Thursday, September 30, 2021

Randy Bachman by Gary Pig Gold

 


Gary Pig Gold  is  TAKIN’ CARE OF RANDY


As he turns 78 (!) this very September the 27th, may I suggest Each and Every One of you adhere to these

 

TEN REASONS TO IMMEDIATELY WATCH

“BACHMAN & TURNER LIVE AT THE ROSELAND BALLROOM, NYC”

 

1.  Randy Bachman remains the greatest-living Canadian singer / songwriter / guitarist …who still remains in Canada.

 

2.  C.F. “Fred” Turner’s voice remains sounding, and I quote (many esteemed listeners over the years), like a cross between a gravel truck and a cement mixer.  

 

3.  Although due to legal and/or sibling issues far, far too quibbling and lengthy to even begin to outline here that prevent its use in any way, shape, manner or form associated with this product or project as a whole, the “O” (as in Overdrive) happily remains more than present within Bachman & Turner’s guitar circuitry …if not on their logo, swag, kick drum head or even Live At The Roseland packaging.   

 

4.  Nevertheless, it is true that you win The Bachman-Turner Award playing Rock Band 2 if for ninety seconds or longer you manage to maintain deployed, um, overdrive.

 

5.  Although when composing “Let It Ride” he channeled no less than an Antonin Dvorak piano concerto, Randy forever after heeded John Fogerty’s backstage advice to “never play it on record” …and above all to Keep It SIMPLE, stupid. So much so that in his autobiography entitled, typically pragmatically, Takin’ Care of Business, the Bach man revealed “My secret BTO weapon – and no one knows this other than the band – was a gallon milk jug turned over and played in a galloping style. It simulated that Beatles bongo sound. We had two tones: One with the cap OFF, and the other with the cap ON.” And, I’m pleased to report that all these years and caps later said jug may be soundly digitized, but it gallops as heartily as ever all the way ‘round the Roseland.        

 

6.  WARNING!  If you settled for the mere 57-minute PBS-televised Front Row Center cut of Bachman & Turner Live, you were cruelly denied the chance to experience, among others, the full gravel ‘n’ cement glory of the band’s one and only true love ballad “Sledgehammer,” available only on this complete DVD and Blu-ray manifestation. And the rendition of the Hammer therein is every bit as emotionally savage as the version I was so lucky to have experienced first-hand at the Relentless Garage in London on June 7, 2010 I’ll have you all know. 

 

7.  Remarkably, even the encore presence of fellow Canucklehead Paul “Here For The Rest Of Our Lives” Shaffer as, um, Special Guest cannot dim the half-century-and-counting quiver behind Randy’s primordially powerful “Shakin’ All Over.” Really!

 

8.  And speaking of the almighty Guess Who, their landmark “American Woman” magically appears four minutes and four seconds into the Roseland “Stayed Awake All Night” – right after Randy finishes beating off his sunburst Les Paul with one of Marc LaFrance’s stray drumsticks, that is – and in the ultra-patriotic kinda way that should impress even Burton Cummings (…to say nothing of Lenny Kravitz) (which I won’t).

 

9.  Meanwhile, it quickly becomes apparent Bachman & Turner – particularly the former – downright invented that little-recognized, often poo-pooh’d whenever it is, socio-musical sub-genre known as, yep, Heavy Metalgum. Why, even a half-listen to Randy’s huge(ly infectious) choruses, complete with bountiful sing-along ba-ba-ba-baby’s, sha-la-la-la’s and even hi-de-hi, hi-de-ho’s prove he not only most unabashedly, unashamedly took Mr. Fogerty’s advice to heart but, to quote his grand new life anthem “That’s What It Is,” Things ain’t never gonna change, When you get into the game, That’s what it is, not what it ain’t, Do what you can, not what you cain’t, You gotta make the pieces fit, If that’s what it is, That’s what it is.
Got it? Period.

 

10.  So! If you haven’t yet got, watched, and joyously Birthday-sung along to Bachman & Turner Live At The Roseland Ballroom, NYC then, well, to coin yet another multi-million-seller from Grade 10, you just ain’t seen n-n-nothin’. Yet.    


Wednesday, September 29, 2021

9/29/21 Greg Paquette on Mark Skin Radio, Kitoto Sunshine Love on Good Music Radio

 

Thanks #MarianFerro for airing #StarkRavingMad from #September 28 2o21 #TuesdayFeeling here: open.spotify.com/track/22vRrQQt

Thanks ⁦⁩ for airing ⁦⁩ ⁦⁩ All Habds on Deck BLM ⁦⁩ ⁦11:26 AM #Wednesdayvibe #September 29, 2021 Artist: KitotoSunshine Love @KitotoLove Written by #BobbyHebb @SoulHeritage1 Produced by #JoeViglioneMedia @rranimaltour on @YouTube here: https://youtu.be/emjP5mQn-Lw #SteveHolley #Drums #BostonRockandRollAnthology21 #MusicSupervisors #Pop 

Tuesday, September 28, 2021

James Bond's Evolution...Blofeld, Felix Lighter, Bond...the gang's all here. Or Are They?

 


 Film: No Time to Die
Time:  2 hours 43 minutes
A Joe Viglione Movie review

#JoeViglioneMedia

Of the 28 James Bond films - including the 1954 Peter Lorre first Casino Royale, the 1967 David Niven Casino Royale which did give us the classic, Academy-Award nominee for 1968 song “The Look of Love,” and 1983’s Never Say Never Again with Sean Connery – no matter how good or bad, each made some kind of an imprint on the consciousness.   The Thunder Ball remake, Never Say Never Again, is easily included in the “legitimate” Bond catalog – with MGM assuming the rights in 1997.  

So why do the Daniel Craig films just go through this critic like a blur?

Live and Let Die, Tomorrow Never Dies, Die Another Day, No Time to Die, A View to a Kill, License to Kill, the James Bond legacy should be more than 007’s permission to eradicate.

 

The Billie Eilish Oct 1, 2020 theme song, on YouTube with over forty-four million views, is exquisite.  Best Bond theme in awhile despite the rain in Spain falls mainly on the “we were a pair, but I saw you there, too much to bear…” Oh well… https://youtu.be/BboMpayJomw

 

The opening sequence to NTTD seems longer than the usual bait and switch routines from previous Bond films, and it drags the way a 1950s science fiction movie would irritate its young audience waiting for giant ants, giant people or dinosaurs.   As stated above, Billie Eilish's stylish "No Time to Die" theme works beautifully, but you knew it would. Just as you knew the cinematography would be top notch.  Bond films are always eye candy, and I am talking about the scenery and the spectacular depth that are the trademark of Michael J. Wilson (whose father was the first Batman on screen, Lewis Wilson, born in Massachusetts. I reserve the right to continue the trivia in all my film reviews.)

    Craig was never my favorite Bond, and the convincing intrigue of the original On Her Majesty's Secret Service and License to Kill  has been lost to the ages.  We had the science fiction Roger Moore sagas, the Pierce Brosnan cool Remington Steele moments, and then Daniel Craig kind of went Mickey Spillane on us, more blood and violence than we bargained for.

      As an older man Craig actually fits the role now better than his previous outings.  Can you really remember elements of Spectre (2015,) Quantum of Solace(2008,) Casino Royale (2006,) Skyfall (2012.)  Like string theory, they all blend together. Heck, Sean Connery only had 9 years as bond (well, 21 if you include Never Say Never Again,) twelve for Roger Moore, seven for Pierce Brosnan giving Craig the only actor with fifteen years of Bond in a row.  Despite the pandemic pushing this new film, Die Another Day back a year.

      That the film reflects the vicious COVID-19 having been made before the plague hit in 2020 (development began in 2016,)  it is art reflecting life – though the George Lazenby classic 1969 On Her Majesty’s Secret Service had the same villain, the Telly Savalas Blofeld, doing the same thing, germ warfare.  That a model, Lazenby, with Diana Rigg and Telly Savalas playing cat and mouse, made such a spectacular film is its own model of how the Bond films should have proceeded. With Lazenby.

     No Time To Die harkens back to the 1969 film with Craig’s Bond telling his love interest Madeline Swaan (Léa Hélène Seydoux-Fornier de Clausonne ) that they have “All the time in the world.”   Lazenby’s Bond told that to Diana Rigg and we know what happened in that regard.   I don’t mind that this outing is close to three hours, in fact, I believe this to be the best of the five Craig appearances as Bond.  Yes, it will easily bring in the billion dollars now required, but we, the audience, want to grow old with Bond.  An older Sean Connery or Roger Moore would have made for a more intriguing storyline than just another 75,000 bullets flying through the air or into bodies.  That Timothy Dalton and George Lazenby and Pierce Brosnan are still around, as is Daniel Craig, makes the idea of an older, wiser secret agent all the more compelling.

    Timothy Dalton’s License to Kill was the Bond on a revenge mission.  It, and the Telly Savalas/George Lazenby On Her Majesty’s Secret Service, are that spy vs spy drama, the exciting mental chess match with the snow skis or the elegant mansion that made for a great storyline.

     That super producer Michael G. Wilson had to complete the script to License to Kill on his own (due to a writer’s strike in 1989, according to Wikipedia) and that Dalton was scheduled for a third film (disrupted by yet more legality,) denied the world another great pairing. As Wikipedia notes: Dalton's portrayal of Bond was darker and more serious. Dalton pushed for renewed emphasis on the gritty realism of Ian Fleming's novels instead of fantasy plots and humor.

      So here, in 2021, an older Daniel Craig delivers a Dalton-ish Bond. I would still rather the older Lazenby, Brosnan and/or Dalton to fill the role, and the performance in No Time To Die kinda proves my point.   Craig is Mr. Cool, and the sub text of no one to trust, everyone is suspected of being a double agent and/or traitor, works well here.  Bond suffers two concussions in this film, one from Blofeld, the other from a weak villain, Safin, played by Freddie Mercury actor himself Rami Said Malek.  Safin is drab, unconvincing and forgettable. Just another megalomaniac carrying a grudge.  If Dr. Evil had Mini-Me as his watered down doppelganger, so too Blofeld with Safin. The spoiler is already out there I’m sure, everything blows up, everyone dies, over a billion dollars will flow to Eon Productions and James Bond will Return. But will 007’s name be James?



Tues Sept 28, 2021 Bless me Jah Radio What / Up In Maine debuts on Spotify /

 7:53 AM #tUESDAY #september 28 2021 @IPDKg @zionrock @AndraeCarter #ReggaeKing #Reggae #DamienMarley #BobMarley on @Spotify https://open.spotify.com/track/3BRgd2MTJj1ExsvArRCkx5 #JoeViglioneMedia #DemoThatGotTheDealVol5 #VarulvenRecords @rranimaltour  

Radio WHAT
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#NowPlaying Ipd green @ipdkg @joeviglione - Bless Me Jah RadioWHAT.com #ListenLive

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Monday, September 27, 2021

Going Track By Track with Jack Phillips NIGHT AND DAY CD (2020)

LISTEN TO JACK PHILLIPS ON APPLE MUSIC   

https://music.apple.com/us/playlist/jack-phillips/pl.u-EdAVkrqsXJpmJg


Going Track by Track – Night & Day (2020) by Jack Phillips

 

It's important to understand that the Night & Day album was originally conceived in 2012 as a combination two styles that I really like:  blues rock or the blues in general, and also the sounds of jazz standards and particularly New Orleans jazz.

 

In 2009 I had written “The Old Grey Hat” and I knew that it was going to be on a future album at some point, but I didn't quite have any idea at that point what to do with it, and it hadn't been recorded yet.  In 2012 I decided that I would record that song and some other songs that I would write in the jazz style and present them together as original jazz standards.  I then decided that I would give the whole project a New York City theme, and so as a lead song to this project I sat down in early 2012 and wrote the first track on the album called “I Love New York.”

 

Before this I had in my archives several songs that Jimmy Russell and I had written which were perfect for this project.  The first thing I did was go to Nola Recording Studio in Manhattan (which at the time was located in the top floor penthouse of the Steinway building on West 57th Street), and using Errol Garner’s Steinway, I recorded with Matt  Scharfglass on bass and Dave Silliman on drums the basic tracks for “I love New York,” “Ragin’ Down On Me,” “No One's Home” and “No More Waitin’.”  At the time I thought the songs might be fine with a stripped-down sound of simply piano, bass and drum.  But at some point, I got the idea that the songs really need a guitar.   I had been in touch with legendary guitarist Caleb Quaye at around the same time and eventually put it together in my mind that I would love to have him perform on these songs.   I got in touch with Caleb, and he happily agreed to record with me.  I flew out to Burbank, California and met him at a studio called the Jungle Room Studios, and in a very short amount of time Caleb laid down all over the guitar work for those four tracks.   Those songs were put together very quickly in early 2012.

 

 Turning to the jazz side of my project, the Americans jazz standards originals that I wanted to write, I put pen to paper and wrote a bunch of lyrics by myself which I normally don't do, but I had ideas in my mind about the kind of things that I wanted to sing about and most of it had to do with New York City and the old fashioned black and white glamorous New York that you'd see in the movies. With some of those lyrics in hand, I got together with Conal Fowkes, a pianist known for performing with Woody Allen.   He and I went to a piano room at the Kaufman Music Center and there we created the melody for “I've Got Sophistication Too.”  I had a basic melody in mind at least for the first line or two of the song, and Conal would play along and help me figure out the chord changes that led to the next melody line and so forth.  Conal performed two functions for me:  he played jazz which I have no proficiency in whatsoever, and he helped me formulate the melodies for these jazz songs by suggesting chord changes that I would not have come up with myself.  I found this extremely helpful.  That first song practically wrote itself in a matter of minutes and we decided to meet the following week to work on another song.  Meanwhile, Conal had talked to the great Eddy Davis, band leader for Woody Allen about what we were working on.  Eddy was a larger-than-life man who loved to compose music and who probably wrote a song every day…. He really loved the idea of what we were doing but he had some advice for me which was simply that I was making a mistake trying to mix my Blues Rock with these beautiful jazz songs that I was coming up with.  He thought that I would have two distinct audiences, neither of which would like half of the album.  He convinced me that it was in my best interest to create an entire album of original American jazz standards. 

 

With that in mind, I set about writing more lyrics, fleshing out the lyrical content of the album to be created and wanted Eddy to produce it for me.  Conal and I continued to collaborate on a few more songs and Eddy also got involved writing melodies for several songs using my lyrics. 

 

Eddy created lead sheets for the musicians for all ten songs that we had written and after one day of rehearsal, we met at Nola and recorded the basic tracks for the entire album.  Conal went back to overdub some strings, vibes, and horns, but that album which was released in 2012 called Café Nights in New York was written, recorded, mixed, and mastered within a few weeks.  With album artwork the whole project took about two months.  This was novel considering that my older material took years to create.  Live recording was the way to go.

 

In 2017 I released the blues rock album of material recorded just prior to Café Nights.  Instead of recording more blues material, I added some live recordings of new blues material that has never been recorded in the studio.  That album was called Down in the Jungle Room, a reference to where Caleb recorded the guitars.

 

Last year I decided that I really did want to put together the album I originally intended in 2012.  To do so I gathered all the material from Café Nights where I wrote the melody with help from Conal Fowkes and put them together with the studio recordings involving Caleb Quaye from Down in the Jungle Room and the resulting compilation is called Night & Day to represent the two different styles.  The album cover is a caricature drawing by Nate Butler showing me in the evening dressed in a tuxedo looking into the mirror and seeing myself as how I might look in the daytime more disheveled and more appropriate for playing Blues Rock.  I'm extremely proud of this compilation album.  It's perhaps my best work to date.  

 

As I think about the juxtaposition of these two styles and the marriage of the songs from two different perspectives, I feel as if the blues tracks represent the world that one wishes to break free from, the pressures in life, the relationships gone bad.  The jazz songs represent the Emerald City, where relationships blossom, the martinis flow and everyone is fashionable.  It’s an album about a journey from where one once lived to finding a home in New York. 

 

Going track by track

 

“I Love New York” was the first song I wrote for the original two-style concept album I wanted to create in 2012.  I knew I was going to have a New York theme and I wanted to have a song about how much I love New York.   Lyrically it's just a simple story about a guy who, like me, has travelled around and finally found a home in New York.

 

“I've Got Sophistication Too” is a jazz song intended to convey that wonderfully sophisticated New York scene that you might see in old black and white movies with images of old New York where martinis flow in the penthouse apartments. 

 

“Ragin’ Down on Me” is a Jimmy Russell lyric about the pressures of life.

 

“The Old Grey Hat” was written by me with Woody Allen in mind.  In two of Woody's films, he references “the gray hat” or “the gray hat of compromise.”  It is referenced in Husbands and Wives and in Shadows and Fog.   I wrote the lyric with Woody knowing that he is uncompromising in his artistry; I imagined a time when woody might decide that if he must compromise it's time to hang it up.  So, this is my little tribute to Woody, a true New Yorker.

 

“No One's Home” is another Jimmy Russell lyric about giving up on a relationship.

 

“Let's Drink to Us” is my jazz song about an old-fashioned romance in Manhattan.

 

“Take Them to Manhattan” is a song about the world of fashion that you see in Manhattan, my tribute to the fashion industry.

 

“No More Waitin’” is always a favorite song of mine to play.  It is about giving up waiting for a relationship to flourish.

 

“Down in the Jungle Room” is a fun instrumental that Caleb and I wrote when we had a little extra time at the Jungle Room studio in Burbank.  I'm really pleased with how it came out.  it's a lot of fun to listen to and it makes me wish Caleb and I could do more of that together.  He was a joy to work with, a man with a mentoring gentle spirit and a real gentleman.  I’m proud to call him my friend.


_________________________________________________________




Sun, Jan 3 at 8:29 AM


Jack Phillips “Night & Day”. Self Production / Joe Viglione Media 2020
¿Cuál sería el resultado si se mezclaran canciones de Elton John con un poquito 
de blues y bastante smooth jazz? Sin duda sería éste álbum en el que el cantante y pianista 
Jack Phillips combina estos tres elementos musicales, además de plasmar la atmósfera 
cosmopolita que siempre se respira en las calles, los restaurantes y los clubs de Manhattan para, 
de este modo, ofrecer a todo el público un trabajo sofisticado, elegante y desarrollado 
con mucha clase. Nacido en el seno de una familia musical, desde muy joven 
Jack empezó a tocar el piano, dedicándose también a la composición con un buen manejo 
de las armonías y los arreglos. Este trabajo presenta nueve canciones perfectamente 
construidas bajo el denominador común de la calidad, en las que sobre todo priman 
la perfección y el detalle a partes iguales, que se apartan de la tristeza, el desasosiego,
 la negatividad, la desesperación y la angustia que la pandemia está produciendo en todos 
nosotros para conducirnos a un nuevo mundo en el que la esperanza, la armonía, el buen 
gusto y la creatividad reinan en todas y cada una de las canciones que dan vida a este 
“Night & Day”. Junto a un plantel de buenos músicos, Jack Phillips nos presenta un álbum 
bastante diferente a lo que estamos acostumbrados a escuchar, pero cuya calidad nadie podrá 
negar que inmediatamente llamará la atención del oyente. MUY BUENO. 

What would be the result of mixing some Elton John's songs with a little bit of blues and a good dose 
of smooth jazz? Certainly the result is this new album, where singer and piano player 
Jack Phillips combines these three musical elements, but he also captures the cosmopolitan 
atmosphere one can always breathe in Manhattan streets, restaurants and clubs to, in this way, 
give listeners a sophisticated and elegant album developed with an undeniable class. 

Born in a musical family, Jack began to play piano when he was only a teenager, as well as starting 
to write songs with a good command in music harmonies and arrangements. 
The album gathers nine songs, build up with the common denominator of quality, where 
the search for perfection and detail care prevail in equal parts, songs that move away 
from the sadness, unease, negativity, despair and anger pandemic is bringing us to drive 
listeners to a new world where hope, harmony, good taste and creativity prevail in every song 
included in this recording entitled "Night & Day". Together with a good line-up of good musicians, 
Jack Phillips presents a quite different album from the ones we are used to listen to, 
but gifted with an undeniable quality that will immediately catch your attention. VERY GOOD.

Monday 27 of September KIND on Revival Radio Station / K Britz / Pamela on Radio What 5:58 pm / Beatles Bridges Dalia Davis on SMILE RADIO Joe Viglione on Radio WigWam

 12:46 PM · Sep 27, 2021 #Monday @recordmachine Hear #KIND on Spotiry @Spotify https://open.spotify.com/artist/79uQ6pK3Jev81aXN1pigSk and on Record Machine on Mixcloud https://www.therecordmachineshow.com/single-post/k-britz-~-rock-recording-artist-coming-soon Thanks #SteveGarnett on www.revivalradiostation.com #JoeViglioneMedia @mysticbowie @KBRITZofficial 


Beatles Bridges 



12:10 AM #September 20, 2021 #Monday @spotify https://open.spotify.com/artist/4SFC23u8qbNm6KajVHL3ot #DemothatgotthedealVol5 #JoeViglioneMedia @musicconnection @lspinna from #RevisionistHistoryRetrospective @rranimaltour #MusicSupervisors #Film #Publishing #MusicPublishing #MusicFilm #TopofthePops #PopMusic
5:59 pm #September 27, 2021 #Monday Thanks Dan @WhiteLightArts @EricLinter #JoeViglioneMedia on www.radiowhat.com #MusicSupervisor #LovesCalling from Pamela Ruby Russell #DemothatgottheDealvol5 @DaliaDavisMusic  


11:42 PM · Sep 23, 2021 #ElevenandaHalf @DaliaDavisMusic @rranimaltour #VarulvenRecords thanks #CatorWebRadio #JoeViglioneMedia @WhiteLightArts @DaveRagin @gregpaquette5 on Spotify @Spotify https://open.spotify.com/artist/1OPZo9r4feyUb227h4RhXD #Chanteuse #WomeninRock @womeninrock @womeninrockuk @hhandthenet  
Going Track By Track in the Somerville News Weekly w/ Jack Phillips https://thesomervillenewsweekly.blog/2021/09/27/hotline-to-the-underground-10/ @somervillenews1 @ILoveNewYorkJP @JackPhillipsNYC the CD Night and Day #JoeViglioneMedia #DemoThatGotTheDealVol5 @lspinna @RadioRaccoon @DaveRagin @WhiteLightArts @TomMichJR1 @bjplattner  
I Wanna Cry @TomMichJR1 @lspinna 8:36 pm 9/27/21 #mondaythoughts @DaveRagin @gregpaquette5 @ILoveNewYorkJP from #DemoThatGotTheDealVol5 #JoeViglioneMedia @bjplattner @TJShondells @Genyaravan @harrietschock Tune in: Camup.tv
http://camup.tv/users/lspin to midnight 

 
Pamela Ruby Russell @tdawn1 @BeyondDawnRadio @WhiteLightArts on @spotifypodcasts https://open.spotify.com/artist/0PCcgwo1Gq0FPrc3c1hknV #JoeViglioneMedia #DemoThatGotTheDealVol5 #MusicSupervisors  
Ragin' Down on Me @ILoveNewYorkJP @JackPhillipsNYC @lspinna Thanks Lou for playing Jack Phillips track. He's in #SomervilleNewsWeekly this week https://thesomervillenewsweekly.blog/2021/09/27/hotline-to-the-underground-10/ @somervillenews1 #JoeViglioneMedia #DemoThatGotTheDealVol5 @rranimaltour  
Ragin Contagin on The Spin Room @DaveRagin #Monday #September 27, 2021 Thanks @lspinna check the group out on #HearNow https://ragin-contagion.hearnow.com/ #DemoThatGotTheDealVol5 #JoeViglioneMedia @gregpaquette5  
The Salt Water Summers 2021 on The Spin Room after 11:30 pm Thanks for the quote @lspinna "A Beautiful Pop Tune, Beautiful" Lou Spinnazola #SaltWaterSummers2021 #JoeViglioneMedia on YouTube @youtubemusic here: https://youtu.be/xZt_1Mg6iso @DistroKid #MusicSupervisors #YorkBeach #York  

Legendary Cantab Sign Going to Auction Soon!!!!

  The Famous Cantab Sign like the Cantones sign I used to own, was given to me by the club. Starting price is going to be on eBay for Two T...