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.
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
got in from watching Law and Order SVU and the Chris Meloni one, the “filming” on both, way too dark. SVU needed some balance, one of the weaker story lines (they’ve been pretty good, lately) and the “feel” not what has kept the audience coming back.
QUANTUMANIA
iF Peter Fonda took a time machine from 1967 to 2023 this would be the modern day version of that Roger Corman classic, the Trip. Quantumania is a loud roller coaster ride to get the audience down into the Quantum realm What the heck is the Quantum realm you ask? According to Quora.com, ” The quantum world denies the existence of anything. ” So anything goes. Disney/Marvel have to find a new frontier as they know that these blockbuster comic book films don’t all hold up to repeat spins. With 8 billion people on the planet it is easier to recruit new minds and eyes and ears to absorb the presentations rather than rely on repeat business from those who know the plot and have already enjoyed the experience. Kinda like a comic book that fans buy, read, and throw in a plastic bag and cardboard backing to preserve. But how many times do these ADD multitudes go back to read a classic? They are addicted and need new stories for each fix.
Quantumania is the new fix, and one – I might add – that may demand repeat spins because there is so much going on. And the film is simply great, more exciting (and original) than Avatar2: the Way of the Water.
Indeed, if Avatar brought the same old story over to the water – Marvel brings the Ant Man story into a different dimension, one that can lead to multiple storylines.
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, 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 and others.
with Dennis Lehane
with Felix Cavaliere
with Dr. Ruth
with Brad Meltzer
with Mick Taylor, Rolling Stone
with Burton Cummings
Production Consultant L’Est We Forget by Pete Shelley and the Buzzcocks, in studio with Joan during e.q. session
Several months after the innovative remake of “You Keep Me Hanging On,” England’s answer to Vanilla Fudge was this early version of Deep Purple, which featured vocalist Rod Evans, and bassist Nick Simper, along with mainstays Ritchie Blackmore, Jon Lord, and Ian Paice. This, their second album, followed on the heels of “Hush,” a dynamic arrangement of a Joe South tune, far removed from the flavor of one of his own hits, “Walk a Mile in My Shoes.” Four months later, this album’s cover of Neil Diamond‘s Top 25, 1967 gem “Kentucky Woman,” went Top 40 for Deep Purple. Also like Vanilla Fudge, the group’s own originals were creative, thought-provoking, but not nearly as interesting as their take on cover tunes. Vanilla Fudge did “Eleanor Rigby,” and Deep Purple respond by going inside “We Can Work It Out” — it falls out of nowhere after the progressive rock jam “Exposition,” Ritchie Blackmore‘s leads zipping in between Rod Evans smooth and precise vocals. As Vanilla Fudge was progressively leaning more towards psychedelia, here Deep Purple
are the opposite. The boys claim to be inspired by the Bard of King
Arthur’s court in Camelot, Taliesyn. John Vernon Lord, under the art
direction of Les Weisbrich, paints a superb wonderland on the album jacket, equal to the madness of Hieronymous Bosch‘s cover painting used for the third album. Originals “The Shield” and “Anthem” make early Syd BarrettPink Floyd appear punk in comparison. Novel sounds are aided by Lord‘s dominating keyboards, a signature of this group.
Though “The Anthem” is more intriguing than the heavy metal thunder of Machine Head, it is overwhelmed by the majesty of their “River Deep, Mountain High” cover, definitely not the inspiration for the Supremes and Four Tops 1971 hit version. By the time 1972 came around, Deep Purple immersed themselves in dumb lyrics, unforgettable riffs, and a huge presence, much like Black Sabbath.
The evolution from progressive to hard rock was complete, but a
combination of what they did here — words that mattered matched by
innovative musical passages — would have been a more pleasing
combination. Vanilla Fudge would cut Donovan‘s “Season of the Witch,” Deep Purple followed this album by covering his “Lalena”; both bands abandoned the rewrites their fans found so fascinating. Rod Evans‘ voice was subtle enough to take “River Deep, Mountain High” to places Ian Gillam might have demolished.
Deep Purple’s phenomenal version of “Hush”, written
by country/pop songwriter Joe South, took the Vanilla Fudge style of
slowing a song down and bluesing it up another step, venturing into the
domain of psychedelic heavy metal. Covered by Kula Shaker in the 1997
film I Know What You Did Last Summer other versions were recorded by
Billy Joe Royal, Gotthard , former Ritchie Blackmore lead vocalist Joe
Lynn Turner on his 1997 Under Cover album of song interpretations and
even John Mellencamp. But once the tune received this rendition’s
indellible stamp no one could touch it again, not even the songwriter.
South’s
lyrics are highly suggestive, beyond Van Morrison’s
“Gloria”, straight into Louie, Louie” territory with: “She’s got a
loving like quicksand… It blew my mind and I’m in so deep/That I can’t
eat, y’all, and I can’t sleep.” Or as Aimee Mann sang, hush hush
because voices carried this one right by the censors with Jon Lord’s
quagmire of thick chaotic keyboard sound meshed with Ritchie
Blackmore’s guitar. Tetragrammaton Records single #1503 went Top 5 in
August of 1968, 4:11 as originally released on the Shades Of Deep Purple
album, 4:26 on Rhino’s 2000 reissue The Very Best Of Deep Purple.
Imagine a fuzz box on the organ in a church cathedral to get the
intensity of the opening chords, a sound stolen less than two years
later by Detroit’s Frijid Pink with their rendition of “House Of The
Rising Sun”. Frijid Pink, however, couldn’t get the intense rhythmic
nuances of original bassist Nic Simper and drummer Ian Paice, not to
mention Rod Evans haunting vocal. “Smoke On The Water” equaled this
song’s chart position five years later, and might have made a bigger
impact, but there’s no denying that Deep Purple in its original
progressive pop form was a far more dynamic and literate band. “Hush”
remains their most cosmic moment, a truly unique blend of converging
60’s styles preferable to connoisseurs of stuff that found itself on the
Nuggets compilation lp. This track was conspicuous in its absence.
The expanded CD release of this second Vanilla Fudge album is much more accessible than the original vinyl version because of the inclusion of a number of cover tunes, most notably Beatles songs. The revealing liner notes that Sundazed project manager Tim Livingston adds to the reissues of these Atco albums helps put this influential band in a better light. The Beat Goes On is a difficult record, especially after the explosion that was their debut. The single from their previous album, Vanilla Fudge, originally charted in the Top 100 in the U.S. in 1967. (Britain was more hip to the group.) They finally hit in America in the summer of 1968, but had already begun to influence Deep Purple and the Rotary Connection, among others. The problem with this project is that they failed to influence themselves. Bassist Tim Bogert notes that “The Beat Goes On was the album that killed the band,” while guitarist Vinny Martell adds “we had already started our second album when Shadow (Morton) had this other concept idea for The Beat Goes On.” Morton had produced the Shangri Las, not the Beatles, and this creative effort was by a group with only two hit singles arriving on the scene around the time of Sgt. Peppers Lonely Hearts Club Band. Morton set before the boys a daunting task which needed much, much better execution. Renaissance, which they were recording simultaneous with this, at least included a Donovan tune, “Season of the Witch.” The exotic wandering would have been better served by a reworking of “Strawberry Fields Forever” across a side of the disc instead of the keyboard notes which reference the tune. Even a killer guitar version of “The Beat Goes On” would have been more exciting than “18th Century Variations on a Theme by Mozart” or noodlings that can’t decide if they are “Chatanooga Choo Choo” or “Theme to the Match Game.” For a group of impressionable young kids out of high school, as referenced in the liners, this must’ve been extremely rough. The expanded CD has jam session versions of Elvis Presley’s “Hound Dog” and the Beatles’ “I Feel Fine,” “She Loves You,” “Day Tripper,” “I Want to Hold Your Hand,” and “You Can’t Do That.” Any of these extended à la “Eleanor Rigby” from their debut would be more desirable than the interview-type questions about sex; the Beatles’ interest in “Indian meditation” (sitar enters here, and how would the VF know?); audio newsclips of John F. Kennedy, Hitler, and others, all a very strong argument against artistic control for some producers. Exploring the initial ideas that brought them fame was what was expected of Vanilla Fudge. What would you rather hear, readings from The Bible or the single from January 1968, “The Look of Love” b/w “Where Is My Mind”? Thankfully, Sundazed has included the Bacharach/David tune and two additional Mark Stein titles, “All in Your Mind” and the aforementioned B side, “Where Is My Mind,” on the expanded Renaissance album, the real follow-up to the Vanilla Fudge debut. Historically important, listening to this archive piece is truly a labor of love, with the emphasis on labor.
What made Vanilla Fudge so intriguing was how they and producer Shadow Morton mutated hit songs by stretching the tempo to slow motion so exquisite that even an overexposed song by the Supremes sounded new on the radio. The formula worked fine on covers, but despite their collective talent, the material they composed on Renaissance feels more like psychedelic meeting progressive and has less of that commercial magic. Renaissance is a concept album, produced and directed by Shadow Morton, the man who brought you the Shangri-Las and who produced the second album for the New York Dolls. With a long poem by Carl DeAngelis on the back cover and an amazing construction of a Mount Rushmore-type set of statues of the band members on the front, sculpted in the stars away from Earth, the band moved into an arena yearned for by Iron Butterfly and Rare Earth: respectability. Carmine Appice‘s “Faceless People” is the band’s standard sound on an unfamiliar tune. While it is highly listenable, not the tedious chore lesser music in lesser hands becomes, Top 40 could hardly respond to an epic like that or “The Sky Cried When I Was a Boy.” This is the punk version of Emerson, Lake & Palmer, and there should have been a bigger market for it on FM radio. Singer Mark Stein and Tim Bogert compose a prototype that bands like Uriah Heep should have embraced. Calvin Schenkel’s “The Spell That Comes After” offers more than the band’s originals, though Vince Martell’s fuzz guitar on “The Sky Cried” meeting the superb vocals suspended somewhere above it all makes for a nice musical sandwich; their name far more appropriate than the trendy-for-the-time vibe Vanilla Fudge suggests. Martell’s “Thoughts” is eerily cosmic and spaced — his creativity seemed kept in check by the band, which is a pity; his early 1980 demos without the group evidence that his contributions were essential, despite the fame Bogert and Appice would find. Renaissance is a solid, albeit typical, release from this innovative group. Sundazed has re-released Renaissance with three additional tracks. The cover of Donovan’s “Season of the Witch” does more with those two famous chords than most. It is a highlight and proves that covers should have been evenly matched with the originals on these early discs. That’s what got them the audience in the first place, and reinvention is what they did best.
Vanilla Fudge took a more basic stance with Rock ‘n’ Roll, bringing in Aerosmith’s first and the Velvet Underground’s last producer, Adrian Barber, to replace Shadow Morton. Guitarist Vinnie Martell sings lead on “Need Love,” and it is a quagmire of rock sounds, offset by Mark Stein‘s “Lord in the Country.” The band then goes after a good but non-hit Carole King/Gerry Goffin number, “I Can’t Make It Alone.” It has that vibe that made “Take Me for a Little While” so important and so timeless, but there’s just something missing. This is Vanilla Fudge‘s trademark sound looking for a new personality. The band started in 1967 by releasing an album of seven cover tunes done Vanilla Fudge-style. Along with Cream, Jimi Hendrix, and a handful of other bands, their sound helped shape Top 40 radio in the ’60s while heavily influencing Deep Purple and what that group would do for the ’70s. “Street Walking Woman” is OK, and that’s the problem with Rock ‘n’ Roll, the album is a picture of a band trying to grow and emerge from the shadow of what initially launched them — a familiar problem in rock & roll. The Sundazed CD contains original mixes of “Sweet Talking Woman” and “The Windmills of Your Mind,” the latter adapted from Dusty Springfield’s hit theme to the film The Thomas Crown Affair. Covers like “The Windmills of Your Mind” are what the band was all about, and this version is grunge, hard rock, that style you know Ritchie Blackmore and company copped for their ride into fame. A 19-minute-and-57-second unreleased studio track, “Break Song” is attached to what was already a 39-minute-and-44-second vinyl LP. That is one full hour of Vanilla Fudge, and Sundazed must be commended for helping put history in order. Still, Rock & Roll bares the strengths and weaknesses of this great ensemble, the weaknesses fully exposed on the 1984 “reunion” LP which pushes Vinny Martell into the background and redesigned the band’s sound. The strengths are found in their ability to pour passions into other people’s already established songs. Just listen to the drums pound away six and a half minutes into “The Windmills of Your Mind,” while the keyboard slashes like a guitar. It’s the Young Rascals meet Moe Tucker of the Velvet Underground, a sublime blend. It’s just too bad sampling wasn’t in vogue back then; Dusty Springfield’s voice would have been the frosting on the cake. The point of “If You Gotta Make a Fool of Somebody,” keyboardist Mark Stein dueting with drummer Carmine Appice, cannot be discerned. It’s OK, but sounds bare, and cries out for Shadow Morton‘s direction. They certainly push the band into a harder direction, but that twinkle in the eye that is the first Vanilla Fudge album seems to have evaporated except for the Carole King and Dusty Springfield covers. The cleancut young men who covered Curtis Mayfield’s “People Get Ready” in 1967 were not the brash musicians who tracked Mayfield’s “I’m So Proud” in 1973 with Jeff Beck. Rock & Roll captures the band as it was disintegrating, and the long bonus track, “Break Song,” is noteworthy, not for musical value, but to show the self-indulgence which would overtake what was an earth-shaking concept. It’s a delicious slice of nostalgia for hardcore fans and musicologists, but the general public might want to stick with a greatest hits package.
Near the Beginning is an excellent title for this self-produced Vanilla Fudge recording. The fourth of five albums recorded during 1967, 1968, and 1969, the band themselves worked to get closer to what made them very special. What made them special was their treatment of other people’s material. Reworking Junior Walker’s 1965 hit is interesting, especially with engineers like Tony Bongiovi and Eddie Kramer to throw ideas at. Nancy Sinatra and Lee Hazlewood went Top 30 with “Some Velvet Morning,” and that is more in line with the Fudge’s debut than re-assembling Motown again. The problem with “Shotgun” is that it is pretty much the same tempo, with their big sound and added intensity being the difference. “Some Velvet Morning,” on the other hand, is more Black Sabbath than Ozzie and crew covering Crow’s “Evil Woman.” The performance dangles in mid-air, the vocals deliver eeriness, the stuff Deep Purple jumped on a year after Vanilla Fudge made Great Britain stand at attention, and the sound is quintessential Fudge. “Some Velvet Morning” makes for a very great album track, but as “near” to the beginning as these guys got, without production they just don’t get back to the chart action garnered by the sublime “Take Me for a Little While” and the immortal “You Keep Me Hanging On.” Carmine Appice‘s “Where Is the Happiness” is a band learning how to write in public. There is no doubt how talented all these fellows were, but “Where Is the Happiness” sounds like an extension of “Some Velvet Morning” and breaks no new ground. Twenty-three minutes and 23 seconds of a live track, “Break Song” was written by the bandmembers and recorded at the Shrine in Los Angeles. It certainly works better than Ted Nugent & the Amboy Dukes’ Survival of the Fittest Live a year after this was released, but not by much. Overly self-indulgent, there is yet again another drum solo from the period on record. Putting up with drum solos in concert is bad enough, but with Ted Nugent and Vanilla Fudge making a point to show off their musicianship, it became tiresome. Why blame Iron Butterfly when the real fault is no one listened to the 45 rpm version of “In a Gadda Da Vida”? By forgetting that Vanilla Fudge was a singles band, the whole reason the audience was buying tickets gets lost in the expressive nature of young artists dealing with fame and the record industry. “Good Good Livin’,” a previously unreleased long version written by all four members of the group, is heaviness they would explore with Adrian Barber on the Rock & Roll album, and unfortunately expand upon with their reunion in 1984, continuing to drift away from their beginnings. The single version of “Shotgun” is included on the extended CD, as is the 45 rpm “People” written by Vinny Martell, Carmine Appice, Tim Bogert, and Mark Stein. An interesting transitional record with some high points, and worth adding to your collection.
Quiet Riot‘s producer gives Vanilla Fudge — whom producer Shadow Morton discovered in the late ’60s — a “bang your head” onslaught of big hair drums, compressed guitar, and tired homogenization. The fun psychedelic distortion of Vinny Martell is totally stripped away — he is relegated to rhythm guitar on one song and backing vocals on three. That is a total travesty. It is one thing to have the leader of Beck, Bogert & Appice, one Jeff Beck, funk up “My World Is Empty,” even under the disguise of J. Toad (shades of George Harrison in his L’Angelo Mysterioso garb), but this version of the Supremes is so far removed from what made Vanilla Fudge so special that, really, it should be included as a bonus track on a reissue of the 1973 Epic debut Beck, Bogert & Appice. One Ron Mancuso is listed under Martell in the credits, but he is the hip guitarist recruited for this calculated disc to replace Martell. His name might be in small print, but his sound is what is splashed all over this veteran group’s comeback attempt. Proffer takes the once angelic voices and puts them through his machinery to come up with something that could be Patty Smyth‘s Scandal or even 38 Special. Clearly, this wasn’t an attempt at former glories, but a stab at reinventing the band instead of putting their trademark arrangements on familiar tunes. This is everything fans of ’60s music hate about the ’80s. Whether it is the first track, “Golden Age Dreams,” or the decent cover of Dionne Warwick‘s “Walk on By,” or the song that took seven writers to compose, “Don’t Stop Now,” the drumbeat is incessant and is more Quiet Riot than Fudge. The worst track is probably “Hot Blood,” which is Scott Sheets, Mark Stein, and Carmine Appice totally ripping off the chorus of Foreigner‘s 1978 hit “Hot Blooded.” You can rest assured they would’ve been sued if this album sold, but where the covers are amusing, and some of the originals show sparks of ingenuity, “Hot Blood” is so bad that most bar bands would balk before sending it to an A&R man. That this was released on Foreigner‘s own label is even more appalling. The song that follows, “The Stranger,” thankfully does not cop Billy Joel‘s riffs — it is interesting because of the use of Vanilla Fudge‘s slow pace combined with metal of the day. Had the band gone totally heavy metal with this, perhaps taking a Black Sabbath signature tune like “Paranoid” and making it sound like their second Top 40 hit, the eternal “Take Me for a Little While,” much of this could be excused. But “The Stranger”‘s early promise quickly descends into a parody that makes it sound like a Spinal Tap outtake. For musicians who launched Cactus and who could lure Jeff Beck into this quagmire (maybe the reason he goes incognito here is for artistic rather than contractual reasons), it sure sounds like they took Ahmet Ertegun‘s money and ran. “Golden Age Dreams” is a clone of Loverboy‘s 1981 hit sound for “Turn Me Loose.” So this new incarnation of Vanilla Fudge turned to imitating what was current rather than putting a refreshing stamp and change on contemporary records. What the original Fudge and Shadow Morton would’ve have done was take Fabian’s 1959 hit, Turn Me Loose, and have it melt into an eight-minute-plus saga that contorts until it has a re-birth as a slowed down version of the Loverboy title. Someone should re-release this on CD with the Vinny Martell demos from this period. His demo tapes have a charm and sparkle that is absent on this disc. “Jealousy” might boast Jeff Beck, but it is flavored with the Jefferson Starship’s “Jane” and “Find Your Way Back” riffs. Their success with this venture would have been assured had they given the Starship tune “Jane” that original Vanilla Fudge treatment, performed it at the pace of the title track here, “Mystery,” and let Marty Balin sing the lead. Balin was practicing “Jane” before he jumped ship from the Starship — it would have been a coup, and could have made all the difference in the world. It would have been a relief from the labor that listening to the track “It Gets Stronger” is. Nothing on early Vanilla Fudge is as difficult as this experiment.
Verbow is quite a find. In this world of derivative pop, the songs and performance of Jason Narducy have a personal stamp that begs repeated listenings, and an edge to move this music beyond the ordinary drone. “Dying Sun” is a neat sci-fi blitz with odd guitars, kind of like U2 submerged in water. The lyrics suggest Brian Wilson overdosing on Bob Dylan‘s “New Morning” rather than — as legend has it — “Be My Baby” on his tape loop. Alison Chesley‘s cellos give Verbow a distinct flavor — something pioneer John Cale has infused into his live shows: the string quartet. There’s an element of Cale-meets-Tracy Bonham: not power pop, but powerful pop. Bam. Just when “Dying Sun” has you lulled into one mood, “New History” continues the sentiment, upping the ante with more subdued energy and lyrics that are beyond Patti Smith — maybe more like a psychedelic Janis Ian. Couple those lyrics with a wall of sound and really charged production by producer/engineer Brad Wood, and you have a cosmic pop disc that deserves attention. “I’ll Never Live By My Father’s Dreams” is woven into this fabric (excellent song placement), kind of like a lost Tommy James riff coated with British psychedelia. “Four Channel Town” is another tune driven by a pop riff, a nice change of pace from the subdued “Garden.” Narducy’s vocals cut right through all the madness, a good contrast to the elegant musicianship. And playing rock this hard “elegantly” is not easy. Verbow has a driving vibe without a formula, which is unusual — maybe 50 paces to the left of Oasis. The band’s originality may keep it in the underground. That would be a shame. Music this good can educate the masses, but the glass ceiling created by commercial radio tends to keep sounds like this nice ‘n rare.
Record
Producer Joe Viglione’s first e.p., The Salt Water Summers, was a “best
record of the month” in Phonograph Record Magazine, “Record of the
Month” in L’Attendant Magazine/Belgium in 1976 and garnered Joe a
position as one of the 5 best Boston bands in Playboy Magazine, 1977.
His
work with Unnatural Axe is legendary in punk circles, the “Hitler’s
Brain” e.p. going for hundreds of dollars on the collector’s circuit.
The song was re-released on Rhino/Atlantic. Joe was also the
“Production Consultant” on the “Lest We Forget” live album from The
Buzzcocks on R.O.I.R..
As
business partner with the late Jimmy Miller the team co-produced the
legendary Buddy Guy including performances with Genya Ravan, Joe Perry
and Nils Lofgren. Joe negotiated the recording contract for The
Mannish Boys with Motown/USA, signed Willie “Loco” Alexander to New
Rose/RCA Records in Paris, signed Johnny Thunders (produced by Jimmy
Miller) to New Rose/Musidisc, signed Marty Balin and the band Spirit to
GWE Records (a division of CD Review Magazine), helped SPIRIT negotiate
their Time Circle retrospective with Epic/Sony.
Production work over the years with Jo Jo Laine, Bonnie Bramlett, Marty Balin of the Jefferson Airplane/Jefferson Starship, Randy California and Spirit (edit of the song “Compromise” as well as shopping the band to A & R in New York, 1994) and Bobby Hebb along with over 31 compilations of music is only part of the resume and history of the Varulven label.
Marty Balin: Live On The Boston Esplanade – June 14, 2008 – is currently out worldwide on Music Video Distributors. Joe is currently working on multiple documentaries
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
Arturo Sandoval & His Group
contains 11 songs which take the listener on an instrumental pop/jazz
journey that is completely satisfying and full of musical surprises. The
close to seven minutes of “Para Empezar a Vivir” is pure ’80s lounge
while “Cuatro Gigantes” starts off with traditional Latin sounds before
veering off into Weather Report territory. The cover of Jennings/Kerr‘s “Yo Nunca Volveré a Amar de Esta Manera” has Sandoval scorching the horn in parts; it’s far more intrusive than Dionne Warwick‘s beautiful rendition of her Top Five 1979 hit “I’ll Never Love This Way Again.” At certain points, Sandoval
intentionally tears into the melody while the band has some fun with
the rhythm, the ending disintegrating into mayhem and one wondering if
some satire isn’t going on. The packaging is exquisite, including a
20-page booklet — ten pages in English; ten in Spanish — with photos
and extensive credits. Helio Orovio‘s
liner notes are spot on and make for great reading while “Variaciones
Para una Mazurca de Chopin” plays in the background, taking a turn into
the mysterious and exotic, sounds that shimmer inside a beautiful
undercurrent. There’s a lot to take in on this single disc and even
after repeated spins it holds plenty of secrets, a work of art
containing ideas that drift in and out before you realize how quickly
the dimensions keep shifting. It is a group effort with Sandoval giving his bandmates plenty of space to showcase their skills, especially on their total musical revision of Gershwin‘s “Summertime.” “Sábado 14” is one of only two Arturo Sandoval originals, taking bits of “Moon River” and ’80s disco with perhaps a dash of Stevie Wonder. It’s yet another fine disc for the bachelor pad fans.
Vocalist Chris Thompson’s last album with Manfred
Mann’s Earth Band is dressed up in Mann’s beautiful keyboards. Angel
Station has some key moments — “You Angel You,” a Bob Dylan tune that
sounds nothing like Dylan, and not the way their Top Ten version of
“Quinn the Eskimo”/”The Mighty Quinn” was reinvented. “You Angel You”
has a strong hook with topnotch Anthony Moore production work, and it
melts into the title track of Harriet Schock’s landmark Hollywood Town
album, the source of Helen Reddy’s “Ain’t No Way to Treat a Lady.” The
Manfred Mann version is interesting, and explores the possibilities of
the composition, though Schock’s version is perfect country-pop and hard
to top. It is nice to see a rock band with such good taste. “Angelz at
My Gate,” co-written by Manfred Mann, leads off side two and is another
dreamy “angel” tune. It sounds mysteriously like “Games Without
Frontiers,” the Peter Gabriel radio hit from his 1980 third self-titled
solo album. Now since this was released the year before, do you think
Gabriel found inspiration from the grooves of Angel Station? While
artists like Gary Wright and Jordan Rudess overwhelm you with the
keyboards, Manfred Mann’s are indeed the lead instrument, but he uses
them to augment the vocals, not to overpower. The John Shaw-photographed
album cover looks innocent enough until you turn it upside down —
there a female dark angel, in open black cape, exposes her breasts. So
blatant, but upside down it probably went right by many retailers, and
with no hit single, it probably didn’t cause too much of a stir. It’s
interesting that, like Gary Wright, the Earth Band recorded for Warner
Bros., yet both acts only eked out a couple of hit singles. As with
Wright’s Headin’ Home LP, this 1979 album has more than its share of
good material, both keyboard players being intuitive artists with
credentials and past chart success. Despite good performances on Heron’s
“Don’t Kill It Carol” and a simply wonderful cover of Billy Falcon’s
1978 release, “Waiting for the Rain,” this is yet another album that
deserved a better fate. The rendition of the Falcon tune may be the best
performance of one of that singer’s compositions ever. The two Manfred
Mann songs on side two are excellent: “You Are – I Am” is good and
pleasant while “Resurrection” has lyrics that display clever sarcasm and
religious — or sacrilegious — overtones. Angel Station is
well-crafted music by an industry veteran.
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