If Elvis Presley and the Beatles had a baby it would be Dwight Twilley – that’s how one writer described the Tulsa, Oklahoma native, who had top 20 hits with 1975’s “I’m on Fire,” and 1984’s “Girls.” Twilley has made a career out of making great melodic rock which some call “power pop.” His music continues to be used in popular culture, like his song, “Looking For the Magic,” which was featured prominently in the 2011 horror film You’re Next.
Sandwiched among those successes is the album Wild Dogs from 1986. Produced by Val Garay, who helmed big albums from the Motels and Linda Ronstadt, the record contains some of Twilley’s strongest material of his whole career. But, things got derailed when the head of his record label got indicted on payola charges.
Now, Iconoclassic Records has finally put this underappreciated album back in print, including bonus tracks. Twilley talks about working with Kim Carnes on the song, “Hold On, and teaming with partner Phil Seymour one last time for “Shooting Stars.” He also tells us how soon we should expect new material from him.
New reissue of this jazz classic features improved sound and both mono & stereo mixes together for the first time
John Coltrane’s brief career featured many high points: Giant Steps, from 1960, was like the shot heard ‘round the world, signaling that the saxophonist was blazing a trail all his own. A Love Supreme, from 1965, saw ‘Trane reaching for the heavens, and actually getting there. Sandwiched somewhere in the middle, My Favorite Things did something else impossible, it actually gave the shy musician a bona fide hit, both in the best-selling album, and in a highly-edited version of the title track as a single.
There are several things that set this 60th anniversary edition apart from everything else that came before it. First, this marks the first time that both the common stereo, and the hard-to-find mono mixes, have both been on the same collection together. While stereo quickly became the preferred way of listening to music, this mono mix is superior in just about every way.
Take the title track, “My Favorite Things,” for comparison. There’s a distinct tape dropout at :29 into the song that’s not there on the mono mix. The stereo version of “Everytime We Say Goodbye” seems distorted at times, while the mono is clear. Same with “Summertime” – the bass seems to drop in and out of the stereo version, while the mono stays constant.
While the stereo mix may not be superior to the mono, this version is the best these tracks have ever sounded. Listening to previously released editions, they all have some sort of noise reduction that muffled things. Here, you can definitely hear some tape hiss, but the tracks have much more life to them – they really breathe.
Another selling point for this release is the excellent liner notes, written by Ben Ratliff. Especially telling are the quotes from Coltrane himself on this project, which he admits was his favorite. There’s also some really great photos of ‘Trane too.
Imagine an alternate universe where they actually played Coltrane on hit radio stations. Well, this actually happened because of the success of this album. Atlantic Records released an edited version of “My Favorite Things “(chopped down from 14 minutes to 2:47!) that actually got considerable airplay.
My Favorite Things is the closest John Coltrane ever came to a “hit” record. This latest edition, especially for the inclusion of the superior mono mix, is the one to seek out. —Tony Peters
The Cowsills – Rhythm of the World (Omnivore Recordings)
First new album in 30 years from the original “Family Band”
Long before the Jacksons and Osmonds, the Cowsills were the original musical family. Hailing from Rhode Island, the band of six siblings and their mother, hit the charts in the late Sixties with songs like “The Rain, the Park and Other Things,” “We Can Fly,” and “Hair.” They were even the inspiration for the hit TV show, The Partridge Family. After a long hiatus, the band is back with an excellent new album called Rhythm of the World.
Their signature, spine-chilling, familial harmonies were what helped propel their original fame, and thankfully, it’s what makes their new album so good. In fact, there are times when harmonies seem to be coming from every direction – left, right, center; enveloping you in those warm, human voices.
The group’s sharp rise and fall from grace was chronicled in the 2011 documentary, Family Band, which is readily available on streaming. Despite so much adversity over the years, you might be surprised at how positive most of the songs here are.
The trio of Bob, Paul and Susan Cowsill remain from the original seven (brother John plays drums for the Beach Boys). However, furthering the family affair are Bob’s son, Ryan, on keyboards, and Paul’s son, Brendon, on guitar. Susan’s husband, Russ Broussard, handles the drums, and Mary Lasseigne, also from Susan’s band, plays bass.
The record opens with “Ya Gotta Get Up,” a phrase that Howard Kaylan of the Turtles (a frequent touring partner of the Cowsills) would often yell to the audience. The song itself is plea to keep going, something all of us can understand in this post-pandemic world. The track is mostly sung by Paul with a trippy middle section sung by Susan.
The song that really stands out (and the one that won’t get out of my head) is “Lend a Hand,” a great, jangly slice of sing-a-long, Sixties-styled pop featuring some excellent, sun-kissed harmonies, and a lead vocal by Bob. It’s a song that somehow manages to be both classic and completely relevant today.
“Hawks on the Hill” has a spaghetti western feel (think Duane Eddy), while “Every Little Secret” reminds me of Byrd Gene Clark’s solo output, and features a faux sitar, and a nod to Fleetwood Mac’s “Little Lies” on the chorus.
Susan takes the lead on “Rhythm of the World,” which slowly builds from a 12-string electric strumming. The lyrics admit, “we’re having way too fun to slow down,” but serves as a warning, “please remember there’s this place where we live / it can’t take too much more / something big’s got to give.” There’s also a nod to Crowded House with the “hey now, hey now” on the chorus.
“Largo Nights” is a gorgeous, mid-tempo number, while “Goodbye’s Not Forever” recalls Simon and Garfunkel’s “Homeward Bound.” “The Long Run” features a shuffle beat on the verses, but then the harmonies come in on the “tell you how I feel” chorus – this harmony stuff is addictive, you just want to hear it over and over.
The album closes with the heavy “Katrina,” a firsthand account of the destruction that left Susan homeless, and ultimately took the life of brother Barry. The track opens with strumming reminiscent of Chicago’s “Beginnings.” The verses swirl around you like a building storm, while the chorus asks “K-k-katrina, what did you do to me, do to everyone”? The song ends in chaos of voices and guitars – a stunning tribute to a storm that changed the course of so many people’s lives.
Rhythm of the World reminds us that, despite most of us spending a lot of time recently alone, we’re better together. The Cowsills know this too, and this album proves it. Give it one listen. You may find yourself hitting the repeat button, just to hear those great harmonies again, and again. —Tony Peters
They were the first white group signed to Atlantic Records, the Rascals blazed a trail with what became known as “blue-eyed soul,” with legendary hits like “Good Lovin,” “Groovin,” and “How Can I Be Sure,” but also created songs like “People Gotta Be Free,” which are still socially relevant more than 50 years after they were written.
At the heart of the band was singer and organist Felix Cavaliere, who has just written a book – Memoir of a Rascal: From Pelham, NY to the Rock n’ Roll Hall of Fame. He tells us the stories behind many of his biggest hits, how the band got signed to Atlantic Records, and how the Rascals found “Mustang Sally” before Wilson Pickett.
At the very peak of the Hippie movement, here comes Sha Na Na to remind everyone that “Rock n’ Roll is Here to Stay.” They were the second to last performers at Woodstock, opening for their friend (and fan of the band) Jimi Hendrix.
After that prime slot, the band went on to high-profile gigs at the Fillmore, best-selling albums, and even a hit TV show in the mid-Seventies. Sha Na Na ushered in a rock revival that continued with the films American Graffiti, Grease (which they were featured in), and the long-running TV show Happy Days.
20 years after their Woodstock performance, Sha Na Na, along with other performers of the original festival, gathered in California for a reunion concert. For the first time, that historic event has been put on DVD as Sha Na Na’s Woodstock: 20 Years After from Liberation Hall. It’s also available on CD and download.
We talk with founding member, drummer & vocalist, Jocko, from the the band. He walks us through the crazy path Sha Na Na took from college vocal group to the Woodstock stage in just a few short months. He also gives his memories of that crazy festival, and the reunion concert that followed.
Nicki Bluhm hails from Lafayette, California. The singer/songwriter released her first album in 2008. She also was a a part of Nicki Bluhm and the Gramblers. Her latest project, Avondale Drive, deals a lot with making a fresh start in life – after a divorce and a relocation to Nashville, Bluhm is ready to make music on her own terms.
The new album was produced by Jesse Noah Wilson and features guest appearances from folks like AJ Croce, Oliver Wood, Eric Slick and Jay Bellerose. After listening to her previous work, we think it’s her strongest album to date.
Note: the chirping you hear throughout the interview is a baby duck that decided to make friends while Bluhm was talking!
Sass Jordan hit pay dirt in the early 90’s with rock radio hit albums like Racine and Rats, and songs like “Make You a Believer” and “You Don’t Have to Remind Me.” But, she also garnered a Juno award in 1989, and even portrayed Janis Joplin in an off-Broadway musical.
While Covid was raging, Sass issued her first all-blues album called Rebel Moon Blues to critical acclaim. Now, she’s put together another collection, some originals, some covers, called Bitches Blues from Stony Plain Records.
We chat with Sass about playing live in a post-Covid world – how both musicians and the audience both need to relearn how to have fun. Plus, how she dug back to her childhood to pick some of the songs on her new record.
Face it, there’s going to be a time in the not-so-distant future when all the musicians who sang our favorite songs are gone. That’s what makes good tribute bands important.
After seeing Evil Woman – The American ELO at Fraze Pavilion in Kettering, I give them an A+
They’re hands down one of the best tribute bands I’ve ever seen.
The original Electric Light Orchestra last toured America in 1978, so lots of people (including yours truly) missed out on seeing their favorite band in concert. But, the music of Jeff Lynne & company is about as sophisticated as popular music ever got, so pulling this off live is no easy task.
Enter Nigel Holland. He created this project, and wow.
First of all, it wouldn’t be ELO without the ORCHESTRA, and they had a four-piece string section that was fabulous. Holland was one of two keyboardists, who were joined by two guitarists, a bassist, a drummer, and an operatic, energetic backup singer. For those keeping score, that’s eleven musicians so far.
But wait, what about Jeff Lynne? Well, they got a guy that looks and sounds like him too (oh, and he plays guitar).
Total: TWELVE musicians
If that’s what it takes to pull this music off live, well then..rock on!
They opened with “Tight Rope,” an album cut off of A New World Record, before launching into a bulletproof set of ELO standards. “Do Ya,” and “Hold On Tight” both sounded big and rocked plenty, while ballads like “Strange Magic” were done with care. “Jungle,” off of the Out of the Blue album was the other “deep cut.”
All along the way, they nailed it. The twin lead guitars on “Showdown,” the big drum sound on “Don’t Bring Me Down,” the operatic voice on “Rockaria!” Oh, and let’s not forget the Vocoder – yes, we heard it on “Mr. Blue Sky,” but also on “All Over the World” and “Confusion.”
The solos, the vocals, the strings – everything was faithful to the original recording.
I was fortunate enough to see Jeff Lynne’s ELO back in 2018, and while watching the guy that actually sang and created the songs was fabulous, I have to say Evil Woman: The American ELO is better. Lynne’s stage show and lights were breathtaking, but Evil Woman had an attention to detail that even the meticulous Lynne couldn’t match.
We are going to want to sing the music of the 60’s, 70’s, and 80’s for generations to come. The bands that can faithfully pull off the classic sounds stand in a class by themselves.
Evil Woman: The American ELO is one such band.
I’m a very picky music fan – and I was thoroughly impressed.
They were the first Queen tribute band: Killer Queen was formed in 1993, just a year after Freddie Mercury’s passing, and they’ve been celebrating the legacy of Queen ever since.
We chat with frontman Patrick Myers about what got him to form the band in the first place, plus admiring Freddie’s moves, and how timeless Queen’s music really is. Amazingly, Killer Queen has managed to play some of the very same places that Queen did back in the day.
Killer Queen is making a stop at Fraze Pavilion in Kettering on Wednesday, June 29th.
Seth Walker has been issuing music for almost a quarter century. His albums have charted on the blues, Americana and folk charts, showing his diversity as an artist. His latest release, I Hope I Know, is his 11th album, once again produced by longtime collaborator, Jano Rix.
We discuss why he chose to relocate from Nashville to Asheville, NC, how an end to a relationship mixed with the worldwide pandemic caused him to look inward, and his excitement of playing overseas.