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Lots of You in My Life Mastered by Rob Fraboni June 7 2024


Lots of You in My Life, the new single from Joe Viglione

Mon, May 27 at 12:40 AM
Great chorus old chap
Sent from Peter Noone  – Herman’s Hermits

Sun, Apr 7 at 4:24 PM
Joe you still got it. I mean that 
Richard Sullivan 
Transit Police Department  (MBTA)


Click here:


Lots Of You in My Life by Joe Viglione
Has been registered.
The work ID is: 925271967

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

Reverb Nation

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


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)

Hear the song on Spotify : https://open.spotify.com/track/3pocTI9UK3eYr5ZjDdf8LE

Read a review here:

Join me on Twitter Joe Viglione
@JoeViglione https://twitter.com/JoeViglione




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Graphics: Shawn Fahey, Photo: Joe Viglione 9/10/21

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a few quotes:

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, 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



Quoted in New York Times (Hendrix) Boston Globe (Hendrix) Radio & Records (Ian Hunter’s Rant)


Joe Viglione / Varulven Records
tel 617 899 5926  

email: demodeal@yahoo.com

The Demo That Got the Deal Radio Show ™

   #JoeViglioneMedia has promoted some of the greatest rock and roll artists in history.

Boston RR Anthology #21 Now at retail http://joeviglione.com/?p=1796




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with Mick Taylor, Rolling Stone

with Burton Cummings, The Guess Who

with Dennis Lehane, author

with Felix Cavaliere, the Rascals

Rob Gronkowski, Bob Hydlburg and Joe Viglione

with Peter Noone, Herman’s Hermits

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 1980s
Performing at JUMBO’S, Opening for The Guess Who
Photo by Rocco Cippollone
Boston Phoenix, Opening for Mick Taylor at The Paradise
Radio 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


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




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

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
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

Lost review by Joe Viglione