According to Wikipedia, as of Jan 1, 2019, 751.8 million has come in
worldwide for Aquaman on a budget estimated to be between 160 and 200
million, without promotional costs.
So how did Warner Brothers/DC Comics turn it around after a set of
genuinely dreadful films based on iconic comic book characters? Copy the
competition!
With Norse god Thor emerging from Germanic mythology it is intriguing
that the 2017 motion picture Thor Ragnarok could ring up $854 million
(#66 on the Top 100 worldwide according to Box Office Mojo as of
12/20/18) when the character is in the public domain, which brings us to
a unique situation. Aquaman, from D.C. Comics, the corporation
affectionately called “Brand Ecch” by its nemesis, Marvel, is a 1941
fictional personality that arrived two years after Marvel’s (Timely
Comics) 1939 debut of an absolute doppelganger, the Sub-Mariner.
Fast forward to 2018 and the film, Aquaman, takes liberally from – of
all things – Disney/Marvel’s interpretation of the Norse god Thor and
his mega-movie antics. Aquaman is a fast-paced two hour and
twenty-three-minute visual delight from 41-year-old director James Wan
(Furious 7, Saw, The Conjuring) who takes the viewer on a magic carpet
ride to Italy, Australia’s Gold Coast of Queensland, Tunisia, and
Newfoundland. The Boston, Massachusetts Aquarium is also referenced as
are the wondrous worlds of the seven seas, most notably Atlantis. That
Wan and crew failed to secure the Donovan song classic, Atlantis, for
this soundtrack makes no sense – another opportunity for Marvel but
that’s a quibble as the Aquaman film – as of the original writing of
this piece (12/20/18, 7:26 pm) – according to Wikipedia – budgeted at
200 million – has raked in 266.4 million overseas (released November
26.) See above for the update 12 days later.
Actor Jason Momoa plays Aquaman and you may have experienced his work
as Khal Drogo from Game of Thrones and/or Ronon Gates from Stargate:
Atlantis. He does a suitable job in this origin story after introducing
the dual water/land being in 2016’s awful Batman v Superman: Dawn of
Justice as well as the almost as bad Justice League (2017) … but don’t
hold that against him. A rugged dude whose good looks get erased by the
make-up (Chris Hemsworth’s features are not as drained by Thor’s
regalia,) Momoa channels Hemsworth as Thor in his creation of Aquaman’s
motion picture identity – DC / Warner Bros. Films so obviously lifting
the Thor success for this particular film and the result is spot on
success, quite compelling actually.
The two minute and twenty-five second trailer #1 gives a good “Cliff
Notes” look into the film, from the first rain-soaked opening drama and
historical character development that one doesn’t usually see in such
previews, to an inviting search for the Raiders of the Lost Ark …errr
Trident adventure that unfolds.
The pacing is efficient as Atlantean “aliens” blast into the quiet
lighthouse home of Tom Curry (New Zealander Temuera Morrison – who was
Abin Sur in 2011’s Green Lantern from D.C. as well as Jango Fett in
2002’s “Star Wars: Episode II – Attack of the Clones.”) and (Queen)
Atlanna – Nicole Kidman, who is absolutely superb in the role as
Aquaman’s mother. The underwater aliens and Atlanna cause the expected
havoc, and the tale begins.
Young Arthur/Aquaman’s fade-to-sparkling-gold eyes perhaps make him a
bit of a freak to his fellow students (reminiscent of X-Men’s Mystique
from Marvel Comics,) as the sea creatures come to his rescue from the
schoolboy bullies visiting the New England Aquarium at 1 Central Wharf,
Boston, and it is a unique moment in the story, but it is this reliance
on fun Marvel moments that actually gives this Aquaman film a sort of
Marvel sheen and its charm. Nothing succeeds like success Consider that
William Dafoe, who played one of Marvel’s greatest villains – the Green
Goblin in Sony/Marvel’s Spiderman debut – is here as “Vulko” teaching
young Arthur the ways of The Force. Vulko, as in Vulcan and Star Trek’s
half-breed Mr. Spock teaching the half-breed Arthur Curry. Yes, you will
find film references to Star Wars, Star Trek, the Matrix and Avatar
throughout the journey, but that’s been a Hollywood formula for decades
now, so it is not unexpected.
There’s lots of gun violence, knife violence, violence for violence’s
sake, and perhaps the young audiences still want that- the director has
worked on (Fast and)Furious 7, but for this critic it is the
exploration of the underwater worlds that are the most captivating,
Avatar submerged, if you will. If not part of a comic book series, as a
standalone, with some different tweaks, Aquaman could have touched on
territory owned by The Wizard of Oz, the first three Star Wars films and
other Hollywood classics. But the money today is in superheroes, and
before I even put hands to keyboard, this film was well on its way to
breaking even and pulling in a boatload of cash.
If my review is too cerebral as well as steeped in comic book lore,
the first portion of the WB press release could be helpful and give you a
perspective:
“From Warner Bros. Pictures and director, James Wan comes an
action-packed adventure that spans the vast, visually breathtaking
underwater world of the seven seas, “Aquaman,” starring Jason Momoa in
the title role. The film reveals the origin story of half-human, half
Atlantean Arthur Curry and takes him on the journey of his lifetime—“
The superb result puts this Aquaman in second or third place in the
D.C. Universe either above or below Wonder Woman with The Dark Knight*,
of course, still perched at #1. (*Keep in mind the DCEU (DC Comics
Extended Universe) started AFTER the Batman/Chris Nolan trilogy, with
2013’s Man Of Steel. However, since the powers that be have been idiotic
about their “extended universe” venture – Suicide Squad and
aforementioned Batman v Superman, Justice League Exhibits 1, 2, and 3 –
let us identify the top 3 DC films of this century as Dark Knight Wonder
Woman/Aquaman.
Music Review: Eric Lee – Heartache Town
by Joe Viglione
In the 3 years since the eponymous Eric Lee extended-play mini album
comes this perfectly produced collection of twelve compositions with
huge crossover potential. Heartache Town, the title track, is pure pop
Americana succinctly wrapped up in two minutes and forty-five seconds.
It drives, captivates, and brings the listener in with the elegance of
James Taylor and an integrity so essential to believability.
The singer’s voice is the intro flowing into an immediate groove that
gives a solid foundation for the storyline – for Lee’s prime instrument
is (actually are) those vocal chords, above his ability to play, pluck
and strum a variety of different vibrating strings attached to a
multitude of different wooden platforms.
“Another Bloody Mary Morning” is a rock hootenanny with bluegrass
overtones and a showcase for the singer’s ability to discretely traverse
different styles. Those styles change quickly from song to song,
quickly yet ever so slightly, with the tunes placed in an inviting way
begging for repeated spins.
“Silver Headstone” goes pure traditional country – almost three
minutes before the five minute “Prince of Dreamers.” And despite the
reference to James Taylor above, Lee’s influences aren’t that glaring,
he tucks the many sources he draws from onto an original canvas that
makes it all very appealing.
Two epics are “Fall of Man,” and “To Write You A Song,” the latter
appearing on the previous collection as well. “Fall of Man” features
Eric Lee – lead vocal, acoustic guitar, mandolin, baritone violin,
electric fiddle, violins, electric guitar, Tracy Grammer – harmony
vocal, Greg Greenway – harmony vocal, Matthew Thornton – cello, Jim
Henry – electric lead guitar, Paul Kochanski – bass, J.J. O’Connell –
drums, Brian Johnson – sitar – and the accompanists are listed straight
from the press information to give a scope on how many different ideas
and vibrations combine to give these story songs such lively brio and
heart.
The semi-duet on “Lucky Penny,” a song co-written with Neale
Eckstein, brings a nice change of pace, though it’s still Eric Lee’s
vocal chords that pave the way. A deep, intentionally underplayed
acoustic guitar as lead instrument, “I Wish I Was a Plumber” is a
musician’s lament, reminiscent of Tony Hendra (Spinal Tap) and his
amazing, insightful John Lennon parody “If I could be a fisherman I
would be a fisherman but I can’t because I’m a (expletive) Genius.”
Co-written with Pete Nelson the rhythm section of Kochanski and
O’Connell are a delight while Ryan Hommel’s pedal steel also demanding
mention.
Again it is Lee’s heartfelt voice and observations which catch your
attention while sterling accompaniment embraces the themes of the dozen
written essays, smoothly enveloped by these vibrant musical textures
http://eric-lee-music.com
1. The Garden (Where No Burdens Will Pass Through) 03:09
2. Heartache Town 02:45
3. Another Bloody Mary Morning 03:49
4. Silver Headstone 02:58
5. Prince of Dreamers 05:08 buy track
6. Fall of Man 06:29
7. I Wish I Was a Plumber 05:51
8. Lucky Penny 03:50
9. Life Without You 03:10
10. To Write You a Song 06:35
11. Giving Up On You 05:18
12. Help My Neighbor On 04:31
CD Baby
https://store.cdbaby.com/cd/ericlee4
Bandcamp:
https://ericleesongs.bandcamp.com/releases
CRAIG FENTON REVIEWS
AUDIOSCAM
On a conference call circa August 2011 to promote Audioscam’s
second release “When The Money’s Gone” I was introduced to Brian
Pitcher.
The initial question I had was did he make a concerted effort to
author songs that would somehow accomplish the nearly unworkable? That
is the fulfillment of pleasing three vastly different record buyers, the
passionate British Invasion and straight-ahead rocker (especially
1964-Mid 1970’s), the rebellious New Wave, Power Pop, and Punk fan of
the 70’s and early 80’s, and the exponent of the Indie-Rock scene from
2000 to the present.
Brian’s response cemented how potent he was as a songwriter and
Audioscam as a band. Brian told me “As long as I have been writing
songs I have never attempted a pre-fabricated approach. I let things
take a natural course.”
With the fans of the aforementioned styles of sound as divided as the
current United States political parties, it gave me an even more
reinforced view of Audioscam.
After over four years we finally have the follow-up to 2014’s
“Audioscam 3.” This time around the Australian powerhouse serves up the
six tracks “Kicking And Screaming.” It is one thing to commandeer a
room but another to sequester the listener. From the first note we are
secluded. There is no outside interference, the only duty is to
interpret the stellar recorded works and all else becomes secondary.
The opening number “Just Like Jamaica” serves a dual-meaning. Brian
penned the tune first as homage to the 1988 Jamaican Bobsled team that
gained world-wide attention and everlasting respect at the 1988 Olympic
Winter Games in Calgary, Canada.
Brian’s additional (but in no way taking a back-seat) message is to
never let others foil your dreams and prevent your life from taking its
own unique shape. Comingling the mellow sounds of Jimmy Buffet with a
dose of Rock “N’ Roll” the latest project is not only off and running
but catapulting forward.
Track 2 “Baby Done Bad” is Brian’s story of meeting his wife Julie.
We the listener are thrown into the reverse time machine and land in the
year 1972. On the radio is the rock and boogie sound of Humble Pie’s
“30 Days In The Hole.” Audioscam has unearthed the Humble Pie sound and
brought it forward.
Next up is “Get Used To This.” After getting married Brian found
himself in a place he couldn’t believe existed. There was contentment
and stability. Although in the back of his mind there was skepticism
that the dream would be shattered, Brian and Julie remain an unbreakable
team. The Talking Heads, Television, and Joe Jackson resonate in your
mind as Audioscam sends a message of hope.
The fourth song “Batesfield” brings Brian back to yesteryear.
Written by his friend from High School, Mark Gable. A bank robbery and a
country mile removed from the crime is the thematic scene. ACDC and
Alice Cooper are prevalent in the musical beat.
Onward to “Hand Of Sin.” Open to your own interpretation. To quote
Brian “There is an evil vibe to it.” Talking Heads and Graham Parker
come to mind in terms of the musical spectrum.
As a bonus the CD ends with a gem. A live version of “When The Money’s Gone” the title track
from the 2011 release.
Here are the players:
Brian Pitcher- Vocals, drums, acoustic guitar
Brad Wallace- Bass, backing vocals, guitar, and keyboards
Wayne Macintosh- Guitar
Additional Personnel:
Tenor Mel Miller- Steel drums and pans on Just Like Jamaica
Jason Byrne- Guitar on Batesfield and When The Money’s All Gone
Ross Wedding- Guitar on When The Money’s All Gone
Miss Ari Safari- Backing vocals on When The Money’s All Gone
Audioscam’s gift to us for an eternal summer.
After being engulfed in the new release you can purchase the following as well:
Abbattack August 12, 2008
When The Money’s Gone August 18, 2011
Audioscam 3 May 6, 2014
All the best,
Craig Fenton
Author: Jefferson Airplane “Take Me To A Circus Tent”
Jefferson Starship “Have You Seen The Stars Tonite”
Thanks to guest contributor – Craig Fenton
______________________________________
Alternate Universe Erotic Wizard of Oz Remake Mamma Mia 2 Here We Go Again
by Joe V.
The early reference to Witches of Eastwick co-star Cher as “The
Wicked Witch” in Mamma Mia! 2 Here We Go Again! Is just a hint at the
references to 1939’s The Wizard of Oz in this wacky, colorful,
beautifully filmed sequel to 2008’s Mamma Mia, The Movie. (Oz playing
Mon, Aug 13 Coolidge Corner Theatre – Map 6:15 pm 7:00 pm)
Now, if you don’t read up on the first film, which this writer did
not see, it will be convoluted from the start, so try Wikipedia if you
didn’t and you are going to (see the new flick without having the
storyline in your head!)
This is an erotic version of the Wizard of Oz, and I’m not kidding when I say that. Read further for more details.
Mamma Mia! 2 Here We Go Again has parallel timelines, which the
filmmakers expect you realize, and for some reason, they have killed off
Meryl Streep’s character, Donna Sheridan, and have actress Lily James
playing a younger version of her, though Streep is in the film, as a
ghost. Streep is Glinda the Good Witch juxtaposed against her film mama
Cher as the Wicked Witch of the West. Confused yet?
Though the 2018 release is ten years after the 2008 original (and 19
years after the stage show) it is supposedly set five years after the
2008 release with Amanda Seyfried (from Channing Tatum’s Dear John hit)
again as Sophie. Seyfried does bear a resemblance to actress Lily James,
who – as stated – plays the younger version of Sophie/Seyfried’s
mother, it’s a lot of character development to get up to speed to
without seeing the first film, so buyer beware.
Lily James as young Donna gets to bang the Scarecrow (handsome Hugh
Skinner as Colin Firth’s character “Harry,”) the Tin Woodsman (handsome
Josh Dylan as a younger Stellan Skarsgård’s character “Bill,”) and the
pièce de résistance Pierce Brosnan’s younger Sam, hunky handsome Jeremy
Irvine. In other words, this Twilight Zone meets Golden Girls version of
a 26-year-old Dorothy Gale from Kansas is a slut having casual sex with
every guy she meets on her yellow brick road to some Gilligan’s Island
in Greece. It’s the Matrix of chick flicks grabbing elements from the
fun film and TV shows and throwing them into the mix master for your
summer pleasure. There’s even a Kansas-styled tropical weather storm
(not a twister) to try to wreck the party too!, so don’t think the
Wizard wasn’t on the filmmakers’ minds. He was!
When Scarecrow/Young Harry Hugh Skinner begs Donna (let me repeat –
Lily James as the reconstituted Dorothy from Oz) for casual sex, even
claiming to be a virgin, they go into Abba’s breakthrough hit “Waterloo”
(the ending credits song from the first film) in a bizarre Munchkinland
kind of foreplay in a bar before they IHop it into bed. Even their
meeting in a hotel with Skinner in his bathrobe is in your face
sexuality, not to mention the camera zooming in suggestively on both
sexes. With the zillions of dollars the original film and its DVD
spawned (in an age where DVDs do not sell as they used to,) the
producers/powers that be, including Abba and Tom Hanks, know what
they’ve got and deliver the goods to the audience that they know is out
there.
Girls will drag their boyfriends to this chick flick, but the guys
might get into the swing of things as the acting is superb all the way
around, surpassing the twisted script. As with any good Golden Girls
episode, you will see the jokes coming; it’s the delivery that each
actor puts into it that makes it all work.
Cher getting it on with an older Andy Garcia as “Fernando” – which is
a spoiler – is just part of the star power of Sunny Bono’s ex. Cher
steals the show, the build-up is to Cher, and the critics at the early
screening applaud her performance. The rock icon brings everything to an
entirely different level, and her duet with Garcia on “Fernando” has
hit record written all over it. The ending song, “Super Trouper,” which
played in the original film, is a take-off of the conclusion of Kevin
Kline’s gay farce In and Out where enemies and friends all party and
dance together to The Village People’s Macho Man
Super Trouper has Cher and Toto Too, well, not Toto Too, but you get
the idea. A bizarre but fun sexy summer oasis that is at times
incomprehensible, so just suspend your belief and go along for the ride.
Joe Viglione is the Chief Film Critic at TMRZoo.com. He has
written thousands of reviews and
biographies for AllMovie.com,
Allmusic.com, Gatehouse Media, Al Aronowitz’s The Blacklisted Journal,
and a variety of other media outlets. Joe also produces and hosts Visual
Radio, a seventeen year old variety show on cable TV which has
interviewed Jodie Foster, director/screenwriter David Koepp, Michael
Moore, John Cena, comics/actors Margaret Cho, Gilbert Gottfried,
Gallagher, musicians Mark Farner and Don Brewer of Grand Funk Railroad,
Ian Hunter of Mott The Hoople, Ray Manzarek, John Densmore, Felix
Cavaliere of The Rascals, political commentator Bill Press and hundreds
of other personalities.
Boston News Group publishes
Rising Tyranny, a review of Star Wars:The Last Jedi by Joe Viglione
Space age megalomaniacs with ingenious mechanical marvels and fancy ancient titles, from The First Order to Supreme Leader – facing off against a dwindling resistance, the Rebellion, with odds stacked heavily against the good guys, making for an exciting roller coaster ride of things blowing up, spaceships digitally disappearing and re-appearing at will, with deep colors drenching the screen in a variety of shades. Welcome to the very precise re-shaping of the Star Wars legacy courtesy of the Walt Disney Corporation, a dark, desperate saga that hits the home run the fan base and the general public are both looking for.
The film is a thrilling, looming monster, and that’s a monster in a good way.
This is a movie about the grandson of Darth Vader, and given that there’s no James Earl Jones or Alec Guinness, it is the legacy of the chronicle that sustains the magic featuring the established stars in the series. Mark Hamill and Carrie Fisher are, naturally, front and center – their last time together unless computer-generated imagery comes into play for future episodes. Keep in mind that Hamill was 26 when STAR WARS: A New Hope launched in 1977, which makes him 66 as of this writing (December 12, 2017.) The late Carrie Fisher was sixty and two months when she passed December 27, 2016, and that they – along with 71 year old Anthony Daniels (C-3PO,) 73 year old Peter Mayhew as Chebacca, the Millennium Falcon and R2-D2 …and Yoda…are the last remnants of the rebellious first initiates makes for an intriguing passing of the torch to the new personalities being established in the Star Wars canon. Kenny Baker, the original R2-D2, passed in August of 2016, four months before Fisher, and in The Last Jedi Jimmy Vee replaces Baker. Vee is known for performing as Gringott’s Goblin in Harry Potter and the Sorcerer’s Stone as well as some Dr. Who characters. Nice to keep the fantasy/science fiction fans happy with their treasured heritage.
Rather than bringing in too many larger-than-life stars as Lucas did with Christopher Lee in the prequels, we have Laura Dern (the original Jurassic Park, 1993) playing Vice Admiral Amilyn Holdo as well as Joseph Gordon-Leavitt’s voice somewhere in the film. As with Carrie Fisher, Dern’s parents were in the movies while Gordon-Leavitt was a child star, so there is film history in their DNA, but the point is that it is the Star Wars machine itself that is the bright light that all involved get to follow.
There are some historical “Easter eggs,” if you will, from both real life and the film world, as Supreme Leader Snoke channels former Texas Senator Lloyd Bentsen’s immortal JFK line to Dan Quayle: “You’re no Vader, you’re just a child in a mask.” (“Senator, you’re no Jack Kennedy” was a remark made during the 1988 United States vice-presidential debate by Democratic vice-presidential candidate Senator Lloyd Bentsen)
And yes, Andy Serkis is a big star from The Hobbitt, The Lord of the Rings, Ulysses Klaue in the Avengers, Caesar in the Planet of the Apes films, so my comment about not having huge names to keep the fires burning is arguable and welcomes debate, fans of Daisy Ridley, Adam Driver, Oscar Isaac and the rest of Star Wars: The Next Generation. The Easter eggs continue with references to the Matrix and Keanu Reeves – Maz Kanata, the magical little female creature with the glasses, channeling the Oracle from the Matrix with her words, the Rebellion pushed smack dab into the middle of Zion. It could not be any more obvious under Rian Johnson’s direction and script, and it is more intentional science fiction crossover fun than any kind of plagiarism. Heck, in the original Independence Day Bill Pullman gives an exact quote from C-3PO to Brett Spiner of The Next Generation “Exciting is hardly a word I would choose to describe it.” Sci-Fi fans love the nuances tucked in to other films, the trading-card thread that keeps the ball rolling…in a good way.
“Exciting” is hardly the word I would choose.
Find video clips by quote. GetYarn.io now.
Amazon.co.uk:Customer reviews: Independence Day
the president’s reply which actually sums up the stupid and unwarranted humour in this film,is as folows:(millions of people are dying: “exciting is hardly the word I would choose!!.)
______________________________________________________________________________________________________________
It’s like masked Kim Jong-un a thousand years from now looking to conquer the universe. That’s the basic premise, anyway, and it hasn’t changed since Star Wars first burst on the scene with A New Hope, the first Star Wars film that they also call the fourth… but putting the upside down chronology aside, the franchise under the Disney company’s direction is tight, polished, with nothing left to chance, and an enormous blockbuster barreling full steam ahead into the Christmas season, 2017.
Jeff Mastroberti (Jeffland 12) – No Condiments, Please
In April 2015 I received a call from Music & Film
Producer Joe Viglione. The circumstances of the communication were to
discuss the upcoming New York Yankee/Boston Red Sox three game series
and to afford me an invite to attend a performance by Jeff Mastroberti.
Since the end of the 1970’s music and poetry in any form have often
lacked originally, conviction, and memorable moments. With a profusion
of people making up many demographics praising Jeff’s words and his
meritorious skill in articulation along with the groundswell of approval
Jeff’s gigs had earned made me resonate a loud “Yes” to Joe’s offer.
In 2002 Jeff had settled in Pennsylvania and the soil for his unique
style had been planted. The term Spoken-Word often pigeonholes an
artist and poet. The stereotypical definition is some girl or guy is
reading from a book or scribed notes without musical accompaniment.
To place Jeff into a sea of conformity not only is insulting to his
performances and vision but limits someone with his ability to reach a
weightier base of exposure.
The case in point is the experience that I rubber-stamp to this day
sitting in the audience soaking up the auditory sounds. Jeff
immediately commandeered the room with a connection to his fans and a
speaking style that was both pleasant, natural, and never
condescending. Many of the Spoken-Word performers even in the most
intimate of settings don’t make eye contact and seem to protect
themselves with the Great Wall of China, rather than let the guard down
and allow natural occurrences to be the order of the day.
In the sixty-minutes Jeff not only read flawlessly in a solo format
from his 2012 book of forty-four poems, he also presented us with a
backing-band that would without blemish play jazz, country, blues, and
folk music as Jeff would open his soul, heart, and mind to the
mesmerized audience.
Jeff’s third CD release “No, Condiments, Please” follows “Caution: Your Entering Jeffland” and “This Land Is Jeffland.”
The twelve tracks are taken from the 2012 book. It must have been
forever painstaking to narrow down the choices to a dozen since any of
the poems could have been successful in Spoken-Word form (without music
representation) or with a group of musicians.
The first track
“My Place” with an easy jazz feel
behind it slams you to the mat during the first verse “My frown is
becoming permanent, my crown is aching with pain” but salvation is
obtainable as Jeff pens at the end “Believe in myself, God, and dream.”
No predictability here, only a solution that allows Jeff to persevere
another day.
The second selection
“I Recall” immediately changes
the route as the sounds of a finely-tuned old time country band keeps
the beat as Jeff struggles with the need for the mighty dollar and the
dependence having become the thirteen-thousand-pound elephant in the
room. The superlative expression is highlighted by Jeff’s Spoken-Word
interchanged with a peerless vocal.
As we fast-forward to track five “Onion Waits” it will rip your eyes
open with the instrumentation at times reminiscent of the Beatles
“Eleanor Rigby.” Jeff ponders is he insane or a master of words and
imagery? The proficiency is clear, and he is the master of words and
imagery.
Number eight on the docket is haunting.
“Kimberly” with an intro redolent to one of the finest songs ever designed “Today” from the Jefferson Airplane.
“Kimberly” contains one of the best lines a poet has ever carved, “She can please a beggar without ever giving him a dime.”
Finality for now with
“The Rain” has become a
reality, the CD is approaching the laser’s last spin. The words “I
taught her to enjoy the rain, she taught me how to feel the pain” rip
through the skin as a nurse changing a band-aid on a still open wound.
The concluding sentence “I learn to live alone again” is not meant for
eternal bleakness, only to memorialize the words from
“My Place”, “Believe in myself, God, and dream.”
All the best,
Craig Fenton
Author: Jefferson Airplane “Take Me To A Circus Tent”
Jefferson Starship “Have You Seen The Stars Tonite”
___________________________________________
Aerosmith's Joe Perry Solo Disc
Sweetzerland Manifesto is Joe Perry Having Fun Again?
Sweetzerland Manifesto is Joe Perry having fun again, as he
did with 1982/1983’s Once A Rocker Always a Rocker, only more so.
“Rumble in the Jungle” is no relation to Jethro Tull’s 1974 epic,
“Bungle in the Jungle,” it is an exciting soundscape arranged by the
Aeromsith guitarmaster with drums programmed by one of Joe’s sons,
Anthony Perry, percussion and vocals from Colin Douglas with backing
vocals by Colin and co-producer Jack Douglas. It is both highly
entertaining and not anticipated music, the avant-garde approach(for you
young readers “new and unusual or experimental ideas, especially in the
arts, or the people introducing them”) that permeates the entire album
in a surprising and very positive way. JP’s arrangement is sublime
with a descending line straight out of the late producer Jimmy Miller’s
Spencer Davis/Chicago classic “I’m a Man.”
Growling Brit vocalist Terry Reid brings his talents to “I’ll Do
Happiness,” and it is a revelation with magical quasi-gospel backing
vocals, Zack Starkey’s drums and riveting guitar work from Perry. The
album is a montage of different vibrations, much like – coincidentally –
the current release from Jimi Hendrix – Both Sides of the Sky. The
difference being, of course, that the Hendrix disc is a compilation (the
third and concluding part of an amazing trilogy of releases from Jimi
for we musicologists) whose titles would most likely never have been
placed in this order by the artist – because they would have appeared in
different spaces of the Hendrix catalog, if at all… Joe Perry gets to
place his work carefully, and the sequencing grooves very nicely.
“Aye Aye Aye” features Robin Zander on vocals and is a co-write
with JP. The song and Robin’s appearance reminds me of a Cheap Trick
Orpheum show where a young lady had her breasts autographed by Zander
(???)…she saw me and said “Joe, what are you doing here? You don’t like
Cheap Trick!” I replied “I’ve come to Fxxx Robin Zander,” which, of
course, wasn’t true because he’s not my type…except for his being
featured on this disc, which is how we want him, adding spice to this
most recent “Perry Project,” which IS a project and unfolds with all
sorts of amazement. “I Wanna Roll” is a co-write with David Johansen,
the New York Dolls singer on vocals, co-produced by Jack Douglas with
Zak Starkey’s boom boom jungle beat drumming throughout and a beautiful
interplay between dad Joe Perry’s guitar and son Roman Perry’s synth.
Aerosmith fans will be delighted with the album’s independent
identity and image. “I Wanna Roll,” “Rumble in the Jungle,” “I’ll Do
Happiness,” the convergence of multiple voices – Johansen, Zander, Reid
on their respective contributions with Joe Perry singing P.F. Sloan’s
immortal classic, “Eve of Destruction,” brings a cohesive variety that
makes the appeal great for the audience beyond the millions and millions
of Aerosmith fans out there.
Where the successful 1999 Supernatural disc from Santana (15
times platinum in the U.S.) was intentionally jolting, reaching a
massive audience but flowing in a jagged fashion, Sweetzerland Manifesto
brings the dissimilar chord changes into the fold smoothly, allowing
for a good listen from track to track without the lurching that
Santana’s masterpiece felt for the listener over the first few spins.
Back to “Eve of Destruction,” that 1965 #1 hit from Barry
Maguire of the New Christy Minstrels, great choice for a cover in these
times, the dark, blues-based pop song is portrayed here as a slow,
methodical stomp, and a “180” from the opening neo-science fiction aura
of “Rumble in the Jungle.” Speaking of Neo (from the Matrix this time,)
Perry’s attire within all five photos of the album jacket and panels
has Perry as the dominant force that he is. Each Joe Perry solo
project has merit, and where out-takes from 1983’s Once a Rocker would
make for an impressive re-release of that outing, Sweetzerland Manifesto
is something more. It is one part incredible blues album with “I’m
Going Crazy,” “Haberdasher Blues,” “Sick and Tired ”(you won’t be able
to get Terry Reid’s angry and naughty vocal out of your head) all
morphing on track 10 back to hard rock as “Won’t Let Me Go” is straight
out of Deep Purple’s “Perfect Strangers,” and equally as memorable.
There are two bonus tracks on the Record Store Day release (April
21, 2018)that we can all look forward to while Perry appears at the
House of Blues in Boston on April 18, 2018, with a band that we hear is
full of big surprises. All in all, Joe Perry has delivered the
unexpected with this disc; it is one of those albums that you will pull
out and play repeatedly. It’s not just very, very good, Sweetzerland
Manifesto is extraordinary.
Joe Viglione is the Chief Film and Music Critic at Club Bohemia News Daily.
He has
written thousands of reviews and biographies for AllMovie.com,
Allmusic.com, Gatehouse Media, Al Aronowitz’s The Blacklisted Journal,
and a variety of other media outlets. Joe also produces and hosts Visual
Radio, a twenty-four year old variety show on cable TV which has
interviewed Jodie Foster, director/screenwriter David Koepp, Michael
Moore, John Cena, comics/actors Margaret Cho, Gilbert Gottfried,
Gallagher, musicians Mark Farner and Don Brewer of Grand Funk Railroad,
Ian Hunter of Mott The Hoople, Ray Manzarek, John Densmore, Felix
Cavaliere of The Rascals, political commentator Bill Press and hundreds
of other personalities.
Review: The Complaints – Talk to Me
By
Joe Viglione
After the Complaints released the driving CD singles, “Trade
Up,” and the Chris Lord-Alge produced “South Side Suicide,” they bring
the angst down a few notches for this release, Talk to Me, an
exquisitely packaged and beautifully crafted collection of eight
compositions along with a reworking of the first track, “The View.”
And it is a perfect way to open and close the disc, both renditions
subtle and commanding, it’s the kind of melody and lyric that Fleetwood
Mac, Bruce Springsteen, and the Eagles would certainly wish they came up
with. Dean Petrella – vocalist, guitarist, keyboard player, wrote the
majority of the words (except “Mountains” which the liners note was
written and performed by The Complaints and Adam Go.) “The View” opens
and closes the disc though it metamorphoses into two different
perspectives a la George Harrison’s “Isn’t it a Pity” on All Things Must
Pass, a light poppy venture to begin the journey, a darker quasi-dance
mix to bring this very strong album to its conclusion. Play both “View”
renditions back to back and it is most revealing.
Co-produced by the band and legendary engineer Phil Greene (Buddy
Guy, John Cafferty/Beaver Brown, New Kids on the Block – as well as
guitarist with the vastly underrated Swallow on Warner Brothers) the
album is balanced and compelling. “Hanging Out” is one of four songs
(of the 9 tracks) that hit the 3:52 mark, time-wise, most of the
material clocking in around 2:40 – 3:20, short and sweet and making the
point. It’s an easy going dissertation, at least by pop standards,
with the next track, “Atlas (Carry You)” a minute shorter. Both tracks
– “Hanging Out” and “Atlas” Triple-A rock with authority. And has it
been 17-18 years since the Complaints released the Fear disc, with
Criminal Mind in 2002? This veteran group just grows stronger through
the years like fine wine and this recording has real staying power
throughout.
“Wouldn’t Change A Thing,” track five, has all the markings of a
radio-friendly composition with the potential to be memorable. “Talk To
Me,” which precedes it, also has that captivating mood. Phil Greene
and the Complaints smartly combine their talents to create something
very special. Each tune has its own identity, and the sequencing is
perfect as the listener is taken on a journey. From “Breathe,” not the
Pink Floyd song, to “Home,” drop the needle/sequence button anywhere
and there’s something entertaining and thought-provoking within.
Chris Cruz on bass and vocals, Anthony Marotti on drums/vocals and
Dean Petrella are The Complaints. Add “Trade Up” and “Southside
Suicide” to this disc as bonus tracks and you have an amazing set of
recordings.
Posted by 
%20%E2%80%93%20No%20Condiments,%20Please){kind=link}
