Ken Sharp’s "I'll Remember The Laughter"

Ken Sharp is the gifted musician behind such excellent albums as Miniatures and 1301 Highland Avenue, and the author of a number of fine books about rock and roll, including Starting Over: The Making of John Lennon and Yoko Ono’s Double Fantasy and the Play On! Power Pop Heroes series. His latest record, I’ll Remember The Laughter, may just be his best work yet. The album features 50 tracks, which touch upon a number of musical styles, including power pop, glam rock, classic soul, 1960s style pop, 1970s rock and even a touch of folk.
 The songs feature a kaleidoscope of emotions, from joy, sadness, and the wistfulness of remembering times gone by, to loves lost (and found again) and the lasting power of true friendship.

The record kicks off with the marvelous “Maybe Next Summer,” which wouldn’t sound out of place on a classic Beach Boys record. The first disc also features the swirling, power pop-inspired “There Goes My Sanity” and “Lady Godiva” which sounds like a lost tune from Bread or America, circa early to mid 1970s, right down to the effervescent guitar work. Then there’s the gorgeous “Cracking This Heart Of Stone,” one of several tracks on the album where Sharp indulges his inner soul man. I think it’s one of the best songs he's ever written, and it’s a high water mark on an album that’s filled with brilliant tunes.

I’ll Remember The Laughter is bursting at the seams with a host of marvelous songs, including the 1960s garage rock style “Sock It To Me,” the gentle pop/rock swing of “42nd Street,” and the lovely, 1960s pop-infused “Baby It’s Just A Matter Of Time.” From the Raspberries-style power pop of “It Pays To Be A Rock and Roll Star,” to the guitar-oriented rock sound of “No More Silver Linings” and “Shut Out The Lights,” there are few pop, rock and soul genres that Sharp doesn’t masterfully (and successfully) tackle throughout the album’s expansive track list. There's even a tribute to the late Dennis Wilson of The Beach Boys on the sublime "Dennis."

I challenge you to listen to fantastic selections such as the joyously soulful “Philly Get Back,” the shimmering “Great Big Memphis Sky,” the California rock vibes of "Somewhere South of San Diego" and the awesome 1970s infused anthem “Wrote a Song For You,” without reaching for the replay button. In addition to the dazzling original compositions on the album, there are also several covers featured on I’ll Remember The Laughter, including a pop-tastic version of The Who’s classic “The Kids Are Alright,” an enchanting rendition of Davy Jones’ “Girl” and an outstanding interpretation of “Mr. Make Believe,” a track from Gene Simmons’ 1978 self-titled solo disc.

If that’s not enough to grab your attention, the disc also features Sharp taking on a pair of tunes from Rick Springfield’s 1973 disc Comic Book Heroes, the title track and “I’m Your Superman,” with Springfield himself providing backing vocals. Other guests on the album include Roger Manning of Jellyfish, as well as Rob Bonfiglio and Probyn Gregory, both of whom have toured with Brian Wilson. Co-produced by Sharp and Fernando Perdomo (who also appears on the disc), I’ll Remember The Laughter is a magnificent record that will bring great pleasure to rock, pop and soul fans with eclectic tastes and discerning eardrums.

You can find out more about this excellent album and sample the tracks over at https://kensharp.bandcamp.com/album/ill-remember-the-laughter. Here’s a link to the video for “Philly Get Back,” https://www.youtube.com/watch?v=U0ob1hHl9HA. I’ll Remember The Laughter is filled with splendid music, composed and performed from the heart. Ken Sharp’s deep love of rock, pop and soul is evident in every note on this superb record.

"The Pallbearers Club" is Heartbreaking Horror

 Paul Tremblay is one of the most versatile and talented  writers currently working in the horror genre. He’s written several outstanding novels (and some chilling and original short stories) over the last decade. His fans include the Master of Horror himself, Stephen King. Tremblay’s novel A Head Full of Ghosts is a terrifying (and startling) take on demonic possession, and his dark, emotionally devastating apocalyptic thriller Cabin at the End of the World is currently being adapted for the big screen by M. Night Shamalyan. Tremblay’s latest novel, The Pallbearers Club, is a unique variation on a vampire tale. The book is presented as the memoir of Art Barbara. Art is something of a nerd/outsider at school, and also suffers from some serious health issues. He decides to start a club whose members will appear at funerals when no friends or family members are present to mourn the person who has passed away. This “Pallbearers Club” brings Art into contact with a mysterious woman named Mercy. She becomes a central figure in Art’s life, and he becomes intrigued by the tale of a historical “vampire” who shares Mercy’s name, and may be her ancestor.

From the outset, Art is an unreliable narrator. He tells us almost immediately that “Art Barbara” is not his real name, and that the events of the novel are only told from his perspective, and that his memory may be faulty. The relationship between Art and Mercy is a symphony of emotional highs and lows, fueled by dark secrets. What’s brilliant about the way Tremblay tells this story is that Mercy’s comments and observations regarding Art’s memoir, which she continually refers to as a work of fiction, are written in the margins of the text. She underlines and emphasizes her frank opinions throughout the book. Mercy’s recollection of events doesn’t always line up with Art’s, and she tells a somewhat different version of their story with her commentary.

The book will also have appeal for devotees of 1980s and 1990s alternative rock. One thing that draws Art and Mercy together is music, particularly the albums of Husker Du, and the solo work of that band’s co-founder, Bob Mould. Mercy is something of a musical muse and mentor to Art, who becomes a musician during the course of the story. Music is a defining aspect of their friendship, as is Mercy’s hobby of using an old school Polaroid camera to take pictures. Mercy’s photography is a window to the things Art thinks he sees in her photos, and what they reveal about both Mercy and himself. Art’s fascination with Mercy’s photos, and his obsession with her true nature, fractures their friendship, and leads to some startling revelations by the end of the story.

The Pallbearers Club is part coming of age story, part vampire novel, and most of all, a moving and effective story of a deep and unusual friendship. While it’s not as overtly frightening as some of Tremblay’s other books, it does feature some eerie and unsettling scenes. What works best is the story's strong emotional core, which will touch (and maybe even break) your heart, especially in its finale. If you’ve enjoyed his other work, including A Head Full of Ghosts, Survivor Song, and the outstanding short story collection Growing Things, you'll find much to enjoy in this enthralling novel. The Pallbearers Club is one of Tremblay's best, and is worth adding to your "must read" list.

 

Retro TV: Revisiting the "Night Gallery"

Rod Serling is perhaps best known these days for creating, writing the lion’s share of scripts for, and hosting The Twilight Zone. Serling was involved with another series that showcased tales of horror, science-fiction and fantasy, which is fondly remembered by many genre TV fans. Night Gallery ran for three seasons on NBC in the early 1970s, following a pilot film which aired in 1969. The Night Gallery TV movie featured three tales of terror, all penned by Serling. The second segment of the pilot, entitled “Eyes,” starred Joan Crawford and Tom Bosley, and was the directorial debut of a young man named Steven Spielberg. The pilot was well-received, and during the 1970-71 TV season, Night Gallery premiered as part of a rotating group of shows called Four In One. Night Gallery’s hour-long episodes contained several segments of varying lengths. Serling hosted the series, standing in an art gallery, where he would refer to paintings (beautifully crafted by artist Tom Wright) which tied into the stories which aired that evening. In addition to the uncanny paintings rendered by Wright, the eerie theme music by Gil Melle helped add to the otherworldly atmosphere of the series. In its freshman year, Night Gallery offered episodes featuring Twilight Zone veterans Burgess Meredith, Agnes Moorehead and William Windom in memorable roles, and also also included appearances by Larry Hagman, Joanna Pettet, Diane Keaton, Phyllis Diller and John Colicos. 

Night Gallery generally leaned more into the horror and fantasy genres than science-fiction, and many of its best-remembered episodes were the ones that were genuinely eerie. These frightening entries included “The Doll,” an adaptation of a short story by Algernon Blackwood, and “Camera Obscura,” based on a story by Basil Copper. Serling wrote a number of original episodes for the series throughout its run, such as “Lone Survivor” and “Class of ‘99” and also contributed adaptations of classic tales by H.P. Lovecraft and Davis Grubb. A number of talented directors worked on the show, including John Badham, Jeannot Szwarc and John Newland. During its second season, Night Gallery, now airing as a standalone series, began including brief segments sandwiched between the longer stories. These “blackout” vignettes were often comedic in tone, and were the brainchild of producer Jack Laird. Serling clashed with Laird over them, as the writer-host felt their often lowbrow humor didn’t fit the overall style of the show. However, Serling didn’t have the kind of creative control on Night Gallery that he’d enjoyed on The Twilight Zone, so he had little say in the matter. For its third and final season, the series was cut to a half hour in length, though it still managed to offer some solid episodes, including “The Girl With The Hungry Eyes” based on the classic story by Fritz Lieber.
 
When Night Gallery entered syndication, the content of the show was drastically altered. The series was syndicated in a half hour format, so the longer segments from the first two seasons were cut to fit thirty minutes including commercials, while the shorter ones were expanded by adding unrelated stock footage, or by repeating shots and sequences, thus padding them out to the necessary length. Night Gallery only aired 43 episodes during its run, so in order to create the number of entries required to sell the series for syndication, Universal added episodes of the short-lived, hour long series The Sixth Sense, starring Gary Collins as an investigator of psychic phenomena, to the syndication package. The Sixth Sense episodes were severely edited to fit the half hour format, and Serling was brought in to film new introductions for them. For many years, Night Gallery could only be seen in these re-edited and re-worked versions, which diluted the impact of the best episodes of the series.
 
In a move that should delight fans of the show, Kino Lorber video is now issuing the series on Blu-ray. The first season set (which includes the pilot film) was made available last year, and the second season has just been released. These beautifully remastered editions feature insightful and compelling commentaries on every episode by genre experts like Tim Lucas, Kim Newman, and Amanda Reyes as well as filmmakers such as Guillermo Del Toro. There are also featurettes included which explain how the series was altered for syndication, a look at the paintings showcased in the show, and a retrospective on the series featuring interviews with guest stars and crew members. If you remember watching Night Gallery on TV in the 1970’s, and are a devoted fan of the series, as I am, these terrific Blu-ray sets will warm (or is that chill?) your heart. They’re highly recommended. Here’s a promo created for the series when it aired on the cable channel Mystery: https://www.youtube.com/watch?v=PtM3jBTOnO0.