ABKCO releases today the incredible live performance of The Rolling Stones “Sympathy For The Devil,” as captured on December 12, 1968.

Produced by Jimmy Miller. I was in the office with Jimmy Miller, Allen Klein and Jodie Klein when Jodie was transferring Sam Cooke tapes: 

SYMPATHY FOR THE DEVIL

FROM THE ROCK AND ROLL CIRCUS

https://youtu.be/Jwtyn-L-2gQ  

 

ABKCO releases today the incredible live performance of The Rolling Stones “Sympathy For The Devil,” as captured on December 12, 1968. The song is a highlight of the band’s now legendary film The Rolling Stones Rock and Roll Circus and was the first public performance of the song. The original recording appears on the Beggars Banquet album that had been released only six days earlier. The Rolling Stones Rock and Roll Circus is a living document of the very last appearance by the band’s original line-up of Mick Jagger, Keith Richards, Bill Wyman, Charlie Watts and Brian Jones before a live audience. 

 

NEWS from Bob Merlis/M.f.h.

FOR IMMEDIATE RELEASE 

VIEW FIRST PUBLIC PERFORMANCE OF "SYMPATHY FOR THE DEVIL” 
HISTORY MAKING EXCERPT FROM ROLLLING STONES ROCK AND ROLL CIRCUS POSTED TODAY


ABKCO releases today the incredible live performance of The Rolling Stones “Sympathy For The Devil,” as captured on December 12, 1968. The song is a highlight of the band’s now legendary film The Rolling Stones Rock and Roll Circus and was the first public performance of the song. The original recording appears on the Beggars Banquet album that had been released only six days earlier.  The Rolling Stones Rock and Roll Circus is a living document of the very last appearance by the band’s original line-up of Mick Jagger, Keith Richards, Bill Wyman, Charlie Watts and Brian Jones before a live audience.  
Click to Watch The Rolling Stones “Sympathy For the Devil” 
“Sympathy For The Devil” was sourced from ABKCO’s 2018 The Rolling Stones Rock and Roll Circus Dolby Vision® and Dolby Atmos® 4K restoration of the concert film. It is available in a Deluxe Edition multi-format package including Blu-Ray, DVD, and a 2CD soundtrack. Rock and Roll Circus features iconic performances of artists in the glory of their careers: The Who, Jethro Tull, Taj Mahal, Marianne Faithfull, impromptu supergroup The Dirty Mac (John Lennon, Keith Richards, Mitch Mitchell, Eric Clapton) and Yoko Ono as well as the Rolling Stones who serve as hosts. 
Keith Richards recalled Rock and Roll Circus: “It was an incredible shoot, I think, 36 hours or something. I remember not remembering everything towards the end... but it was fun… we went through two audiences… wore one out… it was great!” 
The Rolling Stones Rock and Roll Circus and the “Sympathy For the Devil” excerpt was directed by Michael Lindsay-Hogg (Let It Be, Ready Steady Go!), with Tony Richmond (Sympathy For The Devil / ONE PLUS ONE, Let It Be) serving as cinematographer.  Rock and Roll Circus was shot in a North London television studio before a live audience consisting of fan club members, contest winners and friends but, because of delays, the Rolling Stones went on last after the audience had departed.  “Sympathy For the Devil” was the very last song they performed on center stage, before closing the late evening out with “Salt of the Earth.”
Michael Lindsay-Hogg recalls capturing that defining performance, painting the scene as if “There was no audience. There was just Mick playing to the camera and the band playing. But here he had to pull out of himself, especially on the last song, ‘Sympathy For The Devil,’ at five-thirty in the morning, the last shred of the great performer that he is.  The camera was right there in front of him to use as he wanted. It wasn’t observing him from a distance; it was two feet away from him and he and the cameras were molded to each other almost because he used it so wonderfully.”
The show was initially envisioned as a BBC TV special to promote Beggars Banquet. Those plans were abandoned in the wake of Brian Jones’ departure from the band and subsequent death; considered the holy grail of rock films in the years since, the film did not have an official release until 28 years later. 
ABOUT ABKCO Music & Records, Inc., is one of the world’s leading independent entertainment companies. It is home to iconic music catalogues that include compositions and recordings by Sam Cooke, The Rolling Stones, Bobby Womack, Eric Burdon, The Animals, Herman’s Hermits, Marianne Faithfull, The Kinks as well as the Cameo Parkway masters by such artists as Chubby Checker, Bobby Rydell, Clint Eastwood, The Dovells, ? &The Mysterians, The Orlons, Dee Dee Sharp, Charlie Gracie, Bob Seger, and The Tymes. Releases on ABKCO’s SAR Records include albums by L.C. Cooke, The Soul Stirrers, Billy Preston, Johnnie Taylor, The Valentinos and more. ABKCO is active on many fronts, including the release of critically lauded soundtracks, compilations, reissues from its catalog, film, commercial placement of its master recordings and music publishing properties in all media. One Night in Miami…, ABKCO’s latest theatrical production, received a nomination for the 2017 Olivier® Award for Best New Play and is being adapted as a Major Motion Picture directed by Oscar® winner Regina King. ABKCO’s latest TV production is The Durrells in Corfu, based on Gerald Durrell’s book The Corfu Trilology.  
 
www.abkco.com     www.facebook.com/abkco      www.twitter.com/abkco 
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Joe Viglione Interviews Recording Engineer Josh Gold of Malden, Adam Ezra Group review, Gaviiformes Engineer

 By Joe Viglione / recordreview2001@yahoo.com
Posted Sep 18, 2009 at 12:01 AM
Updated Sep 18, 2009 at 6:16 PM
 
   https://www.wickedlocal.com/article/20090918/NEWS/309189316
 

Driving up Route 95 to the ocean on Saturday night, Labor Day weekend 2009, and off the exit to the road to Salisbury Beach, it was hard not to notice the big yellow neon sign that read, “Adam Ezra Group,” followed by another glowing post with the group’s name in lights as you headed onto Broadway and the beach area.

Driving up Route 95 to the ocean on Saturday night, Labor Day weekend 2009, and off the exit to the road to Salisbury Beach, it was hard not to notice the big yellow neon sign that read, “Adam Ezra Group,” followed by another glowing post with the group’s name in lights as you headed onto Broadway and the beach area.

And rock the beach this group did with frontman Adam Ezra on guitar and vocals, Malden’s own Josh Gold on keyboards, Robin Vincent Soper on bass and the mysterious “Turtle” on percussion.

Adam Ezra Group will be at the Mercury Lounge in New York on the Friday, Sept. 25 before they come back this way for the Calling Planet Earth Festival in Rhode Island on Saturday, Sept. 26 and Sunday, Sept. 27. For more details visit 
myspace.com/adamezra
.

There was quite a crowd as the band played many titles from their myspace.com/adamezra page, and when a tune like “Basement Song” has 27,784 spins you know there’s something special happening with this hard-working touring ensemble.

Live on the ocean’s edge — quite literally as the fellows were on a stage with canopy that was directly on the main entrance to the water — Ezra’s appearance coincided with the reinvention of Salisbury Beach, a conscious effort by the town and its business community to bring to the area year-round entertainment. And why not? The town’s official Web site notes that the area, located “about 45 miles north of Boston on what is commonly known as the North Shore, is home to 7,800 year-round residents, many of whom work in local shops and businesses.”

So as Adam Ezra performed tunes like “Western Man” (with 32,627 plays on the MySpace as of this writing), I looked around and took “inventory” (to quote a line from the song) of Joe’s Playland and the exquisite club, The Upper Deck, which overlooks Broadway, the beach and the live entertainment staging area. If you were on the second floor at The Upper Deck you’d have a superb view of Adam Ezra Group...many a folk artist having performed on the deck itself during summer days at the beach.

The night was perfect for an outdoor rock concert, the percussive sounds and driving keyboards of the musicians like a contemporary Doobie Brothers meets Steely Dan, only with a bit more of an uptempo folksy punch. The group might not appreciate that summation, Dan Fogelberg-gone-hip in the new millennium with talented side mates helping bring the message across, but it is an honest assessment and is meant to be high praise for this hard working and more than competent crew.

The Adam Ezra group is at its best when it is experimental and though “Home Again Soon” borrows much from The Beatles’ keyboards on “I Am The Walrus” and even more from the melody of Christine McVie’s lost classic “Wish You Were Here” (from Fleetwood Mac’s Mirage disc), it veers off in the right places and has that superior pop elegance that this ensemble is so capable of. With over 175,000 spins of eight songs on the MySpace it is obvious they have the potential to reach a wide audience beyond the underground and smack dab onto the mainstream.

So the Observer thought we’d catch up with the local boy making good, keyboardist Josh Gold, with the pertinent questions to fill in the gaps.

Malden Observer: When did you move to Malden?

Josh Gold: I moved to Malden about five years ago, just before the Red Sox won the World Series. You might say that my fiancé and I were actually indirectly responsible for the Sox winning that year. On her “lucky birthday” before that season started we decided we’d end the curse and created a ritual that involved us walking around the outside of the park nine times (nine players, Ted Williams #9). There was also wine involved, and bagels, anyhow, it worked.

MO: When did you join Adam Ezra Group?

JG: I started playing with Adam not long after that. We’re long lost cousins and hadn’t connected much since we were three or four or so. Turtle (the percussionist), who was already playing with Adam at the time, wanted to add keys to the group, (Adam didn’t want to), and he found my info randomly online. He passed it along to Adam who said, “I have a cousin named Josh Gold, wonder if it’s the same guy.” Anyhow, Adam sent me this long, detailed (and meandering, much like this response) e-mail about his music, and many trials and tribulations later, here we are.

MO: What groups were you in before joining Adam?

JG: Before I played with Adam, I was with the band Wheat. That band was signed on the Aware / Columbia label and we did tours with Liz Phair, Okgo, and The Counting Crows. We were supposed to play Lollapalooza the year it got canceled. I was in the airport heading home from the last date of a tour when I first talked to Adam about playing with him.

Before Wheat, I was in a band called Soulwork, a pop soul, groove band. I also played in a trance fusion group called Nikulydin, and I used to live in New Orleans where I played in a group called Honeypot with “Mean” Willie Green from the Neville Brothers and Kofi Baker (Cream drummer Ginger Bakers son). I’ve been lucky; every one of these groups was made up of amazing musicians. That’s how I’ve learned to play, from playing with them.

MO: Does the group play Honey Fitz, Number 9 Ale House and other Malden venues? The Library (they have concerts upstairs), or the access channel, MATV?

JG: So far the only Malden venue we’ve played in has been my basement. When we’re around Boston, we play at venues like the Paradise, the Middle East, and the Roxy. Our next Boston show will be an all ages event at the Paradise on Saturday, Jan. 16. Till then, we’re touring around the country, trying to build this thing up one show at a time. I’d love to play an event in Malden someday. We’ll have to make that happen; and we’d love to do something with MATV too.

MO: How did you personally like the Salisbury Beach event and the fireworks after the show?

JG: Salisbury was fun. A bit of a departure from our normal event(s), right on the beach, outdoors. Not the same “sweaty club” vibe that we’re used to, but I liked it. We did have a beautiful night for it.

Somerville's Bobby "Boris" Pickett Monster Mash LIVE Happy Halloween

Monster Mash 

Garpax Records, distributed by London https://youtu.be/TT6rfEiEtr4 Exquisite Gary Paxton production, MONO, this works so well...creepy, eerie and fun!

The original Bobby Pickett recording is an exquisite production that reaches out beyond the 1960s.

Totally brilliant recording, style, a flash of pure inspiration.   

 I had to seek far and wide on YouTube to find the original MONO version on Garpax, the rendition with the most integrity. Very well produced, stands the test of time. https://youtu.be/YOomhNNR8Ow  

Where the vampires feast...

https://www.youtube.com/watch?v=4phxXc4uiZ8

 _________________________

 I WAS looking for the original, so many copies....this is close but not quite: https://youtu.be/bRLML36HnzU

Original on TV with fake screams

https://youtu.be/4LZEvpEwVkQ

Stereo Monster Mash

https://youtu.be/SOFCQ2bfmHw

 

October 2006  Bobby Pickett LIVE

https://youtu.be/-zdmhlBeqsk

Monster Mash Remix, interesting...

 https://youtu.be/1FNlKOw6KBQ

 This is very frustrating, I can't find the original 1962 take  https://youtu.be/TY1xhfTwGao

 En Espanol (well, lyrics in Spanish, another remix or re-take, not the original)

https://youtu.be/SqySDOKMwlY

This Monster Mash Remix ...not as much fun as the original ...kinda boring

https://youtu.be/yIWHo5KZ9Ls

Sounds like they remixed the original

https://youtu.be/GBJV4qtdmwo

 

Monster Mash

 This is a fantastic live tape

Bobby Boris Pickett At Molar Manor 2004 - Santa Clarita - KHTS

158,109 views

•Oct 22, 2014

 

https://www.youtube.com/watch?v=KFltUGm7iLQ 

 

 Sounds like a remake by Bobby, good video

https://youtu.be/l2PoSljk8cE

 

 Vincent Price sings Monster Mash

https://youtu.be/yuy2fA6alfE

 

This is a terrible update

https://youtu.be/qx1mboWYn0c

 

The PHONY "original original" is a terrible parody by Leo Carpazzi,  alleging to be co-writer with Pickett, https://youtu.be/4c2RTvP0bEQ  terrible porno version. Horrible.

Rick Berlin LIVE Living Room Cabaret #4 Friday 8:30 pm October 30, 2020

 

OCT30

Livingroom Cabaret #4

Public · Hosted by Rick Berlin

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Hear Live at Jacques HERE https://rickberlin.bandcamp.com/album/rick-berlin-live-jacques

 

Rick Berlin LIVE AT JACQUES

AllMusic Review by Joe Viglione  [-]

"The monster arrives in the dark," Rick Berlin sings in "Miracle," one of 15 songs recorded live at the notorious drag queen bar in Boston'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's work at the Cantab for longevity. It is amazing what one man can do with a voice, piano, and audience. "(I Like) Straight Guys" is humorous in the pitter patter piano and the effective vocal, ending with a climactic "honk if you love Jesus..." -- the "f" word (three letters, not four) trailing off in the distance. Berlin, formerly known as Rick Kinscherf when signed to Epic Records in the '70s with his group Orchestra Luna, is in total control with piano runs and a vocal sound moving closer to John Cale than Berlin'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'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. "Police Boy in Prague" 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 "Be Yourself," totally immersed in his art in an appreciative arena, dangerous music being generated in a dangerous nightclub. It'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. "I would rather have a fag for a son than a drunk for a husband," he sings in "Be Yourself." Berlin hasn'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. 

 

 

 

SHELLEY WINTERS PROJECT

 

Hear Shelley Winters HERE: https://rickberlin.bandcamp.com/album/shelley-winters-project-ep

 

AllMusic Review by Joe Viglione  [-]

A simply enormous affair by Rick Berlin and the Shelley Winters Project, I Hate Everything But You is their 2002 release named after the final track on Berlin's 1982 CBS-distributed album, Berlin Airlift.This sparkling hour's-worth of music produced by the band, along with Neighborhoods guitarist David Minehan, is a very special reinvention for the Boston-based singer: it's a combination of what the previous six-song EP by Shelley Winters Project was exploring, blended with the undressed escapades initiated on Berlin's solo LP, Live at Jacques, his singer/songwriter disc. At close to 59 minutes, it is not only the most band music ever released at once by the singer who fronted Orchestra Luna in the '70s, it is also the most powerful. "Hate" is the new title for "I Hate Everything But You," and the song rocks harder than Bill Pfordresher's thin production recorded in 1982 ever allowed it to. The new version borrows that riveting intro from the Atlantics' 1980 classic "Lonely Hearts," and gives Berlin the opportunity to take one of his big titles from the past and give it a splendid update. Berlin Airlift was a great band that evolved out of the original Orchestra Luna, but that was a different place and time, and the musicians had to contend with all sorts of production and legal issues. Here, now, the seasoned studio and stage veteran composes a collection of definitive statements without major label distractions: "Somebody" has charging electric blasts from horn and string arranger Dave Berndt, while Meredith Cooper's violin glides alongside the lead vocal. It's also interesting how Rick Berlin's keyboards are the core of which the thick vocals and deep instrumentation surround and embrace, while remaining an integral part of the web, but not its dominant sound. "Taxi, Take Me Home" works a lament into the mix, as does "Tired," with its heavy percussion playing nicely off the string sounds Cooper provides, but it's "Xmas Face" that immediately jumps out at the listener with all the mood of the Beatles' driving pop allure, and one of the CD's highlights. Fans of John Cale will totally understand "Only One of You," both lyrically and vocally, while "Bad Day" has the band sweeping through the speakers and providing the icing for the singer's descriptive poetry. "Monk"'s originality is precious -- riffs from yesteryear swell up to be part of something very new. This Shelley Winters Project material is striking in its solidity. These musicians respect Berlin and put their talents in all the right places: they're all over the map, but only when the time is right, and the music is nice and dense, and worth playing loud. Berlin controls his powerful voice here, and unlike some of Orchestra Luna and Berlin Airlift music, where the ideas were overplayed and too studied, this stuff boasts a focus. The album is 14-songs deep, but they work so well, and Berlin's vision is delivered with such an intensity. It is his, and Shelley Winters Project, most impressive effort to date. 

 

Hear Orchestra Luna HERE: https://rickberlin.bandcamp.com/album/orchestra-luna

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AllMusic Review by Joe Viglione  [-]   https://www.allmusic.com/album/orchestra-luna-mw0000758864

The Orchestra Luna album began the musical legacy of Rick Berlin, the composer/singer who goes by his birth name, Richard Kinscherf, on this Epic Records debut in 1974. The seven-piece ensemble was truly groundbreaking in a world that doesn't take kindly to innovation. Where the Who were content to write rock operas, Kinscherf 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 "Doris Dreams" 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 Rupert Holmes, the man who gave us "Escape (The Pina Colada Song," a monster smash in 1979, and the cannibal anthem "Timothy" in 1971, the choice might not seem appropriate on the surface. But Holmes' unheralded work for Barbara Streisand and the Broadway musical Drood actually makes him a perfect choice to oversee this project. "Miss Pamela" has wonderful Randy Roos guitars blending with Rick Kinscherf's pretty keyboards, keyboards that could have inspired Billy Joel, sounding very much like his 1978 hit "Just The Way You Are." It's when Kinscherf's expressive vocal kicks in that all comparisons to traditional pop go out the window. The cover of the Adler/Ross classic (you gotta have) "Heart" is a standout here, as it was in their live show. Seven of the nine tracks are penned by Rick Kinscherf, and themes that resound in "Fay Wray" (the heroine from the epic King Kong) travel throughout the artist's career. This album may be tough for some to take, but the Tom Werman liner notes put things in a nice perspective. They opened for Roxy Music in Boston when this album was released, and were even more avant-garde than the legendary headliner. The band dropped the "Orchestra" from their name and became the original Luna, releasing a 45, "Hollywood," while the rest of their album was held up in litigation. They re-emerged as Berlin Airlift, then Rick Berlin: The Movie. In 2001, the former Rick Kinscherf, known as Rick Berlin, fronted the Shelley Winters Project. That sound has little in common with the early pictures painted by the exquisite "Love Is Not Enough" or musically bizarre "Boy Scouts" off this album ("Back in the boy scout camp/the moon was very full"). These themes, like the references and inspiration from films, continued to flavor Berlin's music through the years, although the Peter Barrett narrations would fall away. Moody and impressive in its gamble, this is also noteworthy in that guitarist extraordinaire Randy Roos can be heard in his formative years. 

 

 

Randy Roos

 https://www.allmusic.com/album/mistral-mw0001185891

AllMusic Review by Joe Viglione  [-]

Hear full Mistral album here:

https://www.youtube.com/watch?v=JVzh9ADWTys

 

 

Orchestra Luna's guitarist Randy Roos released his first solo album on Boston legend Bruce Patch's Spoonfed records, a label which would issue discs by Third Rail produced by Ric Ocasek, Reddy Teddy, the Remains, J.T.S. Flying, and others. "Stew" is a song that has some great wailing guitar behind percussion and rhythms, the early playing of this virtuoso falling somewhere between Pat Metheny and Steve Vai. The plethora of instruments utilized by the guitarist expose the talents he brought to Rick Berlin's quirky early work on Epic, the bold and highly experimental Orchestra Luna 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, "Platypus" containing more jazz improvisation, while "Inward Stroke" is just a lovely, subdued combination of mellow guitar sounds. "The Hunt" is a bit more driving, allowing Randy Roos the liberty to stretch. "Horizon Game" opens side two and has more exquisite playing, inspired ideas which are the furthest thing from redundant, sounds expanding on "Innisfree" and concluding with the seven-minute-plus "Marcel Marceau (Three Little Things)," the epic track on the Mistral album as "Doris Dreams" was to the Orchestra Luna disc. Released on translucent vinyl (as was a 45 on MCA by local pianist Willie Alexander, it was a bit of the rage at the time), Michael Gibbs' liner notes could be more enlightening, though they add some insight -- that he first encountered Roos when Orchestra Luna opened for Weather Report at Symphony Hall, and that this is Randy Roos' first solo album. There would be many more, and it is definitely a gem.

 

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