Marc Platt's Insightful "That Midlife Thing"

Marc Platt is a California based singer, songwriter and producer. He’s been making memorable music since his days as a member of the power pop group The Real Impossibles. His latest release, That Midlife Thing, is an insightful and reflective collection of songs which views life and relationships from the perspective of middle age. Like his previous discs Beat on the Street, Colors of the Universe and Dis Time It’s Poisonal, the record is filled with excellent songs whose sound is imbued with a 1960s vibe. That Midlife Thing is a terrific album that will touch your heart, inspire your mind, and move your soul. It's an outstanding record whose songs will continue to resonate with you long after you've listened to them. Marc recently took some time out to talk with me about That Midlife Thing, and the experiences that inspired him to create this superb record. 

Q: That Midlife Thing is an emotionally driven collection of songs. Your music has always had a heartfelt aspect to it, which is evident on previous releases like Colors of the Universe and Dis Time It’s Poisonal, and going all the way back to your work with The Real Impossibles. It feels like you’ve taken things to the next level on That Midlife Thing. These songs come from a very personal place. Did you have a sense of that while you were working on the album?

A: I have so many friends and family members who have been through issues like divorces, family breakdowns, and have dealt with the loss of their parents and other members of their family. My own mother died when I was 12. I just decided to get it all out in one record.

Q: Tracks like "Daisy's Lies' and "Lie To Each Other' examine the darker side of relationships, but there are also songs with a hopeful and positive tone, such as “Love of My Life” and “More Than I Can Say.”  I think the songs on That Midlife Thing will really resonate with listeners. For example, most of us have been in relationships with someone which didn't end well, then later found a partner we were more compatible with. Do you find that writing about the positive aspects of romantic relationships is easier? Is it more difficult to reflect on negative experiences when you're writing songs?

A: It is necessary to examine all facets of my emotional IQ as I get older. 'Daisy's Lies' is a song about an old girlfriend who virtually became unrecognizable to me and I to her all these years later. The way we feel about lovers evolves with the passage of time. A song like "We Lie To Each Other" resonates to me, so I imagine other people have similar feelings about truth, on a level where it can be hard to wake up in the morning and look in the mirror. "Love of My Life" and "More Than I Can Say" are a more romanticized view of reality. It took me decades to find the right partner after a lot of heartache resulting from decisions I had made previously, because I was emotionally asleep at the wheel.

Q: Your music has a strong 1960s vibe, and features elements of rock, pop, folk, and even a bit of jazz. I hear echoes of the 1970s and 80s as well. Your work brilliantly combines your influences into songs that have a classic aesthetic, but also sound fresh and up to date. You clearly have a strong affinity for the music of the 1960s, which is really evident in the your production on the album. Is that your favorite era of rock and roll?

A: I was literally raised on The Beatles. For Christmas in 1965, I received Rubber Soul as a present, and I fell in love with all of the music of that era. My mom would quiz me when a song came on the radio. She would say “Who is that?” I’d answer “Dionne Warwick,” etc. I was like a savant at age 8. I loved it all, but The Beatles were and still are the North Star for me.

Q: Other than The Beatles, what bands and artists influenced you as a performer and songwriter?

A:  Neil Young, Miles Davis, Kenny Rankin, James Taylor, Joni Mitchell, Carole King, Peter Case, Billy Joel, Karla Bonoff, Byrds, Buffalo Springfield, Dan Fogelberg and Crosby, Stills, and Nash.

Q: In addition to releasing your own your music, you host a Beatles radio show called We Love You Beatles, and work on promoting new artists and bands, as part of a project called Radio Candy. Can tell us a little about that?

A: My http://www.RadioCandy.Media company specializes in getting Indie Artists airplay all over the world. We also own the http://www.radioradio.com network of 4 stations that airs presenters from all over the world (United Kingdom, Japan, Dublin, USA). One other future project is called Click Rock Go, which is a phone app that will help connect artists to new fans and expose music fans to a growing community of artists. 

Q: You’re always writing songs and working on new music. Any other releases coming up in the future?

A: I have 30 more new songs written and recorded. I will decide what the next record will be like in the fall of this year. I am really digging my Bossa Nova vibe on several of these new songs. Maybe it will be a Bossa Nova record.

Many thanks to Marc for taking the time to talk with me about his latest release. That Midlife Thing is currently available at bandcamp. You can get more information about Marc, listen to the tracks, and order the album, by following this link: https://marcplatt.bandcamp.com.

A Cosmology of Monsters: A Haunted Family

Cover blurbs on novels are often a form of hyperbole. They're sourced from best-selling authors like Janet Evanovich or Stephen King, as a shortcut to getting readers to plunk down their hard earned dollars for a book by a new writer. In the case of Shaun Hamill's A Cosmology of Monsters, King is quoted on the cover as saying "If John Irving ever wrote a horror novel, it would be something like this. I loved it." That description turns out to be perfectly accurate. Hamill's novel is a masterful blend of Irving's quirky stories with the unsettling horror fiction of H.P. Lovecraft. It's a terrific novel that is an atmospheric, haunting and emotional tale which both embraces and subverts the genres of family drama and horror.

A Cosmology of Monsters is narrated by Noah Turner, the youngest of three siblings. He and his sisters Eunice and Sydney, along with their parents Harry and Margaret, run a Halloween haunted house attraction that is one of the central metaphors of the novel. Part of Harry's courtship with Margaret involved the work of H.P. Lovecraft, and she cast aside another suitor to marry the somewhat ramshackle Harry. Much to Margaret's chagrin, his compulsion to continually expand their haunted house experience, eventually christened The Wandering Dark, becomes an obsession, and a source of conflict in their marriage. The portrayal and characterization of Harry and Margaret and their three children is very John Irving-esque. The Turner family could easily fit right into Irving's The Hotel New Hampshire, except for the fact that these quirky characters are dealing with emotions and experiences that will eventually become entwined with the supernatural.

Eunice is a budding writer, struggling with personal issues, whose "suicide notes" Noah relates to us throughout the novel. The other Turner sibling, Sydney, mysteriously disappears, and that event puts permanent cracks in the already shaky foundations of the family. Like his father Harry, who died when he was a toddler, Noah obsesses over making The Wandering Dark bigger and better, which brings him into conflict with his mother. He then quite literally meets a monster, who he discovers scratching at his window one night. The creature continues to visit, and the pair begin to take night-time jaunts around the neighborhood. The monster seems to be harmless, but there are sinister forces at work in the area. Other children are disappearing, just like Sydney. Noah begins to wonder if his shaggy friend may know more about the missing children, just as their relationship takes a surprising turn. 

A Cosmology of Monsters is a compelling, powerful story of the things that haunt the Turner family, literally and figuratively. The characters struggle with problems that are quite relatable to us as readers, including the loss of a parent or sibling, making the wrong choice in a romantic partner, and dealing with depression and mental health issues. In a way, we're all haunted, but the Turners are literally tormented by their personal demons, which become intertwined with a powerful supernatural threat inspired by the otherworldly horror of H.P. Lovecraft. The dark and eerie forces in the novel are able to manipulate the Turners for their own ends, essentially turning their own troubled psyches against them. Were the Turners chosen at random by these evil forces, or was it their family's fate to be cursed? Someone will need to break the cycle of darkness that has long haunted the family. Will it be Noah?

Horror fiction has flourished in recent years, with writers like Paul Tremblay, Stephen Graham Jones and Sara Gran, among others, doing excellent work in the genre, and you can add Hamill's name to the list of talented new voices in the genre. A Cosmology of Monsters is brilliant combination of styles, melding the offbeat characters of a John Irving drama with moments of unsettling Lovecraftian horror, along a dash of Stephen King-esque eerieness. This thoughtful, emotionally driven book which features evocative moments of family drama entwined with harrowing moments of terror, will remain with you long after you close the pages. I highly recommend A Cosmology of Monsters to fans of the horror genre, and to those looking to add something a bit different for their reading list.

Raised By Wolves: Thought-Provoking Sci-Fi

As a genre, science-fiction can astonish, entertain and enlighten us, with a diverse group of stories, including action-adventure epics, and cautionary tales, offering a mirror to our own world and time. One of the more fascinating and intriguing television series to come along in recent years is Raised By Wolves, which just finished airing its second season on HBO Max. The show, created by Aaron Guzikowski, who also wrote Prisoners (2013), is a thought-provoking story of a future Earth which has been devastated by a war between a religious sect called the Mithraic and a science-based group of atheists. After locating Kepler 22-B, a suitable planet to settle on, both groups launch ships into space to assure the future of humanity, but the atheists go one step further. They send two androids, along with some human embryos, to ensure the continuation of the human race. These androids, named Mother and Father, whose mission is to raise and protect these children. The two surrogate parents are tasked with teaching these children the scientific based tenets of the atheists, in order to help ensure the ultimate survival of the human race.

The series focuses on Mother and Father’s attempts to establish a colony on Kepler 22-B, while dealing with some dangerous creatures that inhabit the planet. Only one of the children Mother and Father cultivate, a boy named Campion, survives on the new world. A space ark, sent by the Mithraic order, arrives at Kepler 22-B, and Mother (who reveals herself to be a powerful type of android called a Neuromancer) battles the crew. The ship crash lands, and Mother kidnaps several of their children, intending to raise them with Campion. Meanwhile, a Mithraic man named Marcus, finds some mystical artifacts, believes he’s heard the voice of God, and declares himself a prophet. He assumes leadership of the crash survivors, and goes on a quest to rescue the children and establish a permanent Mithraic settlement on the planet. 

 

Raised By Wolves is thought-provoking, intense and absorbing. It’s a captivating series that uses elements of science-fiction, horror and even a touch of fantasy to tell a fascinating and story that definitely upends the conventions of the genre. In a time when so many movies and television series are remakes, reboots or sequels, it’s nice to see a science-fiction show that tells a truly offbeat story that combines a lot of the genre’s elements in a unique and original way. One of the executive producers of the series is Ridley Scott, of Alien and Blade Runner fame. He helmed the first two episodes, and brings his striking directorial style to the show, helping to establish the look, tone and visual language of this alien world. It’s easy to see what attracted Scott to the project. While it’s an original story, it feels like the series could be set in a world much like the universe established in the three films from the Alien series which he directed. 

The cast for Raised By Wolves is uniformly outstanding, with Amanda Collin giving a superb performance as Mother, the android who’s trying to balance being a caregiver for the children with her other directives, including being a weapon of war. Abubakar Slim is equally strong as Father, who wants to be a true father figure to the children. Both Mother and Father struggle with the fact that they’re androids who are feeling more human all the time, due to the roles they need to fulfill for the children. If you’re a fan of Vikings, Travis Fimmel (who was so good in that series) is terrific as Marcus, the leader of the Mithraic. The rest of the cast is also wonderful, including Niamh Algar as Marcus’ wife Sue, and a fine group of young actors as the children, including Winta McGrath as Campion.

Raised By Wolves is a sharply written, solidly directed and well-acted series. The show is captivating, gripping and often surprising. Just when you think you’ve figured out where the plot is going, the story goes off in an unexpected direction. For this review, I tried to give just a basic outline of the story, so I don't spoil some of the mind-blowing moments and startling plot developments featured in the show. This is a fantastic series that’s definitely worth checking out, and worth viewing without much prior knowledge about it beforehand. Raised By Wolves is highly recommended for fans of thoughtful, mind-blowing and thrilling science-fiction. The show is now streaming on HBO Max. Here’s a look at the trailer for Season 1: https://www.youtube.com/watch?v=nAg6RTQEfeM.

A Noir-Infused "Batman" from Matt Reeves

Zoe Kravitz and Robert Pattinson

There have been a lot of cinematic versions of the Caped Crusader, and since Tim Burton's 1989 blockbuster Batman, most of them have leaned towards a darker interpretation of the character, largely inspired by Frank Miller's much-celebrated graphic novel, The Dark Knight Returns. But none of those previous films are as noir-ish as director Matt Reeves’ The Batman. This version of the character prowls the streets of an often rain-soaked, shadowy Gotham City that wouldn’t feel out of place in a vintage 1940s film noir or a classic crime novel. There’s also more than a hint of modern day thrillers like Seven in the script by Reeves and Peter Craig. The story is set in the second year of Batman’s career as a vigilante. The story is narrated by Batman, as he goes on his nightly quests for vengeance against criminals. That's an important distinction, as this iteration of the Dark Knight seeks vengeance, not necessarily justice, and even says in an early scene "I'm vengeance." instead of the often-quoted "I'm Batman," from previous films.

This Batman has a tenous relationship with the police, many of whom view him as a dangerous vigilante. He works with Lieutenant James Gordon, who sees the worth of having a connection with Batman, who can work outside the system to apprehend criminals. The two men are thrust into a mystery involving a serial killer who is targeting prominent Gotham politicians and public figures, leaving riddles in notes addressed to Batman at each crime scene. The villain is eventually revealed to be a twisted version of The Riddler, who claims he want to reveal the truth about Gotham's corrupt government. Batman uses his detective skills to try and to identify the killer, and figure out his ultimate goal. This brings him into conflict with a mysterious thief named Selina Kyle, and prominent members of Gotham's crime families, including mob boss Carmine Falcone and an ambitious (and shady) underground club owner named Oswald Cobblepot.

The unique visual aesthetic of The Batman (courtesy of cinematographer Greig Fraser) gives us a different version of the Dark Knight than has previously been portrayed on screen. Director Reeves has stated in interviews that he took inspiration from 1970's thrillers such as The French Connection, Chinatown and Taxi Driver, and that is reflected in the style of the film. This is a strikingly photographed, street-level version of the character, and while there are a couple of gadgets on display, it's a much less "comic-book" iteration of the Dark Knight. There's a car chase featured in the film that owes a lot more to Bullitt and The Seven-Ups than the day-glo antics of Batman Forever. The Batman also embraces a much darker version of The Riddler, whose twisted quest for his own version of justice is a twisted mirror to what The Batman is trying to achieve in his own vigilante crusade. Once the hidden truths about Gotham which The Riddler are trying to bring to light are revealed, the Dark Knight may have to reflect on what he's been doing, and figure out what being The Batman really means to him, and to his city.

The cast is superb. Robert Pattinson does a fine job as the Dark Knight, portraying the character as a haunted man who's more comfortable wearing the mask and beating up criminals than in being Bruce Wayne. He doesn't know how to live a "normal" life, and that brings him into conflict with his mentor, Alfred, his late father's bodyguard. Andy Serkis acquits himself well in the role, but has limited screen time as the character. Zoe Kravitz is terrfic as Selina Kyle, the "cat" burglar who becomes an ally to Batman on his quest, who has a few secrets (and an agenda) of her own. Kravitz and Pattinson have great chemistry, and it would be interesting to see the relationship developed further in a sequel. Paul Dano (who was excellent as a young Brian Wilson in Love and Mercy) offers a strong performance as The Riddler, who's more of an obsessed, demented killer than the humorous interpretations we've seen in the past from actors like Frank Gorshin and Jim Carrey. There's also great work from Jeffrey Wright as Lt. Gordon, John Turturro as Carmine Falcone and Colin Farrell, who's unrecognizable as Oswald Cobblepot, aka The Penguin.

The Batman is a fascinating, noir-infused take on this classic character. Matt Reeves (who also directed two entries in the recent Planet of the Apes trilogy) has given us a different perspective on the early years of the Dark Knight. The inspiration for the film comes from works such as Frank Miller's graphic novel Year One, the 1970's back to basics comic book stories from writer Dennis O'Neil and artist Neal Adams, 1970's crime films, serial killer tales like David Fincher's Seven, and even a hint of Ridley Scott's rain-soaked cityscapes from Blade Runner. The film benefits greatly from a wonderful score by Michael Giacchino, which adds to the sense of menace and dread in the story, but is also epic and romantic. The movie is a bit overlong at three hours. The story could have ended after a powerful scene between Pattinson and Dano, but it goes on for almost another half hour with a sequence that feels a bit out of place in the film, but does serve to deepen an important realization for Bruce Wayne about his ongoing role as Batman. If you're a long-time fan of the character, I think you'll appreciate The Batman. Here's a look at the trailer for the film, which is currently in theaters: https://www.youtube.com/watch?v=mqqft2x_Aa4.

"It Was Fifty Years Ago Today" Rocks Ridgefield

The music of The Beatles continues to delight long-time fans and enthrall new generations of listeners, more than 50 years after the band went their separate ways. Throughout the years, both Paul McCartney and Ringo Starr have hit the road with set lists chock full of Beatles tunes. There are also a number of bands who pay homage to the songs of the four lads from Liverpool, including the top notch group The Fab Faux, featuring Will Lee and Rich Pagano. One of the more enjoyable celebrations of the music of The Beatles is It Was Fifty Years Ago Today: A Tribute To The Beatles. Todd Rundgren, Micky Dolenz, Christopher Cross, Joey Molland (of Badfinger) and Jason Scheff (of Chicago) toured in 2019 and performed The White Album, as well as several of their own hits. For this year's edition of the show, Rundgren, Cross, Molland and Scheff return, and are joined by Denny Laine, a founding member of The Moody Blues and Wings, to pay tribute to Rubber Soul and Revolver, two of The Beatles' finest albums. The tour stopped off at The Ridgefield Playhouse in Connecticut on Thursday, March 4.

The night kicked off with a stellar run through of 'Drive My Car" that immediately enthralled the audience, followed by a terrific take on the George Harrison penned "I Want To Tell You." The set list featured tracks from Rubber Soul and Revolver mixed with performances of the artists' own hits, so Denny Laine took the lead spot for his renditions of "Go Now" (from his time with The Moody Blues) and a fabulous version of the Wings classic "Band on the Run," while Joey Molland led the band through the Badfinger tunes "No Matter What" and "Baby Blue." Other highlights included a marvelous "Good Day Sunshine" and a rollicking version of "You Won't See Me." One of the nicest surprises of the evening was Christopher Cross, who was in fine form on vocals and guitar. Cross got one of the biggest audience reactions of the night when he performed his hits "Ride Like The Wind" and "Sailing." The first set concluded with a seriously rocking version of Revolver's "She Said She Said," led by the energetic Rundgren, who impishly yelled "Intermission!" at the song's conclusion, before running off stage.

The second set began with "I've Just A Face" originally the opening track on the U.S. edition of Rubber Soul, followed by a stellar "Norwegian Wood" and a lovely version of "Michelle" featuring lead vocals by Christopher Cross. The enthusiastic Rundgren got the audience singing along when he performed his hits "I Saw The Light" and "Hello It's Me." One of the true VIPs of the show was Jason Scheff (the bassist and lead singer for Chicago from 1985-2016) whose vocals and bass work were excellent throughout the night. During his spotlight mini-set, Scheff sang the Chicago ballad "Hard To Say I'm Sorry" and then electrified the theatre with a truly epic version of the classic "25 or 6 to 4," which featured Scheff jamming with Rundgren on guitar, and the whole band kicking out the jams. It was one of the highlights of the concert. It brought the house down, and then brought the audience to their feet.

There were more Beatles classics as well, including Rundgren leading the group through an awesome version of "Tomorrow Never Knows," and a dynamic rendition of "Got To Get You Into My Life," with vocals by Scheff. Denny Laine took center stage on "Nowhere Man" and Joey Molland offered up a dynamic version of "Doctor Robert." By the time this amazing show wrapped up with another sing along on "Yellow Submarine," it was evident from the mile-wide smiles on everyone's faces that these talented artists enjoy playing together, and have a deep love and affection for the music of The Beatles. Great songs stand the test of time, and the music of The Beatles, and artists like Rundgren, Chicago and Badfinger clearly hold a special place in the hearts of both the performers and the audience, who clearly loved every minute of this amazing show. It Was Fifty Years Ago Today: A Tribute To The Beatles is touring now, so if you get a chance to check out the show in your area, it's well worth your time.

The Explorers Club Shines with "Wattage"

Remember listening to your AM radio in the 1960s and 1970s, when just the twist of a dial could land you on a great pop, rock or soul tune? Then you need to check out Wattage, the latest release from The Explorers Club. The band was founded in 2005 by singer-songwriter Jason Brewer, and features a rotating group of supremely talented musicians on each of their excellent records. The group has released terrific retro-styled pop albums such as 2012's Grand Hotel, and 2016's Together. If you're a fan of bands like The Beach Boys, The Byrds, Burt Bacharach, Paul Revere & The Raiders and The Turtles, the you'll really dig The Explorers Club. In 2020, the group issued a pair of outstanding albums, the self-titled The Explorers Club, which includes a dozen stunning baroque pop originals such as "Ruby" and "One Drop Of Rain," as well as To Sing and Be Born Again, a collection of covers of songs by bands like The Lovin' Spoonful and The Zombies.

Wattage is a marvelous record, featuring eight terrific cover versions of songs by The Rascals, The Four Tops and Little Anthony and The Imperials. The concept for the album is that you're listening to a broadcast on a vintage radio station, complete with song intros and commercials. It's a clever idea that will have you thinking about listening to your local radio station on your transistor radio in your backyard, or driving around with the windows down and blasting your car's radio back in the day. But the idea wouldn't work if there weren't some great tunes on the album, and there are some excellent songs on Wattage. Things kick off with the sunshine soul/pop tune "Be Young, Be Foolish, Be Happy," featuring a fantastic performance by Las Vegas based singer Lannie Counts, who also provides vocals for covers of Brenton Wood's "Gimme Little Sign" and The Four Tops classic "Loving You Is Sweeter Than Ever."

The album also includes top-notch versions of Little Anthony and The Imperials "Hurt So Bad," performed by Jeff Celentano, a veteran performer who has been a member of The Beach Boys tribute band Good Vibrations, and a wonderful cover of the Curtis Mayfield and The Impressions hit "I'm So Proud," featuring vocals by Ryan Williams. Jason Brewer himself takes on lead vocal duties for "Tragedy" a song originally released by Thomas Wayne and The Delons. Brewer provides us with a touching, powerful performance. The wonderful production on the album by Brewer and the backing work by the usual assortment of talented musicians adds to the record's rich atmosphere and overall success.

Wattage, like the rest of The Explorers Club's catalog, is recommended listening if you're a fan of 1960s pop, rock and soul. Jason Brewer and company have provided us with another enjoyable album full of splendid music, deeply steeped in good vibes. The track list is a marvelous combination of classics and lesser known but equally amazing and memorable songs. Wattage is currently streaming online, and a CD and vinyl release is forthcoming. Here's a link to a very cool retro-styled promo video for the album: https://www.youtube.com/watch?v=NWcMUsIWeLA, as well as a link for ordering info on the record: https://wattage.theexplorersclub.com.

Grey DeLisle's Haunting "Valentine"

For many of us, Valentine's Day is a time to celebrate the love in their lives. For others, it's a time to remember loves that are lost, or wistfully recall the ones that were never meant to be, or perhaps didn't get a chance to flower. There are just as many songs about heartbreak as there are about the joy of love, and few are more wistful than "Valentine," written by Murry Hammond, and originally recorded by his band the Old 97's. There's a beautiful new cover of the song by Grey DeLisle, which is now available as a single on Regional Records.

Grey DeLisle is a wonderful singer and songwriter who has released several acclaimed albums, including Iron Flowers. She's a veteran voice actor and performer whose work has been featured in series such as The Simpsons and The Fairly Odd Parents. DeLisle is also the long-time voice of Daphne in the Scooby Doo franchise, and has portrayed a variety of characters in the DC Animated Universe. Her cover of "Valentine" is a rich, emotionally resonant version of this memorable song, and you can absolutely feel the heartache in her compelling and passionate vocals. It's a stunning performance that will remain with you long after you hear it, and have you reaching for the replay button multiple times.

In addition to Grey's powerful vocals, the single features Murry Hammond on acoustic guitar, and the amazing pedal steel work of Greg Leisz. "Valentine" was produced by Marvin Etzioni, of Lone Justice fame, who's a founder of Regional Records. The song is part of Borrowed, a forthcoming covers album from DeLisle. You can check out the song, and purchase the single, by following this link: https://redonred-greydelisle.bandcamp.com/track/valentine, and you can also listen here: https://www.youtube.com/watch?v=s04saIeR_A4. "Valentine" is haunting, beautiful, and a terrific showcase for the enchanting and magnetic work of Grey DeLisle.