Joe Viglione, Varulven Records
October 15, 1984 Review
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The Boston Bootleg 1!
thanks Ellen Jane for sending this over. She bought it for $5.98 back in the day
Airplay for our Artists
August 3 ·
Thanks to the U.K.’s SLE radio’s “Sunday Service” show for playing Mr. Fix It yesterday! Greg Walsh’s New Ghosts will be appearing on the upcoming Boston Rock Anthology series!
— with Bob Nelson and 22 others.
Thanks to the U.K.’s SLE radio’s “Sunday Service” show for playing Mr. Fix It yesterday! Greg Walsh’s New Ghosts will be appearing on the upcoming Boston Rock Anthology series! — with Bob Nelson, Gretchen Shae, Derek Hughes, Stephen McKeon, Fernando Cruz Jr., Joe Viglione, Nate Walsh, Bruce Allen, Kathy Walsh, Bill Brenner, Smitt E. Smitty, Molly Walsh, Owen Rehrauer, Kelly Sharpe-Walsh, Jchristopher James, Dan Lundergan, Elizabeth Bradley, Joe Lafko, Mark Rockower, Kevin Higgins, Joe Riot Osborne, Rex Crum and Deirdre Reid.
The Power of One from Dalia Davis
August 6 and August 15 on the air
Reviews of our Artists
Audioscam in new Ffanzeen August 15, 2020
Audioscam
#Kicking and Screaming
audioscam.com.au
Truly, I do not understand why this band is not played on the radio more, which spins the likes of Rupert Holmes and Stephen Bishop nearly constantly. Audioscam’s music is catchy, non-threatening, and fine at a party of MOR-minded company. The Australian band has been around for a bit over 10 years now, at least, and they have nailed their sound. The harmonies with drummer Brian Pitcher’s high-end vocals, and Wayne Macintosh’s guitar up front is some fun near pop (not Top 10 pop, but perhaps from around 1975). As I implied earlier, this band is definitely radio-friendly, and they should be played on Adult Contemporary MOR stations more. This is closer to an EP than an LP, but that’s what many of Audioscam’s releases tend to be, and I’m cool with that.
Dalia Davis Review Written by “Ed Symkus – Gannett”
Robby Krieger Interview
https://ffanzeen.blogspot.com/2015/06/robby-krieger-beyond-doors-1983.html
Text by Joe Viglione and Eric Brown / FFanzeen, 1983
Images from the Internet
www.robbykrieger.com https://ffanzeen.blogspot.com/2015/06/robby-krieger-beyond-doors-1983.html
This interview was originally published in FFanzeen, issue #11, dated 1983. It was written by Boston-based musician, music historian (and so much more) Joe Viglione and Eric Brown. – RBF, 2015
Robby Krieger, guitarist / song-writer for the Doors, was, and still is, one of the most influential and creative guitarists in rock’n’roll.
The 1982 Robby is a mellower, wizened musician, not content to stay within the safe boundaries of commercial pop which he helped establish, and which in 1982 – more than 12 years later – is suddenly chic and very popular.
In the heat of the Doors revival, Robby Krieger has emerged with a hot band, a surprisingly different direction for those unfamiliar with his post-Morrison works, and a new album on Passport Records, entitled Versions.
We caught Robby’s soundcheck and show at the Channel Club in Boston, on October 23, 1982, and again at the Peppermint Lounge in New York, on the 28th. Along with some instrumental originals, jazzy versions of Doors songs like “Crystal Ship” and “You’re Lost Little Girl,” there were rocking versions of “Love Me Two Times” and “Roadhouse Blues.” At the Peppermint Lounge, Eric Bloom of Blue Oyster Cult jumped onstage for “Roadhouse” and got the place jumping with his earthy vocals. Thankfully, someone at the Peppermint had the good sense to videotape the night.
Despite the zillion interviews (in fact, MTV bumped this interview up a day and a half) and hectic schedule (like speaking at the College Media Brainstorm 2 Convention at the Sheraton up the street); and being, along with David Johansen, the most interesting guest at that otherwise boring affair, Robby proved to be one of the more easygoing and polite musicians around. Despite that, I was a nervous wreck conducting this interview: talent and legend are hard to take in one sitting.
Special thanks to Robby’s manager, Richard Linnell, for making this possible.
– Joe Viglione, 1983
FFanzeen(* = Joe Viglione): When did you decide to put a new band together and to tour?
Robby Krieger: Well, after I finished the album, I decided to – to get the album going. I’d get out and tour. That was about a year ago, I guess. It took a while to find the right guys for the band.
FF*: How long did it take to conceive Versions and put it out?
Robby: To do the whole thing, about a year. I took my time doing it. I had a bunch of other stuff I was doing at the time.
FF*: I see you’re still playing slide guitar onstage.
Robby: Not a lot of slide. I play as much as I can. Unfortunately, my slide guitar broke that night [at the Peppermint Lounge, October 28 – JV] or it was broken. The neck started to get a crack on it.
FFanzeen(# = Eric Brown): That’s the black Les Paul?
Robby: Yeah, the Les Paul. It’s too bad. It held up last night. I hope it’ll be okay for the rest of the tour, but there’s a definite crack in it.
FF*: Why did you produce Versions by yourself?
Robby: If I could’ve gotten someone like Tom Dowd [d. 2002 – RBF, 2015] or somebody, I would’ve gone ahead with that, but I’d rather not do it myself ‘cause it’s a lot of work and it’s – you don’t get the perspective that you really need when you do your own thing. But I’m happy with the way it came out.
FF*: How do you choose your guitars? Why a Les Paul?
Robby: Les Paul I use for slide and the reason I chose that is ‘cause it’s real heavy; it’s the oldest one they made, which is a ’54, I think. It’s like a big tree. It’s a Black Beauty. The neck is like a tree trunk. For regular playing, I use the 355 guitar, which is a Gibson. And it’s a mono 355; most of those are stereo. For some reason I found this mono and they’re a little heavier than the 335, so…
FF*: What do you use for effects?
Robby: For effects I’ve got a Chorus, a Digital Delay, Analog Delay, a Distortion, and a Slow Gear, which makes it sound like you’re using a volume pedal; kinds of cuts off the first part of the note.
FF#: Yeah, I kind of noticed that.
FF*: What kind of amps?
Robby: Twin reverbs, pretty much. I was going to try this Acoustic. They’ve got a new amp out that’s comparable to a twin reverb, but I couldn’t get it working right before the tour.
FF*: How long do you see this band staying together? Another LP?
Robby: It’s hard to say. It’s going real good right now. It could last for a long time.
FF*: You’ll be planning another tour?
Robby: Well, when we get back to L.A., we’re going to start going out again for the rest of the year.
FF*: How did you find your manager?
Robby: Well, I’ve known Rich Linnell for a long time. He went to school with my brother. He ended up promoting some Doors concerts when the Doors were playing. I’ve just known him for a long time.
FF*: What is his function as a manager? And what do you see as the role of a manager for Robby Krieger?
Robby: He’s got to work with the record company, with tours, promoters, agents – he’s the buffer between me and all these types of people. Plus he has to be creative in thinking of different ways to get me working.
FF*: How about the creative moment with Robby? Do you have to put yourself in the right frame of mind to create a great song, especially songs like the old Doors hits of which you wrote a major portion?
Robby: You can’t put yourself in a mood. It’s pretty hard, unless you have the right drugs [laughs], but usually it doesn’t happen that way. You have to be in the mood.
FF*: Do you turn the recorder on?
Robby: Usually I don’t ‘cause I figure anything that’s good enough to be a song I’ll remember when I play it. Although I think I have forgotten a lot of good songs so I have started using a recorder lately.
FF*: What do you think of the stage of the art of recording today? Do you have the same feeling that you did about production when you approached a record in the ‘60s as you do now?
Robby: It hasn’t really changed that much. The tape recorders are basically the same. I haven’t tried the digital stuff yet. That’s more gimmicks now, but you can only use them in certain instances, I think. In fact, I recorded this album 16-track, which I hadn’t – I’ve always been using 24 for years. Everybody has but – I figured I could get better sound by going with a 16-track with two-inch tape because you have more space on each track. Since I wasn’t having vocals I know I wouldn’t need that many tracks anyway. We did it on an Otari 16-track machine.
FF*: You produced the Tan, a Californian band?
Robby: They’re from Santa Barbara, actually. They’re sort of like a New Wave surf band. They’re really good.
FF*: Did you see them in a club or did they approach you?
Robby: …I played with – I had this group, Red Shift, in L.A., for a while, and we played opposite them on a bill in Santa Barbara one time. It turned out my friend was managing them, so I happened to get involved with them.
FF*: I’ve got a couple of albums here that you might remember [two Butts Band LPs on Blue Thumb Records – JV]
Robby: A-ha!
FF*: I remember you guys played the Performance Center in Harvard Square, Cambridge (MA). It no longer exists; it’s now a shopping mall.
Robby: Really, that’s too bad.
FF*: How long did the Butts Band last? I know there were two different albums.
Robby: Well, it lasted for two albums; two or three years. As you said, there were two different bands, one with some English guys. John Densmore [The Doors drummer] and myself were the nucleus of the group. Then we decided that was too hard to keep together so we went ahead and formed an American version. And we got caught up in record company bullshit. Blue Thumb got sold to U.A. or something like that, and we just sort of got lost in the shuffle over there. It’s too bad; we had some pretty good songs on both those albums.
FF*: I really like the Other Voices and Full Circle albums by the [post-Morrison] Doors. What are your feelings on that material?
Robby: I think there’s some good stuff on those albums. I think we probably shouldn’t have come out so soon after Jim’s death with those. Maybe the public wasn’t ready for it yet or – probably should’ve waited about five years or so.
FF*: Maybe, but you were great on the Boston Common in the 1972 Sunset Series [August 17 – JV].
Robby: Oh, yeah.
FF*: That was just wonderful
Robby: Yeah, when we were in Boston, I walked through that place.
FF#: I remember reading somewhere that when you first started, you used to play Flamenco. When did you get involved with jazz?
Robby: Well, I always liked jazz, so I’d say around ’74 or ‘5. I got real interested in playing jazz. I met a bunch of jazzer-type guys in L.A., and started learning about it. I didn’t really know enough about playing guitar to play jazz when I started out, ‘cause I was only – I started when I was only 16. And when the Doors hit, I was like 19, so I just was playing the Doors’ stuff for a couple of years; about five years there. But then I deicide I wanted to get into it.
FF#: That’s great. On your earlier albums, you could hear the influence. And now it’s really blossomed out. I watched you on TV in Boston, 5 All Night Live [the night previous to the Channel gig on October 23 – JV]. I didn’t know what to expect from you, but liking jazz fusion myself, it was a pleasant surprise.
Robby: I get kind of tired of it after a while, y’know. Just people soloing for hours and stuff, but I think – my approach is being a rock’n’roll player going into jazz, which not many people do. Most of your fusion players are like jazz guys, and they try to play rock’n’roll, and it doesn’t come off too great a lot of times.
FF#: There’s a difference. You use real heavy rock’n’roll rhythms under the melodic stuff.
Robby: Right.
FF#: The way you use the harmonies with the two guitars, it’s very –
Robby: Yeah, Barton [Averre, former guitarist with the Knack – JV], our other guitar player, he can play. Anything you tell him to play, he can play.
FF#: You guys seem to work with a lot of communication. The harmonies are real different. The off meds and the off notes are really – you end up on certain notes, not harmonies. It sounds terrific.
Robby: We use a lot of sixths in our harmonies.
FF*: It seems like you’re heading in a direction started with Full Circle. It was starting to get jazzier.
Robby: Hmm, a little bit, I guess.
FF*: With songs like “Mosquito.”
Robby: “Mosquito,” that’s true. You know that “Mosquito” was a giant hit in Europe.
FF*: Really.
Robby: Yeah, and South America, ‘cause I guess it was, y’know – I spoke Spanish a little bit in there, and people loved that.
FF*: You spoke Spanish in the song?
Robby: Yeah: “no mes moleste mosquite.”
FF*: “Get Up and Dance” [Full Circle] was a minor hit in Boston, and “Tightrope Ride” [Other Voices] was a big hit.
Robby: yeah, “Tightrope Ride” was good. Yeah, it’s too bad it didn’t really – there were some good songs on that. “Piano Bird” also was a good kind of jazzy one. “Piano Bird” has two basses on it [The LP credits only one, to Carole King’s ex-husband, Charles Larkey – JV]. It has one played by Willie Ruff – who’s like a jazzy guy. He played the upper register – and this Wolfgang Metz played the lower bass.
FF#: Wolfgang!
FF*: [To Eric] Yeah, Wolfgang, he’s great. He used to play with Gabor Zabo. He’s this little German guy with this really thick accent.
Robby: I liked the souped up version that that (the) Knack song, “My Sharona.”
FF*: [To Robby] It was a blessing for you that the Knack broke up.
Robby: Yeah, really [laughs]. Well, I knew Bruce Gary [d. 2006 – RBF, 2015], the drummer, before the Knack ever started, in L.A. So it was kind of natural when they broke up. I’m sure some super group will probably snap him up one of these days.
FF*: Someone like ASIA. Hey, thanks a lot for your time, Robby, and good luck.
Nedra Tally Ross of The Ronettes TOURED with Bobby Hebb and the Beatles on August 12, 1966!
Nedra Ross of The Ronettes toured with Bobby Hebb and the Beatles on August 12, 1966, 54 years ago today in Chicago…here’s my review of Nedra (don’t call her Diana) Ross! on AllMusic:
Hear Full Circle here: https://youtu.be/palAfVCU7mg
https://www.allmusic.com/album/full-circle-mw0000892548
AllMusic Review by Joe Viglione [-]
Full Circle is a difficult album by Nedra Ross, formerly of the Ronettes. On one hand, she gave up show business for the Lord, yet show business is the biggest selling point here — the information about Ross’ time with the legendary girl group, a reprint of an article from the November 1968 Ebony magazine, a photo of Ross with Ronette Estelle Bennett and Beatles John Lennon and George Harrison, a reprint of the “Be My Baby” disc label — all on the inner sleeve. If the Lord is displeased with the borderline deceptive advertising, He may be less pleased with the music inside, as Ross and her producer/husband Scott create an album with less inspiration than her God-given talents deserve. “Gonna Keep My Mind (Stayed on You” is a funky Chaka Khan-type tune with religious overtones. “Unchanging Love for You” is pretty enough, but there is something about the lyrics that make the song awkward. The Bible talks about praying in secret, and God may be more happy with an artist singing pop tunes that brought her fame than forced musical statements about Him — and fans would be more pleased not to have to endure the preaching. When Dan Peek left the group America for fame and fortune as a Christian artist, he was blatant about it. Christian rockers Stryper had celebrity on their mind, yet the former Nedra Talley says here that she recorded Full Circle to make a statement. The best statement this artist could make, the best use of her God-given gifts, would be a solid gospel album or the popular music she was blessed to sing. The title track on Full Circle, “Unchanging Love for You,” “I Know I Love You,” and “Lean on Me” are the best tracks here. (“Lean on Me” is not the Bill Withers tune; the hook is actually stronger, and the performance is superb.) It is too bad the rest of the album does not equal these performances. Backing vocals and horns swell under Ross’ expressive voice, creating some magnificence that is missing on most of Full Circle. https://www.allmusic.com/album/full-circle-mw0000892548
August 12, 1966 first night of the Bobby Hebb /Beatles / Ronettes / Cyrkle / The Remains tour in Chicago
Another Full Circle review, the CBS artist produced by my good, good friend Wayne Wadhams
The Allen Weinberg cover of this CD features a beautiful photograph by Chip Simmons showing fields, a mountain reaching up to fluffy white clouds against a blue sky, and a young girl holding a white Hula-Hoop above her head. This cover is a good reflection of the instrumental sounds recorded in Studio A of Boston’s Berklee College and mixed at Rainbow Studios in Oslo, Norway. The music of keyboardist, arranger, and composer Karl Lundeberg is pretty and mellow. Anders Bostrom’s flute glides alongside Philip Hamilton’s percussion and use of voice as an instrument, especially in the third track, “Croton Drive.” Producer Wayne Wadhams, who had a hit in the ’60s with his group the Fifth Estate, is known for getting a sparkling clean sound, while allowing the group members to be themselves. He’s the perfect complement to this five-piece group. Their performance on “San Sebastian” is smooth and inspired. If Enya performed with Edgar Froese, it might sound something like this subtle but intense series of compositions.
https://www.allmusic.com/album/full-circle-mw0000194664
Visual Radio In Print
Radio That You Read
The History Of New England Music, Boston Rock & Roll
CHAPTER 21, BOSTON ROCK & ROLL ANTHOLOGY SERIES Hear the Anthology
HEAR THE ANTHOLOGY ON MIXCLOUD — Chapter #21 on Mixcloud: https://tinyurl.com/Anthchapter21 We’re just finalizing the booklet and working on the promotion
FOR
IMMEDIATE RELEASE
Boston Rock & Roll Anthology Chapter #21
This is the first of our thirty compilation albums where every artist on the
disc and their music have been promoted by my media company. It is a free
service for musicians who give me the honor of representing their music to
radio, print and online publications as well as critics and DJs spanning the
globe. It is truly “double exposure” as the songs that we
have been working find themselves on a fixed medium, inside a booklet, with the
advance knowledge that this music has already been played on multiple terrestrial
and online radio stations.
Yes, many of these artists have been on the rock and roll highways with me for
two, three or four decades. As publicist for Club Bohemia @ the Cantab
the weekly postings keep me apprised of who is out there in the trenches
working to entertain. It’s been twenty-three years since Boston Rock & Roll
Anthology Vol #20 so my one regret as that I didn’t keep this up on an annual
basis. Let’s plan to do that now!
___________________________________________________________________________
Greg Walsh’s New Ghosts feature the drummer from Pop Gun and Huck
2. Huck 2 worked with me in the 1990s and Pop Gun appeared with my
band at the C Note when we played the past eight or so years for Michael
Weddle’s Rat Reunions.
Phil DaRosa met me out in Springfield when Jimmy Miller’s daughter, Deena,
performed with Maxine Nightingale at the Big “E” – it was many years
ago and Phil’s “Faraday” is remarkable, inspired and quite different
from the music that he performs live.
Kitoto Sunshine Love is the daughter of our good friend Bobby Hebb (his
birthday July 26, just yesterday.) Bobby released a disco song about his
roots, “Proud Soul Heritage,” and Kitoto performs it with a
blues/Gospel feel, yours truly producing. On drums is the amazing Steve Holley
from Elton John/McCartney – Wings/Ian Hunter-Mott the Hoople, Thomas Hebb –
Bobby’s nephew, and the wonderful choir!
Kitoto’s second track, “Love You,” features Peter Calo (Carly Simon’s
music director) who is actually performing “Love You” in his live
sets; the late David Maxwell on piano in what might have been one of his final
sessions and I only wish Bobby could hear his daughter singing these amazing
songs in such a touching way.
Heidi Jo Hines and Nicola Barchiesi are Karma Car. Heidi is the daughter
of the late Jo Jo Laine and Wings’ guitarist Denny Laine. Their two songs are
unique and expressive with Beatles’ flavors the frosting on the cake.
Which is why I put “Downtime” by the Complaints next to “As It
Is,” listen to the Beatles influences on Dean Petrella – though the song
is still distinctive and original.
Michele Gear Cole wrote “Guardian Angel” for her dad and it has hooks
galore and her amazing vocal. Michele worked with Jimmy Miller in the
1980s and has the distinction of bringing both Marvin Hagler and Miller onstage
during a packed and stunning show at the Paradise Theater. Billy and
Michele have that show on tape! And got Jimmy to sing “Gimme
Shelter” with them at Syncro Sound, the Cars studio on Newbury St.
Around that time Jimmy brought me to a Keith Richards session in New
York. Keith said “Joe, you have to meet Rob Fraboni.”
Working for Rob it was my honor to promote Alvin Lee featuring George Harrison
and Jon Lord of Deep Purple for the CD ZOOM featuring “Real Life
Blues.” Rob has remastered the Bob Marley collection, has a Grammy
with Keith for a Hank Williams tribute, and engineered Goats Head Soup with
Jimmy Miller while co-producing Bridges to Babylon.
Rob spent enormous hours mastering this album over the past four days. It
shows! I love every track. From 3d, who debuted on Boston RR
Anthology #8 back in the 1980s to Fire in the Field and Empty County Band who
met me at Club Bohemia, these artists are very special to me, and their music
is – at some points – overwhelmingly beautiful.
My dear friend Pamela Ruby Russell came out to the Middle East June 1, 2019 and
met Andy Pratt (who was amazing with Mach Bell on drums and Larry Newman on
bass.) Andy introduced Pamela to Mario Gil who worked with Pamela on
“Space And Time.” It and “Walk Thru Fire” (from her Highway
of Dreams album) bring a texture to the album that complements the other
artists. Peter Calo co-produced Highway of Dreams.
Dalia Davis has been making a splash on Lowbudget Records with her Dylan
tribute to “My Back Pages” and her very creative “Beatles
Bridges,” which is a mix of bridges of Beatles songs. [Have you noticed
yet our affinity for the Stones and the Fab Four?] I asked Dalia for the folk
track, “Eleven and a Half,” as it rounds the album out nicely, though
her “Power of One” is starting to get attention at online radio.
Tom Mich’s “Table Scraps” is uniquely different and creative – I
adore it – and not because he was guitar tech for Terry Kath, the late
guitarist of the band Chicago, or the fact that he was my roommate at the dawn
of the 1980s. Matt O’Connor’s “Ballad of a Rock Star” is
a take-off, he tells me, on an unpublished song of mine, “Are You a Rock
Star Yet?” Like Mich, Matty O lived with me too, and that we’re all
still speaking speaks volumes, does it not? Love the “Sympathy for
the Devil” vocals in Rock Star!
Legendary Kenne Highland of The Gizmos is also a long-time guitarist with yours
truly. He’s also in Mad Painter, a Club Bohemia band for sure, but it was
Kenne who introduced me to Alex Gitlin. They have Mott the Hoople
influences and since our album has Steve Holley from Mott the Hoople AND Wings,
well, you can see we are writing like our heroes AND appearing on CDs with
them.
Joe Black has been working with me since the 1980s, like many on this disc.
“Blackenstein” (instrumental) may be the ultimate of many Joe Black
songs, and features Artie Knyff of L-88, the band I got to book into the
Worcester Centrum with Blue Oyster Cult all those years ago.
When our good friend Little Joe Cook was checking out Scott Couper at the
Cantab he didn’t know that Scott and his brother Jay worked with me for
years. They also backed up Denny Laine on tour. Well, recently I
couldn’t find a master tape of mine from 1979 that was missing from the Varulven
inventory. Lo and behold Jay and Scott shipped me 8 or 9 DVDs with about
EIGHT HOURS of Count music…live shows and many, many unreleased tunes.
It had the 1979 track, don’t know how they got ahold of it but they did! And
thank the good Lord, the missing tape is retrieved. “I Thought
About You” here on this album is a track from my soon-to-be released
Secret Things album that Jay produced and Scott arranged. They are
brilliant. And when Little Joe left the Cantab the brothers became the house
band for quite some time.
This is a very special album, and to be with all my friends on this disc is an
ultimate party on plastic!
Special thanks to Kenny Selcer for post production and assembling. His
resume’ is amazing doing sound for Magic Dick, Aztec Two Step, Eric Andersen
and performing in a duo with Steve Gilligan of Fox Pass and The Stompers. We
are all one big family and if you listen to this album two or three times
you’ll understand why the Boston music community is one of the greatest in the
world. The previous anthologies are fetching nice prices on eBay…you have the
privilege of hearing the future right now.
Onward
Joe Viglione
Producer, Creator The Boston Rock & Roll Anthology Series
P.O. Box 2392, Woburn, MA 01888 tel 617 899 5926
Demodeal @ yahoo.com
_____________________________________________________________________
THE HISTORY OF BOSTON ROCK AND ROLL ON FIXED MEDIA
The Boston Rock & Roll Anthology Series started in 1983 with the first
Anthology rolling off the truck and Producer Jimmy Miller marveling at a
compilation of area music. “What a great idea” Jimmy said as I
cracked open the first box and showed him
Volume 1 before anyone else in the world!
In 1979 we started off with The Boston Bootleg and 1981 The Boston Bootleg 2
which featured the beautiful legs of my graphic artist, Billie Perry. Chapter
#20 arrived in 1997 with four volumes of the Demo That Got The Deal (TM) radio
show continuing the legacy, Chapter 4 in 2014.
In between we had the U.S. Anthology #1, the Boston Jazz Anthology and the Mass
Metal album.
This will be our THIRTIETH COMPILATION of local music with many more to come.
The CD comes with a booklet, the story of the anthology series and information
on each track with the music in the back of the booklet. Produced and directed
by Joe Viglione, Varulven Records P.O. Box 2392, Woburn MA 01888 Co-sequencing
and assembling: Kenny Selcer. Mastered by Rob Fraboni.
https://www.mixcloud.com/joe-viglione/boston-rock-roll-anthology-chapter-21-on-the-joe-vig-pop-explosion-radio-show/
1 Everything But Peace – 3D 3:41
2 Space And Time – Pamela Ruby Russell
4:28
3 As It Is Karma Car 4:58
4 Downtime-The Complaints 4:36
5 Faraday – Phil daRosa 5:56
6 Proud Soul Heritage – Kitoto Sunshine Love
3:44
7 Guardian Angel – Slapback Band 4:37
8 Until The End – Empty County Band 4:09
9 Blackenstein-Joe Black 4:24
10 Table Scraps-Tom Mich Jr. 2:59
11 Counting Down to Zero (From 1) – Greg Walsh’s New Ghosts 3:19
12 The Letter – Mad Painter 2:55
13 Monster-Joe Black 4:18
14 Skeptical – Empty County Band 2:54
15 Walk Thru Fire – Pamela Ruby Russell
4:27
16 Love You – Kitoto Sunshine Love
2:45
17 Who’s Foolin’ Who – Karman Car 3:24
18 I Thought About You-Joe Viglione 2:43
19 Eleven and a Half – Dalia Davis 2:52
20)Bossman Fire in the Field
21)Ballad of a Rock Star – Matty O 2:23
July 27 is the 208th day of the year (209th in leap years) in the Gregorian calendar. 157 days remain until the end of the year. Carly Simon Was Right, we were in “the good old days” and here’s the proof.
Perhaps the new bands are technically more proficient,
but they do not have the name recognition or the star power of the New Wave of the 1970s
Jethro Tull, 1972
The Suffolk Journal Review by Joe Viglione
Ok, a little history. I graduated high school in the spring of 1972. I was Features Editor of the Chronicle by that time. Tonight I found a 1971 article (17 years of age) that the school paper under my favorite teacher, Pauline Schiel, published about drugs and doing something about it. Fast forward to my Jethro Tull review in the Suffolk Journal in college in 1972…but in the meantime I did publish music stuff in the Chronicle, reviews of Bloodrock (Capitol Records, managed by Terry Knight) and some brass band that imitated Chicago that played at AHS (Arlington High School). Also got to cover the Maysles Brothers at their Boston debut of GIMME SHELTER. So here’s my first interview, teacher Mrs. Picione before I got to go to the Charles Cinema and have a “roundtable” with the Maysles Brothers.
Then and Now, from humble beginnings with Varulven Magazine at the age of 15, to the Chronicle at Arlington High School at 17, to Suffolk University newspaper at 18 and…voila, national Goldmine and Discoveries (see Jim Kale article) and international AllMusic.com
