, hardly fits this band. &#8220;Gone to Stay&#8221; is nice enough, but where are the guitars? For three musicians who are proficient with their axes, the album has a singular guitar sound. &#8220;Our Eyes&#8221; would be a nice album track for <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifexqe5ldae\">Brian Hyland<\/a>, a summery pop song covered in too much technology, a bit reminiscent of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hpfrxqr5ldde\">Macey<\/a>&#8216;s &#8217;70s song &#8220;When I Say Good-bye&#8221; without the bite. &#8220;So Mystified&#8221; has experimentation, which the record needs more of (and not just the songs that dabble in it on side two). This track could have been the band&#8217;s &#8220;I&#8217;m Your Captain (Closer to Home)&#8221; with a little more time in the incubator. &#8220;Don&#8217;t Want to Live Without You&#8221; cries for the jangly guitars to be up in the mix, but it&#8217;s the drums that slap back from this clean production. &#8220;What Happened&#8221; has clever riffs, but <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:dnfuxqy5ldfe\">Trevor Horn<\/a> could have made it more radio-friendly. Therein lies the problem with the second <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fjfexqugld0e\">Desires<\/a> album: it is closer to where the band should be, but it still misses. &#8220;What Happened&#8221; is the question. &#8220;Patience Is a Virtue&#8221; has an eerie, almost <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BEATLESQUE\">Beatlesque<\/a> ambiance; it picks up where &#8220;House of Mirrors&#8221; from the first album left off. &#8220;They Don&#8217;t Know Anymore&#8221; could be from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:giftxqr5ldde\">the Velvet Underground<\/a>&#8216;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:hpfqxql5ldhe\"><i>Loaded<\/i><\/a> album, and as <i>The Eleventh Hour<\/i> comes to a close, the band members start providing some of the sounds that they love so much. But there is no breakthrough hit, no single identifying sound or song. &#8220;If I Could Paint&#8221; is a nice idea and indicative of the songs and performance here. Good ideas that never quite jell, music that needed a stronger personality to help in its creation. A <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wpfoxqt5ldte\">Phil Spector<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fcfrxqe5ldse\">Jeff Barry<\/a>, or <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fifoxqw5ld0e\">ABBA<\/a>&#8216;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0zfwxqwgldae\">Bj\u00f6rn Ulvaeus<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fcftxql5ldde\">Benny Andersson<\/a> \u2014 someone these musicians have respect for \u2014 could have helped shape the sounds and get the performances. Both albums by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fjfexqugld0e\">Tom Dickie &amp; the Desires<\/a> showed promise and have their moments, but they could have been so much more.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>Releases<\/td>\n<\/tr>\n<tr>\n<td valign=\"top\">\n<table width=\"342\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td width=\"45\">\n<div id=\"content-list-title\">\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\"><img decoding=\"async\" alt=\"\" src=\"http:\/\/www.blogger.com\/i\/pages\/site\/blocks\/left.gif\" \/><\/td>\n<td align=\"left\" width=\"100%\">Year <img decoding=\"async\" alt=\"\" src=\"http:\/\/www.blogger.com\/i\/spacer.gif\" align=\"right\" border=\"0\" \/><\/td>\n<td align=\"right\"><img decoding=\"async\" alt=\"\" src=\"http:\/\/www.blogger.com\/i\/pages\/site\/blocks\/right.gif\" \/><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/td>\n<td width=\"45\">\n<div id=\"content-list-title\">\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\"><img decoding=\"async\" alt=\"\" src=\"http:\/\/www.blogger.com\/i\/pages\/site\/blocks\/left.gif\" \/><\/td>\n<td align=\"left\" width=\"100%\">Type <img decoding=\"async\" alt=\"\" src=\"http:\/\/www.blogger.com\/i\/spacer.gif\" align=\"right\" border=\"0\" \/><\/td>\n<td align=\"right\"><img decoding=\"async\" alt=\"\" src=\"http:\/\/www.blogger.com\/i\/pages\/site\/blocks\/right.gif\" \/><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/td>\n<td width=\"132\">\n<div id=\"content-list-title\">\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\"><img decoding=\"async\" alt=\"\" src=\"http:\/\/www.blogger.com\/i\/pages\/site\/blocks\/left.gif\" \/><\/td>\n<td align=\"left\" width=\"100%\">Label <img decoding=\"async\" alt=\"\" src=\"http:\/\/www.blogger.com\/i\/spacer.gif\" align=\"right\" border=\"0\" \/><\/td>\n<td align=\"right\"><img decoding=\"async\" alt=\"\" src=\"http:\/\/www.blogger.com\/i\/pages\/site\/blocks\/right.gif\" \/><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/td>\n<td width=\"120\">\n<div id=\"content-list-title\">\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\"><img decoding=\"async\" alt=\"\" src=\"http:\/\/www.blogger.com\/i\/pages\/site\/blocks\/left.gif\" \/><\/td>\n<td align=\"left\" width=\"100%\">Catalog # <img decoding=\"async\" alt=\"\" src=\"http:\/\/www.blogger.com\/i\/spacer.gif\" align=\"right\" border=\"0\" \/><\/td>\n<td align=\"right\"><img decoding=\"async\" alt=\"\" src=\"http:\/\/www.blogger.com\/i\/pages\/site\/blocks\/right.gif\" \/><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/td>\n<\/tr>\n<tr>\n<td>1982<\/td>\n<td>LP<\/td>\n<td>Mercury<\/td>\n<td>4055<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>DMZ RELICS<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:d9foxqwhldae\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:d9foxqwhldae<\/a><\/p>\n<div id=\"bio\">\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">When DMZ made their debut on Sire, it was as disappointing as major-label debuts by fellow Bostonians <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fuxq85ldte\">Private Lightning<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:d9frxq85ldae\">the Nervous Eaters<\/a>, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fifixq8kld6e\">Willie Alexander&#8217;s Boom Boom Band<\/a>. As <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fifixq8kld6e\">Alexander<\/a>&#8216;s locally produced demos by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:g9fyxqy5ld6e\">Dr. &amp; the Medics<\/a> madman <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfwxqw5ld6e\">Craig Leon<\/a> (who also produced <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gifwxqr5ldje\">the Ramones<\/a>) were superior to the final product by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fifixq8kld6e\">Willie<\/a> on MCA (also produced by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:LEON\">Leon<\/a>), the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:TURTLES\">Turtles<\/a>&#8216; wacky <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifuxqe5ldje\">Flo &amp; Eddie<\/a> just didn&#8217;t know what to do with DMZ. Four <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfwxqw5ld6e\">Craig Leon<\/a>-produced tracks released on BOMP \u2014 which is the parent company of Voxx \u2014 and five demo tapes that were recorded on four-track comprise this excellent collection. &#8220;When I Get Off&#8221; was the number two Garage Record of the Year in 1978 in Boston&#8217;s Real Paper, and it is a psychedelic masterpiece. The dueling guitars, slashing riff, and great Corraccio bass complement <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifuxqlgld0e\">Mono Mann<\/a> aka <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:dpfqxqujldfe\">Jeff Connolly<\/a>&#8216;s blitzkrieg vocals. Here is a slice of pyschedlia that is the fans outdoing the bands they idolize. Also, as with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fifixq8kld6e\">Willie Alexander<\/a>&#8216;s demos, it seems <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfwxqw5ld6e\">Craig Leon<\/a> did a much better job on smaller budgets. The lyrics are sexist, but fun in &#8220;Barracuda&#8221; \u2014 definitely not the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gifyxqe5ld0e\">Heart<\/a> song \u2014 &#8220;Lift up Your Hood,&#8221; and the aforementioned &#8220;When I Get Off.&#8221; There is also a cool cover of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifoxqe5ldhe\">Roky Erickson<\/a>&#8216;s &#8220;You&#8217;re Gonna Miss Me&#8221; and a fantastic album jacket of the band photographed at what looks like the Rat nightclub inside a red background covered in barbed wire fence. There&#8217;s even a cool inside joke, Bomb records instead of Bomp, the famous label founded by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gpfyxqegldje\">Greg Shaw<\/a>. A definite statement about the heart and soul of demos having a special something major-label homogenization fails to establish. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jnfqxq8gldse\">Rudy Martinez<\/a> of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifpxqr5ldje\">Question Mark &amp; the Mysterians<\/a> has even covered a <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifuxqlgld0e\">Connally<\/a> composition written for <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifuxqlgld0e\">Mono Mann Jeff&#8217;s<\/a> current group, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gifqxqe5ldfe\">the Lyres<\/a>.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td colspan=\"2\" align=\"left\">THE VARMINTS ASSORTED VARMINTS<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:fxfwxqqaldfe\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:fxfwxqqaldfe<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\"><i>Assorted Varmints 1989-1997<\/i> is a collection of 13 tracks by the Boston underground &#8220;supergroup,&#8221; compiled by rock critic\/Endora&#8217;s Box Records label owner <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:NANCY%7CFOSTER\">Nancy Foster<\/a> in 2002. It&#8217;s an impressive set of majestic, no-nonsense rock &amp; roll tunes by former <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifexqr5ldje\">Real Kids<\/a> guitarist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jxfuxqugld0e\">Billy Borgioli<\/a>, who handles most of the vocal and songwriting chores. For those who felt <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifexqr5ldje\">the Real Kids<\/a> missed the mark, the answers can be found here. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jxfuxqugld0e\">Borgioli<\/a> is not only a better rock &amp; roll singer than <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfpxqr5ldae\">John Felice<\/a>; he has some crunching rhythms that could have propelled <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifexqr5ldje\">the Real Kids<\/a> to true stardom had <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfpxqr5ldae\">Felice<\/a> let a partnership blossom rather than make himself the focal point of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifexqr5ldje\">the Kids<\/a>. Listen to the undercurrent of &#8220;Dreamin'&#8221; or the punk angst inside &#8220;Ain&#8217;t No Good,&#8221; the track originally released in 1997 on <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:fxfpxq80ldde\"><i>Boston Rock &amp; Roll Anthology, Vol. 20<\/i><\/a>. &#8220;Ain&#8217;t No Good&#8221; takes on corporate shoddiness, buying a product and taking it home only to find out it &#8220;ain&#8217;t no good.&#8221; Nine of the 13 tracks feature <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:CLASSIC%7CRUINS\">Classic Ruins<\/a> driving force <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:FRANK%7CROWE\">Frank Rowe<\/a> adding his precision guitar (and lead vocal on &#8220;In This Town&#8221;). <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jxfuxqugld0e\">Borgioli<\/a>\/<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ROWE\">Rowe<\/a> make a formidable pair leading a two-guitar attack that the rhythm section of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DEATH%7CIN%7CTHE%7CSHOPPING\">Death in the Shopping Malls<\/a> drummer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0bftxqtjldae\">Pete Taylor<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:TEA%7CIN%7CCHINA\">Tea in China<\/a> bassist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hcftxqt5ldae\">Carl Biancucci<\/a> complement perfectly. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hcftxqt5ldae\">Biancucci<\/a>&#8216;s band was one of the first Boston acts <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifoxqr5ldje\">Stones<\/a> producer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hxfoxq95ldke\">Jimmy Miller<\/a> worked with in 1983 via his <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kzfqxqlgldfe\">Johnny Thunders<\/a> associations, and similar elements can be heard in <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kxfoxq8gldje\">Ducky Carlisle<\/a>&#8216;s production on the nine titles tracked at his Room 9 From Outer Space studio. The three songs from a live radio show (no date or call letters mentioned) feature a different lineup behind <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jxfuxqugld0e\">Borgioli<\/a>: <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:CHRIS%7CFLAVIN\">Chris Flavin<\/a> on second guitar, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BILLY%7CDALY\">Billy Daly<\/a> on bass, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfexqehldhe\">Matt Burns<\/a> on drums. It still works, making it clear this is <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jxfuxqugld0e\">Billy Borgioli<\/a>&#8216;s vehicle and that the painter\/guitarist has a vision beyond what <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifexqr5ldje\">the Real Kids<\/a> tracked on their self-titled debut. For those who liked the heavy guitars of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:jvfqxqqhldje\"><i>Reggae Reggae<\/i><\/a> from that 1977 landmark outing, this music from a dozen years later expands that concept proving where the original group truly could have gone. Short guitar bursts and creative riffs \u00e0 la <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifoxqe5ldse\">the Kinks<\/a> with solid drumming by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0bftxqtjldae\">Taylor<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfexqehldhe\">Burns<\/a> across this disc help make <i>Assorted Varmints<\/i> shine. It is refined rock &amp; roll by guys who do it because they have to.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>THE REAL KIDS<\/p>\n<p>1)ALL KINDSA GIRLS<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:avfexxtdldae\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:avfexxtdldae<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Song Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">Covered by Swedish power pop band <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:PSYCHOTIC%7CYOUTH\">Psychotic Youth<\/a> on the 1998 compilation ^I Wanna Be a Real Kid: A Tribute to the Real ids and Mercury recording artist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:KLOVER\">Klover<\/a> on their 1995 disc <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:FEEL%7CLUCKY%7CPUNK\"><i>Feel Lucky Punk<\/i><\/a>, this is one of the key titles from vocalist\/songwriter\/lead guitarist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JON%7CFELICE\">Jon Felice<\/a> and his <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:REAL%7CKIDS\">Real Kids<\/a>. While ex-bandmate <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JONATHAN%7CRICHMAN\">Jonathan Richman<\/a> was content to find one &#8220;Girlfren&#8221; in the post-Felice <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MODERN%7CLOVERS\">Modern Lovers<\/a> mainstream Boston scenester <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHNNY%7CBARNES\">Johnny Barnes<\/a> was not so content -he wanted &#8220;100 Girls&#8221; &#8211; a similar sentiment to what comes into play on this underground classic. The three minutes and thirty-seven seconds that start off the 1977 Red Star album produced by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MARTY%7CTHAU\">Marty Thau<\/a> are called &#8220;great&#8221; by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BROWNSVILLE%7CSTATION\">Brownsville Station<\/a> guitarist, the late <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:CUB%7CCODA\">Cub Coda<\/a>. It&#8217;s an onslaught of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BILLY%7CBORGIOLI\">Billy Borgioli<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JON%7CFELICE\">Jon Felice<\/a> guitar work, a tempo somewhere between <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CMODERN%7CLOVERS\">The Modern Lovers<\/a> laid-back songs of romance and the slamming sound of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CRAMONES\">The Ramones<\/a>, but with more dexterity than Joey, Dee Dee, Johnny and Marky (Ramone). <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:FELICE\">Felice<\/a> takes <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:CHUCK%7CBERRY\">Chuck Berry<\/a> riffs and speeds them up throwing a few power chords in to keep things interesting. It is creative songwriting with guitars up over the vocals and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:HOWIE%7CFERGUSON%5C%27S\">Howie Ferguson&#8217;s<\/a> relentless drumming. Minimal for sure and tailor made for the underground.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>2)BAD TO WORSE<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:kvfqxxtaldae\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:kvfqxxtaldae<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Song Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">The two minute and forty-five second &#8220;Bad To Worse&#8221; by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHN%7CFELICE\">John Felice<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CREAL%7CKIDS\">The Real Kids<\/a> kicks off Norton Records compilation live lp <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:GROWN%7CUP%7CWRONG\"><i>Grown Up Wrong<\/i><\/a> with an additional version finding its way onto track 2 side 2 of the New Rose Records release <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:ALL%7CKINDSA%7CJERKS%7CLIVE\"><i>All Kindsa Jerks Live<\/i><\/a> from a 1983 French tour. Inverted <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:KINKS\">Kinks<\/a> riffs are the foundation of this hard driving rocker with scattered lead notes flying over the rhythm. American sixties flavors mixed with British Rock flow through the veins of this punk rocker held together by a solitary beat and decorated with a mini chorus of backing vocals and the title. &#8220;You thinking you got me beat\/but look out girl &#8217;cause I&#8217;m back on my feet&#8221; <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHN%7CFELICE\">John Felice<\/a> tells the former object of his affection adding a blitz of emphatic guitar just to rub some salt in. On the New Rose disc it is followed by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RAY%7CDAVIES%5C%27\">Ray Davies&#8217;<\/a> &#8220;She Got Everything&#8221; and those <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:KINKS\">Kinks<\/a> riffs disguised yet more pronounced on the Norton release are found out in all their glory.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>3)BETTER BE GOOD <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:dvfrxxtdldae\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:dvfrxxtdldae<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>\n<table width=\"762\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td id=\"details\" valign=\"top\">\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>Composed By<\/td>\n<td rowspan=\"3\"><\/td>\n<td>Other Links<\/td>\n<\/tr>\n<tr>\n<td>John Felice<\/td>\n<td><a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=17:144766\">All Performers that have performed this Title<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<div id=\"bio\">\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Song Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">At four minutes and twelve seconds this is the third longest of the dozen tunes on <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:THE%7CREAL%7CKIDS\"><i>The Real Kids<\/i><\/a> debut, a fascinating fifties\/sixties style rocker from the pen of singer\/lead guitarist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JON%7CFELICE\">Jon Felice<\/a>, a tune which goes through twists and turns and is rhythmically one of the more complex pieces of that band&#8217;s repertoire. Again it is the strength here which is the main weakness, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:FELICE%5C%27S\">Felice&#8217;s<\/a> creativity impeded by his inability to sing the material he composes. This is an extension of former bandmate <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JONATHAN%7CRICHMAN%5C%27S\">Jonathan Richman&#8217;s<\/a> observant nods to Boston landmarks, the singer referencing the Massachusetts &#8220;south shore&#8221; as well as cultish groups <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:TEDDY%7C&amp;%7CTHE%7CPANDAS\">Teddy &amp; The Pandas<\/a> &amp; <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CROCKIN%5C%27%7CRAMRODS\">The Rockin&#8217; Ramrods<\/a>, an ode to 1964 when these musicians were barely ten years old. It&#8217;s a quick set of rhythms which speed up at the end, a quirky mod\/neo-doo-wop song that mutates into punk. Outside of their devoted following <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CREAL%7CKIDS\">The Real Kids<\/a> found resistance, the lead vocals on most of the record having that unfinished demo feel. But the structure of &#8220;Better Be Good&#8221; proved that there was more than meets the ear going on here, some bottled up energy blending cohesively, something producer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MARTY%7CTHOU\">Marty Thou<\/a> deserves some credit for. Mini blasts like &#8220;Rave On&#8221; precede this, the punk rockers wanting backing vocals like <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CSHANGRI%7CLAS\">The Shangri Las<\/a> and doing their best <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:NEW%7CYORK%7CDOLLS\">New York Dolls<\/a> imitation to fill that need right down to the handclaps that fit in with the &#8220;sha la la&#8217;s&#8221;. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:HOWARD%7CFERGUSON\">Howard Ferguson<\/a> gets a real work out, his drums having to throb with the tight guitars and bass in the vibrant musical interludes necessarily holding the fort when the band goes <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CPLASMATICS\">The Plasmatics<\/a> route at the song&#8217;s conclusion. &#8220;Better Be Good&#8221; is another piece of the enigmatic <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:REAL%7CKIDS\">Real Kids<\/a> puzzle, traces of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MODERN%7CLOVERS\">Modern Lovers<\/a> philosophy mixed with the mid-1970&#8217;s underground rock scene of the Northeast.When played against the tape of an earlier version of this group called <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CKIDS\">The Kids<\/a> from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CRAT\">The Rat<\/a> nightclub, December 10, 1974, the musical evolution comes into clearer focus.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>4)COMMON AT NOON<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:3vfwxxtaldae\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:3vfwxxtaldae<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>\n<table width=\"762\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td id=\"details\" valign=\"top\">\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>Composed By<\/td>\n<td rowspan=\"3\"><\/td>\n<td>Other Links<\/td>\n<\/tr>\n<tr>\n<td>John Felice<\/td>\n<td><a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=17:288933\">All Performers that have performed this Title<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<div id=\"bio\">\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Song Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">Originally released in the Spring of 1977 on the French Sponge label backed with &#8220;All Kindsa Girls&#8221; this mellow 45 was <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JON%7CFELICE\">Jon Felice<\/a> at his most <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JONATHAN%7CRICHMAN\">Jonathan Richman<\/a>. As <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RICHMAN\">Richman<\/a> sang &#8220;Fly Into The Mystery&#8221;, a song covered by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:FELICE\">Felice<\/a> on a live show from Boston&#8217;s Rat nightclub taped December 10, 1974 after the singer\/guitarist left <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CMODERN%7CLOVERS\">The Modern Lovers<\/a> to form <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CKIDS\">The Kids<\/a>, the younger Jon emulated his mentor with the double entendre title. To non-Bostonians it might imply &#8220;ordinary&#8221; girl at noon, but the &#8220;common&#8221; here is most likely Boston Common &#8211; a few miles from Cambridge&#8217;s Harvard Common, the greens where <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MR.%7CRICHMAN\">Mr. Richman<\/a> often performed live open air concerts. &#8220;Summer nights\/down by the Harbor dreamin&#8217; &#8220;, the chords chug harder on the February 2, 1983 live show from the Bataclan of Paris, mixed by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ANDY%7CPALEY\">Andy Paley<\/a> and released on the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:ALL%7CKINDSA%7CJERKS%7CLIVE\"><i>All Kindsa Jerks Live<\/i><\/a> album from New Rose Records that same year. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:FELICE\">Felice<\/a> gets the point across better on the earlier studio take included on a compilation album entitled <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:BETTER%7CBE%7CGOOD\"><i>Better Be Good<\/i><\/a>. made available again in November of 1999 on New York&#8217;s Norton Records label. The original version with the first <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:REAL%7CKIDS\">Real Kids<\/a> line-up of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BILLY%7CBORGIOLI\">Billy Borgioli<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:HOWARD%7CFERGUSON\">Howard Ferguson<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ALAN%7CPAULINO\">Alan Paulino<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JON%7CFELICE\">Jon Felice<\/a> works the best in its mellow power pop format. Jon&#8217;s vocal limitations had an awkward charm as supervised by a local college d.j. whereas on the live album from France the singer bashes the lyrics around like he&#8217;s still singing &#8220;She Don&#8217;t Know&#8221;, the song that precedes this classic on the 1983 disc. &#8220;Common At Noon&#8221; just cries out for a folky version, something nearer to that original 45, the closest these <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:REAL%7CKIDS\">Real Kids<\/a> got to the jangle jangle that could have really launched them. &#8220;No more looking for you&#8230;the common at noon &#8211; thinking i&#8217;m gonna find you.&#8221; Very <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MODERN%7CLOVERS\">Modern Lovers<\/a>. Had <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JON%7CFELICE\">Jon Felice<\/a> taken this approach for more of the group&#8217;s repertoire, combined with the hard edge of &#8220;Reggae Reggae&#8221; (the final track on the Red Star self-titled lp debut) for the rest of the songs in their sets, this band just might have ruled the world.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>5)DO THE BOOB<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:0vfrxxtdldae\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:0vfrxxtdldae<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>\n<table width=\"762\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td id=\"details\" valign=\"top\">\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>Composed By<\/td>\n<td rowspan=\"3\"><\/td>\n<td>Other Links<\/td>\n<\/tr>\n<tr>\n<td>John Felice<\/td>\n<td><a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=17:400071\">All Performers that have performed this Title<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<div id=\"bio\">\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Song Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">Speedy <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:CHUCK%7CBERRY\">Chuck Berry<\/a> riffs inverted and expanded is the formula at play on this song from the debut album from songwriter <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JON%7CFELICE\">Jon Felice<\/a> and his <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:REAL%7CKIDS\">Real Kids<\/a>. Where Boston area legends <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CNERVOUS%7CEATERS\">The Nervous Eaters<\/a> played the style heavier and dirtier, and as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CRAMONES\">The Ramones<\/a> had incessant power chords as the undercurrent to their message, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:FELICE\">Felice<\/a> keeps it all in treble tone and ultra energetic. Power Punk is what it is and it isn&#8217;t for everyone. The gay slur was more than just a fancy way to grab attention, at least two of these boys displayed homophobia in the 1970&#8217;s (though they&#8217;ve all reformed and entered the realm of policital correctness &#8211; somewhat -decades later). It&#8217;s no <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MARK%7CKNOPFLER\">Mark Knopfler<\/a> jive as found in &#8220;Money For Nothing&#8221;, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:FELICE\">Felice<\/a> spits out the bigoted attack with venom and perhaps the idea of &#8220;punk rock&#8221; once immunized groups from potential fallout, at least in their own minds. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CSEX%7CPISTOLS%5C%27\">The Sex Pistols&#8217;<\/a> hype, after all, was founded on being obnoxious. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:CHUBBY%7CCHECKER\">Chubby Checker<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DEE%7CDEE%7CSHARP\">Dee Dee Sharp<\/a> with their respective &#8220;let&#8217;s do &#8220;The Twist&#8221; and &#8220;Do The Bird&#8221; were able to inject some art into their Top 10 performances. For all <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CREAL%7CKIDS\">The Real Kids<\/a> debut&#8217;s high points &#8220;Do The Boob&#8221; is one of the songs which shows the limitations of the album, and the band. Venturing into this territory means going all out, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:STEVE%7CCATALDO%5C%27S\">Steve Cataldo&#8217;s<\/a> <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:NERVOUS%7CEATERS\">Nervous Eaters<\/a> did just that on &#8220;Degenerate&#8221;, driving to the extreme <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:FELICE\">Felice<\/a> merely dabbles with in both attitude as well as the intensity of the guitar riffs employed.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>6)Reggae Reggae<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:wvfrxxtdldae\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:wvfrxxtdldae<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>\n<table width=\"762\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td id=\"details\" valign=\"top\">\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>Composed By<\/td>\n<td rowspan=\"3\"><\/td>\n<td>Other Links<\/td>\n<\/tr>\n<tr>\n<td>John Felice<\/td>\n<td><a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=17:1274260\">All Performers that have performed this Title<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<div id=\"bio\">\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Song Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">Former bandmate of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JON%7CFELICE\">Jon Felice<\/a>, one <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JONATHAN%7CRICHMAN\">Jonathan Richman<\/a>, had a hit with &#8220;Egyptian Reggae&#8221; in Europe while <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CREAL%7CKIDS\">The Real Kids<\/a>, sons somewhat of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CMODERN%7CLOVERS\">The Modern Lovers<\/a>, had an underground sensation with &#8220;Reggae, Reggae&#8221;. The fact that neither tune had any reggae to speak of in their respective grooves doesn&#8217;t take away from the brilliant artistic license of both compositions &#8211; two of the best examples of these songwriters apart from their work together. &#8220;Reggae, Reggae&#8221; owes more to the grunge of the second <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:VELVET%7CUNDERGROUND\">Velvet Underground<\/a> lp, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:WHITE%7CLIGHT\/WHITE%7CHEA\"><i>White Light\/White Heat<\/i><\/a>, than it does to <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JIMMY%7CCLIFF\">Jimmy Cliff<\/a> or the &#8220;Ice Cream Man&#8221; chronicles of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JONATHAN%7CRICHMAN\">Jonathan Richman<\/a> on tour. At five minutes and one second it is the longest of the dozen tunes on the Red Star Records debut of the band, concluding the album with a diligent <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BILLY%7CBORGIOLI\">Billy Borgioli<\/a> lead. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BORGIOLI\">Borgioli<\/a> is the band&#8217;s rhythm guitarist, but tears away from those duties to add some riveting sounds, an exclamation point to this disc that is so cherished by many in underground circles. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JON%7CFELICE\">Jon Felice<\/a> blurts out something that sounds like &#8220;Your brother thinks I&#8217;m a fag&#8221;, and again employs that right-wing mentality that the band thought was cool in the seventies, but wasn&#8217;t. At least when <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:LOU%7CREED\">Lou Reed<\/a> made comments they came from a space which accepted life&#8217;s mutations and variations. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CREAL%7CKIDS\">The Real Kids<\/a> played to a narrow cult and were never able to catapult themselves onto the stages where <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:CHEAP%7CTRICK\">Cheap Trick<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CRAMONES\">The Ramones<\/a> and other larger acts played to bigger crowds. &#8220;Reggae, Reggae&#8221; was a step in the right direction and sounds like nothing else on this interesting work by a punk band that took themselves very seriously. It is said that this is the true direction that the group was heading in until the heart of the band, rhythm guitarist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BILLY%7CBORGIOLI\">Billy Borgioli<\/a> and drummer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:HOWARD%7CFERGUSON\">Howard Ferguson<\/a>, left with the revamped lineup recording with producer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ANDY%7CPALEY\">Andy Paley<\/a> five years after this. A pity asthe fuzzy sound and condensed energy suited <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JON%7CFELICE%5C%27S\">Jon Felice&#8217;s<\/a> muted vocals much better. It&#8217;s a powerful statement, imagine &#8220;Sister Ray&#8221; from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CVELVET%7CUNDERGROUN\">The Velvet Underground<\/a> finding some kind of form halfway through, the frazzled elements of that assault coming together in a powerfully fused focus. &#8220;Reggae Reggae is a dynamite statement to conclude the first <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:REAL%7CKIDS\">Real Kids<\/a> lp, and is arguably their finest moment.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>7)ROBERTA<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:kvfrxxtdldae\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:kvfrxxtdldae<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>\n<table width=\"762\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td id=\"details\" valign=\"top\">\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>Composed By<\/td>\n<td rowspan=\"3\"><\/td>\n<td>Other Links<\/td>\n<\/tr>\n<tr>\n<td>Huey &#8220;Piano&#8221; Smith\/John Vincent<\/td>\n<td><a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=17:1296747\">All Performers that have performed this Title<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<div id=\"bio\">\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Song Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">It starts off as a diversion on the Red Star debut by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CREAL%7CKIDS\">The Real Kids<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MONO%7CMANN\">Mono Mann<\/a> of the band <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DMZ\">DMZ<\/a> adding a catatonic piano a la <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:WILLIE%7CLOCO%7CALEXAND\">Willie &#8220;Loco&#8221; Alexander<\/a> to open up the tune, and Mono (a.k.a. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JEFF%7CCONNOLLY\">Jeff Connolly<\/a> ) has big shoes to fill on this, one of the three non- <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JON%7CFELICE\">Jon Felice<\/a> titles that make up the 12 song self-titled lp. &#8220;Roberta&#8221; is a <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:HUEY%7CPIANO%7CSMITH\">Huey &#8220;Piano&#8221; Smith<\/a> co-write originally released by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:FRANKIE%7CFORD\">Frankie Ford<\/a> of &#8220;Sea Cruise&#8221; fame on the Ace label and it develops as an interesting cover choice among the other material presented on an album by one of the original ex- <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MODERN%7CLOVERS\">Modern Lovers<\/a>. The underground band blasts out of control but <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:HOWIE%7CFERGUSON\">Howie Ferguson<\/a>, one of the most undervalued drummers in Boston rock &amp; roll, somehow keeps it together putting all the guitar and bass noise in a vacuum. It clocks in at two minutes and thirty-seven seconds, not-so-subtle blasts of fifties New Orleans pop previously embraced by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CANIMALS\">The Animals<\/a> the decade before <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:FELICE\">Felice<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BORGIOLI\">Borgioli<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:FERGUSON\">Ferguson<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:PAULINO\">Paulino<\/a> gave it their treatment. As the aforementioned Willie &#8220;Loco&#8221; pulverized (in a good way) &#8220;Too Much Monkey Business&#8221;, this gem contains some of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MONO%7CMANN%5C%27S\">Mono Mann&#8217;s<\/a> best piano work actually resembling <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:WILLIE%7CALEXANDER%5C%27S\">Willie Alexander&#8217;s<\/a> mania.You can feel the reverence inside the energy, the guitars going from simple rock &amp; roll to sliding power chords towards the end, elements that have helped sustain this disc&#8217;s cult classic status.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>8)SHE COME ALIVE<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:3vfexxtaldae\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:3vfexxtaldae<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Song Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">&#8220;She Come Alive&#8221; is two minutes and fifty-nine seconds of live <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:REAL%7CKIDS\">Real Kids<\/a> from the 1993 Norton Records compilation album <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:GROWN%7CUP%7CWRONG\"><i>Grown Up Wrong<\/i><\/a>. It was taped at the Penny Arcadein Rochester, New York on May 4, 1978 with a quick chugging guitar blast that begins this uptempo hard rocker smothered in <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHN%7CFELICE%5C%27S\">John Felice&#8217;s<\/a> snarling and unintelligible vocals. The beauty of his song composition, truly merging punk and power pop, is overshadowed by the band leader&#8217;s inability to bring it home with a voice that can make the music mean something special. There&#8217;s a clever guitar run taken from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:SIMON%7C&amp;%7CGARFUNKEL%5C%27S\">Simon &amp; Garfunkel&#8217;s<\/a> &#8220;Hazy Shade Of Winter&#8221; or <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CMONKEES%5C%27\">The Monkees&#8217;<\/a> &#8220;Valleri&#8221; by way of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:TOMMY%7CBOYCE\">Tommy Boyce<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BOBBY%7CHART\">Bobby Hart<\/a>, though not as precise. It&#8217;s a creative rhythmic riff right after the chorus leading into the guitar solo\/drum explosions which conclude the song in ragged <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ROLLING%7CSTONES\">Rolling Stones<\/a>-ish fashion. &#8220;She Come Alive&#8221; is yet another example of energetic <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:CHUCK%7CBERRY\">Chuck Berry<\/a> chords thumping efficiently at high speed, assembled with thoughtful and creative changes to enhance the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:REAL%7CKIDS\">Real Kids<\/a> repertoire. If only a <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHNNY%7CROTTEN\">Johnny Rotten<\/a> or <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:IGGY%7CPOP\">Iggy Pop<\/a> got ahold of this title to really make it shine.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>9)SHE&#8217;S ALRIGHT<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:hvfrxxtdldae\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:hvfrxxtdldae<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Song Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">As with &#8220;Do The Boob&#8221;, the title written for fanzine editor <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BOB%7CCOLBY\">Bob Colby<\/a>, &#8220;She&#8217;s Alright&#8221; is a riff rocker from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:THE%7CREAL%7CKIDS\"><i>The Real Kids<\/i><\/a> debut album along the lines of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CBEATLES%5C%27\">The Beatles&#8217;<\/a> rendition of &#8220;Slow Down&#8221;. And as with everything on that self-titled disc it is precisely played energetic rock &amp; roll, admirable for a punk rock band, the one drawback here the same disability that plagues the entire collection of songs: <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JON%7CFELICE\">Jon Felice<\/a> simply does not have an appealing voice. As a front man he&#8217;s got the attitude, but rhythm guitarist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BILLY%7CBORGIOLI\">Billy Borgioli<\/a> &#8211; as evidenced on his <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CVARMINTS\">The Varmints<\/a> cd &#8211; or bassist Alpo, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ALAN%7CPAULINO\">Alan Paulino<\/a>, are said to have had more of a grasp of how to get the message across via microphone. Maybe that&#8217;s why the lead-off track on side two is a production like most of the album, guitars up in the mix on this quick, one minute and forty four second vintage excursion into early rock &amp; roll. There&#8217;s no <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHN%7CLENNON\">John Lennon<\/a> swagger or vocal chops, though the band chugs along witha solid thumping rhythm. The lead guitar is a burst of wild abandon which comes back to a sexist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JON%7CFELICE\">Jon Felice<\/a> lyric &#8220;she get down on her knees on all fours.&#8221; No <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BOB%7CDYLAN\">Bob Dylan<\/a> is <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MR.%7CFELICE\">Mr. Felice<\/a>, and one might expect something a bit more clever from the fellow who worked with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JONATHAN%7CRICHMAN\">Jonathan Richman<\/a> and who authored &#8220;Common At Noon&#8221;, but the charm in these grooves is the feeling generated by the four rock &amp; rollers as a unit, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:HOWIE%7CFERGUSON%5C%27S\">Howie Ferguson&#8217;s<\/a> drums an essential platform for the string instruments to blast away. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:FELICE\">Felice<\/a> maintains the theme in the very next track, &#8220;My Baby&#8217;s Book&#8221; featuring a chorus of &#8220;I&#8217;m Alright&#8221;. As <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:YVONNE%7CELLIMAN\">Yvonne Elliman<\/a> sang &#8220;Everything&#8217;s Alright&#8221; back in the day it was a minimal message from a minimal time.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>10)TAXI BOYS<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:fvfrxxtdldae\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:fvfrxxtdldae<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Song Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">At 1:47 the song is the third shortest by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JON%7CFELICE\">Jon Felice<\/a> and his mates on their eponymous debut lp, but it made an extra impact as the name of a reconstituted <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:REAL%7CKIDS\">Real Kids<\/a> when heart-throb <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BOBBY%7CMCNABB\">Bobby McNabb<\/a> replaced <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:HOWIE%7CFERGUSON\">Howie Ferguson<\/a> on the drums &#8211; not on this song &#8211; but in the band named after it. The eventual addition of McNabb (recruited, surprisingly, from semi-drag act <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:LOU%7CMIAMI\">Lou Miami<\/a> ) gave the band some pretty boy charisma they were lacking though <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:FERGUSON\">Ferguson<\/a> is tough to beat when it comes to beating on the drums. The group named after this song featured only half the original Real Kids, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:FELICE\">Felice<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:PAULINO\">Paulino<\/a>, thus the latter ensemble was dubbed by one scenester &#8220;The Tacky Boys&#8221;. Falling in-between the grit of &#8220;Better Be Good&#8221; and mellow mood found on &#8220;Just Like Darts&#8221;, &#8220;Taxi Boys&#8221; is almost British by way of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CNEW%7CYORK%7CDOLLS\">The New York Dolls<\/a> &#8220;Frankenstein&#8221;, the original band at its most explosive and fun. No wonder <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MIRIAM%7CLINNA\">Miriam Linna<\/a> of Norton Records liked them so much, this record&#8217;s producer, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MARTY%7CTHAU\">Marty Thau<\/a>, had worked with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CNEW%7CYORK%7CDOLLS\">The New York Dolls<\/a> prior to signing <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CREAL%7CKIDS\">The Real Kids<\/a> to his Red Star imprint. An album full of episodes like this would have brought <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CREAL%7CKIDS\">The Real Kids<\/a> out of cult status to the level of a <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RAMONES\">Ramones<\/a>, the splashes of punk guitar by the team of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BORGIOLI\">Borgioli<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:FELICE\">Felice<\/a> gliding along with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:FERGUSON%5C%27S\">Ferguson&#8217;s<\/a> cymbals make it the most appealing song on the entire album.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>THE COWSILLS<\/p>\n<p>HAIR <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:jbfrxvtdld0e\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:jbfrxvtdld0e<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>\n<table width=\"762\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td id=\"details\" valign=\"top\">\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>Composed By<\/td>\n<td rowspan=\"3\"><\/td>\n<td>Other Links<\/td>\n<\/tr>\n<tr>\n<td>Galt MacDermot\/James Rado\/Gerome Ragni<\/td>\n<td><a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=17:603300\">All Performers that have performed this Title<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<div id=\"bio\">\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Song Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">From the Broadway play Hair, music by Galt MacDermot, book and lyrics by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:GEROME%7CRAGNI\">Gerome Ragni<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JAMES%7CRADO\">James Rado<\/a>, the late &#8217;60&#8217;s extravaganza also launched a huge dual platinum hit for <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CFIFTH%7CDIMENSION\">The Fifth Dimension<\/a>in &#8220;Aquarius\/Let The Sun Shine, one that spent a month and a half at #1, no doubt keeping <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CCOWSILLS\">The Cowsills<\/a> at bay. That <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CFIFTH%7CDIMENSION\">The Fifth Dimension<\/a> influenced <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CCOWSILLS\">The Cowsills<\/a> is a given, just a\/b the family band&#8217;s &#8220;We Can Fly&#8221; to <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MARILYN%7CMCCOO\">Marilyn McCoo<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BILLY%7CDAVIS%7CJR.%5C%27S\">Billy Davis Jr.&#8217;s<\/a> family&#8217;s &#8220;Up Up And Away&#8221; for comparison.Equalling the #2 position garnered by group&#8217;s first hit, &#8220;The Rain, The Park and Other Things&#8221;, this final trek up the Top 40 charts has superb stereo separation self-produced by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BILL%7CCOWSILL\">Bill Cowsill<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BOB%7CCOWSILL\">Bob Cowsill<\/a>. Though not as spectacular as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BOB%7CCREWE%5C%27S\">Bob Crewe&#8217;s<\/a> presentation of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:OLIVER\">Oliver<\/a> singing &#8220;Good Morning Starshine&#8221; three months after this hit, taken from the same stage play, the acoustic opening, heavy vocals and pageantry inherent in the performance make for a genuine statement by this deserving group, three and a half minutes that became MGM single #14026. &#8220;Hair&#8221; is also the direction the group needed to head off into &#8211; covering soon-to-be standards made famous off and on Broadway. That they failed to enjoy the fame found by what they spawned, The Partridge Family tv program, should have been inspiration for this talented bunch to fly to greater heights finding more gems like this cover. &#8220;Hair&#8221; was that golden opportunity that opened the door to life after bubblegum. It is <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CCOWSILLS\">The Cowsills<\/a> performing on all instruments, sounds generated by the two founding brothers, and promoted by the group itself, according to the liner notes accompanying ^The Best Of The Cowsills: The Millennium ollection. The booklet explains that where MGM first balked at this single, airplay on a Chicago station and the immediate positive response fueled the label&#8217;s decision to back this eventual huge hit. The paradox of a clean cut group doing something so hip and counter culture is more extreme than <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CCARPENTERS\">The Carpenters<\/a> covering <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:KLAATU\">Klaatu<\/a>. The break where the female voice wants &#8220;it combed straight&#8230;&#8221; sounds like it&#8217;s taken off of &#8220;Friend &amp; Lover&#8217;s&#8221; &#8220;Reach Out Of The Darkness&#8221; from the year before, showing they learned their craft well under the aegis of legends like <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ARTIE%7CKORNFELD\">Artie Kornfeld<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:WES%7CFARRELL\">Wes Farrell<\/a>.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>INDIAN LAKE<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:gbfrxvtdld0e\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:gbfrxvtdld0e<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Song Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">Opening with a truncated bass riff lifted straight from the first notes of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:TOMMY%7CJAMES%7C&amp;%7CTHE%7CSHO\">Tommy James &amp; The Shondells&#8217;<\/a> &#8220;I Think We&#8217;re Alone Now&#8221; (keep in mind, the arranger of that hit, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JIMMY%7CWIZ%7CWISNER\">Jimmy &#8220;Wiz&#8221; Wisner<\/a> arranged <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CCOWSILLS%5C%27\">The Cowsills&#8217;<\/a> first hit) and with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BEACH%7CBOYS%5C%27\">Beach Boys&#8217;<\/a> bass vocals (a <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:COWSILL\">Cowsill<\/a> or two would end up working with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CBEACH%7CBOYS\">The Beach Boys<\/a> after this!), &#8220;Indian Lake&#8221;, a song about a day at the amusement park, could almost be considered a delayed sequel to &#8220;The Rain, The Park and Other Things&#8221; the way <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:LESLEY%7CGORE\">Lesley Gore<\/a> told us how it was &#8220;Judy&#8217;s Turn To Cry&#8221; after her first hit (and, of course, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:STEVE%7CDUBOFF\">Steve Duboff<\/a>, who co-wrote <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CCOWSILLS\">The Cowsills<\/a> first hit, wrote for Gore). The six degrees of separation intentional non-coincidences go much deeper for songwriter and arranger <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:TONY%7CROMEO\">Tony Romeo<\/a> and producer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:WES%7CFARRELL\">Wes Farrell<\/a>. They were the team who concocted &#8220;I Think We&#8217;re Alone Now&#8221; for <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CPARTRIDGE%7CFAMILY\">The Partridge Family<\/a>, the family group which was modeled after <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CCOWSILLS\">The Cowsills<\/a>. It must have been tough to take knowing that a hit like &#8220;Indian Lake&#8221; came from a more pure space, integrity that the manufactured <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:PARTRIDGE%7CFAMILY\">Partridge Family<\/a> could only feign, and to get slighted after going Top 10 in the summer of 1968 with this two minute and forty-four second delight was total injustice so typical of the industry. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:FARRELL%5C%27S\">Farrell&#8217;s<\/a> production is no-nonsense with the bass guitar holding up the bottom, the drums way behind the tambourine, and keyboard a sort of laid-back &#8220;Palisades Park&#8221;. It&#8217;s got that feel of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:WES%7CFARRELL%5C%27S\">Wes Farrell&#8217;s<\/a> hit on MGM the summer before, &#8220;Come On Down To My Boat &#8221; by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:EVERY%7CMOTHER%5C%27S%7CSON\">Every Mother&#8217;s Son<\/a>, and this MGM single, #13944, kept the momentum going for pop&#8217;s singing, smiling family. One can hear &#8220;Heroes And Villains&#8221;, traces of &#8220;Words Of Love&#8217;s piano sound, rather than be subtle as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:KORNFELD\">Kornfeld<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:WISNER\">Wisner<\/a> were on &#8220;The Rain, The Park and Other Things&#8221;, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:FARRELL\">Farrell<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ROMEO\">Romeo<\/a> just go for broke taking all the influences they can and giving the group another big hit, inspired by a bit the band was aked to perform on a television fashion special, The Wonderful World Of Pizzazz, according to the liner note booklet accompanying ^The Best of The Cowsills: The Millennium Collection.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>THE RAIN THE PARK &amp; OTHER THINGS<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:3bfrxvtdld0e\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:3bfrxvtdld0e<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Song Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">It starts with quick and simple rainstorm sound effects, ultra light pop written by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ARTIE%7CKORNFELD\">Artie Kornfeld<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:STEVE%7CDUBOFF\">Steve Duboff<\/a> who composed for <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:CONNIE%7CFRANCIS\">Connie Francis<\/a> <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CANGELS\">The Angels<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JAN%7C&amp;%7CDEAN\">Jan &amp; Dean<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:CRISPIAN%7CST.%7CPETERS\">Crispian St. Peters<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:LESLEY%7CGORE\">Lesley Gore<\/a> and others either individually or as a team. This break-through hit for the family group, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CCOWSILLS\">The Cowsills<\/a>, clocks in at just around three minutes, MGM single #13810, a bubbly performance full of stunning harmonies with magical production by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:KORNFELD\">Kornfeld<\/a>, accompanied by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JIMMY%7CWIZ%7CWISNER%5C%27S\">Jimmy &#8220;Wiz&#8221; Wisner&#8217;s<\/a> arrangement. Wiz is the man who put his touch on &#8220;I Think We&#8217;re Alone Now&#8221; and &#8220;Mirage&#8221; for <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:TOMMY%7CJAMES%7CAND%7CTHE%7CS\">Tommy James and The Shondells<\/a> just a few months before this mini-epic was blocked out of the #1 position by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CMONKEES%5C%27\">The Monkees&#8217;<\/a> huge &#8220;Daydream Believer&#8221;, adding to the formidable team. These three pop pros writing\/producing\/arranging had the power and smarts to play in the same league as hitmakers <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CMONKESS\">The Monkess<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CSHONDELLS\">The Shondells<\/a>, and with a quarter of a million dollars in promotional support from the label as noted in the booklet to ^The Best Of The Cowsills, The Millenium ollection, this 45 brightened up the end of summer\/early autumn of 1967, when flower power was in full bloom. Harbinger of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7COSMONDS\">The Osmonds<\/a>, a group that would look very much like this outfit on the very same record label just four years after &#8220;The Rain, The Park and Other Things&#8221; brought these <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MAMAS%7C&amp;%7CTHE%7CPAPAS\">Mamas &amp; The Papas<\/a> meet <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CBEACH%7CBOYS\">The Beach Boys<\/a> harmonies to the world, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CCOWSILLS\">The Cowsills<\/a> were the real thing, paving the way for <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CJACKSON%7C5\">The Jackson 5<\/a> and other acts who would take the concept even further. This is quintessential bubblegum, the hipness of the record offset by the cheeky image of the name and band look, but it&#8217;s the music that matters and the cascading vocals were as complex as anything John, Michelle, Cass &amp; Denny had put together. A dominating lead vocal to tell the story coupled with the crisp bass\/drums and swirling bells, harp and water sounds swimming in the mix, it made for irresistable and unforgettable AM radio and a wonderful launching pad for a group of musicians who paid their dues and deserved a much bigger slice of the rock and roll pie.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>WE CAN FLY<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:dbfrxvtdld0e\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=33:dbfrxvtdld0e<\/a><\/p>\n<div id=\"bio\">\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Song Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">Less than a year after <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7C5TH%7CDIMENSION\">The 5th Dimension<\/a> went &#8220;Up &#8211; Up and Away&#8221; with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JIMMY%7CWEBB%5C%27S\">Jimmy Webb&#8217;s<\/a> song and production, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CCOWSILLS\">The Cowsills<\/a> took their harmonies and crafted a short and clever sequel of sorts. A definite sign of the times, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CCOWSILLS\">The Cowsills<\/a> put elements of all sorts of sixties groups into their mix as evidenced on most of their work, but &#8220;We Can Fly&#8221; is more <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:5TH%7CDIMENSION\">5th Dimension<\/a> than anything else. Clocking in at only two minutes and fifteen seconds, MGM single #13886 is an exhilarating array of uplifting horns and bells over a tense rhythm which sounds like it was inspired by the soundtrack to The Wizard Of Oz. The foundation allows the group&#8217;s impeccable vocals to glide over the arrangement slipping lines like &#8220;isn&#8217;t it groovey in a daydream&#8221; right by the listener with adult-bubblegum efficiency . Produced by brothers <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BILL%7CCOWSILL\">Bill Cowsill<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BOB%7CCOWSILL\">Bob Cowsill<\/a>, the song was written by that pair along with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ARTIE%7CKORNFELD\">Artie Kornfeld<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:STEVE%7CDUBOFF\">Steve Duboff<\/a>, the men who penned the brilliant &#8220;The Rain, The Park and Other Things&#8221;, the team effort taking this tune up into the Top 25 in the early months of 1968. Though they could lift material with the best of them, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CCOWSILLS\">The Cowsills<\/a> innovated as well and the music here is true adult contemporary pop that holds up many years after making its mark. Nice arrangement work by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ARTIE%7CSCHROECK\">Artie Schroeck<\/a> deserves mention.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">THE BEST OF THE COWSILLS<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jiftxqe5ldse\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jiftxqe5ldse<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">Material on this, <i>The Best of the Cowsills<\/i>, came before they hit with &#8220;Hair&#8221; in 1969, that song missing from this otherwise decent compilation. There are 12 tracks taken from their first three MGM albums \u2014 <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:kiftxqe5ldse\"><i>The Cowsills<\/i><\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:wiftxqe5ldse\"><i>We Can Fly<\/i><\/a>, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:0iftxqe5ldse\"><i>Captain Sad and His Ship of Fools<\/i><\/a> \u2014 plus the excellent Top 50 single from 1968 with its unmistakable <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifrxqw5ldse\">Beach Boys<\/a> influence, &#8220;Poor Baby.&#8221; &#8220;The Rain, the Park and Other Things,&#8221; of course, is the starting point, and it is a wonderful and enduring pop single, all two minutes and 57 seconds of it. In between there are &#8220;In Need of a Friend,&#8221; &#8220;Mister Flynn,&#8221; &#8220;Captain Sad and His Ship of Fools,&#8221; and the hit from the beginning of 1968, &#8220;We Can Fly.&#8221; &#8220;Meet Me at the Wishing Well&#8221; is listed on the back cover of the LP, but a <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:dpfwxq9gld6e\">Tony Romeo<\/a> song is actually on the vinyl, &#8220;The Path of Love.&#8221; <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:dpfwxq9gld6e\">Romeo<\/a> has three titles on this best-of, but perhaps the most remarkable thing is that eight of the dozen tracks are either written or co-written by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:dvfpxqy5ld6e\">Bob<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3pfoxqe5ldhe\">Bill Cowsill<\/a>. Where <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wbfqxqr5ldje\">Wes Farrell<\/a> produced &#8220;Indian Lake&#8221; and &#8220;Poor Baby,&#8221; and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wcfixqrgldae\">Artie Kornfeld<\/a> did the exquisite production honors on &#8220;The Rain, the Park and Other Things,&#8221; the brothers Cowsill produced &#8220;We Can Fly,&#8221; &#8220;In Need of a Friend,&#8221; and most of this album, nine of the 12 tracks to be exact. Where <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifrxqw5ldse\">the Beach Boys<\/a>&#8216; harmonies devour &#8220;Poor Baby,&#8221; <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:difexqe5ldfe\">the Mamas &amp; the Papas<\/a>&#8216; vocal style envelopes the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifrxqw5ldse\">Beatlesque<\/a> &#8220;In Need of a Friend.&#8221; Thirty-three years after its release, Universal issued <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:3zfqxq80ldde\"><i>The Best of the Cowsills: The Millennium Collection<\/i><\/a>. That all-too-short CD has five tracks from this collection and five other titles. What it all shows is that the band was more creative and productive than they were given credit for and it really is too bad they didn&#8217;t get to be <i>The Partridge Family<\/i> on television. This early best-of is evidence that they deserved it.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>MICHAEL FREMER I CAN TAKE A JOKE<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jxftxqt0ldke\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jxftxqt0ldke<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">Comedian Michael Fremer was a staple in Boston on the radio airwaves and in the club scene. Those who were fans of radio stars <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:CHARLES%7CLAQUIDARA\">Charles Laquidara<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:LITTLE%7CWALTER%7CDEVENNE\">Little Walter DeVenne<\/a> no doubt heard these insightful and ridiculous skits when their popular programs aired on a once alternative Boston station, 104.1 FM. The re-enactment of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MAYOR%7CKEVIN%7CWHITE%5C%27S\">Mayor Kevin White&#8217;s<\/a> &#8220;My City&#8217;s In Flames&#8221; Speech is hilarious. This writer was at the oston Garden in 1972 when <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifoxqr5ldje\">The Rolling Stones<\/a> were arrested in Rhode Island and when then Mayor White had to appease the fans who were on the verge of rioting. The parody on this disc &#8211; along with the tape of that show Stones fans have traded over the years &#8211; are evidence of a magic moment in rock and make this classic collection all the more special. Some of these advertisements were specifically for record retailer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:NEW%7CENGLAND%7CMUSIC%7CCIT\">New England Music City<\/a> and legendary weekly news source <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CREAL%7CPAPER\">The Real Paper<\/a>. If you never realized how close <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DYLAN%5C%27S\">Dylan&#8217;s<\/a> 1976 hit &#8220;Hurricane&#8221; is to his 1968 hit (via <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:HENDRIX\">Hendrix<\/a>) &#8220;All Along The Watchtower,&#8221; Fremer makes it painfully clear. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:LOU%7CREED%5C%27S\">Lou Reed&#8217;s<\/a> <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:TRANSFORMER\">Transformer<\/a> image gets taken over the coals in a take-off on <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:WALK%7CON%7CTHE%7CWILD%7CSID\">&#8220;Walk On The Wild Side,&#8221;<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:NEIL%7COLD%5C%27S\">Neil Old&#8217;s<\/a> &#8220;Hopeless&#8221; is <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:NEIL%7CYOUNG%5C%27S\">Neil Young&#8217;s<\/a> &#8220;Helpless&#8221; upside down. Michael Fremer was allegedly bounced off of the radio station for making fun of the commercials that were themselves walking parodies. It made no sense, and it was an unpopular move by the station, but this excellent recording preserves some of the majesty. The comedian MC&#8217;d some of the major concerts in Boston during this period, 1970-1976 &#8211; some of the material was recorded at the 104.1 FM&#8217;s studios, some live at the nn Square Men&#8217;s Bar, various recording studios and portions probably taped in Fremer&#8217;s bedroom! His contemporaries like <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wjfrxq85ldse\">Paul Lovell<\/a> a.k.a. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BLOWFISH\">Blowfish<\/a> took their cues from Fremer, who was last found in the 1990&#8217;s publishing a magazine.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>SOMEONE &amp; THE SOMEBODIES BOPS ON THE HEAD<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:gpftxqlhldse\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:gpftxqlhldse<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">After the initial blitz of the 1970s new wave in Boston, MA \u2014 a movement of singer\/songwriters fronting bands, spearheaded by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fyxqr5ldke\">Willie &#8220;Loco&#8221; Alexander<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifyxqr5ldje\">Jonathan Richman<\/a> \u2014 the college city found techno and industrial sounds infiltrating the scene with the dawn of the &#8217;80s. The Modern Method record label, a division of retailer Newbury Comics, began issuing some of this music on sampler albums as well as EPs by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3xfuxqqgldhe\">November Group<\/a> and writer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3cfexqt0ldke\">Tristram Lozaw<\/a>&#8216;s outfit, Someone &amp; the Somebodies. The music on the four-song EP <i>Bops on the Head<\/i> might seem innocent enough, but <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3cfexqt0ldke\">Lozaw<\/a>&#8216;s cover design is beyond politically incorrect a couple of decades after its release. A man with what looks like a golf club has it raised over his head as if about to strike someone, while a larger male head is seen with a hand around his throat. The 45 RPM 12-inch disc is at its most violent on &#8220;Mombo Sombo,&#8221; a drifting, weaving industrial folk tune with percussive sounds playing against the guitar bursts and dark, incoherent vocal. Where <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fifixq8kld6e\">Willie Alexander<\/a> was employing the dissonance by merging jazz with his primal scream on <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:w9fixqwhld6e\"><i>Solo Loco<\/i><\/a> at this point in time, Someone &amp; the Somebodies take an electronic sledgehammer approach. Mao Tse-Tung, a woman hitting her child with a hammer, and a beach bully punching another guy out are the images on the back cover which accompany the sternutatory sounds of &#8220;It&#8217;s Only Extazy.&#8221; As <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifwxqe5ldte\">Mission of Burma<\/a> embraced aggravating noise and attitude, Someone &amp; the Somebodies brought the tempo and level down a notch or two, massaging the electronics. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3cfexqt0ldke\">Lozaw<\/a> put together an interesting arrangement of prizefighter <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:difwxqe5ldhe\">Lee Dorsey<\/a>&#8216;s 1966 hit, the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jzfyxqqgld0e\">Allen Toussaint<\/a> composition &#8220;Working in a Coal Mine,&#8221; which obtained heavy regional airplay. Synth\/guitar player <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:w9fyxqlald0e\">Rob Davis<\/a> contributes &#8220;We Were Only Kidding,&#8221; a staccato guitar-phrased chant over heavy bass. Not for everyone, <i>Bops on the Head<\/i> is a good document of a day when the new wave morphed into heavier sounds, which eventually led to modern rock. It&#8217;s what came in between and is worth a listen.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>THE OUTLETS 2000 on Hendrix Records<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kvfyxq9kld6e\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kvfyxq9kld6e<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">The lost art of rock &amp; roll is rediscovered with a vengeance by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:h9fyxqykldke\">David Alex Barton<\/a> and his Outlets on this self-titled album. Co-produced by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:j9fixqukldae\">John McDermott<\/a> with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hxfoxqegldde\">Kevin Army<\/a>, the band is in good hands after slugging it out in the trenches of Boston during the &#8217;80s. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:j9fixqukldae\">John McDermott<\/a> co-produces <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hnfexqr5ldte\">Jimi Hendrix<\/a>&#8216;s catalog releases along with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gnfrxquhldhe\">Janie Hendrix<\/a>, and the affiliation can only help artists this serious about their craft. This is a rock &amp; roll onslaught \u2014 &#8220;Sorry&#8221; is a refreshing blast of guitar-oriented garage rock. This is the music that can save so-called &#8220;modern rock radio,&#8221; a term that is already an anachronism. What is really needed is a three-minute burst of sound that is &#8220;Eddy.&#8221; <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BARTON\">Barton<\/a> doesn&#8217;t stay on key \u2014 he never did \u2014 and his vocal style is much like <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JON%7CFELICE\">Jon Felice<\/a> of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifexqr5ldje\">the Real Kids<\/a>, but <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7COUTLETS\">the Outlets<\/a> drive their songs faster and with more ferocity than <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifexqr5ldje\">the Real Kids<\/a>, and the jangly guitar tends to extend its claws with a nice buzzsaw edge. &#8220;You Don&#8217;t Need Them&#8221; changes the mood with tension and lyrics that take a <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifuxqe5ldae\">Joe Jackson<\/a> riff and re-evaluate it, while &#8220;Wired&#8221; goes where <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:SMASHING%7CPUMPKINS\">Smashing Pumpkins<\/a>&#8216; &#8220;1979&#8221; tried to. As the album progresses, the drums and guitars start melting into a solid unit that makes you want to turn the volume up. There is none of that technical wash that strips away the substance and heart of new records, creating dissonance and unnecessary high end. This is the real thing, solid as a rock, and a guitar starts going haywire two and a half minutes into &#8220;Wired&#8221; \u2014 possibly the most explosive track on a very explosive record. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7COUTLETS\">The Outlets<\/a> had much promise in the past, and one wonders if a record this good can cut through all the politics and just get substantial airplay. Here&#8217;s a second chance for the world to hear their classic &#8220;Sheila.&#8221; It&#8217;s still bouncy and driving, and deserves a long ride on the airwaves. The fun that <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifpxqw5ldfe\">the Buzzcocks<\/a> brought to their best recordings is inherent in this disc, tempered by the American sound <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CNERVOUS%7CEATERS\">the Nervous Eaters<\/a> helped forge. Despite their veteran status, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7COUTLETS\">the Outlets<\/a> still rock like teenagers on this 13-song disc, and that&#8217;s what it is all about.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>WHOLE NEW WORLD THE OUTLETS (ENIGMA)<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dvfixq95ld6e\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dvfixq95ld6e<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\"><i>Whole New World<\/i> by Boston&#8217;s Outlets, released on Restless Records\/Enigma in 1985, is a raw document of a good pop band with enthusiasm that rises above the group&#8217;s limitations. Where the rock &amp; roll voice of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifpxqw5ldfe\">the Buzzcocks<\/a>&#8216; <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wpfixq95ld0e\">Pete Shelley<\/a> would tatter and tear, he managed to stay somewhat on key; lead singer\/lead guitarist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jcfexqe5ldde\">Dave Barton<\/a> clearly emulated <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:SHELLEY\">Shelley<\/a>, but his vocal limitations inhibited his otherwise interesting material. &#8220;Sheila&#8221; is OK on <i>Whole New World<\/i>, but sounds so much better re-recorded 14 years later by producers <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:j9fixqukldae\">John McDermott<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hxfoxqegldde\">Kevin Army<\/a> on Hendrix Records&#8217; 1999 release simply titled <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:THE%7COUTLETS\">The Outlets<\/a>. <i>Whole New World<\/i> is the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BARTON\">Barton<\/a> brothers \u2014 <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DAVE\">Dave<\/a> on vocals and lead guitar and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RICK\">Rick<\/a> on guitar \u2014 with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0nfpxq8kldfe\">Mike County<\/a> on bass and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:39frxqukld6e\">Walter Gustafson<\/a> on drums. &#8220;Tilted Track&#8221; rings with the same undertones of &#8220;Whole New World&#8221; and &#8220;The War Is Over&#8221;; they don&#8217;t deviate much from the formula, and producer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hcftxq9gldte\">Rob Dimit<\/a> simply captures what the band was all about at this point in time. &#8220;A Valentine Song&#8221; has enough creativity to stand out from the pack and, while <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jcfexqe5ldde\">Dave Barton<\/a>&#8216;s guitar work on &#8220;Tilted Track&#8221; and &#8220;The Provider&#8221; really shows strength, the song similarity and redundance of the vocals kept this band from making more of an impact, both in Boston and on the national stage. There&#8217;s more polish on the 1999 release, but <i>Whole New World<\/i> had its moments and is also a nice glimpse of a band making noise while it was also making some waves.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>THUNDERTRAIN TEENAGE SUICIDE<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0cfoxql5ldhe\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0cfoxql5ldhe<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">Crunch. That&#8217;s what happens when you mix two parts <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:SLADE\">Slade<\/a> with one part <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ROLLING%7CSTONES\">Rolling Stones<\/a> and feature the future frontman for the final incarnation of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CJOE%7CPERRY%7CPROJECT\">The Joe Perry Project<\/a>. <i>Teenage Suicide<\/i> by Thundertrain is a rare look at rock &amp; roll attitude which slugged it out in the trenches of Boston with the likes of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfwxqr5ldje\">Charlie Farren<\/a>&#8216;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BALLOON\">Balloon<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RALPH%7CMORMON\">Ralph Mormon<\/a>&#8216;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DADDY%7CWARBUX\">Daddy Warbux<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifexqr5ldje\">the Real Kids<\/a>, mainstream rockers <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:SUSAN\">Susan<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:WILLIE%7CLOCO%7CALEXANDER\">Willie Loco Alexander<\/a>&#8216;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BOOM%7CBOOM%7CBAND\">Boom Boom Band<\/a>, and so many others. Thundertrain were not punks, but they were more accepted in the punk environment than <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CBEAMS\">the Beams<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kvfoxqqjldfe\">the Dead End Kids<\/a>, probably because <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hnftxqegldhe\">Mach Bell<\/a>&#8216;s stage antics were proof that they acted like underground rockers, despite the band&#8217;s music being so slick, tight, and hard edged. The album starts off with &#8220;Hot for Teacher,&#8221; their second 45, and college radio hit. The presence of ex-<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:VELVET%7CUNDERGROUND\">Velvet Underground<\/a> pianist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:WILLIE%7CLOCO%7CALEXAND\">Willie &#8220;Loco&#8221; Alexander<\/a> gives the disc an authentic rock &amp; roll feel, and it is a great opening track. The bulk of the material is written by lead guitarist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:STEVEN%7CSILVA\">Steven Silva<\/a>, and features creative, sludgey riffs which give <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BELL\">Bell<\/a>&#8216;s &#8220;I just gargled with Draino&#8221; voice a board with which to ride the electric surf. Rhythm guitarist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:GENE%7CPROVOST\">Gene Provost<\/a> contributes three songs to this debut: &#8220;Love the Way,&#8221; the anthem-like &#8220;Hell Tonite,&#8221; which kicks off side two, and &#8220;Forever &amp; Ever.&#8221; He&#8217;s no mere rhythm guitarist; like <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:h9fixqugldke\">Keith Richards<\/a>, he can make the instrument snarl as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3jfoxqqgldke\">Steve Silva<\/a> goes off on a tangent. Produced by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:EARTHQUAKE%7CMORTON\">Earthquake Morton<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:NIGHTHAWK%7CJACKSON\">Nighthawk Jackson<\/a>, engineered by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:ajfqxqu5ldae\">George Lilly<\/a>, one gets the feeling the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:39fuxqy5ldhe\">Duke &amp; the Drivers<\/a> guys were behind this project \u2014 <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CDRIVERS\">the Drivers<\/a> being one of Boston&#8217;s major blues-rock outfits. Eight of the nine tracks were recorded at Northern Studios, while the final cut, their showstopper &#8220;I Gotta Rock,&#8221; was tracked live at the Rat nightclub in Boston \u2014 the song is one of their two tracks on the legendary <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:LIVE%7CAT%7CTHE%7CRAT\">Live at the Rat<\/a> album. <i>Teenage Suicide<\/i> can&#8217;t show you <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hnftxqegldhe\">Mach Bell<\/a>&#8216;s enormous stage presence, and that was a big part of their appeal \u2014 we can only hope videos from the time have survived. It also doesn&#8217;t have the polish a major label might have afforded them, but it does capture the energy and creative spark of a major Boston personality who would go on to work with a member of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxqw5ldae\">Aerosmith<\/a>, and his bandmates who were a formidable and powerful bunch on stage.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>MACH BELL<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hnftxqegldhe%7ET1\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hnftxqegldhe~T1<\/a><\/p>\n<table width=\"972\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td rowspan=\"2\" valign=\"top\" width=\"432\">\n<table id=\"bio\" width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Biography<\/td>\n<td align=\"right\" width=\"352\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">&#8220;Cowboy&#8221; Mach Bell was born in Yellow Springs, OH, on January 23, 1953. Inspired by heroes such as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifoxql5ldfe\">Liberace<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifqxq95ldte\">Leonard Bernstein<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:acfqxqy5ldae\">Bo Diddley<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:h9fyxqygldfe\">Keith Relf<\/a> of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifixqr5ldfe\">the Yardbirds<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3nfpxqr5ldje\">Screamin&#8217; Jay Hawkins<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jnfexqy5ldke\">Noddy Holder<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:apfrxqe5ldje\">Dick Dodd<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifqxqr5ldae\">the Standells<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifqxqe5ld6e\">Roger Daltrey<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:dzfuxqr5ldhe\">Eric Burdon<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifixqr5ldae\">T. Rex<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gvfoxq95ldte\">Howlin&#8217; Wolf<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BRIAN%7CJONES\">Brian Jones<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldse\">Jeff Beck<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hjfexqu5ldse\">Mark Lindsay<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:39fexqt5ldfe\">Jim Dandy<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:g9fixqw5ldke\">John Kay<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fyxqr5ldke\">Willie &#8220;Loco&#8221; Alexander<\/a>, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JAMES%7CBROWN\">James Brown<\/a>, his stage show reflects the eccentricities of many of those legends. His first instrument was the cello, something Bell studied for four years. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CMECHANICAL%7CONIONS\">The Mechanical Onions<\/a> was his first band in 1966 at the age of 13. AMG asked the future lead singer for <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gjfwxqygldje\">the Joe Perry Project<\/a> how he joined his first significant group, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfexql5ld6e\">Thundertrain<\/a>: &#8220;After several years playing the Middlesex County, MA, &#8216;battle of the bands&#8217; circuit as a lead guitarist, I made the switch, in 1972, to lead singer. Drummer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BOBBY%7CEDWARDS\">Bobby Edwards<\/a> and I started playing the local teen centers as Biggy Ratt. I split that group in early 1974 and hitchhiked to LA. I spent weeks hanging out in Hollywood, on the strip, in front of the Whiskey and at Rodney Bingenheimer&#8217;s English Disco. The glam scene was in full bloom and I was inspired to bring some of the sunset strip vibe back to Boston. When I got home to Holliston, MA, I found <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BOBBY\">Bobby<\/a> was playing drums with bass player <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RIC%7CPROVOST\">Ric Provost<\/a> and his brother, guitarist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:COOL%7CGENE%7CPROVOST\">&#8220;Cool&#8221; Gene Provost<\/a>. They had just disbanded their successful club band <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DOC%7CSAVAGE\">Doc Savage<\/a>. The four of us teamed up and moved into the basement of Jack&#8217;s Drum Shop on Boylston St. Sussing out an ad in the Boston Phoenix, we found our lead guitarist, a disciple of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gifuxqe5ld6e\">Rick Derringer<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:giftxqr5ldfe\">Johnny Winter<\/a> by the name of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:STEVEN%7CSILVA\">Steven Silva<\/a> (who came from) down in New Bedford. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfexql5ld6e\">Thundertrain<\/a> (1974-1979) was born!&#8221;Indeed, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfexql5ld6e\">Thundertrain<\/a>&#8216;s metallic pop was like <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:SLADE\">Slade<\/a> meets <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifoxqr5ldje\">the Rolling Stones<\/a>, Bell giving further evidence of bandmember influences which molded their sound: &#8220;&#8216;Cool Gene&#8217; was a <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:h9fixqugldke\">Keith Richards<\/a>\/<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifpxqr5ldhe\">Gram Parsons<\/a> fan while &#8216;Young Bobby&#8217; was into <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fifoxqe5ldse\">Kiss<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxqw5ldae\">Aerosmith<\/a>. American garage rock was the first love of bassist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RIC\">Ric<\/a>. On top of this thick mix I laid down my suburban <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kifrxqr5ldje\">Otis Redding<\/a> impression, dressed like a chick&#8230;literally hanging from the rafters.&#8221; In 1975, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfexql5ld6e\">Thundertrain<\/a> released one of the first singles from Boston&#8217;s pivotal underground movement, &#8220;I&#8217;m So Excited&#8221; b\/w &#8220;Cindy Is a Sleeper.&#8221; That was followed by 1976&#8217;s &#8220;Hot For Teacher,&#8221; which featured <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fyxqr5ldke\">Willie &#8220;Loco&#8221; Alexander<\/a> of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CLOST\">the Lost<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BAGATELLE\">Bagatelle<\/a>, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:giftxqr5ldde\">the Velvet Underground<\/a> on keyboards. Some say that <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:dzfqxqwgldte\">Van Halen<\/a> lifted much of the style and sound for their song of the same name which appeared on the multi-platinum <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:0pfixq95ldte\"><i>1984<\/i><\/a> album, released in that year. The single, backed with &#8220;Love the Way,&#8221; was also released on Chiswick Records in the U.K. Jem Records pressed up a sampler in the U.S.A., which included not only <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfexql5ld6e\">Thundertrain<\/a>&#8216;s &#8220;Hot For Teacher&#8221; but the first appearance of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kifoxqr5ldke\">the Sex Pistols<\/a> on a U.S. recording. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:dzfqxqwgldte\">Van Halen<\/a> had plenty of opportunities to hear what this important Boston band led by Mach Bell was up to. In 1977, Jelly Records, part of the organization which was involved with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:39fuxqy5ldhe\">Duke &amp; the Drivers<\/a>, released a full length LP, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:0cfoxql5ldhe\"><i>Teenage Suicide<\/i><\/a>. That same year the legendary <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:gcfpxqe0ldae\"><i>Live At the Rat<\/i><\/a> LP was produced, including live versions by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfexql5ld6e\">Thundertrain<\/a>of &#8220;I Gotta Rock&#8221; and &#8220;I&#8217;m So Excited.&#8221; As <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fyxqr5ldke\">Willie &#8220;Loco&#8221; Alexander<\/a> was getting signed to MCA, a legitimate &#8220;bootleg&#8221; authorized by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ALEXANDER\">Alexander<\/a> and his <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BOOM%7CBOOM%7CBAND\">Boom Boom Band<\/a> was released on Varage Records, a play on Boston labels Varulven and Garage. This limited-edition 500 copies, released incognito as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CSPERM%7CBANK%7CBABIES\">the Sperm Bank Babies<\/a>, included a live version of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifyxqw5ldse\">Chuck Berry<\/a>&#8216;s &#8220;Around &amp; Around&#8221; by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfexql5ld6e\">Thundertrain<\/a>. Mach Bell was so infuriated by the actions of the club owner that he did a long rant before the tune opens the disc. The club owner&#8217;s name is bleeped out repeatedly; it is a hilarious and legendary recording. In 1978, the group released a version of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifqxqr5ldae\">the Standells<\/a>&#8216; &#8220;Dirty Water&#8221; on radio station WCOZ&#8217;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:THE%7CBEST%7COF%7CTHE%7CBOSTO\">The Best of the Boston Beat<\/a>, a compilation of songs and bands played on DJ <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:LESLIE%7CPALMITER\">Leslie Palmiter<\/a>&#8216;s Sunday night program on 94.5 FM.In 1979, lead guitarist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:STEVEN%7CSILVA\">Steven Silva<\/a> left <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfexql5ld6e\">Thundertrain<\/a> to pursue an acting career on the West Coast. The band continued to perform and record with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BOOM%7CBOOM%7CBAND\">Boom Boom Band<\/a> guitarist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:a9fwxq8hldke\">Billy Loosigian<\/a> as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:SILVA\">Silva<\/a>&#8216;s replacement, a group they called <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CHITS\">the Hits<\/a>. After scoring heavy airplay with a tape of &#8220;Storm Brewing,&#8221; <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:COOL%7CGENE%7CPROVOST\">&#8220;Cool&#8221; Gene Provost<\/a> left the band. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RIC%7CPROVOST\">Ric Provost<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BOBBY%7CEDWARDS\">Bobby Edwards<\/a> continued with Mach Bell on guitar as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CMAG%7CIV\">the Mag IV<\/a>. This band released a single on Pure And Easy, &#8220;Mag IV Go Monte Carlo&#8221; b\/w &#8220;Man With No Name.&#8221;Pure and Easy Records then sent the group to Longview Studio (where <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifoxqr5ldje\">the Rolling Stones<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fzfyxq8gld0e\">Stevie Wonder<\/a>, and other notables practiced and recorded), crafting the second <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MAG%7CIV\">Mag IV<\/a> disc when Bell got a call. &#8220;<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfexql5ld6e\">Thundertrain<\/a>&#8216;s original producer, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:EARTHQUAKE%7CMORTON\">Earthquake Morton<\/a> of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:39fuxqy5ldhe\">Duke &amp; the Drivers<\/a> was on the line calling from manager <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:TIM%7CCOLLINS\">Tim Collins<\/a>&#8216; office. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:TIM\">Tim<\/a> had just signed <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxqw5ldae\">Aerosmith<\/a> guitarist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifexqr5ldhe\">Joe Perry<\/a> and he needed a new lead singer. I auditioned in February 1982 and days later I became the vocalist with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gjfwxqygldje\">the Joe Perry Project<\/a>.&#8221;Coming off of my rough and tumble experiences with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfexql5ld6e\">Thundertrain<\/a>, this was finally my opportunity to perform nationally, on a huge scale, rocking arenas and festivals as well as theaters and concert clubs. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gjfwxqygldje\">The Joe Perry Project<\/a> was first and foremost a touring rock &amp; roll band. Living like pirates, we criss-crossed Canada, South America, and the States. Our mission was to inject some guitar fueled rock &amp; roll energy into the synth\/new wave dominated early-&#8217;80s scene. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:TIM%7CCOLLINS\">Tim Collins<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifexqr5ldhe\">Joe Perry<\/a> were finally able to ink a deal with MCA, who released the third and final <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gjfwxqygldje\">Joe Perry Project<\/a> album, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:gxfwxqt5ldae\"><i>Once a Rocker, Always a Rocker<\/i><\/a> in September 1983. I contributed the lyrics to seven of the ten songs on the LP, (including) &#8220;Once a Rocker,&#8221; &#8220;Four Guns West,&#8221; &#8220;Crossfire,&#8221; &#8220;King of the Kings&#8221; &#8220;Adrianna,&#8221; &#8220;Walk With Me Sally,&#8221; and &#8220;Never Wanna Stop.&#8221; <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifexqr5ldhe\">Joe Perry<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:djfpxqe5ld6e\">Harry King<\/a> produced.&#8221;In 1989, the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:0cfoxql5ldhe\"><i>Teenage Suicide<\/i><\/a> LP by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfexql5ld6e\">Thundertrain<\/a> was reissued on Habla Records in Italy. In 1991, the radio hit &#8220;Counter Attack&#8221; was finally issued on CD on Varulven&#8217;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:wxfyxq80ldse\"><i>Boston Rock &amp; Roll Anthology, Vol. #15<\/i><\/a>. 1993 saw the release of the MCA <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gjfwxqygldje\">Joe Perry Project<\/a> album <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:gxfwxqt5ldae\"><i>Once a Rocker, Always a Rocker<\/i><\/a> on compact disc and, in 1999, Raven Records of Australia released <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:0zfrxqlkldke\"><i>The Best of the Joe Perry Project: The Music Still Does the Talking<\/i><\/a> featuring tracks from all three of the band&#8217;s incarnations. But what was life for Mach Bell after fronting the band of one of his heroes?&#8221;<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifexqr5ldhe\">Joe Perry<\/a> returned to <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxqw5ldae\">Aerosmith<\/a> in mid-1984, leaving me reeling. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gjfwxqygldje\">Joe Perry Project<\/a> bassman <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hnfixqe5ldje\">Danny Hargrove<\/a> and I teamed up with drummer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:abfixqu5ldfe\">Hirsh Gardner<\/a> (from the group <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:NEW%7CENGLAND\">New England<\/a> ) as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CWILD%7CBUNCH\">the Wild Bunch<\/a>. We spent two years opening for national acts and headlining clubs and then I split back out to Hollywood. I spent a few years out there doing some producing and searching for the next big thing. In 1989, I married <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JULIA%7CCHANNING\">Julia Channing<\/a> (manager of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">the Cars<\/a>&#8216; recording studio, Syncrosound ) in London. We moved to the Massachusetts&#8217; South Shore, and I&#8217;d gone on to other pursuits when former <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BUCKINGHAM\">Buckingham<\/a> guitarist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DAVE%7CZOLLA\">Dave Zolla<\/a> suddenly appeared in 1996. Together we put together <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wpfixqr0ldje\">Last Man Standing<\/a> , a metallic quartet that grafts progressive chord structures and riffs to my raw-and-rowdy vocalizing. At the close of 2001, we released (the album) <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:fnfpxql0ldae\"><i>Last Man Standing<\/i><\/a>, an 11-song album produced by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ZOLLA\">Zolla<\/a>. I wrote all the lyrics and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DAVE\">Dave<\/a> wrote the music. Former <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:L-88\">L-88<\/a> member <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:AARTIE%7CKNYFF\">Aartie Knyff<\/a> handles bass and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JON%7CGUTLON\">Jon Gutlon<\/a> is on drums. My hope is that we can get out touring and keep the albums coming. I dig wild showmanship, over-the-top players, and a soulful rocking feel. It&#8217;s up to guys like us to keep this kind of energetic music alive.&#8221;In 2002, Gulcher Records of Bloomington, IN, re-released <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfexql5ld6e\">Thundertrain<\/a>&#8216;s remastered <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:0cfoxql5ldhe\"><i>Teenage Suicide<\/i><\/a> LP, originally recorded in 1976. Pure &amp; Easy Records founder <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHN%7CVISNASKAS\">John Visnaskas<\/a> restored the work from the original tapes. Several bonus cuts are featured on the album. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfexql5ld6e\">Thundertrain<\/a> was Mach&#8217;s launch pad, and he calls it &#8220;a great rocket ride. 1977 was probably our craziest year; we got tons of airplay, press, and found ourselves gigging with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:difwxqr5ldke\">the Runaways<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifixqe5ld6e\">the Dictators<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gifexqr5ldse\">Thin Lizzy<\/a>, and of course all the great Rat bands: <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:WILLIE%7CALEXANDER\">Willie Alexander<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DMZ\">DMZ<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">the Cars<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:REDDY%7CTEDDY\">Reddy Teddy<\/a>, and so many more. Our credo was &#8216;<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfexql5ld6e\">Thundertrain<\/a>: unchained and shameless,&#8217; and from our band house to every stage we tore up we always lived the life of a true outlaw rock band.&#8221; 16 Magazine called the 18-year old singer &#8220;sexy and sensational.&#8221; <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfexql5ld6e\">Thundertrain<\/a> got mentioned in Time Magazine&#8217;s cover story on punk rock, and there has been a renewed interest in Bell&#8217;s rock &amp; roll career. All of his <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfexql5ld6e\">Thundertrain<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gjfwxqygldje\">Joe Perry Project<\/a> recordings continue to be re-released internationally. Dozens of bootlegs, concert videos, and Internet fan sites have sprung up. &#8220;Black Velvet Pants,&#8221; the MTV video featuring Mach with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gjfwxqygldje\">the Joe Perry Project<\/a> has been replayed on VH1 and MTV. Let&#8217;s hope the unreleased songs from the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:gxfwxqt5ldae\"><i>Once a Rocker, Always a Rocker<\/i><\/a> album get their day in the sun, as well as a live album or two from that legendary unit. Mach Bell is a powerful stage performer with energy and vision, his past and his future are important pages in the history book of rock music.<br \/>\nLAST MAN STANDING<\/p>\n<p><a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;token=&amp;sql=10:fnfpxql0ldae\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;token=&amp;sql=10:fnfpxql0ldae<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">If you think <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:SLY%7CSTONE\">Sly Stone<\/a> took a long time to record an album in his heyday consider this, Bostonians <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MACH%7CBELL\">Mach Bell<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DAVE%7CZOLLA\">Dave Zolla<\/a> began writing the songs that make up the self-titled <i>Last Man Standing<\/i> 11 song CD in the spring of 1996 and completed the recordings on August 29, 2001. The result is the most polished and exciting disc featuring the former lead singer of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THUNDERTRAIN\">Thundertrain<\/a> and MCA recording artist that was the third and final version of the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JOE%7CPERRY%7CPROJECT\">Joe Perry Project<\/a> before <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:AEROSMITH\">Aerosmith<\/a> took Perry back into the fold. This record is an absolute assault, and for fans of hard rock and heavy metal, the boys just rip it apart. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ARTIE%7CKNYFF\">Artie Knyff<\/a> from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:L-88\">L-88<\/a> is on bass, his band reaching #1 on the reginal charts in the early 80&#8217;s, opening for <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BLUE%7COYSTER%7CCULT\">Blue Oyster Cult<\/a> when that band was hot stuff, and garnering interest from Arista, while co-songwriter and producer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DAVE%7CZOLLA\">Dave Zolla<\/a> was one of the mainstays of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BUCKINGHAM\">Buckingham<\/a>, a progressive unit that had an immense regional following. These veterans of New England&#8217;s hard rock scene come back with a vengeance as this album has everything all their previous outfits did not. To put it plainly, had this <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ZOLLA\">Zolla<\/a>\/<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BELL\">Bell<\/a> cd come out as the third <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JOE%7CPERRY%7CPROJECT\">Joe Perry Project<\/a> album, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:ONCE%7CA%7CROCKER,%7CALWAYS\">Once A Rocker, Always A Rocker<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:AEROSMITH\">Aerosmith<\/a> might&#8217;ve not come back when they did. It is that good. In the second to last track, &#8220;Miles And Miles,&#8221; <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BELL\">Bell<\/a> yells out &#8220;&#8230;meanwhile, I was still thinking&#8230;&#8221; The <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:CHUCK%7CBERRY\">Chuck Berry<\/a> line that <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MARC%7CBOLAN\">Marc Bolan<\/a> re-immortalized in &#8220;Bang A Gong.&#8221; &#8220;Bang A Gong (Get It On)&#8221; was cut by the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:PERRY%7CPROJECT\">Perry Project<\/a>, as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:AEROSMITH\">Aerosmith<\/a> re-made a killer version of &#8220;Helter Skelter.&#8221; The &#8220;when I get to the bottom I go back to the top&#8221; line follows <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:T.REX\">T.Rex<\/a> here, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MACH%7CBELL\">Mach Bell<\/a> giving an ode to his past and to his favorite band which took his most famous lead guitarist away. This elaborate package was crafted with care and excellence, from the superb cover art and lyric booklet, to the thunderous sound of the band. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MACH%7CBELL\">Mach Bell<\/a> has never sounded this good, and the guitar playing sounds like it is straight out of the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RANDY%7CRHOADS\">Randy Rhoads<\/a> school of non-stop crunch. &#8220;New Day Blues&#8221; opens up with a flurry of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JIMI%7CHENDRIX\">Jimi Hendrix<\/a> riffs starting with &#8220;Stone Free&#8221; while &#8220;Dr. Doctor&#8221; gives a nod to <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BELL%5C%27S\">Bell&#8217;s<\/a> original band <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THUNDERTRAIN%5C%27S\">Thundertrain&#8217;s<\/a> New England hit &#8220;Hot For Teacher.&#8221; Many of T Train&#8217;s rabid fans felt <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:VAN%7CHALEN\">Van Halen<\/a> lifted too much from that local hit, but this new edition plays more like <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:WEST,%7CBRUCE%7C&amp;%7CLAING\">West, Bruce &amp; Laing<\/a>. The nearest thing to a ballad is the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ALICE%7CCOOPER\">Alice Cooper<\/a>-ish &#8220;Still Dreaming (What Could Be)&#8221; on an album chock full of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MACH%7CBELL%5C%27S\">Mach Bell&#8217;s<\/a> trademark tongue-in-cheek humor and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DAVE%7CZOLLA%5C%27S\">Dave Zolla&#8217;s<\/a> real debut as a guitarist to be reckoned with. Few are playing traditional hard rock like this veteran singer and it will be interesting to see if <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BELL%5C%27S\">Bell&#8217;s<\/a> friends in <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:AEROSMITH\">Aerosmith<\/a> are influenced by this powerful stuff &#8211; you know they found copies in their mailbox. Superb hard rock played to the hilt.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>Mach Bell and Charlie Farren were two lead singers for<br \/>\nTHE JOE PERRY PROJECT<br \/>\nJOE PERRY PROJECT<br \/>\nTHE MUSIC STILL DOES THE TALKING<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0zfrxqlkldke\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:0zfrxqlkldke<\/a><\/p>\n<p>&nbsp;<\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">Australia&#8217;s Raven Records has released another important retrospective \u2014 a focus on guitarist Joe Perry&#8217;s three solo albums and the three frontmen who put their voices on those discs. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RALPH%7CMORMON\">Ralph Mormon<\/a> performed on <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:h9fixqr5ld6e\"><i>Let the Music Do the Talking<\/i><\/a> prior to his stint in <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3vfexq95ldhe\">Savoy Brown<\/a>, and that may have been the better band for his bluesy voice. The excellent liner notes by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:IAN%7CMCFARLANE\">Ian McFarlane<\/a> give a very clear history of &#8220;The Project&#8221; and their accuracy is amazing. Given <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxqw5ldae\">Aerosmith<\/a>&#8216;s success, it is odd that Sony hasn&#8217;t released a similar compilation \u2014 or that this one isn&#8217;t being imported in droves, since Perry is a legend, and his work while estranged from the hard rock phenomenon that is <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxqw5ldae\">Aerosmith<\/a> deserves attention, no matter how dark the period was for the guitarist personally. The album is a very good overview while purists and fans would, of course, prefer two CDs and all the tracks. &#8220;Listen to the Rock&#8221; from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:I%5C%27VE%7CGOT%7CTHE%7CROCK%7C&amp;%7CR\">I&#8217;ve Got the Rock &amp; Rolls Again<\/a> is missing, and that was one of their key tunes; also, there were numerous outtakes or demo tapes from the period of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:gxfwxqt5ldae\"><i>Once a Rocker, Always a Rocker<\/i><\/a> \u2014 lead singer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hnftxqegldhe\">Mach Bell<\/a> played one for this writer called &#8220;When Worlds Collide&#8221; and it is incredible \u2014 those aforementioned tracks and other goodies would have really rounded this out. But these are minor quibbles. Hearing each phase of the Joe Perry Project from start to finish is textbook rock &amp; roll and highly enjoyable. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfwxqr5ldje\">Charlie Farren<\/a> eventually landed his own deal on Warner Bros. with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:FARRENHEIT\">Farrenheit<\/a>, but imagine if Perry had stayed along for that ride? The music in the middle of this disc \u2014 &#8220;East Coast, West Coast,&#8221; &#8220;Buzz Buzz,&#8221; and &#8220;I&#8217;ve Got the Rock &amp; Rolls Again&#8221; \u2014 were indicators of a developing sound, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:FARREN\">Farren<\/a> was the perfect partner for Perry to develop a sound to rival, not revisit, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxqw5ldae\">Aerosmith<\/a>. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THUNDERTRAIN\">Thundertrain<\/a> lead singer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hnftxqegldhe\">Mach Bell<\/a>, on the other hand, is truly the guy to add chaos to this touring unit. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BELL\">Bell<\/a> is one of the most charismatic frontmen from the New England music scene, and his <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THUNDERTRAIN\">Thundertrain<\/a> band mixed <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ROLLING%7CSTONES\">Rolling Stones<\/a> with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:SLADE\">Slade<\/a>, so Perry traded a vocalist\/songwriter for a total madman. The video of track 16, &#8220;Black Velvet Pants,&#8221; is a story in itself, and it shows <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BELL\">Bell<\/a> in all his rock &amp; roll glory, while the inclusion of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifixqr5ldae\">T. Rex<\/a>&#8216;s &#8220;Bang a Gong&#8221; is the one cover, and perfect for <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MACH\">Mach<\/a> with his British rock leanings. The three phases of the Joe Perry Project \u2014 blues singer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MORMON\">Mormon<\/a>, songwriter\/vocalist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:FARREN\">Farren<\/a>, and stage performer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BELL\">Bell<\/a> \u2014 is a vitally important chapter in American rock &amp; roll, which Raven and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MCFARLANE\">McFarlane<\/a> have lovingly packaged and preserved. If any reissue has a chance of finding a new audience, this is it.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>FARRENHEIT First album<\/p>\n<p><a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:hcfyxqe5ldae\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:hcfyxqe5ldae<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\"><a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfwxqr5ldje\">Charlie Farren<\/a> was lead singer of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gjfwxqygldje\">the Joe Perry Project<\/a> six years prior to the release of this <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:w9fqxqlgldje\">Keith Olsen<\/a>-produced record. It is arena rock, make no doubt about that, but it is great arena rock. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfwxqr5ldje\">Farren<\/a> is a tremendous singer, frontman, and songwriter. He&#8217;s appeared on <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BAD%7CCOMPANY\">Bad Company<\/a>&#8216;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:fifrxql5ldhe\"><i>Fame &amp; Fortune<\/i><\/a> disc as well as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:fxfixq95ld0e\"><i>The Heat<\/i><\/a> by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:a9fuxqw5ldhe\">Nona Hendrix<\/a>, but the industry has failed to give him his due. &#8220;Lost in Loveland,&#8221; &#8220;Fool in Love,&#8221; and &#8220;Shine&#8221; on this Warner Bros. debut are outstanding titles. This is not your annoying, whiny <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:difexqr5ldhe\">Steve Perry<\/a>\/<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3pfqxql5ld6e\">Mickey Thomas<\/a> eunuch rock, all due respect to those gentlemen. But where their voices tend to grate upon repeated listening, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfwxqr5ldje\">Farren<\/a> is smooth as silk. He&#8217;s got the grit along with the range, a very nice balance. &#8220;Bad Habit&#8221; might not be his most legendary tune, but it still rocks better than most. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:dbfrxqq5ldte\">Deric Dyer<\/a>&#8216;s saxophone adds an element to &#8220;Impossible World,&#8221; which lifts it beyond the genre Farrenheit knows so well into a jazz\/rock territory <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jifwxqr5ldae\">Steely Dan<\/a> keeps a tight grip on. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:dbfrxqq5ldte\">Dyer<\/a> would perform with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifqxqr5ldde\">Tina Turner<\/a> on her <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:kbfexq8jldse\"><i>Live in Europe<\/i><\/a> album in 1988, just a year later. This is grade-A stuff. &#8220;Goofy Boy&#8221; has to-the-point lyrics by Farrem about the underdog in a dating situation. His way with words shouldn&#8217;t be overshadowed by the musicianship and his vocal prowess. The Australian company, Raven Records, re-released six of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfwxqr5ldje\">Farren<\/a>&#8216;s tracks with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gjfwxqygldje\">the Joe Perry Project<\/a> from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:fxfwxqt5ldae\"><i>I&#8217;ve Got the Rock &#8216;N&#8217; Rolls Again<\/i><\/a> on a compilation, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:THE%7CMUSIC%7CSTILL%7CDOES%7C\">The Music STILL Does the Talking<\/a> in 1999. A good argument for keeping songs like &#8220;New Days,&#8221; &#8220;Wildness,&#8221; and especially &#8220;Staying Together&#8221; from this album in circulation.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>FARRENHEIT RAISE THE ROOF<\/p>\n<p><a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dxfrxqq0ldae\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dxfrxqq0ldae<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">The title track says it all: &#8220;Raise the Roof&#8221; is a rock &amp; roll anthem and the follow-up to the Warner Brothers debut <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:hcfyxqe5ldae\"><i>Farrenheit<\/i><\/a> by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfwxqr5ldje\">Charlie Farren<\/a>&#8216;s trio. The 1987 Warner&#8217;s release was produced by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:w9fqxqlgldje\">Keith Olsen<\/a>, and this is most likely the material the band was preparing but never got to release. In 1999, vocalist\/guitarist Farren published three albums at once on his own label: the brilliant <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:DEJA%7CBLUE\">Deja Blue<\/a>, a third Farrenheit disc with pretty much a new band minus the services of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DAVID%7CHULL\">David Hull<\/a>, and this collection. Along with the ten songs here the other discs contain another 22 titles. Thirty-two songs in one year is a bit overwhelming from any artist unless it is a boxed set, but it is better to have than to have not. As good as the intense riff of &#8220;Sister of Mercy&#8221; is, without massive exposure on radio or TV, it and its fellow album tracks &#8220;Shaking the Chains,&#8221; &#8220;Walking Out Loud,&#8221; &#8220;Tougher Than Nails,&#8221; and others get lost in the overabundance. This material really needed to come out at the end of the &#8217;80s to fill the void that was left when the excitement of the Warners deal waned. Here is a great example of how timing can effect substantial music. No doubt the artists involved are thrilled to have this work available on the Internet and on the fixed medium that CDs are, but for a group that should have at least equaled the notoriety of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifpxqr5ldae\">Billy Squier<\/a>, Farrenheit is relegated to the status of a great metal band with a cult following. Farren&#8217;s smooth voice is like nothing on radio \u2014 his liquid phrasings have more grit than <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifexqe5ldte\">Eddie Money<\/a>, and don&#8217;t annoy like <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3pfqxql5ld6e\">Mickey Thomas<\/a> or <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gifrxqe5ldse\">Journey<\/a>&#8216;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:STEVE%7CPERRY\">Steve Perry<\/a>. &#8220;Tougher Than Nails&#8221; is a great hard love song about strength in a relationship. It is an outstanding, well-produced tune, as is the opening track, &#8220;Last of the Long Time Lovers,&#8221; and the very catchy &#8220;Push.&#8221; &#8220;Dirty Old Town&#8221; is confident and catchy, and is the only song that has a third collaborator, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BOB%7CENIK\">Bob Enik<\/a>; the rest of the album is written by bassist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DAVID%7CHULL\">David Hull<\/a> and Farren. Farren gets high marks for the production work here as well. In addition, add the six more titles from Farren and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:HULL\">Hull<\/a> (re-released in 1999 on the Australian label Raven), as well as material from their 1981 release with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CJOE%7CPERRY%7CPROJECT\">the Joe Perry Project<\/a> (which was originally on CBS), and you have a clear picture of the development of a major figure of underground hard rock. Hundreds of years from now retro radio stations might be playing the subtle but powerful &#8220;Blind Man&#8217;s Bluff&#8221; or the raving closer &#8220;Animal Dance&#8221; as undiscovered classics, who knows how this will all play out in the future? For now it is important that fans are able to hear the work that this band takes so seriously. Farren would do well to add liner notes to these otherwise well-packaged discs. For high-octane music that is consistent and well-crafted, <i>Raise the Roof<\/i> deserves a nod of approval, even if it isn&#8217;t as memorable as Farren&#8217;s other efforts.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>GREASETOWN FARRENHEIT III<\/p>\n<p><a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kzfpxqq0ldde\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kzfpxqq0ldde<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">The third installment of the Farrenheit trilogy is as consistent as anything the former lead singer for <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gjfwxqygldje\">the Joe Perry Project<\/a> has released. <i>Greasetown<\/i> and its predecessor, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:jnfrxqqjldke\"><i>Raise the Roof<\/i><\/a>, are <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfwxqr5ldje\">Charlie Farren<\/a>&#8216;s musical statements, post the Warner Brothers debut produced by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:w9fqxqlgldje\">Keith Olsen<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:hcfyxqe5ldae\"><i>Farrenheit<\/i><\/a>. &#8220;Signal in the Noise,&#8221; track eight, epitomizes what Farren is all about; a voice superior to <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifexqe5ldte\">Eddie Money<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3pfqxql5ld6e\">Mickey Thomas<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:difexqr5ldhe\">Steve Perry<\/a>, and so many other major stars, the industry still hasn&#8217;t found a way to get this sound to the masses. Where the aforementioned vocalists all push the tolerance threshold, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfwxqr5ldje\">Charlie Farren<\/a>&#8216;s singing style seems to have invented its own mixture of arena rock meets pop. &#8220;Seaside Love&#8221; has the commanding guitar placed close to Farren&#8217;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kifexqe5ldhe\">Drifters<\/a>-meet-<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifwxqw5ldse\">Marty Balin<\/a> melody \u2014 a very hip beach tune, with enough ethereal backing vocals and lead notes to keep it fresh. &#8220;Ride &#8216;M Cowboy&#8221; is a hard rock version of what <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifrxqw5ldde\">Boston<\/a>&#8216;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfpxqr5ldae\">the Jonzun Crew<\/a> would do with their funk. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfwxqr5ldje\">Charlie Farren<\/a> was replaced in <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gjfwxqygldje\">the Joe Perry Project<\/a> by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:dxfpxqygldte\">Cowboy Mach Bell<\/a> of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfexql5ld6e\">Thundertrain<\/a>, musicians all working the same circuit for the same amount of years, and this seems like a neat nod to Farren&#8217;s successor. &#8220;Stop Talking in Your Sleep&#8221; is classic <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfwxqr5ldje\">Charlie Farren<\/a>. This guy is the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifuxqe5ldse\">Ben E. King<\/a> of the hard rock set, and that is a high compliment indeed. The music inside <i>Greasetown<\/i> is dramatic, from the heart, and constructed in such a way that passages other artists would make clich\u00e9 sound magical and new. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfwxqr5ldje\">Charlie Farren<\/a>&#8216;s lighter follow-up, the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:axfpxq90ldhe\"><i>Deja Blue<\/i><\/a> album, is a departure from the forces at play here; <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:dzfoxqehldje\">Philip Bynoe<\/a> on bass, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:dpfyxqljld6e\">Igor Khoroshev<\/a> on piano, organ, and keys \u2014 they make &#8220;Love Street&#8221; a song that can only be called adult contemporary metal. Farren&#8217;s F-Man Music released these albums pretty much simultaneously. That&#8217;s usually a good way to lose focus on any one particular piece of music. It also indicates a need by the artist to put his art out to the world without marketing concerns. The previous comparison to <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfpxqr5ldae\">the Jonzun Crew<\/a>, though their music is so different, stands. High quality, expertly played, beautifully recorded rock &amp; roll. The music made after the Warner Brothers release is sonically better and free from the restrictions of a major music corporation. &#8220;B-Line&#8221; is a thumper that some A&amp;R man might pass on, but it&#8217;s the kind of thing Farren&#8217;s fans appreciate. The Farrenheit sound is one that stays in the mid-range, hits you in the gut. With some of the bottom of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gifoxqw5ldse\">Black Sabbath<\/a> and the top of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifrxqw5ldde\">Boston<\/a> \u2014 the band \u2014 Farren&#8217;s mantra of &#8220;Who&#8217;s Going to Carry You Home&#8221; dances with the right balance of melody and punch. Just a really fine recording that lifts the spirit.<br \/>\nCHARLIE FARREN<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfwxqr5ldje%7ET1\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfwxqr5ldje~T1<\/a><\/p>\n<table id=\"bio\" width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Biography<\/td>\n<td align=\"right\" width=\"352\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">Charlie Farren was born in Whidden Hospital in Everett, MA, on August 27, 1953, to an Irish family. His father was a native of Belfast and came to the U.S. as a child of nine in 1927 via Ellis Island in New York City. Farren told the All Media Guide: &#8220;Everyone in my family would sing in full voice without hesitation. I later was surprised to learn that people were generally shy to sing out. My dad had a Sears Silvertone guitar that I still share with my three sisters&#8230;he was the first one to inspire me to play. (We) grew up in Malden, MA, my older sister has a band that played a mix of Gaelic and Jewish music, and they played professionally, which I thought was extremely cool. I was also very moved by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifrxqw5ldse\">the Beatles<\/a> and remain so moved today. I dabbled with guitar in eighth through 12th grade before becoming a lead singer, giving up the guitar as a performing instrument.&#8221;Farren&#8217;s first band had three different names, the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ANCIENT%7CMARINERS\">Ancient Mariners<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:WHITE%7CKNIGHTS\">White Knights<\/a>, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:INTERNATIONALS\">Internationals<\/a>, they only did one or two gigs, so the names were a reflection of whatever the members thought was cool at the time. By 1970, when Farren was in the 11th grade, his group was called <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BLUE%7CWILLOW\">Blue Willow<\/a> and they performed a mix of originals and cover tunes that, according to the singer &#8220;were so obscure that it never helped us get a lot of gigs.&#8221; His first professional band was <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:LIVE%7CLOBSTER\">Live Lobster<\/a>, one of the pioneering groups on the Boston scene in 1973 when <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfpxqqgld6e\">the Modern Lovers<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:39fuxqy5ldhe\">Duke &amp; the Drivers<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kvfoxqqjldfe\">the Dead End Kids<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:d9ftxqqgld6e\">Andy Paley<\/a>&#8216;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:SIDEWINDERS\">Sidewinders<\/a>, and other bands were starting to make noise, which would blossom into something huge. A band gaining national status during this <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:LIVE%7CLOBSTER\">Live Lobster<\/a> phase that would have great impact on Farren&#8217;s career and was Columbia recording artist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxqw5ldae\">Aerosmith<\/a>. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:LIVE%7CLOBSTER\">Live Lobster<\/a> existed from 1973-1975, while the next chapter, a band called <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfuxqq5ldke\">Balloon<\/a>, was Farren&#8217;s first with all original material. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfuxqq5ldke\">Balloon<\/a> got airplay with songs like &#8220;East Coast, West Coast&#8221; and &#8220;Listen to the Rock,&#8221; &#8220;the latter song got me noticed and ultimately hired by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifexqr5ldhe\">Joe Perry<\/a>, who was managed by (local promoter) <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kjfoxqt5ldfe\">Don Law<\/a>,&#8221; the singer told AMG. As the new singer for the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gjfwxqygldje\">Joe Perry Project<\/a>, Farren would be the voice on the second album, a 1981 effort produced by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gcfoxqu5ldje\">Bruce Botnick<\/a> of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifqxqe5ldhe\">the Doors<\/a> fame, featuring both <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfuxqq5ldke\">Balloon<\/a> regional hits and four compositions co-written by Farren and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifexqr5ldhe\">Perry<\/a>. After his stint in the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gjfwxqygldje\">Joe Perry Project<\/a>, Farren formed a new band, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CENEMY\">the Enemy<\/a>. They released a single in the Boston area, as well as a track on a Boston radio station compilation and though the band was one of the most popular in the region, with Farren&#8217;s acoustic music being courted by Atlantic&#8217;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fbftxqe5ldke\">Ahmet Ertegun<\/a> himself, it was the hard rock sound of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:apfwxqq5ldje\">Farrenheit<\/a>, a trio he formed with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gjfwxqygldje\">Perry Project<\/a> bassist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DAVID%7CHULL\">David Hull<\/a>, who changed his name to <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fnfpxqr5ldde\">David Heit<\/a>, creating Farren\/<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fnfpxqr5ldde\">Heit<\/a>, which led to a national release. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:w9fqxqlgldje\">Keith Olsen<\/a> produced one album on Warner Bros. that resulted in MTV rotation for the singles, as well as a tour opening for the group <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifrxqw5ldde\">Boston<\/a> playing on 75 sold-out shows from coast to coast. Highlights of the tour included a record nine consecutive sold-out shows at the Worcester Centrum, four consecutive sell outs at both the Brendan Byrne Arena and the L.A. Forum, and a slot at the Cotton Bowl before 85,000 folks at the Texas Jam. The group has also enjoyed years of sold-out regional performances throughout New England.Farren also performed with his sister, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ROBIN%7CFARREN\">Robin Farren<\/a>, in the band simply titled Farren, a moniker that got confused with the one-name female vocalist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifyxqw5ldhe\">Ferron<\/a>, thus, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:apfwxqq5ldje\">Farrenheit<\/a> fans called the band <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CCHARLIE%7CFARREN%7CGR\">the Charlie Farren Group<\/a>. The frontman told AMG that included <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifexqugldae\">Muzz<\/a> on drums, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:dzfoxqehldje\">Philip Bynoe<\/a> on bass (who later went on to play with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kifexqr5ldde\">Steve Vai<\/a>, and later still with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gbftxqe5ldae\">Kevin Eubanks<\/a>&#8216; band), and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:dpfyxqljld6e\">Igor Khoroshev<\/a>, who later played keyboards with the original lineup of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:difoxqr5ldfe\">Yes<\/a> for several years after replacing <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:difexqq5ldfe\">Rick Wakeman<\/a>. &#8220;That band is featured on my <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:kzfpxqq0ldde\"><i>Greasetown<\/i><\/a> CD. I mention these guys as a comment on the quality of great players that I&#8217;ve always been fortunate enough to attract with my songs.&#8221;&#8221;The most musically important part of my career has been since (the 1999) album <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:kxfyxqy0ldje\"><i>Deja Blue&#8230;the Color of Love<\/i><\/a>; music from this CD has been included in network TV shows and has sold in modest but profitable numbers around the world.&#8221;Charlie Farren has appeared on <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:a9fuxqw5ldhe\">Nona Hendryx<\/a>&#8216;s 1985 RCA album <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:fxfixq95ld0e\"><i>The Heat<\/i><\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:apfwxqq5ldje\">Farrenheit<\/a> producer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:w9fqxqlgldje\">Keith Olsen<\/a>&#8216;s production of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifpxqw5ldse\">Bad Company<\/a>&#8216;s 1986 LP <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:fifrxql5ldhe\"><i>Fame and Fortune<\/i><\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:difyxqr5ldfe\">Peter Wolf<\/a>&#8216;s 1996 CD <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:0zfoxqrhldke\"><i>Long Line<\/i><\/a>, as well as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3vftxqrjldde\">Joey McIntyre<\/a>&#8216;s 1999 release <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:3jfwxqujldse\"><i>Stay the Same<\/i><\/a>. As guest vocalist with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CBLACK\">the Black<\/a>, a band featuring <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ADRIAN%7CMEDEIROS\">Adrian Medeiros<\/a> of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:dpfwxq95ldte\">Tangerine Zoo<\/a>, Farren sang on the tune &#8220;We&#8217;re Still Standing.&#8221; <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:apfwxqq5ldje\">Farrenheit<\/a> composed and produced a song called &#8220;The Living Daylights&#8221; for the James Bond film of the same name, but lost out to the band <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:A-HA\">a-ha<\/a>. A comparison of Farren&#8217;s song, released on <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:0xfyxq80ldse\"><i>The Best of Boston Music Showcase, Vol. 1<\/i><\/a>, and the one by the European group proves it was actually the filmgoers who lost out. Farren&#8217;s release is legend in James Bond fan circles. Farren works at a technology company, has a wife and three children living north of Boston, and continues to live the rock &amp; roll dream. He releases music important to him on his own F-Man Music imprint. Farren also performs solo and has opened for <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifoxqe5ldse\">the Kinks<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aiftxqegldhe\">Roger McGuinn<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0jfpxqu5ldje\">Huey Lewis<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifqxqe5ldse\">Jethro Tull<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gifwxqe5ld0e\">Sammy Hagar<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifexqe5ldte\">Eddie Money<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wxfoxq9gldfe\">Warren Zevon<\/a>, and many, many others.<br \/>\nCHARLIE FARREN DEJA BLUE<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kxfexqy0ldke\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kxfexqy0ldke<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">Charlie Farren writes, arranges, and produces a sound totally different from the onslaught of his previous groups, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CENEMY\">the Enemy<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BALLOON\">Balloon<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CJOE%7CPERRY%7CPROJECT\">the Joe Perry Project<\/a>, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:FARRENHEIT\">Farrenheit<\/a>. Few hard rockers would take the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DAVID%7CCROSBY\">David Crosby<\/a> route, and though some of the lyrics come from the heavy metal\/hard rock spectrum, there is no denying Farren can find pretty melodies and tunes that, in the past, would be surrounded by volume and high energy. Some of the compositions are downright dazzling in their creation of mood \u2014 &#8220;Impossible World&#8221; or the smoky &#8217;30s cabaret &#8220;Resurrected&#8221; for just two. Farren&#8217;s voice takes a different turn here as well, subtly replacing the power that had to reach out over <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxqw5ldae\">Aerosmith<\/a> guitarist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifexqr5ldhe\">Joe Perry<\/a>&#8216;s riffs. This is very much an artist&#8217;s recording, and where producer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:w9fqxqlgldje\">Keith Olsen<\/a> didn&#8217;t really understand <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:FARRENHEIT\">Farrenheit<\/a>, it still would have been nice if Farren had a sounding board to work with on this, someone who could have honed the material so that these diamonds, of which there are many, could get the polish \u2014 and promotion \u2014 they deserved. &#8220;Nobody&#8217;s Somebody&#8221; was recorded at the Hard Rock Cafe in Boston. Co-written by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fyxqy5ldte\">Barry Goudreau<\/a>, former guitarist of the groups <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifrxqw5ldde\">Boston<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RTZ\">RTZ<\/a>, it displays what a great acoustic guitarist Farren is, the live tape a unique diversion among 11 other studio tracks. It&#8217;s interesting to hear the man who spent a lifetime with the volume on ten getting mellow on a song like &#8220;Heart Thunder,&#8221; material more suited for <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jvfixq85ldke\">Jackie DeShannon<\/a>; conversely, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DESHANNON\">DeShannon<\/a> begins her <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:YOU%7CKNOW%7CME\">You Know Me<\/a> album, released around the same time as <i>Deja Blue<\/i>, with a rocking opening title, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:STEAL%7CTHE%7CTHUNDER\">Steal the Thunder<\/a>. That these prolific voices would trade styles somewhat is worth noting. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:dpfyxqljld6e\">Igor Khoroshev<\/a> co-wrote &#8220;You and Me&#8221; but, outside of that and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:GOUDREAU\">Goudreau<\/a>&#8216;s contribution, this is Farren totally on his own, without drums and keyboards. As major artists have found the &#8220;unplugged&#8221; format a way to reinvent their hits, <i>Deja Blue<\/i> is an album by a performer who deserved to have that type of recognition using the folk format to express himself in a totally different arena. <i>Deja Blue<\/i> is an essential part of the Charlie Farren story; while the music business has kept him and his contemporaries <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:WILLIE%7CLOCO%7CALEXAND\">Willie &#8220;Loco&#8221; Alexander<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hpfuxqrjld6e\">Rick Berlin<\/a>, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wpfwxqy5ld6e\">Didi Stewart<\/a> in the trenches as major cult figures who flirted with fame, they all continue to produce what is in their hearts, on their own terms. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BERLIN\">Berlin<\/a>&#8216;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:LIVE%7CAT%7CJACQUES\">Live at Jacques<\/a> is very much like <i>Deja Blue<\/i>, only where that rock &amp; roller sits behind his keyboards, Farren picks up his acoustic. The two should join forces in this format, since they&#8217;ve both adjusted to a world that doesn&#8217;t need amplification. DJ <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:LISA%7CGARVEY\">Lisa Garvey<\/a> writes in the liner notes that she can see musicians deep in the 21st century covering Farren&#8217;s music as people cover <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fuxqrgldje\">Cole Porter<\/a> today. That remains to be seen, but what <i>Deja Blue<\/i> does provide is &#8220;Crazy Moon,&#8221; which allows this veteran artist the opportunity to speak one on one with his audience.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>CHARLIE FARREN<br \/>\nWORLD GONE WILD<\/p>\n<p><a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jnfwxqu0ldte\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jnfwxqu0ldte<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">On the front cover of Charlie Farren&#8217;s second solo album away from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:apfwxqq5ldje\">Farrenheit<\/a>, the singer\/guitarist takes a pair of scissors to locks of his hair above the left eye. The image of being his own barber has lots in common with this project, where he has <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BOB%7CENIK\">Bob Enik<\/a> on lead guitar for one song only. That song, &#8220;Get a Life,&#8221; sounds like the singer is saying &#8220;Caroline&#8221; for the hook (it&#8217;s the title &#8220;Get a Life&#8221;), a cool rock &amp; roll jaunt where the listener has to turn the focus up. In this world that <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DAVE%7CDAVIES\">Dave Davies<\/a> of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifoxqe5ldse\">the Kinks<\/a> notes is a music industry where you &#8220;do it yourself,&#8221; Farren takes that sentiment to heart and remains an enigma \u2014 a stadium rocker with tons of talent who never charted on the Top 40. Farren takes the R&amp;B\/folk sound of 1999&#8217;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:kxfyxqy0ldje\"><i>Deja Blue, the Color of Love<\/i><\/a> and adds another dimension to it; the rhythmic, &#8217;50s-style punch of &#8220;Older Girls&#8221; is a stark contrast to &#8220;You Are the Only One,&#8221; where the singer performs his tender melody. As the solo <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfixq8kldhe\">McCartney<\/a> disc was a solitary vision, there is only one flavor here; like a writer steeped in an autobiography, Farren re-emphasizes the sentiment of the previous tune with its instant sequel, &#8220;Soul Mate.&#8221; It is soulful, as is &#8220;Afraid to Fly Away,&#8221; which concludes the ten-song CD. These are among Charlie Farren&#8217;s best poems ever, and though the lyrics in the booklet do not correspond with the tracking on the disc and the tray card, the songs fall into place perfectly. &#8220;Reopened&#8221; is the real introspection hinted at on some of the other essays, while the title song, &#8220;World Gone Wild,&#8221; would have been a nice hard rock explosion for <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gjfwxqygldje\">the Joe Perry Project<\/a>. As <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxqw5ldae\">Aerosmith<\/a> keeps their money train rolling, the clever ideas which brought them to the attention of the world have been traded in for commercial slickness. Farren has no such restrictions, and three years after his initial 12-song work he transfers the rhythm &amp; blues acoustics of the previous outing to a more polished pop. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:kxfyxqy0ldje\"><i>Deja Blue<\/i><\/a>&#8216;s &#8220;Crazy Moon&#8221; finds itself embellished and reinvented for &#8220;October Moon&#8221; here, while where before he was &#8220;Resurrected,&#8221; now Farren is &#8220;Reopened.&#8221; There are certainly parallels between the two discs; that will happen when the same artist makes another recording writing all the material and playing all the instruments, and maybe fans would have appreciated three or four of the tracks exploding with a full band to give the album more color. The heights Charlie Farren achieves when pushed by other artists \u2014 his outstanding vocal performance on <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BLACK\">Black<\/a>&#8216;s &#8220;We&#8217;re Still Standing&#8221; is one example \u2014 aren&#8217;t reached when he&#8217;s speaking with this other voice. &#8220;October Moon&#8221; and &#8220;Drown Me&#8221; are low-key adventures, as is &#8220;Afraid to Fly Away,&#8221; all quality work from a master craftsman. Farren&#8217;s predecessor in <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gjfwxqygldje\">the Joe Perry Project<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hnftxqegldhe\">Mach Bell<\/a>, published a metallic onslaught, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:LAST%7CMAN%7CSTANDING\">Last Man Standing<\/a>, around the time of <i>World Gone Wild<\/i>&#8216;s release, and contemporary <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hpfuxqrjld6e\">Rick Berlin<\/a> also issued his full-length <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:jjfyxqw0ldfe\"><i>I Hate Everything but You<\/i><\/a> by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:knfuxqlkldke\">the Shelley Winters Project<\/a> at the exact moment this album was born. All three men were vital components of the &#8217;70s Boston music scene and their visions three decades later are worthy statements on tenacity, progression, and pure talent surviving industry pitfalls.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&nbsp;<\/p>\n<p>CHARLIE FARREN FOUR LETTER WORD<\/p>\n<p><a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:hcfpxq8aldde\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:hcfpxq8aldde<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">Hearing the jazz of &#8220;Minds Made Up,&#8221; it is hard to picture Charlie Farren as the hard rocking lead singer of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gjfwxqygldje\">the Joe Perry Project<\/a>, and his own band, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:apfwxqq5ldje\">Farrenheit<\/a>. One of the most prolific members of the Boston music community, Farren continues the work initiated on <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:kxfexqy0ldke\"><i>Deja Blue<\/i><\/a> in 1999 and continued throughout 2002&#8217;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:jnfwxqu0ldte\"><i>World Gone Wild<\/i><\/a>. Perhaps appearing on the band <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifrxqw5ldde\">Boston<\/a>&#8216;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:kifyxqyaldde\"><i>Corporate America<\/i><\/a> disc (also from 2002) was enough hard rock for Farren in this turn of the century as he concentrates on folk\/pop and explores lyrical imagery on this release. Just looking at the package one realizes that <i>Four Letter Word<\/i> is a double entendre, not rap music reaching the lowest common denominator. This is upscale music that makes you think while it entertains. There&#8217;s a remake of the single, &#8220;Sally&#8217;s Got a Poker Face,&#8221; which Farren issued in the &#8217;80s when his band, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:39fwxqy5ldke\">the Enemy<\/a>, was one of the big regional attractions in New England. It&#8217;s amazing hearing that fiery tune performed solely by its creator, and he sounds like a full band doing the composition &#8220;unplugged.&#8221; The inclusion of friend and journeyman guitarist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3vfpxql5ldke\">Jon Butcher<\/a> on &#8220;Copy Love,&#8221; as well as former drummer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:apftxq8gldde\">Bob Sutton<\/a> on one of the album&#8217;s best tracks, &#8220;Poor Old Romeo,&#8221; are nice touches, the musicians contributing without getting in the way. &#8220;Poor Old Romeo&#8221; is more than just the album&#8217;s outstanding moment, it&#8217;s a potential hit if given the right exposure. Farren&#8217;s voice has amazing staying power, it just keeps getting better with time, and it has always been an amazing instrument. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3pfoxqealdde\">Bob Erik<\/a>&#8216;s slide guitar on &#8220;Full Circle&#8221; embellishes more double entendres: &#8220;You know I took a revolution\/But I&#8217;ve come back around.&#8221; Great mind trick, because hearing the word makes one think of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifrxqe5ldde\">John Lennon<\/a>&#8216;s idea of revolution, political revolt rather than a turning point, and maybe Farren means both. The ten songs only take up 38 minutes, so it plays like a traditional album, compact and precise. As major record companies continue to make the faux pas of looking here and there for the next big thing, consistently solid music like this finds its way to the marketplace from the sheer determination of its creator. This is what the major labels should be out there looking for, music with staying power generated without the assistance of &#8220;corporate America.&#8221; Charlie Farren continues to impress with his unique vision and accurate presentation.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&nbsp;<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>MACEY&#8217;S PARADE<\/p>\n<p><a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kcfpxq8aldde\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kcfpxq8aldde<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">Boston based singer\/songwriter &#8220;Jon Hall&#8221; changed his name to Jon Macey so there wouldn&#8217;t be any confusion with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifuxqr5ld6e\">Orleans<\/a>&#8216; bandleader <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:39foxqu5ld6e\">John Hall<\/a>. After he performed production work for Elektra Records in the &#8217;80s, and toured with Polygram artist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fjfexqugld0e\">Tom Dickie &amp; the Desires<\/a> the poet\/artist returned to Boston and put together Macey&#8217;s Parade. Their 1993 release, <i>Too Much Perspective<\/i> opens up with one of Macey&#8217;s best numbers, &#8220;Song for T,&#8221; a touching and lovely tribute to &#8220;the best friend&#8221; he ever had &#8220;in those days&#8221; \u2014 his cat. Substance abuse was a major part of the singer&#8217;s story \u2014 so much so that some of the immediate press for this album ignored the songs and focused on that. The desperation of those times and the image of T&#8217;s little eyes is as haunting as it is heartwarming. But the record doesn&#8217;t stop there. Along with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifqxqw5ldse\">LaVern Baker<\/a>&#8216;s producer, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gifrxqqgldhe\">Barry Marshall<\/a>, they hit another home run with &#8220;Comical,&#8221; as exquisite a pop number as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:difrxqr5ldfe\">Brian Wilson<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aiftxqegldhe\">Roger McGuinn<\/a> could ever hope to conjure up. It&#8217;s as if <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:h9ftxqt5ldje\">Randy California<\/a>&#8216;s Dr. Sardonicus character came to life to laugh in the face of life&#8217;s tough breaks. There is immense power in the music, and Macey delivers one of his best vocal performances. Had the album concentrated on these moments there is no doubt it could have made a bigger splash, and though the &#8220;Sweet Jane&#8221; riff that permeates &#8220;The Clinic&#8221; harkens back to the singer&#8217;s roots, the anti-methadone anthem feels out of place here. It disturbs the flow of songs like &#8220;The Last New York Train&#8221; and the poppy &#8220;Home.&#8221; The band worked overtime on this album and that is also a drawback \u2014 rock &amp; roll can&#8217;t be too calculated, and some of the earlier demos have more of a vibe than the finished product. Boston scene-maker and booking agent, the late <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0bfexqe0ldfe\">Mickey O&#8217;Halloran<\/a>, commented that some of the best material was utilized on various Boston compilation albums and should have been included on this project. He had a point. &#8220;She&#8217;s Got Me Souled&#8221; and &#8220;Sail Away&#8221; were two tracks recorded during this time that would have enhanced <i>Too Much Perspective<\/i>: an album whose title rings so true. Mastered by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:ajfoxq85ldfe\">Bob Ludwig<\/a> in Maine, the group put their best foot forward and, as noted, hit a couple out of the park. A re-release of <i>Too Much Perspective<\/i> with bonus tracks could bring new attention to material like &#8220;Sometimes,&#8221; music from an artist who averages about one album a decade. There&#8217;s much depth to the better songs here on a record that was acknowledged by TV, press, and radio upon its release in Boston, and deserves another chance to be heard.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>JON MACEY ACTUALITY IN PROGRESS&#8230;I mean&#8230;PROCESS<\/p>\n<p><a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jcfpxq8aldde\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jcfpxq8aldde<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\"><i>Actuality in Process<\/i> is the first solo album from Jon Macey, one of the pioneers of the &#8217;70s Boston music scene, on the curve during, between, and right after <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fbfpxqqgld6e\">the Modern Lovers<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fxfixqqgldhe\">Orchestra Luna<\/a>. It is, perhaps, the most advanced disc of his career up to its release in 2002, and though <i>Actuality in Process<\/i> still isn&#8217;t the grand slam the journeyman musician is capable of, the 15 tracks certainly are a good representation of his personal songs and artistic expression. In the nine years between the release of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:kcfpxq8aldde\"><i>Too Much Perspective<\/i><\/a> by Macey&#8217;s Parade comes an evolution of sorts. <i>Actuality in Process<\/i> is an interesting extension as well as a combination of many of the musical partnerships experienced by the singer\/songwriter\/producer. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHN%7CJULES\">John Jules<\/a>, the drummer from Macey&#8217;s &#8217;70s outfit, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gcfuxqesldfe\">Fox Pass<\/a>, provides the percussion, while guitarists <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfrxq9gldde\">Michael Roy<\/a> from the &#8217;70s ensemble, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfoxqealdte\">Tom Hostage<\/a> of the &#8217;90s group Macey&#8217;s Parade, form the nucleus of the players here. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:axfqxqegldfe\">Sal Baglio<\/a> of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3xfwxqegldse\">the Stompers<\/a> adds his guitar to &#8220;Wasted on You,&#8221; while <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:abfrxq95ldte\">Tom Dickie<\/a> from Macey&#8217;s &#8217;80s band, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fjfexqugld0e\">Tom Dickie &amp; the Desires<\/a>, co-writes and is &#8220;present&#8221; on &#8220;Hidden Behind the Words,&#8221; a dreamy <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:giftxqr5ldde\">Velvet Underground<\/a> &#8220;third album&#8221; type soft electro-rocker. You get the picture that this is <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifqxqw5ldfe\">the Byrds<\/a>-meet-<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:giftxqr5ldde\">the Velvet Underground<\/a>, before reading the lengthy essays on www.jonmacey.com pertaining to this disc Those scribblings expose a side of Macey not quite visible inside the tunes \u2014 he&#8217;s an extremely smart writer. The slick ten-page booklet emphasizes the importance of this project to the artist, and &#8220;This Is Where You&#8217;ve Been,&#8221; a collaboration between <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:axfqxqegldfe\">Baglio<\/a> and Macey, re-emphasizes it. Arguably the album&#8217;s best track, it has elements of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifrxqw5ldse\">the Beach Boys<\/a> if they made records in the new millennium with the same seriousness of &#8220;Do It Again.&#8221; Though there&#8217;s no &#8220;Song for T&#8221; or &#8220;Comical,&#8221; from the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:kcfpxq8aldde\"><i>Too Much Perspective<\/i><\/a> phase (phenomenal pop songs with staying power), there are pleasant moments like &#8220;Affair of the Mind,&#8221; co-written with longtime friend and co-engineer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RON%7CDOTY\">Ron Doty<\/a>. It is Macey in his most <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifrxqr5ldje\">Lou Reed<\/a>-meets-<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifrxqe5ldhe\">Dylan<\/a> style, and being such a devoted disciple of both icons, it is done with exquisite sincerity. &#8220;Junk Mail&#8221; and &#8220;Cool Dreamer&#8221; are also strong compositions that deserve a place on the inevitable &#8220;best-of&#8221; collection from this artist. Concluding with the solo folk ending of &#8220;The Road of Destiny,&#8221; Jon Macey stretches across his career and creates a serious overview. What&#8217;s missing is the tongue-in-cheek humor of his friend, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fyxqr5ldke\">Willie &#8220;Loco&#8221; Alexander<\/a>. Add that element and Macey can give <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifyxqrgld6e\">John Mellencamp<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jifqxqe5ldse\">Billy Joel<\/a> a good run for their money.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>FOX PASS<\/p>\n<p><a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;token=&amp;sql=10:h9fixqrdldhe\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;token=&amp;sql=10:h9fixqrdldhe<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">The mark of craftsmanship on songs like &#8220;Hit or Miss,&#8221; &#8220;Saving Grace,&#8221; and &#8220;Dream Inside Your Heart&#8221; would be hard to find on many &#8220;debut&#8221; albums, and 32 years after their 1972 formation in Arlington, MA, Fox Pass bring insightful lyrics and strong melodies to the world on their first full album. Of course having released a classic indie single with &#8220;I Believed&#8221; in 1976 \u2014 a year that saw them opening for <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifqxqugldae\">Roxy Music<\/a> in Boston \u2014 with the duo of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MIKE%7CROY\">Mike Roy<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hpfrxqr5ldde\">Jon Macey<\/a> heading off to Mercury Records to record two albums with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fjfexqugld0e\">Tom Dickie &amp; the Desires<\/a> in the early &#8217;80s, well, this debut is actually more like a diamond hewn from decades in a business rife with uncertainty. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gifrxqqgldhe\">Barry Marshall<\/a>&#8216;s production crystallizes the performances \u2014 taking a &#8220;Sometime Saturday Girl&#8221; to bring that <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wcfuxqu5ldae\">Tommy Boyce<\/a>\/<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fnfixqe5ldde\">Bobby Hart<\/a> vibe into the new millennium. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gifrxqqgldhe\">Marshall<\/a> has known the group almost since its inception and truly understands the work of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hpfrxqr5ldde\">Jon Macey<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MIKE%7CROY\">Mike Roy<\/a> better than <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:apfyxqygldae\">Ed Sprigg<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hpftxqlgld6e\">Martin Rushent<\/a> did for the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:abfrxq95ldte\">Tom Dickie<\/a> albums \u2014 all due respect to the highly competent <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:apfyxqygldae\">Sprigg<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hpftxqlgld6e\">Rushent<\/a>. The chemistry between the artist and the producers on those <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fjfexqugld0e\">Desires<\/a> albums just wasn&#8217;t there. And with no label pressures the band is free to come up with fine pop tunes like &#8220;The Easy Way,&#8221; material that effortlessly flows from their repertoire. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ROY\">Roy<\/a> sounds like <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:w9fexqlgld0e\">Ben Orr<\/a> of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">the Cars<\/a> singing the exquisite &#8220;Heavy as a Heartache&#8221; with neo-doo wop vocals from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hpfrxqr5ldde\">Macey<\/a> and bassist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:STEVE%7CGILLIGAN\">Steve Gilligan<\/a>. While the group&#8217;s influences are very well disguised on this set \u2014 you&#8217;ll hear pieces of sounds you just can&#8217;t place \u2014 the key is that the music seems more original because the band is plagiarizing its own riffs from years past. Some of the ambience of the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hpfrxqr5ldde\">Jon Macey<\/a>\/<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gifrxqqgldhe\">Barry Marshall<\/a> tune &#8220;Comical&#8221; from 1993&#8217;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:kcfpxq8aldde\"><i>Too Much Perspective<\/i><\/a> disc is reinvented on &#8220;Dream Inside Your Heart&#8221; \u2014 a terrific hook over a gliding and airy bed of pop riffs and chord changes. Its complexities are vast compared to &#8220;Wanda,&#8221; the closing song that the band has performed since it was written back in 1973. &#8220;Hit or Miss&#8221; might come in at close to six minutes, but it has the groove and guitars suspended in space to be radio-friendly, playing perfectly on an album where songs like &#8220;In a Dream&#8221; come in from out of nowhere, sparkling pop created by a band that was doing it years before <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:09fexqtgld0e\">R.E.M.<\/a> formed and brought this style into vogue.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;token=&amp;sql=10:fnfpxql0ldae\">\u00a0<\/a><\/p>\n<p>&nbsp;<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<td><\/td>\n<td colspan=\"2\" align=\"center\" width=\"340\" height=\"275\"><\/td>\n<\/tr>\n<tr>\n<td><\/td>\n<td width=\"155\" height=\"2845\"><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>THE STOMPERS LIVE SCRAPBOOK<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:fnfuxqqaldse\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:fnfuxqqaldse<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\"><a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:axfqxqegldfe\">Sal Baglio<\/a> has never had the opportunity to show his innovative guitar prowess in the context of his Stompers, a vision he brings to the music of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:h9ftxq85ldte\">Andy Pratt<\/a> as well as his own <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wxfpxqealdje\">Rock E. Rollins<\/a> <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:giftxqw5ldde\">Bowie<\/a>-inspired work. The excitement of The Stompers as a live band overshadowed the fact that <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:axfqxqegldfe\">Baglio<\/a> is a superb instrumentalist on the level of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:h9ftxq85ldte\">Pratt<\/a>&#8216;s other guitar genius <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:dbfuxqq5ld6e\">Mark Doyle<\/a>, or <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifwxqe5ldae\">Ian Hunter<\/a> axeman <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gpftxq95ldje\">Mick Ronson<\/a>. In 1994, Boston-area label Botown, founded by the late booking agent <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0bfexqe0ldfe\">Mickey O&#8217;Halloran<\/a>, released <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:0ifpxqwjldde\"><i>The Stompers: Greatest Hits Live<\/i><\/a>, an important document of New England&#8217;s Stompers in the environment where they shined \u2014 on-stage. <i>Live Scrapbook 1979-1983<\/i> goes a step further with 15 songs collected from various times and places, &#8220;This Is Rock &#8216;N&#8217; Roll&#8221; from The Paradise nightclub dated February 13, 1979, to a rendition of &#8220;You&#8217;re the One&#8221; from New York&#8217;s Palladium, April 23, 1982. It is in that song that the listener can hear <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:axfqxqegldfe\">Sal Baglio<\/a>&#8216;s ability to get the audience into his performance, the band playing with objectivity while the singer brings the crowd into the mix. The source tapes go from one extreme to the other, &#8220;Rock, Jump and Holler&#8221; from a July 1, 1983, radio broadcast on Worcester, MA, radio station WAAF at the &#8220;Rally in the Alley&#8221; is a much different sound than the &#8220;Love Is a Stranger&#8221; take from Boston&#8217;s Metro recorded in November 1981. Seven tracks from the WAAF broadcast conclude the album, an important but still not definitive snapshot of this essential 1970s\/1980s group that had a powerful grasp of how to entertain a mass audience. <i>Live Scrapbook 1979-1983<\/i> is further proof that if The Stompers only had real management they could have conquered the world.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>THE DEVIL GODS with Ted Drozdowski<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:f9fyxqt0ld6e\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:f9fyxqt0ld6e<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">The creative ideas that <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:TED%7CDROZDOWSKI\">Ted Drozdowski<\/a> pours over his work with activist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHN%7CSINCLAIR\">John Sinclair<\/a> are evident on <i>Sick Little Monkey<\/i>, a CD from his own band, Devil Gods. His guitar work is cosmic throughout the recording and is its highlight. As an instrumental band, Devil Gods have a lot to offer, &#8220;Lunchbox of the Gods&#8221; combining <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:EDGAR%7CFROESE\">Edgar Froese<\/a> with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JIMI%7CHENDRIX\">Jimi Hendrix<\/a>-style sound experimentation. The band leader&#8217;s rock &amp; roll heart is evident, and it is as sincere as his essays on blues musicians in his other life as a rock critic. But it is much easier for a recording artist like <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:PETE%7CTOWNSHEND\">Pete Townshend<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JONATHAN%7CRICHMAN\">Jonathan Richman<\/a>, or <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:CUB%7CKODA\">Cub Koda<\/a> to turn to rock writing than it is for a rock critic to turn to singing and performing. Heck, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:TOWNSHEND\">Townshend<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:KODA\">Koda<\/a>, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RICHMAN\">Richman<\/a> were songwriters to begin with, the just shifted that communication to another format. One has to give <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DROZDOWSKI\">Drozdowski<\/a> credit, for this works better than the critics band <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:CHRISTOPHER%7CMILK\">Christopher Milk<\/a>, it&#8217;s just that his &#8220;writer&#8217;s voice&#8221; doesn&#8217;t translate well through his vocal chords. Fact is, his substantial music would be better served with a frontman\/vocalist who can express the songwriter&#8217;s ideas. Bostonian <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MICK%7CKEDDY\">Mick Keddy<\/a> of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CBILLIONEERS\">the Billioneers<\/a> comes to mind, as does <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JIM%7CSPERANZA\">Jim Speranza<\/a> of the band <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:CLOSE%7CENOUGH\">Close Enough<\/a>. They have that presence both on stage and in studio which is missing from <i>Sick Little Monkey<\/i>, that intangible called personality. &#8220;Counting on You&#8221; could be so much more if it had <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DAVID%7CMINEHAN\">David Minehan<\/a> guest starring on lead vocals to fully deliver this material. The lead singer from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CNEIGHBORHOODS\">the Neighborhoods<\/a> engineered nine of the 14 tracks and sings backups on the opening track, &#8220;I Don&#8217;t Know,&#8221; and &#8220;Pillar of Salt.&#8221; Listen to the delivery on the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHN%7CSINCLAIR\">John Sinclair<\/a> recordings that <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:TED%7CDROZDOWSKI\">Ted Drozdowski<\/a> performs on and compare it to the sound here. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DROZDOWSKI\">Drozdowski<\/a> needs to find an authority in his voice that he&#8217;s found with his pen. &#8220;Counting on You&#8221; develops into more of the cosmic rock that began with the song &#8220;Now, Immortal&#8221;; the guitar sound is like an echoplex working overtime, making some unique moments on this under-developed project. There&#8217;s a cover of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ZAGER%7C&amp;%7CEVANS\">Zager &amp; Evans<\/a> &#8220;In the Year 2525,&#8221; which is a nice touch.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<tr>\n<td><\/td>\n<td><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<div>\n<div>Posted by <a title=\"author profile\" href=\"https:\/\/www.blogger.com\/profile\/15345741483306237598\" rel=\"author\" data-gapiscan=\"true\" data-onload=\"true\" data-gapiattached=\"true\"> History of New England Rock <\/a> at <a title=\"permanent link\" href=\"http:\/\/bostoncompilations.blogspot.com\/2007\/07\/boston-area-compilations-rathskellar.html\" rel=\"bookmark\"><abbr itemprop=\"datePublished\" title=\"2007-07-09T19:56:00-07:00\">7:56 PM<\/abbr><\/a> <a href=\"https:\/\/www.blogger.com\/comment.g?blogID=5779213246272742581&amp;postID=7069275153979055830\"> No comments: <\/a><\/p>\n<div><\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"blog-pager\"><a href=\"http:\/\/bostoncompilations.blogspot.com\/\">Home<\/a><\/div>\n<div>\n<div>Subscribe to: <a href=\"http:\/\/bostoncompilations.blogspot.com\/feeds\/posts\/default\" target=\"_blank\" type=\"application\/atom+xml\">Posts (Atom)<\/a><\/div>\n<\/div>\n<\/div>\n<div id=\"BlogArchive1\" data-version=\"1\">\n<h2>Blog Archive<\/h2>\n<div>\n<div id=\"ArchiveList\">\n<div id=\"BlogArchive1_ArchiveList\">\n<ul>\n<li><a> \u25bc\u00a0 <\/a> <a href=\"http:\/\/bostoncompilations.blogspot.com\/2007\/\"> 2007 <\/a> (1)\n<ul>\n<li><a> \u25bc\u00a0 <\/a> <a href=\"http:\/\/bostoncompilations.blogspot.com\/2007\/07\/\"> July <\/a> (1)\n<ul>\n<li><a href=\"http:\/\/bostoncompilations.blogspot.com\/2007\/07\/boston-area-compilations-rathskellar.html\">Boston Area Compilations, The Rathskellar and oth&#8230;<\/a><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<h2>About Me<\/h2>\n<dl>\n<dt><a href=\"https:\/\/www.blogger.com\/profile\/15345741483306237598\" rel=\"author\" data-gapiscan=\"true\" data-onload=\"true\" data-gapiattached=\"true\"> History of New England Rock <\/a><\/dt>\n<\/dl>\n<p><a href=\"https:\/\/www.blogger.com\/profile\/15345741483306237598\" rel=\"author\">View my complete profile<\/a><\/p>\n<p>_________________________________<\/p>\n<p>CHAPTER 13<\/p>\n<p>13)More Eighties<a href=\"http:\/\/eightiesboston.blogspot.com\/\"><br \/>\nhttp:\/\/eightiesboston.blogspot.com\/<\/a><\/p>\n<h3><a href=\"http:\/\/eightiesboston.blogspot.com\/2007\/07\/face-to-face-rings-jonzun-crew-robin.html\">Face To Face, The Rings, Jonzun Crew, Robin Lane, Didi Stewart. Rick Berlin, Rubber Rodeo, Mass, Treat Her Right<\/a><\/h3>\n<div id=\"header-wrapper\">\n<div id=\"header\">\n<div id=\"Header1\" data-version=\"1\">\n<div id=\"header-inner\">\n<div>\n<h1>Eighties Music Boston &#8211; Joe Viglione&#8217;s History of New England Rock<\/h1>\n<\/div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"content-wrapper\">\n<div id=\"crosscol-wrapper\"><\/div>\n<div id=\"main-wrapper\">\n<div id=\"main\">\n<div id=\"Blog1\" data-version=\"1\">\n<div>\n<div>\n<h2>Tuesday, July 10, 2007<\/h2>\n<div>\n<div>\n<div itemprop=\"blogPost\" itemscope=\"itemscope\" itemtype=\"http:\/\/schema.org\/BlogPosting\"><a name=\"471831788117392562\"><\/a><\/p>\n<h3 itemprop=\"name\"><a href=\"http:\/\/eightiesboston.blogspot.com\/2007\/07\/face-to-face-rings-jonzun-crew-robin.html\">Face To Face, The Rings, Jonzun Crew, Robin Lane, Didi Stewart. Rick Berlin, Rubber Rodeo, Mass, Treat Her Right<\/a><\/h3>\n<div><\/div>\n<div id=\"post-body-471831788117392562\" itemprop=\"description articleBody\">Just click on the link under each chapter to read the information. Remember, To click on any chapter go to this address:<br \/>\n<a href=\"http:\/\/rocktableofcontents.blogspot.com\/\">http:\/\/rocktableofcontents.blogspot.com\/<\/a>1)Didi Stewart 4 Reviews<br \/>\n2)Jonzun Crew<br \/>\n3)The Rings 2 reviews<br \/>\n4)Face To Face 3 Reviews<br \/>\n5)Rubber Rodeo 2 Reviews<br \/>\n6)Michael Fremer<br \/>\n7)The Atlantics<br \/>\n8)Elliot Easton of The Cars<br \/>\n9)Greg Hawkes of The Cars<br \/>\n10)Jeff &amp; Jane Hudson<br \/>\n11)Peter Dayton<br \/>\n12)Connie St. Pierre<br \/>\n13)La Peste<br \/>\n14)John Lincoln Wright<br \/>\n15)The Joneses (see also Jonzun Crew, Willie Loco Alexander, Road Apples)<br \/>\n16)The Nervous Eaters (1980)Here&#8217;s my review of Didi Stewart&#8217;s new disc along with<br \/>\nreviews I&#8217;ve written ofBEGIN HERE<br \/>\nGIRLS NIGHT OUT<br \/>\nSUMMER WE SPENT IN CHINA<br \/>\nONE TRUE HEARTSee also BOSTON DOES THE BEATLES<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jcfpxql0ld6e\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&#038;sql=10:jcfpxql0ld6e<br \/>\n<\/a>This should post on AMG in the next week or two.Didi Stewart<\/p>\n<p>Title:Harmonyville 2006 Produced by Anthony J. Resta<br \/>\nArtist: Stewart, Didi<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB674B666ADF631A65A0FD586E75CFED56C3E3B9D8EDB&amp;sql=10:5fy67ul0b0jk\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&#038;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB674B666ADF631A65A0FD586E75CFED56C3E3B9D8EDB&#038;sql=10:5fy67ul0b0jk<br \/>\n<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\"><i>Harmonyville<\/i> has vocalist\/songwriter Didi Stewart sounding very much like a former bandmate of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB672AB78AEE02CA45A089FC8E457F5D666392DFC93&amp;sql=11:hpfexqqgldfe\">Harriet Schock<\/a> than the lead singer of Boston&#8217;s legendary girl group <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB672AB78AEE02CA45A089FC8E457F5D666392DFC93&amp;sql=11:h9fpxqt0ldde\">Girls Night Out<\/a>. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB672AB78AEE02CA45A089FC8E457F5D666392DFC93&amp;sql=11:hpfexqqgldfe\">Stewart<\/a> eases her fans into her <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB672AB78AEE02CA45A089FC8E457F5D666392DFC93&amp;sql=11:jvfixq85ldke\">Jackie DeShannon<\/a>-style <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB672AB78AEE02CA45A089FC8E457F5D666392DFC93&amp;sql=10:fifyxqr5ldae\"><i>New Arrangement<\/i><\/a> by opening up the disc with the most rocking&#8217; tune, &#8220;Love and Learn,&#8221; chock-full of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB672AB78AEE02CA45A089FC8E457F5D666392DFC93&amp;sql=11:hpfexqqgldfe\">Stewart<\/a> philosophy and elements of her regional hit, &#8220;Matter of Time,&#8221; in the thumpa thumpa <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB672AB78AEE02CA45A089FC8E457F5D666392DFC93&amp;sql=11:3iftxqw5ldfe\">Cars<\/a> riff. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB672AB78AEE02CA45A089FC8E457F5D666392DFC93&amp;sql=11:kvfixq9kld6e\">Stephen Sadler<\/a> plays lap steel, mandolin, dobro and fiddle on the album, and if you think it&#8217;s GNO (<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB672AB78AEE02CA45A089FC8E457F5D666392DFC93&amp;sql=11:h9fpxqt0ldde\">Girls Night Out<\/a>&#8216;s nickname for the non-Bostonians) meets <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB672AB78AEE02CA45A089FC8E457F5D666392DFC93&amp;sql=11:axfexqwgldae\">Swinging Steaks<\/a> you&#8217;re not that far off \u2014 <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB672AB78AEE02CA45A089FC8E457F5D666392DFC93&amp;sql=11:kbfrxqu5ldse\">Jim Gambino<\/a> of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB672AB78AEE02CA45A089FC8E457F5D666392DFC93&amp;sql=11:axfexqwgldae\">the Steaks<\/a> is on keyboards and adds much to the experience. &#8220;Sally&#8217;s Garden&#8221; is a cross between <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB672AB78AEE02CA45A089FC8E457F5D666392DFC93&amp;sql=11:h9ftxq85ldte\">Andy Pratt<\/a>&#8216;s &#8220;Grey, Chick and Malda,&#8221; <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB672AB78AEE02CA45A089FC8E457F5D666392DFC93&amp;sql=11:hifpxql5ldae\">Lynn Anderson<\/a>&#8216;s &#8220;Rose Garden&#8221; and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB672AB78AEE02CA45A089FC8E457F5D666392DFC93&amp;sql=11:3ifwxqr5ldde\">Bonnie Tyler<\/a>&#8216;s &#8220;It&#8217;s a Heartache&#8221; with some twists and turns to take the formulas to new places. The ballad &#8220;House for Sale&#8221; tugs at the heartstrings, an ode to moving on from the family homestead that is splendid in its melancholy. &#8220;Heaven on a Sunday Morning&#8221; is where <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB672AB78AEE02CA45A089FC8E457F5D666392DFC93&amp;sql=11:wifixqwgldte\">Elaine &#8220;Spanky&#8221; McFarlane<\/a> took her <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB672AB78AEE02CA45A089FC8E457F5D666392DFC93&amp;sql=11:fifoxqr5ld0e\">Spanky &amp; Our Gang<\/a> on the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB672AB78AEE02CA45A089FC8E457F5D666392DFC93&amp;sql=10:j9fyxqu5ldae\"><i>Change<\/i><\/a> album when they went country in 1975, while &#8220;Something Wicked&#8221; puts <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB672AB78AEE02CA45A089FC8E457F5D666392DFC93&amp;sql=11:kzfuxq95ldke\">Ray Bradbury<\/a>&#8216;s fantasy into a square dance setting. None of the dozen songs is over four-and-a-half minutes, with one coming in at two-and-a-half and, yep, she&#8217;s still writing pop tunes only they are now leaning towards the new pop that is the world of country. That vibe can be found on &#8220;Dose of You,&#8221; a good choice for a single, but then again, so is the aforementioned &#8220;Love and Learn&#8221; or the tender &#8220;You Had to Be There.&#8221; Seventeen years is a long time in between discs and with the help of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB672AB78AEE02CA45A089FC8E457F5D666392DFC93&amp;sql=11:hifrxqe5ldhe\">Duran Duran<\/a> producer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB672AB78AEE02CA45A089FC8E457F5D666392DFC93&amp;sql=11:wpfpxqyhldse\">Anthony J. Resta<\/a>, he of the &#8217;70s Boston area group <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB672AB78AEE02CA45A089FC8E457F5D666392DFC93&amp;sql=11:gvfixqrdldse\">Astra<\/a>, the singer seems to be as fun and youthful as ever. It may take a slight adjustment for her older fan base to hear with clarity, but it&#8217;s pure <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB672AB78AEE02CA45A089FC8E457F5D666392DFC93&amp;sql=11:hpfexqqgldfe\">Stewart<\/a> and has a lot to offer. A formidable songwriter, each melody is distinct and different while the song placement sets moods and makes for a quite complete work. Interesting to note that photography is done by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB672AB78AEE02CA45A089FC8E457F5D666392DFC93&amp;sql=11:difyxqqgldhe\">Ellie Marshall<\/a> of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB672AB78AEE02CA45A089FC8E457F5D666392DFC93&amp;sql=11:aifyxqr5ldje\">Jonathan Richman<\/a>&#8216;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB672AB78AEE02CA45A089FC8E457F5D666392DFC93&amp;sql=11:jjfwxqygldke\">Modern Lovers<\/a> and<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB672AB78AEE02CA45A089FC8E457F5D666392DFC93&amp;sql=11:jjfyxqrsldhe\">the Marshalls<\/a> as well as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB672AB78AEE02CA45A089FC8E457F5D666392DFC93&amp;sql=11:kjfpxqu5ldfe\">Alizon Lissance<\/a> of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB672AB78AEE02CA45A089FC8E457F5D666392DFC93&amp;sql=11:h9fpxqt0ldde\">Girls Night Out<\/a>. Why they are not credited here on the musical side is the question! Still, it&#8217;s another fantastic work from an underrated and important Boston area legend that deserves its day in the sun on country radio.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>BEGIN HERE 1982<br \/>\n<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB674B666ADF731A65A0FD586EF57F6D96E373C8DFEC61D&amp;sql=10:88rp287i05na\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&#038;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB674B666ADF731A65A0FD586EF57F6D96E373C8DFEC61D&#038;sql=10:88rp287i05na<br \/>\n<\/a><br \/>\nReview by Joe Viglione<\/p>\n<p>The urban legend has it that Didi Stewart walked into Don Kirshner&#8217;s office with a demo tape in hand and got herself a record deal. A Boston delight with her band, the Amplifiers, this brilliant and underrated songwriter\/vocalist might have been better off releasing some of the original demos here, since producer Stephan Galfas was unable to bring a hit record out of a woman who is full of potential million-sellers. But isn&#8217;t that one of the major traumas of the record industry: incredible talents getting lost in the translation? Begin Here has a beautiful cover photo of Didi Stewart with different colors on each finger of one hand &#8212; blue, purple, red, yellow, and green &#8212; and the pastel lettering is just perfect. There are some excellent tracks and &#8220;Upward Mobility&#8221; is one of them; it should be a hit for someone. With T.O. Sterrett&#8217;s stirring keyboards<br \/>\nand haunting background vocals like a new wave Shangri-Las, the solid-hook and rocking band make for the funniest moment on the recording. &#8220;Girls Night Out&#8221; is another bouncy, campy tune, which for a serious artist like Diane &#8220;Didi&#8221; Stewart is the paradox. The depth on her 1989 Northeastern release One True Heart, 12 songs showing control and power, may have been more appropriate for the CBS-distributed Don Kirshner imprint, at least in terms of potential<br \/>\ncommercial success. But &#8220;Girls Night Out,&#8221; &#8220;Slipping into Darkness,&#8221; and &#8220;Angelina&#8221; are amazing songs in their own right, they just needed a more polished production. The demo of &#8220;Angelina&#8221; has this spirit which could have translated nicely had that sort of aura been captured again. A few years after this disc was released, Didi Stewart left her Amplifiers to form<br \/>\nGirls Night Out, a band named after the aforementioned song on Begin Here. That band would continue the pajama-party atmosphere that was initiated on this collection. &#8220;Saturday Night Special&#8221; and &#8220;Lightning Never Strikes Twice&#8221; are fun pop moments with a lighthearted attitude, but they don&#8217;t have the dazzle of &#8220;Slippin&#8217; into Darkness,&#8221; and despite Stewart&#8217;s<br \/>\ncraftsmanship, it almost sounds like this studio group &#8212; featuring such Boston luminaries as Steven Paul Perry, Dennis Brennan, and Kim Pandapas &#8212; was rushed while recording. A couple of years after this release, Ms. Stewart&#8217;s voice would conquer the New England region as the highly popular Girls Night Out generated a bidding war among booking agents (they got a<br \/>\nreported 175,000 dollar guaranteed year of bookings from the winner, The Channel nightclub). For a local band that is a staggering sum, but the 1985 release with four new Didi Stewart tunes, like this album, was not representative of the bandleader\/lead vocalist. 1989&#8217;s One True Heart is the album that captures the essence of Didi Stewart, but the importance of Begin Here is that it documents this vital artist and her creative process at this point in time, and despite its flaws, it is something to be proud of.<br \/>\n=====================================================<br \/>\nThe Summer We Spent In China 1987 Didi Stewart<br \/>\n<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB674B666ADF731A65A0FD586EF57F6D96E373C8DFEC61D&amp;sql=10:gikqikkabbo9\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&#038;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB674B666ADF731A65A0FD586EF57F6D96E373C8DFEC61D&#038;sql=10:gikqikkabbo9<br \/>\n<\/a><br \/>\nReview by Joe Viglione<\/p>\n<p>Two years after the Girls Night Out EP debacle and two<br \/>\nyears before her classic One True Heart album, Didi<br \/>\nStewart issued this four-song EP, The Summer We Spent<br \/>\nin China, on her own label, much like that other<br \/>\nBoston diva Robin Lane&#8217;s 1984 post-Warner Bros.<br \/>\nfour-song EP, Heart Connection. These talented women<br \/>\nhave a lot to say and would not be denied, crafting<br \/>\nmore music after the heady times had subsided.<br \/>\n&#8220;Problem With Gravity starts things off with a bang; a<br \/>\ndetermined and revitalized Stewart, if shellshocked by<br \/>\nthe tough breaks of her profession, hides it well<br \/>\nhere. Bringing in veteran musicians Tim Archibald on<br \/>\nbass (from New Man and RTZ), Wally Poz (who had a<br \/>\nrelease on a national Playboy talent search sampler<br \/>\ndisc), and regional veteran Mark Williamson on<br \/>\nkeyboards, Stewart crafts a dynamic and musically<br \/>\nrevealing title track. &#8220;The Summer We Spent in China&#8221;<br \/>\ncombines her blues-drenched vocals with the singer&#8217;s<br \/>\npop sensibilities. It&#8217;s a standout song, powerful and<br \/>\nsubdued. All the material seems touched by modern<br \/>\nmysticism, a quote from &#8220;Little Mi&#8221; on the back cover<br \/>\nstates: &#8220;So I sit in my room and dream\/In my<br \/>\nimagination I am free\/And I can do wonderful<br \/>\nthings&#8230;.&#8221; Perhaps the double trauma of the<br \/>\nKirshner\/CBS label folding after her 1982 release and<br \/>\nthe implosion of her local supergroup set Stewart off<br \/>\non flights of fancy. &#8220;Jeremy&#8221; is the one love song in<br \/>\nthe bunch, and it has that definite November Group<br \/>\nslap-drum sound, only the November Group had a real<br \/>\npercussion player, and Stewart chooses to go with drum<br \/>\nprogramming here. Her combination of the pop<br \/>\nsongwriting she was known for with electric and spacy<br \/>\nthemes works on these four originals. The Summer We<br \/>\nSpent in China is not the easiest of Stewart&#8217;s discs<br \/>\nto find, but it is worth the effort. A nice glimpse of<br \/>\nStewart&#8217;s journey when placed chronologically with the<br \/>\nother recordings in her repertoire.<br \/>\nTracks<br \/>\n1 A Problem With Gravity Stewart 2:59<br \/>\nComposed by: Stewart<br \/>\nPerformed by: Diane Stewart<br \/>\n2 Jeremy Stewart 4:20<br \/>\nComposed by: Stewart<br \/>\nPerformed by: Diane Stewart<br \/>\n3 Rational World Stewart 3:20<br \/>\nComposed by: Stewart<br \/>\nPerformed by: Diane Stewart<br \/>\n4 The Summer We Spent in China Stewart<br \/>\n3:25<br \/>\nComposed by: Stewart<br \/>\nPerformed by: Diane Stewart<\/p>\n<p>1987 CD Fun at One HB 1803<\/p>\n<p>Girls Night Out (1985)<br \/>\n<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB674B666ADF731A65A0FD586EF57F6D960373F8DFEC61D&amp;sql=10:scddyl43xpbb\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB674B666ADF731A65A0FD586EF57F6D960373F8DFEC61D&amp;sql=10:scddyl43xpbb<\/a><br \/>\nReview by Joe Viglione<\/p>\n<p>One of the greatest tragedies in Boston rock &amp; roll<br \/>\nhistory, and something the world is the worse for, is<br \/>\nthis difficult document of one of the best &#8217;80s bands<br \/>\nfrom New England, Girls Night Out. For a group who<br \/>\napproximately grossed over a quarter of a million<br \/>\ndollars in a two-year period, they were saddled with<br \/>\narguably the worst cover art in Boston history,<br \/>\nsubstandard production by the usually reliable Chris<br \/>\nLannon, and evidence that radio-station politics,<br \/>\nmismanagement, and too many cooks can do more than<br \/>\nspoil the stew; politics can stand in the way of<br \/>\nimportant art. Nothing on this record jumps out at you<br \/>\nlike the eight-track demo of &#8220;Matter of Time,&#8221; the<br \/>\nregional radio hit recording that helped launch GNO&#8217;s<br \/>\ncareer. The failure to re-track &#8220;Matter of Time,&#8221; a<br \/>\nsong that was like a girl group version of &#8216;Til<br \/>\nTuesday&#8217;s &#8220;Voices Carry,&#8221; is the true crime of the<br \/>\nheart here. The great Jimmy Miller produced a cover of<br \/>\n&#8220;Baby It&#8217;s You&#8221; for lead guitarist Wendy Sobel in<br \/>\n1983, and the version is sultry, moody, and brilliant,<br \/>\nbut is not included here. The three songs Jimmy Miller<br \/>\ndid with Wendy Sobel, one-seventh of this band, blow<br \/>\naway this entire disc. &#8220;Affair of the Heart,&#8221; &#8220;Love<br \/>\nUnder Pressure,&#8221; &#8220;Calling Doctor Love,&#8221; and &#8220;Crime of<br \/>\nthe Heart&#8221; are studied performances with none of the<br \/>\nexcitement the girls displayed on-stage. The precision<br \/>\nis the kind of homogenization one expects from a major<br \/>\nlabel, not from an independent group, and it feels<br \/>\nlike the act was being directed from the pages of This<br \/>\nBusiness of Music rather than by the creative<br \/>\ninstincts of a professional. The results are<br \/>\ndisappointing. Didi Stewart wrote all the material,<br \/>\nand there is no doubt she is a genius, but her talent<br \/>\nwas inhibited by business forces behind the scenes.<br \/>\nRumor has it that Madonna\/Brian Wilson producer Andy<br \/>\nPaley was interested in signing the group, but the<br \/>\nmanager allegedly would not agree to the terms. If<br \/>\nthat urban myth is true, it is a shame, for Paley<br \/>\ncould have taken &#8220;Affair of the Heart&#8221; and given it<br \/>\nthe Phil Spector treatment. The songs are all<br \/>\nfirst-rate, it is just that they have nothing to them;<br \/>\nthey are two-dimensional recordings with flawed sounds<br \/>\n(listen to the lame drum slap in the middle of &#8220;Affair<br \/>\nof the Heart&#8221;). These are pedestrian performances from<br \/>\nladies who bowled people over in concert; a version of<br \/>\n&#8220;Love Under Pressure&#8221; is included that sounds like it<br \/>\nis stuck in a pressure cooker. There&#8217;s no mastering<br \/>\ncredit, but that essential element is thin at best.<br \/>\nGirls Night Out&#8217;s exquisite staple, &#8220;When You Were<br \/>\nMine,&#8221; shows up five years later on the One True Heart<br \/>\nalbum by Didi Stewart, and it is total vindication,<br \/>\nshowing what the songwriter could do away from the<br \/>\nconfines of a democracy. Bits and pieces of what this<br \/>\nphenomenal group was all about have surfaced<br \/>\nelsewhere. Alizon Lissance has released discs with her<br \/>\nlocal group, and other members &#8212; Myanna, Wendy Sobel,<br \/>\nand Didi Stewart &#8212; are off doing their own thing;<br \/>\nreunions of this post-Amplifiers band Stewart fronted<br \/>\nhappen once in a blue moon. This writer brought Didi<br \/>\nStewart to the 1992 Marty Balin sessions in New<br \/>\nHampshire, and Balin was thrilled at the prospect of<br \/>\nStewart and her friend, Ellie Marshall of the Modern<br \/>\nLovers, singing on his album, Better Generation. That<br \/>\nidea was nixed by Karen Deal, Balin&#8217;s wife, yet<br \/>\nanother example of people interfering in important<br \/>\nart. With the cash that was coming in through the high<br \/>\ndemand for this group and the combination of originals<br \/>\nand covers packing their shows, Girls Night Out should<br \/>\nhave released a superb album on their own and let a<br \/>\nmajor label pick it up. Seven great artists who should<br \/>\nhave had original guitarist Patty Larkin return to jam<br \/>\nwith Wendy Sobel on this were left out in the cold<br \/>\nwhen these recordings failed to generate the same<br \/>\nexcitement as the band did live. The original demo<br \/>\ntapes, the Jimmy Miller sessions with Sobel, a live<br \/>\nradio broadcast or recording from a nightclub, and<br \/>\nDidi Stewart solo material &#8212; all combined &#8212; could<br \/>\nhave made this affair memorable. Listening to this<br \/>\ndecades after it was recorded is still a heartbreak to<br \/>\nthose who witnessed the excitement of the girls live.<br \/>\nThis EP is a great excuse for these talented ladies to<br \/>\nre-form on their 20th anniversary and create the album<br \/>\nthey are still capable of putting together.<br \/>\n1 Affair of the Heart Stewart 2:50<br \/>\n2 Love Under Pressure Stewart 3:50<br \/>\n3 Calling Doctor Love! Stewart 3:58<br \/>\n4 Crime of the Heart Stewart 4:01<br \/>\n======================================================<\/p>\n<p>ONE TRUE HEART 1989<br \/>\n<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB674B666ADF731A65A0FD586EF57F6D96E373C8DFEC61D&amp;sql=10:7mmtk6ax9krd\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&#038;token=ADFEAEE47319DD49A87520E8BB0C65F68652DE39F670DAB73F08657A92961E65913E65CA46F68BA5DBB674B666ADF731A65A0FD586EF57F6D96E373C8DFEC61D&#038;sql=10:7mmtk6ax9krd<br \/>\n<\/a><\/p>\n<p>Review by Joe Viglione<\/p>\n<p>One True Heart is considered the legitimate sequel to<br \/>\nDidi Stewart&#8217;s brilliant but under-produced<br \/>\nKirshner\/CBS debut with her group, the Amplifiers,<br \/>\nBegin Here; people must be somehow forgetting the<br \/>\nimportant work she did with the band Girls Night Out,<br \/>\nwhom she founded and who rocked Boston to the core<br \/>\nduring the &#8217;80s. The singer of New England&#8217;s most<br \/>\ninfluential and popular female group, a cross between<br \/>\nthe power pop of the Go Go&#8217;s with classy<br \/>\nfrontwoman\/power vocalist Didi Stewart, who<br \/>\nresembledJanis Joplin with all the sweetness and none<br \/>\nof the growl. There is a Girls Night Out standard<br \/>\nhere, &#8220;When You Were Mine,&#8221; concluding the album<br \/>\n(actually performed better than the band did it), but<br \/>\nthis project is more than a souvenir from that act&#8217;s<br \/>\nfounder and lead singer, something much more. It is<br \/>\nDidi Stewart out to prove a point with a vengeance.<br \/>\n1982&#8217;s Begin Here contained 11 strong compositions and<br \/>\na great band, somehow missing the mark through<br \/>\ntransparent production. The Girls Night Out demo and<br \/>\nsubsequent EP suffered from even worse production,<br \/>\ndestroying a golden opportunity for all the women<br \/>\ninvolved to become stars. &#8220;Matter of Time&#8221; from those<br \/>\ndemos hit on local radio and contained the same vital<br \/>\nelements that made &#8216;Til Tuesday&#8217;s &#8220;Voice&#8217;s Carry&#8221; so<br \/>\nspecial (including similar rhythms). &#8220;River of Dreams&#8221;<br \/>\ncomes back with the power of a 30-foot wave, washing<br \/>\naway the bad feelings caused by the major-label<br \/>\ninterest evaporating, and an ex-manager mouthing off<br \/>\nin the press and blaming the star whose voice fed them<br \/>\nall for a couple of years. One can understand why One<br \/>\nTrue Heart is such a superb disc; it is a triumph,<br \/>\nwith Didi Stewart in full control, an elegant cover<br \/>\nphoto, marvelous selections, and sound quality this<br \/>\ngreat singer&#8217;s voice deserves. C. Franklin&#8217;s &#8220;Ain&#8217;t No<br \/>\nWay&#8221; is a capella, a showcase for Stewart&#8217;s pipes, a<br \/>\npowerful instrument which floored producer Jimmy<br \/>\nMiller during nightclub appearances when he negotiated<br \/>\nto produce her (GNO guitarist Wendy Sobel worked with<br \/>\nMr. Miller on three titles, one of the reasons he was<br \/>\nconstantly at Girls Night Out performances). The<br \/>\nremarkable songs, vocal prowess, and soul of Diane<br \/>\nStewart get support on the almost country-pop of her<br \/>\noriginal, &#8220;Still Waters,&#8221; by New Man&#8217;s bassist and<br \/>\ndrummer, Tim Archibald and Brock Avery. One has to<br \/>\nwonder about the subliminal message here, replacing<br \/>\nthe all-girl group who almost got signed with a band<br \/>\nwith such a masculine name, New Man, who did sign with<br \/>\nEpic Records. The only member of Stewart&#8217;s former band<br \/>\nwho makes an appearance is Cercie Miller on alto<br \/>\nsaxophone for the finale, &#8220;When You Were Mine.&#8221; In<br \/>\nbetween these grooves the singer covers gospel, Rod<br \/>\nArgent, Barry Mann, and Cynthia Weil, and has a great<br \/>\ntime in the process. One True Heart is the product of<br \/>\nan artist who keeps punching against the odds. It&#8217;s<br \/>\nthat true rock &amp; roll spirit which makes One True<br \/>\nHeart such a work of art. With the passion of a great<br \/>\njazz singer, which she doesnt get credit for, but is,<br \/>\nStewart tackles Madeira\/Dorsey&#8217;s &#8220;I&#8217;m Glad There Is<br \/>\nYou&#8221; as well as Rodgers and Hart&#8217;s &#8220;This Funny World.&#8221;<br \/>\nDidi Stewart can do it all, and does it all on this 1989 release. That the idea for this album came from executive producer Brian Flood while he and the singer were in the middle of a Polaroid jingle session is just so fitting, just so rock &amp; roll. What developed (it took more than 60 seconds) is a timeless look at a major singer and finally, a true representation of what she&#8217;s all about.<\/p>\n<p>&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;<br \/>\nTHE JONZUN CREW<\/p>\n<p>Down To Earth<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dzfoxqthldfe\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dzfoxqthldfe<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\"><i>Down to Earth<\/i> by the Jonzun Crew was originally released on the Tommy Boy label, re-released by A&amp;M, and is now back on Tommy Boy. All confusion aside, this funk\/rock\/techno album by <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kpfexqq5ldte\">Michael Jonzun<\/a>, his former wife <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0jftxq85ld0e\">Princess Loria<\/a>, and brothers <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:SONI%7CJONZUN\">Soni Jonzun<\/a> and <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfyxqugld6e\">Maurice Starr<\/a> is a highly listenable important cornerstone of Boston area music history. &#8220;Tonight&#8217;s the Night&#8221; is as melodic as <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:FALCO\">Falco<\/a>&#8216;s &#8220;Rock Me Amadeus,&#8221; and as commercial, but <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kpfexqq5ldte\">Jonzun<\/a>&#8216;s work came at least two years prior to <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:FALCO\">Falco<\/a>. The JC cover the spectrum; &#8220;We&#8217;re Going All the Way&#8221; is reshuffled Motown &#8212; <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kifqxqr5ldse\">the Temptations<\/a> about to turn into <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jifqxqr5ld6e\">New Kids on the Block<\/a>. Just a few years after the release of this disc, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfyxqugld6e\">Starr<\/a> and <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kpfexqq5ldte\">Jonzun<\/a> would unleash <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:NKOTB\">NKOTB<\/a>, the production evolution of their prior discovery, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hifqxqr5ld6e\">New Edition<\/a>, with different faces. Here is the sound that was the formula for success. Although <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kpfexqq5ldte\">Michael Jonzun<\/a> plays it tongue-in-cheek, this is serious rhythm &amp; blues\/pop. A shame that they did not have the opportunity that a Motown or even A&amp;M afforded other acts. <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kpfexqq5ldte\">Jonzun<\/a> is every bit as prolific as <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifixqr5ldhe\">Prince<\/a>, and a phenomenal stage performer. &#8220;You Got the Lovin'&#8221; is crossover pop with jangly guitar and keyboards that crackle. But the vocal work by the Jonzun Crew is truly what set the table for <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jifqxqr5ld6e\">New Kids on the Block<\/a>, and that vocal work makes the songs come to life. Where <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fuxq85ldte\">Private Lightning<\/a> on A&amp;M a few years earlier suffered from a less-than-adequate production of a great band &#8212; and could have benefited from <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kpfexqq5ldte\">Michael Jonzun<\/a>&#8216;s skills (just look what he did for <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:difyxqr5ldfe\">Peter Wolf<\/a>), all the elements for a smash are here. Both record labels involved in <i>Down to Earth<\/i> had a real masterpiece on their hands, an album that works as a cohesive piece of art, but touches upon many genres. Three tracks, &#8220;Redd Hott Mama,&#8221; &#8220;Lovin&#8217;,&#8221; and &#8220;Skool Daze&#8221; were not on the original Tommy Boy release. &#8220;Lovin'&#8221; is exquisite R&amp;B: an incessant bed of keys and percussion, with <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kpfexqq5ldte\">Jonzun<\/a>&#8216;s perfect voice gliding over it all. Catchy and smooth. &#8220;Mechanism&#8221; takes the band into the <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kifpxqe5ldde\">Kraftwerk<\/a> world of industrial\/dance\/techno. For those who wondered why such talented guys would generate the bubblegum that <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0zfwxqy5ldse\">Bobby Brown<\/a> and <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hifqxqr5ld6e\">the New Edition<\/a> spawned, all one has to do is look at a record industry that failed to give this essential group the flexibility it deserved, and earned. <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:a9fwxq8hldke\">Billy Loosigian<\/a> of Atlantic&#8217;s <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:apfoxq9jldde\">the Joneses<\/a> and MCA&#8217;s <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WILLIE%7CALEXANDER%7C&amp;%7CTH\">Willie Alexander &amp; the Boom Boom Band<\/a> adds guitar to &#8220;Lovin&#8217;,&#8221; &#8220;You Got the Lovin&#8217;,&#8221; &#8220;We&#8217;re Going All the Way,&#8221; and the rocking &#8220;Tonight.&#8221; &#8220;Mechanism&#8221; should be blasting on classic hits radio to bring that format some much needed flavor. This record is just waiting for a new audience to discover it.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>Cosmic Love<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:a9foxq95ldae\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:a9foxq95ldae<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">The Jonzun Crew&#8217;s long-awaited fourth album, <i>Cosmic Love<\/i>, was released on the BMG-distributed Critique label in 1990. <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MICHAEL%7CJONZUN\">Michael Jonzun<\/a> had &#8212; and still has &#8212; vast archives of songs recorded during this period. Like so many, the very excellent &#8220;Baby I Surrender&#8221; is not on this collection, but that doesn&#8217;t stop <i>Cosmic Love<\/i> from still being an important and highly listenable part of the <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JONZUN%7CBROTHERS\">Jonzun Brothers<\/a>&#8216; history. A band that should have released at least a dozen discs by this point in time, Mission Control Studios owner <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MICHAEL%7CJONZUN\">Michael Jonzun<\/a> crafted his album over many years, and the precision and care he put into <i>Cosmic Love<\/i> is obvious from start to finish. The controlled insanity of the band&#8217;s earlier success is absent, replaced by smooth soul, studied R&amp;B, and no-nonsense funk-rock. The title track shimmers with the vibrations found on the best records by <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CCOMMODORES\">the Commodores<\/a>, while &#8220;Write Me Off&#8221; sounds like a direction <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:STEVIE%7CWONDER\">Stevie Wonder<\/a> could have chosen. Why the <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:NEW%7CKIDS%7CON%7CTHE%7CBLOCK\">New Kids on the Block<\/a> weren&#8217;t brought in to promote this music in TV ads is perplexing &#8212; <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:NKOTB\">NKOTB<\/a> were huge at the time and core fans of Jonzun Crew couldn&#8217;t wait for their next release. There are ten songs here bookended by a prologue and epilogue, perfectly produced epics culminating in the superb &#8220;Wall of Fame.&#8221; The general public had no idea that this was the co-producer of two hugely popular groups, along with hit recordings by <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PETER%7CWOLF\">Peter Wolf<\/a>, and this album drifted into obscurity as one of the best kept secrets in Boston rock &amp; roll. <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:LA%7CVERN%7CBAKER\">La Vern Baker<\/a> producer <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BARRY%7CMARSHALL\">Barry Marshall<\/a> shows up on guitar, as does <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PHIL%7CGREENE\">Phil Greene<\/a> from the &#8217;70s band <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:SWALLOW\">Swallow<\/a> &#8212; there are lots of Boston &#8220;underground&#8221; names on the disc, yet the band was never embraced by the Boston &#8220;critics&#8221; and few understood the depth of Jonzun&#8217;s artistry. &#8220;Living in This World&#8221; is a nice ballad, while &#8220;Playhouse&#8221; is powerful dance-funk. The telling moment on the disc, though, the potential hit that never got the attention that it deserved is, as mentioned, the final song, &#8220;Wall of Fame.&#8221; This one tune contains all the finest elements of the Jonzun Crew&#8217;s best work, and that it didn&#8217;t take the charts by storm is a sin. &#8220;Ordinary Man,&#8221; &#8220;I Do Love You,&#8221; &#8220;Spotlight,&#8221; &#8220;This Time (Let&#8217;s Talk It Over&#8221;) could all hit for artists smart enough to seek this material out, but it is at its best when performed by <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MICHAEL%7CJONZUN\">Michael Jonzun<\/a>. Though <i>Cosmic Love<\/i> may have a few too many love songs and ballads for fans of the group&#8217;s earlier hits, &#8220;Space Cowboy&#8221; and &#8220;Pac Jam,&#8221; it still is an impressive artistic statement, and a beautiful work which deserves a better place in music history.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;-<\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">FACE TO FACE CONFRONTATION (1985)<\/td>\n<td align=\"right\"><\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\"><\/td>\n<td align=\"right\"><\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td colspan=\"2\" valign=\"top\"><a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dzfrxqy5ld6e\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dzfrxqy5ld6e<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\"><i>Confrontation<\/i> was the follow-up to the somewhat successful debut by the original Face to Face, and it is unfortunate that it is so faceless. <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ARTHUR%7CBAKER\">Arthur Baker<\/a> and <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ED%7CSTASIUM\">Ed Stasium<\/a> do succeed in turning this rock band into a disco act, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:LAURIE%7CSARGENT\">Laurie Sargent<\/a>&#8216;s beautiful voice becoming a part of the machinery, and that is the great disappointment here. &#8220;Shake the World&#8221; is difficult to differentiate from &#8220;Walk Into the Fire&#8221; &#8212; everything is channeled through <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BAKER\">Baker<\/a>&#8216;s incessant dance rhythms. Where &#8220;10-9-8&#8221; and &#8220;Under the Gun&#8221; from the first album jumped off that record and made some noise on the Billboard charts, the music on the <i>Confrontation<\/i> album is trying to be something it&#8217;s not. The songs are pretty good &#8212; <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:SARGENT\">Sargent<\/a>&#8216;s co-write, &#8220;A Boy Like You,&#8221; could almost work on a <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:GO-GO%5C%27S\">Go-Go&#8217;s<\/a> level (or album) if everything wasn&#8217;t washed in the detergent of the disco mix. The material is good, with none of the greatness of the previous outing, while the production is homogenized and pedestrian. What a shame. Face to Face was signed when <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DICK%7CWINGATE\">Dick Wingate<\/a> saw the band open for <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:RICK%7CBERLIN\">Rick Berlin<\/a> at the Paradise club in Boston &#8212; <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WINGATE\">Wingate<\/a> showed up to see <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BERLIN\">Berlin<\/a>&#8216;s current version of his band but fell for the first group on the bill. To <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WINGATE\">Wingate<\/a>&#8216;s credit, he took Face to Face to Mercury when he left Epic, but A&amp;R men are supposed to do a lot more. They are supposed to find a hit song if the band can&#8217;t write one, and are there to ensure the production doesn&#8217;t strip the band of its soul. <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WINGATE\">Wingate<\/a> failed on those two key points on <i>Confrontation<\/i>, and so does this album. It works better than the 1986 debut by <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:NEW%7CMAN\">New Man<\/a>, but not by much. Both <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:NEW%7CMAN\">New Man<\/a> and <i>Confrontation<\/i> are pretty unmemorable. A waste of <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:SARGENT\">Sargent<\/a>&#8216;s great rock &amp; roll voice. &#8220;Tell Me Why&#8221; and &#8220;Walk Into the Fire&#8221; might have better luck if put in a rock setting, but the original energy of this group got lost in the mechanics of the music biz. Not the first time this happened to talented artists, and it certainly won&#8217;t be the last.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>ONE BIG DAY 1988<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:3cfqxq85ld0e\"><br \/>\n<\/a><\/p>\n<p><a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:3cfqxq85ld0e\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:3cfqxq85ld0e<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">As A&amp;R man <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DICK%7CWINGATE\">Dick Wingate<\/a> moved from Epic\/Columbia to Mercury, so too did the band he discovered while scouting <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:RICK%7CKINSCHERF\">Rick Kinscherf<\/a>&#8216;s <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BERLIN%7CAIRLIFT\">Berlin Airlift<\/a>. This is a total turnaround, 180 degrees from the dance music that vaulted them into the rock discos with their first album and the phenomenal underground hit &#8220;10-9-8.&#8221; Sure, &#8220;A Place Called Home&#8221; has its dance drumbeats, but this is a rock band leaning more toward the acoustic rock which would emerge in the &#8217;90s, and which lead singer <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:LAURIE%7CSARGENT\">Laurie Sargent<\/a> would embrace. But here&#8217;s the problem with major labels: The album is so impressive it should have guaranteed this Face to Face another three or four opportunities to stretch out and find themselves a national audience. With immaculate production from <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ANTON%7CFIER\">Anton Fier<\/a>, the band has more of a groove than they ever had on <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:CONFRONTATION\">Confrontation<\/a> and their first effort for Epic, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:FACE%7CTO%7CFACE\">Face to Face<\/a>. Third time&#8217;s a charm, and this is one of the most fantastic-sounding unknown records you will ever find &#8212; many people don&#8217;t even know it exists and there&#8217;s probably a good reason for that. Nothing on here is catchy enough to be a hit single. &#8220;Change in the Wind&#8221; is indicative of the fine music that flows from beginning to end, with very little dynamics. Everything moves with a sameness &#8212; well crafted, well executed, but no surprises, no highs, no lows. &#8220;Never Had a Reason,&#8221; written by <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:STU%7CKIMBALL\">Stu Kimball<\/a>, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:SARGENT\">Sargent<\/a>, and <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ANGELO\">Angelo<\/a>, is seductive and calculated. Where a famous band like <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BREAD\">Bread<\/a> would put a couple of masterpieces that hit on a decent album like <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:GUITAR%7CMAN\">Guitar Man<\/a>, or a cult band like the U.K. group <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:SUTHERLAND%7CBROTHERS%7C&amp;\">Sutherland Brothers &amp; Quiver<\/a> will put a very respectable album together featuring underground classics which keep the chat rooms buzzing about essential music, this Boston band, Face to Face, delivered a professional collection of ten tunes which went nowhere. What they needed to do was put a cover or two to on <i>One Big Day<\/i> to get them out of their formula &#8212; <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DIDI%7CSTEWART\">Didi Stewart<\/a>&#8216;s &#8220;Matter of Time&#8221; or <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JON%7CBUTCHER\">Jon Butcher<\/a>&#8216;s &#8220;Life Takes a Life&#8221; or <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WILLIE%7CALEXANDER\">Willie Alexander<\/a>&#8216;s &#8220;You Looked So Pretty When&#8221; could have easily fit on this album and perhaps catapulted it into the charts. The band was familiar with those figures who were performing in the same environment with them &#8212; the &#8217;80s Boston scene, and an extraordinary song was the key ingredient missing from this listenable and very slick project. Of all these originals, &#8220;I Believe in You&#8221; had the best shot.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&nbsp;<\/p>\n<p>THE RINGS on AMG<\/p>\n<p><a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;searchlink=THE%7CRINGS&amp;sql=11:jpfixq95ldhe%7ET2\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;searchlink=THE|RINGS&amp;sql=11:jpfixq95ldhe~T2<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>THE RINGS 1980<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:3xfexqu5ld6e\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:3xfexqu5ld6e<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">The self-titled debut album from <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:THE%7CRINGS\">The Rings<\/a> had everything going for it: great production by the band, management by New England promotion guy <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:a9foxqwgldse\">Al Perry<\/a>, putting them in the same envious position held by <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">the Cars<\/a>, representation by a guy who knew all the right radio people, and excellent songwriting by everyone in the group. Comparisons to <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">the Cars<\/a> are obvious, but <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3cfuxqw5ldse\">Michael Baker<\/a> shared the limelight with bassist <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:dbfoxq85ldfe\">Bob Gifford<\/a> and lead guitarist <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3pfuxq8gldde\">Mark Sutton<\/a>. Maybe the problem with selling the group was their lack of image. The album cover, a pink hula hoop descending on a swimming pool, may not have been as exciting as the rings of Saturn, and the photos of drummer <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:azfwxqlgldfe\">Matt Thurber<\/a> and the rest of the group are so plain that they mislead. The band is closer to <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifixqe5ld6e\">Devo<\/a> in style, but the Rings&#8217; eclectic pop was far more commercial. From the sounds of the last track &#8220;Third Generation&#8221; and its psychedelic <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gifixqw5ld6e\">Harry Belafonte<\/a> riff, to the magnetism of the first track, &#8220;Opposites Attract,&#8221; this band had everything going for it. &#8220;I Need Strange&#8221; is the quintessential anthem for men on the prowl; &#8220;Got My Wish&#8221; is a stunner, a pop tune that pulls you into its space; and &#8220;Watch You Break&#8221; is just tremendous with infectious music and lyrics. Was it MCA that couldn&#8217;t deliver superstardom for these guys? Or was it just bad luck that made for only two major-label releases and no national spotlight? They had a local following, and from the basic rock &amp; roll of &#8220;My Kinda Girl&#8221; &#8212; almost an answer to <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifexqr5ldje\">the Real Kids<\/a> &#8220;All Kinda Girls&#8221; &#8212; to &#8220;Who&#8217;s She Dancing With,&#8221; the Rings pretty much cover the musical spectrum of rock without doing a ballad. &#8220;I Need Strange&#8221; is <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">the Cars<\/a> doing an up-tempo &#8220;Moving in Stereo&#8221; &#8212; just terrific. There&#8217;s not a bad track on this album and it is such a shame that they came and went like a great web page you try to save, but it&#8217;s gone before you know it.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>RHYTHM METHOD THE RINGS 1981<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dxfexqu5ld6e\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dxfexqu5ld6e<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">With a better image on the back cover photo than the pictures in the previous album &#8212; and a dreadful front cover drawing by <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:LARRY%7CBLAMIRE\">Larry Blamire<\/a> &#8212; the wonderful Rings lean more toward <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifqxqugldae\">Roxy Music<\/a> meets <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kifuxqe5ld0e\">Herman&#8217;s Hermits<\/a> on their second album released the same year as their first. &#8220;Uh Oh (Here I Go Again)&#8221; is a very clever sequel to &#8220;Let Me Go,&#8221; their minor hit from the first LP, and sounding nothing like the first disc. The progression on this album is amazing considering how quickly it followed on the heels of the self-titled debut. &#8220;Take the Chance&#8221; is <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:difpxqr5ldae\">Split Enz<\/a> meets <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kiftxqr5ldde\">the Ventures<\/a>, these guys mop riffs right and left, but they key is, they know where to lift, and when. More cohesive than albums released in the same time period by <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fwxqr5ldae\">the Atlantics<\/a> on ABC, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifixq8kld6e\">Willie Alexander<\/a> also on MCA, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:j9foxqu5ldde\">Robin Lane<\/a> on Warner Bros., <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fuxq85ldte\">Private Lighting<\/a> on A&amp;M, and <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:d9frxq85ldae\">the Nervous Eaters<\/a> on Elektra, the Rings have the benefit of their own production skills, their fate squarely in their own hands. They overcame the production curse that imploded all the aforementioned groups&#8217; efforts, but, despite that plus, this superb music just never caught on. <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3cfuxqw5ldse\">Michael Baker<\/a>&#8216;s &#8220;Talk Back&#8221; equals his work on the first album, but nothing here achieved the regional airplay in New England like the Rings&#8217; debut. This project is crisp, the vocals are on target, and the band captured something at the Record Plant in New York which many of their peers could not &#8212; the performance of their live energy to the studio recordings. &#8220;Love&#8217;s Not Safe&#8221; is quirky pop that works, and the title track truly experimental, but the material is not as explosive as their brilliant debut. Still, it&#8217;s top-shelf stuff. <i>The Rhythm Method<\/i> and the previous outing, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:THE%7CRINGS\">The Rings<\/a>, would make a nice retrospective combined on one CD. Innovative music that somehow escaped attention.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>Face To Face 1984<br \/>\n<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:abfpxq85ld6e\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:abfpxq85ld6e<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">With help from dance producer <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ARTHUR%7CBAKER\">Arthur Baker<\/a> and <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:RINGS\">Rings<\/a> musician <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MICHAEL%7CBAKER\">Michael Baker<\/a>, Face to Face craft their first and best of three albums (four, if you include the <i>Streets Of Fire<\/i> soundtrack). There&#8217;s nothing like a hit record, and &#8220;10-9-8&#8221; is a great hit, though nationally it failed to make the Top 20 and hovered in the 30 range of chart action, it follows &#8220;Under the Gun&#8221; on side two in terrific fashion. &#8220;10-9-8&#8221; is a mesmerizing song with little nicks from <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:CHIC\">Chic<\/a>&#8216;s 1979 tune &#8220;I Want Your Love&#8221;; it has groove, passion, and solid production work from <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ARTHUR%7CBAKER\">Arthur Baker<\/a>. Though <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JIMMY%7CIOVINE\">Jimmy Iovine<\/a>, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:GORDON%7CPERRY\">Gordon Perry<\/a>, and <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MICHAEL%7CBAKER\">Michael Baker<\/a> produce four of the songs, it is the two by <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ARTHUR%7CBAKER\">Arthur Baker<\/a> which resonate loud and clear. That probably led to <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BAKER\">Baker<\/a>&#8216;s producing eight of the ten tracks with <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ED%7CSTASIUM\">Ed Stasium<\/a> on the follow-up album, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:CONFRONTATION\">Confrontation<\/a>, an album which had three producers and <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BOB%7CCLEARMOUNTAIN\">Bob Clearmountain<\/a> mixing, but no songs as memorable as the three noted in this review from the band&#8217;s debut. <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MICHAEL%7CBAKER\">Michael Baker<\/a> adds his <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:RINGS\">Rings<\/a> magic on &#8220;Don&#8217;t Talk Like That,&#8221; the rock &amp; roll which would evaporate on subsequent albums cutting through the electronic drums. Though &#8220;Out of My Hands&#8221; opens up the self-titled <i>Face to Face<\/i> disc with power and intensity, the basic problem that haunted this band is the thin rhythm section &#8212; poor <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WILLIAM%7CBEARD\">William Beard<\/a> hardly sounds like he&#8217;s playing on the vinyl, and <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHN%7CRYDER\">John Ryder<\/a>&#8216;s bass doesn&#8217;t have the <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JACK%7CBRUCE\">Jack Bruce<\/a> bottom needed to add some color to the magical sounds <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ANGELO\">Angelo<\/a> and <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:STU%7CKIMBALL\">Stu Kimball<\/a> weave around <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:LAURIE%7CSARGENT\">Laurie Sargent<\/a>&#8216;s excellent gritty voice. She helps &#8220;Out of My Hands&#8221; rise above its limitations. &#8220;Face in Front of Mine&#8221; might be the best song on side one. It borrows heavily from <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:FLEETWOOD%7CMAC\">Fleetwood Mac<\/a>&#8216;s &#8220;Sarah,&#8221; which came out five years earlier. &#8220;All Because of You&#8221; and &#8220;Pictures of You&#8221; suffer when <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:SARGENT\">Sargent<\/a>&#8216;s not fronting &#8212; it was like <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JANIS%7CJOPLIN\">Janis Joplin<\/a> taking a back seat to <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BIG%7CBROTHER%7C&amp;%7CTHE%7CHOL\">Big Brother &amp; the Holding Company<\/a> on the first Mainstream album &#8212; when you&#8217;ve got a <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:SINATRA\">Sinatra<\/a> who wants to hear the opening act? If anything, the semi-duets and male vocals really prove it was <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:LAURIE%7CSARGENT\">Laurie Sargent<\/a>&#8216;s show. The strengths of this album are the hits, &#8220;Under the Gun&#8221; and &#8220;10-9-8,&#8221; especially when <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:LAURIE%7CSARGENT\">Laurie Sargent<\/a> goes into high gear. &#8220;Face in Front of Mine&#8221; is a close third &#8212; and the album and band should have caught on. To find another group taking their trademark years later says something about how music isn&#8217;t always treated as the art that it is.<br \/>\nCONFRONTATION 1985<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dzfrxqy5ld6e\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dzfrxqy5ld6e<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\"><i>Confrontation<\/i> was the follow-up to the somewhat successful debut by the original Face to Face, and it is unfortunate that it is so faceless. <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ARTHUR%7CBAKER\">Arthur Baker<\/a> and <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ED%7CSTASIUM\">Ed Stasium<\/a> do succeed in turning this rock band into a disco act, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:LAURIE%7CSARGENT\">Laurie Sargent<\/a>&#8216;s beautiful voice becoming a part of the machinery, and that is the great disappointment here. &#8220;Shake the World&#8221; is difficult to differentiate from &#8220;Walk Into the Fire&#8221; &#8212; everything is channeled through <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BAKER\">Baker<\/a>&#8216;s incessant dance rhythms. Where &#8220;10-9-8&#8221; and &#8220;Under the Gun&#8221; from the first album jumped off that record and made some noise on the Billboard charts, the music on the <i>Confrontation<\/i> album is trying to be something it&#8217;s not. The songs are pretty good &#8212; <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:SARGENT\">Sargent<\/a>&#8216;s co-write, &#8220;A Boy Like You,&#8221; could almost work on a <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:GO-GO%5C%27S\">Go-Go&#8217;s<\/a> level (or album) if everything wasn&#8217;t washed in the detergent of the disco mix. The material is good, with none of the greatness of the previous outing, while the production is homogenized and pedestrian. What a shame. Face to Face was signed when <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DICK%7CWINGATE\">Dick Wingate<\/a> saw the band open for <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:RICK%7CBERLIN\">Rick Berlin<\/a> at the Paradise club in Boston &#8212; <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WINGATE\">Wingate<\/a> showed up to see <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BERLIN\">Berlin<\/a>&#8216;s current version of his band but fell for the first group on the bill. To <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WINGATE\">Wingate<\/a>&#8216;s credit, he took Face to Face to Mercury when he left Epic, but A&amp;R men are supposed to do a lot more. They are supposed to find a hit song if the band can&#8217;t write one, and are there to ensure the production doesn&#8217;t strip the band of its soul. <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WINGATE\">Wingate<\/a> failed on those two key points on <i>Confrontation<\/i>, and so does this album. It works better than the 1986 debut by <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:NEW%7CMAN\">New Man<\/a>, but not by much. Both <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:NEW%7CMAN\">New Man<\/a> and <i>Confrontation<\/i> are pretty unmemorable. A waste of <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:SARGENT\">Sargent<\/a>&#8216;s great rock &amp; roll voice. &#8220;Tell Me Why&#8221; and &#8220;Walk Into the Fire&#8221; might have better luck if put in a rock setting, but the original energy of this group got lost in the mechanics of the music biz. Not the first time this happened to talented artists, and it certainly won&#8217;t be the last.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>ONE BIG DAY 1988<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:3cfqxq85ld0e\"><br \/>\n<\/a><\/p>\n<p><a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:3cfqxq85ld0e\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:3cfqxq85ld0e<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\"><\/td>\n<td align=\"right\"><\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\"><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">As A&amp;R man <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DICK%7CWINGATE\">Dick Wingate<\/a> moved from Epic\/Columbia to Mercury, so too did the band he discovered while scouting <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:RICK%7CKINSCHERF\">Rick Kinscherf<\/a>&#8216;s <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BERLIN%7CAIRLIFT\">Berlin Airlift<\/a>. This is a total turnaround, 180 degrees from the dance music that vaulted them into the rock discos with their first album and the phenomenal underground hit &#8220;10-9-8.&#8221; Sure, &#8220;A Place Called Home&#8221; has its dance drumbeats, but this is a rock band leaning more toward the acoustic rock which would emerge in the &#8217;90s, and which lead singer <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:LAURIE%7CSARGENT\">Laurie Sargent<\/a> would embrace. But here&#8217;s the problem with major labels: The album is so impressive it should have guaranteed this Face to Face another three or four opportunities to stretch out and find themselves a national audience. With immaculate production from <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ANTON%7CFIER\">Anton Fier<\/a>, the band has more of a groove than they ever had on <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:CONFRONTATION\">Confrontation<\/a> and their first effort for Epic, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:FACE%7CTO%7CFACE\">Face to Face<\/a>. Third time&#8217;s a charm, and this is one of the most fantastic-sounding unknown records you will ever find &#8212; many people don&#8217;t even know it exists and there&#8217;s probably a good reason for that. Nothing on here is catchy enough to be a hit single. &#8220;Change in the Wind&#8221; is indicative of the fine music that flows from beginning to end, with very little dynamics. Everything moves with a sameness &#8212; well crafted, well executed, but no surprises, no highs, no lows. &#8220;Never Had a Reason,&#8221; written by <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:STU%7CKIMBALL\">Stu Kimball<\/a>, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:SARGENT\">Sargent<\/a>, and <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ANGELO\">Angelo<\/a>, is seductive and calculated. Where a famous band like <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BREAD\">Bread<\/a> would put a couple of masterpieces that hit on a decent album like <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:GUITAR%7CMAN\">Guitar Man<\/a>, or a cult band like the U.K. group <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:SUTHERLAND%7CBROTHERS%7C&amp;\">Sutherland Brothers &amp; Quiver<\/a> will put a very respectable album together featuring underground classics which keep the chat rooms buzzing about essential music, this Boston band, Face to Face, delivered a professional collection of ten tunes which went nowhere. What they needed to do was put a cover or two to on <i>One Big Day<\/i> to get them out of their formula &#8212; <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DIDI%7CSTEWART\">Didi Stewart<\/a>&#8216;s &#8220;Matter of Time&#8221; or <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JON%7CBUTCHER\">Jon Butcher<\/a>&#8216;s &#8220;Life Takes a Life&#8221; or <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WILLIE%7CALEXANDER\">Willie Alexander<\/a>&#8216;s &#8220;You Looked So Pretty When&#8221; could have easily fit on this album and perhaps catapulted it into the charts. The band was familiar with those figures who were performing in the same environment with them &#8212; the &#8217;80s Boston scene, and an extraordinary song was the key ingredient missing from this listenable and very slick project. Of all these originals, &#8220;I Believe in You&#8221; had the best shot.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>RUBBER RODEO SCENIC VIEWS 1984<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dxfuxqu5ldke\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dxfuxqu5ldke<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\"><a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifexqw5ldse\">Bauhaus<\/a>\/<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fifyxqe5ldhe\">Echo &amp; the Bunnymen<\/a>\/<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fifexqe5ldte\">Modern English<\/a> producer\/engineer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fjfqxql5ldae\">Hugh Jones<\/a> was brought aboard for the major-label debut of Boston&#8217;s Rubber Rodeo, a group that had released music on Eat Records \u2014 an imprint owned by its manager, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kpfoxq9gldhe\">Don Rose<\/a>. And <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fjfqxql5ldae\">Jones<\/a> gave the group that glossy dance-oriented slick British sound. The problem is that guitarist\/vocalist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:a9fuxqqaldde\">Bob Holmes<\/a> (a different fellow from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wiftxqr5ldse\">Til Tuesday<\/a> guitarist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:knfyxqy5ldae\">Robert Holmes<\/a>) and vocalist\/keyboardist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hxfoxqrgldte\">Trish Milliken<\/a> don&#8217;t have the personalities to bring the performances home. Though it is a sound <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:dxfqxq95ldje\">Aimee Mann<\/a> had success with (even utilizing <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wiftxqr5ldse\">Til Tuesday<\/a> engineer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kxfyxqwhldse\">William Garrett<\/a>), that essential element \u2014 a quirky presence beyond the music \u2014 is absent. Their regional contemporaries, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gxfyxqqgldhe\">New Man<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wzfpxqr0ldje\">Down Avenue<\/a>, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3xfuxqqgldhe\">November Group<\/a> all suffered the same dilemma and all met with limited success. The song &#8220;The Hardest Thing,&#8221; which leads off side two, was remixed by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fjfqxql5ldae\">Jones<\/a> for a 45-rpm 12&#8243; extended from three minutes and 15 seconds to four and a half minutes, in what they called a &#8220;s-t-r-e-t-c-h-m-i-x,&#8221; but despite the merits found in the execution and attitude the music was as plastic as the name. Manager <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kpfoxq9gldhe\">Rose<\/a> went on to create Rykodisc, an international label that caused a splash by reissuing the catalogs of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:giftxqw5ldde\">David Bowie<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kbfoxqe5ldde\">Frank Zappa<\/a>; the inclusion of even one of those personalities is the missing ingredient that could have lifted this perfectly played music to another level. &#8220;Need You Need Me&#8221; is exactly what the latter-day <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:a9fqxqu5ldse\">Paul Kantner<\/a>\/<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:djfuxqrgldhe\">Jefferson Starship<\/a> would give the world in the 1990s, uptempo folksy rock with guy\/girl voices, only here it is with a snappy dance beat. Of course, had a decent song like &#8220;Slow Me Down&#8221; found itself beaten into listeners&#8217; consciousness day after day on the radio waves, the result would have been an entirely different story. Another Boston group, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:g9fpxqy5ld0e\">Face to Face<\/a>, did get its 15 minutes with this formula, and despite the derivative nature, <i>Scenic Views<\/i> is still a listenable and interesting effort.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>HEARTBREAK HIGHWAY 1986 Rubber Rodeo<\/p>\n<p><a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:gcfexqu5ldte\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:gcfexqu5ldte<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">What are the chances that two guitarists named <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:knfyxqy5ldae\">Robert Holmes<\/a> would be in two signed bands from Boston in the 1980s? Rubber Rodeo&#8217;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:a9fuxqqaldde\">Bob Holmes<\/a> had a sound not dissimilar from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wiftxqr5ldse\">Til Tuesday<\/a>&#8216;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:knfyxqy5ldae\">Robert Holmes<\/a>, and with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:gifuxqq5ld0e\"><i>Ziggy Stardust<\/i><\/a> producer\/engineer<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kzfqxqq5ldhe\">Ken Scott<\/a> aboard for the second album, <i>Heartbreak Highway<\/i>, Rubber Rodeo had a more defined presentation and better material than what was found on the group&#8217;s first Mercury disc, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:dxfuxqu5ldke\"><i>Scenic Views<\/i><\/a>. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kzfqxqq5ldhe\">Scott<\/a> worked with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifixqe5ld6e\">Devo<\/a> in 1979, and hit with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifwxqe5ldte\">Missing Persons<\/a>&#8216; &#8220;Destination Unknown&#8221; and &#8220;Words&#8221; as well as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jiftxqe5ldse\">Kansas<\/a>&#8216; &#8220;Play the Game Tonight&#8221; in 1982, some sterling credentials to enhance this fine effort from New England&#8217;s band with the strange name, Rubber Rodeo. Departing steel guitarist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:dxfpxqtgldse\">Mark Tomeo<\/a> had some rather harsh words for <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kzfqxqq5ldhe\">Scott<\/a>&#8216;s production talents, but that work holds up and \u2014 as stated \u2014 works much better this second time around than the highly derivative project that came before it. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hxfoxqrgldte\">Trish Milliken<\/a> sounds more like <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:h9fpxqt0ldde\">Girls Night Out<\/a>&#8216;s<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wpfwxqy5ld6e\">Didi Stewart<\/a> here, and delivers a terrific song that should have been a smash \u2014 &#8220;If You&#8217;re Ever Alone.&#8221; Written by the singer and her partner, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:a9fuxqqaldde\">Bob Holmes<\/a>, it is simply tremendous. The cover of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifixqq5ld6e\">Fred Neil<\/a>&#8216;s &#8220;Everybody&#8217;s Talkin'&#8221; opens with a bit of that &#8220;water guitar&#8221; sound <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gbfrxqu5ldse\">Vinnie Bell<\/a> put on <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifoxql5ldfe\">Ferrante &amp; Teicher<\/a>&#8216;s &#8220;Midnight Cowboy&#8221; theme. The rendition is interesting, again giving the band a slight British flavor. Followed by &#8220;Souvenir&#8221; \u2014 a duet between the two front people \u2014 there are three strong moments here that prove the band was heading in the right direction. It&#8217;s too bad that they were on a real-life &#8220;heartbreak highway,&#8221; because it was coming together on this disc and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kzfqxqq5ldhe\">Scott<\/a> helped put the material in the right setting. &#8220;When Words Collide&#8221; continues the intensity and, though the band still feels like an amalgam of what was going on in the Boston scene at the time, influences from local bands <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wiftxqr5ldse\">Til Tuesday<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CMAPS\">the Maps<\/a> to <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MR.%7CCURT\">Mr. Curt<\/a>&#8216;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:PASTICHE\">Pastiche<\/a> generously finding their way into the grooves, the album proves to be a valuable albeit forgotten effort from a group that gave it a good go. The final track, &#8220;Maybe Next Year,&#8221; has that hopeful optimism that the band as a whole needed \u2014 the sentiment an unfulfilled wish as this episode brought it to a close. But it&#8217;s still fine stuff.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>Michael Fremer I CAN TAKE A JOKE<\/p>\n<p><a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jxftxqt0ldke\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jxftxqt0ldke<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&nbsp;<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>THE ATLANTICS BIG CITY ROCK<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jpfuxq85ld0e\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jpfuxq85ld0e<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\"><a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fwxqr5ldae\">The Atlantics<\/a> were a highly entertaining and popular club band in the 1970&#8217;s Boston scene. The local radio shows gave them hit after hit, most notably a tape &#8220;Pop Shivers&#8221; and a tremendous 45 rpm &#8220;Lonely Hearts,&#8221; which <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0xfpxqqgldje\">Gary Private<\/a> had a minor hit with after the fact, but neither title is on this ABC Records debut. Manager <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hvfyxqljldse\">Fred Munao<\/a>&#8216;s wife <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:SUSAN%7CMUNAO\">Susan Munao<\/a> was busy managing <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kiftxqr5ldae\">Donna Summer<\/a>, and the difference between solid vocalist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kiftxqr5ldae\">Summer<\/a>&#8216;s string of hit singles and this band with so much potential is the fact that lead singer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gifuxqqgld6e\">Bobby Marron<\/a> was OK, just not good enough. Add that to the fact that this recording, produced by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wpfoxq8gldje\">John Stronach<\/a>, sounds strained, and the reason they failed to chart becomes obvious. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fpxqegldse\">Fred Pineau<\/a>&#8216;s guitar licks are certainly electric enough, but as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kpfixqw5ldfe\">Elliot Easton<\/a> of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">the Cars<\/a> was never allowed to do on record what fans saw him do in the same nightclubs where <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fwxqr5ldae\">the Atlantics<\/a> performed, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fpxqegldse\">Pineau<\/a> also is used here as a solid rhythm, his leads limited, not allowed to pour his inventive guitar blasts all over these pop tunes. Jolts that the songs need. Founding member and co-songwriter <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:anfixquhldse\">Jeff Locke<\/a> left this band to form <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fjfpxq9jldke\">UXB<\/a>, a formidable pop unit with precise vocals and songs that hit the mark; but <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:anfixquhldse\">Locke<\/a> left the nest with no professional guidance, so outside of some college radio success, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fjfpxq9jldke\">UXB<\/a> went nowhere, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fwxqr5ldae\">the Atlantics<\/a> minus <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:anfixquhldse\">Locke<\/a>, even touring with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifqxqugldae\">Roxy Music<\/a> or opening for <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fifyxqw5ldte\">Alice Cooper<\/a>, couldn&#8217;t bring titles like &#8220;I Can&#8217;t Help It&#8221; to the masses. When You&#8217;re Young has that <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:giftxqw5ldde\">David Bowie<\/a> groove from &#8220;Boys Keep Swinging,&#8221; but <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fwxqr5ldae\">the Atlantics<\/a> can&#8217;t break out of the pop constraints, nor do they push the envelope beyond their self-imposed limitations. &#8220;Modern Times Girl&#8221; has the elements, but the production fails to pull it off. It needed a touch of grunge, a little electricity, and to stop being so cutesy. The record feels as forced as the photographs on the front and back of the album cover, and that was not what <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fwxqr5ldae\">the Atlantics<\/a> were about onstage. Perhaps a best-of live album would&#8217;ve been a better shot for the band. This album misses the bull&#8217;s-eye by a few yards. The cover of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wpfexqe5ldae\">Martha &amp; the Vandellas<\/a> Top Ten hit &#8220;Nowhere to Run&#8221; does just that \u2014 it goes nowhere. Rather than be creative and add to the legacy of that tune, the band zips through it like a bad cover act. &#8220;Waiting for My Baby&#8221; might&#8217;ve been a hit had <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fwxqygldse\">Martha Reeves<\/a> covered this rather than <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fwxqr5ldae\">the Atlantics<\/a> re-recording her music. And the rest of side two descends into a redundant recycling of the same thin production and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MARRON\">Marron<\/a>&#8216;s pretentious voice. The band had lots of heart, but they should have studied <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fifoxqw5ld0e\">ABBA<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifrxqw5ldse\">the Beatles<\/a>, and even their local peers, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">the Cars<\/a>, to really make a go at the brass ring. For their years of apprenticeship and success in Boston, to deliver this to their fans is a major, major disappointment. With the tragic death of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:B.WILKINSON\">B.Wilkinson<\/a>, a reunion may be impossible. Finding great live tapes of their finest moments may be in order.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>GARY PRIVATE SECRET LOVE 1983<br \/>\nNot from Boston but he hit with &#8220;Lonely Hearts&#8221; and was produced by Bostonian Fred Munao<br \/>\n<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:j9frxqlhldhe\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:j9frxqlhldhe<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">Gary Private sounds like <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHN%7CMELLENCAMP\">John Mellencamp<\/a> if he went dance. His four originals were produced by Select Records owner <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:FRED%7CMUNAO\">Fred Munao<\/a> (ex-husband of <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DONNA%7CSUMMER\">Donna Summer<\/a>&#8216;s manager, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:SUSAN%7CMUNAO\">Susan Munao<\/a>), and they have a certain charm, though the title track on <i>Secret Love<\/i>, which garnered much attention, is a remake of the song &#8220;Lonely Hearts.&#8221; &#8220;Lonely Hearts&#8221; was a huge Boston hit by <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CATLANTICS\">the Atlantics<\/a>, a band managed by <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MUNAO\">Munao<\/a>. After their major-label debut fizzled, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:TOM%7CHAUCK\">Tom Hauck<\/a> of <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CATLANTICS\">the Atlantics<\/a> composed what should have been an international hit (yet another reason major labels should nurture acts and give them the opportunity to get to the next level). The original 45 rpm version is on Rhino&#8217;s <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:D.I.Y.:%7CMASS.%7CAVE.:%7CT\">D.I.Y.: Mass. Ave.: The Boston Scene (1979-83)<\/a> disc, but this remake has crisper production and heavier drums, and was released on Atlantic Records. The title track, &#8220;Secret Love,&#8221; opens with <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THOMAS%7CDOLBY\">Thomas Dolby<\/a>&#8216;s &#8220;She Blinded Me With Science&#8221; keyboards by <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:KENNI%7CHAIRSTON\">Kenni Hairston<\/a> and cool guitar blasts from <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ELLIOTT%7CRANDALL\">Elliott Randall<\/a>. A version of &#8220;Don&#8217;t Go Walking in the Dark&#8221; features <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:KENNY%7CAARONSON\">Kenny Aaronson<\/a> from <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:STORIES\">Stories<\/a> and <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DUST\">Dust<\/a> on bass. It&#8217;s a driving pop number with a great hook. He still sounds like <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHN%7CCOUGAR\">John Cougar<\/a> if he went dance, though, with <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:VAN%7CHALEN\">Van Halen<\/a>-style keyboards and interesting sound effects from producer <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MUNAO\">Munao<\/a>. &#8220;Caught up in Los Angeles&#8221; is a heavy ballad with vivid lyrics splashing in a hot tub, &#8220;just friends in a Mercedes Benz.&#8221; Private is more fun than <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MELLENCAMP\">Mellencamp<\/a> because he doesn&#8217;t take it all so seriously. Nifty modulation in &#8220;Caught up in Los Angeles,&#8221; too, and where <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:FRED%7CMUNAO\">Fred Munao<\/a> and <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CATLANTICS\">the Atlantics<\/a> missed the mark with that band&#8217;s major-label disc, the producer and Gary Private pull it off here on these originals. Having a member of <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:STORIES\">Stories<\/a> performing on a regional classic like &#8220;Lonely Hearts&#8221; is a nice touch, but the vocal cops the original when Private should have just been himself. It&#8217;s what the song needed. <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:FRED%7CPINEAU\">Fred Pineau<\/a>&#8216;s blistering solo from the original can&#8217;t be duplicated by <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:ROBERT%7CMACHE\">Robert Mache<\/a> here, and the keyboard\/drum segment goes on a bit too long, but the song still has that something special, and this version is worth hearing. &#8220;Waiting for You&#8221; ends the EP, and again Private displays instincts that eluded <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BILLY%7CFALCON\">Billy Falcon<\/a> and other contenders. <i>Secret Love<\/i> is listenable stuff and gets an A for effort.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>Elliot Easton Change, No Change<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jcfexqu5ldae\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jcfexqu5ldae<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">Elliot Easton is a truly gifted and totally underrated guitarist. His talents were not utilized to the fullest in <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">the Cars<\/a>, nor should he be sprucing up covers of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifixqe5ldje\">John Fogerty<\/a> tunes in a clone band, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jifixqw5ldte\">Creedence Clearwater Revisited<\/a>. With an opportunity to help his own cause, <i>Change No Change<\/i> disappoints on many levels. Easton is a terrible vocalist and listening to &#8220;I Want You&#8221; is downright painful for fans who saw and heard notes sparkle out of his axe prior to <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">the Cars<\/a> getting signed. This was Easton&#8217;s opportunity to be recognized as a <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifexqe5ldfe\">Phil Manzanera<\/a>, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:f9ftxqu5ldfe\">Alvin Lee<\/a>, or <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0xfwxqe5ldte\">Craig Chaquico<\/a>, but instead of using the &#8220;Tools of Your Labor,&#8221; to quote the first song on his disc, and making a statement, he tries to be something he is not. Where <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gpfoxqy5ldfe\">Michael Bruce<\/a> of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ALICE%7CCOOPER\">Alice Cooper<\/a> fell into the same trap, failing to entertain by coming up with something as genuine and innovative as the group that brought him fame, Easton at least presents elements of why his sound was such an important component of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">the Cars<\/a>&#8216; success. Both &#8220;The Hard Way&#8221; and &#8220;Fight My Way to Love&#8221; have clever ideas and passages that cry out for someone to sing them and bring these songs to life. Why have <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifpxqr5ld0e\">Jules Shear<\/a> merely provide backing vocals when you have the bassist from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifwxqe5ldte\">Ministry<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">the Cars<\/a>&#8216; guitarist all in one talent pool? &#8220;Shayla,&#8221; &#8220;Help Me,&#8221; and &#8220;(She Made It) New for Me&#8221; are <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fjfqxq85ldde\">Nick Lowe<\/a>\/<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fexqy5ldte\">Ian Gomm<\/a>-style pop songs with Easton doing his best imitation of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifyxqw5ldte\">Elvis Costello<\/a>. Where <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wpfixqw5ldte\">Greg Hawkes<\/a> put together a distinctive and classy solo outing with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:NIAGRA%7CFALLS\">Niagra Falls<\/a>, his former bandmate forces it on songs like &#8220;Wide Awake,&#8221; sounding like <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:difrxqr5ldfe\">Brian Wilson<\/a> propped up in front of the mic when he should have been in a hospital. Rhino has released this with five additional tracks but, like Easton&#8217;s guitar skills, this album needed a chance to shine. It&#8217;s too bad Easton didn&#8217;t bring in different singers and have some fun, for at least this record shows more creativity than playing &#8220;Proud Mary&#8221; in a cover band. It&#8217;s better than <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CSPIDERS%7CFROM%7CMARS\">the Spiders From Mars<\/a> disc after they were ejected from the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:giftxqw5ldde\">David Bowie<\/a> experience, but for a man this talented, <i>Change No Change<\/i> is a big letdown.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>GREG HAWKES NIAGRA FALLS 1983<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kcfuxq85ldke\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kcfuxq85ldke<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">Greg Hawkes titled his solo album after the bit in the <i>Three Stooges<\/i> television program, &#8220;Niagra Falls, slowly I turn, step by step.&#8221; A futuristic city on a computer grid in glowing white graces the cover, sort of like a scene from the film <i>The Thirteenth Floor<\/i>. This is a true solo album, most of the ambitious sounds being generated by Hawkes, with additional flutes on &#8220;Voyage Into Space&#8221; performed by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:ELAINE%7CHAWKES\">Elaine Hawkes<\/a>. His unique vision was one of the most important components of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">the Cars<\/a>&#8216; success, and the mellow nuances of &#8220;The Missing Link&#8221; display those strengths apart from the full group. Where a <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:abfuxqe5ldhe\">Brian Eno<\/a> approached his role in <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifqxqugldae\">Roxy Music<\/a> from the perspective of a &#8220;non-musician,&#8221; Greg Hawkes is a very gifted and focused player, whether it be adding saxophone to <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifpxq95ldje\">Martin Mull<\/a> recordings or finding his keyboard creativity desired by acts as diverse as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fxftxqe5ldfe\">Letters to Cleo<\/a>, producer\/keyboardist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:f9foxq85ldje\">Andy Mendelson<\/a>, bandmates <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aiftxqr5ld6e\">Ric Ocasek<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:w9fexqlgld0e\">Ben Orr<\/a> from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">the Cars<\/a> on their solo projects, or <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jifyxqe5ldfe\">Sir Paul McCartney<\/a>. <i>Niagara Falls<\/i> exhibits just why he&#8217;s in demand, over ten tracks recorded at Syncro Sound, the official home base of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">the Cars<\/a> in the 1980s, starting with the ambience of the title track. Bouncy space age sounds decorate the techno &#8220;Jet Lag&#8221;, with Hawkes&#8217; sporadic vocals and cool guitar adding a nice touch and separating this from the other compositions. He also provides some vocals on &#8220;Voyage Into Space,&#8221; though this is primarily an instrumental record. It is as enjoyable as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifqxqugldae\">Roxy Music<\/a> sax player <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gnfrxq8gldfe\">Andy McKay<\/a>&#8216;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:hxfoxqw5ldde\"><i>In Search of Eddie Riff<\/i><\/a>, both men utilizing their respective albums to entertain. &#8220;Let There Be Lights&#8221; is a ballad with eerie background sounds that would lend themselves well to a <i>Star Trek<\/i> episode. There&#8217;s no &#8220;Love Is Blue&#8221; or &#8220;Frankenstein&#8221; instrumental &#8220;hit,&#8221; nor does that seem to be the intent, although if &#8220;Let There Be Lights&#8221; got into a movie soundtrack, maybe it could pull a <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3pfixqw5ldte\">Hugo Montenegro<\/a> for <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">the Cars<\/a>&#8216; keyboard player. Hawkes has recorded similar material with videographer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JEFF%7CHUDSON\">Jeff Hudson<\/a> of the band <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:apfixqr0ldje\">Jeff &amp; Jane<\/a>. Those songs have accompanying videos and would be welcome additions to an expanded version of <i>Niagara Falls<\/i> on CD.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>JEFF &amp; JANE ZETA BREW<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:wnfoxql0ld0e\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:wnfoxql0ld0e<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\">The original <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RENTALS\">Rentals<\/a> who mutated into <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CMANHATTAN%7CPROJECT\">the Manhattan Project<\/a> are <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JANE%7CHUDSON\">Jane Hudson<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JEFF%7CHUDSON\">Jeff Hudson<\/a>, and to those who followed their creative punk rumblings like &#8220;Elephants&#8221; and &#8220;Gertrude Stein&#8221; or the electricity of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MANHATTAN%7CPROJECT\">Manhattan Project<\/a>, <i>Zeta Brew<\/i> will surprise. This is unplugged punk, &#8220;Green&#8221; a definite folk tune as is &#8220;I&#8217;m Free.&#8221; &#8220;My Snake,&#8221; on the other hand, starts off mellow and descends wonderfully into the denser complexities this husband and wife team are known for. &#8220;Out of a Dream&#8221; brings the listener to another world <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JEFF%7CHUDSON\">Jeff Hudson<\/a> utilizing the sounds found on his videos produced with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:CARS\">Cars<\/a> keyboard player <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:GREG%7CHAWKES\">Greg Hawkes<\/a>. That ethereal type journey is an immediate favorite on <i>Zeta Brew<\/i>, the material recorded at home on a Mac 8180 AV &amp; Deck 2.5. The liquid guitar blends nicely with the quagmire keyboards while Jane&#8217;s vocal is more inquisitive than the bold authority found on <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RENTALS\">Rentals<\/a> recordings. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JANE%7CHUDSON\">Jane Hudson<\/a> gave All Media Guide some insight into this disc:<br \/>\n&#8220;Zeta Brew&#8221; &#8230; grew out of an acoustic set that we performed in the mid-&#8217;90&#8217;s and includes some blues songs sung by our brother-in-law, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHN%7CWILSON\">John Wilson<\/a>, who played bass with us then. This was a fairly short-lived incarnation, but was sort of neo-psychedelic in tone. We were feeling somewhat spacey, sort of mellow, and a little old! But it did concern ecological and psychological issues.&#8221; Jane said &#8220;it wasn&#8217;t quite time for the Jeff and Jane power revival&#8221; that they employed in 2001, 2002. Three tunes from <i>Zeta Brew<\/i> made it to their sets in the new millennium: &#8220;E-Child,&#8221; &#8220;Victory&#8221; and &#8220;Trees on Fire.&#8221; <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JOHN%7CWILSON\">John Wilson<\/a> definitely adds a bluesy vocal to the sludge sludge guitar\/drum on &#8220;Change It Soon,&#8221; kind of like <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:FLEETWOOD%7CMAC%5C%27S\">Fleetwood Mac&#8217;s<\/a> <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:PETER%7CGREEN\">Peter Green<\/a> fronting <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CSEX%7CPISTOLS\">The Sex Pistols<\/a> and forcing them to bring the tempo down. &#8220;Ya Say&#8221; is a fun way to end the CD with some upbeat minimal pop. More information on this artsy and important duo can be found on: http:\/\/world.std.com\/jhudson.music.html.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>PETER DAYTON PETER DAYTON<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:wxfrxq9dldae\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:wxfrxq9dldae<\/a><\/p>\n<div id=\"bio\">\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">Boston music fans lament the late punk power trio <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifqxqqhld6e\">La Peste<\/a>, but much more enjoyable to many fans&#8217; ears was original frontman Peter Dayton&#8217;s pop music, as encouraged by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">the Cars<\/a>&#8216; leader <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aiftxqr5ld6e\">Ric Ocasek<\/a> and scenester <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DIGNEY%7CDIGNUS\">Digney Dignus<\/a> \u2014 before the manager morphed into his singer incarnation as <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:azfuxqu5ldde\">Digney Fignus<\/a>. Smash Easy, the Bethel, ME based label, collects 14 of Dayton&#8217;s works, has venerable engineer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kpftxqygldde\">Ted St. Pierre<\/a> digitally remaster the material, and a true gift to fans of New England music finds its way to the worldwide marketplace. Flower images from the songwriter&#8217;s www.PeterDayton.com site are utilized on the front cover while inside his classic composition &#8220;Last Supper&#8221; finds re-release. As released on <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:f9fyxqwgldde\">Richard Perry<\/a>&#8216;s Planet Records label in 1980, it was one of two tracks on the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:fpfoxqyhld0e\"><i>Sharp Cuts<\/i><\/a> compilation to be produced by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aiftxqr5ld6e\">Ric Ocasek<\/a>. &#8220;Last Supper&#8221; closes out this CD debut of Peter Dayton with 13 other performances \u2014 including the entire <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:LOVE%7CAT%7CFIRST%7CSIGHT\">Love at First Sight<\/a> EP with its catchy title track as well as the mesmerizing &#8220;Stuck on the Same Refrain&#8221; and a solo reworking of &#8220;Skin Tight&#8221; from his <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifqxqqhld6e\">La Peste<\/a> repertoire. Rather than emulate the riveting <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifqxqqhld6e\">La Peste<\/a> spitfire vocal approach, Dayton does a 180 and sounds like <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifrxqr5ldje\">Lou Reed<\/a> circa his 1972 solo album debut. Years later, the eponymous <i>Peter Dayton<\/i> disc actually sounds like a sequel to <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifrxqr5ldje\">Reed<\/a>&#8216;s first solo LP! Sure, &#8220;Perfect Wave&#8221; with its <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kiftxqr5ldde\">Ventures<\/a>-meets-<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfyxq95ldfe\">the Surfaris<\/a>-meets-<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifuxqw5ldte\">the Cramps<\/a> will throw you for a loop, as will the highly experimental &#8220;Orchids &amp; Gold,&#8221; which is more like an outtake from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:giftxqr5ldde\">the Velvet Underground<\/a>&#8216;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:wpfqxql5ldhe\"><i>VU<\/i><\/a>. Come to think of it, that&#8217;s where &#8220;Last Supper&#8221; sounds like it comes from, too, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aiftxqr5ld6e\">Ric Ocasek<\/a> being a total devotee of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifrxqr5ldje\">Reed<\/a> as well when he&#8217;s not in his <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aiftxqr5ld6e\">Ocasek<\/a>\/<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">Cars<\/a> frontman mode. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gxfexqlkldae\">Mike Baker<\/a> of Boston&#8217;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfixq95ldhe\">the Rings<\/a> also contributes production work and on CD, all of this material survives quite well and is compelling far beyond its obscurity.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td colspan=\"2\" align=\"left\">Tracks<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>CONNIE ST. PIERRE<br \/>\nBETWEEN THE BRANCHES LEGEND OF THE WILD<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jjfrxqw0ldde\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jjfrxqw0ldde<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\"><a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:TED%7CST.%7CPIERRE\">Ted St. Pierre<\/a> and his wife, Conni St. Pierre, owned the Electro Acoustic recording facility in the heart of Boston during the 1970s. Perhaps the sight of drag queens battling it out in front of their work place as the night creatures spilled out of the notorious club Jacques sent a message to the couple, so they set up shop in Bethel, ME, with their Outlook facility. <i>Between the Branches, Legends of the Wild<\/i> by Conni St. Pierre is as peaceful as a mountain stream and captures the soulful quiet of nature on all 16 of the very studied tracks. A lovely poem inside the CD jacket notes that &#8220;the flute was once a green living thing\/Drinking in the rainwater,&#8221; but transformed, the &#8220;wand&#8221; now receives its wind and water from the one working the instrument. The playing is superb, and the imagery of the titles helps give shape for the listener&#8217;s mind to grasp the wordless poetry and cascading sound. &#8220;Loon Songs&#8221; is stark and solitary with the musings of the artist and less instrumentation. The husband-and-wife team has worked for many years with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:d9fyxqr5ldke\">Willie &#8220;Loco&#8221; Alexander<\/a> on his spoken-word projects as well as his highly experimental <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:w9fixqwhld6e\"><i>Solo Loco<\/i><\/a> on New Rose\/R.C.A.. The creative atmosphere they sought miles away from the bustle of a major city lends itself well to these sound impressions of their home in the wilds of Maine. <i>Between the Branches, Legends of the Wild<\/i> is very peaceful music generated by people who understand the balance of life, and it is an exhilarating listening experience.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>LA PESTE V.2.0.<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dzftxqqsldhe\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:dzftxqqsldhe<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">Thematically, La Peste, a name most likely lifted from the 1947 novel by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:djfyxq80ldae\">Albert Camus<\/a>, is as dark as the translation of their moniker, meaning &#8220;the Plague&#8221; in French. The power trio, as fronted by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wvfrxq85ldke\">Peter Dayton<\/a>, had a substantial cult following and a true buzz on the scene. When <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wvfrxq85ldke\">Dayton<\/a> left to write melancholy pop songs \u00e0 la <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifrxqr5ldje\">Lou Reed<\/a> the band continued \u00e0 la the post-<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifrxqr5ldje\">Reed<\/a> <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:giftxqr5ldde\">Velvet Underground<\/a>. Stepping into those big shoes was <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:STEVE%7CKALINOSKY\">Steve Kalinosky<\/a> (aka <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:IAN%7CBLAST\">Ian Blast<\/a> of the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fifwxqygldte\">Mott the Hoople<\/a>-inspired band <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wzfpxqu5ldhe\">Crash Street Kids<\/a>). Where <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wzfpxqu5ldhe\">Crash Street Kids<\/a> had the synthesizer of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:LORD%7CMANUEL%7CSMITH\">Lord Manuel Smith<\/a> (an artist backed up by La Peste on one 45 rpm), in this revamped La Peste format <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:KALINOSKY\">Kalinosky<\/a> had a chance to have a more prominent platform in the clubs. The result is rather impressive and \u2014 if not up to <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wvfrxq85ldke\">Dayton<\/a>&#8216;s original vision \u2014 <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:IAN%7CBLAST\">Ian Blast<\/a> certainly does a better job than <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jxfexq9gldse\">Doug Yule<\/a> on <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:3cfyxql5ldte\"><i>Squeeze<\/i><\/a> or even <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hnfuxqqkld0e\">the Blushing Brides<\/a> \u2014 a <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifoxqr5ldje\">Rolling Stones<\/a> tribute band \u2014 on their eponymous original composition LP. With the late <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hnfexqqhldte\">Roger Tripp<\/a> on drums and bass from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MARK%7CKARL\">Mark Karl<\/a> (nee Andreasson), the band and redoubtable producer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kpftxqygldde\">Ted St. Pierre<\/a> craft an intelligent and highly enjoyable collection of tunes. It might sound kind of absurd to those outside of the Boston music community to think a group which only had a 45 rpm and a handful of demos would get a new life, not only with live tapes emerging, but with a bona fide followup band featuring a new frontman. Here&#8217;s the striking thing: songs like &#8220;New Heart&#8221; and &#8220;Army of Apathy&#8221; work quite well on their own and, if they didn&#8217;t have to stand in the shadow of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wvfrxq85ldke\">Peter Dayton<\/a>, they would&#8217;ve certainly made more of a mark. &#8220;Acid Test&#8221; has a throbbing trademark La Peste bassline and the same sensibilities that made the band so intriguing in the first place. To be even more fair, they survive much more substantially than <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:apfuxq95ldse\">the Spiders from Mars<\/a> sans <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:giftxqw5ldde\">Bowie<\/a> and the group <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hpfqxqe5ldhe\">Billion Dollar Babies<\/a> post <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fifyxqw5ldte\">Alice Cooper<\/a>. Dare it be said, though <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifuxqw5ldse\">Big Brother &amp; the Holding Company<\/a> is phenomenal live to this day decades after the passing of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wifexqe5ldse\">Janis Joplin<\/a>, the <i>V.2.0<\/i> CD works better than <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifuxqw5ldse\">Big Brother<\/a>&#8216;s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:djfwxqujldje\"><i>Do What You Love<\/i><\/a> outing from 1999. When you think of it, La Peste in their <i>V.2.0<\/i> mode did creatively what only the post-<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxqr5ldke\">Diana Ross<\/a> <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gifyxqr5ldae\">Supremes<\/a> pulled off: they were able to continue the sound and spirit of what was originally created with a highly talented and magnetic character who decided to move on. Maybe <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:STEVE%7CKALINOSKY\">Steve Kalinosky<\/a> didn&#8217;t have the strong persona in interviews and with the media, but he had the chops and the songwriting skills. Perhaps had they called the group &#8220;La Blaste&#8221; and let him stand out more these tapes wouldn&#8217;t have languished in the vaults for years. La Peste fans can be proud of these lost studio recordings and the rest of the world will find them interesting and enjoyable at the very least.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>JOHN LINCOLN WRIGHT HONKY TONK VERITE<br \/>\n(see Beacon Street Union)<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:fpfpxqqgldde\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:fpfpxqqgldde<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\"><a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THOM%7COWENS\">Thom Owens<\/a> wrote that <i>Honky Tonk Verite<\/i> is &#8220;a rip-roaring set of neo-traditional country recorded live in the studio over the course of one night.&#8221; &#8220;Horizon Line&#8221; starts the CD off with a little of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fifwxqr5ldae\">Ringo Starr<\/a>&#8216;s vocal styling from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifrxqw5ldse\">the Beatles<\/a>&#8216; version of &#8220;Act Naturally&#8221; in a tune about a relationship running out of steam with no one to blame. It&#8217;s a dramatic departure from the rock &amp; roll of Wright&#8217;s &#8217;60s Boston band, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:39fqxq95ldhe\">the Beacon Street Union<\/a>; this is authentic country music that would make <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gifwxqr5ld6e\">Olivia Newton-John<\/a> or <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jjftxqw5ldke\">Kenny Rogers<\/a> envious. The Sour Mash Boys provide a solid backup for John Lincoln Wright&#8217;s focus, and &#8220;Too Many Nights on the Town&#8221; could be a wonderful <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:giftxqe5ldhe\">Eagles<\/a> crossover hit; it&#8217;s even got a touch of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gifoxqe5ldhe\">England Dan &amp; John Ford Coley<\/a>. Sparkling guitars and a tight rhythm allow <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hjftxqy5ldje\">Matt Leavenworth<\/a>&#8216;s fiddle to shine on &#8220;The Ballad of Frank &amp; Pearl,&#8221; while it absolutely sizzles on &#8220;You Could You Would You Will&#8221; at the album&#8217;s midpoint. The 14 songs were all composed by John Lincoln Wright, with only &#8220;Too Old to Die Young Now&#8221; being co-written with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:GEORGE%7CSHAMBROOM\">George Shambroom<\/a>. Recorded on February 16, 1991, with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:kzfpxqugldfe\">Darleen Wilson<\/a> overseeing the production, there&#8217;s a dreamy atmosphere surrounding the lyrics and vocals to &#8220;Lovin&#8217; in the Morning,&#8221; Wright being adept at both. Everything on the album works and one wonders that had this type of material found release on MGM during the Bosstown sound era, what kind superstar would John Lincoln Wright have been during the &#8217;70s and &#8217;80s? The liner notes explain how he switched to country circa 1972 and lists some of the big names he performed with. Former <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:h9fpxqt0ldde\">Girls Night Out<\/a> drummer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3vfyxq95ldte\">Kathy Burkly<\/a> easily makes the transition from the light rock of her popular &#8217;80s band to adding her country talents as an honorary Sour Mash Boy. Released on Lincoln Records, the effort didn&#8217;t have major-label money or promotion behind it, and that&#8217;s the pity here. <i>Honky Tonk Verite<\/i> is a work of art from a veteran performer.<br \/>\nTHE JONESES<br \/>\nEx members of The Road Apples, Willie &#8220;Loco&#8221; Alexander&#8217;s Boom Boom BandEverything Changes E.P. (release before HARD, the Atlantic Records release) &#8211; I was managing Mission Control studio in 1988, Westford, Massachusetts, and Michael Jonzun had recorded sessions with THE JONESES that never saw the light of day.<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kvfyxqr0ldke\">EVERYTHING CHANGES<br \/>\n<\/a><a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kvfyxqr0ldke\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kvfyxqr0ldke<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">When you take the guitarist from <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WILLIE%7CALEXANDER%5C%27S%7CBO\">Willie Alexander&#8217;s Boom Boom Band<\/a>, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BILLY%7CLOOSIGIAN\">Billy Loosigian<\/a>; the bassist from <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MINISTRY\">Ministry<\/a>, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BRAD%7CHALLEN\">Brad Hallen<\/a>; and the singer\/songwriter from <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CROAD%7CAPPLES\">the Road Apples<\/a>, who wrote songs for <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PETER%7CFRAMPTON\">Peter Frampton<\/a> and others, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DAVE%7CFINNERTY\">Dave Finnerty<\/a>, it is hard to conceive that the mix would end up sounding like <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BAD%7CCOMPANY\">Bad Company<\/a>. But it does. The Joneses, prior to both their recordings with <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:NEW%7CKIDS%7CON%7CTHE%7CBLOCK\">New Kids on the Block<\/a> producer <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MICHAEL%7CJONZUN\">Michael Jonzun<\/a> and their signing with Atlantic Records, are here on this very exotic\/psychedelic-looking black-and-white EP featuring a &#8217;60s-type chick on the cover with a cigarette dangling from her mouth. The ragged gents on the back are definitely not MTV lookers, but they know how to rock. These great musicians lack identity here, though, not only on the cover, but in the music, and that is the pity about <i>Everything Changes<\/i> &#8212; on paper it looked like a winner. Four years prior to this, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DAVID%7CFINNERTY\">David Finnerty<\/a> and <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BILLY%7CLOOSIGIAN\">Billy Loosigian<\/a> released &#8220;I&#8217;ll Come Back&#8221; with their group, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CJACKALS\">the Jackals<\/a>, on the Playboy talent search&#8217;s nationally distributed <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:STREET%7CROCK\">Street Rock<\/a> compilation (on Nightlife, not Playboy Records). That group, with another <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WILLIE%7CALEXANDER\">Willie Alexander<\/a> alum, <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BRANDY%7CPRITCHARD\">Brandy Pritchard<\/a>, gave an indication of the shape of things to come. &#8220;Steppin&#8217; Out&#8221; here is sold album rock, but <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:FINNERTY\">Finnerty<\/a>&#8216;s personality gets lost in the two-dimensional sound of these regional veterans. The internal struggles <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CBOOM%7CBOOM%7CBAND\">the Boom Boom Band<\/a> had over <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WILLIE%7CALEXANDER\">Willie Alexander<\/a>&#8216;s quirky personality (they allegedly wanted him to be more mainstream when his eccentricities were what made them so special) materialize as the drawback here. It is so nondescript that the EP is of value only because three of the individuals on this achieved moments of greatness elsewhere. Even &#8220;Bollweevil Stomp,&#8221; borrowing from the <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JIMMY%7CPAGE\">Jimmy Page<\/a> songbook, melts into the woodwork. It&#8217;s a record you want so much to like, and there&#8217;s nothing wrong with it, there&#8217;s just nothing great about it either.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifexqe5ldse%7ET2\">Discography<br \/>\n<\/a><\/p>\n<p><a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifexqe5ldse%7ET2\">http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifexqe5ldse~T2<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>BOSTON DOES THE BEATLES<br \/>\nwith Rick Berlin, Didi Stewart<br \/>\nh<a href=\"http:\/\/shopping.yahoo.com\/p:Boston%20Does%20the%20Beatles:1921471656\">ttp:\/\/shopping.yahoo.com\/p:Boston%20Does%20the%20Beatles:1921471656<br \/>\n<\/a><\/p>\n<p>EXPERT RATING:<\/p>\n<p>From AMG Reviews<\/p>\n<p>This enormous project was coordinated by the crew who would go on to do a single-disc tribute to Mick and Keith entitled Boston Gets Stoned but, where that album was inconsistent, the 31 tracks here make for a cohesive unit and compelling history of Boston music circa 1988. In his usual deranged fashion, A.J.Wachtel, cousin of guitarist Waddy Wachtel, allegedly lined a hundred bands up for this (same as with Boston Gets Stoned) &#8212; an admirable but implausible goal. Michail Glassman and the late Mickey O&#8217;Halloran pulled the reins in on A.J. and, in doing so, helped to realize important versions of Beatles tunes by some Boston artists who obtained major-label deals at different points in time. Berlin Airlift&#8217;s &#8220;Eleanor Rigby&#8221; is stunning, and one of their finest moments; Girls Night Out vocalist Didi Stewart, herself a former Kirshner\/CBS recording artist, delivers a wonderful &#8220;You&#8217;re Gonna Lose That Guy,&#8221; changing the gender. Barry Cowsill of the legendary Rhode Island band the Cowsills was making the scene in the late &#8217;80s, and he contributes &#8220;Everybody&#8217;s Got Something to Hide Except for Me and My Monkey.&#8221; Powerglide delivers a pretty good &#8220;Revolution,&#8221; but their mainstream leanings make them a little out of place here, and not as hip as the Barry Cowsill madness that follows them. There is so much activity covering the songs of Lennon, McCartney, and Harrison that the novelty can wear off. All This and World War II, music executive Russ Regan&#8217;s vision for a double-LP compilation of major acts performing songs of the Beatles, and Brad Delp, lead vocalist from the band Boston, who tours the region with the Beatles cover band Beatlejuice when he&#8217;s not performing with Tom Scholz, provide two examples of the success that can be achieved when emulating this popular music. This collection on an obscure and tiny Boston record label actually deserves a place in history as one of the better Beatles collections. Sure, One Four Five isn&#8217;t Aerosmith covering &#8220;I&#8217;m Down,&#8221; but the sheer volume of scenemakers documented by covering familar music, and doing it so well, makes Boston Does the Beatles a real treasure. Mr. Curt&#8217;s Camaraderie released its exotic version of &#8220;It&#8217;s Only Love&#8221; on Curt&#8217;s solo CD, and other tracks may resurface as the artists see fit, but it would be a shame for this remarkable look at the Fab Four by an important music community to just fade away. Worth seeking out.<\/p>\n<p>&#8211; Joe Viglione, All Music Guide<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jcfpxql0ld6e\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:jcfpxql0ld6e<\/a><\/p>\n<p>THE NERVOUS EATERS 1980<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kxfixqr5ld0e\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kxfixqr5ld0e<\/a><br \/>\n<i>Nervous Eaters<\/i> is a very good record on its own. That producer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jifrxqqgldae\">Harry Maslin<\/a> did not know what to do with the band is an understatement. &#8220;By Yourself,&#8221; the second track on their 1980 debut, is exquisite pop\/rock by a band that wrote a classic underground riff rock anthem, &#8220;Degenerate,&#8221; not on this recording. The fan base in Boston that launched &#8220;Dream On&#8221; for <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifpxqw5ldae\">Aerosmith<\/a> never had the opportunity to get behind the Nervous Eaters&#8217; Elektra debut. Sure, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gvfexqw5ldje\">Steve Cataldo<\/a> authored all the songs, and rumor has it, he gave up the gig as guitarist for <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifrxqr5ldje\">Lou Reed<\/a> to do this record. Rumor also has it that <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aiftxqr5ld6e\">Ric Ocasek<\/a> of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">the Cars<\/a> produced a ten-song demo that got the ear of Elektra. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CEATERS\">The Eaters<\/a> were managed by former <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3iftxqw5ldfe\">Cars<\/a> manager <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:FRED%7CLEWIS\">Fred Lewis<\/a>. &#8220;No Sleep Tonight&#8221; is closer to Sire artist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:d9ftxq85ldde\">the Paley Brothers<\/a>, and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:f9ftxqqgld6e\">Jonathan Paley<\/a> joined the band in time for this album. His brother, producer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:d9ftxqqgld6e\">Andy Paley<\/a>, who put <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jvfyxqe5ldae\">Madonna<\/a> on the <i>Dick Tracy<\/i> soundtrack, guest stars here, as does <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifoxqr5ldje\">Rolling Stones<\/a>&#8216; keyboard player, the late <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:j9fqxqu5ldke\">Nicky Hopkins<\/a>, and legendary guitarist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gifoxqw5ldte\">Steve Cropper<\/a> on the song &#8220;No Time.&#8221; This is an amazing example of a band honing its craft in the trenches of a regional music scene, and doing an about face for their record label and producer. That they pulled it off musically is a testament to the skills of drummer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifuxqq5ldhe\">Jeff Wilkinson<\/a> and bassist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jpfuxqrgldde\">Robb Skeen<\/a> along with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PALEY\">Paley<\/a> and the great rock &amp; roll voice of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gvfexqw5ldje\">Steve Cataldo<\/a>. Their classic &#8220;mellow&#8221; tune, &#8220;Last Chance,&#8221; gets sped up by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:jifrxqqgldae\">Maslin<\/a>. It is OK, but nowhere near the majesty of the demo tapes that got the band attention in the first place. &#8220;Loretta,&#8221; &#8220;Get Stuffed,&#8221; and &#8220;Girl Next Door&#8221; are R-rated and lovingly sexist. But <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CEATERS\">the Eaters<\/a>&#8216; people knew and loved were a gritty, down and dirty Boston band. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gvfexqw5ldje\">Cataldo<\/a>&#8216;s jangly guitar is not up in the mix enough, his wonderful axe underlines buoy the songs, but are downplayed. They were <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifoxqr5ldje\">the Rolling Stones<\/a> of Boston, and this album sounds like the group trying to be &#8212; <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:giftxqe5ldhe\">The Eagles<\/a>, or, dare it be said, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:w9fpxqw5ldje\">the Hollies<\/a>. The hard rocking, riff-blasting, tongue-in-cheek rock band created a long-player with tunes that fall somewhere between <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:dpftxq95ldje\">the Ronettes<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:h9fuxqq5ldte\">the Four Seasons<\/a>. When you expect a band to crunch with the enthusiasm of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fifwxqygldte\">Mott the Hoople<\/a> and hear pure pop, it is culture shock. This album is kind of like dressing <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:g9fpxqw5ldse\">Charles Manson<\/a> up like Mother Theresa. The pervert lyrics that made them famous regionally are replaced by something else. The verdict on the album? Surprisingly, like <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:FARRENHEIT\">Farrenheit<\/a>, released on Warners in 1987, the disc works despite being a slight misrepresentation of the artist. It is still <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gvfexqw5ldje\">Steve Cataldo<\/a> writing and singing &#8220;Walkout&#8221;; there are 12 songs from a prolific Boston artist.<\/p>\n<\/div>\n<div>\n<div>Posted by <a title=\"author profile\" href=\"https:\/\/www.blogger.com\/profile\/15345741483306237598\" rel=\"author\" data-gapiscan=\"true\" data-onload=\"true\" data-gapiattached=\"true\"> History of New England Rock <\/a> at <a title=\"permanent link\" href=\"http:\/\/eightiesboston.blogspot.com\/2007\/07\/face-to-face-rings-jonzun-crew-robin.html\" rel=\"bookmark\"><abbr itemprop=\"datePublished\" title=\"2007-07-10T10:47:00-07:00\">10:47 AM<\/abbr><\/a> <a href=\"https:\/\/www.blogger.com\/comment.g?blogID=3430979772143689046&amp;postID=471831788117392562\"> No comments: <\/a><\/p>\n<div><\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"blog-pager\"><a href=\"http:\/\/eightiesboston.blogspot.com\/\">Home<\/a><\/div>\n<div>\n<div>Subscribe to: <a href=\"http:\/\/eightiesboston.blogspot.com\/feeds\/posts\/default\" target=\"_blank\" type=\"application\/atom+xml\">Posts (Atom)<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"sidebar-wrapper\">\n<div id=\"sidebar\">\n<div id=\"BlogArchive1\" data-version=\"1\">\n<h2>Blog Archive<\/h2>\n<div>\n<div id=\"ArchiveList\">\n<div id=\"BlogArchive1_ArchiveList\">\n<ul>\n<li><a> \u25bc\u00a0 <\/a> <a href=\"http:\/\/eightiesboston.blogspot.com\/2007\/\"> 2007 <\/a> (1)\n<ul>\n<li><a> \u25bc\u00a0 <\/a> <a href=\"http:\/\/eightiesboston.blogspot.com\/2007\/07\/\"> July <\/a> (1)\n<ul>\n<li><a href=\"http:\/\/eightiesboston.blogspot.com\/2007\/07\/face-to-face-rings-jonzun-crew-robin.html\">Face To Face, The Rings, Jonzun Crew, Robin Lane, &#8230;<\/a><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"Profile1\" data-version=\"1\">\n<h2>About Me<\/h2>\n<div>\n<dl>\n<dt><a href=\"https:\/\/www.blogger.com\/profile\/15345741483306237598\" rel=\"author\" data-gapiscan=\"true\" data-onload=\"true\" data-gapiattached=\"true\"> History of New England Rock <\/a><\/dt>\n<\/dl>\n<p><a href=\"https:\/\/www.blogger.com\/profile\/15345741483306237598\" rel=\"author\">View my complete profile<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div><\/div>\n<\/div>\n<div id=\"footer-wrapper\"><\/div>\n<p>_____________________________________<\/p>\n<p>14)Boston Music Showcase &#8211; Harvey Wharfield and the best local music show on radio<br \/>\nThe 1990s<br \/>\n___________________________________________<br \/>\n15)The 1990s with Grateful Ted of SMUGGLER and more&#8230;<br \/>\n<a href=\"http:\/\/bostonnineties.blogspot.com\/\">http:\/\/bostonnineties.blogspot.com\/<\/a><\/p>\n<div id=\"wrap2\">\n<div id=\"wrap3\">\n<div id=\"header\">\n<div id=\"Header1\" data-version=\"1\">\n<div id=\"header-inner\">\n<div>\n<h1>Boston The Nineties &#8211; Joe Viglione&#8217;s History of New England Rock<\/h1>\n<\/div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"crosscol-wrapper\"><\/div>\n<div id=\"sidebar-wrapper\">\n<div id=\"sidebar\">\n<div id=\"BlogArchive1\" data-version=\"1\">\n<h2>Blog Archive<\/h2>\n<div>\n<div id=\"ArchiveList\">\n<div id=\"BlogArchive1_ArchiveList\">\n<ul>\n<li><a> \u25bc\u00a0 <\/a> <a href=\"http:\/\/bostonnineties.blogspot.com\/2007\/\"> 2007 <\/a> (1)\n<ul>\n<li><a> \u25bc\u00a0 <\/a> <a href=\"http:\/\/bostonnineties.blogspot.com\/2007\/07\/\"> July <\/a> (1)\n<ul>\n<li><a href=\"http:\/\/bostonnineties.blogspot.com\/2007\/07\/boston-1990s.html\">Boston &#8211; The 1990s Asa Brebner, Rick Berlin Shell&#8230;<\/a><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"Profile1\" data-version=\"1\">\n<h2>About Me<\/h2>\n<div>\n<dl>\n<dt><a href=\"https:\/\/www.blogger.com\/profile\/15345741483306237598\" rel=\"author\" data-gapiscan=\"true\" data-onload=\"true\" data-gapiattached=\"true\"> History of New England Rock <\/a><\/dt>\n<\/dl>\n<p><a href=\"https:\/\/www.blogger.com\/profile\/15345741483306237598\" rel=\"author\">View my complete profile<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"main\">\n<div id=\"Blog1\" data-version=\"1\">\n<div>\n<div>\n<h2>Friday, July 13, 2007<\/h2>\n<div>\n<div>\n<div itemprop=\"blogPost\" itemscope=\"itemscope\" itemtype=\"http:\/\/schema.org\/BlogPosting\"><a name=\"162743279132042926\"><\/a><\/p>\n<h3 itemprop=\"name\"><a href=\"http:\/\/bostonnineties.blogspot.com\/2007\/07\/boston-1990s.html\">Boston &#8211; The 1990s Asa Brebner, Rick Berlin Shelley Winters Project, Grateful Ted<\/a><\/h3>\n<div><\/div>\n<div id=\"post-body-162743279132042926\" itemprop=\"description articleBody\">THE NINETIES<br \/>\nRemember! To click on any chapter go to this address:<br \/>\n<a href=\"http:\/\/rocktableofcontents.blogspot.com\/\">http:\/\/rocktableofcontents.blogspot.com\/<\/a>Grateful Ted \/ SMUGGLER The Time Machine CDDinky Dawson produced the band SMUGGLER who appeared on<br \/>\nBoston Rock &amp; Roll Anthology Vol. 3. 58 minutes and 52 seconds of their<br \/>\nmusic is here, released in 1999, recorded between 1982-1999<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kbfoxqq0ldte\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kbfoxqq0ldte<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">As musicians from the past get the urge to release new music, many are finding the additional space available on compact disc to be just the place to put previous efforts. That is a blessing for fans of good music, and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:TED%7CSOLOVICOS\">Ted Solovicos<\/a> of Boston&#8217;s Smuggler does just that, giving the world six songs from one of Smuggler&#8217;s three major recording sessions in the &#8217;80s and eight new productions for almost one hour&#8217;s worth of sound. Going under the moniker Grateful Ted, the CD features a ticket stub on the back cover from when the band opened for <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BON%7CJOVI\">Bon Jovi<\/a> at the Paradise Theater in Boston. This was when &#8220;Runaway&#8221; was just breaking for <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JON%7CBON%7CJOVI\">Jon Bon Jovi<\/a> and Smuggler had a bigger following than the guy who would go on to sell millions of records. Having the legacy documented on this fine release makes it that much more of a treasure. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:SOLOVICOS\">Solovicos<\/a> is a more-than-competent songwriter, and with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:MACH%7CBELL\">Mach Bell<\/a> of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CJOE%7CPERRY%7CPROJECT\">the Joe Perry Project<\/a> releasing <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:LAST%7CMAN%7CSTANDING\">Last Man Standing<\/a> in 2002 and more music being recorded and released by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:HIRSH%7CGARDNER\">Hirsh Gardner<\/a> of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:NEW%7CENGLAND\">New England<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:RICK%7CBERLIN\">Rick Berlin<\/a> from <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BERLIN%7CAIRLIFT\">Berlin Airlift<\/a>\/<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:LUNA\">Luna<\/a>, as well as another <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JOE%7CPERRY\">Joe Perry<\/a> lead singer, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:CHARLIE%7CFARREN\">Charlie Farren<\/a>, the then-and-now approach not only preserves these great sounds, it gives those who appreciate these honest efforts all the more to listen to. &#8220;Sweet and Innocent&#8221; has a nice swing with the jazzy piano from <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:RICHARD%7CMEADER\">Richard Meader<\/a> and some shocking lyrics: &#8220;Your sweet and innocent love\/I hear your friends are all queer,&#8221; and something indiscernible about lesbians; not very politically correct and not very nice, but that&#8217;s part of the product. Musically it is <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BACHMAN%7CTURNER%7COVERDR\">Bachman Turner Overdrive<\/a>-lite, catchy tunes from the major songwriter of an important suburban band from the Boston area&#8217;s early-&#8217;80s scene. &#8220;Don&#8217;t Burn the Witch&#8221; has that punch Smuggler was all about, and it is one of the CD&#8217;s best tracks, a thumping, snarling cruncher. The vibe-infested &#8220;Love Is Strange&#8221; is also a highlight. Interesting new and old music makes up <i>The Time Machine<\/i> and it&#8217;s a decent time capsule preserving the work of a group who made some noise by making noise. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:FLEETWOOD%7CMAC\">Fleetwood Mac<\/a> engineer\/producer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DINKY%7CDAWSON\">Dinky Dawson<\/a> recorded a <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:SOLOVICOS\">Solovicos<\/a> tune, &#8220;In the Long Run,&#8221; released on <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:BOSTON%7CROCK%7C&amp;%7CROLL%7CAN\">Boston Rock &amp; Roll Anthology, Vol. 3<\/a> in 1984, not included here. It was the only other bit of Smuggler material in release at the time of this release.<br \/>\nASA BREBNER Biography Answers.com<a href=\"http:\/\/www.answers.com\/topic\/asa-brebner?cat=entertainment\">http:\/\/www.answers.com\/topic\/asa-brebner?cat=entertainment<\/a>Asa Brebner<\/p>\n<ul>\n<li><b>Genre:<\/b> Rock<\/li>\n<li><b>Active:<\/b> &#8217;90s, 2000s<\/li>\n<li><b>Instruments:<\/b> Vocals, Guitar<\/li>\n<\/ul>\n<h3>Biography<\/h3>\n<p>Journeymen with diverse resumes like Mick Taylor,Peter Green, Rick Derringer and Larry Knetchel of Bread &#8211; elite rock &amp; roll side players and artists in their own right &#8211; have a certain lustre apart from the popular work they participated in. Asa Brebner is in that league, though the records he performed on didn&#8217;t invade the Billboard Charts or reign too long on MTV with gold\/platinum status to become tunes recognizable to the masses. But as a rock guitarist he is a most intuitive player, able to go from premium Johnny Thunders&#8217; style slashing leads to Keith Richards&#8217; innovative rhythms.<\/p>\n<p>Born on November 21, 1953, the only child of Winston Brebner and Ardell Cogswell Brebner, his father wrote the highly acclaimed book Doubting Thomas garnering interest from film director Ingmar Bergman. His official biography on www.asabrebner.net states that &#8220;he attended progressive high school and learned guitar from listening to R&amp;B, The Rolling Stones and oddball blues records.&#8221; That bio also includes a strange story of Asa hitchhiking through Central and South America after graduation at 17 years of age, getting arrested and charged with being an American drug smuggler, tried and sentenced to twenty years in prison. Escaping prison, U.S. diplomats from the American Embassy smuggled him home.<\/p>\n<p>His vinyl debut was on a 45 RPM by Mickey Clean and The Mezz, a favorite of Boston &#8217;70s\/&#8217;80s hotspot The Rathskellar. &#8220;Hillside Walking&#8221; b\/w &#8220;Drifting&#8221; was released on Asa Records and was one of those Boston indy singles which opened the floodgates for tons of new bands who would make their own discs in the decades to follow. Friend Leroy Radcliffe produced &#8220;Voodoo&#8221;, a Mickey Clean and the Mezz single on the French Co-Pilot label. When Asa and Radcliffe, along with soon-to-be Cars drummer David Robinson, joined local legend Jonathan Richman for that singer&#8217;s second recorded wave of Modern Lovers&#8217; music, Brebner&#8217;s place in rock &amp; roll legend was secured. Richman was at his most eccentric during this phase, a non-commercial battery of tunes about the &#8220;Ice Cream Man&#8221; and other such nonsense, Jonathan playing the Alfred E. Newman game on the record industry, and his loyal fans. Years from now Richman&#8217;s idealism may prove to be brilliant. Brebner told AMG how that he feltRichman &#8220;would have made a lot more money if he&#8217;d stayed just hard core but he went his own artistic way and I respect him for it. Jonathan stuck to his eccentric guns and remains a true artistic oddity&#8230;you probably won&#8217;t see him on &#8220;behind the Music&#8221; &#8220;Ice Cream Man&#8221; type stuff was a slap in the face to all that Macho\/punk posturing and was a much bigger risk than stepping into line with the rest of the leather jacket\/safety pin poseurs. You have to have been there to see what a shock it was to the people whose music he helped spawn as the &#8220;godfather of punk&#8221; It was truly scary and at times we feared for our lives.&#8221;<\/p>\n<p>This tenure resulted in two albums on Beserkley Records with some titles distributed originally by CBS, the Richman classic Back In Your Life, Modern Lovers Live, and a few tracks on a compilation Beserkley issued entitled Spitballs. &#8220;Egyptian Reggae&#8221; from Modern Lovers Live is a brilliant track and went gold in England, France, Germany and Holland.<\/p>\n<p>In 1978 singer Robin Lane had a deal with Private Stock Records and went out to recruit a band called Robin Lane &amp; The Chartbusters. Asa was one of the guitarists in a group fronted by a chick who could hold her own with Chrissie Hynde and Stevie Nicks. After two EPs and two albums, Brebner and the group without Robin recorded David Knopfler of Dire Straits&#8217; Warner Brothers demos. In 1982 Asa launched The Grey Boys, the first band in which he sang and wrote all the songs. He also did cartoons for High Times and other magazines. He formed Asa Brebner&#8217;s Idle Hands in 1986 and recorded a tape which included the song &#8220;Last Bad Habit&#8221;. It appeared on Warner Brothers&#8217; Best Of The Unsigned Bands CD compilation in 1988. He released three solo albums between 1996-2001 on three different labels and a compilation of his music entitled Time In My Way on the Windjam imprint. Along with production work for Mickey Clean&#8217;s Unsung Heroes, the Bloodshot album for Peter C. Johnson and Severance for Kendra Flowers, Brebner can be found in the clubs of Boston performing, and helping other musicians through benefit concerts. 2002 has him working on the long awaited reunion album of Robin Lane &amp; The Chartbusters. ~ Joe Viglione, All Music Guide<\/p>\n<p>I WALK THE STREETS Asa Brebner<a href=\"http:\/\/www.artistdirect.com\/nad\/store\/artist\/album\/0,,983225,00.html\"><br \/>\nhttp:\/\/www.artistdirect.com\/nad\/store\/artist\/album\/0,,983225,00.html<\/a><\/p>\n<table width=\"100%\" border=\"0\" cellspacing=\"0\" cellpadding=\"5\">\n<tbody>\n<tr bgcolor=\"#aed5e6\">\n<td>\n<h2>I walk the streets &#8211; album reviews<\/h2>\n<\/td>\n<\/tr>\n<tr>\n<td valign=\"top\" bgcolor=\"#cbe3ef\" width=\"100%\">The title track is a powerful statement of an urban rock &amp; roller who has &#8220;walked the streets where my best friends died.&#8221; Forty eight minutes and fifty one seconds of <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,501762,00.html\">Johnny Thunders<\/a> style rock &#8211; without <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,501762,00.html\">Thunders<\/a> celebrated excesses. Much like Marianne Faithful&#8217;s <a href=\"http:\/\/www.blogger.com\/store\/artist\/album\/0,,1697877,00.html\">Broken English<\/a>, this album is a rebirth for a survivor who honed his craft for decades on stages of major venues and in many a night club. <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,407729,00.html\">Asa Brebner<\/a> has played guitar in numerous Boston-based groups from Mickey Clean and The Mezz to the second great version of Jonathan Richman&#8217;s Modern Lovers, half of which evolved into Robin Lane &amp; The Chartbusters. Utilizing eight different studios, mastered in a ninth, Jon Wyner&#8217;s M-Works where David Bowie&#8217;s catalog was re-mastered for Ryko Disc, these are all <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,407729,00.html\">Brebner<\/a> originals with the exclusion of Jacks On Drugs, written by Phil Hahnen. Ex-<a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,398250,00.html\">Archies<\/a> &#8211; you read that right &#8211; onstage anyway &#8211; and Chartbuster colleague Scott Baerenwald of the local legends Reddy Teddy plays bass and sings backing vocals on Sunshine And Blue Skies, one of the many highlights on this disc, not coincidentally recorded at Ducky Carlisle&#8217;s Room 9. Ducky was married to <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,456313,00.html\">Robin Lane<\/a> at the time of this recording although, sadly, she does not make an appearance. Unhappy Birthday Girl is the kind of song that <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,484904,00.html\">Jonathan Richman<\/a> used to craft for his fans. Mr. <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,484904,00.html\">Richman<\/a> would do well to listen to this disc by his former bandmate. <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,407729,00.html\">Brebner<\/a> gives his pop songs that roots rock foundation that made the early <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,486584,00.html\">Rolling Stones<\/a> so appealing. It&#8217;s evident in this track. No Good For Anything But Love has an effective riff augmented by vocals that make this no nonsense rock &amp; roll the fans of The Modern Lovers have yearned to hear again, with a splashy appearance by <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,442679,00.html\">The Heavy Metal Horns<\/a> on this track. The sound is surprisingly consistent for working in so many studios and employing so many musicians. Love Only Makes The World Go Round is very radio friendly, and another of the picks on this CD. Don&#8217;t Ever Lose A Memory brings that <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,501762,00.html\">Thunders<\/a> connection back &#8211; <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,501762,00.html\">Johnny Thunders<\/a> having written the classic You Can&#8217;t Put Your Arms Around A Memory. There&#8217;s lots of heartache on this disc, culminating in the campy Thru With Girls which has mandolin, banjo and acoustic guitar courtesy of Andrew Mazzone. It&#8217;s back to business with Sunshine Blue Skies, the production by <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,407729,00.html\">Brebner<\/a> and Mazzone is perfect, something that was lacking in the <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,456313,00.html\">Robin Lane<\/a> albums. There is a refinement here, a balance of the distortion of rock &amp; roll and capturing it for the intended audience. Jacks On Drugs has that vintage Boston boom boom sound. I&#8217;m Not Going To Work Today, recorded in <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,407729,00.html\">Brebner<\/a>&#8216;s attic with Allen Devine on vocals, is a country- style experiment where the artist gets to stretch. Turn Back The Pages has that <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,410668,00.html\">Byrds<\/a> sound so essential to The Chartbusters. Great drums by Andy Plaisted and vocal by Andrew Mazzone on this <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,407729,00.html\">Brebner<\/a> original. At Least Nobody Else Has Our Memories is a country ballad with Brother Cleve on piano, <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,407729,00.html\">Asa<\/a> reminiscing again. The final tune, Mr. Hide returns to that <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,486584,00.html\">Stones<\/a> feel, a wonderful keyboard fill on the chorus and a drone vocal by <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,407729,00.html\">Brebner<\/a> with wild guitars at the end, finally reprising with an unneccessary reprise of Thru With Girls &#8211; the eloquence of the last tune stifled somewhat by this. Regardless, this album should&#8217;ve been released on a major label as so many of Asa Brebner&#8217;s other works were. ~ Joe Viglione, All Music Guide<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>BEST NO MONEY CAN BUY 2001 ASA BREBNER<\/p>\n<p><a href=\"http:\/\/www.artistdirect.com\/nad\/store\/artist\/album\/0,,1558167,00.html\">http:\/\/www.artistdirect.com\/nad\/store\/artist\/album\/0,,1558167,00.html<\/a><\/p>\n<table width=\"100%\" border=\"0\" cellspacing=\"0\" cellpadding=\"5\">\n<tbody>\n<tr bgcolor=\"#aed5e6\">\n<td>\n<h2>best no money can buy &#8211; album reviews<\/h2>\n<\/td>\n<\/tr>\n<tr>\n<td valign=\"top\" bgcolor=\"#cbe3ef\" width=\"100%\"><a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,407729,00.html\">Asa Brebner<\/a>&#8216;s <a href=\"http:\/\/www.blogger.com\/store\/artist\/album\/0,,1558167,00.html\">Best No Money Can Buy<\/a> CD is a rock and roller getting a bit subdued, making country sounds more predominant in his repertoire. &#8220;The Roses I Never Bought You&#8221; is low key for sure, but things get even more obsessive as <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,407729,00.html\">Brebner<\/a> spins yarns about extinguishing those in his way from the ominous &#8220;Reasons for Murder&#8221; to &#8220;You Stole My Woman&#8221; (&#8220;now you&#8217;re gonna die&#8221;). For those wanting more of the underground rock that made I Walk the Streets such a delight, you&#8217;d better be ready to change with an artist&#8217;s vision. <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,407729,00.html\">Brebner<\/a> takes simple rock riffs and makes them complex, breathing new life into the clich\u00e9, most of the recording created with Neighborhoods\/<a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,508825,00.html\">Paul Westerberg<\/a> guitarist David Minehan and label owner Loreen Hurley. These partners in crime help the one-time guitarist for Robin Lane &amp; the Chartbusters build an album that can be called his Beggar&#8217;s Banquet. Marilyn Monroe&#8217;s famous skirt blowing over the subway is in a photo on the cover, above the artist&#8217;s head, and he narrates tough country &amp; western themes with his patented rock &amp; roll edge. &#8220;Forbidden Love&#8221; is beautiful in its almost innocence after the bitter three tunes that precede it: &#8220;You&#8217;re the mother of his children\/There&#8217;d be so much hell to pay,&#8221; his voice vacillating from a serious <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,480470,00.html\">Iggy Pop<\/a> to ambivalent <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,478975,00.html\">Tom Petty<\/a>. &#8220;Too Many Assholes&#8221; is the first of the real rockers, taking ex-bandmate <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,484904,00.html\">Jonathan Richman<\/a>&#8216;s classic &#8220;Pablo Picasso&#8221; to the extreme, but the album goes back to its country bent with &#8220;Break My Own Heart&#8221; which is unsettling. &#8220;Won&#8217;t Wait for Saturday&#8221; is another about face, back to rock, and it is great rock, the most solid riff on the record, sentiment borrowed from the Easybeats&#8217; &#8220;Friday on My Mind&#8221; and Richman&#8217;s &#8220;New Bank Teller.&#8221; &#8220;Nice to Me&#8221; is another driving rocker, this one the only tune recorded with Ducky Carlisle, and it could have come right out of the Beggar&#8217;s Banquet or I Walk the Streets outtakes with sexist comments galore. This is the stuff <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,407729,00.html\">Brebner<\/a> does best, down and dirty rock &amp; roll, and as good as &#8220;Out of the Frying Pan (Into Desire)&#8221; is, its country slant is too disruptive, and the album would be better served splitting the rockers from the honky tonk. &#8220;Go Downtown&#8221; is more Rolling Stones by way of the Nervous Eaters, making this a truly &#8220;Jekyll &amp; Hyde&#8221; album, the two sides of <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,407729,00.html\">Asa Brebner<\/a>. The title track brings things to a close, and it is saddled with Steve Sadler&#8217;s banjo. Good material that goes back and forth from mellow to manic. While <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,1119328,00.html\">John Cate<\/a> and the Swinging Steaks are crafting their roots sounds, <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,407729,00.html\">Brebner<\/a> takes a decidedly different path; musical and ambitious, its best moments are when it lets its hair down to rock. ~ Joe Viglione, All Music Guide<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>TIME IN MY WAY 2001 ASA BREBNER<a href=\"http:\/\/www.artistdirect.com\/nad\/store\/artist\/album\/0,,1555941,00.html\"><br \/>\nhttp:\/\/www.artistdirect.com\/nad\/store\/artist\/album\/0,,1555941,00.html<\/a><\/p>\n<table width=\"100%\" border=\"0\" cellspacing=\"0\" cellpadding=\"5\">\n<tbody>\n<tr bgcolor=\"#aed5e6\">\n<td>\n<h2>time in my way &#8211; album reviews<\/h2>\n<\/td>\n<\/tr>\n<tr>\n<td valign=\"top\" bgcolor=\"#cbe3ef\" width=\"100%\">There are degrees of greatness and when you listen to this retrospective of <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,407729,00.html\">Asa Brebner<\/a>&#8216;s work you realize he is a journeyman and a contender. Play this against the Sky Saxon Blues Band to hear the difference between someone being genuine and an artist testing the waters. <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,407729,00.html\">Brebner<\/a>&#8216;s authenticity combines with creativity on the amazing guitar solo in the middle of &#8220;Prophecy&#8221;; add to that its innovative riff and production, and a tip of that hat must go to Windjam Records for releasing this compilation at the same time as <a href=\"http:\/\/www.blogger.com\/store\/artist\/album\/0,,1558167,00.html\">Best No Money Can Buy<\/a>, the follow-up to <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,407729,00.html\">Brebner<\/a>&#8216;s excellent Accurate Records album I Walk the Streets. Four of the tracks are from the Accurate release from the year before: &#8220;Jack&#8217;s on Drugs,&#8221; &#8220;Going Home,&#8221; &#8220;Love Only Makes the World Go Round,&#8221; and &#8220;Sunshine Blue Skies.&#8221; Who decided the order and which tunes would be chosen from the <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,407729,00.html\">Brebner<\/a> catalog is not specified in the too-brief credit list provided with the insert. Material is also culled from two other previous releases, Ragged Religion and Prayers of a Snowball in Hell, one of the great titles in music history. <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,407729,00.html\">Brebner<\/a> is a clever guy, and the riff in &#8220;Idle Hands&#8221; (a song title that was also the name of his band) sounds like <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,457490,00.html\">Led Zeppelin<\/a> going total pop. Two tracks are new to this world, the snappy &#8220;Not Much Life,&#8221; and &#8220;Angela,&#8221; which concludes the disc while reinventing the classic Crystals riff from &#8220;Then He Kissed Me.&#8221; <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,407729,00.html\">Brebner<\/a>&#8216;s rocking hard folk tunes preach like a country musician wielding class and dry humor. Country radio should embrace this smart stuff, especially &#8220;Not Much Life,&#8221; while &#8220;Angela&#8221; has that Triple A format polish. There are no selections from the artist&#8217;s work with Robin Lane &amp; the Chartbusters or the Modern Lovers, which is the one downside here. Otherwise, this is a great primer to the solo work of guitarist <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,407729,00.html\">Asa Brebner<\/a> who continues to record and release valid new music deserving of an audience. ~ Joe Viglione, All Music Guide<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>ADAM SHERMAN SONGBIRD 2001<br \/>\n<a href=\"http:\/\/www.artistdirect.com\/nad\/store\/artist\/album\/0,,1130423,00.html\"><br \/>\nhttp:\/\/www.artistdirect.com\/nad\/store\/artist\/album\/0,,1130423,00.html<\/a><\/p>\n<table width=\"100%\" border=\"0\" cellspacing=\"0\" cellpadding=\"5\">\n<tbody>\n<tr bgcolor=\"#aed5e6\">\n<td>\n<h2>songbird &#8211; album reviews<\/h2>\n<\/td>\n<\/tr>\n<tr>\n<td valign=\"top\" bgcolor=\"#cbe3ef\" width=\"100%\">A dramatic departure from <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,531226,00.html\">Adam Sherman<\/a>&#8216;s days with A&amp;M recording artist <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,481430,00.html\">Private Lightning<\/a>. A subdued, jazzy document of a journeyman whose voice has traded the sharp rock tones for smooth, soothing, thought-provoking messages. That <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,464622,00.html\">Ian Matthews<\/a> and Elliot Murphy have covered a tune of <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,531226,00.html\">Sherman<\/a>&#8216;s on their disc, released on the heels of this one in 2001, is a testament to perseverance. The saxophone has replaced Patty Van Ness&#8217; distinctive violin, which often traded licks with <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,531226,00.html\">Sherman<\/a>&#8216;s voice in <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,481430,00.html\">Private Lightning<\/a>. Here, producer <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,430205,00.html\">Ken Field<\/a> adds the sax, which has become identifiable with Persistence of Memory Orchestra, the band Field plays in with Willie Alexander. On &#8220;Poorboy,&#8221; the artist sounds like he&#8217;s on the holodeck of Star Trek in one of Captain Picard&#8217;s private detective episodes, performing in the background of a smoke-filled cafe. It&#8217;s a cover of a <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,425008,00.html\">Nick Drake<\/a> song, and is a bit jazzier than <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,531226,00.html\">Sherman<\/a>&#8216;s own compositions. &#8220;Hard Place&#8221; has a &#8220;Cowgirl in the Sand&#8221;\/<a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,512697,00.html\">Neil Young<\/a> undertone, each tune having some touch of melancholy. &#8220;Songbird,&#8221; the title track, gets even deeper into the downtown pop. The album keeps sinking, in a good way, into a low space that is usually carried by the bass guitar. Unlike <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,409105,00.html\">Jack Bruce<\/a>&#8216;s <a href=\"http:\/\/www.blogger.com\/store\/artist\/album\/0,,276358,00.html\">Monkjack<\/a> album, which glistened with renewal, <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,531226,00.html\">Sherman<\/a>&#8216;s change of direction puts his voice and the darker edges of somber poetry into an organ cushion provided by Michael Ward-Bergemann. Things come up for air with the cover of <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,413202,00.html\">Nick Cave<\/a>&#8216;s &#8220;Lime Tree Arbour,&#8221; with Field&#8217;s flute moving like early <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,449325,00.html\">Jethro Tull<\/a> over Bergemann&#8217;s accordion. The total intensity of <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,481430,00.html\">Private Lightning<\/a>, an onslaught of a rock band with a violin taking a central role, has completely vanished from <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,531226,00.html\">Sherman<\/a>&#8216;s music. It is marvelous reinvention, pulling Willie Alexander&#8217;s original, &#8220;Too Bad,&#8221; into this jazz-pop collection, recorded live at the Zeitgeist Gallery in Cambridge, MA. It&#8217;s an insightful and delightful voyage. Using a sound that Alexander has crafted around these parts with the able assistance of <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,430205,00.html\">Ken Field<\/a>, the voice of <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,531226,00.html\">Adam Sherman<\/a> alongside the upright bass of Chris McLaughlin takes Alexander&#8217;s song to unexplored regions. The same can be said of the cover of <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,409515,00.html\">Tim Buckley<\/a>&#8216;s &#8220;Chase the Blues Away.&#8221; This album is a vacuum where four diverse cover tunes by <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,413202,00.html\">Cave<\/a>, <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,425008,00.html\">Drake<\/a>, Alexander, and <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,409515,00.html\">Buckley<\/a> get a unique treatment. <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,531226,00.html\">Sherman<\/a>&#8216;s sixth original here, &#8220;Shoot for the Moon,&#8221; a solo acoustic performance, ends the disc with a bit of optimism: &#8220;Sometimes even crazy dreams come true.&#8221; This is an enhanced CD which includes a video by Jeff Hudson for &#8220;January February,&#8221; the first song on the disc. An important pillar of Boston music who was brought to the region by George Nardo, a member of the post-<a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,483685,00.html\">Lou Reed<\/a> <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,505473,00.html\">Velvet Underground<\/a> back in the early &#8217;70s, it is interesting to see <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,531226,00.html\">Sherman<\/a> working so closely with another of the post-<a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,483685,00.html\">Reed<\/a> <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,505473,00.html\">Velvet<\/a> alum, Willie Alexander and his bandmate, <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,430205,00.html\">Ken Field<\/a>. Also worth noting is that a <a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,531226,00.html\">Sherman<\/a> co-write, &#8220;One Cold Street,&#8221; is the first track on Elliot Murphy\/<a href=\"http:\/\/www.blogger.com\/music\/artist\/card\/0,,464622,00.html\">Ian Matthews<\/a>&#8216; 2001 recording, <a href=\"http:\/\/www.blogger.com\/store\/artist\/album\/0,,1107478,00.html\">La Terre Commune<\/a>. ~ Joe Viglione, All Music Guide<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>ADAM SHERMAN SONGBIRD<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=Apdd7gjvr36im\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=Apdd7gjvr36im<\/a><\/p>\n<p><a href=\"http:\/\/www.answers.com\/topic\/lost-souls?cat=entertainment\"><br \/>\n<\/a><\/p>\n<div>\n<div><a href=\"http:\/\/www.answers.com\/main\/Record?a=AMG%20Albums%20Shopping%Link&amp;url=http%3A%2F%2Fanswers.shopping.com%2FxFS%3FKW%3DLost%2BSouls%2BRaindogs%26FN%3DMedia%26FD%3D96649%26linkin_id%3D7000800\" target=\"AnswersQueryWindow\"><img decoding=\"async\" alt=\"Lost Souls\" src=\"http:\/\/content.answers.com\/main\/content\/img\/amg\/pop_albums\/5\/7\/e\/c57619u0iex.jpg\" \/><br \/>\n<\/a><center><\/center><\/div>\n<ul>\n<li><b>Release Date:<\/b> 1990<\/li>\n<li><b>Genre:<\/b> Rock<\/li>\n<li><b>Label:<\/b> Atlantic<\/li>\n<li><b>Total Time:<\/b> 44:02<\/li>\n<\/ul>\n<\/div>\n<ul>\n<li><b>Artist:<\/b> <a href=\"http:\/\/www.answers.com\/topic\/raindogs\" target=\"_top\">Raindogs<\/a><\/li>\n<\/ul>\n<p><a href=\"http:\/\/www.answers.com\/topic\/lost-souls?cat=entertainment\"><br \/>\nhttp:\/\/www.answers.com\/topic\/lost-souls?cat=entertainment<\/a><br \/>\nLost Souls<\/p>\n<p>As <a href=\"http:\/\/www.answers.com\/topic\/swinging-steaks\" target=\"_top\">the Swinging Steaks<\/a> abandoned their slick 1980s pop for country-rock when the 1990s came around, Mark Cutler&#8217;s <a href=\"http:\/\/www.answers.com\/topic\/raindogs\" target=\"_top\">Raindogs<\/a> did the same, but got it out of the starting gate a bit earlier on this Atco debut, Lost Souls. The album leans more to the rock than country side, with standout tunes like &#8220;Cry for Mercy&#8221; and &#8220;This Is the Place&#8221; among the dozen offered here. &#8220;I&#8217;m Not Scared&#8221; owes much to <a href=\"http:\/\/www.answers.com\/topic\/gregg-allman\" target=\"_top\">Gregg Allman<\/a> and is decent, while &#8220;Phantom Flame&#8221; is extraordinary, up there with the best of <a href=\"http:\/\/www.answers.com\/topic\/swinging-steaks\" target=\"_top\">the Swinging Steaks<\/a>, <a href=\"http:\/\/www.answers.com\/topic\/johnny-cunningham\" target=\"_top\">Johnny Cunningham<\/a>&#8216;s fiddle and Cheryl Hodges&#8217; backing vocals bringing it that nice <a href=\"http:\/\/www.answers.com\/topic\/charlie-watts\" target=\"_top\">Rolling Stones<\/a> feel when the greatest rock &amp; roll band in the world gave its style a <a href=\"http:\/\/www.answers.com\/topic\/the-flying-burrito-brothers-1\" target=\"_top\">Flying Burrito Brothers<\/a> flavor. &#8220;The Higher Road&#8221; and &#8220;Too Many Stars&#8221; are competent rockers though they don&#8217;t burst out like some of the other tracks, and that&#8217;s the downside here. Cutler&#8217;s voice isn&#8217;t distinctive enough to elevate some of the more pedestrian numbers and like another &#8220;critic&#8217;s darling&#8221; band, <a href=\"http:\/\/www.answers.com\/topic\/the-tragically-hip\" target=\"_top\">the Tragically Hip<\/a>, the lesser songs in the repertoire &#8212; say &#8220;Nobody&#8217;s Getting Out&#8221; &#8212; weigh the other selections down like an anchor. Lost Souls is perfectly played material and an interesting debut, but there&#8217;s not enough personality to send this over the top. &#8220;Cry for Mercy&#8221; sounds slightly like a harbinger of what Gregg Alexander and his <a href=\"http:\/\/www.answers.com\/topic\/new-radicals\" target=\"_top\">New Radicals<\/a> would bring to the world in 1998. Problem is, there&#8217;s no &#8220;You Get What You Give&#8221; here, and that&#8217;s what this singer\/songwriter and his band were in dire need of. Nice to see Myanna Pontoppidan of Girls Night Out as part of the Hubcap Horns employed on this outing. ~ Joe Viglione, All Music Guide<\/p>\n<p>SHELLEY WINTERS PROJECT<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kzfrxqe0ld0e\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kzfrxqe0ld0e<\/a><\/p>\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>\n<table width=\"100%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td width=\"20\"><\/td>\n<td><\/td>\n<td align=\"right\"><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<tr>\n<td valign=\"top\" height=\"100%\">\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"center\" valign=\"center\" width=\"200\">\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td valign=\"top\"><img decoding=\"async\" alt=\"\" src=\"http:\/\/image.allmusic.com\/00\/amg\/cov200\/dre800\/e834\/e834467zjgw.jpg\" \/><\/td>\n<\/tr>\n<tr>\n<td>\n<div id=\"bb_pr_frame_1\">\n<div id=\"mainWrapper\">\n<div id=\"formats\">Available On: <img decoding=\"async\" alt=\"\" src=\"http:\/\/ads.biggerboat.com\/lib\/imgs\/icons\/icon_cd_16_grey.gif\" \/> <img decoding=\"async\" alt=\"\" src=\"http:\/\/ads.biggerboat.com\/lib\/imgs\/icons\/icon_dl_16_grey.gif\" \/><\/div>\n<div id=\"priceRange\">Priced from <a href=\"http:\/\/www.amazon.com\/exec\/obidos\/redirect?tag=onmeta2-20&amp;path=http:\/\/www.amazon.com\/gp\/product\/offer-listing\/B00005JDD5\/ref=dp_bb_a\/?condition=new\/\" target=\"_blank\">$0.89<\/a> to <a href=\"http:\/\/click.linksynergy.com\/fs-bin\/click?id=B6dmNEWUzg8&amp;offerid=78941.4920520&amp;type=15&amp;subid=0&amp;u1=onmeta2-20\" target=\"_blank\">$9.99<\/a><\/div>\n<div id=\"sellerCount\">See all <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:atkvikcabb8e%7ET4\" target=\"_top\">7 sellers<\/a><\/div>\n<\/div>\n<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<table cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td><img loading=\"lazy\" decoding=\"async\" alt=\"\" src=\"http:\/\/www.blogger.com\/i\/spacer.gif\" width=\"25\" height=\"5\" \/><\/td>\n<\/tr>\n<tr>\n<td colspan=\"3\">\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>\n<div id=\"left-sidebar-title\">Artist<\/div>\n<\/td>\n<\/tr>\n<tr>\n<td><img loading=\"lazy\" decoding=\"async\" alt=\"\" src=\"http:\/\/www.blogger.com\/i\/spacer.gif\" width=\"1\" height=\"1\" \/><\/td>\n<\/tr>\n<tr>\n<td><a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:knfuxqlkldke\">Shelley Winters Project<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<tr>\n<td colspan=\"3\">\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>\n<div id=\"left-sidebar-title\">Album<\/div>\n<\/td>\n<\/tr>\n<tr>\n<td><img loading=\"lazy\" decoding=\"async\" alt=\"\" src=\"http:\/\/www.blogger.com\/i\/spacer.gif\" width=\"1\" height=\"1\" \/><\/td>\n<\/tr>\n<tr>\n<td>Shelley Winters Project<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<tr>\n<td colspan=\"3\">\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>\n<div id=\"left-sidebar-title\">Rating<\/div>\n<\/td>\n<\/tr>\n<tr>\n<td><img decoding=\"async\" title=\"3 Stars\" alt=\"3 Stars\" src=\"http:\/\/www.blogger.com\/i\/pages\/site\/stars\/st_r5.gif\" \/><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<tr>\n<td colspan=\"3\">\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>\n<div id=\"left-sidebar-title\">Release Date<\/div>\n<\/td>\n<\/tr>\n<tr>\n<td><img loading=\"lazy\" decoding=\"async\" alt=\"\" src=\"http:\/\/www.blogger.com\/i\/spacer.gif\" width=\"1\" height=\"1\" \/><\/td>\n<\/tr>\n<tr>\n<td>May 29, 2001<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<tr>\n<td colspan=\"3\">\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>\n<div id=\"left-sidebar-title\">Label<\/div>\n<\/td>\n<\/tr>\n<tr>\n<td><img loading=\"lazy\" decoding=\"async\" alt=\"\" src=\"http:\/\/www.blogger.com\/i\/spacer.gif\" width=\"1\" height=\"1\" \/><\/td>\n<\/tr>\n<tr>\n<td><img loading=\"lazy\" decoding=\"async\" alt=\"\" src=\"http:\/\/www.blogger.com\/i\/spacer.gif\" width=\"1\" height=\"1\" \/><\/td>\n<\/tr>\n<tr>\n<td>Orchard<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<tr>\n<td colspan=\"3\">\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>\n<div id=\"left-sidebar-title\">Type<\/div>\n<\/td>\n<\/tr>\n<tr>\n<td><img loading=\"lazy\" decoding=\"async\" alt=\"\" src=\"http:\/\/www.blogger.com\/i\/spacer.gif\" width=\"1\" height=\"1\" \/><\/td>\n<\/tr>\n<tr>\n<td><img loading=\"lazy\" decoding=\"async\" alt=\"\" src=\"http:\/\/www.blogger.com\/i\/spacer.gif\" width=\"1\" height=\"1\" \/><\/td>\n<\/tr>\n<tr>\n<td>EP<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<tr>\n<td colspan=\"3\">\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>\n<div id=\"left-sidebar-title-small\">Genre<\/div>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<div id=\"left-sidebar-list\">\n<ul>\n<li><a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=73:20\">Rock<\/a><\/li>\n<\/ul>\n<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<tr>\n<td colspan=\"3\">\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td>\n<div id=\"left-sidebar-title\">AMG Album ID<\/div>\n<\/td>\n<\/tr>\n<tr>\n<td><img loading=\"lazy\" decoding=\"async\" alt=\"\" src=\"http:\/\/www.blogger.com\/i\/spacer.gif\" width=\"1\" height=\"1\" \/><\/td>\n<\/tr>\n<tr>\n<td>\n<pre>R   534446<\/pre>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<tr>\n<td colspan=\"3\">\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<td valign=\"top\" width=\"582\">\n<div id=\"results-table\">\n<div id=\"bio\">\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\"><a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RICK%7CKINSCHERF%7CBERLIN\">Rick Kinscherf Berlin<\/a> has released quality music for close to three decades, beginning with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fxfixqqgldhe\">Orchestra Luna<\/a> on Epic and continuing through his solo 16-cut <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:LIVE%7CAT%7CJACQUES\">Live at Jacques<\/a>. His five-piece aggregation, the Shelley Winters Project, has him looking and sounding more youthful than ever. &#8220;Don&#8217;t Know What to Do&#8221; is more subdued than the rest of this disc, with heavy drums and violins \u2014 a very original song with lilting guitars and Berlin&#8217;s trademark lost love vocal. &#8220;Always in Love&#8221; drives harder, and might have been a better opening track \u2014 it is <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hpfuxqrjld6e\">Rick Berlin<\/a>&#8216;s anthem. With keyboards that sound like <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jcfrxql5ldke\">Verden Allen<\/a> on <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fifwxqygldte\">Mott the Hoople<\/a>&#8216;s &#8220;All the Young Dudes,&#8221; the singer&#8217;s quirky musical changes are refined with this unit, more so than when he fronted the original <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:LUNA\">Luna<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fzfixqy5ldke\">Berlin Airlift<\/a>, those bands being so highly experimental mainstream audiences missed the point \u2014 though in Boston they were one of the major draws in the 1980s. &#8220;Always in Love could be a track off of a <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jbfuxqwgldse\">Tracy Bonham<\/a> disc, with heavy guitar blasts mixing with the violin. &#8220;Water,&#8221; on the other hand, sounds like the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:SPIRIT\">Spirit<\/a> &#8220;I Got a Line on You&#8221; riff inverted and revamped for 2001. &#8220;David Berndt&#8217;s guitar is more contemporary than the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:MICK%7CRONSIN\">Mick Ronsin<\/a>-ish <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:STEVEN%7CPAUL%7CPERRY\">Steven Paul Perry<\/a> who co-wrote with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BERLIN\">Berlin<\/a> for many years after <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:dpfqxq9gldhe\">Randy Roos<\/a> went solo. Comparing <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:STEVEN%7CPAUL%7CPERRY\">Steven Paul Perry<\/a>&#8216;s unreleased material (1999-2000 recordings) with Shelley Winter&#8217;s Project, one can get a clear view of what each artist brought to the table. The vocalist\/songwriter\/artist that is <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hpfuxqrjld6e\">Rick Berlin<\/a> is the innovator whose ideas brought that intrigue and something special to their work. The <i>Shaft<\/i>-inspired &#8220;Blood&#8221; takes the style created by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:THE%7CTALKING%7CHEADS\">the Talking Heads<\/a> and wraps it up in R&amp;B\/funk\/pop\/modern rock. The former <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:NEIGHBORHOODS\">Neighborhoods<\/a> frontman and ex-<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jxftxqq5ldke\">Paul Westerberg<\/a> guitarist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jifexqtgldje\">David Minehan<\/a> does a solid job on production, showing an impressive understanding of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hpfuxqrjld6e\">Rick Berlin<\/a>&#8216;s often hard to grasp vision. Indeed, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:BERLIN\">Berlin<\/a> is thematically all over the map here, and it is a good thing. There is a cohesion to Shelley Winters Project that eluded the aforementioned groups\/projects that make up the former <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RICK%7CKINSCHERF\">Rick Kinscherf<\/a>&#8216;s rich musical legacy. Although &#8220;Rock &amp; Roll Romance&#8221; from <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RICK%7CBERLIN:%7CTHE%7CMOVI\">Rick Berlin: The Movie<\/a> (yet another band, the last incarnation of <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:LUNA\">Luna<\/a>\/<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fzfixqy5ldke\">Berlin Airlift<\/a>) and the song &#8220;Hunger Strikes&#8221; may be <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hpfuxqrjld6e\">Rick Berlin<\/a>&#8216;s two finest moments in song thus far, Shelley Winters Project emerges as possibly his most polished and consistent album work to date. &#8220;Hopefully&#8221; would make <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3pfrxqe5ldae\">George Martin<\/a> proud, a production that <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifrxqw5ldse\">the Beatles<\/a> could sing on, but which is undeniably original, and shows <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hpfuxqrjld6e\">Rick Berlin<\/a> as the innovative artist Bostonians have appreciated and come to respect throughout his career.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>THE WAYOUTZ<br \/>\n<a href=\"http:\/\/wayoutzreunion.blogspot.com\/\"><br \/>\nhttp:\/\/wayoutzreunion.blogspot.com\/<\/a><\/p>\n<header>\n<div>\n<div>\n<div>\n<div id=\"header\">\n<div id=\"Header1\">\n<div id=\"header-inner\">\n<div>\n<h1>Wayoutz Reunion<\/h1>\n<\/div>\n<div>\n<p>Thursday, June 17, 2010<\/p>\n<p>Scott Damgaard and The Wayoutz<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div><\/div>\n<\/div>\n<\/header>\n<div><\/div>\n<div>\n<div><\/div>\n<div>\n<div>\n<div>THE WAYOUTZ REUNITEBy Joe ViglioneMedford&#8217;s Lenny Scoletta is drummer in the psychedelic band &#8220;The Wayoutz&#8221; and has lived in this city all of his forty eight years. A former board member of Medford&#8217;s TV3, Scoletta is known in collector circles for bringing music to various conventions like the<br \/>\nMerrimac Valley Music Collector&#8217;s Show in Chelmsford<br \/>\nand the Randolph Music Record &amp; Compact Disc expo.The former proprietor of a Malden record store, Instant Replay, from 1977 until about 1982, Lenny moved the enterprise to another Malden Square location in 1984 naming the shop &#8220;Grooves&#8221;. &#8221; I got robbed and had no insurance so i had to close&#8221; the musician told The Medford Transcript.In between his work as a videographer and record retailer, Scoletta has another life &#8211; that of a rock and roll drummer. He played with Boston folk\/rock legend Ron Scarlett, but is better known as member of his own group, the very 60s influenced Wayoutz.The Wayoutz are a real find &#8211; a true diamond in the rough. Their only album, &#8220;Something Now&#8221;, features titles like &#8220;Baby It&#8217;s Raining Millionaires&#8221;, &#8220;Last Remaining Girl In Massachusetts&#8221;, and the exquisite science fiction epic &#8220;Galaxies Away&#8221;, which has<br \/>\ngarnered some airplay on 91.5 FM, Medford&#8217;s WMFO. The<br \/>\nrecord mysteriously slipped under the door of the radio station back around 2000 also features an excellent version of the Lennon\/McCartney classic &#8220;And Your Bird Can Sing&#8221;.Bassist Tom &#8220;Spanky&#8221; Abbott lives in Woburn while &#8220;spacey&#8221; rhythm guitarist Scott &#8220;Scooby&#8221; Damgaard is from East Boston. Lead guitarist Richard Mirsky used to live in Medford beford heading out to the Norwood area. The group formed around 1981 when Tom and Lenny&#8217;s previous group dissolved. &#8220;I saw an ad in the Phoenix that a band was looking for a bassist &amp; drummer so I told Tom about it &amp; we did the audition&#8221; Scoletta notes on The Wayoutz&#8217; formation. &#8220;I got my first kit when I was in middle school around 1968&#8221; the drummer told the Transcript. &#8220;I had a fractured collarbone at the time so it took awhile for me to actually learn how to play them. Then I learned mostly by ear.&#8221; On his stint at TV 3: I was on the board about (sometime around) 1988-1989. I did a lot of public access TV shows in those days &#8211; many are<br \/>\nstill repeated on TV3, so i still get recognized around the city from the &#8220;Frankie Fabulous Show&#8221; or whatever.&#8221;<\/p>\n<p>When asked about one of the band&#8217;s most fun nights Scoletta replied: &#8220;One night we were playing in a club in Cambridge that&#8217;s no longer there &amp; the former guitarist Sam was going nuts onstage. He knocked the vocal mic off the stand onto the floor. The guy who owned the mic was pretty upset and almost jumped onstage to strangle him.&#8221; On the making of their disc: &#8220;The band had been together a real long time with a bunch of recordings but not an actual record or cd, so we decided it was time to record our little piece of history. We recorded it at Kissypig Studio in Allston, Massachusetts because we knew the owner and got a good deal!&#8221;<\/p>\n<p>The Wayoutz released a &#8220;bonus&#8221; cd with &#8220;Something Now&#8221; before the concept was in vogue. &#8220;We talked a log about how to add the extra stuff on there. I don&#8217;t know if anyone has found it but it&#8217;s there! An extra song, pictures and stuff. I think it&#8217;s only accessible by computer.&#8221; A review on All Music.Com notes that &#8221;<\/p>\n<p>Psychedelic is the mantra here on this very cool recording by Boston area band Wayoutz, from the glorious eight-page photo booklet drenched in pastels to the 16 selections of explosively fun garage rock.&#8221; The band should be reuniting May 13 for a gig<br \/>\nin Malden at Avenue C, 166 Eastern Ave.<\/p>\n<p>Their website was: http:\/\/www.gis.net\/wayoutz\/ but no longer functions<\/p>\n<p>&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;-<br \/>\nOn Saturday, April 16, The Rampage Trio performed at The Honey Fitz in Malden. The band consists of Brian Owens on vocals\/guitar, Eric Yanaway on bass and singer-songwriter-drummer, Medford&#8217;s own Kevin &#8220;KC&#8221; Crowley (who was profiled in the February 2004 issue<br \/>\nof Modern Drummer Magazine). The Rampage Trio has released their fourth album &#8220;The Silvertone Sessions&#8221;. A full profile on the band will be in The Medford Transcript soon.<\/p>\n<p>Joe Viglione<\/p>\n<p>Scott Damgaard&#8217;s website links to the Wayoutz review from AllMusic.com<br \/>\n<a href=\"http:\/\/www.scottdamgaard.com\/somethingnow.html\"><br \/>\nhttp:\/\/www.scottdamgaard.com\/somethingnow.html<\/a><\/p>\n<p>Psychedelic is the mantra here on this very cool recording by Boston area band Wayoutz, from the glorious eight-page photo booklet drenched in pastels to the 16 selections of explosively fun garage rock.<\/p>\n<p><b>Scott Damgaard&#8217;s &#8220;Galaxies Away&#8221;<\/b> is the longest song at seven-plus minutes, and is one of the CD&#8217;s highlights with its pop aggression and spacy sounds. The beauty of this collection is that these clever guys are never redundant, and the material comes off with a freshness and an &#8220;I don&#8217;t care&#8221; attitude that is the opposite of what is really going on.<\/p>\n<p>The fact that they do care is displayed by their in-tune backing vocals, Lenny Scoletta&#8217;s solid early-Charlie Watts&#8217; drumbeat, and their ability to take a topic that seems unbelievably silly, as Rich Mirsky does on &#8220;Donuts R Life,&#8221; and make it work.<\/p>\n<p>It&#8217;s quite a bit of material to tackle in one setting and keep the listener&#8217;s attention, but as they shift alternative rock genres from sunshine to British pop, the music here keeps reinventing itself.<\/p>\n<p>The smart guitar riff of bassist Tom Abbott&#8217;s &#8220;Clover&#8221; is a contrast to the driving cover of Lennon and McCartney&#8217;s &#8220;And Your Bird Can Sing,&#8221; while his &#8220;Path of Wire&#8221; sounds like a second cousin to Patti Smith&#8217;s &#8220;Dancing Barefoot.&#8221;<\/p>\n<p>With bubbling precision they somehow keep the fun quotient up, &#8220;Memories of the Future&#8221; another science-fiction epic from Damgaard, again injecting that happy-cosmic element back into the mix.<\/p>\n<p>There&#8217;s a hidden bonus tune not listed in the tracking on the CD, Tom Abbott&#8217;s &#8220;Drag Race in Outta Space&#8221; in MP3 format, and also a CD-ROM portion that includes photos, lyrics, bios, and related items. Something Now is an ambitious project that is light years beyond what many Boston bands were releasing at the end of the 1990s, and is highly recommended.<\/p>\n<p><b>~ Joe Viglione, All Music Guide<\/b><\/p>\n<p>Scott Damgaard&#8217;s &#8220;Galaxies Away&#8221; is the longest song at seven-plus minutes, and is one of the CD&#8217;s highlights with its pop aggression and spacy sounds.<br \/>\n<b><a href=\"http:\/\/www.answers.com\/topic\/something-now\"><br \/>\nhttp:\/\/www.answers.com\/topic\/something-now<\/a><br \/>\n<a href=\"http:\/\/test.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:avfqxq9ald6e\"><br \/>\nhttp:\/\/test.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:avfqxq9ald6e<\/a><br \/>\n<a href=\"http:\/\/music.aol.com\/artist\/wayoutz\/album\"><br \/>\nhttp:\/\/music.aol.com\/artist\/wayoutz\/album<\/a><br \/>\n<a href=\"http:\/\/www.mp3.com\/albums\/602259\/reviews.html\"><br \/>\nhttp:\/\/www.mp3.com\/albums\/602259\/reviews.html<\/a><\/b><\/p>\n<div><\/div>\n<div><\/div>\n<div><\/div>\n<div>\n<div>\n<div>\n<div id=\"main\">\n<div id=\"Blog1\">\n<div>\n<div>\n<div>\n<div>\n<div>\n<h3><\/h3>\n<div><\/div>\n<p>This article was in the April 2004 Medford Transcript<\/p>\n<div>\n<p><img loading=\"lazy\" decoding=\"async\" alt=\"\" src=\"http:\/\/www.scottdamgaard.com\/somethin.jpg\" width=\"400\" height=\"400\" align=\"left\" hspace=\"10\" vspace=\"10\" \/><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div>Posted by <a title=\"author profile\" href=\"https:\/\/www.blogger.com\/profile\/15345741483306237598\" rel=\"author\" data-gapiscan=\"true\" data-onload=\"true\" data-gapiattached=\"true\"> History of New England Rock <\/a> at <a title=\"permanent link\" href=\"http:\/\/bostonnineties.blogspot.com\/2007\/07\/boston-1990s.html\" rel=\"bookmark\"><abbr itemprop=\"datePublished\" title=\"2007-07-13T20:00:00-07:00\">8:00 PM<\/abbr><\/a> <a href=\"https:\/\/www.blogger.com\/comment.g?blogID=7679105272864451545&amp;postID=162743279132042926\"> No comments: <\/a><\/p>\n<div><\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"blog-pager\"><a href=\"http:\/\/bostonnineties.blogspot.com\/\">Home<\/a><\/div>\n<div>\n<div>Subscribe to: <a href=\"http:\/\/bostonnineties.blogspot.com\/feeds\/posts\/default\" target=\"_blank\" type=\"application\/atom+xml\">Posts (Atom)<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"footer-wrapper\"><\/div>\n<\/div>\n<\/div>\n<p>&nbsp;<\/p>\n<p>_____________________________________<br \/>\n16)The New Millennium<a href=\"http:\/\/bostonnewmillennium.blogspot.com\/\"><br \/>\nhttp:\/\/bostonnewmillennium.blogspot.com<\/a>\/<\/p>\n<p>17)The Ongoing Process<\/p>\n<p>AFTER WORD<\/p>\n<div>\n<div>Posted by <a title=\"author profile\" href=\"https:\/\/www.blogger.com\/profile\/15345741483306237598\" rel=\"author\" data-gapiscan=\"true\" data-onload=\"true\" data-gapiattached=\"true\"> History of New England Rock <\/a> at <a title=\"permanent link\" href=\"http:\/\/rocktableofcontents.blogspot.com\/2007\/07\/table-of-contents-joe-vigliones-guide.html\" rel=\"bookmark\"><abbr itemprop=\"datePublished\" title=\"2007-07-09T11:18:00-07:00\">11:18 AM<\/abbr><\/a> <a href=\"https:\/\/www.blogger.com\/comment.g?blogID=639005705849568302&amp;postID=2958144747347723775\"> No comments: <\/a><\/p>\n<div><\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div>\n<div id=\"blog-pager\"><a href=\"http:\/\/rocktableofcontents.blogspot.com\/\">Home<\/a><\/div>\n<div>\n<div>Subscribe to: <a href=\"http:\/\/rocktableofcontents.blogspot.com\/feeds\/posts\/default\" target=\"_blank\" type=\"application\/atom+xml\">Posts (Atom)<\/a><\/div>\n<\/div>\n<div id=\"sidebar-wrapper\">\n<div id=\"sidebar\">\n<div id=\"BlogArchive1\" data-version=\"1\">\n<h2>Blog Archive<\/h2>\n<div>\n<div id=\"ArchiveList\">\n<div id=\"BlogArchive1_ArchiveList\">\n<ul>\n<li><a> \u25bc\u00a0 <\/a> <a href=\"http:\/\/rocktableofcontents.blogspot.com\/2007\/\"> 2007 <\/a> (1)\n<ul>\n<li><a> \u25bc\u00a0 <\/a> <a href=\"http:\/\/rocktableofcontents.blogspot.com\/2007\/07\/\"> July <\/a> (1)\n<ul>\n<li><a href=\"http:\/\/rocktableofcontents.blogspot.com\/2007\/07\/table-of-contents-joe-vigliones-guide.html\">Joe Viglione&#8217;s Guide to New England Music<\/a><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"Profile1\" data-version=\"1\">\n<h2>About Me<\/h2>\n<div>\n<dl>\n<dt><a href=\"https:\/\/www.blogger.com\/profile\/15345741483306237598\" rel=\"author\" data-gapiscan=\"true\" data-onload=\"true\" data-gapiattached=\"true\"> History of New England Rock <\/a><\/dt>\n<\/dl>\n<p><a href=\"https:\/\/www.blogger.com\/profile\/15345741483306237598\" rel=\"author\">View my complete profile<\/a><\/p>\n<\/div>\n<div>16)The New Millennium<a href=\"http:\/\/bostonnewmillennium.blogspot.com\/\"><br \/>\nhttp:\/\/bostonnewmillennium.blogspot.com<\/a>\/<\/div>\n<div><\/div>\n<div><\/div>\n<div><\/div>\n<div>\n<div id=\"header-wrapper\">\n<div id=\"header\">\n<div id=\"Header1\" data-version=\"1\">\n<div id=\"header-inner\">\n<div>\n<h1>Boston The New Millennium &#8211; Joe Viglione&#8217;s History of New England Rock<\/h1>\n<\/div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"crosscol-wrapper\"><\/div>\n<div>\n<div>\n<h2>Tuesday, July 10, 2007<\/h2>\n<div>\n<div>\n<div itemprop=\"blogPost\" itemscope=\"itemscope\" itemtype=\"http:\/\/schema.org\/BlogPosting\"><a name=\"1051297679122167570\"><\/a><\/p>\n<h3 itemprop=\"name\"><a href=\"http:\/\/bostonnewmillennium.blogspot.com\/2007\/07\/ken-selcers-shazam-chris-mascara-slop.html\">Ken Selcer&#8217;s Shazam, Chris Mascara, Slop, Chris Pureka &#8211; Boston in the New Millennium<\/a><\/h3>\n<div><\/div>\n<div id=\"post-body-1051297679122167570\" itemprop=\"description articleBody\">Remember! To click on any chapter go to this address:<br \/>\n<a href=\"http:\/\/rocktableofcontents.blogspot.com\/\">http:\/\/rocktableofcontents.blogspot.com\/<\/a>1)Shazam<br \/>\n2)Chris Mascara<br \/>\n3)P.J. Shapiro<br \/>\n4)SLOP with Matt O&#8217;Connor<br \/>\n5)Audrey Ryan Band<br \/>\n6)Thaddeus Hogarth<br \/>\n7)Kelly Riley<br \/>\n8)Deb Pasternak<br \/>\n9)Rani Dabo &amp; Daisy Mayhem<br \/>\n10)Chris Pureka<br \/>\n11)Type 4<br \/>\n12)Kevin Gilligan &#8211; FOR\/The Orphans<br \/>\n13)#19 Ale House<br \/>\n14)Honey Fitz<br \/>\n15)Lauren Bateman<br \/>\n16)Alastair Moock<br \/>\n17)Willie Loco Alexander (new article, see Willie&#8217;s page<br \/>\n<a href=\"http:\/\/willielocoalexander.blogspot.com\/\">http:\/\/willielocoalexander.blogspot.com\/ <\/a> August 3, 2007<\/p>\n<hr \/>\n<p><a href=\"http:\/\/www.thaddeushogarth.com\/amg.htm\">Thaddeus Hogarth<br \/>\nhttp:\/\/www.thaddeushogarth.com\/amg.htm<\/a><br \/>\n<b>Live at Bose<\/b><br \/>\n<b>Review<\/b> by Joe Viglione<\/p>\n<p>Former songwriter\/guitarist\/vocalist and general power behind Boston&#8217;s legendary <i>Heavy Metal Horns<\/i>, Thaddeus Hogarth brings his creative music to a unique setting on his fourth album, <i><b>Live at Bose<\/b><\/i>. Recorded on June 24, 2004, at the Bose Live Music Technology Division Performance Center at Bose Mountain, Framingham, MA, this funk\/jazz\/pop sounds like a studio recording, which was the general idea. The sonics remind one of &#8217;70s classics like <i>George Benson<\/i>&#8216;s Weekend in L.A. and <i>Jackson Browne<\/i>&#8216;s <i>Running on Empty<\/i> and feature Hogarth&#8217;s chromatic harmonica, smooth soulful vocals, and boss band, a trio that includes <i>David Buda<\/i> on bass, <i>David Sparr<\/i> on keys, and drummer <i>Joey Scrima<\/i>, whose r\u00e9sum\u00e9 includes work with <i>Connie Stevens<\/i>, <i>David Benoit<\/i>, and British\/American singer <i>Jules Ellison<\/i>. The ten tracks are well paced, &#8220;The Long Goodbye&#8221; finding a nice <i>Earth, Wind &amp; Fire<\/i> groove but sounding like it was penned by David Crosby midway through <i>CSN&amp;Y<\/i> \u2014 a good blend of diverse styles.<br \/>\nWith the only &#8220;overdubs&#8221; being backing vocals tracked at keyboardist Sparr&#8217;s Little Dog Studios, listeners will have a tough time picking up that the mellow ballad &#8220;<i>I Want You in My Life<\/i>&#8221; wasn&#8217;t a total studio effort. Hogarth teaches guitar at the Berklee College of Music and tastefully plays alongside the keyboards, giving a nod to Boz Scaggs&#8217; trademark style. The album is immediately inviting, Hogarth&#8217;s personable presence given a chance to emerge on disc here, perhaps because of the in-studio audience. &#8220;<i>It Will Be True Always<\/i>&#8221; could be the sleeper track, an understated modern-day &#8220;bachelor pad&#8221; vibe with the band tastefully giving the guitarist\/singer the platform he needs. Having the Bose corporation sponsoring this effort across the country at high-end stores ought to bring Hogarth a wider audience, which he deserves. It would be nice to see the company push the work to mainstream radio and not take the same road tape company BASF did with their &#8217;70s Boston-based label. This strong effort is major-league, and though the influences are easy to identify, the end result is refreshingly original.<a href=\"http:\/\/www.bordersstores.com\/search\/title_detail.jsp?id=55556217\"><br \/>\nhttp:\/\/www.bordersstores.com\/search\/title_detail.jsp?id=55556217<\/a><\/p>\n<p><a href=\"http:\/\/bp3.blogger.com\/_XDwdAyUP_ts\/Rplxcd2rwjI\/AAAAAAAAABg\/T01cGlZIDkw\/s1600-h\/rany+dabo.jpg\"><img decoding=\"async\" id=\"BLOGGER_PHOTO_ID_5087221987955950130\" alt=\"\" src=\"http:\/\/bp3.blogger.com\/_XDwdAyUP_ts\/Rplxcd2rwjI\/AAAAAAAAABg\/T01cGlZIDkw\/s320\/rany+dabo.jpg\" border=\"0\" \/><\/a><\/p>\n<p>Big Old Life <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fpfrxqqhldje\">Rani Arbo &amp; Daisy Mayhem<\/a><\/p>\n<p><a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;token=&amp;sql=10:avfexzy5ldfe\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;token=&amp;sql=10:avfexzy5ldfe<\/a><\/p>\n<p>Review by Joe Viglione<\/p>\n<p>Big Old Life is an album bursting with fun and exuberance, the quartet known as Daisy Mayhem balancing a tight sound with spirit that translates perfectly through stereo headphones. &#8220;Joy Comes Back,&#8221; a song composed by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:g9ftxqyjldte\">Sean Staples<\/a> of the band <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kpftxqlrld6e\">the Resophonics<\/a> (a group with <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hjfwxqe5ldde\">Paul Kochanski<\/a> of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:axfexqwgldae\">the Swinging Steaks<\/a> to give the reader a point of reference) opens this terrific blend of old and new sounds with something that can only be described as gospel music played at a hootenanny. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:difqxqwhldje\">Deb Pasternak<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:fxfpxqqhldhe\">Polly Fiveash<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:dpfoxqrgldae\">Rose Sinclair<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:INDRARIOS-MOORE\">Indra Rios-Moore<\/a> all add to the backing vocals, which make it sound like a big old party, as much as a big old life. And speaking of the title track, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:gifpxql5ldde\">Loretta Lynn<\/a> would be proud of this Arbo original, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:w9frxqqaldke\">Anand Nayak<\/a>&#8216;s smart guitar playing halfway to Hawaii, the hootenanny morphing into a luau. The traditional &#8220;Red Haired Boy,&#8221; with lyrics by Rani Arbo, is an interesting role reversal while the cover of &#8220;Thief&#8221; gives the music a 180, bluesy and deep, an eloquent change of pace from the incessant up-tempo &#8220;mayhem.&#8221; <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:aifrxql5ldte\">Leonard Cohen<\/a>&#8216;s &#8220;Heart with No Companion&#8221; has <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:d9foxqyhldje\">Andrew Kinsey<\/a>&#8216;s banjo front and center with Arbo&#8217;s fiddle falling in and rounding out the mood. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifrxqe5ldhe\">Bob Dylan<\/a>&#8216;s &#8220;Farewell, Angelina&#8221; has an interesting production by the band and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0vftxq9gldae\">Chris Rival<\/a>, harmonica from <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:3vfoxqrjld0e\">Ben Ross<\/a> and the fiddle-gone-wild giving <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifrxqe5ldhe\">Zimmerman<\/a> something different to think about. The cardboard fold-out cover is chock-full of pictures like the band is auditioning for a <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hifrxqw5ldse\">Beatles<\/a> or <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:kifuxqe5ld0e\">Herman&#8217;s Hermits<\/a> film, photos with smiles that reflect the very polished and exciting work within. In the &#8217;80s and &#8217;90s Boston had a regional act called <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:difuxqwdldde\">Country Bumpkin<\/a> which had the buzz and were a favorite for quite some time. Daisy Mayhem fill that void nicely while front woman Rani Arbo proves she could be the <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=11:hifyxql5ldfe\">Kitty Wells<\/a> of the new millennium by delivering this heartfelt disc which is very deserving of your time and ear.<\/p>\n<p>SHAZAM 11-19-05<a href=\"http:\/\/www.kenselcer.com\/shazam-medfordarticle.html\"><br \/>\nhttp:\/\/www.kenselcer.com\/shazam-medfordarticle.html<\/a><\/p>\n<p><strong>Medford Transcript &#8211; Arts &amp; Lifestyle<br \/>\nSHAZAM! Local band records every gig<br \/>\nBy Joe Viglione\/ Correspondent<br \/>\nThursday, November 17, 2005<\/strong><\/p>\n<p><strong>SHAZAM!<\/strong> &#8211; the magic word used by comic superhero Captain Marvel and often quoted by America&#8217;s favorite PFC Gomer Pyle &#8211; is also the name of a local band which records every practice and live show.<\/p>\n<p>Medford guitarist Rich Caloggero, bassist Jeff Lowe, former Medford resident and band leader Ken Selcer and a variety of drummers\/percussionists make up the popular group, &#8220;Shazam,&#8221; which plays a blend of roots rock, blues, reggae and everything in between.<\/p>\n<p>Caloggero was raised in Medford and still lives in the city. He started playing music as a teenager while taking a music appreciation class during his second year of prep school.<\/p>\n<p>The school offered classes on guitar or recorder so Caloggero took guitar. He later attended Worcester PolyTech, the same college where The J. Geils Band formed years earlier, and worked towards a bachelor of science degree in computer science while practicing guitar whenever he could.<\/p>\n<p>&#8220;I had some friends that were musicians, (though) I was never in a band in college, but I learned a lot, jammed when I could, jammed with different people,&#8221; he said.<\/p>\n<p>Outside of school, Caloggero had no formal lessons or band experience, but he continued to play for usually an hour or so every day. He was invited to join The Psychedelic Conspiracy in 1998, a quartet of two guitars, bass and drums that performed Grateful Dead inspired rock and roll.<\/p>\n<p>&#8220;We played lots of tunes that the Dead played (written by other people), but only a couple of their original tunes,&#8221; Caloggero said. &#8220;We improvised jams like the Dead, all electric and had a blast. I love playing that stuff.&#8221;<\/p>\n<p>The group disbanded towards the end of 2000, but Caloggero was simultaneously appearing in another band called Tiger Method, which was around for three years or so. He joined Shazam around 2002 after meeting Ken Selcer at an invitational jam at the All Asia bar in Cambridge.<\/p>\n<p>Shazam, from Caloggero&#8217;s perspective, is working to be a mellower kind of music group &#8220;as stylistically diverse as possible.&#8221; The band combines &#8220;blues to rock to reggae, jazz stuff here and there&#8230;even a little country and bluegrass.&#8221;<\/p>\n<p>&#8220;I actually was really envisioning the sound of the Grateful Dead&#8217;s &#8216;Reckoning&#8217; thing (a live album from the early 1980s) that interesting hybrid of rock\/bluegrass\/country,&#8221; Caloggero said.<\/p>\n<p>As for his own influences, Caloggero said the Grateful Dead is number one and its leader, Jerry Garcia, influenced the way he plays guitar. Other inspirations come from &#8220;all the usual suspects: the Beatles, Stones, the Who, Led Zeppelin, with the primary ones being the aforementioned Garcia, the Allman Brothers (as well as the jazz folks.&#8221;)<\/p>\n<p>&#8220;And then when I started listening to the country stuff it was Tony Rice and David Grisman, Doc Watson,&#8221; Caloggero said. &#8220;They took acoustic instruments to another level.&#8221;<\/p>\n<p>Psychedelic Bluegrass<\/p>\n<p>Shazam evolved over time just by players of like minds finding each other, most notably when Selcer started performing at the All Asia and invited people to play. Caloggero showed up one night at the jam with lots of other people playing in an improvised atmosphere.<\/p>\n<p>Selcer picks the story up from here: &#8220;Bassist Jeff Lowe was a friend of a friend, and turned up about a year ago (circa 2004) and he kept on showing up.<\/p>\n<p>&#8220;We record every show. I just recorded Friday night (Nov. 11) at a little place called The Java Room in Chelmsford,&#8221; Selcer said. &#8220;The drummer that night was Michael Migliozzi, percussionist with The Boogaloo Swamis.&#8221;<\/p>\n<p>The band records every single gig digitally &#8211; even the rehearsals.<\/p>\n<p>&#8220;We do things differently,&#8221; Selcer noted. &#8220;Sometimes we do things that we don&#8217;t do live, and sometimes it&#8217;s really, really good. That&#8217;s why I record it, so we have it on record, so to speak, but we haven&#8217;t translated a lot of it (the practice improvisations) to live performance yet.<\/p>\n<p>&#8220;At the rehearsals we really practice and we also experiment,&#8221; he continued. &#8220;We want to find a permanent drummer, work out the material live, and sooner or later we&#8217;ll record it all in the studio.&#8221;<\/p>\n<p>Selcer, who lived in Medford from 1983-1987 and was a DJ on 91.5 FM, WMFO, the station based at Tufts University, has performed live on the station about five times. Selcer has two solo albums, &#8220;Dreamin&#8217; Of Heaven&#8221; and &#8220;Breaking the Glass.&#8221;<\/p>\n<p>&#8211; For more on Shazam, check out the band&#8217;s Web site at <a href=\"http:\/\/www.blogger.com\/shazam.html\">http:\/\/www.blogger.com\/shazam.html<\/a>.<br \/>\n<a href=\"http:\/\/janisreedink.blogspot.com\/\">http:\/\/janisreedink.blogspot.com\/<\/a><\/p>\n<p>Mascara<a href=\"http:\/\/www.mascaramusic.com\/press\/medfordtranscript-2006-4-20.html\"><br \/>\nhttp:\/\/www.mascaramusic.com\/press\/medfordtranscript-2006-4-20.html<\/a><\/p>\n<p>by Joe Viglione<br \/>\nSpecial to Janis Reed&#8217;s HOTLINE TO THE UNDERGROUND<\/p>\n<p>Medford recording artist Chris Mascara has come up with an intriguing and innovative six-track, five-song CD, &#8220;Spell,&#8221; on Mr. Fibuli\u2019s Records. It\u2019s a smart and highly polished sophomore disc from the singer who played the lead role in a 2000 production of &#8220;Jesus Christ Superstar&#8221; opposite another former Medford resident, Extreme\u2019s Gary Cherone (as Judas).<\/p>\n<p>The music on &#8220;Spell&#8221; leans toward the dark side, the semi-autobiographical &#8220;Percy\u2019s Revenge&#8221; an easy fit inside the repertoire of, say, Marilyn Manson. Think early Alice Cooper circa the &#8220;Love It To Death&#8221; and &#8220;Ballad Of Dwight Frye&#8221; phase.<\/p>\n<p>Born in Long Island, N.Y, Mascara grew up in South Florida and &#8220;came up to the Boston, specifically Medford\/Somerville, to go to Tufts University&#8221; in the 1980s. He met his wife, Deb, at Tufts in the early 2000s.<\/p>\n<p>&#8220;We have made the neighborhood around Tufts our home ever since, buying an adorable updated 1920\u2019s bungalow in Medford Hillside,&#8221; he said.<\/p>\n<p>Mascara and his wife appeared on the Food Network show &#8220;The Secret Life of&#8230;Pastries&#8221; when they filmed a sequence at the newly opened Danish Pastry House, located at 330 Boston Ave.<\/p>\n<p>&#8220;I like Medford because its neighborhood-feel is reminiscent of the Long Island area where my extended family lives,&#8221; Mascara said. &#8220;In fact, we\u2019ve been \u2018adopted\u2019 by our 88-year-old Sicilian neighbor, Frank Amato. We share family recipes and dishes, go food shopping together and discuss gardening tips. I even helped him trim back his grape vines.&#8221;<\/p>\n<p>But do the neighbors know the singer\u2019s music was dubbed &#8220;Sinister Pop&#8221; by students who write for the Tufts Daily?<\/p>\n<p>The current members of Mascara\u2019s group come from other parts of New England to play in the band. Chris Girard, the bassist, lives in Manchester, N.H. with his wife and family. Rikki Bates, the drummer, hails from Cape Cod and the group rehearses together in Woburn.<\/p>\n<p><strong>Musical loves <\/strong><\/p>\n<p>Mascara discovered his love for music very early.<\/p>\n<p>&#8220;I learned how to play a Bach piece on the organ entirely by ear when I was 8 years old, having never learned a note of music previously,&#8221; he said. &#8220;Music was always part of family life, but not until this discovery of my innate ability did I receive formal classical music training on the organ. By my early teens, I was a professional substitute organist, playing church services, weddings, etc., and also, on the radio. I have press dating back to the late \u201970s chronicling my early artistic accomplishments.&#8221;<\/p>\n<p>Fast-forward to his years in the Boston area.<\/p>\n<p>&#8220;After transitioning from classical organ as my primary vehicle to rock guitar in my late teens, I was in a Tufts psyche band, The Void before I came into my own as a lead singer\/songwriter,&#8221; Mascara said. &#8220;A harbinger of things to come, my real introduction to<br \/>\nBoston\u2019s music fans was when I played the sitar on the George Harrison song \u2019Within You Without You\u2019 in Boston Rock Opera\u2019s &#8220;SGT. PEPPER\u2019S&#8230;&#8221; productions in \u201995 &amp; \u201996.&#8221;<\/p>\n<p>Listeners can hear those Beatles influences in &#8220;Time Is A Lie,&#8221; the third track on &#8220;Spell,&#8221; a short CD that is well paced and gathering a good amount of local area press.<\/p>\n<p>The singer\/songwriter is industrious, to say the least.<\/p>\n<p>&#8220;After reconstituting the Mascara trio and allowing the new line-up to gel, in 2003 I designed an eclectic variety show entitled Scara\u2019s Night Out and showcased it at the Lizard Lounge in Cambridge,&#8221; Mascara said. &#8221; It\u2019s a sell-out bi-weekly series and included local rock stalwarts, Celtic dulcimer performances, Portuguese\/English hip-hop, burlesque dancers, Charlie Chaplin-esque skits, acoustic and multimedia comedy, reproduced old-time radio acts, poetry, belly dancing, electrified spoken-word blues; and even drew The Wu Tang Clan out of hiding and into the audience for the theatrical madness.<\/p>\n<p>&#8220;In addition, I always continue to immerse myself in various musical endeavors: performing ragas and original compositions with my wife Deb in our project Sitar Tabla Power, creating new material for MASCARA, singing in a Sinatra lounge combo at cabaret nights and Mardi Gras\/Bastille Day Balls as well as contributing lead vocals to a Paula Kelley song and to a track on the non-profit Project: Think Different compilation album,&#8221; he continued.<\/p>\n<p>Three of the tunes on &#8220;Spell&#8221; come in under three minutes, the driving &#8220;No Afterlife,&#8221; like the rest of the album, recorded at the Indecent Music studio in Medford, owned by engineer Hendrik David Gideonse.<\/p>\n<p>&#8220;My creative process involves three alternate guitar tunings besides standard tuning that help give my songs a distinctive flavor,&#8221; Mascara said. &#8220;My early years as a child prodigy on the classical organ continue to inform or torque my rock compositional instincts. Another important factor is my bandmates\u2019 ability to \u2019rock\u2019 my expansive, sometime angular tunes, that in turn shapes the songs I bring to them.<br \/>\n&#8220;They match my headiness and bring the muscle and urgency that the music craves,&#8221; he added. &#8220;This line-up has proven to be more edgy, raw, concise, and intuitive when it comes to interpreting my songs.&#8221;<\/p>\n<p>The new band is already working on a new full-length CD and plan to tour in 2006. They also plan to license the music out to movies and TV.<\/p>\n<p>&#8220;I think, for instance, that the folks that produce the program, \u2019Charmed\u2019 would just love Mascara \u2019Spell,\u2019 especially since the show is about three modern-day witches, one of whom owns a fictional rock club,&#8221; Mascara said with a laugh. &#8220;Somebody get my agent on the phone!&#8221;<\/p>\n<p>For more on the band or for information on how to order your &#8220;Spell&#8221; CD, log on to<br \/>\n<a href=\"http:\/\/www.mascaramusic.com\/\">http:\/\/www.mascaramusic.com\/<\/a>.<br \/>\nCheck out a preview of my article in Thursday&#8217;s<br \/>\nMEDFORD TRANSCRIPT!<br \/>\n<a href=\"http:\/\/www.pjshapiro.com\/IKWYMO_Reviews.html\">http:\/\/www.pjshapiro.com\/IKWYMO_Reviews.html<\/a><br \/>\nhttp:\/\/www2.townonline.com\/medford\/artsLifestyle\/view.bg?articleid=185860&#038;format=<\/p>\n<p>Recent Arts &amp; Lifestyle<\/p>\n<p>P.J. Shapiro performs at Avenue C&#8217;s<br \/>\nBy Joe Viglione\/ Correspondent<br \/>\nThursday, February 17, 2005<\/p>\n<p>Songwriter P.J. Shapiro, who moved to Medford from<br \/>\nNewton in the year 2000, was the featured performer at<br \/>\nAvenue C&#8217;s Thursday night open mic on Feb. 10. Of<br \/>\ncourse a mini snowstorm hit a few hours before and<br \/>\nduring show time, but that added to the ambiance of<br \/>\nthe gig at the elegant new Malden nightclub located at<br \/>\n166 Eastern Ave., between Ferry Street and Eastern<br \/>\nAvenue, at the Route 60 split.<\/p>\n<p>Shapiro has an appealing voice and interesting<br \/>\nlyrics &#8211; &#8220;Who knows which way the magma flow,&#8221; he<br \/>\nsings in &#8220;Continental Drift.&#8221; When music fans hear the<br \/>\nletters &#8220;P.J.&#8221; they may first think of female singer<br \/>\nP.J. Harvey or the band 40 Ft. Ringo&#8217;s P.J. Farley,<br \/>\nbut Shapiro has something different to offer &#8211; a<br \/>\nseries of dark rolling essays accompanied by a folk<br \/>\nguitar, which he manipulates in creative ways.<\/p>\n<p>Live at the Avenue C showcase he set the mood by<br \/>\napplying those subtle dynamics, kind of like a<br \/>\nprogressive rock band without the bombast. It&#8217;s an<br \/>\ninteresting concept that demands attentiveness and was<br \/>\nembraced by the ever growing crowd at organizer Jeff<br \/>\nMunro&#8217;s Thursday evening get-togethers.<\/p>\n<p>The event itself was impressive, a guitarist<br \/>\nnamed Randy coming all the way from the South Shore,<br \/>\nother participants sometimes showing up from New<br \/>\nHampshire or other parts unknown to the local Medford\/<br \/>\nMalden\/ Arlington region.<\/p>\n<p>After author Rushworth M. Kidder (from Maine) was<br \/>\ninterviewed for a cable show at around 8:45 p.m.,<br \/>\nsinger Donny Schultz began the open mic &#8211; Schultz<br \/>\nrequesting to open for P.J. Shapiro, which shows the<br \/>\nrespect fellow musicians have for the performer.<\/p>\n<p>The featured artist then took the staging area in<br \/>\nfront of a fireplace and black drape backdrop and<br \/>\nbegan his set. The only &#8220;cover&#8221; song performed by<br \/>\nShapiro was Joss Whedon&#8217;s theme song to the sci-fi TV<br \/>\nshow &#8220;Firefly.&#8221; It&#8217;s available only in secret places<br \/>\non the Web, one of those little treats performers put<br \/>\nout for the world to hunt down and cherish.<\/p>\n<p>Another song, &#8220;Justice,&#8221; doesn&#8217;t appear on the<br \/>\nsinger&#8217;s 12 track &#8220;I Know What You&#8217;re Made Of&#8221; CD from<br \/>\n2001, but it has the same style and flavor as the<br \/>\nexcellent material on that disc. More information<br \/>\nabout the CD can be found on http:\/\/www.pjshapiro.com\/<\/p>\n<p>The singer was thankful that the crowd would<br \/>\n&#8220;brave the elements; hope it&#8217;s been rewarding&#8221; he<br \/>\nsaid. The applause in response was sincere &#8211; the other<br \/>\nmusicians in attendance seem to have a camaraderie<br \/>\nwhich spills over to the non-participants, those just<br \/>\nwalking in for a beer or some of the excellent food<br \/>\nserved at the club.<\/p>\n<p>Promoter Jeff Munro is also the station manager<br \/>\nat Arlington&#8217;s Comcast Cable station. He&#8217;s been<br \/>\nputting open mics together for at least six years and<br \/>\nhas a handle on bringing like talents together for<br \/>\nwhat was one of the more fun nights this jaded writer<br \/>\nhas experienced in quite some time.<\/p>\n<p>Kevin McQuilken appeared after Shapiro to play<br \/>\ninstrumental versions of songs ranging from The Police<br \/>\nto the 60s hit &#8220;The Lion Sleeps Tonight&#8221; as well as<br \/>\nthe 1970s gem &#8220;Loving You&#8221; by Minnie Ripperton.<\/p>\n<p>The level of musicianship was surprisingly very<br \/>\nhigh for a suburban showcase, higher than many similar<br \/>\nevents found in Cambridge and Boston.<\/p>\n<p>A pretty gal named Marissa showed up with her<br \/>\nfriends to join the event in a jam after songwriter<br \/>\nDavid Munro played an excellent albeit brief<br \/>\ncollection of his tunes.<\/p>\n<p>This club is something special &#8211; opening Labor<br \/>\nDay weekend 2004 it has a New York-style decor that<br \/>\nadds to the legitimacy of the artist mix. In other<br \/>\nwords &#8211; it&#8217;s a classy place!<\/p>\n<p>SLOP with Matt O&#8217;Connor<br \/>\nBand debuts while lead singer moves<\/p>\n<p>By Joe Viglione\/ Correspondent<br \/>\nThursday, January 27, 2005<a href=\"http:\/\/joevigfirstimpressions.blogspot.com\/\"><br \/>\nhttp:\/\/joevigfirstimpressions.blogspot.com<\/a>\/<\/p>\n<p><a href=\"http:\/\/www2.townonline.com\/medford\/artsLifestyle\/view.bg?articleid=171309\">http:\/\/www2.townonline.com\/medford\/artsLifestyle\/view.bg?articleid=171309<\/a><\/p>\n<p>A debut performance of the band &#8220;Slop&#8221; at an established Cambridge hotspot, the All Asia Bar in Central Square, proved to be lead singer\/vocalist Matt O&#8217;Connor&#8217;s final show as a resident of Medford.<\/p>\n<p>The local landscaper who is also a singer\/songwriter is moving outside the Worcester area, but will continue performing with the Boston based Slop.<\/p>\n<p>The all-ages show on Dec. 11 contained an interesting blend of originals and music by some of the group&#8217;s heroes, from Jimi Hendrix to Bob Marley, and what they lacked in proficiency this new group certainly made up for with heart.<\/p>\n<p>Belmont&#8217;s Pierre Ratzki is lead and rhythm guitarist for Slop with his friend Joey Jebari handling the bass guitar. They met O&#8217;Connor on Sept. 18, 2004 at a festival in Boston where O&#8217;Connor performed solo to approximately 200 people.<\/p>\n<p>Slop formed shortly after that meeting when O&#8217;Connor emerged from the recording studio at the end of summer 2004, putting to tape music by his friend from Los Angeles, the late Greg Zera.<\/p>\n<p>O&#8217;Connor&#8217;s travels have taken him from Worcester to Woburn to Spokane, Wash., eventually leading him to Los Angeles. He became friends with Chris Poland of the group Megadeth and taped an interview with Poland for his TV show, The Rehearsal Space, when Poland played Johnny Ds in Somerville.<\/p>\n<p>When Zera tragically passed away in Los Angeles, O&#8217;Connor made it a mission to get some of his musician friends songs put to tape.<\/p>\n<p>O&#8217;Connor moved to Medford in January of 2004, where he worked for a local landscaper and found musicians to help him bring the new music to life. The Deal, another band which recently exited the city, loaned their drummer, Peter Kelly, to the sessions.<\/p>\n<p>After the recordings O&#8217;Connor began looking for people to play with on a more regular basis.<br \/>\nEncountering Jebari and Ratzki at the festival led to a quick friendship and thus &#8220;Slop&#8221; was born, an old school blues sound fused with hard rock that began by playing a mixture of songs composed by O&#8217;Connor with instrumentals from Joey, Pierre and an earlier drummer.<\/p>\n<p>A bassline from Jebari led to &#8220;The Slop Anthem&#8221; when O&#8217;Connor and Ratzki put additional music to it. O&#8217;Connor added lyrics later.<\/p>\n<p>Drummer Jake Staley came on board after being introduced to O&#8217;Connor through a friend from college. Staley is a sophomore at Berklee College of Music majoring in Contemporary Writing and Production. His solid beats keep the Slop boys organized.<\/p>\n<p>Staley takes private lessons from Casey Scheurell and cites Led Zeppelin&#8217;s John Bonham and session musician Vinnie Colaiuta as his influences. Born in Silver Springs, Md., the 19-year-old Staley now hails from Toledo, Ohio, though the pull of Berklee College brought him to New England and this unique and creative quartet.<\/p>\n<p>Joey Jebari is a self-taught musician who hooked up with Ratzki at Belmont High School around April of 2003. His musical tastes range from blues to jazz to 60s rock and indie music to techno. Born in Cambridge, the Jebari family moved to Morocco from 1988 to 1995. They returned to Massachusetts setting up residence in Belmont.<\/p>\n<p>Joey has owned his bass since 2000 and joined a local pop band with other Belmont High musicians James Green and Geoff Wright. That group, Suburban Legends, performed at the 2004 Belmont Talent Show at Belmont High Auditorium.<\/p>\n<p>The final gig with &#8220;Suburban Legends&#8221; was on May 19, a celebration for the passing of the same-sex marriage bill. At that event Jebari jammed in public for the first time with Pierre Ratzki.<\/p>\n<p>Ratzki commented on his friend&#8217;s skills: &#8220;Joey&#8217;s basslines often become the backbone for songs, and if I introduce a song I&#8217;ve written, I know that his bassline will complement the guitar perfectly. We feel very comfortable playing together, and I don&#8217;t think either of us would have as much fun in a band without a good friendship, which is what we have.&#8221;<\/p>\n<p>The guitarist went on to explain the composition of their own material: &#8220;The way we write originals, there&#8217;s no set method. Joey will start with a bassline, and I&#8217;ll come up with a guitar part, and Matt will do something over that, while Jake brings it all together, etc. But it could start with any of us, and most of the originals we will be playing at (upcoming shows) were created on the spot like that, and refined later. We just jam a lot in practice, which helps fuse a band and make them communicate well together. You can&#8217;t just throw four guys together and expect them to be tight on the first song, you have to jam first. Plus, jamming is awesome. So far, Matt has written all of the lyrics, but I hear that Jake has a bunch of originals he will soon be introducing to the band.&#8221;<\/p>\n<p>The show at the All Asia is the first since Ratzki&#8217;s return from a trip to Paris, France, where he has relatives. And for such a young group of &#8211; &#8211; O&#8217;Connor in his 30s, Jebari, Ratzki and Staley in their late teens, it is amazing the amount of traveling they have all done, Morocco, Paris and Los Angeles contacts can only help the group in obtaining some kind of tour schedule or CD release outside of the Massachusetts area.<\/p>\n<p>Ratzki commented on the importance of the band&#8217;s newest member, drummer Jake Staley: &#8220;Jake is the key ingredient to the band, because he is sort of like the director. He brings the songs up or breaks them down, and has complete control over dynamics. Without him, we sound thin and lacking. It&#8217;s humbling to play with someone from Berklee, especially someone with as much musical talent as Jake. He can play faster and louder than any drummer I have ever heard, but he can also play soft and jazzy.&#8221;<\/p>\n<p>Prior to the formation of the band lead singer O&#8217;Connor, the group&#8217;s most veteran member, found himself on the Cambridge Central Square music circuit, performing solo at the All Asia Bar, The Zeitgeist Gallery as well as the Cantab. The decade before he found himself in both the Seattle and L.A. music scenes, ultimately recording a two song tape on 24 track tape resulting in the tunes &#8220;Errand Boy&#8221; and &#8220;The Barking Dog Band.&#8221;<\/p>\n<p>When he returned to the Boston area, landing on Garfield Avenue in Medford, he began hosting a television program, The Rehearsal Space, which featured interviews with The Supersuckers, Audrey Ryan Band, former Medford residents Pat O&#8217;Hara and his group &#8220;The Deal&#8221; and Chris Poland of Megadeath.<\/p>\n<p>Where Slop will go in the music industry is anyone&#8217;s guess, Pierre Ratzki hoping the band will continue to be part of the Boston Music scene, &#8220;&#8230;especially during the summers. If we could get a record deal, sign me up, but right now its just about jamming and having a good time.&#8221;<\/p>\n<p>AUDREY RYAN PASSIN&#8217; THRU <a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;token=&amp;sql=10:gifwxq8sldhe\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;token=&amp;sql=10:gifwxq8sldhe<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">Audrey Ryan&#8217;s debut CD, <i>Passing Thru<\/i>, is a good indicator of the many talents possessed by this creative and interesting singer\/songwriter from the Boston area. This album, recorded at <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:3ifpxqr5ld6e\">Neighborhoods<\/a> singer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jifexqtgldje\">David Minehan<\/a>&#8216;s studio, Wooly Mammoth, between March and June 2004, is chock-full of strong material performed well. The problem is that the vibrant live show, as well as the energy found on their raw demos, did not translate well on this production by the singer and her engineer, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:DAVE%7CWESNER\">Dave Wesner<\/a>. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:AL%7CMARRA\">Al Marra<\/a>&#8216;s vibraphone is a real treat but those wonderful sounds don&#8217;t emerge as pronounced as on the earlier demo tapes.Check out the solo in &#8220;Red War&#8221; to hear a bit of the potential. &#8220;Nothing Left&#8221; could be so much more if the instrumentation had a better mix \u2014 all the elements are there, the composition being especially strong. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:PETE%7CKELLEY\">Pete Kelley<\/a> is one of the better drummers around and he helps build a groove along with bassist <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jnfqxqlald6e\">Casey Abrams<\/a> \u2014 the latter fellow with his own music in release in addition to his work here. Ryan has a compelling voice and is a soulful guitarist; just listen to &#8220;See Can You&#8221; for a modern-day &#8220;Girl from Ipanema.&#8221; The music here has fantastic possibilities \u2014 and maybe all that&#8217;s needed is a remix of the original tapes, for everything on <i>Passing Thru<\/i> feels restrained \u2014 like a film edited so thoroughly that the colors give the appearance of being more black and white. The science fiction overtones on &#8220;Alien Nation&#8221; \u2014 one of the disc&#8217;s many great moments \u2014 and &#8220;Watch&#8221; add a nice break and work to keep the interest level up. This ensemble is never afraid to take chances. Check out the Ryan\/<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:jnfqxqlald6e\">Abrams<\/a> composition &#8220;Summer&#8221; for a taste of some of the risk at play. New artists need one great song which can launch off a disc and make immediate new friends, and Audrey Ryan has the gifts to come up with that smash, along with many more. You can hear it inside simple tunes like &#8220;Nothing Left,&#8221; and though the musicians in the group changed almost two years after this debut, this artist is someone to keep an eye on. The pluses here outweigh the flaws, and overall it is a fine effort, especially for an album debut.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>SATCH KERANS ELLIOT STREET 2004<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:abfqxq8sld0e\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:abfqxq8sld0e<\/a><\/p>\n<p>KELLY RILEY<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kvfoxql0ld0e\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:kvfoxql0ld0e<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">&#8220;Live and You Learn&#8221; is an overpowering title track on an overpowering album by Boston-area singer Kelly Riley. The song subsides into &#8220;One Kiss for the Road,&#8221; a real heartbreaker, and the wide scope of this artist spans across the disc, with &#8220;When All Else Fails&#8221; working like the best of <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DAN%7CFOGELBERG\">Dan Fogelberg<\/a>, only from a woman&#8217;s point of view. The blend of jazz on the fourth track&#8217;s &#8220;See You Again&#8221; goes deeper into the introspection; one can learn as much about her passion from the nuances of her voice as they can from the lyrics. There are some amazing women songwriters out there &#8212; fellow Bostonians <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:LES%7CSAMPOU\">Les Sampou<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DEB%7CPASTERNAK\">Deb Pasternak<\/a>, New York&#8217;s <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DEENA%7CMILLER\">Deena Miller<\/a>, L.A.&#8217;s <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:CYNTHIA%7CCATANIA\">Cynthia Catania<\/a> &#8212; all repaving the path <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DIDI%7CSTEWART\">Didi Stewart<\/a> and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:AIMEE%7CMANN\">Aimee Mann<\/a> pioneered. Much depth is embraced by &#8220;See You Again,&#8221; but an equally important point about this recording is that the moods change like the channels on a television without disrupting the flow of the music, a real balancing act. Riley pulls it off, the muffled <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:LYNDA%7CSTEPHENS\">Lynda Stephens<\/a> sax the perfect complement to the cascading piano lines of &#8220;See You Again.&#8221; Alongside the singer\/songwriter is former <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JOE%7CPERRY\">Joe Perry<\/a> drummer <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JOE%7CPETRUZELLI\">Joe Petruzelli<\/a>, former <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:WILLIE%7CALEXANDER\">Willie Alexander<\/a> bassist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:BRANDON%7CPRITCHARD\">Brandon Pritchard<\/a>, and <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JEANNIE%7CDEVA\">Jeannie Deva<\/a> guitarist <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JOE%7CMAC\">Joe Mac<\/a>. &#8220;Love Bug&#8221; continues shifting scenes, a <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:RICKIE%7CLEE%7CJONES\">Rickie Lee Jones<\/a>-type vamp with a New Orleans feel, background vocals slinking through the mix. &#8220;Nothin&#8217; Left to Do,&#8221; yet another song bidding adios to a lost love, has sharp lyrics and equals the title track for intensity. <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:DEB%7CPASTERNAK\">Deb Pasternak<\/a> works these themes, and like <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:PASTERNAK\">Pasternak<\/a>, <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:LES%7CSAMPOU\">Les Sampou<\/a>, and the remarkable <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=2:YOU%7CKNOW%7CME\">You Know Me<\/a> album by <a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=1:JACKIE%7CDESHANNON\">Jackie DeShannon<\/a>, <i>Live and You Learn<\/i> is perfectly produced imagery deserving as much exposure as possible. It&#8217;s a beautiful work.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>HOME Deb Pasternak<br \/>\n<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:hxfexqqaldfe\">http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:hxfexqqaldfe<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\"><i>Home<\/i> is the third album from Deb Pasternak in six years, following 2000s <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:fzfrxql0ld0e\"><i>Eleven<\/i><\/a> which came three years after her 1997 debut, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:wcfuxq8hldje\"><i>More<\/i><\/a>. On track four she aggressively tells us &#8220;I want more,&#8221; and it is said in such a catchy way and with such surety it&#8217;s obvious the goal&#8217;s already been achieved. At times Pasternak follows vocal tones set by <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gpfqxqt5ldke\">Sheryl Crow<\/a>, but the musical explorations are unique and have a special clarity, with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0vftxq9gldae\">Chris Rival<\/a>&#8216;s guitar work glued to and playing against <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fzftxqygldje\">Tom West<\/a>&#8216;s ever-present keys. &#8220;It&#8217;s All Over&#8221; takes things a step further, the band now branching out and enveloping the singer; <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0vftxq9gldae\">Rival<\/a> more penetrating with guitar lines that tear &#8220;Room In Heaven&#8221; wide open. The shift is from pop\/blues to hard pop, verging at times on metal. Just when the listener is getting the lullaby, Pasternak hits you with a lyrical and musical splash like &#8220;The Road&#8221;; chugging guitar emphasizing some simmering anger: &#8220;I&#8217;ve got lifetimes of hate\/I&#8217;ll show you how I cope&#8221; \u2014 the sentiment <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fifyxqw5ldte\">Alice Cooper<\/a> gave the world on his <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:dnftxqrkldae\"><i>Brutal Planet<\/i><\/a> CD. It&#8217;s the ground <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifwxqe5ldje\">Marianne Faithfull<\/a> and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0ifwxqr5ld6e\">Nico<\/a> pioneered, though Deb Pasternak keeps the proceedings from falling too deep into the underground. On <i>Home<\/i>, the group has found an edge that <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifoxqr5ldje\">Rolling Stones<\/a>&#8216; fans wish <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:aifoxqr5ldje\">Mick and Company<\/a> would embrace again. Where <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:hifixqe5ldae\">Jagger<\/a>\/<a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:h9fixqugldke\">Richards<\/a> have refined and homogenized their studio recordings in the 90s and the new millennium, Deb Pasternak makes it clean enough to be presentable, but raw enough to keep your attention. The lyrics are as strong as they were on the second album, <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=10:fzfrxql0ld0e\"><i>Eleven<\/i><\/a>, though this time the band takes more risks and moves the music to other regions and extremes. &#8220;No Need To Venture Outside&#8221; is cabaret\/jazz\/cocktail\/lounge music coming right after the acidic &#8220;Room In Heaven,&#8221; while the singer&#8217;s vocal shows maturity and an identity all its own. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wbfoxq85ldhe\">Richard Gates<\/a>&#8216; bass has taken the place of the guitar and finds itself next to <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fzftxqygldje\">West<\/a>&#8216;s piano work: a real about-face that gives the listener a breather. <i>Home<\/i> is an even more adventurous and successful combination of styles than the fine effort that came before, and it begs repeated listenings; words and music both eloquent and simple; a tough balancing act that they pull off with immediate charm.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>ELEVEN DEB PASTERNAK<a href=\"http:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:fzfrxql0ld0e\"><br \/>\nhttp:\/\/www.allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:fzfrxql0ld0e<\/a><\/p>\n<table width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td align=\"left\">Review<\/td>\n<td align=\"right\">by Joe Viglione<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" valign=\"top\">The magic of Deb Pasternak&#8217;s music on the not coincidentally titled package <i>Eleven<\/i> is that you can hear all sorts of influences and fragments of other female vocalists, but you can&#8217;t quite put your finger on who she is emulating, while the songs are unique, expressive, and breathtaking. To underestimate Pasternak and think she is a folky would be mistake number one; this adventure has bursts of rock and blues, as on &#8220;Jack,&#8221; with <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fzftxqygldje\">Tom West<\/a>&#8216;s essential B-3 organ supplementing producer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:0vftxq9gldae\">Chris Rival<\/a>&#8216;s tremendous guitar. There are subdued <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gifoxqw5ldse\">Black Sabbath<\/a> riffs on this song about a suicide leap, something that plagued college campuses in the Boston area circa 2000. Mistake number two would be not to listen to the lyrics. This woman has a way with words that is extraordinary, and <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RIVAL\">Rival<\/a>&#8216;s sterling production brings those words out nicely. Moving from &#8220;Jack&#8221;&#8216;s suicide to giving her heart at &#8220;The Bullfights&#8221; while &#8220;those beasts ran below&#8221; is a wonderful contradiction. &#8220;Flood,&#8221; a song that appears on the <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=2:WILDFIRE\">Wildfire<\/a> compilation as well, is the material Pasternak is most often affiliated with: light folk-rock with compelling lyrics. With its subject being her ex-lover&#8217;s new love, &#8220;Flood&#8221; expresses the liberating pathos of a soul being introspective and renewed. &#8220;Eclipse&#8221; ends the album with just <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:WEST\">West<\/a> on piano and Pasternak considering a relationship&#8217;s demise. It is a touching conclusion to an album that begins with the predatory sounds of &#8220;One Regret,&#8221; a song that sneaks up from behind to grab \u2014 and empower \u2014 the listener with its thoughts that &#8220;guilt&#8217;s just a waste of time.&#8221; The music sounds like <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:wiftxqr5ldse\">&#8216;Til Tuesday<\/a> meets that &#8220;All I Want to Do Is Have Some Fun&#8221; song, successfully merging &#8217;80s and &#8217;90s pop in a mix that is very contemporary. &#8220;Willomena&#8221; \u2014 illustrating the price of arrogance \u2014 will really play with your head. &#8220;Reading the Signs&#8221; is the stuff <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:fvftxq8kldke\">Laura Day<\/a> preaches in her intuition books; the band smartly gets behind Pasternak, never getting in the way of the hooks and her strong voice. &#8220;Keep On&#8221; is a nice break and works as a bridge between moods, but &#8220;Bitter&#8221; is beautiful in its vocal, lyrics, and performance. <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:RIVAL\">Rival<\/a> adds spooky guitars to the seductive vocal, and Pasternak masters a formula early-&#8217;70s Boston singer <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=1:JACK%7CDANIEL%7CAHEARN\">Jack Daniel Ahearn<\/a> was building: music that is totally &#8220;happy\/sad.&#8221; Pasternak brings the joy and the pain together like a cake mix, and feeds it to you. The <a href=\"http:\/\/www.blogger.com\/cg\/amg.dll?p=amg&amp;sql=11:gxfyxqykldhe\">Andras Jones<\/a> title &#8220;Message From the Moon&#8221; is sexual and full of expectation. It, along with &#8220;Bitter,&#8221; are high points on a wonderfully excellent recording that enlightens and entertains. Very impressive.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>39)Chris Pureka&#8217;s DRYLAND as reviewed for Inside Out Magazine, Hudson Valley, NY<\/p>\n<p>March Issue<\/p>\n<p>Artist: Chris Pureka<br \/>\nTitle: Dryland<br \/>\nLabel: Sad Rabbit Music<br \/>\nYear: 2006<br \/>\nCatalog # 329112<\/p>\n<p>Dryland is an impressive follow up to Chris Pureka&#8217;s first full-length disc, Driving North. Pureka&#8217;s distinctive voice takes the listener to the places<br \/>\nexplored by Elton John and Bernie Taupin back in the days of their Tumbleweed Connection album. It&#8217;s pop music for the old west, a perfect soundtrack for a<br \/>\nsequel to Brokeback Mountain, perhaps Brokeback Mountain from the female perspective. This Dryland speaks with authority, a youthful voice chock full of<br \/>\nwisdom articulating the moods that swing from disappointment to want, expressed effectively in songs like &#8220;Come Back Home&#8221; and the title track. &#8220;The last<br \/>\ntime I saw it I was heading north to the mountain-lands and here I am&#8221; she sings in the song &#8220;Dryland&#8221;, perhaps referencing the earlier work while<br \/>\ncontinuing the theme of missing, waiting and wanting. Pureka has that same drive Janis Ian displayed post &#8220;Society&#8217;s Child&#8221; and before her &#8220;At Seventeen&#8221; phase<br \/>\nwith the songs building upon each other, unstated connections that form a cohesive whole, like chapters of the same book. Dryland is a finely textured<br \/>\nfabric, the soaring &#8220;Momentary Thief&#8221; continuing the requests, the singer putting her private meditations out for public inspection. Co-producer\/engineer Marc<br \/>\nAlan Miller helps create a sparse environment for the variety of instruments, and that allows them to slip in and out of the melodic passages without intruding<br \/>\non the words. The combination of the upright bass from Andy Rice mixed with Sebastian Renfield&#8217;s ambient electric guitar and violins mark the first song, These<br \/>\nPages, with an eloquence that reflects the singer&#8217;s intent. These aren&#8217;t simple Top 40 poems put to music, they read like pages from a diary with the<br \/>\nsongwriter changing the melodies and chords to fit her unique story-telling form. Yes, each title has the ability to work separately from this setting as album<br \/>\ntracks or even a potential Triple A radio single, think Tracy Chapman being low-key and telling her stories in a different framework. It is complex music,<br \/>\nbut the complexities don&#8217;t take away from Chris Pureka&#8217;s ability to entertain while getting so many issues off her mind.<\/p>\n<p>A different review of Chris Pureka by Joe Vig on Allmusic.com<a href=\"http:\/\/allmusic.com\/cg\/amg.dll?p=amg&amp;sql=10:3vfoxqudldse\"><br \/>\nhttp:\/\/allmusic.com\/cg\/amg.dll?p=amg&#038;sql=10:3vfoxqudldse<br \/>\n<\/a><\/p>\n<p><a href=\"http:\/\/bp1.blogger.com\/_XDwdAyUP_ts\/RpmuS92rwoI\/AAAAAAAAACI\/MH4o51aE2Ns\/s1600-h\/Dryland+Web+Pic.jpg\"><img decoding=\"async\" id=\"BLOGGER_PHOTO_ID_5087288894956487298\" alt=\"\" src=\"http:\/\/bp1.blogger.com\/_XDwdAyUP_ts\/RpmuS92rwoI\/AAAAAAAAACI\/MH4o51aE2Ns\/s320\/Dryland+Web+Pic.jpg\" border=\"0\" \/><\/a><\/p>\n<p>MUSIC STORES IN THE NEW MILLENNIUM<\/p>\n<p>IN YOUR EAR and RANDOLPH MUSIC have survived the upheaval created by the internet and expanded with Tower Records closing.<\/p>\n<p>Here is our BLOG for Randolph Music<br \/>\n<a href=\"http:\/\/recordexpo.blogspot.com\/\">http:\/\/recordexpo.blogspot.com\/<\/a><\/p>\n<hr \/>\n<p><a href=\"http:\/\/bp0.blogger.com\/_XDwdAyUP_ts\/Rx685W4HLwI\/AAAAAAAAACQ\/MTRNf3LZ6pw\/s1600-h\/Tom+Williams+type4.jpg\"><img decoding=\"async\" id=\"BLOGGER_PHOTO_ID_5124741119573700354\" alt=\"\" src=\"http:\/\/bp0.blogger.com\/_XDwdAyUP_ts\/Rx685W4HLwI\/AAAAAAAAACQ\/MTRNf3LZ6pw\/s320\/Tom+Williams+type4.jpg\" border=\"0\" \/><\/a><\/p>\n<hr \/>\n<p>TYPE 4 in Metrowest Daily News<br \/>\n<a href=\"http:\/\/www.metrowestdailynews.com\/arts\/x357263176\">http:\/\/www.metrowestdailynews.com\/arts\/x357263176<\/a><\/p>\n<p>Type 4 revives rock \u2019n\u2019 roll career<br \/>\nJoe Viglione <a href=\"mailto:jvbiographies@yahoo.com\">jvbiographies@yahoo.com<\/a><br \/>\nThu Oct 18, 2007, 02:26 PM EDT Malden &#8211;<\/p>\n<p>Malden &#8211; William Ierardi, a.k.a. D.J. Daylate, is a Malden resident who works in Medford. By day he helps run operations at Medford Self-Storage (the old Planet Self Storage) on the Fellsway; at night he is busy with the band Type 4, creating a unique modern sound, once popular in the region \u2014 and that Ierardi hopes will be popular again.<\/p>\n<p>Type 4 was founded in Boston in 1990 by two singer\/songwriters, Brian Cantwell and Tom Williams. Type 4 started out as a rap group that only used samples and drum machines, but has evolved over the years into a band that mixes sampling with live instruments, rap with rock \u2019n\u2019 roll.<\/p>\n<p>With the two lead vocalists backed (at different times in various arrangements) by guitarist Mike Haas, bassist Ray Bly, drummer Mike O\u2019Leary, percussionist Eric Goodridge, DJ KooKoo &amp; DJ DayLate, and keyboardist\/programmer\/producer Matt Reyes, T4 is capable of delivering many different sounds and styles, as demonstrated on \u201cUse Once And Destroy,\u201d a promotional six-song EP of some of the band\u2019s most recent songs.\u201d<\/p>\n<p>The Malden Observer recently caught up with Reyes and Ierardi and asked them some questions about life and music.<\/p>\n<p>MO: How can the public find Type 4\u2019s recorded output?<\/p>\n<p>Reyes: We\u2019ve had CDs in the stores in and around Boston, actually I guess all over the country, but it was all self-distributed, either mailed or dropped off in person to stores. Tower (remember Tower?), Newbury Comics, CD Spins, Strawberries, we had \u201cTrailmix\u201d in all of them. But I suppose they\u2019re long sold-out now.<\/p>\n<p>In fact I do a search every once in a while online for references to \u201cTrailmix\u201d and I regularly find people selling copies through different used CD Web sites for upwards of $40.<\/p>\n<p>MO: Is there a discography and stores where the music can be purchased or Web sites to download?<\/p>\n<p>Reyes: At the present time, our new stuff is still only available as downloads from our Web site http:\/\/www.TYPE4.biz , though we\u2019ve mailed out lots of \u201calmost finished\u201d demo discs, and once the new stuff is done to our satisfaction, we\u2019ll have CDs back in stores as well as for download through iTunes.<\/p>\n<p>MO: When is the new music Type 4 is creating going to be released?<\/p>\n<p>Reyes: Currently, we\u2019re beating the tortoise at that whole \u201cslow and steady\u201d thing. Real life has exerted its demands on our time as of late and on top of that we\u2019re a bunch of perfectionists.<\/p>\n<p>But to tell the truth, the current crop of songs had existed for so long in their \u201calmost finished\u201d state that we\u2019re all used to it, and everyone seems to like them as is.<\/p>\n<p>So yeah, we\u2019re just going to get some dough together and press some CDs for release by the end of this year. Get this gorilla off our backs and move on to new songs.<\/p>\n<p>MO: Are there any live shows booked for the immediate future?<\/p>\n<p>Reyes: Nothing in the immediate future, though once we have the CDs for sale, we\u2019ll play some shows to get attention, and promote them though airplay on Boston radio. Same as we did 10 years ago with \u201cTrailmix.\u201d<\/p>\n<p>MO: Do you play local venues like Malden\u2019s Honey Fitz or the Chevalier Theater in Medford?<\/p>\n<p>Reyes: We haven\u2019t played My Honey Fitz, though we\u2019ve played some dives around here, in Revere, Medford and just about everywhere in Boston. Even Mama Kin and Axis, extinct dinosaurs like us. Well, we\u2019re not quite extinct!<\/p>\n<p>MO: About 17 years after Brian and Tom founded the group, what are the expectations and direction?<\/p>\n<p>Reyes: Wow, yeah, it has been that long, huh? Weird because I\u2019ve been at this music since before I hit puberty, and met Tom and Brian years later, so it all still seems so recent. But I guess we\u2019re grizzled veterans by now.<\/p>\n<p>As far as the future goes, all we\u2019ve ever wanted to do was be successful enough with the music to keep us from having to do anything else. We\u2019re not looking to get rich or be in a video with a swimming pool filled with gold teeth or whatever, we do this because we love it, and I\u2019d like to think we\u2019ve been at it long enough to get good.<\/p>\n<p>So we just want, as always, to get our music to those who might enjoy it, and hopefully get even more exposure than we got with \u201cTrailmix.\u201d All those years ago!<\/p>\n<p>MO: Have the players changed much over the years?<\/p>\n<p>Reyes: It was all pretty much addition there for a while, where Tom and Brian met me, I knew KooKoo, Brian knew Haas, Haas knew Goodridge, they knew Ray, etc.<\/p>\n<p>At our peak of seven or eight guys on stage, we were a rarity in that we were all pretty good in our own right, perhaps good enough to join some band somewhere, but we were all actually friends and had for the most part known each other as friends even before the music.<\/p>\n<p>There were a couple of shuffles here and there, when Eric left and we got our buddy and fellow SMP Mike O\u2019Leary to play drums, then we replaced original live bass player Mike Rizzo with Ray, KooKoo faded away, then after the tour and our long hiatus, we\u2019ve re-formed as a simpler hip-hop act with DJ DayLate and another DJ, who is currently remaining nameless.<\/p>\n<p>Of course some of the shakeups were involuntary and irreversible. We lost both Brian and Eric for good along the way, and we miss them very much as friends and bandmates.<\/p>\n<p>MO: Why was there a hiatus?<\/p>\n<p>Reyes: We came back from the tour in 1998, on top of the world, having played all over the country, sold (and gave away) tons of CDs, played with some Skunk bands and were all set up to start being booked by them. But first a little time off! And we all fell into different addictions, not all of them drugs, but all of them time-consuming and isolating.<\/p>\n<p>And a little time turned into a longer time, and after a while it was just back to Tom, Brian and myself in a small home studio finishing off the \u201cFor Sale\u201d CD. Then Brian died. And that longer time became maybe forever.<\/p>\n<p>Until Tom cleaned up, Bill came along and gave us the motivation to get going again, and we cranked out a bunch of new stuff, and that\u2019s \u201cAs Is.\u201d<\/p>\n<p>I can tell you the time away seems so short to us, but yeah to the real world, and especially to our fans, it was a damned long time.<\/p>\n<p>MO: What are your plans for world domination?<\/p>\n<p>Reyes: I honestly think I could conquer the world, if I just somehow got the time back to devote all of it to the music and nothing else.<\/p>\n<p>Ten years ago I would work on music for days straight, going without sleep, going nocturnal. Now I\u2019ve got to fit it in around work and all that \u201creal life\u201d I was talking about earlier. But hey, we\u2019re here, we didn\u2019t ALL die, and the music we\u2019re making is better than ever, more finished than ever before, and I for one am proud of it.<\/p>\n<p>MO: William Ierardi, known as, D.J. Daylate, when did you start spinning?<\/p>\n<p>D.J. Daylate: I started in 2002. I had just started dabbling in production after watching our producer, Matt, do his thing.<\/p>\n<p>A friend of mine frantically called me around that time saying \u201cBill come quick, the landlord just threw out my next door roommates dj setup,\u201d or something like that, and Tom and I quickly jumped in his mother\u2019s beat up car to get over there, After snatching them out of the garbage \u2014 records, needles and all \u2014 I was very happy to say I all but devoted my life in front of the things until I could afford my own. I currently use Numark cdx CD turntables as my main setup.<\/p>\n<p>MO: Do you have a \u201csecret sauce\u201d that makes your sound different?<\/p>\n<p>D.J. Daylate: I did not like rap music very much \u2014 besides Type 4 while I was growing up; I\u2019m more into rock and reggae, only later on listing to rap and jazz blues.<\/p>\n<p>MO: How do all the components of T4 work together \u2014 is it controlled chaos like Weather Report or a polished blend like Aerosmith meets RUN DMC?<\/p>\n<p>D.J. Daylate: Right now Matt does all the production; I only throw ideas at him once and a while, I do all my recording at home and bring it to him. Tom records vocals at Matt\u2019s studio\/bedroom (Matt sleeps on his living room couch and has no bedroom!)<\/p>\n<p>MO: We got Matt Reyes thoughts on world domination, do you think T4 will conquer the world?<\/p>\n<p>D.J. Daylate: It is more than possible, although its more of a way to express ourselves musically, we aren\u2019t looking to take over the world, we do our small part to be heard, but rely mostly on word to mouth, which has definitely passed along way.<\/p>\n<p>Tom got a letter from a kid in Australia looking for the CD! So, if it happens it happens, the way the music industry is going these days, its almost more sane to be underground hip hop, all that said, we of course would sign on the dotted line if there was a worthwhile offer.<\/p>\n<hr \/>\n<p>Type 4 in Malden Observer<br \/>\n<a href=\"http:\/\/www.wickedlocal.com\/malden\/fun\/x357263176\">http:\/\/www.wickedlocal.com\/malden\/fun\/x357263176<\/a><\/p>\n<hr \/>\n<p>Kevin Gilligan&#8217;s FOR \/ The Orphans<br \/>\n<a href=\"http:\/\/www.wickedlocal.com\/malden\/news\/x852315456\"><br \/>\nhttp:\/\/www.wickedlocal.com\/malden\/news\/x852315456<\/a><\/p>\n<p><a href=\"http:\/\/bp0.blogger.com\/_XDwdAyUP_ts\/R0clnB_bArI\/AAAAAAAAACY\/jhPgY8hw7sk\/s1600-h\/kevin+gilligan.jpg\"><img decoding=\"async\" id=\"BLOGGER_PHOTO_ID_5136115252518912690\" alt=\"\" src=\"http:\/\/bp0.blogger.com\/_XDwdAyUP_ts\/R0clnB_bArI\/AAAAAAAAACY\/jhPgY8hw7sk\/s320\/kevin+gilligan.jpg\" border=\"0\" \/><\/a> Joe Harrington photo<\/p>\n<p>Malden &#8211; One click onto <a href=\"http:\/\/myspace.com\/funeralofromance\">http:\/\/myspace.com\/funeralofromance<\/a>, the MySpace page for the Malden power metal\/rock band Funeral of Romance, and you\u2019ll hear ominous sounds pour out of your computer speakers.<\/p>\n<p>Recording for their own Unknown Records imprint, the Malden quartet consists of Kevin Gilligan, a.k.a. \u201cNickels Alloy\u201d on bass\/vocals, Dave Dawson a.k.a. \u201cSlambango\u201d on guitar\/vocals, \u201cBaynze\u201d a.k.a. Jamie Forbes playing the drums, and Warren Sheehan providing backing vocals.<\/p>\n<p>And there are many other individuals working behind the scenes with this regional group.<\/p>\n<p>\u201cHere\u2019s To You\u201d on their Myspace page plays like Sabbath, with heavy effects on the vocals over slow, plodding, mercenary riffs. Their site proclaims proudly, \u201cWith no boundaries and no limits, The Funeral_of_Romance forges their way onto the Boston music scene with vengeance. F.O.R. is a heart pounding, no frills, in your face rock\/metal band hailing from the borrows of southern New England.\u201d<\/p>\n<p>We caught up with Kevin Gilligan to chat about the songwriting and band mission:<\/p>\n<p>Observer: How long have you lived in Malden?<\/p>\n<p>KG: I\u2019ve lived in Malden my whole life. I was born and bred here and will always call Malden my home no matter where I reside. I actually have the city of Malden\u2019s seal tattooed on my leg; that was done by tattoo artist and F.O.R. drummer Jamie Forbes, a Malden native who now lives in Tewsbury. Guitarist\/singer Dave Dawson is originally from San Jose California, and currently resides in Arlington. Dave and I met from a Craigslist ad a few years back and we have been building a library of songs since early 2007.<\/p>\n<p>Observer: You were one of the original founders of Boston Soundcheck Magazine (1995-2004). Were you playing live in a band then?<\/p>\n<p>KG: Yes. throughout the \u201890s and up until the year 2000, I played in a band called The Orfans as well as other musical endeavours.<\/p>\n<p>Observer: Why did you wait so long to put a new group together?<\/p>\n<p>KG: I believe it\u2019s a matter of chemistry and finding the right people and I finally found that. I might add, Dave and myself have the right chemistry and a very secret formula that is working well and we are very pleased with the results.<\/p>\n<p>Observer: \u2018Rain,\u2019 \u2018Follow,\u2019 and \u2018Save Me\u2019 are dark, heavy, melodic songs with overtones of Judas Priest, Megadeth, and Motorhead. Were those bands you grew up listening to?<\/p>\n<p>KG: Those bands are just a small handful of bands we all grew up listening to and has influenced our music without a doubt. But bands like the Scorpions, Black Sabbath, Kiss and Deep Purple are also a big part of our sound.<\/p>\n<p>Observer: Malden is getting some recognition with No. 9 Ale House &amp; Grill and Honey Fitz Pub bringing live entertainment to the city. Do you think Malden is creating its own scene, or is part of the huge Boston rock n\u2019 roll movement moving into the suburbs?<\/p>\n<p>KG: Well, with the closing of some great clubs in Boston over the years \u2013 from The Channel, The Rat, Mama Kin and others \u2013 Malden has become an ever-growing city with some places that offer live music for the patrons and I think that\u2019s great. It is also good for local bands and musicians to gain some live exposure. I do believe it is creating its own vibe and is also a part of the Boston rock movement.<\/p>\n<p>Observer: When will your CD be ready?<\/p>\n<p>KG: As I speak with you today, we are working on the final mixes along with the mastering part of the process as well as the artwork for new CD entitled (sic) \u201cFuneral of Romance\u201d and it is expected to be released in February of 2008 if all goes well.<\/p>\n<p>Observer: Will you be performing in the area upon its release?<\/p>\n<p>KG: There will be a limited number of New England area appearances in the spring of 2008 with a tour to follow spanning from coast to coast and possibly some European dates as well.<\/p>\n<p>Observer: What\u2019s the mission of F.O.R.?<\/p>\n<p>KG: Our mission is to create great heavy metal rock music that appeals to the heavy metal audience around the world. We will not disappoint our fans and the true metal-heads around the globe. We aim to truly rock out without regret.<\/p>\n<hr \/>\n<p>#9 Ale House<\/p>\n<p>On tap at the ale house<br \/>\nBy Joe Viglione Fri Oct 26, 2007, 05:04 PM EDT<\/p>\n<p>Malden &#8211; In February of 2007, former Observer reporter Dan Baer covered the grand opening of The No. 9 Ale House Grill with an emphasis on the menu and the renovations since owner Nick Luciani purchased the old Shamrock Inn at 118 Ferry St.<\/p>\n<p>The former guitarist who toured the country with his Boston Brats is perfectly comfortable as a restaurant owner instead of a touring musician, and he quickly upgraded the televisions, renovated the menu with head chef Jonathan Knight and cook Paul Brant, as well as changing the entertainment.<\/p>\n<p>DJ Johnny G, who worked The Palace, Avalon and Axis, does his mash-ups, perhaps playing some old Journey with current Eminem as the fare for Friday nights, while on Thursdays there\u2019s the Open Jam hosted by Subliminal Criminal guitarist Jamie Bondar.<\/p>\n<p>\u201cI make sure everyone gets to play,\u201d Luciani told the Observer. \u201cWe do it the old school way&#8230;you put your name on a chalkboard and first come, first served.\u201d<\/p>\n<p>The manager and owner displays genuine enthusiasm about his restaurant pub.<\/p>\n<p><a href=\"http:\/\/www.wickedlocal.com\/malden\/archive\/x1633052773\"><br \/>\nhttp:\/\/www.wickedlocal.com\/malden\/archive\/x1633052773<\/a><\/p>\n<hr \/>\n<p>8)THE HONEY FITZ LOUNGE, MALDEN<\/p>\n<p>Fitz of laughter<br \/>\nJoe Viglione\/malden@cnc.com<br \/>\nFri Sep 07, 2007, 03:27 PM EDT<br \/>\nMalden &#8211;<\/p>\n<p>Malden &#8211; With new food in the works, live music most nights and a refreshed list on-tap beers, the Honey Fitz Irish Pub in Malden is making changes. This weekend, they\u2019ll introduce one of their most exciting entertainment changes yet \u2013 when comedian Johnny Joyce takes over the Sunday night performance slot in what owners hope will become a regular night of laughs.<\/p>\n<p>The Honey Fitz Irish Pub is a restaurant located on 142 Pleasant St., across from Malden Access Television (MATV) station and a stone\u2019s throw from Malden City Hall. The Pub is open 11 a.m. to 2 a.m., Monday through Friday, noon to 2 a.m. on Saturdays, and noon to midnight on Sundays \u2013 with the kitchen running 6 p.m. to 10 p.m. every Monday through Saturday.<\/p>\n<p>READ MORE HERE:<br \/>\n<a href=\"http:\/\/www.wickedlocal.com\/malden\/homepage\/x942963470\">http:\/\/www.wickedlocal.com\/malden\/homepage\/x942963470<\/a><\/p>\n<hr \/>\n<p>9)Lauren Bateman<\/p>\n<p>Rockin\u2019 with Lauren Bateman<br \/>\nBy Joe Viglione\/malden@cnc.com<br \/>\nFri Jan 04, 2008, 01:19 PM EST<br \/>\nMalden &#8211;<\/p>\n<p><a href=\"http:\/\/bp1.blogger.com\/_XDwdAyUP_ts\/R4BSR778RxI\/AAAAAAAAACg\/-vZKfw_Jd-U\/s1600-h\/lauren+Bateman.jpg\"><img decoding=\"async\" id=\"BLOGGER_PHOTO_ID_5152208441812207378\" alt=\"\" src=\"http:\/\/bp1.blogger.com\/_XDwdAyUP_ts\/R4BSR778RxI\/AAAAAAAAACg\/-vZKfw_Jd-U\/s320\/lauren+Bateman.jpg\" border=\"0\" \/><\/a><\/p>\n<p>Courtesy photo not used in the Observer story.<\/p>\n<p>Malden &#8211; Malden resident Lauren Bateman is a 24-year-old singer and songwriter who grew up in Medford with her mom and her sister. These days, she\u2019s busy running from boxing training to open mic nights at local clubs.<br \/>\nReaders can tune in to the songs she has available on http:\/\/myspace.com\/laurenbatemanmusic.<\/p>\n<p>The Malden Observer caught up with Lauren in between those moments in her busy schedule.<br \/>\nMO: How did you get started in the entertainment business?<\/p>\n<p>LB: I was always into music, playing piano when I was younger. My sister bought me a guitar when I was in high school as a confirmation present and I loved it, playing all the time (and) teaching myself how to play from one of the \u201chow to play guitar\u201d books she had bought.<\/p>\n<p>Read the full article here:<br \/>\n<a href=\"http:\/\/www.wickedlocal.com\/malden\/news\/x1295927402\">http:\/\/www.wickedlocal.com\/malden\/news\/x1295927402<\/a><\/p>\n<hr \/>\n<p>Alastair Moock!<\/p>\n<p><a href=\"http:\/\/www.wickedlocal.com\/malden\/archive\/x254743850\">http:\/\/www.wickedlocal.com\/malden\/archive\/x254743850<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>Malden &#8211; One look at the \u201cfriends\u201d list on Myspace.com\/alastairmoock gives deep insight into the tastes and influences of regional artist Alastair Moock. It\u2019s also a good indication of the music to be found in his impressive library of original work.<\/p>\n<p>Woody Guthrie, Dave Van Ronk, Tom Waits, Taj Mahal, Townes Van Zandt and Blind Willie McTell are just some of the names Moock displays on his friends list, and the song \u201cYin Yang Blues\u201d reflects that appreciation in the same way that other contemporary folk\/blues artists \u2013 Ted Drozdowski, Kerry Kearney and Mark Newman, to name a few \u2013 show a devotion to this sound and style. \u201cYin Yang Blues\u201d is a song from Moock\u2019s current album, \u201cFortune Street.\u201d The song \u201cUnwanted Guest\u201d from 2005\u2019s \u201cLet It Go\u201d album is reminiscent of Arlo Guthrie at his best.<\/p>\n<p>Four full-length songs from the artist are available to hear on MySpace, while shorter clips can be heard on the artist\u2019s main page &#8211; www.Moock.com.<\/p>\n<p>The title track of the new album is a smooth and elegant pop essay in contrast to the stripped down blues of some of the other tracks, but within the pop the soul still shimmers in the same way Delbert McClinton is able to invisibly multi-task his musical chores.<\/p>\n<p>Moock also has a side project, \u201cPastures Of Plenty,\u201d which he started in 1999. Its Web site calls it \u201ca way to bridge some of the gaps he saw in the Boston music scene \u2014 between the folk and roots rock crowds, between contemporary and traditional musicians, and between younger and older players.\u201d<\/p>\n<p>The Moock.com Web site is cleanly written with tons of information compactly presented for easy access. The list of players Alastair Moock has entertained crowds along with is impressive, from John Stewart and Bill Morrissey to Peter Mulvey, Ellis Paul, Patty Larkin and so many others.<\/p>\n<p>On Monday, Dec. 17, Alastair Moock spoke on camera with Malden Access Television\u2019s executive director, Ron Cox, for the 121st edition of the \u201cLive On Tape\u201d show. Cox was very impressed with the Medford resident\u2019s skill and easy going nature \u2013 and that Moock played with one of the executive director\u2019s favorites, \u201cRamblin Jack Elliott.\u201d<\/p>\n<p>The Observer spoke with Alastair after his program.<\/p>\n<p>Q: Have you done much local television?<br \/>\nA: Not a lot. I\u2019ve done a couple of programs in the area and in some other states. \u201cLive on Tape\u201d was great.<\/p>\n<p>Q: How long have you lived in Medford?<br \/>\nA: Let\u2019s see. Four years. We were in Somerville for several years before that.<\/p>\n<p>Q: Your biography on www.Moock.com says that you came to the Boston area via New York.This question is two-fold: What part of New York were you raised in?<\/p>\n<p>A: Westchester, just north of the city.<br \/>\nQ: What prompted you to move to Boston?<br \/>\nA: I sort of stumbled down here after college. I had no idea what to do with myself. It turned out that Boston was about the perfect place for a young singer\/songwriter to end up. There are tons of really high-quality open mics in the area and I played them regularly for a few years.<\/p>\n<p>Q: How did you decide you were going to record?<br \/>\nA: I started writing songs at the end of high school and, of course, I always wanted to record. I made my first self-released album in 1999.<\/p>\n<p>Q: Who released the first albums?<br \/>\nA: Me.<br \/>\nQ: What was the demo that got the deal with the international Corazong label?<\/p>\n<p>A: CoraZong picked up my fourth album, \u201cLet it Go,\u201d which I had actually already released in the States. They re-packaged it and we added a few bonus tracks and re-released it here, and for the first time in Europe.<\/p>\n<p>Q: You\u2019ve opened for many, many popular artists: Boston\u2019s legendary Jonathan Edwards, the great Taj Mahal, Arlo Guthrie, Marshall Crenshaw, Dick Dale\u2026did agents bring you in touch with these legends or did they already know of your music?<\/p>\n<p>A: Most of those openers came through the venues themselves. I still represent myself in the States, so I don\u2019t have any high-powered people kicking down doors for me. You pay your dues at the clubs and coffeehouses, people get to know and like you, and eventually those kind of openers come down the pike. When I was starting out, it was the greatest thrill to open for big names, and I am really honored to have gotten to play for some of my heroes. Arlo and Taj were big ones for me.<\/p>\n<p>But, at this point, I\u2019m much more interested in doing my own shows. It\u2019s all about making real connections with people now. There\u2019s only so much you can do with a four- or five-song opener.<\/p>\n<p>Q: Your gig resume is staggering. Norway, Nashville, Glasgow, Oregon and Cambridge, Mass. What are the audiences like when performing all around the world?<\/p>\n<p>A: You know, people are people. There are good shows and less good shows wherever you go. My songs are very lyric-driven and I do a lot of talking on stage, so I have to admit that there are some places in Europe where I find that language can be a bit of a barrier. But, generally, those shows have gone really well and I\u2019m always surprised at how well people respond.<\/p>\n<p>In January, I\u2019m headed back to Scotland to play a few dates and I\u2019m really looking forward to that. There seems to be a special connection there. I suppose it\u2019s partly the shared language and partly the shared musical traditions, but I just feel very much at home playing over there.<\/p>\n<p>Q: Your upcoming European tour looks extensive. Is this the biggest amount of European dates that you\u2019ve played in succession?<\/p>\n<p>A: I was just over for a month in October. That was the longest , and it was long. I\u2019ve got twin one-year-old girls at home, not to mention an amazing wife, so those long trips seem a lot harder to me these days.<\/p>\n<p>Q: With the Internet, do you see parallels between American and European audiences? Are Europeans more apt to buy the tangible CD over downloading?<\/p>\n<p>A: I\u2019m not sure. I\u2019d guess it\u2019s about the same. In general, folk-roots audiences tend to be a little older and more tradition-bound than, say, pop audiences, so they\u2019re probably less apt to do downloads. But the media keeps changing, so who knows where we\u2019re headed.<\/p>\n<p>Q: Did you come to the Medford\/Malden area right away from New York? What made this region so appealing?<\/p>\n<p>A: I came to Boston after school and ended up in the Davis Sqare area of Somerville. My wife and I moved to Iowa for a couple of years for her to get an MFA, and by the time we got back, we were priced out of that area. All the action\u2019s on the north side of the river in Boston, and Cambridge and Somerville have gotten too expensive to buy or even rent in. Medford and Malden are next on the trail. They\u2019re great towns. I love where we are.<\/p>\n<p>But, watch out, first the artists move in, then the yuppies!<br \/>\n\u00ad\u00ad\u00ad\u00ad&#8211; Joe Viglione can be reached at recordreview2001@yahoo.com.<\/p>\n<p>BOX:<br \/>\nSee Alastair Moock live<br \/>\nAlastair will be performing at Sally O\u2019Brien\u2019s in Somerville on Jan. 4, and Johnny D\u2019s in Davis Square on Jan. 10. He then tours Great Britain throughout January, and returns to the Mee &amp; Thee Coffeehouse in Marblehead in February.<\/p>\n<p>Visit<a href=\"http:\/\/alastairmoock.com\/tour.html\"> http:\/\/alastairmoock.com\/tour.html<\/a> for more details.<\/p>\n<p><a href=\"http:\/\/bp1.blogger.com\/_XDwdAyUP_ts\/R97Z64iiyAI\/AAAAAAAAAC0\/ea9U56kLG-Q\/s1600-h\/alastair+moock.jpg\"><img decoding=\"async\" id=\"BLOGGER_PHOTO_ID_5178816227155560450\" alt=\"\" src=\"http:\/\/bp1.blogger.com\/_XDwdAyUP_ts\/R97Z64iiyAI\/AAAAAAAAAC0\/ea9U56kLG-Q\/s320\/alastair+moock.jpg\" border=\"0\" \/><\/a><\/p>\n<hr \/>\n<\/div>\n<div>\n<div>Posted by <a title=\"author profile\" href=\"https:\/\/www.blogger.com\/profile\/15345741483306237598\" rel=\"author\" data-gapiscan=\"true\" data-onload=\"true\" data-gapiattached=\"true\"> History of New England Rock <\/a> at <a title=\"permanent link\" href=\"http:\/\/bostonnewmillennium.blogspot.com\/2007\/07\/ken-selcers-shazam-chris-mascara-slop.html\" rel=\"bookmark\"><abbr itemprop=\"datePublished\" title=\"2007-07-10T18:45:00-07:00\">6:45 PM<\/abbr><\/a> <a href=\"https:\/\/www.blogger.com\/comment.g?blogID=6514151877888182310&amp;postID=1051297679122167570\"> No comments: <\/a><\/p>\n<div><\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"blog-pager\"><a href=\"http:\/\/bostonnewmillennium.blogspot.com\/\">Home<\/a><\/div>\n<div>\n<div>Subscribe to: <a href=\"http:\/\/bostonnewmillennium.blogspot.com\/feeds\/posts\/default\" target=\"_blank\" type=\"application\/atom+xml\">Posts (Atom)<\/a><\/div>\n<\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<div>17)The Ongoing ProcessAFTER WORD<\/p>\n<div>\n<div>Posted by <a title=\"author profile\" href=\"https:\/\/www.blogger.com\/profile\/15345741483306237598\" rel=\"author\" data-gapiscan=\"true\" data-onload=\"true\" data-gapiattached=\"true\"> History of New England Rock <\/a> at <a title=\"permanent link\" href=\"http:\/\/rocktableofcontents.blogspot.com\/2007\/07\/table-of-contents-joe-vigliones-guide.html\" rel=\"bookmark\"><abbr itemprop=\"datePublished\" title=\"2007-07-09T11:18:00-07:00\">11:18 AM<\/abbr><\/a> <a href=\"https:\/\/www.blogger.com\/comment.g?blogID=639005705849568302&amp;postID=2958144747347723775\"> No comments: <\/a><\/p>\n<div><\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div>\n<div id=\"blog-pager\"><a href=\"http:\/\/rocktableofcontents.blogspot.com\/\">Home<\/a><\/div>\n<div>\n<div>Subscribe to: <a href=\"http:\/\/rocktableofcontents.blogspot.com\/feeds\/posts\/default\" target=\"_blank\" type=\"application\/atom+xml\">Posts (Atom)<\/a><\/div>\n<\/div>\n<div id=\"sidebar-wrapper\">\n<div id=\"sidebar\">\n<div id=\"BlogArchive1\" data-version=\"1\">\n<h2>Blog Archive<\/h2>\n<div>\n<div id=\"ArchiveList\">\n<div id=\"BlogArchive1_ArchiveList\">\n<ul>\n<li><a> \u25bc\u00a0 <\/a> <a href=\"http:\/\/rocktableofcontents.blogspot.com\/2007\/\"> 2007 <\/a> (1)\n<ul>\n<li><a> \u25bc\u00a0 <\/a> <a href=\"http:\/\/rocktableofcontents.blogspot.com\/2007\/07\/\"> July <\/a> (1)\n<ul>\n<li><a href=\"http:\/\/rocktableofcontents.blogspot.com\/2007\/07\/table-of-contents-joe-vigliones-guide.html\">Joe Viglione&#8217;s Guide to New England Music<\/a><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"Profile1\" data-version=\"1\">\n<h2>About Me<\/h2>\n<div>\n<dl>\n<dt><a href=\"https:\/\/www.blogger.com\/profile\/15345741483306237598\" rel=\"author\" data-gapiscan=\"true\" data-onload=\"true\" data-gapiattached=\"true\"> History of New England Rock <\/a><\/dt>\n<\/dl>\n<p><a href=\"https:\/\/www.blogger.com\/profile\/15345741483306237598\" rel=\"author\">View my complete profile<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>Look at this GREAT Fanzine site from Gary Storm with our Varulven, Auguste Pages and Love and Flame etchings! from years gone by.<\/p>\n<p><a href=\"https:\/\/garystormsongs.files.wordpress.com\/2013\/04\/auguste-pages.jpg\">\u00a0https:\/\/garystormsongs.files.wordpress.com\/2013\/04\/auguste-pages.jpg<\/a><\/p>\n<p><a href=\"http:\/\/musicbusinessmonthly.com\/wp-content\/uploads\/2013\/08\/auguste-pages.jpg\"><img loading=\"lazy\" decoding=\"async\" alt=\"auguste-pages\" src=\"http:\/\/musicbusinessmonthly.com\/wp-content\/uploads\/2013\/08\/auguste-pages-274x300.jpg\" width=\"274\" height=\"300\" \/><\/a><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Music Business Monthly TM<\/strong><br \/>\nIn 1989 Music Business Monthly in association with the Boston Phoenix had the third Fall Music Conference.\u00a0 It was a huge success.\u00a0\u00a0 The magazine has endured over the past 25 years bringing information on the industry from editor and publisher Joe Viglione<\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"http:\/\/musicbusinessmonthly.com\/wp-content\/uploads\/2013\/08\/vIGLIONE-jOE-PHOTO.jpg\"><img loading=\"lazy\" decoding=\"async\" alt=\"vIGLIONE jOE PHOTO\" src=\"http:\/\/musicbusinessmonthly.com\/wp-content\/uploads\/2013\/08\/vIGLIONE-jOE-PHOTO-264x300.jpg\" width=\"264\" height=\"300\" \/><\/a><\/p>\n<p>&nbsp;<\/p>\n<p>Music Business Monthly<br \/>\nP.O. Box 2392<br \/>\nWoburn, MA 01888<\/p>\n<p>write to demodeal {@}Yahoo.com<\/p>\n<p>the demo that got the deal<\/p>\n<p>&nbsp;<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Welcome to Music Business Monthly.com Back in the 1980s, around 1989 or so, we created Music Business Monthly.\u00a0 It was a paper edition that was published simultaneously with successful music seminars.\u00a0 Watch this site as we develop a new Music Business Monthly for 2017. Editor and Publisher Joe Viglione\u00a0\u00a0 June 11, 2017, 11:53 pm\u00a0\u00a0http:\/\/joeviglione.com IMG_0138 [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-1","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"http:\/\/musicbusinessmonthly.com\/index.php?rest_route=\/wp\/v2\/posts\/1","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/musicbusinessmonthly.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/musicbusinessmonthly.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/musicbusinessmonthly.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/musicbusinessmonthly.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1"}],"version-history":[{"count":29,"href":"http:\/\/musicbusinessmonthly.com\/index.php?rest_route=\/wp\/v2\/posts\/1\/revisions"}],"predecessor-version":[{"id":6,"href":"http:\/\/musicbusinessmonthly.com\/index.php?rest_route=\/wp\/v2\/posts\/1\/revisions\/6"}],"wp:attachment":[{"href":"http:\/\/musicbusinessmonthly.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/musicbusinessmonthly.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/musicbusinessmonthly.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}