Joe Viglione's been writing reviews since he published his own movie/music fan magazine in 1969...from there the Arlington High School "Chronicle" published his musical essays as did The Suffolk University Journal...from there it was on to Musician's, Goldmine, Discoveries, AllMusic.com, Radioworld and more. This is his ongoing essay of thoughts about the music he is reviewing - or CDs /DVDs/ entertainment items he feels need to be discussed...also read JoeVigTop40.blogspot.com
The angst found in Audioscam's approach to the music of Abba gone hard rock comes back with a vengeance on this original. In fact, it rocks harder, with an edgier feel and real determination. The guitar underlines and defines this new five song e.p. in a majestic yet cutting way. Songs about girls and their complexities continue the Audioscam saga, but Batesfield opens it up and lets it rip. It's Americana for the folk rock of the United States, but down under it's Australiacana - imagine the Allman Brothers deciding to go Tom Petty as the guitar battle leads the way on the fade out at 3:58.
JUST LIKE JAMAICA
"Awayo" on Audioscam 3 contains a lighthearted froth that was fun pop with a quasi Caribbean, perhaps even a Mediterranean flavor, as does "Bridgetown Girls," but here with Just like Jamaica the band redefines its approach. For those who felt Colin Hay and Men at Work went too far to the musically conservative right, Brian Pitcher and Brad Wallace of Audioscam keep the edge and the underground front and center. That doesn't mean the song doesn't have the potential to pop into the mainstream, it does. For those awaiting the sequel to one of Elton John's finest song, "Island Girls," this writer feels "Just Like Jamaica" is it. Simply terrific.
BABY DONE BAD - 3:37
A superbly blitzing opening riff has this track rocking like early Kinks fighting off the Beatles, the guitars keep their short bursts blasting with a melody that could be a second cousin to Humble Pie's classic "Thirty Days in the Hole." "Baby done bad, baby done good" with a little sensual schizophrenia. Short and sweet and to the point.
Thirty Days in the Hole - Humble Pie
https://www.youtube.com/watch?v=sdXjm8pZMws ____________________________________________________ Hand of Sin 3:59 Smart, techno moves and grooves this stunningly different approach from Audioscam, "Hand of Sin" can charge up the dance floor and begs for a lengthy dance mix. The production is pure dynamite and the song structure, melody and theme all dynamic and extremely appealing. _________________________________________________ Get Used To This 3:59 The rhythmic guitars and leads dominate on an equal setting with the vocals, but it's the keys and jingle jangle guitar that beg for more airtime. There are all sorts of musical delights that weave in and out of the production, and this tune in particular would work with multiple mixes. There's so much on the buffet platter, tasty sounds that buoy the song
Sweetzerland Manifesto is Joe
Perry having fun again, as he did with 1982/1983’s Once A Rocker Always a
Rocker, only more so. “Rumble in the
Jungle” is no relation to Jethro Tull’s 1974 epic, “Bungle in the Jungle,” it
is an exciting soundscape arranged by the Aeromsith guitarmaster with drums
programmed by one of Joe’s sons, Anthony Perry, percussion and vocals from
Colin Douglas with backing vocals by Colin and co-producer Jack Douglas. It is both highly entertaining and not anticipated
music, the avant garde approach(for you young readers “new and unusual or experimental ideas,
especially in the arts, or the people introducing them”) that permeates the
entire album in a surprising and very positive way. JP’s
arrangement is sublime with a descending line straight out of the late producer
Jimmy Miller’s Spencer Davis/Chicago classic “I’m a Man.”
vocalist Terry Reid brings his talents to “I’ll Do Happiness,” and it is a
revelation with magical quasi-gospel backing vocals, Zack Starkey’s drums and
riveting guitar work from Perry. The album
is a montage of different vibrations, much like – coincidentally – the current
release from Jimi Hendrix – Both Sides of the Sky. The difference being, of course, that the
Hendrix disc is a compilation (the third and concluding part of an amazing
trilogy of releases from Jimi for we musicologists) whose titles would most
likely never have been placed in this order by the artist - because they would
have appeared in different spaces of the Hendrix catalog, if at all… Joe Perry gets to place his work carefully,
and the sequencing grooves very nicely.
“Aye Aye Aye” features Robin Zander on vocals
and is a co-write with JP. *The song
and Robin’s appearance reminds me of a Cheap Trick Orpheum show where a young
lady had her breasts autographed by Zander (???)…she saw me and said “Joe, what
are you doing here? You don’t like Cheap
Trick!” I replied “I’ve come to Fxxx Robin
Zander,” which, of course, wasn’t true because he’s not my type…except for his being
featured on this disc, which is how we want him, adding spice to this most
recent “Perry Project,” which IS a project and unfolds with all sorts of amazements.
Wanna Roll” is a co-write with David Johansen, the New York Dolls singer on
vocals, co-produced by Jack Douglas with Zak Starkey’s boom boom jungle beat
drumming throughout and a beautiful
interplay between dad Joe Perry’s guitar and son Roman Perry’s synth.
Aerosmith fans will
be delighted with the album’s independent identity and image. “I Wanna Roll,”
“Rumble in the Jungle,” “I’ll Do Happiness,” the convergence of multiple voices
– Johansen, Zander, Reid on their respective contributions with Joe Perry singing P.F. Sloan’s immortal classic, “Eve of
Destruction,” brings a cohesive variety that makes the appeal great for the
audience beyond the millions and millions of Aerosmith fans out there.
the successful 1999 Supernatural disc from Santana (15 times platinum in the
U.S.) was intentionally jolting, reaching a massive audience but flowing in a
jagged fashion, Sweetzerland Manifesto brings the dissimilar chord changes into
the fold smoothly, allowing for a good listen from track to track without the
lurching that Santana’s masterpiece felt for the listener over the first few
Back to “Eve of Destruction,” that 1965 #1 hit from Barry Maguire of the New Christy
Minstrels, great choice for a cover in these times, the dark, blues-based pop
song is portrayed here as a slow,
methodical stomp, and a “180” from the opening neo-science fiction aura of “Rumble
in the Jungle.” Speaking of Neo
(from the Matrix this time,) Perry’s attire within all five photos of the album
jacket and panels has Perry as the dominant force that he is. Each Joe Perry solo project has merit, and where
out-takes from 1983’s Once a Rocker would make for an impressive re-release of
that outing, Sweetzerland Manifesto is something more. It is one part incredible blues album with “I’m Going Crazy,” “Haberdasher
Blues,” “Sick and Tired ”(you won’t be able to get Terry Reid’s angry and
naughty vocal out of your head) all morphing on track 10 back to hard rock as “Won’t Let Me Go” is
straight out of Deep Purple’s “Perfect Strangers,” and equally as memorable.
There are two bonus
tracks on the Record Store Day release (April 21, 2018)that we can all look
forward to while Perry appears at the House of Blues in Boston on April 18,
2018, with a band that we hear is full of big surprises. All in all, Joe Perry has delivered the
unexpected with this disc; it is one of those albums that you will pull out
and play repeatedly. It’s not just very,
very good, Sweetzerland Manifesto is extraordinary.
Boston Globe critic of the day had passes and invited me to the Cheap
Trick show. Honestly, the only thing I remember about the night is the
magic marker on the young lady's breasts with Robin Zander's name...I
still can't get into Cheap Trick's music)
Australia's Raven Records has released another important retrospective -- a focus on guitarist Joe Perry's three solo albums and the three frontmen who put their voices on those discs. Ralph Mormon performed on Let the Music Do the Talking prior to his stint in Savoy Brown, and that may have been the better band for his bluesy voice. The excellent liner notes by Ian McFarlane give a very clear history of "The Project" and their accuracy is amazing. Given Aerosmith's success, it is odd that Sony hasn't released a similar compilation -- or that this one isn't being imported in droves, since Perry is a legend, and his work while estranged from the hard rock phenomenon that is Aerosmith deserves attention, no matter how dark the period was for the guitarist personally. The album is a very good overview while purists and fans would, of course, prefer two CDs and all the tracks. "Listen to the Rock" from I've Got the Rock & Rolls Again is missing, and that was one of their key tunes; also, there were numerous outtakes or demo tapes from the period of Once a Rocker, Always a Rocker -- lead singer Mach Bellplayed one for this writer called "When Worlds Collide" and it is incredible -- those aforementioned tracks and other goodies would have really rounded this out. But these are minor quibbles. Hearing each phase of the Joe Perry Project from start to finish is textbook rock & roll and highly enjoyable. Charlie Farreneventually landed his own deal on Warner Bros. with Farrenheit, but imagine if Perry had stayed along for that ride? The music in the middle of this disc -- "East Coast, West Coast," "Buzz Buzz," and "I've Got the Rock & Rolls Again" -- were indicators of a developing sound, and Farren was the perfect partner for Perry to develop a sound to rival, not revisit, Aerosmith. Thundertrain lead singer Mach Bell, on the other hand, is truly the guy to add chaos to this touring unit. Bell is one of the most charismatic frontmen from the New England music scene, and his Thundertrain band mixed Rolling Stones with Slade, so Perry traded a vocalist/songwriter for a total madman. The video of track 16, "Black Velvet Pants," is a story in itself, and it shows Bell in all his rock & roll glory, while the inclusion of T. Rex's "Bang a Gong" is the one cover, and perfect for Mach with his British rock leanings. The three phases of the Joe Perry Project -- blues singer Mormon, songwriter/vocalist Farren, and stage performer Bell -- is a vitally important chapter in American rock & roll, which Raven and McFarlane have lovingly packaged and preserved. If any reissue has a chance of finding a new audience, this is it.
1)The Beatles Happiness is a Warm Gun 2)The Band Daniel and the Sacred Harp 3)The Beatles The Word 4)Interview with Fallon O'Brien of Fallon's Daily Toast 5)Positive Negative Man "Ice Queen of Outer Space" 6)Joe Rich "Sex on the Beach" 7)Gary DeCarlo and Steam "Na Na Hey Hey Kiss Him Goodbye" 8)Mobiel Steam Unit "Your Working Boy" 9)Instant Shawarma "Waves" 10)Ferron "Shadows on a Dime" 11)Blue Manic "Stoned" 11)Elsewhere "1981" 13)John LaPrade Soul Shaker" 14)Jeffland "The Rain" From Jeffland 12 No Condiments, Please 15)Mark Farner "Just One Look"
16)Jesse and the Hogg Brothers "Wish I Did More with My Life"
17)Samantha Allen - The Arsonist's Daughter
18)Matt Turk I'd Love to Change the World
19)Ray Paul You Don't Have to Prove Your Love
20)Fred Gillen Jr. The Price of Progress
21)Fil Ramil "Anything You Want" (within Reason) 3:19 22)Geoff Pango & Mr. Curt Not Bad (But Could be Better) also 3:19
23)Nick Zaino Hello, Moon - Blue Skies and Broken Arrows
Caught the Zombies about at a theater in New Hampshire some years back, and they were amazing. Colin Blunstone's voice pure and clear, "Say You Don't Mind," the hit Colin had solo written by Denny Laine (Brian Hines) of the bands Wings/The Moody Blues, along with Argent's "Hold your Head Up," from keyboardist Rod Argent, and - of course - "Time of the Season," one of the all-time great pop songs. If memory serves Pete Best, Beatles' drummer, opened with a very fun set resembling garage rock, a nice pairing. Sunday night March 4, 2018 at the City Winery Boston, across the street from the TDBanknorth Garden. 80 Beverly Street http://www.citywinery.com/boston/80 Beverly Street , Boston, MA, 02114 - 617-933-8047
Music by: Matthew Burke, Matthew Noyes, Zach Halstrom, Robert Orenstein Lyrics by: Matthew Burke Produced & Engineered by: Matthew Burke Mixed & Mastered by: Kevin Caraffa Album Art by: Ian Walker https://www.facebook.com/BeaconProjectBand/
"When I'm President" Ian Hunter starts off the Wednesday 2-14-18 show!
Guest co-host Johnny HallofFame and Joe Vig on the POP EXPLOSION 2-14-18https://www.mixcloud.com/joe-viglione/joe-vig-pop-explosion-2-14-18-part-1-with-kenny-selcer-john-kinnally-with-guest-mary-gatchell/ Songs on playlist 1)Ian Hunter "When I'm President, 2)Kim Carnes "Bette Davis Eyes" acoustic 3)Interview John and Kenny 4)The Rolling Stones "Gimme Shelter" Altamont, 5)Ian and Sylvia "You Were On My Mind," 6)Wildweeds with Al Anderson "No Good to Cry," 7)Jeff Mastroberti "What's Reality," 8)Girl On Top "Space Oddity," 9)Kenny Selcer live in BFR studios "Yes, You and Me" (Kenny Selcer with Steve Stephen L Gilligan) 10)Jesse and The Hogg Brothers "Hogg Tail Twist" 11)Jack Phillips "I Love New York" 12)Mary Gatchell interview, 13)Kenny Selcer "Say You Will" Part 2 14) Greg Kihn "The Life I Got" 15)Genya Ravan Ian Hunter "Junkman" 16)Cat Mother and the All Night Newsboys "Keep Playing that Rock n Roll" 17)Ian Hunter "Dandy" 18)John Cale "Big White Cloud"19)John Cale "Big White Cloud," 20)Heidi Jo Hines "All Along the Watchtower" 21)essra Essra Mohawk "Spiral" Fun show today with Kenny Selcer performing live, Mary Gatchell and Jesse Braintree calling in. Show is copyright (C)2018 Joe Viglione / Joe Vig Pop Explosion / Visual Radio, all rights reserved. https://www.mixcloud.com/joe-viglione/joe-vig-pop-expl-part-2-feb-14-2018-with-john-kinnally-kenny-selcer-jesse-braintree-from-hogg-bros/
Ian Hunter - vocals, guitar, keyboards Steve Holley - drums, backing vocals Paul Page - bass guitar Dennis DiBrizzi - keyboards James Mastro - guitar Mark Bosch - guitar _________________________________________________ Rock Journalist Joe Vig explores a brand new place to play! Sunday night at the City Winery Boston, a new venue that opened December 2017, Ian Hunter's Rant band wrapped up the two night stand in this classy environment. Comfortable, low-key blue light rains softly over the dinner tables creating what has to be one of the great atmospheres for entertainment in this six-state region. The charging sounds opened the show at 7:08 pm with the band mostly dressed in black (the exception being of a stray red shirt on one of the guitarists) and Ian Hunter rocking' like a man in his twenties or thirties, as timeless as Peter Noone, and continuing to spread his gospel to we who have been attending his concerts since the early 1970s. It's an interesting thing reviewing a concert in the 2018 age of YouTube where video clips from previous concerts proliferate. At an Ian Anderson solo-from-Tull concert a few years back, Ian had mentioned in the interview prior to the show that he didn't like the audience taping him...the first notes of Aqualung had a sea of cellphones in the air rather than the cigarettes we witnessed in the 70s and 80s, and this critic's thinking "Anderson's worst nightmare!" Without getting a "refresher course" from these clandestine videos on the web, one has to rely on the memory of a fun night of rock and roll, and his (or her) notes...the experience as a whole rather than the single song or two. However, I shall try to reconstruct my own recollection of Sunday at the City Winery, so here we go! On this night Ian Hunter performed mostly his solo material from the multitude of solo discs. Interesting that for me the music from the newest, Fingers Crossed, stood out, especially the title track, Ghosts and the sublime "Dandy," Backstage I noted to Ian that "Dandy" is a perfect tribute song, tucking in pieces of David Bowie song titles and life events without becoming tacky or maudlin. Indeed, it feels as if it is a Bowie/Hunter co-write, created in the style of La David, the intro guitar lick almost an inverted and truncated inspiration from the Mick Ralphs / Mick Ronson magic of the All the Young Dudes opening sequence. A constant reconfiguration on such masterpieces as "Honoloochie Boogie" and "Roll Away the Stone" were welcome treats on the albums Mott and The Hoople, respectively. The opening guitar riff on "When I'm President," though, is totally unique and this particular tune is fast becoming my favorite all-time Hunter composition (along with "Dandy" now) - https://www.youtube.com/watch?v=RMsrwP8pCgk Music that is masterful, memorable, entertaining and extraordinary in a world where radio has gone haywire; radio which is supposed to spread the gospel instead is carefully constructed with 200 songs that zombies, not listeners, expect to hear when they get into their car to go to or come home from work. Freeeeebird and Sweet Home Night Moves be damned, would you rather hear boring old Eagles for the nine millionth time or Ian singing "Welcome to the Pit and the Pendulum...I'm gonna lean on the 1 percent, when I'm President..." Live the tunes reflected their respective recordings (When I'm President CD title track, August 2012; "Dandy" from Fingers Crossed, September 2016) and that's thanks to Hunter's creativity and wise choices in musicianship. It's amazing that these legendary performers backing up Ian Hunter are not often mentioned in reviews... "One Take Steve" Holley has toured with Hunter on and off since 1987, having met the Mott the Hoople frontman in 1978. Dennis DiBrizzi has appeared playing keyboards on Genya Ravan recordings, bassist Paul Page performs with Holly in their own project, the Sidney Green Street Band, while James Mastro and Mark Bosch team up with Ian for a three-prong guitar attack, when Hunter isn't doubling on keyboards with DiBrizzi. It's notable because as The Wrecking Crew and the Section are achieving the fame they deserve years later, Janis Joplin's Full Tilt Boogie Band and the Lou Reed/Alice Cooper Rock n Roll Animal Band (with Steve Hunter and Dick Wagner) getting their props as well, the Rant Band has yet to be noted for their reliability and enormous skills. Perhaps an Ian Hunter documentary in the future can bring the entire project full circle to the world consciousness which needs to know! _____________________________________ The Rant Band 2018 is in great form, and so is Hunter, notes from the concert scribbled on a small piece of paper the establishment offered me, along both sides of two lengthy menus the extremely friendly waiter handed me. (In fact, the help at Boston's City Winery are all very helpful and polite to everyone, which is the way it should be. ) Trying to decipher the rock journalist's own handwriting like interpreting/transcribing hieroglyphics ...oh, what the heck, I'm not going to sit here and go bonkers attempting to inadvertently mix metaphors by finding Just Another Night or Man Overboard suddenly merged in the Star Trek transporter beam with Rosemary-Pecorino Truffle Fries at seven bucks a pop or the lovely Pavlova which is City Winery's meringue with compressed apples and vanilla sauce mix (also 7 bucks, thank you very much.) Ian Hunter is one of the last great rock stars, and he gave those in attendance nearly two hours (one hour, fifty minutes) of non-stop performance which is most difficult past forty years of age...for lesser men, that is. "Sweet Jane," from the All The Young Dudes album, is wonderfully back in the set as a bookend sort of tribute to composer Lou Reed in the same fashion as "Dandy" is the nod to Bowie. Lou, Iggy and the Stooges, Mott the Hoople - the bands we adored from the 60s and 70s (Mott and Iggy emerging circa 1969, the Velvet Underground a few years before that) - were loved by their cult of listeners; Bowie in the 1970s changed all that and brought the music to the forefront that was as much the genius of Bowie/Mick Ronson as it was David's skills as a songwriter. ________________________________________________ Ghosts" from Fingers Crossed was riveting...especially in the light of the loss of Reed, Bowie, Mott bassist Overand Watts, Mott drummer Buffin, Mick Ronson, our heroes from the days of what they called "Glam" rock but which was actually the second coming of Psychedelia, at least in my mind. "All the Way to Memphis" and "All the Young Dudes" proving essential as part of the encore/closing act. Yes, you can watch 'em all on YouTube now or download the live albums from Amazon, but the Rant Band live and in concert at the City Winery in Chicago, New York and Boston is an exquisite experience, a beautiful new venue, a reliable band of rockers that know how to entertain.* *Not since the days of the Jazz Workshop and Paul's Mall has the region had a nighspot like this. Boston City Winery is even better than those two iconic old rooms!
Paul Page 11 years with Ian, Steve Holley joined Hunter/Ronson in 1987...(Steve had three years with Joe Cocker in between; Steve met Hunter in 1978 and since 1987 Steve has played in some capacity with Ian.)
Keyboardist from Genya Ravan/Ian Hunter bands Dennis DiBrizzi backstage with rock journalist Joe Vig thanking me for my reviews! Alice Cooper and Tommy James did as well...but not at this show!!!!!