Early Music From The Iveys on "Anthology 5"

The Iveys were the early incarnation of Badfinger, the supremely talented Welsh rock group that would later score hits with songs like “No Matter What,” “Baby Blue,” and “Day After Day.” The band first got together in Swansea in the early 1960s, and later signed with Apple Records in 1968. The group went on to garner a devoted following as Badfinger, and their music is still celebrated by a legion of fans, despite a history that was plagued with personal tragedies and professional setbacks. Y&T Music, a Miami based record label, has been issuing a terrific series of albums featuring rare demos and live recordings by The Iveys. The latest entry in the series, Anthology Volume 5: Miniskirts and Rainbows, will be released on CD, and also be available on music streaming services, on November 28.

The songs on Miniskirts and Rainbows offer an intriguing look at some early work by the band, providing an inside look at their creative process. The CD features 19 rare demos, originally recorded between 1966 and 1969. Many of these tunes would later find their way onto official releases by both The Iveys and Badfinger. These incredible tracks have been compiled and edited by Badfinger archivist Tom Brennan, and were cleaned up and mastered by another expert on the band, engineer Kevin McElligott.

The track selection on Miniskirts and Rainbows ranges from the Beatlesque “I Love You” to “All The Fun Of The Fair,” a baroque pop infused tune written by the band’s then manager, Bill Collins, and it was actually intended for the band’s fellow Apple artist, Mary Hopkin. There are also demos of “Angelique” and “Yesterday Ain’t Coming Back,” a pair of tunes eventually recorded for The Iveys 1968 debut LP, Maybe Tomorrow. The disc is filled with musical treasures that will delight fans of both The Iveys and Badfinger, including the guitar-based “Bound To Get Lucky Someday” written by bass player Ron Griffiths.

Griffith also shares lead vocals with guitarist and keyboardist Pete Ham on a fantastic early version of “Blodwyn,” a Ham composition later included on the classic Badfinger album No Dice. Other memorable tracks include “Cleopatra In A Miniskirt,” a quirky number that wears its 1960s pop origins on its sleeve, and a full group demo of Ham’s lovely “I Miss You,” one of the disc’s most emotionally resonant tracks. Guitarist Tom Evans, who joined the group in 1967, co-wrote a song with Bill Collins called “Good Boy,” which is another highlight of the collection.

Throughout Miniskirts and Rainbows, you get a real sense of The Iveys’ top notch skills as musicians and songwriters. In fact, the songs on the collection offer a deep dive into the band’s array of musical styles, including pop, rock, power pop and a touch of psychedelia. Their excellent musical chops, marvelous harmonies and playful spirit shines through on every track. This release isn’t just for hardcore fans, though it certainly will delight them. It’s a meaningful trip through British Invasion-era rock, a look at the beginnings of power-pop, and a fascinating journey through the early days of a band that would go on to produce a lot of classic and memorable music as Badfinger. To give you a preview of what you'll find on the album, here's a link to a video for the demo of "Blodwyn." https://www.youtube.com/watch?v=6vQcBZG_1w0.

"Legacy of Monsters" Expands The Monsterverse

The "Monsterverse" series, which began with Gareth Edwards' 2014 re-imagining of Godzilla, and has continued on through several sequels, including Kong; Skull Island (2017) and Godzilla x Kong: The New Empire (2024),  has re-invented the classic Toho kaiju films for a new generation of fans. These movies have found great success at the box office, but some of them have concentrated more on kaiju battles, rather than developing the backstory of these creatures, or the shadowy organization Monarch, which appears to be studying the monsters. Monarch: Legacy of Monsters, an Apple TV series which completed its first season in 2023, seeks to provide an origin story for that mysterious group, while also acting as a sequel to the events depicted in some of the Monsterverse films. 

The series chooses to offer a dual-timeline narrative, and it quickly becomes clear that this entry in the saga will be something different. Monarch: Legacy of Monsters carefully weaves a present day narrative, which in the timeline of the series is the aftermath of 2014's Godzilla, with a story about the formative years of Monarch set in the 1950s. Cutting back and forth between past and present emerges as a smart choice. It's not just a stylistic flourish; it becomes one of the show's strengths. The past informs the present in significant ways, and the monsters themselves become part of the story, as their origins are also explored.

One of the show’s strongest set pieces is the 1950s storyline, which showcases the formation of Monarch. This group of scientists and soldiers led by Lee Shaw, played in the 1950s scenes by Wyatt Russell. The group uncovers the existence of the kaiju, referred to in the series and films as “Titans.” Meanwhile in the present day, Shaw (now played by Kurt Russell, Wyatt's real-life father) works with siblings Cate and Kentaro Randa, who are trying to discover the truth behind their father Hiroshi's disappearance, which appears to be tied to his work for Monarch. The flashbacks aren’t just window-dressing; they enrich the present-day narrative by showing just how Monarch's actions and their moral compromises affects events in the current timeline.

Kurt Russell’s solid portrayal of Lee Shaw in the present day adds a layer of gravitas to the proceedings, and having his son Wyatt play the younger version of Shaw is a nice touch. The Shaw character acts as the show’s human core. Russell's weathered presence illustrates the real-life consequences of Monarch's decisions in the past. Some critics and viewers have noted that the modern timeline (the story with the younger protagonists) lacks the same spark as the 1950s storyline, but the dual timeline adds genuine depth to the MonsterVerse saga. The series lays the groundwork for future Titan stories by showing us how the world came to accept, and fear, the existence of Titans like Godzilla and King Kong. Monarch: Legacy of Monsters  is set to return next year, so we'll see where the next iteration of the Monsterverse saga takes us.

Bring Her Back: Emotionally Devastating Horror

For fans of horror cinema, the past year has delivered quite a smorgasbord of tricks and treats, including Sinners, Weapons, Heart Eyes and The Monkey, as well as sequels like Final Destination: Bloodlines and Black Phone 2. One of the most thought-provoking (and terrifying) genre films of 2025 is Bring Her Back, the sophomore effort from directors Danny Philippou and Michael Philippou, whose first effort was 2022's well-received Talk To Me. With Bring Her Back, these talented Australian filmmakers have crafted a horror film that's as much a story about about the pain and heartbreak of mourning as it is about invoking feelings of terror.

At its core, the film uses grief as a kind of emotionally fraught terrain: siblings Andy and Piper have recently lost their father to suicide. They end up in the care of Laura, a foster mother who, we soon learn, is dealing with the loss of her daughter. Laura initially seems welcoming and caring, but her behavior quickly becomes unnerving, erratic, and then absolutely terrifying. Her grief has consumed her, and formed the basis for a murderous plot to bring back her daughter from the dead.

Sally Hawkins’ work as Laura is nothing short of remarkable. Her transformation from a kind and supportive mother figure into a frightening psychopath is absolutely chilling. As the film goes on, the outward seams of her mask begin to crack. Her friendly smile suddenly seems too tight, her supportive actions seem a little too good to be true. The overall effect is that Laura is terrifying not because she is obviously evil from the start, but because her evil seems to be born out of her sorrow her twisted love for her daughter.

What makes the film compelling is how effectively Hawkins carries the emotional weight of the character. She resists turning Laura into a mere monster. Laura remains someone who has loved someone, lost them and who cannot let go. That inability to deal with her grief, turns her both desperate and deadly.  It's a bravura performance from a phenomenally talented actress, and her amazing work is matched by her co-stars Sora Wong as Piper, and Billy Barratt as Andy, and Jonah Wren Phillips as Ollie, another child adopted by Laura, who currently lives with her.

While there's more than a bit of family drama on display here, make no mistake, Bring Her Back is a horror film. Be warned, there's quite a bit of blood and gore on display, but the true horror lies in the corrosive way Laura's grief takes shape: the rituals that inspire her, which are glimpsed on grainy VHS tapes, the recurring image of the rain-soaked backyard pool, and the odd behavior of the mysterious Ollie. The film immerses us in the aftershocks of dealing with a death in the family, both of Andy and Pier's father, and Laura's daughter, and effectively shows us how the characters' lives are not only haunted, but deeply fractured by these losses.

Bring Her Back is a movie that's ultimately about the pain of grief just as much as it's a tale of terror, madness and murder. The film asks what happens after someone suffers a loss, when only the emptiness remains and you're desperate enough to do anything to bring that person back. The answers are far less comforting than one might hope. Bring Her Back is terrifying, heartbreaking, and haunting in equal measure, and if you're a fan of well-crafted horror films, it's worth adding to your watch list. Here's a look at the trailer: https://www.youtube.com/watch?v=1I15ttCedfY.

Hollywood Horror or Supernatural Terror?

Books and films whose stories lean heavily into the meta-fiction aspects of their genre are often an enjoyable experience for fans. Josh Winning's novel Burn The Negative leans knowingly into the tropes of the slasher films of the 1980s and 90s, while also offering a chilling tale of terror that will keep you turning the pages. Burn The Negative is the story of journalist Laura Warren, who arrives in Los Angeles to cover a streaming remake of the 90s horror film The Guesthouse, a supposedly "cursed," movie, which claimed the lives of eight members of its cast and crew. What no one knows is that, as a child actor, Laura starred in the movie. She's changed her identity to distance herself from the film's deadly history, and her own childhood trauma.  

As Laura starts interviewing the cast and crew of the remake, people are suddenly being killed in ways that mirror the grisly on-screen deaths in the original film. Is Laura a murderer? Is the "Needle Man," the killer who was featured in The Guesthouse, an actual supernatural being who's returned to haunt Laura, and commit a new series of killings? This clever setup allows Winning, a film journalist turned novelist (and avowed horror film fan) to simultaneously use his knowledge of film production, and his love of the slasher genre, to offer up a frightening story that recalls classic flicks like A Nightmare on Elm Street and Scream. He also provides a knowing commentary on the Hollywood machine, and how the system often churns up the psyche of child actors who appear in successful films.

The Guesthouse, the "cursed" film within the novel, mirrors our real‐world obsession with horror franchises, remakes, legacy sequels, and the fan culture that keeps them alive. The narrative arc of Burn The Negative subtly illustrates how the horror genre recycles its history into present day projects, while still telling a chilling story that will entertain fans of the genre. Winning intersperses script pages, social-media posts, and production notes throughout the book, which gives the reader a multi‐layered experience, and offers up a deep dive into the book's world. The characters, including the troubled Laura, a psychic named Beverly who seems to know more than she's telling, and of course the terrifying Needle Man, are all well-drawn by Winnick, and they really come alive on the page. 

The novel's ambitious conclusion dives into the genre's conventions while also subverting them. It features a confrontation that fuses Laura’s past trauma with supernatural forces, which allows her to understand the difference between on-screen illusion and real-life horror. Laura is forced to reckon with an external threat (the “Needle Man”) while dealing with the monsters from her own past and the experiences that shaped her childhood. Burn the Negative is a rich, multi-layered horror tale that proudly wears its love of the genre on its sleeve. The novel reflects on horror-film culture and examines the cost of childhood celebrity, while also telling a kick-ass horror story.

Black Mouth: Nightmares From The Past Return

Ronald Malfi is one of the most talented writers currently working in horror fiction. He's penned atmospheric, eerie tales such as Come With Me, The Narrows and Bone White. Malfi has been compared to both Stephen King and Peter Straub, and those comparisons are not unwarranted. His work features well-drawn, emotionally driven characters who face powerful entities and otherworldly forces, but also battle demons of an internal and psychological nature. I've read several of his novels and short fiction collections, and enjoyed them all, but Black Mouth (2022), may just be my favorite.

In Black Mouth, Malfi crafts a haunting, character-driven tale that fuses supernatural dread with deeply human struggles. The novel centers on Jamie Warren, a man who's been trying to outrun his past, and overcome the memories of a haunted childhood. When he’s forced to return to his hometown after his mother's death,  he must face the childhood traumas he's long tried to bury. As Jamie reconnects with a group of friends he hasn't seen in years, he's drawn into a mystery tied to a sinister figure (known as The Magician) who once fascinated, tempted and terrified Jamie and his friends in their younger days.

Black Mouth isn’t just a ghost story or a supernatural thriller; it’s a powerful story about guilt, addiction, redemption, and the weight of memories. The horror aspects of the novel work because these people feel real to us. We can empathize with their pain, their fears, and their hopes. As the story shifts seamlessly between past and present, a horrifying truth is revealed about the being that shaped the lives of Jamie and his friends. In addition to the influences of King and Straub, there's also a strong echo of Ray Bradbury's Something Wicked This Way Comes in Malfi's lyrical prose, as part of the story revolves around a carnival hiding a sinister secret.

This thought-provoking and frightening story deftly mixes the psychological with the supernatural. The horror elements of the story are grounded in the emotional realities of Malfi's flawed, fully developed characters. There's also something of the epic sweep of novels like Straub's Ghost Story and Floating Dragon, as Black Mouth, the area of West Virginia that gives the novel its title, is itself decaying, and the darkness of the supernatural forces central to the story may be poisoning the land itself. Black Mouth is a slow-burning, atmospheric tale that lingers long after the final page. It's a compelling story about past events that haunt us, and what it takes to finally face them. If you haven't explored Ronald Malfi's work before, Black Mouth is a great place to start.

Thomas Walsh Returns To Best Video

Thomas Walsh performs at Best Video

Thomas Walsh is a marvelous singer and songwriter who is much beloved by a loyal fan base (this writer included) for the fabulous pop/rock songs which he's created with Pugwash, The Duckworth Lewis Method, and as a solo artist. He's been influenced by a variety of bands, including ELO, XTC and The Beatles, but his superbly crafted pop/rock songs stand on their own, and are terrific in their own right. Thomas's music showcases his knack for creating unforgettable melodies that will get stuck in your head, have you singing along, reaching for the replay button, and will often touch your heart, as with the Pugwash classics "Here," or "What Are You Like," both of which could be heard during the show.

Walsh is on a mini-tour of the US, and he stopped by Best Video Film & Cultural Center in Hamden, Connecticut, this past Sunday. The intimate venue was a perfect showcase for Walsh's music and he dazzled the fan-filled crowd with his extraordinary performances of songs from across his discography, including "A Good Day For Me," from his solo album, The Rest Is History, as well as a generous helping of Pugwash favorites, including "Take Me Away," "Fall Down," "Apples," and "Answers on a Postcard" as well as The Duckworth Lewis track, "Mason On The Boundary." 

One of the great things about seeing Thomas live is that in addition to being a terrific performer, he's more than a bit of a raconteur. He entertained us all on Sunday with stories about his music, his influences, and the legendary artists he's met, including Jeff Lynne, Brian Wilson and Ray Davies. Speaking of Ray Davies, another cool thing about Thomas is he's a real dyed in the wool music fan, just like us. He talked about his love for The Kinks and performed their excellent B-side "Big Black Smoke," as part of a mini-set of Kinks covers. Thomas also played some Bee Gees, a stellar cover of Michael Penn's MTV era hit "No Myth" and even a bit of music from those "legends that would last a lunchtime," The Rutles.

Thomas was in great voice, and his guitar playing was superlative, as usual. Seeing him perform glorious versions of these incredible songs amid the environs of one of Connecticut's best venues for music (as well as the appreciation of cinema) was a special treat. The enthusiastic audience dug every minute of this exceptional performance. Thomas is an outstanding musician, a magnificent performer, and a genuinely nice guy. This wasn't my first time seeing him live, and I absolutely look forward to seeing him perform again in the future. If you haven't seen Thomas, or checked out his music,  I highly recommend you do so as soon as possible. For my review of Thomas's splendid album The Rest Is History, follow this link: https://www.culturesonar.com/thomas-walsh-the-rest-is-history/.

Wiseguy: An Innovative TV Crime Drama

If you love shows like Breaking Bad, The Wire, or The Sopranos, you owe a debt of thanks to a lesser-known series from the late 1980s that showcased serialized storytelling before it was the norm on television. That show is Wiseguy, a bold, ahead-of-its-time crime drama that helped shape the future of television storytelling. Premiering in 1987 on CBS, Wiseguy challenged viewers by breaking the mold for episodic television. Instead of wrapping up its stories in self-contained 45-minute tales every week, Wiseguy featured long-form story arcs that unfolded over multiple episodes.

Wiseguy told the story of Vincent “Vinnie” Terranova (Ken Wahl), an undercover agent for the fictional Organized Crime Bureau. After serving 18 months in prison to establish his cover, Vinnie is assigned to infiltrate various criminal enterprises while reporting to his gruff but loyal handler Frank McPike, portrayed by Jonathan Banks, whose chemistry with Wahl was one of the highlights of the show. Banks, who later played Mike Ehrmantraut on Breaking Bad, steals as many scenes in Wiseguy as he would on that later series. 

The series was created by Stephen J. Cannell and Frank Lupo. At the time, Cannell was best-known for action-heavy fare like The A-Team, and several networks turned down Wiseguy before CBS a=took a gamble on the series. What sets Wiseguy apart isn’t just the undercover drama or the mob intrigue—it’s the emotional and psychological toll that comes with living a lie. Vinnie isn’t some slick, invincible hero. His missions are complicated not only by the inherent dangers of deep cover work, but also by his own moral struggles and the personal toll of living a double life. For example, Vinnie can't tell his mother about his undercover status, so she thinks he's a real criminal, and has shut him out of her life. Wahl does an excellent job in the series, conveying Vinnie's internal conflicts and emotional turmoil.

Ken Wahl in Wiseguy

The show’s first major storyline—the “Steelgrave Arc”—is still considered one of its finest. Over nine episodes, Vinnie embeds himself into the Atlantic City mafia and becomes close to Sonny Steelgrave, a volatile but charismatic mob boss masterfully portrayed by Ray Sharkey. What makes the story so compelling is that a real emotional bond forms between Vinnie and Sonny. The undercover operative begins to genuinely care about the man he’s supposed to bring down. It’s a relationship built on lies, loyalty, and looming betrayal—and it all leads to a devastating, unforgettable conclusion.

In today’s television landscape, complex relationships like that are the norm. But back in 1987, that kind of emotional storytelling—spread across multiple episodes with real consequences—was revolutionary. The series would continue to offer long form multi-episode arcs across its four-season run, featuring actors like Kevin Spacey, Jerry Lewis, Tim Curry, Ron Silver and Deborah Harry in later story lines. Rounding out the supporting cast, Jim Byrnes portrayed Lifeguard, Vinnie's OCB contact, Gerald Anthony played Vinnie's brother Pete, a Catholic priest, and Elsa Raven appeared as Vinnie's mother, Carlotta.

Though the series was eventually derailed by cast changes, behind the scenes drama, and network meddling, its influence lingers. Shows like The X-Files, NYPD Blue later blended procedural formats with ongoing character development, but Wiseguy was doing it years before it became the industry standard. It was a gritty, ambitious series that re-imagined what serialized storytelling could look like on network TV. If you’re a fan of deeply layered crime dramas, it’s worth going back to see where it all began. Wiseguy is currently streaming on Peacock.

Can Redford & Company Heist "The Hot Rock"?

When you think of classic Robert Redford movies, your mind probably jumps to iconic films like Butch Cassidy and The Sundance Kid, The Sting, The Way We Were, All the President’s Men and The Natural. Redford also made some enjoyable movies that are likely just a little bit off your radar, such as the 1992 thriller Sneakers, co-starring Sidney Poitier. Another underrated film in Redford's oeuvre is the entertaining heist flick The Hot Rock (1972) directed by Peter Yates, (of Bullitt fame) and based on a novel by celebrated crime writer Donald E. Westlake. I re-visited the movie after Redford's recent passing, and it's an enjoyable, diverting movie that's worth checking out.

Redford plays John Dortmunder, a just-out-of-prison thief reluctantly pulled back into the game by his brother-in-law Andy for what appears to be a relatively low-risk, high-yield caper. The successful theft of a priceless diamond from a New York museum promises to deliver Dortmunder and his team a pretty decent payday. Of course, things quickly spiral out of control, and the museum heist is followed in short order by a prison break, an attack on a police station, and a clandestine visit to a bank, all in pursuit of the elusive diamond.

Robert Redford & George Segal

Each attempt to acquire the diamond features clever (and increasingly absurd ) schemes conceived by Dortmunder, all of which spiral comically and chaotically out of control. Can Dortmunder and his motley crew of thieves find an idea that works, and finally steal the diamond? The Hot Rock is a breezy, witty caper film that showcases several 1970s New York locations via the excellent cinematography by Donald R. Brown, which is complemented by the jazzy score composed by the one and only Quincy Jones. The screenplay was written by William Goldman, who also penned the scripts for Butch Cassidy and The Sundance Kid and Marathon Man.

Redford is quietly effective as Dortmunder, subtly portraying the character's growing frustration with his failed plans, and his crew's inability to obtain the diamond. The film's stellar supporting cast, includes George Segal, Ron Liebman, Paul Sand and Zero Mostel, all do excellent work playing comic foils to Redford's low-key, but increasingly exasperated, straight man and master thief. The film has kind of an offbeat, deadpan sense of humor, and showcases a New York City that largely doesn't exist anymore via the excellent location shooting. The Hot Rock isn't trying to be a high-stakes thriller or a slapstick comedy, but it finds a solid groove somewhere in between, offering a charming Redford performance and an endearing rogue's gallery of supporting characters in an entertaining caper film.

Here's a look at the trailer for the film: https://www.youtube.com/watch?v=48APEydOt64. Fun fact: George C. Scott played a thinly disguised version of Dortmunder, with the character renamed to Walter Upjohn Ballantine, in 1974's Bank Shot, directed by Gower Champion, which was also based on a Donald E. Westlake novel, the second in the "Dortmunder" series.

"Alien: Earth" The Real Monsters Are Us

In an era where franchise fatigue has become a real problem for fans, with endless re-iterations of popular films and television series, Alien: Earth, the latest chapter in the saga which began with director Ridley Scott's 1979 classic, has arrived to shake things up in the Alien universe. The new series, now airing on FX, was created by writer-director Noah Hawley, who was the driving force behind the television version of Fargo and the offbeat X-Men spinoff, Legion. Alien: Earth is set two years before the events of the first film.  Governments have been abolished, and five multi-national corporations run the world.

One of those corporations is Prodigy, run by a young genius known as Boy Kavalier, whose company is experimenting on transferring the consciousness of a human being into a synthetic body. Kavalier and his team of scientists have taken the minds of a group of children and implanted them into artificial bodies, called hybrids. He's named these hybrids after characters from J.M. Barrie's novel Peter Pan. Meanwhile, a spaceship from the Weyland-Yutani corporation (a name long-time fans of the Alien series will recognize) is returning to Earth with several types of alien specimens, including a very familiar xenomorph. When the ship crashes into a building owned by Prodigy, a race begins to obtain and do research on (as well as exploit) these valuable specimens.

Unlike previous entries in the saga, Alien: Earth takes place not on faraway planets or the cold steel corridors of spaceships, but right here on our own planet. The alien menace is just as dangerous as ever, but this fascinating series focuses on another dangerous predator as well: mankind. Noah Hawley and his writers have cleverly united the science-fiction concepts from the world of Alien with another Ridley Scott directed film set in a dystopian future: Blade Runner. There are several kinds of cybernetic beings featured in Alien: Earth, all of whom are questioning what they are (just like the replicants in Scott's 1982 movie) and if they are really human, as well as what that word means. 

Alien: Earth does a great job examining the ethical and scientific experiments (and obvious greed) of the insidious Weyland-Yutani and Prodigy corporations, while exploring new ideas in the Alien universe. The series builds its own mythology, while cleverly acknowledging what has come before. One episode, a flashback centered tale relating how the Weyland-Yutani ship crashed, is a chilling homage to the original film. There are also callbacks and nods to other films in the series, which will delight long-time fans. While those Easter eggs are fun, this is a truly original story that is set in an existing world, taking the Alien saga in exciting new directions.

The cast is excellent, with standout performances from Sydney Chandler as Wendy, the lead hybrid, Timothy Olyphant as the android Kirsh, and Babou Ceesay as Morrow, the security officer from the crashed spaceship. Visually, the series delivers a blend of grounded futurism and biological surrealism. Practical effects and CG are expertly combined by the talented crew, and the series is atmospheric and well-directed. What makes Alien Earth so compelling is how it reinvents rather than reboots, bringing the alien terror to our home planet, and showing us that the most frightening monster of all just might be humanity itself.

Here's a look at the trailer for Alien: Earth: https://www.youtube.com/watch?v=ZbsiKjVAV28, now airing on FX and streaming on Hulu.

Play On: A Fabulous Raspberries Tribute

The Raspberries are one of the most beloved bands in the power pop genre. The group has a dedicated group of fans, including artists like Bruce Springsteen, Ringo Starr, Paul Stanley, and Rick Nielsen. If the band had only recorded the classic 1972 hit “Go All The Way,” their place in the rock and roll firmament would be assured, but the group had several other hits, including “Let’s Pretend,”  “I Wanna Be With You,” and one of my personal favorites, the epic "Overnight Sensation (Hit Record)." Their quartet of original albums are considered power pop classics. The original Raspberries lineup featured the late Eric Carmen on vocals, guitar, bass, and piano, Dave Smalley on guitar and bass guitars, bass) Wally Bryson on guitar and Jim Bonfanti on drums. 

The band’s legacy is being celebrated on Play On: A Raspberries Tribute, a super-sized two-disc tribute album which will be released on September 12th. This comprehensive record features 37 tracks from an all-star roster of musicians ranging from power pop royalty like Rick Springfield, Debbi and Vicki Peterson of The Bangles, and Marshall Crenshaw, to up and coming artists such as The Lemon Twigs, Olivia Rubini and Bird Streets. The amazing lineup of performers also includes fan favorites such as John Waite, Kasim Sulton, Darian Sahanaja and The Hudson Brothers. There are also appearances from Wally Bryson’s son, Jesse, who delivers a heartfelt version of “Might as Well,” original drummer Jim Bonfanti, who plays on four songs on the disc, and Eric Carmen, who provides the count in on Lou Gramm’s rendition of “Tonight.”

You’ll find many of the band’s classics here, including Rick Springfield’s fabulous version of “Go All The Way,” The Spongetones excellent Beatles style run through of “It Seemed So Easy,” and album co-producer Ken Sharp’s spirited remake of “I’m A Rocker.” This stellar collection is filled with musical gems from across the Raspberries catalog, ranging from all out rockers like Eric Dover’s dynamic cover of “Ecstasy,” ex-Runaway Cherie Currie’s kick out the jams take on “Hands On You” and Brasko’s kinetic “Making It Easy.” Chris Price infuses “Nobody Knows” with Motown vibes, while The Caulfields amp up the pop/rock energy on “Goin’ Nowhere.” There’s also a strong focus on the band’s wonderful ballads, including Karla DeVito’s lovely version of “I Can Remember” and Katie Ferrara’s deeply emotional reading of “Come Around and See Me.”

Play On: A Raspberries Tribute is a cross-generational rock and roll love letter to The Raspberries and the enduring power of their music. Ken Sharp (author and longtime Raspberries devotee) and Fernando Perdomo (producer and multi-instrumentalist) did excellent work curating this amazing record. Covering a band whose music is as melodic and emotionally rich as that of the Raspberries is no easy task, but all of the artists here have done a superb job. They manage to highlight the strengths of the original songs while allowing their own personality to shine through on their renditions of these unforgettable tunes. Play On: A Raspberries Tribute will be released on September 12 on Think Like A Key records. Here’s a link to a sampler of the music on this fabulous record: https://www.youtube.com/watch?v=K2KUH3d_ZIc. 

Early Elton's Epic Show at The FTC

Early Elton at Fairfield Theatre Company

Early Elton Trio, the phenomenal band that pays tribute to the music Elton John performed on his 1970-72 tours with Nigel Olsson and Dee Murray, once again graced the stage at the Fairfield Theatre Company Friday night. The band played for over two hours, and the show was nothing short of epic. The group, featuring Jeff Kazee on piano and vocals, John Conte on bass and vocals, and Rich Pagano on drums and vocals, provided the audience with superb renditions of a number of Elton John and Bernie Taupin's classic compositions, including "Rocket Man" "Take Me To The Pilot," and "Border Song."

The set list for The Incredible Mixed Show also included terrific versions of "Where To Now, St. Peter?" "Mona Lisas and Mad Hatters," and "Friends." The band rocked out on "Elderberry Wine," "Ballad of a Well Known Gun," and "Grey Seal," which, although released on 1973's Goodbye Yellow Brick Road was originally recorded for 1970's Elton John. The band did sneak in one later tune, performing a beautiful version of "We All Fall In Love Sometimes," the penultimate track from 1975's Captain Fantastic and the Brown Dirt Cowboy.

It's obvious from their extraordinary performances and undeniable chemistry that these supremely talented musicians enjoy playing together. The trio takes turns on lead vocals, and they're clearly passionate about these classic songs, as evidenced by John Conte's joyous take on "Country Comfort," Rich Pagano's emotional version of "Levon" and Jeff Kazee's superb rendering of "Indian Sunset." The band's excellent arrangements of these amazing songs also help to make their shows memorable. This evening was no exception, climaxing with a towering rendition of the live version of "Burn Down The Mission" from 11-17-70, and audience sing-alongs on "Tiny Dancer" and "Your Song."

I’ve been attending performances by Early Elton for a while now, and this group never fails to knock my socks off with their magnificent live shows. Their shows are always unforgettable, whether they're filled with the hits, the B-sides, or the deep cuts. These guys rock, and if you're a fan of Elton's music from 1970-72, you should definitely check them out. For more information, head over to the band's website at http://www.earlyeltontrio.com, or visit their Facebook page.

Superheroes! In Color! Silver Age Style!

For a long time now, superheroes have largely (thought not exclusively) been featured in darker themed adventures on the big-screen, including Christopher Nolan's Batman trilogy, Zack Snyder's Man of Steel and Batman v. Superman: dawn of Justice. Even Marvel Universe movies such as Captain America: Civil War, Avengers: Endgame and Doctor Strange In The Multiverse of Madness haven't been immune to including gloomy elements in their stories. Some of these films are well-made and beloved by fans, while others, like Josh Trank's disastrous 2015 version of Fantastic Four, have been lambasted by critics, and crashed at the box office.

This summer, it feels like we've returned to the days of Richard Donner's Superman and Sam Raimi's Spider-Man. New film versions of both DC's Superman and Marvel's The Fantastic Four have been released, and the brightly colored days of the Silver Age of comics have leapt off the page and into movie theaters. The Silver Age of comics ran roughly between the later 1950s to 1970, and featured pop art colors, fun and exciting stories, and resolute heroes who battled nefarious villains. Director James Gunn's Superman, the first in a new series of films about DC Comics superheroes, leans heavily into the positive hues of those Silver Age tales, as well as the sense of adventure and hopeful tone showcased in Donner's 1978 original movie.

We start right off in the middle of the story, with a Superman who's been wounded in battle. He calls out to his faithful dog Krypto (who's been a mainstay of the comics since the mid-1950s) who brings our caped hero back to the Fortress of Solitude for some patching up. After that, we're launched into a story that features all of the mainstays of the Superman mythos: Lois Lane, Jimmy Olsen, The Daily Planet, and of course, the villianous Lex Luthor, who's given something of a 21st century makeover here, but one that stays true to the character's roots. There are also some other DC characters featured in the film, including Green Lantern and Hawkgirl, and the movie features some impressive action sequences.

For all of the excellent special effects and nods to classic Superman stories, what makes this film work is the terrific writing and strong direction by James Gunn, as well as the superb performances from the cast, including Rachel Brosnahan as Lois, David Corenswet as Clark Kent/Superman, and Nicholas Hoult as Luthor. The story stays true to the spirit of these characters, and the look and design of the film really captures the essence of the comics. The film actually feels like it's a classic comic book come to life. No spoilers here, but if you're a fan, you really need to check out James Gunn's splendid take on The Man of Steel.

As for The Fantastic Four, Marvel's first family of heroes also gets a big-screen relaunch this summer, in a new cinematic adventure directed by Matt Shakman, who helmed the well-received TV series WandaVision. Fantastic Four: First Steps is a fabulous tale that throws us right into the world of Marvel's original super-team. We get a quick recap of the FF's origin and early adventures on a TV special seen within the film, which is hosted by Ted Gilbert, played by Mark Gatiss. The film is set on Earth 828, which is a separate world from the others in the Marvel Cinematic Universe. This allows Shakman and his writers to tell a standalone tale on a planet where the Fantastic Four are their world's only superheroes, and its beloved protectors. They even have their own animated TV show!

Fantastic Four: First Steps makes a bold choice in adapting one of original comics creators Stan Lee and Jack Kirby's most well-known tales, the story of Galactus, a world-devouring alien, who has chosen Earth 828 as his next meal.  Our heroic foursome, Mr. Fantastic, The Invisible Woman, The Thing and The Human Torch are the only ones who stand between Galactus and Earth's destruction. But there's a twist here (partial spoiler ahead): Galactus will spare the planet if Mr. Fantastic and The Invisible Woman hand over their newborn son Franklin to him. Can The Fantastic Four defeat Galactus, save the world, and protect Franklin? Which side will The Silver Surfer, Galactus' powerful herald, who has conflicted feelings about her role in these events, be on when things come to a head?

This film is an old-fashioned science-fiction adventure that hews closely to Lee and Kirby's original FF stories. The story is set in the 1960's, and the movie has a very cool, retro-futuristic look. The cast is outstanding: Pedro Pascal as Reed Richards/Mr. Fantastic, Vaness Kirby as Sue Storm/The Invisible woman, Ebon Moss-Bacharach as Ben Grimm/The Thing, and Joseph Quinn as Johnny Storm/The Human Torch all capture the essence of their four-color counterparts, and Julia Garner is quite good as Shalla Ball, The Silver Surfer. Fantastic Four: First Steps is a worthy addition to the Marvel Cinematic Universe, and should please longtime fans of the super-powered foursome, as well as newcomers to their adventures.

The reason that Superman and Fantastic Four: First Steps work so well is that the creators, cast and crew of these films honor the legacy of these beloved characters by celebrating their positive attributes, while also telling their stories in an up to date manner. Also, both of these movies are a lot of fun. There's nothing wrong with dark styled versions of superheroes, but it's nice to highlight the brighter hues of our iconic heroes once in a while. Here's a look at the trailers for Superman: https://www.youtube.com/watch?v=Ox8ZLF6cGM0 and Fantastic Four: First Steps : https://www.youtube.com/watch?v=18QQWa5MEcs. Both films are currently in theaters.

Marc Platt Revisits "3163 Coolidge Avenue"

Here at Eclectic Aveune, I've often written about and praised the excellent work of California based singer-songwriter Marc Platt. His latest record, 3163 Coolidge Avenue, is yet another exceptional release by this talented artist. The album is a truly powerful collection of songs reflecting on his younger days with his family, growing up at the title address in Mar Vista, while also taking a look at what's happened in his life, and his world, since then. It's a very personal record from a wonderful artist.

The opening track, "Never Stare at the Sun," is a tribute to Marc's Mom, who tried to give him some good advice regarding life, while "Me and My Brothers and Dad' is a heartfelt song about how he and his family dealt with losing her when he was young. Other standout selections include the mournful "Never Made A Difference" and "Angry Heart," as well as the thoughtful "Only God Can Say." The songs on 3163 Coolidge Avenue are poignant, deeply emotional and often contemplative in tone, and these superbly crafted compositions still offer a note of hope, despite their often heart-rending subject matter.

The disc also includes songs like the lovely "Be A Better Man," which celebrates how a positive relationship can inspire you, and "One of These Days," which looks at a romantic union that stands the test of time. Platt also provides listeners with a pair of covers on the album, offering up superlative versions of the Howard Jones hit "What Is Love?" and The Psychedelic Furs classic "The Ghost In You." As usual, his vocals and instrumental work are top-notch throughout the record. His music is imbued with the classic vibes of 1960s/1970s rock and pop, yet also sounds fresh and contemporary. You can't help but be moved by his splendid performances and these terrific songs.

Marc Platt's 3163 Coolidge Avenue is now available at over at bandcamp by following this link: https://marcplatt.bandcamp.com/album/3163-coolidge-avenue. Please note that all proceeds from the album will help benefit the care of Marc's brother Ben, who is struggling with Alzheimer's disease. Here's a link to the video for the title track: https://www.youtube.com/watch?v=ygSqXjuJPRc.

Monogroove Opens Up A "Popsicle Drivethru"

Monogroove, the supremely talented West Coast band led by the incomparable Rin Lennon, are back with Popsicle Drivethru, another outstanding release in a first-rate discography that includes superlative albums such as The Flip Side and Into The Sun.  If you’re looking for a record that will lift your spirits, make you smile, and have you absolutely rocking out during these difficult times, then you need to take a deep dive into this splendid disc. The 14 tracks on Popsicle Drivethru are a remarkable collection of tunes that will have strong appeal for music fans who appreciate the classic rock and roll sounds of the 1960s, 1970s, and 1980s.

The songs on Popsicle Drivethru touch upon a variety of genres, including rock, pop, punk, and power pop, and every single song on the album is fabulous, and a must listen. The opening track, “Hello Everyone,”  exudes positive vibes, and is a paean to togetherness in this mixed-up world, as well as a call to change, very much in the spirit of The Youngbloods classic, “Get Together.” The album also includes power pop tinged tracks like “All Day, All Night,” and “Anything You Want,” which has a touch of punk seeded into its pop sound. “Chasing The Sound” catches the feeling of a band’s elusive search for the perfect vibe, and “That Girl” is a guitar-heavy rocker that will have you reaching for the replay button. There’s also an exuberant cover of The Rascals classic “Good Lovin.”

All of the tunes on Popsicle Drivethru are a joy to listen to and experience, including “Sun Needs A Holiday,” which radiates pop sunshine, the modern rock infused “Dangerous” and the lovely “Halo.” Many of the tracks on the disc meld together several genres, from Beatlesque rock and roll to 80s pop/rock, garage rock and punk, as evidenced by edgier selections like "Those Pills." The album is filled with letter perfect harmonies, shimmering guitars, groovy bass and high-energy drums. It wouldn’t be a Monogroove album without a heartfelt love song or two, and Popsicle Drivethru features a pair of them: “Meant For Me” and “Someone.” Both tracks feature ethereal lead vocal turns from the amazing Rin Lennon. I think the beautiful “Someone” is one of the best songs Monogroove has ever recorded.

The band’s phenomenal lineup features Rin Lennon on lead guitar, Michael George on guitar, Alex Ritter on bass, and Jay Smith on drums. Their undeniable chemistry and stellar musical chops help power Popsicle Drivethru into the rock and roll stratosphere. It’s clear that these top-notch musicians enjoy creating music and playing together, and that vibe comes thru on every song on the album. If you’re already a Monogroove devotee, I’m sure you don’t need more convincing to check out this magnificent album, but if you’re new to the splendid sounds of Monogroove, then Popsicle Drivethru is a great place to start your journey into becoming a fan of the band! Check out the album and get more information about the group and their music by heading over to bandcamp, by following this link: https://monogroove.bandcamp.com/album/popsicle-drivethru. You can also find the album on other streaming services, including Apple Music and Spotify.

A Detective, A Ghost and Some Lost "Souls"

Dan Moren knows his way around multiple genres. He's written a well-received multi-volume series called The Galactic Cold War, which combines science-fiction with action adventure. He's also penned All Souls Lost, an entertaining hybrid of a Dresden Files-esque horror story with a hard-boiled detective tale in the vein of authors like Raymond Chandler. All Souls Lost features Mike Lucifer, a spiritual consultant and private eye who investigates offbeat cases involving the supernatural. He's been off the grid for a while after an incident which resulted in the death of his partner.

When Mike returns to his hometown haunts in Boston, he finds himself embroiled in a new case after a young woman visits his office, asking for his help, because her boyfriend's been possessed. He soon finds himself hip deep in ghosts, demons, murders and behind the scenes skullduggery at a high tech company called Paradigm. Soon, both the cops and otherworldly forces are after him, and his investigation leads him to question some events in his past, and face some hard truths about himself.

This is an entertaining, fast-paced read that should appeal to fans of supernatural horror, as well as fans of modern noir. Mike Lucifer is a detective in the classic mold, and his quick wit and cynical observations are well-meshed with the horror elements of the story. There's a solid supporting cast of characters, including Lucifer's client, a gal name Jenny Sparks, who may know more about the case than she's telling, a detective who's (sort of) on his side, and some colorful human (and non-human) allies and adversaries, who both aide and bedevil our hero.

All Souls Lost is a clever tale with a convincing backdrop, a world just a step outside our own, where magic and technology exist side by side. You might recall a made for HBO film called Cast A Deadly Spell (1991), which featured Fred Ward as a detective in the hard-boiled mode investigating a supernatural mystery, and this novel has something of the vibe of that movie, albeit in a modern setting. All Souls Lost is a lot of fun. Here's hoping that Dan Moren will bring back Mike Lucifer in a new adventure in the near future.

Tribute Discs: The Hollies and The Left Banke

 Tribute albums are a difficult enterprise. While there have been a plethora of these discs issued since the 1980s, only a small number end up being considered essential listening by fans, who often debate the true worth of such releases. I highlighted a couple of worthy tribute albums back in 2015, and that entry is one of the most popular here at Eclectic Avenue, so I thought it was worth another look.

Sing Hollies In Reverse (1995) – The Hollies are one of the best bands from The British Invasion era, and their superb harmonies and sparkling guitars, showcased on a number of classic pop/rock singles like “Bus Stop,” and "Look Through Any Window" are fondly remembered by music aficionados to this day. The band also gave us our first look at Graham Nash, later to form a super-group with David Crosby, Stephen Stills and Neil Young. Sing Hollies in Reverse features twenty-one Hollies songs covered by a bevy of power pop artists, who are clearly fans of the band. Standout tracks include Tommy Keene’s version of “Carrie Anne,” The Wondermints wonderful romp through “You Need Love,” and The Posies perfect take on one of my favorite Hollies tunes, “King Midas In Reverse.” 

 

 

There are several artists who endeavor to put their own stamp on the songs, including Jon Brion’s psychedelic run-through of “Sorry Suzanne,” E’s interesting take on “Jennifer Ecles,” and the Flamingoes version of “Water on The Brain,” which is a must listen. You’ll also get to hear The Continental Drifters (featuring ex-Cowsills member Susan Cowsill) pour their hearts and souls into “I Can’t Let Go” and Material Issue do their best British Invasion pop star impressions on “Bus Stop,” while the Shakin' Apostles rock their way through “Dear Eloise.” Sing Hollies In Reverse is currently out of print, but used copies are pretty easy to find online. If you’re a Hollies devotee, or a fan of any of the groups featured on the album, it's worth seeking out.

Shadows Breaking Over Our Heads: A Tribute To The Left Banke (1999) - You probably know The Left Banke based on their two classic 1960s singles “Pretty Ballerina” and the oft-covered “Walk Away Renee.” This short-lived group truly helped define the “baroque pop” genre explored by bands like The Zombies and Love, as well The Beatles, The Beach Boys and The Rolling Stones. While their original output consists of only two albums, they left a lasting impression on their fellow musicians, and rock and roll fans. This album features 22 tracks, and there’s not a bad one in the bunch. Some of the most enjoyable entries include Frank Bango’s pop-tinged “Goodbye Holly,” Sun Sawed in 1/2’s effervescent “And Suddenly,” and Starbelly’s rocking version of “Myrah.” I also really like The Phenomenal Cats fantastic reading of “I’ve Got Something On My Mind."

 

A couple of tracks really hit it out of the park, including ex-Jellyfish member Jason Falkner’s beautiful rendition of “Pretty Ballerina” and The Jigsaw Scene’s late period Beatles sounding take on “Desiree,” while The Birdwatchers channel their inner Brian Wilson on “My Friend Today.” Blue Cartoon contributes a strong cover of  “Give The Man A Hand,” and Ken Stringfellow provides an echo-tinged interpretation of "She May Call You Up Tonight." As with The Hollies tribute, having power pop and indie bands take on these songs is an inspired idea that really pays off. Like Sing Hollies in Reverse, this disc is out of print, but readily available at various online outlets. Repeated exposure to Sing Hollies In Reverse and Shadows Breaking Over Our Heads: A Tribute To The Left Banke just might inspire you to seek out the originals, and turn you into a true devotee of The Hollies and The Left Banke.

 

 

The Grip Weeds Extraordinary "Soul Bender"

A new disc from New Jersey’s psychedelic pop/rock heroes The Grip Weeds is always cause for celebration. They're one of my favorite bands, and their latest release, Soul Bender, is a magnificent record that will, rock you, inspire you, delight you, and soothe your soul in equal measure. The songs on this phenomenal album are overflowing with scintillating guitars, thundering bass, high energy drums, captivating vocals and gorgeous harmonies that harken back to the classic rock of the 1960s, while also sounding fresh and contemporary. Soul Bender is one of the best rock and roll albums of the year, and it deserves a regular spot in your listening rotation, as well as a permanent one in your record collection.

The Grip Weeds lineup is comprised of Kurt Reil on drums and vocals, his wife Kristen Pinell Reil on lead guitar and vocals, Kurt’s brother Rick Reil on guitar, keyboard and vocals, and their long-time friend Dave DeSantis on bass and vocals. You can feel their unbridled enthusiasm at creating and playing music together. Their undeniable chemistry as a band is evident in every note, song and arrangement on Soul Bender, which was produced by Kurt at the band’s home base, the House of Vibes studios.

The record kicks off with the kinetic title track, an ode to love and musical inspiration, featuring dizzying guitars, high energy drums and impassioned vocals. That amazing opener is followed by “Flowers For Cynthia,” one of my favorite tracks on the record, a groovy baroque pop confection whose retro soundscape brings to mind the sounds of The Zombies, The Beatles and The Left Banke in equal measure. The dynamic “Spinning The Wheel” has a modern rock aura, while “Promise (Of The Real)” is an emotional tale of lost love, featuring strong vocal performances by Kurt and Kristen.

Soul Bender is filled with fantastic songs, including the hard-rocking “Conquer and Divide” and “Fragmented,” which have an edgier vibe than some of the more retro-imbued Grip Weeds tunes. Both tracks include some excellent instrumental work from Rick and Dave. “Gene Clark (Broken Wing)” successfully evokes the classic sound of The Byrds while paying tribute to the late guitarist and co-founder of that beloved band. The extraordinary “Someone In Love” is a revised version of “Your Love” the first song ever written by Kurt Reil. This wonderful tune has a definite Beach Boys meets early Beatles feel and sound to it, while the gritty “Wake Up Time” is an energetic, garage rock infused number that really kicks out the jams.

Every track on Soul Bender is worthy of multiple spins, including the sparkling, girl group styled “If You Were Here,” and the anthemic album closer “Love Comes In Different Ways” which joyously celebrates...love in true Beatles-esque fashion. To put it simply, Soul Bender rocks. It's an awe-inspiring, soul-satisfying record which showcases the talents of The Grip Weeds and elevates their already top-notch songwriting and performing skills to new heights. Soul Bender is out now on JEM Records: https://jemrecordings.com/. You can find out more about the The Grip Weeds and this phenomenal record at : https://www.gripweeds.com/.

Johnny J. Blair's Journey To The Sun

Johnny J. Blair is a multi-talented singer, songwriter and producer whose wide-ranging sound encompasses a variety of musical genres, including pop, rock, soul and jazz. He’s released some excellent records, including I Like The Street, Door in The Water and Grateful. Blair’s latest project is a sci-fi themed album entitled We’re Getting Closer To The Sun. Fans of artists like King Crimson, The Moody Blues, ELO, and Pink Floyd and should really dig this phenomenal record. We’re Getting Closer To The Sun is something of a sci-fi concept album, with themes ranging from a more hopeful, non-dystopian vision of the future, to love, faith and questions of mortality.

Several tracks on the disc have a 1960s feel, including the title track and “A Place Across The Sky.” These terrific songs feature very cool guitar work and atmospheric production, recalling the aura of classic Jimmy Webb penned songs like Glen Campbell’s “Witchita Lineman.” The outstanding “Letting Go” and “Changing of the Guard” continue the 1960s aesthetic, and are spiritually influenced by the music of bands like The Moody Blues, The Bee Gees, and The Beatles, with a bit of glam rock and folk thrown into the mix. The album includes a fantastic cover of the David Bowie classic “Space Oddity,” on which Blair and his fellow musicians manage to deftly balance staying faithful to the original while absolutely giving the song some original touches as well.


Blair’s ethereal compositions also display some Laurel Canyon-esque touches, especially on the reflective “They Were There For You” and the powerful “I See The Angels Comin’ Round.” There’s a definite psychedelic vibe throughout the record, as evidenced by the presence of Mellotron and Stylophone. The remarkable tunes on We’re Getting Closer To The Sun feature sci-fi themed lyrics and concepts, and Blair has said that the album is influenced by a lot of classic science-fiction including the C.S. Lewis space trilogy, Alexander Key’s novel The Forgotten Door, and Nigel Kneale’s tales of Professor Quatermass. Like all of the best science-fiction stories, the music on this fabulous album is as much about love, faith and relationships as it is about spaceships, aliens and far out ideas.

We’re Getting Closer To The Sun is an extraordinary record. Concept albums are tough to pull off, and there are a quite a few rock and roll artists who’ve tried their hand at the genre throughout the years, including The Who, The Kinks, Genesis, Frank Zappa, Nine Inch Nails, and Green Day. Along with a group of talented musical collaborators which includes Prairie Prince, Mike Roe, and Chris Von Sneidern, “Singer At Large” Johnny J. Blair has managed to create a compelling album that will touch your heart, inspire your soul and have you reaching for the replay button to re-experience these amazing songs. You can check out We’re Getting Closer To The Sun at bandcamp by following this link: https://johnnyjblairsingeratlarge.bandcamp.com/album/new-album-were-getting-closer-to-the-sun.

Retro Science Fiction TV Series: UFO

Ed Bishop in UFO

 

During the late 1950s and on through much of the 1960s, the husband-and-wife team of Gerry and Sylvia Anderson created some of the most exciting children's shows on television, including Stingray, Fireball XL-5 and Captain Scarlet and The Mysterons. These series all featured top notch puppet and model work, and exciting action sequences. The Anderson series from this period that most US viewers remember is Thunderbirds, about a team of adventurers who rescued people in peril all around the world. By the late 1960s, the Andersons decided to branch out into live-action, and they produced a film called Doppelganger, aka Journey to the Far Side of the Sun, starring Roy Thinnes as an astronaut who returns from a spaceflight only to find he's landed, not on Earth, but on a parallel version of our world.

Their next project was UFO, a science-fiction adventure series about a secret organization called SHADO (Supreme Headquarters Alien Defence Organization) battling alien invaders who are visiting our planet for nefarious purposes, including stealing our organs to prolong their lives. The series starred Ed Bishop (who'd done voice work for the Andersons), George Sewell, Gabrielle Drake and Michael Billington. Bishop played Ed Straker, the head of SHADO, who commanded the group's forces on Earth (which were hidden beneath a movie studio) as well as their base located on the moon. UFO is fondly remembered by fans of a certain age for the excellent special effects by Derek Meddings, some groovy 1970s style fashions (designed by Sylvia Anderson) and the very cool theme music, provided by Barry Gray, a frequent contributor to projects produced by the Andersons.

The show was aimed at a more adult audience than previous Anderson efforts like Fireball XL-5, and was considerably darker in tone. Several episodes dealt not only with the ongoing conflict with the alien invaders, but focused on the personal lives of the SHADO crew, and the toll their job took on their personal lives. For example, the episode "A Question of Priorities" highlights a pivotal moment in Straker's life, as he makes a difficult choice between his family and his work at SHADO. Other entries dealt with ESP, corporate espionage and even a murder plot which was interrupted by the arrival of an alien. The cast was uniformly excellent, and featured several familiar faces in guest roles, including Jane Merrow, Jean Marsh and Lois Maxwell.

The series aired in England in 1970 and was syndicated in the US in 1972. While initial ratings in the States were strong, they dropped off towards the end of the run, which ended plans for a second season of the show. Originally, the new season would have mostly featured episodes set on SHADO's moonbase. Gerry Anderson re-worked this concept into what later became Space:1999, starring Martin Landau and Barbara Bain. UFO has aired throughout the years in syndication and on cable stations. Invasion: UFO, a 1980 film compiled from several episodes, was released overseas in cinemas and on cable in the US. UFO has also been issued on various home video formats, most recently on Blu-ray from Imprint Films. Here's a trailer for that release: https://www.youtube.com/watch?v=ap2e-_bQ918. If you're a fan of 1970s sci-fi, or Gerry Anderson's other series, UFO is definitely work a look.

The Bongos Return with The Shroud of Touring

The Bongos were at the forefront of the alternative music scene in the New York area in the 1980s. Their music featured an eclectic mix of musical styles, and the Hoboken based group eventually gained national attention during the heyday of MTV, with the song “Numbers With Wings.” The band’s lineup featured Richard Barone on lead guitar and vocals, Rob Norris on bass and vocals, Frank Giannini on drums and backing vocals. Guitarist James Mastro joined the group after the release of their first full-length record, Drums Along The Hudson, which was issued in 1982. The album included the group’s alluring, dance-infused cover of “Mambo Sun,” by T. Rex: https://www.youtube.com/watch?v=n6x1gUYBFO8.

The band’s unique musical style, blending elements of rock, pop, dance rhythms and new wave, as well as their high energy concerts, garnered them a reputation as one of the best bands on the New York area scene in the 1980s. The Bongos released Numbers With Wings in 1983, and the title song, as well as the dance floor hit “Barbarella” expanded their fan base, as more fans discovered them and grooved to their exhilarating music. The Bongos toured extensively throughout the 1980s, adding percussionist Steve Scales to their lineup. They continued to release new music, including 1985’s Brazilian rhythm-inspired Beat Hotel. The group disbanded in 1987, but the band has reunited several times during the 2000s, both live and on record, and The Bongos remain a much-revered favorite among music aficionados: https://www.youtube.com/watch?v=XdPNmHJNQpc.

The great news for fans of The Bongos is that JEM Records is about to release The Shroud of Touring: Live in 1985, a never before released live album originally recorded during the band’s heyday. This phenomenal record effectively captures the band’s unstoppable energy, and the intensity of their incendiary live performances. The Shroud of Touring is being issued to commemorate the 40th anniversary of an incredible concert which occurred at the Tradewinds club in Seabright, NJ on Memorial Day weekend in 1985. The band was at the top of their game that night, and the track list includes favorites such as “In The Congo” and “Tiger Nights,” plus terrific tunes such as “Telephoto Lens,” and “Apache Dancing.”

The Shroud of Touring: Live in 1985 was produced by The Bongos and Steve Addabbo, and the disc has been lovingly remastered by Steve Rosenthal. This is an amazing record, showcasing the band at the peak of their musical powers. If you're a fan of the band (like myself) or were lucky enough to see the The Bongos back in the 1980s, this album will bring back some fond musical memories. If you’ve never seen or heard the band before, once you hear this fabulous record, you will definitely want to check out more of their fantastic, genre-defying music. To celebrate the album’s release, The Bongos original lineup of Richard Barone, Rob Norris, Frank Giannini and James Mastro will be performing several live shows in the New York/New Jersey area, including one at The Wonder Bar in Asbury Park, NJ on May 31st. The Shroud of Touring: Live in 1985 will be released May 23rd on CD by JEM Records, and is now available for pre-order on Amazon.

Black Mirror Examines A "Eulogy"

Most people can recall a romantic relationship from their younger years that, for whatever reason, didn't work out. But can you remember what actually happened to cause that relationship to end? What if you could actually step back into a memory from that time in your life? That's the intriguing premise of "Eulogy," the penultimate episode of the current season of the Netflix anthology Black Mirror. As with many of the stories in Charlie Brooker's series, the story raises questions about how advanced technology really interacts with us and ultimately affects our lives.

In "Eulogy," Paul Giamatti portrays Phillip Connarty, who's contacted by a company called Eulogy. They represents the family of Carol, a former flame of Phillip's. Her family wants him to provide a memory of her for a memorial service. Eulogy offers a unique technology that allows a person to enter a photograph, and in essence, view the moment that a photo was taken in three dimensions, in order to jog a person's memory. At first, Paul is reluctant to do this, as his relationship with Carol ended badly. When he finally agrees to view his memories, the AI "guide" from Eulogy helps him enter several photos, and he begins to recall memories of his time with Carol.

What becomes apparent is that Phillip's memories of his relationship with Carol are colored by his own frailties, and his own perceptions of their romance. Phillip and Carol's time together may not have ended for the reasons he remembers. The truth about how things ended might be a bit more complicated than it seemed at first glance. As he digs deeper into his memories, Phillip experiences a roller coaster of emotions, and he's forced to come to terms with his real role in the end of their relationship. Giammati is excellent as Phillip, and his heart-wrenching performance carries the episode. 

 

The script by Charlie Brooker and Ella Road is terrific, and the direction by Chris Barrett and Luke Taylor is superb. The raw emotional power of this episode really hits home. While Black Mirror often deals with the inherent dangers of technology, and how it can affectsour lives, this episode deals with the emotional toll that life can take on us. "Eulogy" is one of the best entries of the current season of the series. Like "San Junipero" from Season 3 of the show, this is a very human story, touching on deep level of emotion. Black Mirror is currently available on Netflix.