An Emotional, Life-Affirming "Journey"

Colin Farrell & Margot Robbie

 A Big Bold Beautiful Journey is the kind of film that lingers in your mind after the credits roll. It's a story about the decisions we've made throughout our lives, and how those choices informed the person we turned out to be. The movie tells the story of David and Sarah, two strangers who meet at a wedding, though they don't "meet cute" or get together in tried and true romantic comedy fashion. Following the wedding, thanks to a mystical GPS (just go with it), and some car trouble for Sarah, the two end up taking an amazing journey together, which ends up changing their lives forever.

That otherworldly GPS takes David and Sarah on a "big, bold beautiful journey," guiding them through a series of magical doors, which allow them to relive important moments from their lives. Reliving these key episodes from their younger days inspires them to reconsider those pivotal moments, and think about the consequences of their choices. Can they move beyond their past experiences and find real love in their lives? The performances by Colin Farrell as David and Margot Robbie as Sarah are excellent. They subtly convey the sense that David and Sarah's lives are not just made up of memories, adding depth to their characters without needing a ton of overt exposition.

A Big Bold Beautiful Journey deftly illustrates what these characters discover about themselves on their journey, and how they are inexorably changed along the way. The movie is thoughtful, visually compelling, and deeply emotional. It takes some big swings thematically and plot-wise, and if it occasionally stumbles, it's still a journey well worth taking. The movie's solid direction is by Kogonada, the colorful cinematography is by Benjamin Loeb, and the insightful script is written by Seth Reiss.

While some critics and viewers have derided the film as too predictable and overly sentimental, I think the spiritual themes and emotional tone of the film are one of its strengths. We can all relate to David and Sarah's journey, and that's what makes the movie and its themes so compelling. A Big Bold Beautiful Journey is now available on disc, as well as for viewing on various digital platforms and streaming services. Here's a look at the trailer for the film: https://www.youtube.com/watch?v=7t9cPtA9St0.

Altered States: A Cosmic Love Story

Altered States (1980), directed by Ken Russell, isn't just a movie. It's a mind-blowing, universe-altering experience, blending elements of science-fiction, horror, cosmic philosophy, and mysticism. It's also a deeply powerful love story. Altered States is based on a 1978 novel by Paddy Chayefksy, the writer of such acclaimed films as Marty (1956), The Hospital (1972) and the beloved classic, Network (1977). The novel was inspired by the real-life experiments of Dr. John C. Lilly, who conducted research on sensory deprivation and how it alters human consciousness. Lily immersed himself and others in isolation tanks while under the influence of psychoactive drugs such as LSD, mescaline and ketamine, and recorded the experiences. 

Chayefsky designed a fictionalized version of these events, focusing on Dr. Edward Jessup, who is researching other states of consciousness as part of his work with schizophrenic patients. This leads Jessup to more intense experiments in sensory experience. Chayefsky intended the work to be a serious look at the research conducted by scientists like Lilly, integrated with man's spiritual search for truth. The film version of Altered States began pre-production at Warner Brothers with Arthur Penn (Bonnie and Clyde) as director, and Chayefsky receiving full creative control over the project. Penn resigned from the film after a dispute with Chayefsky, and Ken Russell (The Devils, Tommy) was brought in as a replacement. 

Russell's flamboyant visual style seemed to be a perfect fit for Chayefsky's imaginative story, but the two clashed frequently during production. Russell eventually disavowed the movie, and asked for his name to be taken off the film. The screenplay was credited to Chayefsky's pseudonym, Sidney Aaron. It's a shame that the conflicts with Russell soured Chayefsky on the project, because Altered States is a daring, one of a kind and awe-inspiring film. The top notch cast includes William Hurt, Blair Brown, Bob Balaban and Charles Haid, who perform Chayefsky's pseudo-scienctific and quasi-philosophical dialogue in a rapid fire, Howard Hawks-ian style, a choice which irritated Chayefsky but suits the characters perfectly.

Altered States tells the story of Dr. Edward Jessup, a scientist obsessed with exploring altered states of consciousness through sensory deprivation and hallucinogenic drugs. What begins as intellectual curiosity quickly spirals into something more primal, as his experiments unlock not just his mind, but an evolutionary memory embedded in our DNA. Jessup's anchor is Emily, an anthropologist he meets at a faculty party, and later marries. Their connection is intense, intimate and passionate, but Jessup's quest to unlock the secrets of the universe threatens to derail their relationship. Jessup's colleagues Arthur Rosenberg and Mason Parrish alternately support and hinder his efforts, but cannot stop him from conducting more dangerous and elaborate experiments. 

Jessup is brilliantly portrayed by William Hurt, and he's matched by a phenomenal supporting cast, including Blair Brown as Emily, Bob Balaban as Arthur and Charles Haid as Mason, Jessup's partners in his epic research into the origins of humanity. Emily, whose love for Jessup is fierce nd strong, will have to save him from the phantasmagorical transformations he suffers as a result of his experiments, and bring him back to reality from the brink of the ultimate trip into another plane of existence. In the end, can true love triumph over scientific obsession and the power of the universe? 

The film's brilliant special effects were designed by Bran Ferren, the amazing makeup was created by the legendary Dick Smith, and the stunning cinematography is by Jordan Cronenweth. The other worlds Eddie explores are visualized by surreal imagery: pulsating lights, religious iconography, and a psychedelic array of colors and sounds. His experiments also lead to some offbeat physical transformations. The hallucination sequences are the film’s centerpieces, and even by modern standards they retain a raw, disorienting power. There’s a tactile, almost grimy quality to the effects that make them feel more real and visceral than you'd likely experience via today's CGI creations. The movie also features a great score by composer John Corigliano.

Chayefsky's script grapples with big ideas like states of consciousness, religion, and evolution. At times, the sharp dialogue feels like an extended philosophical discussion, punctuated by Russell's fever-dream imagery, which illustrates Jessup's forays into other realities. The intensity of both the characters and Jessup's quest is what makes Altered States unique and memorable. Few films are willing to go all in on such wild concepts, while ultimately becoming the story of two characters united via a deep emotional bond. Altered States often feels less like a conventional narrative and more like a full-on sensory experience, but it's really a love story between two people whose passion creates a universe all their own.

Moonbase Alpha Encounters a "Black Sun"

Barry Morse and Martin Landau

Space: 1999 was one of the more ambitious science-fiction series of the mid-1970s. In those pre–Star Wars days, there were far less genre options on TV than there are in the current viewing landscape. The series was the brainchild of Gerry and Sylvia Anderson, who had found fame with puppet-based children's adventure shows such as Thunderbirds. Their first foray into live-action sci-fi was the 1969 film Journey to the Far Side of the Sun, which starred Roy Thinnes. That big-screen adventure was followed by UFO, an intriguing television series featuring Ed Bishop as Ed Straker, the head of a multi-national organization called SHADO, which protected our planet from villainous alien invaders.

UFO was a British production which aired in syndication here in the US. While it found some ratings success, it was not renewed for a 2nd year. Gerry Anderson retooled his concept for UFO’s second season, which would’ve centered on adventures on SHADO's base on the moon, into Space:1999. The concept of the series was that our moon is blown out of Earth's orbit by a nuclear explosion. The runaway moon (and the crew of Moonbase Alpha) wander thru space, encountering aliens and strange phenomena as they try to find a new home. The series starred Martin Landau and Barbara Bain, the husband-and-wife team who had previously found fame on Mission: Impossible, and Barry Morse, then best known for his role as Lt. Gerard on The Fugitive. 

Space:1999 featured spectacular special effects from Brian Johnson, who had worked on 2001: A Space Odyssey. The series contained elements of science-fiction entwined with horror and fantasy, and often dealt with powerful concepts about humanity and our place in the universe, for which no easy answers or neat resolutions were provided by the end of the story. Episodes such as "Another Time, Another Place" and "The Testament of Arkadia" prominently featured this heady mix of science-fiction and philosophy. One of the best examples of the show's "spiritual sci-fi" entries is "Black Sun," an episode from the series first season which originally aired on November 6, 1975.

In “Black Sun,” the moon encounters a "black sun" (aka a black hole) which threatens the existence of Moonbase Alpha. The black sun is wreaking havoc with the base’s power systems, and Commander Koenig (played by Landau) is worried the moon may not survive the trip through the anomaly, because of its tremendous gravitational forces. Koenig and Dr. Victor Bergman (portrayed by Morse) hatch an idea to shield Alpha from the black sun’s destructive power. As a backup plan, Koenig prepares to send an Eagle transport ship into space, with several crew members aboard, which will ensure that some members of the crew will survive if the moon is destroyed.

The episode showcases a philosophical discussion between Koenig and Bergman on how they’ve survived thus far, and if there’s some kind of otherworldly force guiding the moon’s journey through space. As their fateful journey through the black sun begins, the two men have a mystical experience with a powerful entity. Is this being who has protected the Alphans….God? This 2001 style sequence, with strong mystical undertones, deftly illustrates what some fans love about the show, and also what detractors of the series point to as one of its flaws. I think “Black Sun,” is one of the best episodes of the series, featuring great work from the cast, as well as excellent music and special effects. There’s also a fine script by David Weir and solid direction from Lee H. Katzin. 

The thoughtful approach of the first season appealed to some fans but turned off other viewers. The series was revamped for its second and final season, with producer Fred Freiberger (Star Trek, The Wild Wild West) coming on board to guide the show. Barry Morse departed, and several other members of the supporting cast weren’t asked to return. Catherine Schell was added to the show as Maya, an alien shape-changer who could transform into any person or animal. Tony Anholt also joined the cast as security chief Tony Verdeschi. The sets were re-designed, and the somber mood of the first season was abandoned in favor of more action-oriented stories. Fans of the series are quite passionate about which season they prefer, with many favoring Year One's more serious approach, while others enjoy Year Two’s faster-paced entries, which also included more humor than the first season.

Whatever iteration of the series you prefer, Space:1999 is available for viewing on various streaming services. The series has been also been released on Blu-ray and DVD. Space: 1999 is worth revisiting if you haven’t seen it in a while, and worth checking out if you're a newcomer to the show. The first season is better than it’s reputation suggests, and there are several solid outings in the much-maligned second season. Here’s a trailer for a Blu-ray release of the series, featuring Barry Gray’s iconic them from Year One: https://www.youtube.com/watch?v=C_nciw0ALw0\. 

This post is part of the 12th Annul Favourite TV Episode Blogathon, hosted by Terence, a fellow blogger over at A Shroud of Thoughts. For more information and to view the rest of the entries in the blogathon, head over to https://mercurie.blogspot.com/2026/03/the-12th-annual-favourite-tv-show.html.

Marc Platt Goes "Looking For America"

If you're a regular reader of this blog, you probably realize that I often write about and review the wonderful music created by Marc Platt, a supremely talented California based singer-songwriter. His albums often feature introspective, very personal songs about life, love and the world we live in. His latest release, Looking For America, is no exception. This time, Marc's got America on his mind, and he's got questions. Just what does America mean now, and what's happened to us as a country?

Looking For America features compelling, masterfully composed, and powerful songs such as the title track, "Our Silent Ways," and "A Call To Action." These songs deftly examine the state of America, and encourage us to think about our nation, and how we can be agents of change in a world that's badly in need of a large amount of kindness and decency. Songs like "Turnaround" and "Change Is Now," (as well as the entire record) should be required listening for everyone with open minds and loving hearts.

I'm a big fan of Marc's work, and his superbly crafted songs regularly examine life, love and relationships in a deeply personal and heartfelt fashion. There's a touch of Marc's emotional style of music on this record on heartfelt songs like "Flying Too Close To The Sun" and "That's How It Goes." Marc also has bigger thematic fish to fry on this marvelous album, which he also produced. 

On Looking For America, Marc's working with a larger canvas. Just listen to tracks like "When Worlds Collide" and "Boggles My Mind." These songs are no less candid or powerful than the rest of Marc's ouevre, they're just talking about the thorny issues we're all facing in the world right now. If you're a fan of Marc's intimate folk-rock style, and are wondering where America is and where it might be going, take a listen to Looking For America. Check it out here: https://marcplatt.bandcamp.com/album/looking-for-america.

Westworld: A Dream Vacation Gone Wrong

The late Michael Crichton is widely celebrated as an author and filmmaker, having written books like The Great Train Robbery, Sphere, Congo, Rising Sun and Disclosure, all of which were adapted into movies. Of course, he's probably best remembered for his novel Jurassic Park, which was turned into a wildly successful film franchise. But that tale of cloned dinosaurs running amok in an amusement park wasn't the first time that Crichton imagined a story about a technologically advanced theme park where things go horribly wrong.

 

That honor belongs to Westworld, a 1973 film written and directed by Crichton, which tells the story of Delos, an adult amusement complex featuring three separate parks: Westworld, Roman World, and Medieval World. Guests live out their fantasies in these meticulously crafted, simulated worlds, which are populated entirely by sophisticated robots. You can become a gunfighter, a roman lord, or even a knight. in highly realistic scenarios that allow you to become the hero of your own story.

 

Westworld centers on two friends, John Blane and Peter Martin, played by James Brolin and Richard Benjamin, who visit Delos for a vacation. At first, they enjoy their time in the Old West scenario, engaging in bar fights, spending time with beautiful ladies, and triumphing in shootouts with a villainous black clad gunman. What begins as a playful lark quickly spirals into a deadly battle for survival when the robots begin to malfunction, and start wounding, and even murdering the guests throughout the parks. Spoiler Alert: John is killed, and Peter ends up in a relentless battle with the mysterious gunfighter android, chillingly portrayed by Yul Brynner.

 

The film feels remarkably prescient in its celebration of advanced technology being accepted as infallible, then taken a bit too far, too fast, purely for the purposes of profit and entertainment. The robots are marvelous creations, but when they malfunction due to the effects of what appears to be a computer virus, the scientists and staff members of Delos are completely unprepared to deal with the situation. This results in Peter's dream vacation turning into an absolute nightmare. Can he defeat the unstoppable gunslinger? Will anyone survive the robot rampage at Delos?

 

Westworld is an entertaining, thought-provoking film, featuring solid performances by Benjamin, Brolin and Brynner, who deftly channels his Magnificent Seven persona as the gunslinger. You'll also spot familiar faces like Alan Oppenheimer, Dick Van Patten and Majel Barrett in supporting roles. One of the film's technical innovations is that it features one of the earliest cinematic uses of digital image processing to represent the pixelated point-of-view of Brynner's deadly gunslinger robot. The film is also an early example of the techno-thriller, a genre which Crichton re-visited several times throughout his career, in films like Looker and Runaway.

 

The film spawned a sequel, Futureworld (1976), starring Peter Fonda and Blythe Danner as reporters investigating mysterious goings on at a re-opened Delos. Futureworld is an entertaining film, which expanded upon the themes of the original and added a conspiracy thriller angle to the storyline. Neither Futureworld, or a short-lived 1980 TV series on CBS entitled Beyond Westworld included any involvement from Michael Crichton. In 2016, HBO launched a new Westworld  television adaptation of the film, created by Jonathan Nolan and Lisa Joy, re-imagining Crichton's original concept, and updating it for the 21st century. That well-received series, featuring Ed Harris and Evan Rachel Wood, ended its run in 2022.

 

Westworld feels less like old school sci-fi and more like one of the origin points for modern speculative fiction, which includes cautionary tales about the misuse of technology. Crichton didn’t just make a memorable, riveting thriller, he issued a warning about the unbridled acceptance of technology, a message which still resonates today. Westworld was recently issued on 4K and  Blu-ray by Arrow Video, in an extras-packed special edition. Here's a trailer for Arrow's release of the movie: https://www.youtube.com/watch?v=_vezkZIMm74/.

A Different Kind of "Knight's" Tale

George R. R. Martin's Game of Thrones novels gained a whole new legion of fans when they were adapted for television by HBO. The series redefined genre television with its cinematic scope, epic storytelling and larger than life characters. The recent prequel series, House of the Dragon, has largely retained the style of the original, but the latest entry in the franchise has a smaller scale, more personal focus in mind.  

A Knight of the Seven Kingdoms, based on Martin's Tales of Dunk and Egg, tells the story of Ser Duncan the Tall, a "hedge knight" from a lowborn background who's a far cry from the larger than life Targaryens and Starks we're used to seeing in the previous iterations of Game of Thrones. After his mentor dies, "Dunk" travels to a tournament where he hopes to prove himself as a knight. Along the way, he encounters Egg, a young boy who offers to be his squire. The two unlikely heroes become friends, but there are challenges ahead that will test not only Duncan's mettle, but their friendship as well.

Set decades before Game of Thrones, this series trades continent-shaking wars, dragon fire and political machinations for something more intimate and emotional: at its heart, the show is a character study. Ser Duncan, who's earnest, kind, and often out of his depth, anchors the narrative as a decent man trying to live up to a knightly ideal in a less than chivalrous world. His companion and squire, the quick-witted Egg, provides both support and wise beyond his years counsel. Their growing friendship and respect for one another is at the heart of this entertaining series.

Despite the fact that, like its sister shows, some of the high born characters in A Knight of the Seven Kingdoms are unlikable and often downright villainous, there are people like Dunk and Egg who illustrate that decency and kindness still matter, even in an indecent world. The visual style of the series is a bit different from what we've seen before, as the show leans into providing a street-level view of the Game of Thrones universe. Taverns and tents are dirty and dusty, people are unkempt, and often revel in small pleasures like wild dancing, and singing colorful songs about loose women. There's definitely a more irreverent tone on display here than was featured in Game of Thrones, but it works well within the context of the series.

Peter Claffey as Dunk and Dexter Sol Ansell as Egg have strong chemistry, and they lead a fine ensemble which also includes Daniel Ings as Lyonel Baratheon and Shaun Thomas as Raymon Fossoway. The series was created by Ira Parker and George R.R. Martin, and the directors for the six-episode first season are Owen Harris and Sarah Adina Smith. A Knight of the Seven Kingdoms is now streaming on HBO Max, and this well-produced, well-acted, character driven tale is worth a look for Game of Thrones fans. The show also might be a good entry point to those new to the franchise. Here's a look at the trailer for the series: https://www.youtube.com/watch?v=sItUCKJQLTU.

Ponies: Cold War Spies and 70s Rock & Roll

Haley Lu Richardson and Emilia Clarke

Ponies (Persons Of No Interest) is a well-crafted espionage series now airing on Peacock. It's part Cold War thriller, part character drama, and part buddy comedy. Ponies tells the story of Bea and Twila, two women whose husbands are CIA agents based in Moscow. When their husbands are killed under mysterious circumstances, Bea and Twila convince Dane, the CIA station chief, to let them investigate their husbands deaths by working as undercover agents. The women are both given jobs  as secretaries at the American embassy, where they work with Dane to figure out what the KGB is up to, and uncover the truth behind their husbands deaths.

Bea (played by Emilia Clarke) is  a college-educated, Russian-speaking child of Soviet immigrants, while Twila (portrayed by Haley Lu Richardson) is a sharp-tongued small-town girl with a fearless streak who often flies by the seat of her pants in difficult situations. The two women begin a rocky friendship as they go on increasingly dangerous missions for Dane. The show is sharp, stylish and visually striking. The series features excellent period detail (the show is set in 1977) and a fine supporting cast, including Adrian Lester and Harriet Walter. 

What really sets the show apart are the fabulous needle drops. All of the episodes in the first season are named after famous 1970s tunes, and each episode features several classic tracks, including songs from artists like Fleetwood Mac, Tom Rush, J. Geils Band, Blondie, J.J. Cale and Vicki Lawrence. The excellent soundtrack features the expected marquee names, such as Todd Rundgren and Heart, but also spotlights more obscure artists like folk rockers Goldberg and selections from beloved cult bands like Love and Fanny. The music choices feel very intentional, as the music is often used to underscore and comment on the action, adding depth and color to important scenes, which turns the show's strong moments into memorable ones.

Ponies is an entertaining spy series featuring excellent performances from Emilia Clarke and Haley Lu Richardson, who exhibit solid chemistry as Bea and Twila. The entire first season is now available for streaming on Peacock. The show should appeal to fans of 1970s era spy thrillers, and the killer soundtrack will bring back a lot of memories for classic rock fans. Here's a link to the trailer for the show: https://www.youtube.com/watch?v=-DlukUWtoCU.

 

 

The "Monsters" Aren't From Outer Space

The Monsters Are Due On Maple Street

Recently, I've been doing a re-watch of some of my favorite episodes of the original Twilight Zone series. Rod Serling's groundbreaking television show thrilled and fascinated us with memorable tales of science-fiction, fantasy and horror. The Twilight Zone also taught us some important lessons about the human condition, and commented on the state of the world we live in through its fictional lens. "The Monsters Are Due On Maple Street” is one of the most powerful and enduring episodes of the series, and its central message remains relevant, especially in these troubling and uncertain times.

The story takes place on Maple Street, a quiet suburban neighborhood, where strange events, such as power outages and malfunctioning electronics, occur after the residents witness a flash of light and hear a loud noise in the sky. The people of the town believe an alien invasion is imminent, and suspect that there are aliens in disguise living among them. Suspicion, fear and paranoia begin to grip the neighborhood, leading to the residents accusing one another of collaborating with the aliens, turning against their friends, and ultimately ending in violence and death.

 

"The Monsters Are Due On Maple Street” illustrates how fear can turn ordinary people into their own worst enemies, and how negative emotions bring out the worst aspects of humanity. By the end of the story, the audience learns that the real “monsters” aren't the aliens, but the residents of Maple Street themselves. Spoiler Alert: The twist in the tale is that there really are aliens hiding outside of the town, manipulating events to show just how simple it is to turn human beings against one another, thus making our planet an easy target for conquest.

 

Written by Rod Serling and directed by Ronald Winston, the episode features a strong cast of familiar faces, including Jack Weston, Barry Atwater, Claude Akins and Mary Gregory. A re-imagined version of the story, entitled "The Monsters Are On Maple Street" was produced for the 2002 revival of The Twilight Zone, and starred Andrew McCarthy. "The Monsters Are Due On Maple Street” is widely acclaimed as one of the best episodes of the original series, and is certainly one of Serling's best efforts.

One of the episode’s greatest strengths is its powerful commentary on fear and mob mentality. Serling's fine script shows just how quickly kindness and empathy disappear when people feel threatened and paranoia reigns. The townspeople abandon logic and reason in favor of pointing the finger at their friends and neighbors, choosing fear over understanding. "The Monsters Are Due on Maple Street,” which originally aired in 1960, is a bold and bracing commentary on the social and political situations of the Cold War era, but the themes present in this thought-provoking tale still feel very pertinent today.

The Cynz Rock Our World With "Confess"

The Cynz, the dynamic New Jersey rockers whose terrific version of David Bowie’s “Can’t Help Thinking About Me” was a highlight of last year’s JEM Records Celebrates David Bowie tribute disc, are about to blow your mind (and your speakers) with Confess, their fantastic new album, which will be released by JEM Records on January 24. If you’re not already a fan of this amazing band, you’re about to become one.

Confess includes ten tracks highlighted by hard-driving riffs, knockout vocals, shimmering melodies, and skillfully layered arrangements. Take a listen to the kinetic single “Love’s So Lovely” and the sharp-edged “My Father’s Gun” to see just what I mean. Cyndi Dawson’s evocative lead vocals and Henry Seiz’s masterful guitar work are the heart and soul of this incredible band, and they help bring tunes like the modern-rock flavored “Impossible Ending” and “Watching You” brilliantly to life.

What stands out on Confess is how the songs balance the band’s raw rock and roll energy with a real emotional core. The album includes a mix of gritty rockers like “Woman Child” and heartfelt tunes such as “Don’t Give Up.”  I also dig the picturesque “Ghost Rider” and the expressive “Light The Sky.” There’s also a knockout version of Tom Petty’s “You Wreck Me” which fits in nicely with the rest of the tracks on the disc, and has quickly become one of my favorite Petty covers.

The success of the album is firmly rooted in The Cynz’s deep commitment to their music, and their unparalleled talents, especially Cyndi Dawson’s passionate vocals and Henry Seiz’s powerhouse guitar. The excellent production work on Confess is by the one and only Kurt Reil of The Grip Weeds, and the disc features guest appearances by Reil, Tony Shanahan of The Patti Smith Group and Arno Hecht of The Uptown Horns.

Confess is definitely a statement of purpose by this exceptional group. The album is filled with heart, grit, and top notch songcraft. Whether you’re a longtime fan or are discovering The Cynz for the first time, Confess is a must listen and a must have. Here’s a link to check out “Love’s So Lovely,” https://www.youtube.com/watch?v=W38G8XULMXU.

The Top Ten Posts: 2026 Edition

Happy New Year! Here's a list of the most visited posts from Eclectic Avenue for the last 12 months. There are some new entries and old favorites:

1. Dizzyfish: My review of a terrific concert by the amazing local band Dizzyfish is still in the top spot: https://jveclectic.blogspot.com/2024/06/dizzyfish-rocks-with-best-of-1970s.html.

2. Marvin Etzioni: My look at Marvin Etzioni's excellent 2020 release, What's The Mood of the Country Now? holds onto the number two spot: https://jveclectic.blogspot.com/2020/11/etzonis-whats-mood-is-exceptional.html.

3. The Tearaways: My review of a wonderful album by The Tearaways moves into the number three spot: https://jveclectic.blogspot.com/2023/03/a-fabulous-trick-from-tearaways.html.

4. Escape In The Fog: My look back at the 1945 thriller Escape In The Fog makes its debut in the top ten at number 4: https://jveclectic.blogspot.com/2018/12/will-otto-kruger-escape-in-fog.html.

5. The Magnificent Seven: A long-time resident of the top ten, this look at the 1960 Western classic takes the number five spot on the list once again this year: https://jveclectic.blogspot.com/2017/04/eli-wallach-vs-magnificent-seven.html.

6. Jacques Tourneur: A look at the work of a celebrated film director moves into the number six slot: https://jveclectic.blogspot.com/2017/05/jacques-tourneurs-world-of-shadows.html.

7. Nick Piunti: My review of Nick Piunti & The Complicated Men's 2024 disc, Up and Out of It, takes the number seven spot: https://jveclectic.blogspot.com/2024/10/piuntis-latest-shines-with-power-pop.html.

8. Miracle Mile: A retrospective review of the 1988 film Miracle Mile makes its debut at the number eight spot on the list: https://jveclectic.blogspot.com/2020/06/miracle-mile-fate-love-apocalypse.html.

 9. The Invisible Ray: Another debut in the top ten is my retrospective review on the Boris Karloff and Bela Lugosi thriler, The Invisible Ray: https://jveclectic.blogspot.com/2017/09/what-is-secret-of-invisible-ray.html.

 10. The Pit and the Pendulum: The fourth post to make its debut in the Top Ten is this review of the classic Roger Corman directed thriller, The Pit and The Pendulum, starring Vincent Price: https://jveclectic.blogspot.com/2020/04/price-poe-and-pit-and-pendulum.html.

This past year, the list of most visited posts leaned a little bit more towards movies, and also towards older posts as well. Bubbling just outside the Top Ten were my review of Popsicle Drivethru, a fabulous album by Monogroove, a concert review of a terrific live show from Early Elton, and a look at the classic Burt Lancaster film The Crimson Pirate. Thanks for reading, as always!

Lez Zeppelin Rocks Out at The Kate

The music of Led Zeppelin continues to enthrall, excite and enchant music fans all over the world. There are several fine Zeppelin tribute bands out there, but one of the absolute best is Lez Zeppelin. This dynamic all female group brought their amazing talents to The Kate in Old Saybrook on Sunday, December 28, and they tore the roof off the place, performing the full set list from one of Zeppelin’s celebrated Earls Court concerts from 1975. To call these fabulous musicians a tribute band does them something of a disservice. Lez Zeppelin doesn’t just play the songs of Led Zeppelin, they inhabit them.

The group’s lineup consists of Dana Athens on vocals, Steph Paynes on guitar, mandolin and theremin, Joan Chew on bass, keyboards and mandolin, and Hillary Blaze on drums and percussion. Throughout the almost three-hour show, each of these incredibly talented women had moments of sheer musical brilliance, and their undeniable chemistry and non-stop energy literally lit up the room. The band breathed new life into tunes like “Kashmir,” “Going To California,” and “That’s The Way,” while retaining the essence that made these songs classics in the first place. 

 

photo by John V

 

Dana Athens channeled the soulful qualities of Robert Plant, while bringing a generous helping of rock goddess energy to her performances, and Steph Paynes proved she could hold her own with Jimmy Page with her incredible guitar work. Joan Chew anchored the band with her terrific bass and keyboard playing, and Hillary Blaze electrified the audience with her epic drumming. Every one of the evening’s knockout performances were infused with raw passion, power, and an ethereal quality that deeply enriched the music. Zeppelin's music features a lot of subtle nuances and intricacies that only the best performers can bring out in a live setting. Lez Zeppelin manages to capture the passion and soul inherent in Zeppelin’s oeuvre, while adding a bit of their own compelling spirit to these remarkable songs. 

 

This unforgettable show was a spectacular reminder of the enduring power of Led Zeppelin’s discography, and a showcase for the phenomenal talents of the members of Lez Zeppelin, whose absolute joy at performing these songs was inherent in every note. The band will be touring in 2026 with shows celebrating the music from The Song Remains The Same, Led Zeppelin’s concert film from 1976. If you'd like to hear some high-energy classic rock, performed with a healthy dose of girl power, I highly recommend checking out Lez Zeppelin. For more info on the band, head over to their website at https://lezzeppelin.com/. 

"Jay Kelly" Looks Back at His Life

George Clooney & Adam Sandler in Jay Kelly

Noah Baumbach's Jay Kelly is the memory-driven story of the title character, an old school movie actor portrayed by George Clooney. Jay is working on his latest film, but suddenly abandons the project in order to follow his daughter Daisy to Italy, where he plans to spend time with her, and also attend a retrospective event devoted to his film career. While traveling, Jay begins to recall incidents from throughout his life, and examines his relationships with the people around him, including his friend and long-time manager, Ron, played by Adam Sandler.

While the film is centered on Jay Kelly, it's definitely the story of the people in his orbit, who have all been affected by the choices he's made. He often chose his career over his personal life, and those choices have had reprecussions in his professional and personal life. In some ways, the real Jay is a mystery, while his public persona, driven by his natural charm, is perceived by his fans to be his real self. The fateful journey to Italy also prompts those around Jay to share some hard truths with him, as they provide some hard truths, and even resentments regarding what they've sacrificed to work for him. His publicist Liz, portrayed by Laura Dern, quits midway though the trip, after an incident with a friend from the early days of Jay's career comes back to haunt him.

Clooney brings his considerable star power and charisma to the role of Jay, but there's a deliberate mystery about the character. We don't delve too deeply into what drives him until the climax of the film. Some of the strongest moments in the movie belong to the supporting characters, especially Adam Sandler's Roy, whose presence serves as a catalyst to Jay, prompting moments of conflict, confession, humor and finally, love and understanding between the two men. Sandler has never been better, and the rest of the cast, including Laura Dern, Billy Crudup, Riley Keogh and Stacy Keach, also offer superb performances.

Noah Baumbach's direction is strong, as usual, and the screenplay, which he co-wrote with actress Emily Mortimer, does offer some trenchant observations about movie stars and the cult of celebrity. Jay Kelly is entertaining, well acted and produced, but like its central character, its utlimate truths remain a bit elusive. The film is currently streaming on Netflix. Here's a look at the trailer: https://www.youtube.com/watch?v=I8GbcVkqZwQ.

Let Me Drive The Van: Cool Power Punk Vibes

I recently posted about this fantastic record elsewhere, but I wanted to share this info here on my blog as well. If there's a music fan in your life, and you're looking for the perfect holiday gift, or if you're a music buff, and you'd like to listen to some awesome tunes, as well as support a good cause, please check out Decade by Let Me Drive The Van. Decade is an album of fabulous songs and demos from the talented Elaine DiMasi and Tom Spademan, a duo whose power pop meets post-punk sound radiates some very cool vibes. You'll dig great tunes like "Stars Already Gone" and "Little Lanterns," which are just two of the 30 tracks included on this fabulous release.

The album is available from bandcamp, and all proceeds from individual track and album sales will be donated to Open Medicine Foundation, a group which supports ME/CFS Research in their work to find a cure for ME/CFS and Long COVID, which are life-altering illnesses. Check out Let Me Drive The Van and Decade by following this link: https://letmedrivethevan.bandcamp.com/album/let-me-drive-the-van-decade.

Life, Love, Loss and Memorable Mix Tapes

If you've ever made a mix tape for someone you care about, or connected with that person through a shared love of music, then Rob Sheffield's Love Is A Mix Tape: Life and Loss, One Song at a Time will definitely resonate with you. The book tells the story of Sheffield's relationship, with his wife, Renée, how music brought them together, and also how music helped him cope with losing her, after her sudden death from a pulmonary embolism.

Each section of the book is preceded by a list of the songs from a mix tape that was an integral part of their time together. As Sheffield details the story of his and Renée's time as a couple, the music on those tapes becomes a soundtrack to their courtship and marriage, and deeply illustrates the integral part music played in their lives. Reading Love Is A Mix Tape makes you feel like you're having an intimate conversation with Sheffield about life, love, loss, memories, music and of course, creating the perfect mix tape.

The book resonates with me because of my own experiences with my late wife, as music and mix tapes played a large part in our lives as well. I met Gloria when she was the roommate of a colleague of mine. My heart was mending after a bad breakup, and she made me laugh with dead on barbs aimed at my ex, who had unceremoniously dumped me. We also bonded over our musical favorites, including The Beatles and Bruce Springsteen. I later made her a mix tape featuring songs from her George Harrison (her favorite Beatle) and some other music I knew she'd like on the opposite side. That was the first of many mix tapes I made her, and soon after, we started dating. As it did for Rob and Renée, music became an integral part of our life together, and like Rob, I lost my spouse far too soon.

Sheffield writes about how a song on a mix tape can carry a memory, a moment, or define a person, and I know exactly what he means. I can’t hear “Here Comes the Sun” or “Thunder Road” without feeling my wife’s love for, or connection to, those songs. Sheffield's mixes for Renée, like mine for Gloria, were love letters disguised as playlists. Love Is A Mix Tape: Life and Loss, One Song at a Time is a moving, powerful, and emotional memoir, which captures the joys of love, and charts the uneven rhythms of grief. Sheffield deftly moves from humor to heartbreak to nostalgia, because that’s how memory works when you think about someone you love.

A contributing editor at Rolling Stone, Sheffield has written several excellent books, including Dreaming The Beatles: The Love Story of One Band and The Whole World, but I think the powerful, moving, bittersweet, yet ultimately hopeful Love Is A Mix Tape is perhaps his best work. There is a sequel to Love Is A Mix Tape, entitled Turn Around Bright Eyes, about how singing karaoke helped Rob heal again, how he started a new chapter in life, and found new love. I look forward to reading that one soon. But if you want to read a compelling story about how music becomes embedded into our lives, and is deeply woven into the fabric of our relationships, seek out Love Is A Mix Tape.

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/.