Joe Vig Lost Reviews

All This And World War II by Joe Viglione

2007-07-08T22:08:00.000-07:00

http://www.music.com/release/all_this_and_world_war_ii/1/

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 Philharmonicto 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. Posted by Joe Viglione Jun 18, 2004

1 Magical Mystery Tour 2 Lucy in the Sky With Diamonds 3 Golden Slumbers/Carry That Weight 4 I Am the Walrus 5 She's Leaving Home 6 Lovely Rita 7 When I'm Sixty-Four 8 Get Back 9 Let It Be 10 Yesterday 11 With a Little Help from My Friends/Nowhere Man 12 Because 13 She Came in Through the Bathroom Window 14 Michelle 15 We Can Work It Out 16 The Fool on the Hill 17 Maxwell's Silver Hammer 18 Hey Jude 19 Polytheme Pam
20 Sun King 21 Getting Better 22 The Long and Winding Road 23 Help 24
Strawberry Fields Forever 25 A Day in the Life 26 Come Together 27 You Never Give Me Your Money 28 The End

Credits
Ambrosia Bryan Ferry David Essex Elton John Frankie Laine Frankie Valli Helen Reddy
Henry Gross Jeff Lynne Keith Moon Leo Sayer Lou Reizner Lynsey de Paul Peter Gabriel Riccardo Cocciante Rod Stewart Roy Wood Status Quo The Bee Gees The Brothers Johnson The Four Seasons The London Symphony Orchestra Tina Turner William Malone

2)Mickey Thomas
3)Robin Lane Catbird Seat
4)November Group
5)Ultimate Spinach?
6)Rock & Roll Queen?
7)Dion Dimucci
8)Tracy Bonham
9)Fotomaker
10)Fotomaker
11)New Hope For The Wretched
12)Metal Priestess
13)Beyond the Valley of 1984
14)I Am Woman

Hi, It is July 8, 2007 at 11:51 PM

Sometimes the reviews for AMG get re-written and my original reviews vanish!

1)Mott The Hoople's ROCK & ROLL QUEEN
2)Dion DiMucci's Collectables album
3)Tracy Bonham's SECOND WIND
4)All This and World War II
5)Hendrix In The West
6)New Hope For The Wretched
7)Fotomaker
8)Fotomaker
9)Tanya Tucker
10)Nina Simone Jazz As Played at an Exclusive Club

5)HENDRIX IN THE WEST
6)Friends From The Beginning Little Richard / Jimi Hendrix

http://www.allmusic.com/cg/amg.dll?p=amg&sql=Aoojweaz04xs7
There are only two instances of Jimi Hendrix performing with{$LittleRichard known to exist on tape. There's the Vee Jay single, "I Don't What You Got..." Parts 1 and the live performance at Revere Beach, Massachusetts of Little Richard in concert with Hendrix on guitar, recorded by the legendary mastering engineer"Little" Walter DeVenne. According to very reputable sources, this release, Friends From The Beginning, is totally bogus. There's Aki Tomita's illustrations of Hendrix and {$Penniman} onthe front and back cover, there are ridiculous liner notes that arealmost as absurd as the ones producer {$Johnny Brantley} etched on the back of Jimi Hendrix and Lonnie Youngblood: Two Great Experiences Together - (another album reportedly containing tracks that feature a Hendrix sound alike to fill out the disc), and there's the "music".The album claims to be produced by {$Bumps Blackwell} and {$LittleRichard} but who can be sure? The version of {&"Tutti Frutti"} whichends side one sounds like a simple guitar lesson being played over aquick studio session with vintage sixties ambiance.Where a true "bootleg" album contains rare performances that fanstreasure, and a "counterfeit" is usually a reproduction of legit albumsby unscrupulous individuals, fraudulent recordings like {^Friends FromThe Beginning} serve no purpose but to confuse the public and harm thereputations of the artists whose names appear on these travesties. Thisalbum says it is a 1972 release, and it actually credits most of thesongwriting to {$Little Rchard} and {$Jimi Hendrix}. Of value to fansonly as a bizarre artifact from an industry where the artist and thepublic are both being cheated. Author {$John McDermott} from the official Experience Hendrix company has a book which sets the record straight on all this. Very necessary for an artist whose catalog isrifewith such items - it is suggested you spend your money on that. Joe Viglione All Media Guide

Reviews

Vis-à-Vis has immediate and satisfying jangle pop sensations in "Miles Away," the revved-up "Dear Prudence"-inspired "Snowblind," and the exquisitely son-of-Raspberries "Just for You." For all the extraordinary good points this album contains -- and there are many -- the band just misses the mark by not thinking in terms of a number one smash. Take "Name of the Game," a song title that ABBA utilized more efficiently, as just one example. Cars drummer David Robinson referred to Björn Ulvaeus and Benny Andersson of ABBA as true "craftsmen" -- and that is all that is missing from the first side of Fotomaker's second disc. They are a terrific pop band in need of a production team, an Ulvaeus and Andersson, to take it all to the next level. But despite the lack of a big smash single, leadoff track "Miles Away" getting to only bubble under the Top 40, side two holds some very pleasant surprises. "If I Can't Believe in You" and "Two Way Street" are both in-the-pocket, dreamy FM-friendly material, the first borrowing heavily from John Lennon's "God," the second finding inspiration in McGuinness Flint, some of the majesty you know these guys had in them from former glories. "Make It Look Like an Accident" follows the same routine and shows real promise. "Sweet Lies" is a bit of an oddity -- gritty and charging, it could be mistaken for Bachman-Turner Overdrive lite, but still manages to survive surrounded by better song structure. Vis-à-Vis had all the elements except for that perfectly positioned monster hit. It's really a shame, as this disc -- and the group's career -- deserved a better fate.

- Joe Viglione, All Music Guide

http://www.blogger.com/%3Cahttp://cgi.ebay.com/DELINQUENTS-81-S-T-LP-SEALED TEXAS-NEW-WAVE-B-52S-KBD_W0QQitemZ160074169157QQihZ006QQcategoryZ306QQrdZ1QQcmdZViewItem">http://cgi.ebay.com/DELINQUENTS-81-S-T-LP-SEALED-TEXAS-NEW-WAVE-B-52S-KBD_W0QQitemZ160074169157QQihZ006QQcategoryZ306QQrdZ1QQcmdZViewItem

align="right">

Review by Joe Viglione Live Wire Records number two is the Texas-based Delinquents in 1981 without the collaboration of late rock critic Lester Bangs, who released Jook Savages on the Brazos this same year, a collection of 11 tunes Bangs co-wrote with the band on Live Wire number three. The dozen tunes on their self-titled project owe much to the B-52's; indeed, they could be a B-52's clone band. They give thanks to Roky Erickson and Joe "King" Carrasco, but the leanings are new wave, not roots rock. "Alien Beach Party" is indicative of the entire album, short bursts of trendy sounds found in the early '80s. Becky Bickham sings and plays guitar, as does Andy Fuertsch, and on "Pain Like Bullets" she certainly sounds like she's having fun. Cool name and cool Cramps vamping on "The Wince," which opens side two, with Bickham picking up right where she left off on side one, posing edgy vocals delivering deadpan lines like, "Your best friend is a narc!" Yes, Mindy Curley's keyboards give everything a nice early-punk vibe, but on tunes like "You Just Sit There," they are the B-52's' incarnate. A fun record despite the derivation being at such a high level. China West, a musician who worked briefly with late producer Jimmy Miller, was a latter-day member of this group and may have added a bit of a twist with his eccentricities.

http://www.mp3.com/albums/165832/summary.html"> style="color: rgb(153, 51, 51);font-family:Verdana;font-size:85%;" >http://www.mp3.com/albums/165832/summary.html

This time Rod Swenson, Svengali behind the Plasmatics, takes over the production, allowing at least more of a focus. Jimmy Miller he' type=text/javascript video go music align="right" first ? ?The by of New the All a from at in and >< annotationset="{" document_author="" document_publish_date="" document_title="" document_type="" document_id="0;" lang="us" location="us" doult="false;" hassensitivetext="false;" defer="defer">www.ravenrecords.com.au", "extended": 0, "startchar": 2212, "endchar": 2234, "start": 2212, "end": 2234, "extendedFrom": "", "weight": 1, "type": ["shortcuts:/us/place/virtual/web_site"], "category": ["IDENTIFIER"] ,"context": " willing to share their music and imprints like http://www.ravenrecords.com.au/ interested in going that extra mile to"}, "lw_1183955059_13": { "text": "Tanya Tucker", "extended": 0, "startchar": 2468, "endchar": 2479, "start": 2468, "end": 2479, "extendedFrom": "", "weight": 0.35, "type": ["shortcuts:/us/instance/person/musician", "shortcuts:/us/tag/celebrity"], "category": ["PERSON"] ,"context": " music for people not familiar with {$Tanya Tucker\x27s}"} }; YAHOO.Shortcuts.overlaySpaceId = "97546169"; YAHOO.Shortcuts.hostSpaceId = "97546168"; TANYA TUCKER UPPER 48 HITS
Over 150 minutes of music from {$Tanya Tucker} appears on thisexquisitedouble disc from Australia's mailto:%7B@Raven Records}, {^The Upper 48 Hits1972-1997} opens with her terrific {&"Delta Dawn"} and closes with{&amp;amp;"Little Things"} while vocal performances and/or duets with {$VinceGill}, {$Paul Davis} and {$Paul Overstreet}, {$Beth Nielsen Chapman},{$T. Graham Brown} and {$Delbert McClinton} are found in between.Though mailto:%7B@Raven Records} has established itself with a diverse catalogranging from {$The Velvet Underground} to {$Ronnie Spector}, {$JoePerryProject}, {$Captain & Tenille} and so many others, their countrycatalogcontains releases from {$Dolly Parton}, {$Rosanne Cash}, {$Hoyt Axton},{$Gram Parsons} and more, so this beautiful double CD set is no flukeorone-off. Tucker's pop leanings come through loud and clear, and linernotes author {$Keith Glass} makes a keen observation regarding "thispowerful recording" of {&"Delta Dawn"} getting passed over by Top 40radio for "the less atmospheric{$Helen Reddy} recording that reached number one..."Indeed, only {&"Lizzie And The Rainman"} reached the Top 40, and thatjust barely in the middle of 1975. This compilation is proof of howthis artist's bright and bouncy pop could very well have livened up'70's and '80's hit radio but was strangely relegated to the genreTanyais most associated with. There's a reproduction of her appearance on the cover of {-Rolling Stone} magazine and that famous pose of the singer holding sticks of dynamite in the sixteen page booklet, but it's the well crafted music which is a revelation for those who never listened to country radio and have this compilation as their introduction to Tucker. {&"Don't Believe My Heart Can Stand AnotherYou"} is a standout on disc one, {"(Without You) What Do I Do With Me?"} the same on disc two, both surrounded by a boatload of great songs. It's staggering to think she had 10 Country #1 hits and 21 Top 5's, so mailto:%7B@Raven} accurately touts this as the "ultimage multi-label double CD hits collection." With licensing more popular in the new millennium - major labels being more willing to share their music and imprints like

http://216.239.51.104/search?q=cache:thVLQJv28ykJ:www.livedaily.com/artists/discography/album/R%2520%2520%2520695218.html+janis+joplin+joe+viglione&hl=en&amp;ct=clnk&cd=59&gl=us

Jazz as Played in an Exclusive Side Street Club [Charly UK]Release date: 2002Nina Simone's first official album, 1958's Jazz as Played in an Exclusive Side Street Club, is pure perfection, an amazing accomplishment for a 24-year-old pianist arranging and singing studio renditions of songs from her live set. Captured here are moments of intrigue, as Simone magically takes the listener through musical caverns that want to be explored again with repeated spins. The rendition of "Plain Gold Ring" is exotic and draws the listener back, just as the Richard Rodgers/Lorenz Hart classic "Little Girl Blue" (the alternate title of the album stamped on the label of the vinyl as well as on the back cover) is a gorgeous work of art, Simone adding the melody from the traditional "Good King Wenceslas" to the standard Janis Joplin would bring to rock audiences a decade later. The cover photograph of the artist on a park bench in Central Park is a play on her only songwriting contribution, "Central Park Blues," which concludes the LP. In her autobiography, Simone gives insight into the recording of this masterpiece, an album that sets different tones with each melodic adventure. The uptempo blues of "Mood Indigo" drops quietly into "Don't Smoke in Bed" and the even deeper blues of "He Needs Me." One can hear Billie Holiday's influence pushing Simone on her own musical path. While Roger Williams was tearing up the popular charts with his middle-of-the-road magic, Simone elegantly plays her jazz with adult contemporary leanings, cracking the Top 20 herself with "I Loves You, Porgy" in 1959. Jazz as Played in an Exclusive Side Street Club (aka Little Girl Blue) is a superb fusion of jazz, blues, and pop that reveals something new each time it is played. ~ Joe Viglione, All Music Guide - Joe Viglione

2007-07-08T21:40:00.001-07:00

http://web.archive.org/web/20070208025857rn_3/community-2.webtv.net/@HH!7A!BD!19FF17D5BAEA/pubmac/

Pages of Publicity Machine

music business monthly
	May 2002 for the new Music Business Monthly

MICK TAYLOR ON VISUAL RADIO #115, July 9, 1999, front page story
	Visual Radio #115

All New Music Business Monthly
	Nancy Foster, former music editor of Oui Magazine, on film, Joe Tortelli talks politics, Joe Viglione on music, and Janis Reed!

Chapter 8: The Visual Radio Story
	The continuing saga of America's Best Loved Public Access Television Program

Jimi Hendrix Experience Reviews
	Interview with John McDermott, Stan Stanski, and the Shawn Britton Mobile Fidelity interview

The Quarrymen Live August 26, 1999; Band On The Run, Badfinger
	Veatles

Varulven Web Ranking & Statistics
	web information on varulven web rankings

Chapter 10: The Visual Radio Story
	The continuing saga of America's best loved cable access program

FILLMORE EAST
	Amalie Rothschild's book reviewed

renay/troy

Chapter 11, The Visual Radio Story
	Letter to Woburn Mayor 2-23-2000

official bobby hebb fan club
	the official fan club for the legendary bobby hebb

LOU REED / JOHN CALE
	Interviews with Lou Reed, John Cale, Eric Anderson

IAN MCLAGAN
	Keyboard player with The Faces, Rod Stewart, Billy Brag

HOTLINE TO THE UNDERGROUND tm
	Joe Viglione's commentary on music, books, film, theater, art, poetry, video, public access television, radio, and the media.

Finding Your Leading Man: An Interview with Jon Bloch
	Interview and Review of book

SESSION 9
	A Film Review by Joe Viglione

Viglione Record Reviews on AMG
	Reviews of New England Recording artists on All Media Guide

rolling stone
	Rock journalist Joe Viglione's reviews of albums on Rollingstone.com

insound
	joe viglione's reviews and biographies on www.insound.com

artistdirect
	joe viglione's reviews on artist direct.com

jandrmusic
	joe viglione's reviews on jandr music

Joe Vig The Lost Reviews

2007-07-08T20:50:00.000-07:00

Hi, It is July 8, 2007 at 11:51 PM

Sometimes the reviews for AMG get re-written and my original reviews vanish!

1)Mott The Hoople's ROCK & ROLL QUEEN
2)Dion DiMucci's Collectables album
3)Tracy Bonham's SECOND WIND
4)All This and World War II
5)Hendrix In The West
6)New Hope For The Wretched
7)Fotomaker 1
8)Fotomaker 2
9)Tanya Tucker
10)Nina Simone Jazz As Played at an Exclusive Club

5)HENDRIX IN THE WEST

http://sites.estvideo.net/clf/details/14858.html
AMG REVIEW: Before the Alan Douglas era set in with that after-the-fact producer's vision for the Jimi Hendrix catalog of music on albums like 1975's Crash Landing and Midnight Lightning, manager Michael Jeffery had engineers Eddie Kramer and John Jansen develop compilations after 1971's The Cry of Love, those being the Rainbow Bridge Original Motion Picture Soundtrack (actually, studio tracks and a cut from the May 30, 1970 Berkeley Community Center concert) and this quick follow-up, Hendrix in the West at the end of 1971/early 1972. With a version of "Sergeant Pepper's Lonely Hearts Club Band" and the traditional British National Anthem, "The Queen," culled from the Isle of Wight concert (but not the single-disc 1971 Polydor Isle of Wight release); "Lover Man," "Johnny B. Goode," and "Blue Suede Shoes" from the Berkeley Community Center concert (the "Johnny B. Goode" track would be re-released the next year along with "Purple Haze" from the Berkeley concert on Reprise Records' Sound Track Recordings From the Film Jimi Hendrix); and "Red House," "Little Wing," and "Voodoo Chile" from the San Diego Sports Arena, this album strangely works. Maybe because it is Jimi Hendrix and his music somehow had the ability to rise above all the mutations his performances would endure in the years after his passing. The Jim Marshall photos are beautiful, and the seamless production by Eddie Kramer and John Jansen makes for a commercial and interesting mixture of the two versions of the Jimi Hendrix Experience: Mitch Mitchell and Noel Redding from the San Diego Sports Arena, and Mitch Mitchell and Billy Cox from both Isle of Wight and the Berkeley Community Center. Author Steven Roby gives a clear explanation of how this album developed on page 171 of his book Black Gold: The Lost Archives of Jimi Hendrix, citing engineer Eddie Kramer and manager Michael Jeffery's ideas for the project. Roby's book also states that material on this release came from England's Royal Albert Hall, but that information is not on the liner notes. It's an interesting release for the fans in the immediate time after the loss of Hendrix, and a guilty pleasure for purists years after the fact. — Joe Viglione

6)Friends From The Beginning

http://www.allmusic.com/cg/amg.dll?p=amg&sql=Aoojweaz04xs7

Fri, 18 Jan 2002 09:42:24 -0500 (EST)





There are only two instances of {$Jimi Hendrix} performing with
{$Little
Richard} known to exist on tape. There's the {@Vee Jay} single, {&""I
Don't What You Got..." Parts 1 & 2"}, and the live performance at
Revere
Beach, Massachusetts of {$Little Richard} in concert with {$Jimi
Hendrix} on guitar, recorded by the legendary mastering engineer
"Little"{$Walter DeVenne}. According to very reputable sources, this
{@Alfa} release, {^Friends From The Beginning} is totally bogus.
There's {$Aki Tomita's} illustrations of {$Hendrix} and {$Penniman} on
the front and back cover, there are ridiculous liner notes that are
almost as absurd as the ones producer {$Johnny Brantley} etched on the
back of {^Jimi Hendrix and Lonnie Youngblood: Two Great Experiences
Together} (another album reportedly containing tracks that feature a
{$Hendrix} sound alike to fill out the disc), and there's the "music".
The album claims to be produced by {$Bumps Blackwell} and {$Little
Richard} but who can be sure?  The version of {&"Tutti Frutti"} which
ends side one sounds like a simple guitar lesson being played over a
quick studio session with vintage sixties ambiance.
Where a true "bootleg" album contains rare performances that fans
treasure, and a "counterfeit" is usually a reproduction of legit albums
by unscrupulous individuals, fraudulent recordings like {^Friends From
The Beginning} serve no purpose but to confuse the public and harm the
reputations of the artists whose names appear on these travesties. This
album says it is a 1972 release, and it actually credits most of the
songwriting to {$Little Rchard} and {$Jimi Hendrix}.  Of value to fans
only as a bizarre artifact from an industry where the artist and the
public are both being cheated.  Author {$John McDermott} from the
official {@Experience Hendrix} company has a book which sets the record
straight on all this. Very necessary for an artist whose catalog is
rife
with such items - it is suggested you spend your money on that.

Joe Viglione  All Media Guide

http://cgi.ebay.com/Fotomaker-Vis-a-Vis-New-Retail-CD_W0QQitemZ160116579176QQihZ006QQcategoryZ307QQrdZ1QQcmdZViewItem

Reviews

- Joe Viglione, All Music Guide

http://search.stores.ebay.com/joe-viglione_W0QQcatrefZC6QQfromZR10QQfrtsZ200QQfsooZ2QQfsopZ32QQftrtZ1QQftrvZ1QQftsZ2QQrprZ69QQsabfmtsZ1QQsacatZQ2d1QQsaobfmtsZinsifQQsatitleZjoeQ2bviglioneQQsifZ1QQsofpZ4

http://cgi.ebay.com/DELINQUENTS-81-S-T-LP-SEALED-TEXAS-NEW-WAVE-B-52S-KBD_W0QQitemZ160074169157QQihZ006QQcategoryZ306QQrdZ1QQcmdZViewItem

http://www.mp3.com/albums/165832/summary.html

This time Rod Swenson, Svengali behind the Plasmatics, takes over the production, allowing at least more of a focus. Jimmy Miller he's not, but rather than get in the major producer's way, which is what Swenson did on 1980's New Hope for the Wretched, he at least has the opportunity to expand the sounds on this 1981 disc by letting his ideas flow unobstructed by professional help. Opening with a dark prayer called "Incantation," which slams into "Masterplan, this, indeed, was a band tailor-made for DVD. The album cover looks like Mad Max meets Terminator 2 in the desert, Wendy Orleans Williams needing the chance to be the Marilyn Manson of her day rather than Swenson's puppet. "Masterplan still has the thin drum sound from the first record, only this time Stu Deutsch has been replaced with original Alice Cooper drummer Neal Smith. It is pure punk, a live version showing up this same year on the Metal Priestess EP, but not as cohesive as this version. On "Headbanger," Wendy O communicates more comfortably, and the band's keyboard and guitar phasing makes it one of the most produced, and best, tracks on the record; Richie Stotts' guitar solos are amazing here. The band really had merit, the upside was that Rod Swenson knew how to promote, the downside was that his involvement comes off like the record version of an Ed Wood flick. Recruiting the Angels of "My Boyfriend's Back" fame for backing vocals on "Summer Nite," and giving Wendy O'Williams a tender moment was a great idea; too bad Jimmy Miller didn't have this material to work with. Neal Smith's drums get the sound they deserve, and the tune comes off like a new wave answer to "Leader of the Pack." Good chorus, and it should have been a huge MTV hit; Fee Waybill would've been a perfect foil for the tune. "Sex Junkie" has Wendy O sounding like a female Alice Cooper, that personality missing from New Hope for the Wretched gets a chance to at least emulate the man who pioneered this genre. As with New Hope for the Wretched, the abilities of Richie Stotts and Jean Beauvoir were totally underutilized, and maybe Bob Ezrin and the entire original Alice Cooper group is what this act needed. Why did they just go for a little name recognition with Cooper's drummer when they could have simply hired his former band? "Sex Junkie" also found itself re-released later in the year from a concert tape to augment the four Dan Hartman studio songs on Metal Priestess, but the version here has the more sinister Alice Cooper-style vocal which gets sort of lost on the live take. Williams even slyly references the artist's Killer in the song "Hit Man," which, like "Plasma Jam," was recorded live in Milan. Rather than be the mess that "Hit Man" and "Living Dead" are, the instrumental "Plasma Jam" gets the band to show it actually has chops, Stotts guitar a blazing on this one, it is pop metal that didn't give the Jeff Beck Group any sleepless nights, but is a decent groove with appropriate Black Sabbath riffs as the tune melts into a slower tempo. "Pig Is a Pig," like "Nothing" on the previous side, is good headbanger rock, and probably what endeared her to Lemmy of Motorhead. These B movie recordings would have been hugely successful had they the video to go along with the stunning visuals of the album covers. The moral of the story: a porno filmmaker should've stuck to his craft. ~ Joe Viglione, All Music Guide [-] Collap

TANYA TUCKER

  TANYA TUCKER   UPPER 48 HITS

Over 150 minutes of music from {$Tanya Tucker} appears on this
exquisite
double disc from Australia's {@Raven Records}, {^The Upper 48 Hits
1972-1997} opens with her terrific {&"Delta Dawn"} and closes with
{&"Little Things"} while  vocal performances  and/or duets with {$Vince
Gill}, {$Paul Davis} and {$Paul Overstreet}, {$Beth Nielsen Chapman},
{$T. Graham Brown} and {$Delbert McClinton} are found in between.
Though {@Raven Records} has established itself with a diverse catalog
ranging from {$The Velvet Underground} to {$Ronnie Spector}, {$Joe
Perry
Project}, {$Captain & Tenille} and so many others, their country
catalog
contains releases from {$Dolly Parton}, {$Rosanne Cash}, {$Hoyt Axton},
{$Gram Parsons} and more, so this beautiful double CD set is no fluke
or
one-off.  Tucker's pop leanings come through loud and clear, and liner
notes author {$Keith Glass} makes a keen observation regarding "this
powerful recording" of {&"Delta Dawn"} getting passed over by Top 40
radio for "the less atmospheric
{$Helen Reddy} recording that reached number one..."
Indeed, only {&"Lizzie And The Rainman"} reached the Top 40, and that
just barely in the middle of 1975. This compilation is  proof of how
this artist's bright and bouncy pop could very well have livened up
'70's and '80's hit radio but was strangely relegated to the genre
Tanya
is most associated with.  There's a reproduction of her appearance on the cover of {-Rolling Stone} magazine and that famous pose of the singer holding sticks of dynamite in the sixteen page booklet, but it's the well crafted music which is a revelation for those who never listened to country radio and have this compilation as their introduction to Tucker.  {&"Don't Believe My Heart Can Stand Another
You"} is a standout on disc one, {"(Without You) What Do I Do With Me?"} the same on disc two,  both surrounded by a boatload of great songs. It's staggering to think she had 10 Country #1 hits and 21 Top 5's, so {@Raven} accurately touts this as the "ultimage multi-label double CD hits collection."  With licensing more popular in the new millennium - major labels being more willing to share their music and imprints like www.ravenrecords.com.au interested in going that extra mile to satisfy the fans - a project like {^The Upper 48 Hits 1972-1997} becomes all the more vital in putting a career into perspective.  Surprisingly
accessible music for people not familiar with {$Tanya Tucker's} work.

http://216.239.51.104/search?q=cache:thVLQJv28ykJ:www.livedaily.com/artists/discography/album/R%2520%2520%2520695218.html+janis+joplin+joe+viglione&hl=en&ct=clnk&cd=59&gl=us

Jazz as Played in an Exclusive Side Street Club [Charly UK]
Release date: 2002
Nina Simone's first official album, 1958's Jazz as Played in an Exclusive Side Street Club, is pure perfection, an amazing accomplishment for a 24-year-old pianist arranging and singing studio renditions of songs from her live set. Captured here are moments of intrigue, as Simone magically takes the listener through musical caverns that want to be explored again with repeated spins. The rendition of "Plain Gold Ring" is exotic and draws the listener back, just as the Richard Rodgers/Lorenz Hart classic "Little Girl Blue" (the alternate title of the album stamped on the label of the vinyl as well as on the back cover) is a gorgeous work of art, Simone adding the melody from the traditional "Good King Wenceslas" to the standard Janis Joplin would bring to rock audiences a decade later. The cover photograph of the artist on a park bench in Central Park is a play on her only songwriting contribution, "Central Park Blues," which concludes the LP. In her autobiography, Simone gives insight into the recording of this masterpiece, an album that sets different tones with each melodic adventure. The uptempo blues of "Mood Indigo" drops quietly into "Don't Smoke in Bed" and the even deeper blues of "He Needs Me." One can hear Billie Holiday's influence pushing Simone on her own musical path. While Roger Williams was tearing up the popular charts with his middle-of-the-road magic, Simone elegantly plays her jazz with adult contemporary leanings, cracking the Top 20 herself with "I Loves You, Porgy" in 1959. Jazz as Played in an Exclusive Side Street Club (aka Little Girl Blue) is a superb fusion of jazz, blues, and pop that reveals something new each time it is played. ~ Joe Viglione, All Music Guide - Joe Viglione