Monday, April 1, 2019

SHAZAM review April 2019 Calendars CLUB BOHEMIA FRIDAY APRIL 5 Butterscott, Club Linehan A Go Go, Papa Joe, Tryst

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4-4-19 5:55 pm

FRIDAY APRIL 5   Butterscott, Club Linehan A Go Go, Papa Joe, Tryst


Meet Lady Carolyn from 
Club Linehan A Go Go
https://www.facebook.com/events/248173566124796/


https://www.facebook.com/events/285446515658400/

- 21+
- Tickets are $10 at the door

Don’t miss The Papa Joe Show at Club Bohemia!! You’ll hear everything from swing to hair metal, and originals with a show everyone will enjoy!! This MULTI BAND show ( Butterscott , and Club Linehan A Go Go, are the other bands playing!) is going to be EPIC! See you there!



FOREIGNER
LIVE AT THE RAINBOW

REVIEW BY JOE VIGLIONE


FOREIGNER: Live at the Rainbow '78
Review by Joe Viglione 

Double Vision
https://www.youtube.com/watch?v=azF9zHyXLoE

FOREIGNER: Live at the Rainbow '78

Review by Joe Viglione


           Foreigner Live at the Rainbow '78 is fun for a number of reasons - great audio, no-nonsense video and the band is on.  Writing a review 41 years after the event does a number on one's psyche ...I caught the band live around '85 for the Agent Provocateur tour or something with Joe Walsh solo opening.  This video, two years in on their fame, is grittier and solid, the guitars crunching, Lou Gramm bolting out of the background to center stage for "Hot Blooded," very energetic and capturing a time when they were rock stars heading towards superstardom.  As the late great Allen Arrow, Esquire told me he and their manager, the late Bud Prager, brought Atlantic Records to a soundstage performance and the rest is history.  Now that's providing my memories are intact as Mr. Arrow represented this writer and his company back in 1986 or so.


    Sure enough, Shukat Arrow Hafer Weber & Herbsman, L.L.P.  is still the firm representing the group in the end credits for this film directed by Derek Burbidge, he of 1981's Urgh! A Music War fame as well as videos for The Police, AC/DC, The Go-Go's, Eurythmics, Queen along with the video Bruce Springsteen and the E Street Band: Hammersmith Odeon, London '75  and other delights, I'm quite sure.  The direction is impactful with lots of cameras and the band in your face, a technique not employed in these days of quick cuts and bombast.  Everything is very to the point, but still creative, a nice balance with a camera focusing on a shadow on the stage, a very nice effect.  There are some hits here, "Hot Blooded," "Feels Like the First Time," "Cold as Ice," "Long, Long Way from Home" and "Double Vision," though it is good to see the band performing other material from that era and they do it with finesse. 


     Perhaps it's me, but the videos on YouTube that Eagle Vision put out as teasers seem a bit D.A. Pennebaker darker than the DVD, but it is 2:31 am in the morning as I continue to write this essay (less distractions at this hour, though this review's been percolating all day...)...it always astounded me that a director like Pennebaker (now 93 years of age...as of this writing, 4-4-19/4-5-19) could have something as bright and breathtaking as the Monterey Pop Festival and then go dark with Ziggy Stardust and Dylan's Dont Look Back (no apostrophe please...) but what do I know? Pennebaker is legend, as are those films.  Burbidge has fun with all the elements of this original core Foreigner playing to a packed house.  You can catch the excitement off the audience (and there are shots from the perspective of those in attendance as well,) and the energy of the band enjoying themselves as they work hard churning out their hard rock sound.   For a legendary hall like the Rainbow it's still intimate enough and the exquisite camera work - exquisite not in a flamboyant way but that it captures the moment, is well utilized by the impressive editing.  My only quibble, and I've always got a quibble, is that some interview footage from any point in time would have been appreciated along with this classic classic rock performance.  2:51 am.  Now let me go finish my review of Shazam! that's been a work in progress since April Fool's day...    4/5/19 2:51 am
 


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      Shazam!, the original Captain Marvel


By Joe Viglione

     In 2011 this film critic wrote of the JJ Abrams/Steven Spielberg movie Super 8: "Alas, in attempting to reach serious Sci-Fi fans and children, by wanting to be all things to all people, the movie tends to dissipate by serving two masters."   Eight years later as DC Comics and Warner Brothers work to dig themselves out of the Ben Affleck/Batman disasters, succeeding with Wonder Woman and Aquaman, perhaps the next logical move is to indoctrinate the 2019 youth to DC Comics while hoping to hold onto the teenage and adult movie crowd.

    They may have succeeded. 

    Yet it is Zachary Levi, the 39 year old actor starring as Shazam!, who irks me almost as much as the dreadful brat from the 1993 Arnold Schwarzenegger bomb Last Action Hero.   Levi is "Jim Carrey obnoxious" acting like a 15 year old in a 39 year old man's body. The Tom Hanks film Big from 1988 featured a 14 year old actor, David Moscow, playing the young Hanks in one of many body-switching movies...many...that proliferated in that time period and continue into today.   This ain't no Clark Kent run to the phone booth body switching, this is actual two different actors to play one part. And it is the younger actor who gets it right.

    Levi played  Fandral in 2013's Thor, the Dark World and 2017's Thor: Ragnarok and in this motion picture which smartly uses mostly unknowns, the actor flubs an opportunity to flex his thespian muscles.  Thankfully, as referenced above, it's the children who show better acting abilities - unlike the previously noted  Austin O'Brien from Last Action Hero, giving Shazam! its solid focus towards a younger audience.

      I get it.  I do.  Wonder Woman and Aquaman gave DC/Warner the box office jolts very much needed, so this "original Captain Marvel" / Superman character does not have to be as serious as Thor or Iron Man, yet notice how DC has made a point of drifting towards the Marvel universe formula, including the use of actors, behind the scenes people and themes who/which helped establish Marvel/Disney as the power house that it is.

     The problem, for me, is Zachary Levi's intentionally befuddling persona as Shazam!   Uggh!   It is distracting, almost clownish and while it will make for family fare, it's outside of what has become a reality of superhero motion pictures: playing it straight.  

    What I do love about the film is its venture into the amusement park in an adventurous way that Beverly Hills Cop III attempted to do but missed the mark...by a wide margin.  From the wizard's lair to the Ferris Wheel (I was hoping more for the fun house but...) the main action in a land of wonderment  for the young and the young at heart was a good call.  It's just that the stone gargoyles are also a bit cartoonish but Hollywood is working on that...

     There will certainly be a sequel and maybe by that time this Shazam! and its actor, Levi Zachary, Zachary Levi, Levi What's his face, whatever, can both grow up.  All in all, it's quite entertaining  and despite all my criticism the good far outweighs the bad, so go see it and have fun while doing so.




See trailer:

https://www.youtube.com/watch?v=uilJZZ_iVwY





SHAZAM!
In theaters April 5
Warner Bros.
Director:              David F. Sandberg           
Writers:               Screenplay by Henry Gayden, Story by Henry Gayden and Darren Lemke, based on characters from DC. Shazam created byBill Parker and C.C. Beck.                      
Producer:            Peter Safran      
Cast:                     Zachary Levi, Mark Strong, Asher Angel, Jack Dylan Grazer, and Djimon Hounsou, Faithe Herman, Grace Fulton, IanChen, Jovan Armand, Marta Milans, Cooper Andrews
We all have a superhero inside us, it just takes a bit of magic to bring it out. In Billy Batson’s (Asher Angel) case, by shouting out one word—SHAZAM!—this streetwise 14-year-old foster kid can turn into the adult Super Hero Shazam (Zachary Levi), courtesy of an ancient wizard (Djimon Hounsou). Still a kid at heart—inside a ripped, godlike body—Shazam revels in this adult version of himself by doing what any teen would do with superpowers: have fun with them! Can he fly? Does he have X-ray vision? Can he shoot lightning out of his hands? Can he skip his social studies test? Shazam sets out to test the limits of his abilities with the joyful recklessness of a child. But he’ll need to master these powers quickly in order to fight the deadly forces of evil controlled by Dr. Thaddeus 















TMR Movie Review: SUPER 8

http://www.tmrzoo.com/2011/25977/tmr-movie-review-super-8


With perhaps the most spectacular train wreck in film history, director J.J.Abrams and producer Steven Spielberg have all the elements for an all-time Science Fiction classic. Alas, in attempting to reach serious Sci-Fi fans and children, by wanting to be all things to all people, the movie tends to dissipate by serving two masters.
According to BoxOfficeMojo.com “Distributor Paramount Pictures’ exit polling indicated that 71 percent of Super 8‘s audience was over 25 years old and 56 percent was male”, which, I believe, proves my point. The June 4th critics screening – on a weekend when the June 3rd passing of actor James Arness was announced – was eerie as SUPER 8 has more elements from the Gunsmoke actor’s iconic Sci-Fi role as “The Thing” (From Another World) than Spielberg’s E.T. or Close Encounters Of The Third Kind. It’s too bad that Arness didn’t make a guest appearance in this…Kyle Chandler (TV’s Early Edition; films The Day The Earth Stood Still and King Kong) plays Jackson Lamb (shades of John Cusack as Jackson Curtis in 2012) with veteran actor Bruce Greenwood also in for some of the fun…the vets holding up an array of new faces, which seems to be the formula these days…and a good one for establishing new actors via Sci-Fi vehicles…think Christopher Reeve.
But it is the age of the young filmmakers that is annoying. These teenagers come off as too smart for the age they are supposed to play, the producers wanting the wild-eyed enthusiasm of youth and the cleverness of college students. The film’s biggest drawback is that it should have had a group transplanted from the Blair Witch Project making a movie and inadvertently filming classified information. This is such a simple formula, a no-brainer, really, and the film suffers because it truly appears as if the film studio wanted to capture both the older crowd and the Saturday matinee kids…two worlds that just don’t fit together. Seeing that males 25 and older are attending this film with some terrific moments in it, well…the magical, monumental scenes would be better served with a crew that Jodie Foster assembled in CONTACT for her starsearch…and Kyle Chandler’s acting skills can’t save him from being an annoyed parent…it just doesn’t wash. Still, the sets straight from the original Invaders from Mars (not the cloying remake) and the hats off to some of the classic films of the genre make this a good film that could have been great.
On a budget of $50 million it doesn’t have as much of a mountain to climb as X-Men First Class (budgeted at over triple Super 8 with approx $160 million)…and perhaps a serious sequel is in order…let the kids grow up and come back in 7 or 8 years to go looking for E.T. again. SUPER 8 almost makes the grade…but it will entertain and works in spite of itself.
Joe Viglione is the Chief Film Critic at TMRZoo.com. He was a film critic for Al Aronowitz’s The Blacklisted Journal, has written thousands of reviews and biographies for AllMovie.com, Allmusic.com and produces and hosts Visual Radio. Visual Radio is a fifteen year old variety show on cable TV which has interviewed John Lennon’s Uncle Charlie, Margaret Cho, Ray Manzarek, John Densmore, Felix Cavaliere, Marty Balin, Bill Press and hundreds of other personalities.

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 April 9, 2019 Drummer Steve Holley and Mott The Hoople at the Orpheum Theater


https://www.allmusic.com/album/the-reluctant-dog-mw0000593666

AllMusic Review by  [-]

Journeyman drummer Steve Holley has provided some of the most solid and creative beats for Paul McCartney, Kiki Dee, Joe Cocker, Julian Lennon, and Ian Hunter over the years, and though he recorded a couple of tracks in the U.K. in January of 1980 (included here), those beats never got the opportunity to be heard backing him up until the release of The Reluctant Dog, a 13-track collection of melodies and feelings that are well worth the wait. For those put off by the manufactured pop that Phil Collins runs off the assembly line, The Reluctant Dog will provide much satisfaction. Produced by Holley and bassist/guitarist Keith Lentin, the album is chock-full of surprises -- the short and sweet instrumental "Punta del Este (with daughter Amanda Holley on flute) and a bubbling Genesis-like "Entertain You" to mention just two. Holley (also listed in many credits over the years as Holly without the "e") delivers splashes of Beatles on one of the early tracks, "For Better or for Worse," which resembles the Fab Four's "Free as a Bird" phase, though recorded 15 years before that classic hit the Top Ten. This early recording features Holley on vocals, glockenspiel, piano, and drums, with Nick Pearson's electric guitar and Phil Curtis on bass. The drummer was concerned about adding the two decade-old tracks into this mix, but they bring much to the set.
"Living for Today," the other number from the British sessions, features Wings bandmate Denny Laine on harmony vocals and, with all due respect to Laine (who has numerous classics on his solo recordings), this particular tune would have fit on a Wings album much better than the items Laine chose to contribute to Paul McCartney's band. The keyboards sound accordion-like, an instrument that Sean Fleming brings to the very next track, "Da Da Da, Dee Dee Dee." If it had the chance, "Just Say Goodbye" might have been the perfect sequel to Julian Lennon's biggest hit, "Too Late for Goodbyes," with a slower tempo and darker tones. It's one of the best of many superior tracks. As Joey Molland's This Way Up and Ian McLagan's Best of British were powerful statements by sidemen who were involved in greatness, Steve Holley's work here also demands attention. Titles like "She Gives to Me" and "What Are You Looking For?" would have certainly made noise in another time. Let's hope this material finds the audience it deserves and doesn't go the way of many a Kiki Dee album -- brilliant work lost in the shuffle that is this business of music. The Angel Air label is intent on releasing all things related to Mott the Hoople and Ian Hunter, and The Reluctant Dog is a nice addition to the collection, resplendent in its colorful eight-page booklet containing lyrics, credits, and photos. It's more than an impressive first album and one that should have seen the light of day long before 2003. "Everything Ends Sometime" and "Living for Today" also deserve mention.





Hey, Come to my Birthday Party
May 5, 2019

 @ the
@ the

 in Dedham  155 Eastern Avenue off Route 1



Sivana (Mark Strong).



TERMINATOR: RISE OF THE MACHINES
A FILM REVIEW BY JOE VIGLIONE


 t3

Review by Joe Viglione


When Arnold Schwarzenegger lost half of his arm fighting Robert Patrick towards the end of "Terminator 2:Judgment Day"
one might have thought that Skynet and Cyberdine would come back to life via that route. 
 
Out the window went such an opportunity along with series creator James Cameron, original actress Linda Hamilton and even the second John Connor, Edward Furlong (his older self never given more than a few secondsonscreen anyway).  What has resulted is a film with great texture that can stand on its own or as a component of this saga
which takes decades to unfold. 
 
1984 seems so George Orwell and without actors from the original flick, Michael Biehn, Rick Rossovich and Bill Paxton (who were about as unknown as this cast way back when), it's an entirely
new change of scenery - well, except for Schwarzenegger, of course.  Not only was actor Nick Stahl only about five years of age when the first Terminator film crushed the little toy in the street before shooting one of his Sarah Connor victims, so was Claire Danes.  Arnold doesn't look like he has aged at all, and what is totally
surprising about Terminator 3 is that the plot, the mechanics, the cinematography, the pacing, the clever script, prove that the franchise has aged, and aged very well. 
 
While the series it spawned, The Matrix, a film program
which owes more to  The Terminator than anything else, gets heady and complex, Terminator 3 just crashes through the screen doing what
Charlies Angels: Full Throttle tried so hard to do, and failed so
miserably at.  It delivers the knockout punch. 
 
Even more impressive is that Ang Lee's The Hulk had so much potential and despite Eric Bana's opportunity, parallel  to Nick Stahl here, The Hulk is diminished by Terminator's staying power.  That shouldn't be the case. 
 
The Hulk is an American icon, a marvelous Marvel comic
which had Stan Lee, Jack Kirby and Lou Ferrigno going for it.  But just as the Batman series failed to put Adam West, Caesar Romero and Frank Gorshin into pivotal roles in more serious updated versions, Hulk didn't recognize its legacy. 
 
The revisionist history leap Ang Lee took is a huge step backward while Jonathan Mostow is in a position predecessor James Cameron found himself in when given 18 million in 1986 to create Aliens.  Shaking things up and making the most of opportunities is the key to the success of both Aliens and Terminator 3.

There is some heavy handed humor, Schwarzenegger too often quoting past Terminator trademarks, but subtle comedy as well, the feline being taken to the vet is "a cat named Hercules", a line out of an  Elton John song from his Honky Chateau album.  The remote control mayhem of T-X Kristanna Lokenis very cool - police cars, not with minds of their own, but the mind of the new Terminator directing them to cause extreme mayhem that Matt LeBlanc could only promise, not deliver, in  Charlies Angel's FULL THROTTLE.  The emasculation of LeBlanc - such a virile sci-fi star in Lost in Space - is a statement on Drew Barrymore's lack of vision.  It shouldn't be so hard to give the people what they want and Schwarzenegger and company do it with relish. 
 
 
The robots out of control are on a mission, and they succeed.  Where
Matrix Reloaded boasts a car chase scene that may never be duplicated, the barbaric truck ride T-X takes T-800 on while chasing Stahl and Danes is far more effective.  Reloaded gets the award for
deep, thought provoking science fiction while Terminator 3 wins hands down for action, unexpected twists, and a brilliant surprise ending leaving the door open for lots more electronic thrashing. 
 
 
 
 It's an intense demolition derby with terrific carnage - it is a Marvel Comic come to life, and despite the same old plot line from 1984 and 1991, the magic is in the new perspective - Terminator 3
truly takes us further down the rabbit hole of this Catch 22 of Artificial Intelligence initiating full scale war.  Note the differences between Terminator and Matrix.  Terminators are real robots, Lost In Space metallic entities with evil on their mind, while Matrix a.i. are computer programs.  The mechanics behind the robots is key and that both film franchises are on the playing field
at the same moment in time is truly an amazing conversation piece for future film historians.  This is revolutionary  science fiction - the Ozzie & Harriet sleepover Kate and her fiance have, in bed and fully clothed - the 4:30 a.m. phone call allowing us to peer into their private life, is in stark contrast to Kristanna Loken's point blank effortless murders.  The original Arnold Schwarzenegger Terminator was a hulky bulky machine, the Wizard of Oz tin man
with an axe to grind, while Kristanna Loken takes even Robert Patrick's icy knifings to a more brutal extension - she points the gun and fires - bang, bang, bang.  

Terminator 3 doesn't celebrate violence as much as use it to show how unfeeling mankind is.  The nuclear weapons were made for protection but create an imbalance.  Only the Terminators make
sense, equal power against equal power when Arnold turns the future weapon on another futuristic weapon at Robert Brewster's command central.   The moral of the story is found in Matrix Reloaded
when The Oracle and a human both surmise that working together is the only possibility.  Mankind can't get along and the violent solutions mankind creates  fulfill David Andrews prediction that he
has opened pandora's box.

Terminator 3 is as successful as Aliens in terms of taking a logical
step forward.  It is more successful than Aliens because there is a
deeper meaning coated with enormous dazzle and anticipation.  There was a buzz on the street and in the press the moment this film hit the big screen - it is one of the few movies to be far more exciting than its trailer.  Would love to see this one on an Imax screen - it makes The Hulk come off like Finding Nemo - Bruce Banner can say "you don't want to see me when I'm angry" - Schwarzenegger
is much more menacing when he notes "anger is more useful than despair", the paternal robot finding emotions in John Connor which piss him off and give him a reason to live.  Fascinating stuff on many levels.    There's a weird father/son thing between the Hulk and Nick Nolte, reiterated by his girlfriend Betty Ross and
her dad, the Captain Ahab of the Hulk. Claire Danes and David Andrews have the other side of that - he's too busy to see his daughter, she falls apart at the thought of losing him.  But the T-800 is still there for John Connor.   Which means Mr. Anderson/Neo in Matrix is truly an orphan, the anomaly hatched by machines, and called in Matrix 1 by his teacher "a machine."   Which means,
Hollywood has gone beyond stealing ideas from each other, these films have serious overlap that may be the start of some future movie fusion.  Spiderman meets Superman?  It's already been done
in the comics, and to pull it off, Terminator 3 is going to have to be the prototype.


CAST:

Arnold Schwarzenegger- T-800
Nick Stahl- John Connor
Kristanna Loken- T-X
Claire Danes- Kate
David Andrews- Robert Brewster
Brian Sites- Bill Anderson

Alana Curry- Bill's girlfriend

Timothy Dowling- Stevens
Jerry Katell
Mark Famiglietti

Mark Hicks- Detective Martinez


Jonathan Mostow- Director
John Brancato- Screenwriter
Michael Ferris- Screenwriter
Tedi Sarafian- Screenwriter
Don Burgess- Cinematographer
Industrial Light & Magic- Special Effects

Stan Winston- Makeup Special Effects

The NETFLIX release of T3: ROTM might be somewhat counter productive in regard to the new Terminator movie and confusing for audiences that are not hardcore fans. How is the NETFLIX release of RISE OF THE MACHINES counter productive? Well, current studios and Executive producer of the new Terminator movie James Cameron have removed Terminator 3: Rise of the Machines, Terminator Salvation and Terminator Genisys from the theatrical canon sagas story/mythos with T3: Rise of the Machines widely considered as a failure/parody of a Terminator movie; a wider audience who have never seen this movie before might be streaming this movie and taking a journey that could leave them even more confused about the next Terminator movie.
James Cameron and the owner of Skydance (the studio behind Terminator (2019) – state that the upcoming Terminator film is aiming to be a true sequel to Terminator 2: Judgment Day) and have insisted to Arnold Schwarzenegger that they don’t even want the movie to be referred to as Terminator 6 as even that can lead to potential confusion, so a full on T3: Rise of the Machines debut could cause even more confusion.
Terminator 3: Rise of the Machines, Terminator Salvation and Terminator Genisys now lay as separate entities/offshoots of non-canon stories in the Terminator franchise; you can accept them or you can ignore them, that choice is now totally up to you as a fan.

https://www.theterminatorfans.com/terminator-3-rise-of-the-machines-is-back-on-netflix/ 



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The Beach Boys: Good Vibrations Tour Given New Life By Brilliant DVD



The Beach Boys are one of the coolest bands of all time and a new DVD of the original line up in their heyday illustrates just why.
Nov 10, 2013    
By Joe Viglione
The Beach Boys are one of the most fun pop groups in music history and Eagle Rock Entertainment puts together some of the best packages in 2013, so the release of The Beach Boys:Good Vibrations Tour on DVD and Digital Video is a treasure for fans as well as for music historians.

The liner notes inform us that the show was "Filmed in 1976 at Anaheim Stadium for American television and  Good Vibrations follows the release of their 15 Big Ones album. Combining full live performances with interviews and several whimsical vignettes, Good Vibrations is 50 minutes of Beach Boys ... (and) features all the original band members (Brian, Carl, and Dennis Wilson, Mike Love, and Al Jardine) performing their timeless classic hits: “Good Vibrations,” “God Only Knows,” “I Get Around,” “Fun, Fun, Fun,” “Sloop John B,” “California Girls,” “Help Me Rhonda,” “Surfin’ USA,” and many more."

Prior to the age of YouTube it was only select artists who got to utilise national TV to promote a new album. The late John Denver made a cottage industry of it; and the late Lou Reed was said to have walked out of an RCA Records’ board meeting amazed at the units Denver sold because of the TV exposure. The Beach Boys were in the position to command such an adventurous - and exciting - display and looking back, music fans are the better for it. You will hear the concert, but there are overlays and interview footage that cut into the musical performance. That's okay, this DVD captures the sounds and the costumes for aficionados to enjoy.  This isn't a high-tech Rolling Stones concert of the past 20 years, the film texture has the feel of the Lee Majors TV show Six Million Dollar Man, but the period piece aura adds to the ambiance.


More...

Asgeir: The Icelandic Superstar Whose Dad Writes His Songs
The 9 Best Cover Versions To Stick On a Pub Jukebox

More of the press information states the DVD contains "Dennis Wilson judging a beauty pageant, Carl Wilson flying a plane and Brian Wilson being arrested for violation of the surf code by the original Blues Brothers, Dan Aykroyd and John Belushi, in the guise of highway patrolmen."  OK, that Belushi/Aykroyd/Brian Wilson bit is a little over the top, and maybe draws the cringe factor and a quick fast forward after one viewing, but it's the music of the time being captured for our enjoyment that really matters, and despite some of the excesses of the on-stage costume (and glitter routines) it is still America's original party band doing their thing and the music that we love comes through loud and clear.

Good vibrations indeed!

Track Listing 1) Fun, Fun, Fun 2) Be True To Your School 3) I'm Bugged At My Ol’ Man 4) God Only Knows 5) I Get Around 6) You Are So Beautiful 7) That Same Song 8) Good Vibrations 9) Sloop John B 10) Surfin’ USA 11) California Girls 12) Help Me Rhonda 13) It's OK 14) Rock ’n’ Roll Music 15) Wouldn’t It Be Nice



 The Joe Vig Top 40     Song Reviews
Random selections from my personal Top 40
  
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360º by Jon Butcher 
https://youtu.be/_bK0wQov5KI

360º  is an explosive title track from a master craftsman, Jon Butcher, and it is already my favorite song of the month...exquisite, stunning...melodic, pensive, plodding-in-a-good-way...it's got all the right elements.  Jon updates the pop guitar magic from the sixties into something 2019 audiences need to hear and relish.   At 2:23 it's a quick and tasty statement, like "The Letter" from the Box Tops which clocked in at 1:52 or 1:58 or the voice from Pink Floyd's Dark Side of the Moon, Doris Troy's magnificent "Just One Look" (2:28)

Video  Part 2 360º  
https://www.youtube.com/watch?v=_piTyyDHG0Q

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Artist:  Visiting Wine
Song: SPECTORS  Track 3
released July 23, 2018

    A distinctive album cover reflects the magical music inside, ten tracks that are perfectly performed and produced, with impeccable voicing and lots of enthusiasm.

     The haunting "Spectors" - somewhere between Jonathan Richman's "Astral Plane" and Gary Wright's "Dreamweaver," - light, delicate yet still active with energy.   The live version from the Burren https://youtu.be/yhNg2MSJeJc  takes the smooth studio take up a level.  It's Fleetwood Mac in a Celtic mood embodying both desire and fulfillment.  Each tune on the album is worth a visitation.

Spectors YouTube by Visiting Wine
https://youtu.be/yhNg2MSJeJc
Bandcamp
https://visitingwine.bandcamp.com/releases 
Facebook:
https://www.facebook.com/visitingwine/

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Artist: Blue Ribbon
Song: If You

https://blueribbon137.jimdofree.com/about/
https://www.facebook.com/BlueRibbonOnline/  
https://twitter.com/RibbonHeads137

The Blue Ribbon 7 song e.p. album Pride - and I'm thoroughly impressed with the tracks that I had a chance to listen to, "If You," "Settle," "Little Things" and "The Different Boy," resplendent in its "liquid guitar" kinda sorta that Vinnie Bell made famous - morphed with some Dick Dale, really nice.

"If  You" caught my ear, a ballad with strumming and a mini-shuffle, reminiscent of L.A. band Feed the Kitty, and that's a good thing.   Song has a sweet ebb and flow, and ascends nicely.  But "Settle" really grabbed me, nice changes, excellent feel, and eerie riff in the background.

"Nrg" is another terrific selection, they pop up on Spotify.  Give a listen

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The Jabbers

Death Child
One minute and forty-two seconds of the rockabilly "Death Child," is nothing something that you would expect from GG Allin and the Jabbers.  Lead guitarist Rob Basso does the vocals with G.G. Allin on drums.  A pulsating bass line plays front and center with delightful guitar work splashing itself all over this deli platter.  It sure sounds like "Said Child of death, King of Doom, I've been Okinawa since I left the womb," or perhaps "I've been rocking out," in any event it's a Lady Mondegreen (mis-heard lyric,) and it works just fine.

https://www.youtube.com/watch?v=c0qVsvy2Y34


"Automatic" is a fun pop rocker with the "F" word tucked quickly inside.  "Don't go playing with me emotionally/or I will make you bleed internally" is not something that the #MeToo movement will embrace, with a flavor that could have been in a battle of the bands on the Monkees TV show, or - perhaps -  their movie Head.  Musically this is very fun and - just perhaps - GG's onstage antics helped as much as hurt this song getting more exposure.   Class A expletive with a big F you from the backing vocalists.  Very cool.

https://www.youtube.com/watch?v=3juYXsb_RWw

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ARTIST: THE SYSTEM DRIVE

SONG: ENGAGE 
The title song and first track of The System Drive's release on Bandcamp starts with an ominous Jaimie Lanes bass riff followed by sharp drums of Mark Podgurski and a guitar splash exploding into a riff-driven slide of hard rock.  Spitfire vocals from guitarist Mario Passi unload the story - it's truly a "system drive," and engage they do.  The voice is complemented by the guitar while the rhythm generates a solid platform for the controlled mayhem.   

Each of the eight tracks has something to offer and for a debut, it is very impressive. Recorded at Woolly Mammoth and produced by the band and Dave Westner

Engage is the debut, full-length studio album from the Boston Hard Rock Trio, The System Drive.

Credits  released December 20, 2018 Mario Passi: Lyrics, Vocals, Guitar Mark Podgurski: Drums
Jaime Llanes: Bass Gino Caira: Additional Guitar on Learn How To Fall, State of the Union, Tugboat, What I'd Like and The Flow Carolyn Blake: Piano on What I'd Like
_____________________________________________________________________
Song: Your Working Boy
Artist: Mobile Steam Unit
Time: 2:29

        With undeniable Beatles' keyboards Mobile Steam Unit re-craft the song that was often played on Pop Explosion, this writer's radio program, is re-issued on Spotify with a thicker, more polished emphasis on its original theme.  The original from 2013 also clocks in at 2:29, and is condensed, the clever interplay between the instruments tucked deeper into the grooves.  That rendition is found on their disc Not In Service available on Bandcamp https://mobilesteamunit.bandcamp.com/album/not-in-service

       This version sparkles with production elements hitting you in the face, and the sometimes smooth and sometimes chaotic instrumentation works on every level.      

        Pop, funk, groove and some jazzy fragments from The Beatles "You Know My Name (Look Up The Number,) seeping into the last ten seconds of this recording, really tremendous.

Spotify: https://open.spotify.com/artist/3xVedvLKolMTZUR3iVZThb

       On Spotify it segues quickly into "Less Texting," which I can relate to given my alleged significant other's activities, and not only that, a former girlfriend of another friend of mine.  It's a no brainer that "Less Texting" is something needed in our current society, on a world-wide level.

       The Mobile Steam Unit 2019 e.p. on Spotify - including Less Texting, Sex With O.S., Are You Ever and this new "Your Working Boy" is a terrific four slices of MSU at their best.

See video of Your Working Boy
https://www.youtube.com/watch?v=PqPFVTu1PPU
_______________________________________________________________________________________
Artist: Blue Manic
Song: The Bedouin

        Blue Manic come back heavier than before with "The Beaudoin" off of their eponymous 10 selection Blue Manic album, the follow-up to the 5 song V-32  https://bluemanic.bandcamp.com/ 

      So what have vocalist Max, guitarist Mike, drummer Corey and bassist Jared been up to ?

Getting heavier with a neo Black Sabbath pounding grunge on a song about - at least by the dictionary definition: 
1. 
a nomadic Arab of the desert.  "an encampment of Bedouin on the edge of the desert"  adjective 
1. 
relating to the Bedouin. 
"a Bedouin song about a desert journey"

   "What's it like to be caught in the middle" sounds like the melody to Aerosmith's "Last Child" with a kinda sorta Steve Tyler line from "Walk This Way" - "Singin' hey diddle-diddle with the kitty in the middle" - but that's OK, Aerosmith AND their idols, The Rolling Stones, nicked more than a few notes and words.   The song plows along like a bulldozer and is lots of fun with electra-glide-in-blue guitar lines and a menacing advance.

______________________________________________________________________

Artist: Greg Paquette

Song: Absolute CrimeAlbum: Single Stone 

 The Track "Absolute Crime" from the Single Stone CD recorded by Greg Paquette is a folksy, dreamy, lilting number and at 4:24 is the third shortest track on this 10 song album. The band features Joey Hovey on drums and percussion, Greg Paquette on guitars, Jake Miracle vocalist and Kevin Megaldino on bass.  It's a sterling production with a strong choir behind the chorus, it's catchy and very radio friendly.   __________________________________________ 

Band: Artful Candid

Song: Exipotic

 Artful Candid, a trio from Vejle,   Denmark   https://twitter.com/ArtfulCandid
formed in 2016, have a new release, "Exipotic on Spotify and many other platforms. "Exipotic" has elements of rock, a touch of trance, hypnotic guitars with nice instrumental interludes, very catchy.

An article in the Pharmeceutical Journal states "An even more obscure synonym is exipotic, from Greek éxpotikós, from éxipoûn, to squeeze out. The word is so arcane that you are unlikely to find it in your 21st century dictionary. But it had its use in the mid-19th century and it might be fun to revive it."

The three bandmates, Kristian Plaugborg - Lead vocals, Guitar,  Jakob Zülow - Lead guitar, Vocals, William Wiese Lehmann - Drums, Vocals  squeeze out every nuance - a melodic vocal chant, cascading phasing chords and notes and an entertaining three minutes and twenty-one seconds you'll want to play repeatedly


Review by Joe Viglione

https://joevigmedia.blogspot.com/2019/02/building-story-with-something-new.html


Artful Candid
https://twitter.com/ArtfulCandid
https://www.facebook.com/ArtfulCandid/
http://www.artfulcandid.com

Exipotic
https://open.spotify.com/album/6gJY3mRhMvayo92mZqsmi6

_________________________________________________________

Title:The Last Time
Band: Loose Ties
Produced by Fred Pineau

    Some people like to attempt to duplicate a song as is, while others work to embrace a melody and chord changes by rearranging a piece of music to their style and vibrations.   Loose Ties and Terry Kitchen do the latter by stretching The Rolling Stones Jagger/Richards composition (and a 1958 Staples Singer gospel cover according to Wikipedia) into a genre they call "Ska Crazy" - but the three minutes and thirty-one seconds go beyond ska into a mild funk and quasi-techno. The mix of genres is tightly would with great solid and insightful production from Pineau and an on-target performance from Loose Ties.  They are able to navigate licks and solos within that short span of time to keep your attention with this entertaining look at a classic Rolling Stones hit record.  From the Loose Ties revisited 1985 E.P. now available on iTunes, Spotify, etc. with studio and live bonus tracks. https://itunes.apple.com/us/album/where-the-action-is/1453931425

The Last Time  Loose Ties
https://youtu.be/0WKX48fjHnQ

The Staple Singers
https://www.youtube.com/watch?v=j1jGF-6bFpI

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