Please listen on Spotify, we get one cent for every six spins or so! HA
There’s a certain orenda, spiritual force, to Diane Stewart’s 1983 composition, “Matter of Time” which the all-female ensemble captured with their, I believe it was 8 track recording. In 2024 we are giving it the production values the song truly deserves, including in this shorter rendition, an “Itchycoo Park” mix, swirling phase-shifted vocals at the song’s conclusion. The Small Faces hit (and later Jimi Hendrix tracks engineer Larry Lessard reminded me – “Bold As Love” and “Little Wing”) Not having Stewart’s amazing vocal range, I opted for a more low-key approach, and at my request Lessard added the British engineer George Chkiantz’ creation for the Small Faces.
Girls Night Out are Alizon Lissance, Cercie Miller, Didi Stewart, Kathy Burkly, Myanna Pontoppidan, Sandy Martin and Wendy Sobel (replacing the original guitarist, Patty Larkin; Sobel was also produced by Rolling Stones’ producer Jimmy Miller with a wonderful rendition of “Baby, It’s You.”)
Their 4 song demo from the mid 1980s was amazing, sheer talent! And with Tina Turner’s resurgence with “Let’s Stay Together” in 1984, all things were possible to this group of talented artists.*
Enclosed is my 2024 rendition of “Matter of Time,” the 1980s hit on WBCN 104.1 FM in Boston. ______________________________________________________________________
Matter of Time Mix 3 3:44Copyright (C) 1983 Diane Stewart, ASCAP Peter Calo – all instruments Joe Viglione – Vocals Larry Lessard – Engineer Produced by Viglione, Calo, Lessard
While I was producing the Bobby Hebb “Sunny” boxed set in 2013, Peter Calo, Carly Simon’s Music Director, couldn’t make the session. Jimmy Webb (Up Up and Away, MacArthur’s Park etc) needed Calo for a TV show. So Peter mailed his Hebb parts in I call it from Hebb to Webb (We are working on a smaller Hebb box right now)
Peter and I have been recordings for years now, we go back about 40 years as friends. Essentially, I have the contemporary Carly Simon sound backing me up with Rob Fraboni (Clapton, Rolling Stones, Bonnie Raitt) mastering.
Indeed I am blessed.
MATTER OF TIME, A HIT ON WBCN Around 1985 or 87 who knows, right? I was co- promoting Girls Night Out as my then business partner was their manager.
Matter of Time appeared on a 4 song cassette which we mailed out to radio. A vinyl 45 would have been more collectible but c’est la vie, we had to get it out quickly. (the cassette has now been transferred to digital)
Producer Jimmy Miller was thoroughly impressed with Didi one night at Jonathan Swifts, and I asked her to sing “White Rabbit” and “Somebody to Love” on my Marty Balin LIVE on the Boston Esplanade video. Didi saw the Jefferson Airplane at the open air concert in New York City (Central Park) ….and was obviously a fan,. Didi singing Grace’s parts on my Marty Balin solo DVD, his first solo release. is pure magic. She is one of the giants of our scene. I’m thrilled that she sang with the late Marty Balin check this outtake out: Volunteers https://youtu.be/4zClkjJXlsM Marty Balin rare clip • 6 13 08 Rehearsal for June 14 2008 Boston Esplanade Joe Viglione Director
MATTER OF TIME 2024 ….about 36 years later This is a rough draft of the mix, for my upcoming Peter Calo Sessions album, which is almost complete. The only covers are Mack the Knife and Matter of Time, the rest is my material Soul that Loves You, Lots of You in My Life, Salt Water Summers 2022 version, Friend, Reflect Love, very proud of the album and it has taken years to construct. We are taking our time.
I’m glad to give the song new life all these years later….
Recording history Peter Calo on all instruments Fri, Aug 23 at 12:26 AM Vocal at Newfound Lake NH Sept 3, 2024 Larry Lessard engineering Joe V singing, Ben driving First mix in Sunday November 10, 2024 Mix by Larry Lessard Shorter mix Received Tuesday 12 November 2024 at 5:51 PM
Spotify !!! 431 tracks posted MATTER OF TIME short version https://open.spotify.com/…/4SFC23u8qbNm…/discography/all Produced by Viglione/Calo/Lessard from the new cd CAN’T WAIT TO SEE YOU SMILE https://www.youtube.com/channel/UCduDzp_dEQlbClJjYdlPOTw You Tube Stores: Amazon, Anghami, Apple Music, MediaNet, Boomplay, Deezer, Instagram/Facebook, Adaptr, Flo, YouTube Music, iHeartRadio, Claro Música, iTunes, Joox, Kuack Media, NetEase, Qobuz, Pandora, Saavn, Spotify, Tencent, Tidal and TikTok & other ByteDance stores
the Peter Calo Sessions, Can’t Wait to See You Smile
5)Can’t Wait to See You Smile Joe Viglione vocals and guitar, Phil Greene on electronic drums, engineering August 18, 1987 Peter Calo not on this track
Here’s a song dad wrote in the early 1960s when we had the second cottage on Western Ave Extension, York Beach, Maine. It’s about the Wild Kingdom Amusement Park, the Star of the Sea Catholic Church, Nubble Light…from my dad’s new album that I recorded in 1971, 1972, 1986 on Foster Ct in Medford, the tapes found, transferred and enhanced.
Back in the early 1960’s Sal Viglione wrote a song for his wife and kids entitled “Up In Maine.” On December 8, 2020 pianist Mike Dooner, Pamela Ruby Russell and Joe Viglione recorded the song at Wellspring Sound Studio with Matt Hayes as Engineer. On December 14, 2020 we created a preliminary mix and sent the music to Peter Calo. Calo worked his magic on the recording and here we are on the Winter Solstice, December 21, 2020 with the first mix. Family photo from the Viglione archives, Anne, Sal, Sandra, Gail, Joe, Steve from the 1960s. Up In Maine is COPYRIGHT (C)12/8/2020 Var Music Publishing, BMI Photo image and music is Copyright (C)2020
LINER NOTES: In a world of post disco clutterwith tinny no-bass speakers in your favorite fast food restaurant the team of Viglione/Calo/Lessard/Fraboni have crafted a Pop instructional manual with instrumentals, multiple mixes and the basic sound of a find-tuned rock single as we heard in the sixties and seventies.
This is an album chock full of hooks, composed entirely by Joe Viglione except * Up In Maine, written by my dad in the early 1960s and completed by me, “Matter of Time” by Diane Stewart of Girls Night Out in 1983 and “Mack the Knife” from my upcoming film documentary 70 is the New 30: Wisdom of the Young at Heart.
“Up In Maine,” “Wave Descends” and “Very Good at Love” were tracked at Wellspring Studios in Acton, MA with Matt Hayes as engineer, also “The Story of Friend.” The title track, “Can’t Wait To See You Smile” is an edit of my song “Transporter” minus the intro that Jimmy Miller helped me arrange on August 18, 1987. It is me on vocals, guitar and songwriting, Phil Greene on engineering and electronic drums, and later the amazing psychedelic guitar of Rich Doherty (bassist in Macey’s Parade) at Barking Spider Studios sometime in the 1990s. Peter Calo is on every track except for the title track, “Can’t Wait to See You Smile.”
Finally I called upon the man who did superb demos for us in 1983, Larry Lessard, and he is the perfect fit for the music our team is now making. It’s the first time I haven\t been “hands on” producing a record (other than, of course, being produced by legendary Jimmy Miller.) Nowadays I write the demos on the piano three doors down from my apartment (I have keys for 24/7 access) where I performed for two years for senior citizens, on acoustic piano. I send those demos to Peter in NY who flies them to Larry via WeTransfer, I record at one of Larry’s studios, and then we send them to Rob Fraboni for mastering. An amazing formula, and you can hear the results here.
23)Mack the Knife Bonus Track from the documentary film 70 is the New 30: Wisdom of the Young at Heart https://open.spotify.com/album/1DU5sZbBs9radzP2JpPrnN
CD cover designed by Kenny Selcer October 4, 2024, Janis Joplin’s 54th Anniversary
Count Viglione Live at the Rat Nov 3, 1984 opening for John Cale of the Velvet Underground
Essentially the 1983 Intuition Element LIVE at the Rat along with songs from the 1982 band’s Cat in the DarkThe 40th Anniversary Edition Live at the Rat 11/3/1984 is in motion. https://joeviglione.com/?p=2991 Kenny Selcer created the cover on Janis Joplin’s Anniversary today, October 4, 2024. 16 tracks 1 Intro/Cat in the Dark 2 Dreams in Reverse 3 The Minute Impression 4 Million Miles a Minute 5 Intuition element 6 band introductions Again You Rock 7 The Midnight Sun 8)The Auguste Winds 9 Reaction 10 intro/Tonight Will Be Insane 11 Wave Descends 12 Somewhere Inside Today 13 Run the Night Away 14Experienced Again 15)Bonus Track Cat in the Dark with repaired intro 16)WBCN advertisement prior to the show https://clubbohemianews.blogspot.com/2024/09/live-at-rat-11384.html it will be up on www.joeviglione.com soon, and on Spotify as a full album (the tracks are up there now) and we intend to have Larry Lessard and Rob Fraboni enhance the sound for the CD. The Count Viglione Live at the Rat, video and audio. It’s actually most of our Jimmy Miller album THE INTUITION ELEMENT performed live.
Joe Viglione’s recordings stretch back 53 years to when WBCN first aired “Salt Water Summers” in 1971, 1972. In 1976 he released that song on an EP and was signed to Flamingo/Carrere in 1978, a label with Phyllis Nelson and Heavy Metal band Saxon. In 1980 Flamingo became New Rose/RCA and New Rose/Musidisc. Joe signed Willie “Loco” Alexander and Johnny Thunders of the NY Dolls, produced by Jimmy Miller. Viglione became Miller’s manager and they worked with Buddy Guy, Joe Perry of Aerosmith, Nils Lofgren of Springsteen’s band and many others. Miller produced Joe’s classic The Intuition Element album. Miller introduced Viglione to Keith Richards, who introduced Joe to Eric Clapton/Rolling Stones producer Rob Fraboni in 1988. Fraboni and Viglione have worked together since then. With 118 songs on ASCAP and 333 tracks on Spotify, Playboy Magazine calling Joe one of Boston’s Five Best Bands, the music keeps on flowing.
Spring and summer unfolding you’re the one I love holding it’s hardly coincidence when it was meant to be Riding up to the coast of Maine The sun breaking through just a little bit of rain I’m so happy when it’s me and you
Lots of you in my life I got lots of you in my life holding you tight in the middle of the night lots of you in my (Guitar solo by the brilliant Peter Calo)
Picture perfect day, what could compare? Maybe we’ll go ride with the Chestnut Mare or sit on the wall, and watch the water so blue aw man, just me and you
Spring and summer, they’re unfolding you I’m, you i’m, you I’m holding
Yeah we got lots of love in our lives Spring and summer summer unfolding Lots of you in my life Lots of you in my
Thanks to a Government Grant from the Masa Cultural Council
Soundcloud Mixcloud Reverb Nation YouTube https://www.youtube.com/watch?v=rixPwKyF4FE single has been submitted to stores. single title: Lots of You in My Life (Special Version Mix 1 May 26 2024)
Number of songs: 1 Stores: Amazon, Anghami, Apple Music, MediaNet, Boomplay, Deezer, Instagram/Facebook, Adaptr, Flo, YouTube Music, iHeartRadio, Claro Música, iTunes, Joox, Kuack Media, NetEase, Qobuz, Pandora, Saavn, Snapchat, Spotify, Tencent, Tidal and TikTok & other ByteDance stores Now that stores have the single, here’s how long they usually take to make it live (unless you specified a release date that’s in the future): iTunes/Apple Music: 1-7 days or sooner. Often same-day. A small percentage of albums go through manual review at Apple, which takes an additional 16 business days. Spotify: Up to 5 days YouTube Music: About 3 days Pandora: 1-2 weeks (curated, though) Amazon: 2-4 days Deezer: 1-2 weeks
Lots Of You in My Life by Joe Viglione
BTD RADIO, CALIFORNIA REVIEW FROM MATT ZIN
Joe Viglione’s latest track, “Lots Of You in My Life,” from the album
“Elegant Decadence”, emerges as a heartfelt testament to the joy and
warmth found in companionship. With Viglione at the helm of composition
and vocals, supported by the skilled production of Joe Viglione, Peter
Calo and engineer Larry Lessard. This song exudes an infectious energy
that captivates listeners from the very first note.
The track opens with Joe singing about the love he is holding.
Setting the tone for love in the air. Viglione’s vocals carry a playful
charm, infusing each lyric with genuine emotion. As he croons lines
like “Lots of you in my life, I got lots of you in my life,” there’s an
undeniable sense of joy and gratitude that permeates the song. Another
jewel added in this track is a dynamic guitar solo that carry’s us
through the depths of affection of Joes composition.
One of the standout features of “Lots Of You in My Life” is its
catchy chorus, which serves as an anthem to the bond shared between
lovers. The repetition of the titular phrase is both comforting and
celebratory, echoing the sentiment of holding a loved one close “in the
middle of the night.”
Amidst Viglione’s spirited vocal delivery, the instrumentation
shines, with a beautiful piano accompaniment adding depth and richness
to the overall sound. The seamless integration of various musical
elements demonstrates the craftsmanship behind the production, resulting
in a polished and cohesive composition.
At its core, “Lots Of You in My Life” is a testament to the enduring
power of love and companionship. Through his music, Joe Viglione invites
listeners to revel in the simple pleasures of togetherness, reminding
us of the beauty found in human connection.
“Lots Of You in My Life” stands as a vibrant ode to affection,
brimming with infectious energy and heartfelt sincerity. With its catchy
chorus, playful vocals, and beautiful instrumentation, this track is
sure to leave a lasting impression on audiences, serving as a timeless
reminder of the boundless joy found in love.
Joe thanks the Mass. Cultural Council for the grant for this production.
Spotify Lots of You in My Life Posted June 3, 2024
Joe Viglione’s recordings stretch back 53 years to when WBCN first aired “Salt Water Summers” in 1971, 1972. https://www.mixcloud.com/joe-viglione/lots-of-you-in-my-life-mix-1-may-26-2024-count-viglione/ In 1976 he released that song on an EP and was signed to Flamingo/Carrere in 1978, a label with Phyllis Nelson and heavy metal band Saxon. In 1980 Flamingo became New Rose/RCA and New Rose/Musidisc. Joe signed Willie “Loco” Alexander and Johnny Thunders of the NY Dolls, produced by Jimmy Miller. Viglione became Miller’s manager and they worked with Buddy Guy, Joe Perry of Aerosmith, Nils Lofgren of Springsteen’s band and many others. Miller produced Joe’s classic The Intuition Element album. Miller introduced Viglione to Keith Richards, who introduced Joe to Eric Clapton/Rolling Stones producer Rob Fraboni in 1988. Fraboni and Viglione have worked together since then. With 118 songs on ASCAP and 333 tracks on Spotify, Playboy Magazine calling Joe one of Boston’s Five Best Bands, Creem magazine posting Viglione early on before other Boston acts, and Best Record of the Month in Phonograph Magazine (California) and L’Attendant (Belgium)the music keeps on flowing. Viglione performs weekly piano concerts on Fridays and writes many, many songs in the middle of the night in the piano room, three doors down from his apartment. The prestigious Rock and Folk Magazine in Paris, France called Joe one of the “Crazy Geniuses of Rock and Roll” along with Phil Spector, Frank Zappa
Can’t Wait to See You Smile by Songwriter Joe Viglione (ASCAP)
Established in 1976, the Boston Globe calls Joe Viglione “Boston’s hardest working underground impresario.” WBCN Program Director stated “The hardest working man in Boston Rock and Roll” at a dinner with Pete Shelley of the Buzzcocks.
Former business partner and former #1 DJ in Boston when he was at WZLX, Harvey Wharfield wrote this: Thu, Feb 3 2022 at 9:56 AM “Joe…Whoever coined the phrase” “The hardest working man in show business !”NEVER FORESAW A GUY LIKE YOU !”
DJ Lou Spinnazola on the 2 part Jimi Hollis interview: 8 pm Friday Feb 4 2022 “What a great interview. You guys are great together. Joe is a fascinating guy who truly loves music. He’s an encyclopedia of music and an inspiration to dig deep into more music. And I am blown away at you guys mentioning me in the interview. I am flattered at all the kind words! “
I love the chemistry you and Joe have got going. Joe is such an amazing guy. He’s always busy doing what he loves. The way he’s rattling off the names and relationships is going to take more listens to get all the gems. Outstanding! Thanks for a great interview, guys!” Lou Spinnazola
ALVIN LEE’S ZOOM!
Alvin Lee, George Harrison and Deep Purple’s Jon Lord…such an HONOR to work this CD! Top 25 regionally in Billboard, 1992, when they had regional charts! Thanks to WBCN, WCGY, WBOS!
Promotion by Joe Viglione, A & R Northeast, Domino Records, NYC 1992
Extraordinary Public Relations
Legendary Bobby Hebb, composer of “Sunny,” co-writer A Natural Man, Grammy-winner, genius, and good friend.
… from Bon Jovi’s first Boston show to Tesla’s SIGNS on Geffen Records, Extreme when they were The Dream, to Rolling Stone Mick Taylor’s Stranger in This Town CD and Hard Rock Cafe Show, Alvin Lee of Ten Years After with George Harrison and Deep Purple’s Jon Lord, and so many more, Ian Lloyd’s Stories, Spanky and Our Gang, Buzzy Linhart and Moogy Klingman writers of “(You Got to Have) FRIENDS” (Bette Midler’s signature tune,) Moulty and the Barbarians release of rare music on my Varulven label and Moulty’s p.r. for The TAMI show DVD (featuring Beach Boys, Rolling Stones, Supremes, Lesley Gore, etc,) Rusty Kershaw with Neil Young, Mercury and Pye singer Jo Jo Laine and The Firm featuring Sting and Andy Summers of The Police (Jo Jo on PYE)…as well as Ray Fenwick of Fancy (Jo Jo on Mercury,) Denny Laine of the Moody Blues/McCartney and Wings (Hard Rock Cafe show in Boston,) Danny Klein of the platinum-selling J Geils Band, Moe Tucker and Willie Alexander of The Velvet Underground, Grammy winner Bobby “Sunny” Hebb, legendary platinum songwriter Harriet Schock produced by Beach Boys/Andre Previn producer Nik Venet, legendary blues singer Genya Ravan, Ferron, Theresa Trull and Barbara Higbie, opened for Phranc (Gay Pride Worcester, 1998,) represented and promoted Spirit Featuring Randy California and Ed Cassidy and their TIME CIRCLE on Epic/Sony, Rock and Roll Hall of Fame Artist Marty Balin of Jefferson Airplane/Jefferson Starship, Wayne Wadhams and The Fifth Estate (the highest charting Wizard of Oz song in the 1960s with “Ding Dong the Witch is Dead”) John Mooney with Ivan Neville, Hubert Sumlin (with Keith Richards, David Johansen, Levon Helm, James Cotton, Eric Clapton) …production and promotion of Grammy Winner Buddy Guy (1986/1987) featuring Nils Lofgren, Aerosmith’s Joe Perry and Genya Ravan, promoted Tony Rocks – guitarist for Jonzun Crew and on record — New Kids on the Block, Peter Wolf —both featuring the magic of Tony Rocks, managed Michael Jonzun’s Mission Control studio in 1988 (New Kids, Jonzun Crew) working with Bonnie Bramlett (of Delaney and Bonnie) and Danny Sheridan, as well as Nu Cliche and Pure Passion; production consultant on a Buzzcocks live album featuring Pete Shelley on R.O.I.R. cassettes, edited Willie Alexander’s Greatest Hits with Karen Kane at Euphoria for New Rose Records, promotion for Australia Sun Records (Audioscam featuring Brian Pitcher and Brad Wallace, David Hudson with Irene Cara (of 80’s hits “Fame,” Flashdance (What a Feeling) notoriety,) Jamaican artists Spanner Banner (brother of Richie Spice, Meta and the Cornerstones, as well as New York’s Stacie Rose, Peter Calo and many, many more, of course. Built “Sunny: The Bobby Hebb Story” boxed set over a five year period. Write content for http://www.bobbyhebbstudio.com
CHECK OUT BOBBY HEBB'S HISTORICALLY IMPORTANT (AND FUN) WEBSITE
EDITED BY JOE VIGLIONE
actress Felicity Jones, Star Wars Director Drake Doremus
on Visual Radio
with Sarah Karloff, daughter of Boris Karloff
with Brad Meltzer @ BookExpo
with Judge Bob Somma Editor of Fusion Magazine
Performing at Chet’s Last Call in the 1980sPerforming at JUMBO’S, Opening for The Guess Who Photo by Rocco Cippollone Boston Phoenix, Opening for Mick Taylor at The ParadiseRadio Host Joe Viglione
with Dr. Ruth
with Anthony James, actor
with Norman Greenbaum Spirit in the Sky in Malden
49th Show @ The Paradise with Denny Dias of Steely Dan/guitar John Morelli of Cyndi Lauper/drums
1985 Joe Viglione promoted Bon Jovi’s first Boston show in Paradise with Jet Screamer, Smuggler and Dorian Grey
Harvey Wharfield (blue jacket,) Paul Lemieux (white shirt, red tie,) both of WZLX radio. I was Mr. Wharfield’s business partner at Mentor Music Group, and when he went to WCGY I produced the Boston Music Showcase (from 1991-1993,) was ad rep for CGY and consultant to PD Steve Becker.
Jo Jo Laine gives Hard Rock Cafe a GOLD record award from WINGS, “With a Little Luck” (P. McCartney)
with Henry Alex Rubin, Director
Author Dennis Lehane returns to Visual Radio
Joe Viglione @ The Paradise Paul Lovell on guitar
Joe Harvard, Frank Rowe, Joe Vig Builders of Boston Music Scene
Photo Joe V 9/10/21 York Beach Maine
Harriet Schock Platinum album for Helen Reddy’s Greatest Hits, I had the honor of working promotion on Harriet’s ROSEBUD CD produced by Nik Venet https://harrietschock.com/songwriter/
JV Recorded the Second to Last Show of Velvet Underground May 27 ’73
Moe Tucker’s first solo 45 ever, and subsequent E.P. released on Varulven 1980, 1985 Another View. That was my title hijacked by Polygram for the follow-up to VU
In 1995 I managed Spirit’s Ed Cassidy and Randy California. Connected EPIC Records with Randy for the release of TIME CIRCLE
JV put the Nature’s Way E.P. together with Randy and Ed via CD Review Magazine’s Wayne Green
LINER NOTES TO DIFFERENT ALBUMS
Joe Viglione wrote the liner notes to the reissue of the legendary LIVE AT THE RAT, on CD @JoeViglione go to http://joeviglione.com/ a division of #JoeViglioneMedia @rranimaltour
In 2001 the legendary building that housed Boston’s infamous Rat was demolished, but this recording (catalog #528, same as the address for the establishment on Commonwealth Avenue in the heart of Boston) remains as evidence of what transpired in that “cellar full of noise.” Inspired by Hilly Kristal’s Live at CBGB’s, this is truly the companion double LP to that disc on Atlantic, though the Boston compilation came close but failed to obtain major-label release. Recorded September 27, 28, and 29th, 1976, at the dawn of the “new wave,” important and historic live recordings of some of the scenemakers live on within these grooves. Far from a definitive document — you won’t find early Jon Butcher, Charlie Farren, Fools, or Nervous Eaters here, despite the fact that the Eaters ruled at The Rat — but you will find classic Willie Alexander after his stint with the Velvet Underground and before his MCA deal (which came when Blue Oyster Cult wife/rock critic Debbie Frost, played Alexander’s single on The Rat jukebox for producer Craig Leon). Along with Willie Loco there is very early DMZ, so early that the drummer is future member of The Cars, David Robinson, as well as an early, vintage version of Richard Nolan’s vital band Third Rail. This is the only place where you can find the original Susan with guitarists Tom Dickie and John Kalishes — years before Joan Jett guitarist Ricky Bird replaced Kalishes, and decades before John Kalishes joined the late Ben Orr of the Cars in solo projects in the 1990s. The rock history lesson is important to understand the impact of not only the musicians on this album, but the influence of the nightclub which spawned Live at the Rat. Willie Alexander’s manic “Pup Tune” is perhaps the most concise representation of the Rat sound — it is grunge, it is deranged, it is a no-holds barred performance which has been re-released on best-of compilations and treasured over the years as a true musical gem. Of the 19 tracks, Willie Alexander is the only artist who gets three cuts: “At the Rat,” the club’s anthem; the aforementioned tribute to Ronnie Spector that is “Pup Tune”; and a live version of the original Garage Records 45 which began this new phase of his career, his ode to “Kerouac.” Marc Thor, a legendary performer who never got a full album out, utilizes members of Thundertrain, DMZ, the Boize, and Third Rail for his “Circling L.A.,” co-written by scenemaker Nola Rezzo. Eventual Roulette recording artist Sass do “Rocking in the USA,” and, like Susan, and even Thundertrain, bring a more mainstream sound to the underground rock represented by the Boize, Third Rail, DMZ, the Infliktors, and the Real Kids. The Real Kids add “Who Needs You” and “Better Be Good” to the party, while this early Mono Mann phase has his “Ball Me Out” and “Boy From Nowhere” titles. Thundertrain crackle with “I’m So Excited” and “I Gotta Rock,” Mach Bell’s growl and stage antics the thing that made this otherwise suburban band an essential part of this scene. Bell would go on to front the Joe Perry Project on their final disc on MCA before Aerosmith reformed, and the resumé action of some of these players makes their performances here all the more valuable. Loco Live 1976, an album which includes tracks by Willie Alexander recorded exactly one month before Live at the Rat, is available on a Tokyo label, Captain Trip Records, and it serves as a good glimpse of what was going on before this pivotal center of new sounds brought in tons of recording gear and taped for posterity a very magical period in Boston history. https://www.allmusic.com/album/release/live-at-the-rat-mr0002020560?1643839587472
ANDY PRATT’S FIRST ALBUM ON POLYDOR, RECORDS ARE LIKE LIFE
Polydor
24-4015 Stereo, Records Like Life, was produced by Andy Pratt and
Aengus for Amphion Productions, Inc. It’s an eight song collection
clocking in at a little over thirty-nine minutes featuring “Bella
Bella”, a tune that was part of Andy’s live set, and the title track
“Records + Records (Records Are Like Life)” . In a June 1976 review of
RESOLUTION by Peter Herbst published in The Boston Phoenix he states
“1971’s RECORDS ARE LIKE LIFE (Polydor) stirred nary a ripple and is now
lost to time (though Pratt has recently regained the masters)” while a
July 3 1973 published interview with Ben Gerson notes: “After college
came RECORDS ARE LIKE LIFE, the master of which Pratt’s shrewd manager
Nat Weiss has purchased from Polydor in order to avoid Polydor’s
capitalizing on Andy’s Columbia success by re-releasing it. Now Pratt,
Weiss, and his producer ex-Earth Opera John Nagy can decide what they
wish to do with it –re-release it themselves, re-cut some of the songs,
or forget about it. ” “It may be a masterpiece, it may be swill” ”
ponders Andy’s road manager Buzzy. ” “Whatever it is, we own it.” ”
Earlier in the interview Gerson begins the piece by saying “For the
past three years Andy Pratt has been an intriguing local rumor, having
release in 1970 a Polydor album entitled RECORDS ARE LIKE LIFE whose
5,000 copies soon wound up in the grooveyard…”
It was these
early articles which put the fan on a mission: this writer had to find
this lost artifact. In the days before Ebay and Gemm sites on the web
which bring little record stores from around the world into your home
via the world wide web one had to sift through hundreds of recordings
in dozens of stores before uncovering hidden treasure. And RECORDS ARE
LIKE LIFE lives up to expectations – it is a tremendous early work by
Andy Pratt adorned with an off-white cover featuring a cherub on a
frosty jungle high wire on a mountainside with sun rays shooting down
at a right to left angle. No credit is given to the cover artist,
though a David Jenks photo with three musicians starting with a very
young Andy Pratt is itself a work of art, the youthful faces peer out
from the back cover in single file, but placed perfectly in the square.
Drums and percussion by Rick Shlosser, Bill Elliot providing a bass
and vocal on “Mindy” as well as a string arrangement on “Low Tide
Island” with a Steve Crump guitar on “Bella Bella” Hindsight is always
20/20, and with over thirty years since this work was created and
released, it is easy to speculate – the record should have been left in
circulation – Polydor “capitalizing” on Andy’s Columbia success could
only help him build a following – when Sonny And Cher found their 1964
recording “Baby Don’t Go” resurrected and going Top 10 just six weeks
after their breakthrough hit, “I Got You Babe” hit #1, it helped
make them the hottest of commodities. It would be a year and a half
until they hit the Top 10 again – so that early record not only
provided them with momentum for concert performances, it has made their
Greatest Hit collections so much more fun. And as the Grateful Dead
learned through allowing tape trading, the more material the fans
have, the bigger the following. Again, this fan becoming obsessed with
finding a copy (he actually found three, two with a cover, one with
just an inner sleeve), proves that when the public hears a sound they
like, is turned on to an artist who makes a positive impact in their
lives, they want more of his/her work. They want to explore the sound
and the individual crafting that sound. This fan also recorded Pratt at
Paul’s Mall and taped his concert at that venue off of the radio.
“Avenging Annie” opened doors for Andy Pratt, and to this day people
remember how amazing its sound was, but how it lent itself so well to
radio. “Bella Bella” would have been the perfect follow-up on a
production which has the same flavor as the Columbia disc, much more so
than the refined Arif Mardin productions that are RESOLUTION and SHIVER IN THE NIGHT and the Eddy Offord (Yes – Emerson, Lake and Palmer) gloss of MOTIVES. In another interview from THE REAL PAPER printed
in 1976 around the time of the August 29th free concert on City Hall
Plaza in Boston, it is said of the artist in regards to this album
that it is something “he now denies nearly categorically.” Wow. Times
change, and over three decades have elapsed since Andy Pratt recorded
this rare and beautiful gem of a disc. The fan who sought out the
pearl of great price had the honor of having his review published on
AMG as well as Rolling Stone.com. In that review the disc is called “a
lost treasure. This is Pratt at his most innocent, with vocals that
sound otherworldly and songwriting that is way ahead of its time.” The
review also describes Andy as a ( more orthodox) “doppelgänger” of
pianist/vocalist Willie “Loco” Alexander and goes on to describe the
songs – citing “Wet Daddy,” “a charming guitar/percussion ditty”,
“Oliver” an indication of where Pratt would take his music: elegant
piano, double-tracked vocals, and a unique melody and “Low Tide Island”
“a truly extraordinary (and haunting) song with the ttitle track
bringing things back to the jazz/pop that is Andy Pratt’s forte. The
decade after this music was made saw the music business becoming more
business than music. With manufactured sound as well as fabricated
artists proliferating like snowflakes a work such as RECORDS ARE LIKE
LIFE can be viewed for exactly what it is, a pure artistic statement
that continues to entertain – and that is more useful than much of the
material being forced on the market today. It has stood the test of
time. If the Columbia album was the Messiah of Andy Pratt’s work,
RECORDS ARE LIKE LIFE is its John The Baptist. The references are not
made as a nod to Pratt’s Christian albums, only to put this collection
of songs in its proper context. The Andy Pratt album on Columbia is a
major work that has yet to get its due. It is worthy of a Grammy, and
RECORDS ARE LIKE LIFE is the work that came directly before it. There
is much insight into the artist on this recording. Buzzy Linhart (no
relation to Pratt’s aforementioned road manager referenced above),
co-author of Bette Midler’s theme song, “(You Got To Have) Friends” –
Top 40 in November of 1973, fell in love with the title of this album
when he heard about it on the phone in April of 2003, when these liner
notes were being composed. Both men were flirting with major success
in 1973, and both are revered in musical circles. RECORDS ARE LIKE LIFE
is one of those artifacts that truly reflects its title – and lives
up to its legend.
joe viglione april, 2003
Production Consultant Joe Viglione wrote this review in 2002:
While The Buzzcocks were on tour in 1979 and 1980, Joan McNulty, the publisher of their official fan magazine Harmony In My Head (and then girlfriend of singer Pete Shelley,) taped all their shows on cassette the way Judy Garland’s husband Mickey Deans recorded her final shows. McNulty and this writer captured dozens of Willie “Loco” Alexander / Richard Nolan and Third Rail performances prior to her touring with the Buzzcocks.
Decades after these cassettes were made their value is obvious. After lengthy legal haggling between 1982 and the date of release, 1988, Neil Cooper of Reach Out International Records was able to issue this very worthwhile series of 19 songs culled from various live performances on the tour.
Who better to compile the music than the woman who gave attention to the group before anyone else in the U.S.A.?
The bevy of tapes were brought up to Blue Jay Studios in Carlisle, Mass., the place where The Joe Perry Project, Aimee Mann, Phil Collins and others worked, and the material was transferred from the master cassettes into organized form.
There are tons of Buzzcocks favorites here, energetic versions of “What Do I Get?,” “Fast Cars,” “Airwaves Dream,” “Fiction Romance,” “Somethings Gone Wrong Again,” all preserved for the ages, presented with love and care by someone who knew their music as well as the band itself. Boston, Chicago, Minnesota, New Jersey, Providence, RI, New York and Birmingham, UK are all represented with songs from their respective concerts.
As The Doors release all the live tapes from their archives, and artists from Frank Zappa to The Velvet Underground and Jimi Hendrix have their concert tapes being issued to acclaim and sales, Joan McNulty’s efforts can be viewed as pioneering.
Decades after it was conceived and released, Lest We Forget is as pure a document as you’ll find on the tour of a vital power pop band. The recording quality is not state of the art, but that adds to the charm.
Performer Notes Liner Note Author: Bruce Harris. Photographer: Joel Brodsky. A very interesting double LP retrospective two years after Jim Morrison’s version of the Doors had officially closed. Weird Scenes Inside the Goldmine contained the first album release of two B-sides, Willie Dixon’s “(You Need Meat) Don’t Go No Further,” sung by Ray Manzarek, originally on the flip side of the 1971 45 “Love Her Madly,” and the beautiful “Who Scared You,” “Wishful Sinful”‘s flip with Jim Morrison on vocals from a session in 1969. Both are worthwhile additions not found on their first “greatest hits” collection, 13. This compilation is a strange amalgam of their music, the LP title taken from a line in the song “The End,” which concludes side two. Five of the 22 songs are from the L.A. Woman sessions, including the title track of that album and the full length “Riders on the Storm,” both clocking in at seven-plus minutes. With “The End” and “When the Music’s Over” at 11:35 and 11:00 respectively, that’s 38 minutes and 38 seconds between four titles, more than a third of the 99-plus minutes of music on this collection. Nothing from Absolutely Live is included, and surprisingly, the classic “Waiting for the Sun” is not here, though that Morrison Hotel number would fit the mood perfectly. “Love Street,” the flip of “Hello I Love You,” is here, but pertinent singles like “Wishful Sinful” or “Do It” and its flip, “Runnin’ Blue,” from The Soft Parade, are all missing in action. The cover art pastiche by Bill Hoffman is worth the price of admission if you already have all this material, while the inside gatefold picture looks like an outtake from the first album. Bruce Harris’ liner notes are truly the ’60s merging with the ’70s; he calls Jim Morrison “merely the index of our possibilities” and states that Morrison didn’t want to be an idol “because he believed all idols were hollow.” The essay is all the more silly when you realize it isn’t tongue-in-cheek in the way Lou Reed’s incoherent ramblings inside Metal Machine Music are more enjoyable than the disc. Harris seems to actually believe what he pontificates. But the music is awesome, so put it on and read the Metal Machine Music scribblings instead. Weird Scenes Inside the Goldmine is a work of art in the first order, the way the Beatles #1 album is wonderfully redundant, and it should see the light of day again. This time they could add “Tree Trunk,” the flip of the “Get Up and Dance” 45 RPM from 1972’s Full Circle album. ~ Joe Viglione
All This and World War 2 Russ Regan’s Beatles’ Tribute
Thanks AudioAsylum.com for reprinting my review All This and Worlds War II ALBUM REVIEW Record executive Russ Regan, instrumental for his behind-the-scenes work with Harriet Schock, Genya Ravan, and producer Jimmy Miller, was involved in the creation of this soundtrack to the 20th Century Fox documentary film All This and World War II. Produced by Lou Reizner, the London Symphony Orchestra and the Royal Philharmonic Orchestra, arranged by Wil Malone and conducted by Harry Rabinowitz, back up an amazing array of stars on Beatles covers. What this is, truly, is one of the first Beatles tribute albums, and it is extraordinary. Peter Gabriel performing “Strawberry Fields Forever should be a staple on classic hits radio stations. It’s a natural, but how about David Essex doing “Yesterday,” Leo Sayer on “Let It Be,” or the Four Seasons interpreting “We Can Work It Out”? Where the dismal soundtrack to the film Sgt. Pepper’s Lonely Heart’s Club Band had hits and misses, this is a very cohesive and impressive work of art. The Brothers Johnson re-create Hey Jude, and its soulful reading is not what Earth, Wind and Fire did to “Got To Get You Into My Life” — their Top Ten 1978 hit from the Sgt. Pepper soundtrack — but it is just as cool. In 1994 BMG released Symphonic Music of the Rolling Stones, which had Marianne Faithful sounding like Melanie Safka on “Ruby Tuesday” (or is it the other way around) and Mick Jagger re-creating “Angie,” but that was 18 years after this, and doesn’t have the marquee value of this double-vinyl LP chock full of stars. This is four sides of orchestrated Beatles, with the Status Quo, Ambrosia, and Bryan Ferry on a version of “She’s Leaving Home” that was meant exclusively for him, as is Helen Reddy’s take on “Fool on the Hill.” Leo Sayer gets to do “The Long and Winding Road” as well as “I Am the Walrus,” while Frankie Valli does “A Day in the Life” to augment his Four Seasons track. It is nice to see Jeff Lynne and Roy Wood on the same album again, Wood with “Polythene Pam”and “Lovely Rita,” future Beatles co-producer Jeff Lynne cutting his teeth on about seven minutes of “With a Little Help From My Friends”/”Nowhere Man.” Tina Turner reprises her classic “Come Together,” Elton John, of course, has to weigh in with “Lucy in the Sky With Diamonds,” while the Bee Gees are spread out over the record doing bits and pieces of the Abbey Road medley, “Golden Slumbers/Carry That Weight” on side one, less than two minutes of “She Came in Through the Bathroom Window” on side two, and two minutes of “Sun King” on side three. Frankie Laine, Status Quo, and a delirious Keith Moon add to the festivities, but it is the Peter Gabriel track which gets the nod as the over-the-top performance here; Moon’s rant is so out-there and off-key it disturbs the momentum. We have to give him a pass, though. It’s Keith Moon, and he never made it to 64! Keep in mind that, two years later, the Bee Gees, Helen Reddy, Frankie Valli, and Tina Turner would show up in the Sgt. Peppers Lonely Heart Club Band soundtrack and film as well, so maybe this is where the idea for that came to be. Utilizing the Elton John number-one hit from two years earlier, “Lucy in the Sky With Diamonds,” insures that a Beatle is involved in this project, as John Lennon performed on that single under the name Dr. Winston O’Boogie, though it might have been interesting had they added the Royal Philharmonic to the original tape. Well, on second thought, maybe not. Still, it is a classic, classic album that deserves a better place in rock history, certainly more so than the aforementioned Sgt. Peppers Lonely Hearts Club Band soundtrack. Definitely worth seeking out. Joe Viglione, All Music Guide
Joe Viglione is published in many of the AMG books. Here is the Google Books screenshot of some of my work in the All Music Guide to THE BLUES
Planets are worlds that move around stars and display a wide variety of physical conditions. The planets of the Solar System share the Sun as their central star, but they are not copies of one another. They differ in size, composition, atmosphere, temperature, and surroundings. The Earth provides the most familiar example, yet its particular combination of conditions should not be assumed to describe every planetary environment.
The inner part of the Solar System contains relatively small rocky planets. Farther out are much larger planets with different internal structures and extensive gaseous envelopes. These broad categories are useful, but they do not remove the differences within each group. Comparing worlds helps show how their distance from the Sun, the material from which they formed, and their later histories have contributed to their present character.
Planetary motion includes both travel around a star and rotation. These movements influence the length and character of a world’s day and year. The tilt of a planet’s rotational axis can also affect the pattern of sunlight over its surface or atmosphere. A familiar word such as day therefore does not imply exactly the same sequence of conditions on every planet.
Moons, rings, and small neighbouring bodies add further variety. Some planets have several natural satellites, while others have none. Rings consist of many separate particles rather than one solid sheet. The interaction of these surrounding materials with a planet’s gravity can produce patterns that are studied through observations and spacecraft measurements. A planetary system includes more than the main body visible in a simple diagram.
People observe planets as bright objects in the night sky, through telescopes, and with instruments carried beyond the Earth. Each method reveals a different scale of detail. A distant point of light may become a world with clouds, mountains, or rings when examined more closely. Comparing these views encourages a broader understanding of planets as diverse physical systems, shaped by common processes but following individual paths through the history of their surroundings.
YouTube is one of the most influential platforms in modern media, but its origin story is surprisingly simple: a small team wanted an easier way to share video online. In the early 2000s, uploading and sending video files was slow, formats were inconsistent, and most websites weren’t built for smooth playback. YouTube’s founders focused on removing those barriers—making video sharing as easy as sending a link.
Who Founded YouTube?
YouTube was founded by three former PayPal employees: Chad Hurley, Steve Chen, and Jawed Karim. They combined product thinking, engineering skills, and a clear user goal: create a website where anyone could upload a video and watch it instantly in a browser.
Chad Hurley — product/design focus and early CEO role
Steve Chen — engineering and infrastructure
Jawed Karim — engineering and early concept support
The Problem YouTube Solved
At the time, sharing video often meant emailing huge files or dealing with complicated players and downloads. YouTube made video:
Uploadable by non-experts (simple interface)
Streamable in the browser (no special setup)
Sharable through links and embedding on other sites
Early Growth and the First Video
YouTube launched publicly in 2005. One of the most famous early moments was the first uploaded video, “Me at the zoo,” featuring co-founder Jawed Karim. The clip was short and casual—exactly the kind of everyday content that proved the platform’s big idea: ordinary people could publish video without needing a studio.
Key Milestones Timeline
Year/Date
Milestone
Why It Mattered
2005
YouTube is founded and launches
Introduced easy browser-based video sharing
2005
“Me at the zoo” is uploaded
Became a symbol of user-generated video culture
2006
Google acquires YouTube
Provided resources to scale hosting and global reach
Why Google Bought YouTube
By 2006, YouTube’s traffic was exploding. Video hosting is expensive—bandwidth and storage costs rise fast when millions of people watch content daily. Google’s acquisition gave YouTube the infrastructure and advertising ecosystem to grow into a sustainable business.
What YouTube’s Founding Changed
YouTube didn’t just create a popular website; it reshaped how people learn, entertain themselves, and build careers online. Its founding helped accelerate:
Creator-driven media and influencer culture
How-to education and free tutorials at massive scale
Music discovery, commentary, and global community trends
From a small startup idea to a global video powerhouse, YouTube’s founding is a classic example of a simple product solving a real problem—and changing the internet in the process.
Whales are among the largest and most remarkable animals on Earth. These marine mammals live in oceans around the world, from warm tropical waters to the cold seas surrounding the poles.
Life Beneath the Surface
Although whales spend their lives in water, they breathe air through blowholes located on top of their heads. They must regularly return to the surface to breathe before diving again in search of food or traveling through the ocean.
Whales are warm-blooded, give birth to live young, and nurse their calves with milk. A thick layer of fat called blubber helps protect them from cold water and stores energy during long migrations.
Two Main Groups
Whales are generally divided into baleen whales and toothed whales. Baleen whales filter small animals from the water using flexible plates inside their mouths. This group includes blue whales, humpback whales, and gray whales.
Toothed whales use teeth to catch fish, squid, and other prey. Many of them also use echolocation, producing sounds and listening for returning echoes to understand their surroundings. Sperm whales, belugas, and orcas belong to this group.
The Blue Whale
The blue whale is the largest known animal to have ever lived. An adult can grow longer than a city bus and weigh well over one hundred tonnes. Despite its enormous size, it feeds mainly on tiny crustaceans called krill.
Communication and Migration
Whales communicate using clicks, whistles, pulses, and complex songs. Some sounds can travel across great distances underwater. Humpback whales are especially famous for their long, patterned songs.
Many species migrate thousands of kilometres each year. They often feed in cold, nutrient-rich waters before traveling to warmer regions where they mate and give birth.
Protecting Whales
Commercial hunting once caused severe declines in many whale populations. Today, whales also face threats from fishing gear, ship collisions, underwater noise, pollution, and changes to ocean ecosystems.
Conservation programs, safer fishing practices, protected habitats, and international cooperation can help whale populations recover. Protecting whales also supports healthier oceans because these animals play an important role in marine food webs and nutrient cycles.
Jimmy Miller and I met with Ahmet Ertegun at the offices of Atlantic Records and after our meeting, Ahmet was flying to Cleveland regarding the building of the Hall of Fame. Now 40 years later, Jimmy is being inducted! https://jimmymiller.us join our Facebook page for Jimmy
I was a 20 year old radio listener working at our family corporation when Angie came on for the first time. 9 years later I would become the exclusive world-wide manager of the producer, Jimmy Miller. “Angie” brought tears to a young man’s eyes, it was so exquisitely marvelous, Miller telling me “Mick Jagger is the most singles-conscious artist I know.”
The release on the boxed set, “Criss Cross” has “Brown Sugar” leanings, maybe some “Rough and Twisted” from the 2026 album in there too, the GHS song a prognostication of what was to come 52 years later on Foreign Tongues LP. The production by ProducerAndrew Watt is not the Miller/Fraboni, team. I like “In the Stars,” super chorus, and we are lucky to have the Stones churning out new product as Janis Joplin, Jimi Hendrix, the Beatles and Jim Morrison cannot. Was it that long ago, 1999, that Written In The Stars from Elton John and LeAnn Rimes happened? “Criss Cross” sounds like an out-take from the Exile on Main St. sessions, so the band was continuing in that direction subliminally/subconcsiously at least. Being who they are, the Greatest Rock and Roll Band in the World.
AI Overview
Subliminal (or subconsciously received) stimuli are sensory inputs—visual, auditory, or sensory—that exist below the threshold of conscious perception, influencing thoughts, feelings, or actions without the person noticing. Derived from Latin for “under the threshold,” these messages bypass conscious defenses to affect the subconscious directly
But “Scarlet” also has that Golden Age Magic touch of Jimmy Miller, and the new album, as solid as it is, does not have the reckless drive that permeates these classic old takes that sat in the vaults unused for decades.
With Jimmy’s induction into the Rock n Roll Hall of Fame Nov 14 and the projected lecture tour of Rob Fraboni on the Last Waltz, Jimmy Miller, the Stones, Eric Clapton, Dylan, the Beach Boys etc there will be lots for music fans to absorb. Stay tuned to Joe Viglione’s substack for more information on Jimmy, Rob and thoughts on music in general
“Scarlet” from Goats Head Soup stays in your head where “In The Stars,” not so much, the magic in the grooves of the Miller/Mick Taylor/Rob Fraboni album is that it inserts itself into your head and mind, with great staying power. Foreign Tongues and Hackneyed Diamonds are wonderful outings, but miss the mark when the Rolling Stones formula – like Lou Reed in his solo golden era around the same time, could do no wrong.
Joe Viglione’s recordings stretch back 53 years to when WBCN first aired “Salt Water Summers” in 1971, 1972. In 1976 he released that song on an EP and was signed to Flamingo/Carrere in 1978, a label with Phyllis Nelson and Heavy Metal band Saxon. In 1980 Flamingo became New Rose/RCA and New Rose/Musidisc. Joe signed Willie “Loco” Alexander and Johnny Thunders of the NY Dolls, produced by Jimmy Miller. Viglione became Miller’s manager and they worked with Buddy Guy, Joe Perry of Aerosmith, Nils Lofgren of Springsteen’s band and many others. Miller produced Joe’s classic The Intuition Element album. Miller introduced Viglione to Keith Richards, who introduced Joe to Eric Clapton/Rolling Stones producer Rob Fraboni in 1988. Fraboni and Viglione have worked together since then. With 118 songs on ASCAP and 333 tracks on Spotify, Playboy Magazine calling Joe one of Boston’s Five Best Bands, the music keeps on flowing.
With airplay for The Salt Water Summers on WBCN in 1971, Playboy Magazine wrote in 1976 “His songs are completely charming with a wistful innocence beyond most jaded seventies stars.”
THE 2024 RELEASE OF CAN”T WAIT TO SEE YOU SMILE WILL BRING THIS MASTER SONGWRITER BACK TO THE MAINSTREAM = HEAR THIS CATCHY TUNE HERE: https://youtu.be/d4xaojQ6hlk
