Showing posts with label GLORIOUS CORNER. Show all posts
Showing posts with label GLORIOUS CORNER. Show all posts

Monday, June 29, 2015



Story By: G. H. HARDING
Jane Fonda

SQUIRE PASSES --- We’ve lost so many music greats this year, but over the weekend we lost a true, true music giant; bassist-extraordinaire Chris Squrie, co- founder of Yes, at 67 from a rare form of leukemia.

Current Yes keyboardist Geoff Downes first tweeted the news, "Utterly devastated beyond words to have to report the sad news of the passing of my dear friend, bandmate and inspiration Chris Squire."

Yes confirmed Squire's death on their official Facebook page. "It's with the heaviest of hearts and unbearable sadness that we must inform you of the passing of our dear friend and Yes co-founder, Chris Squire. Chris peacefully passed away last night in Phoenix Arizona, in the arms of his loving wife Scotty,” wrote the band.

"For the entirety of Yes' existence, Chris was the band's linchpin and, in so many ways, the glue that held it together over all these years. Because of his phenomenal bass-playing prowess, Chris influenced countless bassists around the world, including many of today’s well-known artists. Chris was also a fantastic songwriter, having written and co-written much of Yes' most endearing music, as well as his solo album, Fish Out of Water."

Yes formed in 1968 after singer Jon Anderson met self-taught bassist Squire at a London music-industry bar; the pair was soon joined by guitarist Peter Banks, keyboardist Tony Kaye, and drummer Bill Bruford. Yes released their self-titled debut in 1969. However, it wasn’t until Steve Howe and Rick Wakeman replaced Banks and Kaye, respectively, that the prog rock group really hit it big with 1971's The Yes Album and Fragile.

Over the ensuing decades, Yes would see a parade of band members depart, enter and reenter, but Squire was the lone constant in the shape-shifting band, serving as their bassist for nearly 50 years. He is also credited as a co-writer on many of Yes' greatest cuts, including "I've Seen All Good People," "Starship Trooper," "Owner of a Lonely Heart," "Yours Is No Disgrace" and "Heart of the Sunrise."

In addition to his work with Yes, Squire was involved in other side and solo projects. His 1975 solo LP Fish Out of Water is revered among prog fans.

In May, Squire revealed that he was recently diagnosed with acute erythroid leukemia, which would force him to miss the band's summer co-headlining tour with Toto. The absence marked the first time in the band's history that Yes performed without their longtime bassist.

"This will be the first time since the band formed in 1968 that Yes will have performed live without me," Squire said in a statement. "But the other guys and myself have agreed that Billy Sherwood will do an excellent job of covering my parts and the show as a whole will deliver the same Yes experience that our fans have come to expect over the years."

We recently viewed again their Songs From Tsongas - The 35th Anniversary Concert and Squire’s bass work throughout the show was outstanding; in fact, it was the highlight of the concert, especially his compelling solo on his song “The Fish.”

A major, major loss.

Grace & Frankie --- I finally had the chance to sit down and watch, well, at least the first five of thirteen episodes of the Jane Fonda/Lily Tomlin Netflix show Grace and Frankie, and really enjoyed it.

It’s been widely written about already, so you may well know the plot already. It’s about two couples, Fonda and Martin Sheen, Lily Tomlin and Sam Waterson, whose husbands decide to leave them both and hook up … with each other. It’s not the newest narrative in the world, but the combined talents are fierce and highly compelling.

Fonda continues her cable-net hot streak first started with her wonderful work in the Newsroom and Tomlin, well, she’s terrific, certainly equaling Fonda’s caliber here. Sheen and Waterson, besides making an interesting and believable couple, are terrific too. Who knew?

The show, from Friends-creator Marta Kauffman, is cute, almost too cute in some ways, but works for certain. The shows I saw dealt with the usual issues in a plot like this; where will we live; what do we do when the credit cards are cut off. Surprisingly, the tone of the show is somewhat similar to the new Odd Couple, with Matthew Perry and Thomas Lennon. Actually, with Kauffman involved, you can see the road signs.

With a particularly strong supporting cast; Brooklyn Decker and June Diane Raphael as Fonda’s daughters, the short, as half-hour sitcom, works terrifically well.

Did I like it … most certainly. It’s already been set for a Season Two.

CLOSING NOTES --- Gloria Reuben’s solo show Friday night at L.A.’s Saghettini was a big success, according to All Access’ Roy Trakin. "She was great; the band impressive and she gave me a head-rub when she did her Roger Rabbit number.” She’ll be back on the East Coast shortly. Catch her in USA Network’s Mr. Robot …

You have to hand it to The Stones; on their current Zip Code tour they’ve featured a special guest appearance or a deep dip into their legendary catalog at nearly every stop, and at the band's concert Saturday night at Kansas City's Arrowhead Stadium they continued that trend by having none other than Ed Sheeran, who served as their opening act for the show, later joined the band onstage to duet with Mick Jagger on "Beast of Burden” …

Sunday, June 28, 2015



Story By: G. H. HARDING
Micky Dolenz

MAGIC MICKY --- We’ve been sworn to secrecy, but we were at a super-secret rehearsal last night for Micky Dolenz’s upcoming three-play at 54 Below on July 7, 10, and 11. The show is called A Little Bit Broadway, A Little Bit Rock ‘n’ Roll, which is a nice riff on Mr. Dolenz’s Broadway experiences (Aida; Grease; Pippin’; and Hairspray) then meshed seamlessly with his rock ’n roll music we all know so well.

Working with a different band than usual—fronted by the astounding Michael Moritz (Matilda; Beautiful)—the show is an amazing revelation from a gentleman with one of the best voices in rock ’n roll ever.

Micky’s stories, with which he explains and introduces each song, are hilarious and informative. Suffice to say that if you were a fan of Dolenz before, then this show is a must-see. I will exclusively add that’s there a song from the way-ahead-of-its-time 1968 Monkees feature film classic Head (hint: Carole King wrote it) that is not only one of my all-time personal favorites, but is also a major show stopper.

This month, by the way, is the 50th anniversary of that famous Variety ad that sought “four insane boys” to audition for a new music-based TV show. This is the ad that introduced the world to Micky, Davy, Peter, and Mike. Great pop history, indeed!

This new show from Micky will be recorded for a live album on Broadway Records, set to be released this September.

At the final Saturday night performance (July 11), Q104.3’s DJ Jim Kerr will introduce Micky from the stage. You’ve heard it here first: Do not miss this show.

TRUMPED --- Univision says it is severing all business ties to Donald Trump.

Univision is the biggest Spanish-language broadcaster in the United States, so its decision is a blow to the Miss Universe Organization, a joint venture of Trump and Comcast’s NBC/Universal division.

Last week, in his speech announcing his run for President of the United States, Trump deplored immigrants from Mexico who "have lots of problems" and are "bringing those problems to us."

"They're bringing drugs, they're bringing crime, they're rapists," he said, adding, "and some, I assume, are good people."

Trump went on Fox News Thursday to say, "Of course I'm standing by the statement." He added, "I love Mexico, I love the Mexican people."

Trump also said he intends to sue Univision for refusing to carry the pageant.

"I'm going to have to sue Univision now . . . They have a signed contract," he said. At another point, Trump said, "They'll have to pay me a lot of money."

This morning, there are unconfirmed reports that NBC is distancing itself from Trump–which, if one reads between the lines, may mean Adios to The Apprentice.

While I knew Trump’s inflammatory speech would have a polarizing effect, I didn’t think it would happen this quickly.

Mr. Trump—a.k.a., Mr. Arrogant—is in trouble . . . again!

JOURNEY’S JOURNEY --- Journey has announced that their special guest on their Canadian tour will be none other than Neal "Vortex" Schon.

Of course, Schon is a founding member of Journey and will be playing with them on their section of the show, but he will also open as a solo performer, playing songs from his new all-instrumental album Vortex. Joining Schon will be Omar Hakim on drums, Rachel Z Hakim on keyboards and Jerry Brooks on bass.

Vortex was released on Tuesday via the Mascot Music Group.

Schon will then join his former Journey bandmates Jonathan Cain (keyboards and backing vocals), co-founder Ross Valory (bass and backing vocals), and lead vocalist Arnel Pineda (who was discovered by Schon) for a hit-filled set from the classic rockers.

Omar Hakim will also be doing double duty, filling in for Deen Castronovo who was recently arrested for assault.

If you ask me, I think things would get really interesting out there on the road if Schon were to reunite with one-time Van Halen vocalist Sammy Hagar (who remains teamed up with his fellow ex-VH bandmate and bassist Michael Anthony in the super-group Chickenfoot, also featuring master guitarist Joe Satriani and Red Hot Chili Peppers’ drummer Chad Smith on drums) and they put together a reunion tour of their short-lived but dynamic early ’80s band HSAS (which stood for Hagar, Schon, bassist Kenny Aaronson, and drummer Michael Shrieve). You never know—these kinds can happen.

CLOSING NOTES-- Fred Goodman, who I knew for years when he was with music industry rag Cash Box, is out with his new book Allen Klein: The Man Who Bailed Out the Beatles, Made the Stones, and Transformed Rock & Roll (Eamon Dolan/Houghton Mifflin Harcourt). Fred is a somewhat cantankerous individual, but a brilliant writer whose knack for getting to the meat of the matter remains essentially unparalleled in the biz. His previous book, The Mansion on the Hill (Vintage), remains one of the definitive books about rock-artist management in our time.

Klein, for those five of you who don’t know, was the business manager for The Beatles, The Rolling Stones, The Who, and many more. Simply cannot wait to read this one . . .

Which major NYC-based charity is being looked into for possible violations? Well, they just celebrated with a major gala this week—but the wolves are at the door. Stay tuned on this one.

Photo Courtesy Of: Brad Balfour/BMB Media

Thursday, June 25, 2015



Story By:: G. H. HARDING
Hugh Dancy

HANNIBAL SILENCED? --- Word came down Monday night that NBC has canceled Hannibal, Bryan Fuller’s juicer-than-you-can-believe take on the whole Hannibal Lecter/Thomas Harris mystique. NBC said that the ratings weren’t rising enough, which I can understand. What I can’t understand, though, is would NBC would cancel such a brilliant show. Everything about this series was top-notch, from the brilliant acting of Mads Mikkelsen and Hugh Dancy; the inspired camera and cinematographer work; and especially the writing.

From the moment this news of cancellation was announced, there has been immediate interest from other broadcast platforms (including the increasingly ubiquitous Amazon, which has the rights to the first two series.

Believe me, I wondered what kind of storyline would actually make its way to NBC network TV based around a series like this. Since its debut, though, it has proven itself a first-rate production at every turn.

Series creator Fuller is one strange cat. His earlier series, Pushing Daisies, and even a whacked-out take on the ‘60s hit sitcom The Munsters were amazing efforts. At first, he claimed that NBC’s Hannibal had run its course. Soon afterward, however, he was soliciting interest from other possible suitors, all the while claiming that his take on a possible Season Four for the show would be his best yet. Then, last night, NBC revealed that it would take the show to this year’s Comic-Con next month . . . for one final meal, so to speak. Now something like this rarely happens. Why would a network want to promote, for one last time, a show it has just axed? I predict that NBC will reverse its decision . . . at Comic Con. Stay tuned, as this tale seems to be far from over.

NEVERMIND --- In our gushing over the new season of HBO‘s True Detective on Monday, we neglected to mention the disturbing yet brilliant title song chosen for the show this year by T Bone Burnett: Leonard Cohen’s 2014 track “Nevermind.” This is a show that places great emphasis on its opening titles; maybe as important as those early James Bond title sequences, created by Maurice Binder. The mood of that show is immediately introspective, atmospheric, and perfectly suited to the material of the show. And this is not the first time that the music of Leonard Cohen has been used to set a mood for something that you watch: for example, the late great maverick film director Robert Altman used Cohen’s music all throughout his brilliant 1971 picture McCabe & Mrs. Miller . . . and Cohen’s music again was used to startling effect by the always-stirring director Oliver Stone in the opening sequence of 1994’s mega-violent satire of media—Natural Born Killers.

I’m not sure what led Burnett to choose this as the new opening music for the new season, but this one’s a charmer - take a listen

Dick Van Patten

DICK VAN PATTEN --- We were very sad to learn yesterday that veteran actor Dick Van Patten—a professional actor since the age of seven, but known best for his role as the loving TV dad Tom Bradford on ABC’s Eight Is Enough—has passed away at age 86 from complications due to diabetes. Perhaps the best that can be said about this great and beloved actor was shared by Anthony Pomes, VP of marketing at Square One Publishers, who worked as an editor with Mr. Van Patten on a TV trivia book back in 2007 but who then stayed in touch and became friends with the man. His comments, shared with Nancy Berk at Parade, can be seen in the article link below. Being that I also came to know Mr. Van Patten starting back in the ‘80s, I can say that showbiz lost one of its sweetest stars – we do well to remember him as one of the greats.

Roger Daltrey

THE WHO AT SHEA --- Next week, Eagle Rock Entertainment will celebrate the 50th Anniversary of The Who with the first-ever release of Live at Shea Stadium 1982. This is the first official release of the entire show, and features restored footage and newly-mixed sound.

The Who that performed that show in 1982(Roger Daltrey, Pete Townshend, John Entwistle, and—in place of original drummer Keith Moon, who died in 1978—Kenney Jones, who was previously the drummer for the Small Faces) delivered both classic tracks and songs that were rarely performed live: “Pinball Wizard,” “Won’t Get Fooled Again,” “My Generation,” “Substitute,” “Who Are You,” “I Can’t Explain,” “See Me, Feel Me,” “Baba O’Riley,” and many more. The tour promoted the 1982 album It’s Hard, and so the set list was comprised of several tracks from that album, some of which the band would only play live on that tour. (It has become almost fashionable to consign It’s Hard into the dust heap of bad rock record history, but there are in fact several strong songs with lyrics that reveal much of Townshend’s struggle with the reality of getting older but also smarter – to get a taste of what can be found on that album, click the link below to hear the album’s final track, “Cry If You Want” (one of the hardest rockers on the album, with a rageful yet tasty guitar solo from Pete in the outro of the song’s slow fade):

The Who’s 1982 North American tour was the last to feature Kenney Jones on drums, and the band did not tour again until 1989. This concert film features the show from the second of their two nights at New York’s Shea Stadium, and was filmed on October 13th 1982.

2015 is a year of even higher profile than usual for this legendary band, with their 50th Anniversary European/North American tour taking place this summer. Live at Shea Stadium 1982 shows exactly what this legendary British rock band’s reputation has been built on all this time.

My first rock ‘n roll show was The Who in 1967 at Long Island‘s Lido Beach Club. At that show, drummer Keith Moon bashed his multi-drum Premier set with Day-Glo drumsticks and a young Daltrey and Townshend, anchored by Entwistle (a.k.a, “The Ox” as a nickname) literally overpowered the crowd . . . myself included. I had never seen anything like it.

Click here to view a performance of“Love Reign O’er Me” from the 1982 Shea show: 

Scott Shannon With Micky Dolenz And Patty Steele

CLOSING NOTES – Micky Dolenz with scribe Roger Friedman at Del Frisco’s last night; earlier in the day, he visited with CBS- FM‘s Scott Shannon and Patty Steele . . .

Have you heard the new Rod Stewart single “Love Is?” It’s brilliant. A total throwback to Rod‘s earlier music . . . a welcome change, after all the many orchestra-laden records of Tin Pan Alley standards that he has been releasing over the last nine years or so. The new single sounds like “Maggie May.” The new album from Stewart comes out next month on Capitol Records . . . looking forward to receiving a press copy of the album so I can share my thoughts on it with you.

The James Horner story is so sad on so many levels. What a talented individual; face it, his music for Titanic was spot-on brilliant. What a terrible loss . . .

Monday, June 22, 2015



Story By: G. H. HARDING
Matthew McConaughey

TRUE DETECTIVE --- Last night was the start of the much-anticipated second season of HBO‘s True Detective. I loved and was constantly fascinated by Season One. The music, the visuals, the story, and the absolutely brilliant acting of Matthew McConaughey and Woody Harrelson made for some remarkable small-screen entertainment.

One columnist posited that Season One was such a success, and so quickly, that rumors started up almost immediately about whether Season Two could compete. Well, it did—and it didn’t.

The first episode of any series can be tough. Introducing the main characters (here, four), and weaving in the right cohesive narrative isn't always easy and doesn’t always happen quick.

Here we had Colin Farrell, Vince Vaughn, Rachel McAdams, and Taylor Kitsch. It took time–almost the whole episode—but in the last five minutes, which featured a sit-down between Farrell and Vaughn‘s characters and a whirlwind motorcycle ride with Kitsch and McAdams seemingly getting thrown out of a casino, worked brilliantly. A crime was committed after bringing the three together, with the Vaughn character soon to follow.

Rachel McAdams
The episode borrowed certain elements from Season One; T Bone Burnett‘s haunting theme music; atmospheric lighting; and some brilliant camera work. Director Cary Joji Fukunaga was jettisoned from Season Two. Here, Justin Linn (who has done all the Fast and Furious films) signed on for the show. Honestly, I felt that addition didn’t bring all that much to the proceedings, although I’ll admit that Kitsch’s episode-ending cycle-ride was fairly breathtaking. Rachel McAdams and Vince Vaughn, who have together done enough Rom-Com epics for their careers to date, were brilliant. McAdams surprised me with her range, and set up a thousand questions about her character. Vaughn, a personal favorite, was top notch as the burgeoning bad guy.

Farrell, always good, continued in his ne’er-do-well role as a conflicted (up to his eyeballs) cop. Apparently, he and Vaughn share some secrets that will no doubt be elaborated upon.

Writer Nic Pizzolatto has evolved his scriptwriting from several things in Season One, where a big complaint was that he didn’t create any viable female roles. The McAdams role works terrifically well, though, and there are several minor femme-roles, too.

Here, the locale is Los Angeles in a fictional town called Vinzi, with tons of aerial shots—no doubt Linn’s passion from the Fast and Furious series.

Believe me, it was frustrating to watch almost three-quarters of this episode before it all came together, as memories of Season One lurked in my mind. But now I’m all in. Will it reach the furor created by its predecessor? Could be, could be—after all, the last five minutes of this first episode from the new season was miraculous.

WENNER’S FOLLY --- Sixteen of the forty-two members of the nominating committee for the Rock and Roll Hall of Fame have been dismissed. Most or all of them have been there a long time, and represent the bloc of voters who still lobby for early rock and R&B pioneers who’ve remained overlooked or purposely dismissed out of hand for induction.

Also jettisoned this past week were: famed publicist Bob Merlis; record exec and R&B music specialist Joe McEwen; and former Rolling Stone editor Joe Levy. And so where does that leave writer David Fricke, who was also let go by Rolling Stone last week? (Though public uproar prompted the magazine to stated that Mr. Fricke will remain a writer for them, albeit on a freelance basis.)

Jann Wenner, who runs the Rock and Roll Hall of Fame, reportedly wanted to cut the eligibility time down from twenty-five to twenty years. The reason was to sell off the Hall of Fame‘s induction ceremony as a TV show to HBO. Wenner needed stars, not old or dead actual founders of rock—in other words, he wants a younger demographic.

Replacing nominators with younger people who have no attachment or feel for rock origins, and shortening the chronological time cycle of eligibility means Wenner can continue to skip over acts he doesn’t like and can move on to more recent stars. Face it: With Atlantic Records’ late founder Ahmet Ertegun (who started the whole thing with Wenner), it’s quite literally turned into a Trump-like vanity exercise for Wenner.

Many seminal rock and pop artists who still remain left out of the Hall may now never be inducted. J. Geils Band and Peter Wolf; Chicago; The Moody Blues; and Carly Simon are, amazingly, still not in the Hall. I also wonder what that means for somewhat newer acts like Bon Jovi; Sting; Nile Rodgers; and Chic. Also, what about The Monkees and Todd Rundgren? When are these great pieces of the rock landscape going to receiving their recognition?

Honestly, I had the opportunity to join the fracas years back. When I looked at how things were shaping up, though, I decided I wanted no part of it. This new move is a resoundingly crass insult (and I say that loud and proud) to the major bands of yesterday who have never made it into what clearly remains—as Monkees singer/drummer Micky Dolenz has called it—“a club.” Whatever Wenner thinks he’s doing for the fine history and tradition of this thing called rock ‘n roll remains a puzzling and rotten mystery to me—and I’m sure that many others feel the same.

James Gandolfini

CLOSING NOTES --- Finally got to watch James Gandolfini‘s final movie, The Drop, over the weekend. Written by Dennis Lehane, it was a nifty little story of a small bar and its former owner, Gandolfini, looking for one last score. A pretty tremendous cast for a smaller movie; it lagged a bit, but Gandolfini’s performance was exquisite. I always loved his work, especially in The Castle with Robert Redford, and certainly as tormented Mob boss Tony in The Sopranos. This final film of his is a true find, for sure. What a loss . . .

Speaking of loss, we learned over the weekend that the great Phil Austin (a.k.a., the voice behind “Nick Danger,” admittedly still one of the most beloved and accessible of characters to spring from the great subversive comedy troupe, The Firesign Theatre) passed away at the age of 74. Austin had been battling cancer, according to his friend and fellow Firesign Theatre co-founder David Ossman. Ossman, together with his fellow still-living Firesign Theatre member Philip Proctor, placed very affectionate posts about Mr. Austin, the one member of the group who was perhaps tapped most directly into the realm of an acting professional. He is now the second member of the album-oriented counter cultural group to have passed. (Peter Bergman was the first to pass away back in 2012.) Austin is survived by his wife, Oona, and a sister.

In a time when vinyl albums are again being sold in mainstream markets, far outnumbering units sold by CD, and when “radio” has lost any truly satiric edge or bite in place of political platitudes predominantly from the Right Wing listener, the work that Phil Austin did with his fellow members in the Firesign Theatre should be available again in the LP format. Let’s hope that a group even admired over the years by self-appointed “King of All Media” Howard Stern himself will again be re-assessed and enjoyed by old and young listeners alike. There will never again be a group like the Firesign Theatre—without all four still together, the collective mind of the improv group will never again exist in the same way—but again, the recordings remain . . . do yourself a favor, and check them out.

Steve Miller at the Postgame Concert after the Mets game on Saturday, June 27? Just amazing. Last time I caught him was with Marty Stuart at The Met . . .

Kim Gordon‘s art installation (Design Office: The City Is a Garden) is at the 303 Gallery (507 West 24th Street, NYC) through July 25. Via Sonic Youth, her work is great!

Steven Spielberg

And lastly, we have a report from one of our column’s trusted contact about the 40th anniversary screening yesterday of the still-gripping Steven Spielberg film of Peter Benchley‘s once-bestseller Jaws. Our source was one of at least 100 viewers in a packed theatre out in the Stony Brook section of Long Island. “I was glad to have ordered tickets online the night before,” our source says “because when we got to the theater a full hour before the 2pm screening, there were already about 20 people standing in line.” The theater was soon a packed house, with all but five or six seats left unused. Suffice to say, it’s a marvelous thing to hear about a nearly sold-out crowd going to see Spielberg’s 1975 film classic in the same movie house running Jurassic World. “When the film started,” according to our source, “and throughout nearly the entire picture, people were quiet and attentive and totally engrossed by the film.” And what about at the end of the film, when the Great White shark is blown up when a tank of compressed air jammed in its mouth is exploded by the last rifle bullet shot by Chief Brody (the late great Roy Scheider)? “The entire audience hooted and applauded,” our source tells us. “And then again, as the film’s end credits began, everyone clapped again in total appreciation. It was truly a great thing to see.”

If you didn’t get to see Jaws on the big screen yesterday, don’t worry—two encore screenings of the trailblazing blockbuster classic will be shown again on 500 movie screens nationwide. I’m going to try to go!

Friday, June 19, 2015



Story By:: G. H. HARDING
James Taylor

TAYLOR RETURNS --- Forty-five years after debuting on the Billboard 200 chart, James Taylor is set for his first No. 1 album. Industry prognosticators suggest the singer/songwriter’s new studio effort, Before This World (his first in thirteen years), could sell around 75,000 units in the week ending June 21. The album is his first studio set since 2002’s October Road.

The new Billboard 200’s Top 10 will be revealed on Wednesday, June 24.

Taylor has previously logged eleven Top 10 albums, including seven Top Five efforts. His highest charting set to date has been 1971’s Mud Slide Slim and the Blue Horizon (Taylor’s third album), which then spent a month stalled in the No. 2 slot behind Carole King‘s break-out second solo album, Tapestry. (Taylor and King would later collaborate for the 2010 set Live at the Troubadour, which reached No. 4 in the album charts.)

We saw Taylor on NBC’s Today–with his current eleven-piece band, featuring our friend Steve Gadd—and thought he was great. Though we have tried to secure a copy of the album for review purposes from his new label, Concord Music (Joel Amsterdam and Phoebe Wilson) . . . it still hasn't arrived.

The 67-year-old Taylor sounded great, looked lean and mean, and—with an overflowing crowd there in the Today Show Plaza—was overall superb. He performed two songs off the new album, “Today Today Today” and “Shed a Little Light,” which is vintage Taylor. He also did “Your Smiling Face,” which the crowd loved.

Taylor’s reemergence, and clear success, presents an interesting dynamic. He’s an artist, writer, and terrifically underestimated live performer. Quite frankly, that’s not what seems to be in vogue right now. Perhaps the tide is turning? I, for one, certainly hope so.

Marcus Goldhaber

MOSTLY MARCUS --- Following a recent sold-out debut at Bar Thalia, Symphony Space's newest home for Jazz, acclaimed NYC vocalist-songwriter Marcus Goldhaber returns to launch Mostly Marcus, a Sunday-night Jazz Duo summer residency, in which Goldhaber will be backed by a top jazz guitarist only and joined each week by a different guest artist. The rotating group of jazz guitarists includes: Hendrik Helmer (Wyclef Jean, Carly Simon, Duncan Sheik); John Hart (Jimmy Smith, James Moody); Ron Affif (Al Martino, Roger Williams); and Sean Harkness (Eileen Ivers, Julie Budd).

Opening June 21 with guest vocalist Alexis Cole and continuing through August 30, Mostly Marcus is designed to underscore Goldhaber‘s intimate approach to “The Great American Songbook,” a mode of performance here that Jazz Weekly has called "lyrical and swingin'." Meanwhile, All About Jazz says that Goldhaber’s performances are delivered "like a plate full of comfort food!" As Jonathan Schwartz (WNYC) says, “he is filled with ideas!"

Show times for each engagement are 7:00 PM and 8:30 PM. Bar Thalia @ Symphony Space is located at 2537 Broadway (at 95th St.), New York City.

For additional information, call 646.597.7340 or go to

Additionally, Goldhaber will be making his debut at “Broadway’s Supper Club,” the elegant 54 Below, where he’ll premiere a special show, “Free and Easy: Livin’ on Swing Street,” on Saturday, July 25.

Clint Eastwood

“SULLY” AND HANKS --- Clint Eastwood has found his “Sully.” Eastwood is negotiating with Tom Hanks to play Captain Chesley “Sully” Sullenberger, who became an instant American hero in 2009 when he engineered a miraculous emergency landing of US Airways Flight 1549 in the Hudson River after a flock of geese hit the plane just after it took off from La Guardia Airport. His courage under fire saved the lives of all 155 people aboard the plane, who famously crowded the wings awaiting rescue.

When Eastwood recently declared his intention to make that film at Warner Bros — where his last American-hero pic, American Sniper, grossed $543.4M worldwide — many wondered whether there was anybody but Eastwood who should play “Sully,” the nickname by which the veteran pilot became known. Well, seriously, the only other guy would be Hanks, who, from Apollo 13 to Forrest Gump to Captain Phillips, has been Hollywood’s other go-to guy for hero turns.

When you think about it for a moment, this picture will indeed be an unbeatable combination! And I think Hanks would do a terrific job. I remember going in to see Captain Phillips a bit less enthusiastically than I would have preferred . . . and then it turned out that I loved it. Hanks did an incredible job!

And while we're on the subject, his performance in director Robert Zemekis’ picture Cast Away (2000) was equally superb.

Eastwood will direct the biopic from a screenplay by Todd Komarnicki, and it has been based on the book Highest Duty: My Search for What Really Matters, by Sullenberger and Jeffrey Zaslow.

CLOSING NOTES --- Wenner Media laid off twenty key people this week, including David Fricke at Rolling Stone. After a thunderous outroar, they hastily explained that David would continue . . . but in a freelance capacity. Fricke has been a fixture at the magazine for more than 20 years. PR pasha David Salidor said that when he worked at Good Times magazine in the ‘80s, his editors were Kurt Loder and Fricke. “Terminating Fricke is right up there with USA Today jettisoning Edna Gudnersen and the Village Voice laying off Michael Musto. Consumers bought those magazines because of the writers. But they get expensive, and with dwindling sales . . . it’s a tough call. Honestly, I miss them all. Without them, the magazines are totally different.”

As we predicted, Brian Williams is back; but this time, he’s been banished to MSBNC, NBC‘s bastard-stepchild. I don't know what the reaction will be; as I've said here before, he's damaged goods by now. His interview with good friend Matt Lauer this morning on Today, in my opinion, did little to change things--but it was a start. Lauer was admirably intense … and, Williams more than once, had a hard time answering his black box box-of errors. Several pundits in the last few days have suggested that Lauer was the worst person to get the first interview, being that they're friends and colleagues; but, kid-Matt did good. Again, I well remember spending some time with Williams at a post-show dinner—and boy, did he love the sound of his own voice. My advice to Mr. Williams: go easy, not sleazy, and try not to bleed because the sharks are in the tank . . . and they're already circling you, just waiting for that first red trickle of blood in the water . . .

Monday, June 15, 2015



Story By: G. H. HARDING

Florence and The Machine

FLORENCE RULES --- The new (and third) studio album from the UK band Florence and the Machine--How Big, How Blue, How Beautiful—is just sensational. For new artists, it’s usually their second album—often called the “sophomore jinx,” is the hardest one to get through. However, lead singer Florence Welch and her band had another hit record with their second LP, the brilliant Ceremonials. This new one, however, is just as blindingly great as the first two—perhaps more so.

The first single, “Ship to Wreck,” is just a great, great song that has been well-received everywhere. When they performed on a recent SNL episode—followed by a performance over at ABC’s Good Morning America last week—Welch unleashed her passion and nearly brought the house down with her energy. The second track (and current single) “What Kind of Man” solidly follows up the album opener in a captivating way. Republic Records’ Nate Albert said that she and the group have already done a video for each track; and they’re said to have been done brilliantly.

Florence Welch, born in London, is indeed one of the most compelling artists I’ve ever come across in the past few years. While she almost certainly hails from the school Enya, she rocks out too in fine form. Out of all the artists who have hit big from Britain, and Lord knows there’s been more than a few (Adele; Duffy; Jessie J; and Leona Lewis just to name a few) , she’s bigger and better than ever. For me, she has begun now to eclipse what Amy Winehouse was able to do before she so tragically passed at age 27. I was a big Amy proponent, but I feel that Welch has indeed picked up the torch.

After several listens to the album, my favorite is “Queen of Peace,” which blends perfectly some staggering lyrics and blistering music.

It’s admirable that her music with the group has been embraced by so many. She’s been a terrific supporter of festivals (including the recent Governor’s Ball), but equally at home on a more intimate show like NBC’s SNL. I also appreciated how well-balanced the sound was at SNL (especially when the live sound there at the SNL studio is usually pretty spotty.

I saw her at NYC’s Radio City Music Hall when the first album, Lungs (2009) came out. Welch was amazing. She’s loosened up considerably since then, but the music is as powerful and impressive as ever. She’s an important artist, for sure. The new album (which shot to #1 in its first week of release) is, in my opinion, one of the year’s best. Don’t miss it!

WEBB ON GLEN --- Singer/songwriter extraordinaire Jimmy Webb penned an absolutely brilliant narrative on his recent visit to see Glen Campbell, who is now stricken with Alzheimer’s and living in an assisted facility. If you ever loved Campbell’s music –and face it, his interpretations of Webb’s songs were always amazing—you must read it.

DURAN SPEAKS --- You’ve got to hand it to Duran Duran – still here and, in some ways, better than ever. Don’t forget that when they first came to the fore in 1981, they were immediately grouped with the then-new Romantic scene in music. Can you name three other bands that were grouped in as well?

Duran Duran have made it official that their new album will be called Paper Gods.

Due out in September, the new set will be their fourteenth studio release and the first in their new deal with Warner Brothers. Nile Rodgers, who worked with the band extensively during the ’80s, producing the hit singles “The Reflex,” “Wild Boys,” and their entire album Notorious. He also worked with the Taylor brothers on their Power Station side project featuring the “Addicted to Love” ’80s singer Robert Palmer.

Rodgers is joined on the album by Mark Ronson, who produced Duran Duran’s last albums, All You Need Iis Now (a great, much overlooked album), and Mr. Hudson.

Look for the first single from the album Pressure Off, featuring Janelle Monae, prior to the album release.

The answers: Kajagoogoo, Adam Ant and Culture Club!

CLOSING NOTES --- A great quick visit to East Hampton this weekend spotlighted two fab new eateries: Bay Kitchen Bar in East Hampton and Harlow in Sag Harbor. Great food, service and atmosphere. When we entered Harlow, wedded actors Liev Schreiber and Naomi Watts were exiting . . .

James Taylor on Today earlier, performing songs from his first new album in thirteen years called Before This World (great title!). His 13-piece band featured our old friend, drummer Steve Gadd. Sensational, as always . . .

When the dust settles later today, Universal’s Jurassic World may have posted the biggest opening ever domestically, at a staggering $208M-$210M, which would overtake previous champ Disney with its Marvel Comics release, The Avengers — which, at $207.4M, held the title for the last three years. JW is also Universal’s widest release ever, opening at 4,274 screens. Legendary co-financed twenty-five percent of the Steven Spielberg-produced movie. Will it make it? Stay tuned!

Sunday, June 14, 2015



Story By: G. H. HARDING
Rachel McAdams

TRUER --- In True Detective’s first season, music director T Bone Burnett helped elevate the show’s intense drama with a rather scintillating mix of haunting, original “roots-rock” tunes and classic tracks by acts like Captain Beefheart. Burnett is back at the helm for the much-anticipated second season, which has relocated from the Louisiana bayou to the wilds of Los Angeles and stars Colin Farrell, Vince Vaughn, Taylor Kitsch, and Rachel McAdams. The show’s creator, Nic Pizzolatto, has been tight-lipped about the new season. But we do know that there’s a new director (make that directors) on board this time around.

Cary Fukunaga, who directed all the episodes in the first season, will be an executive producer this time out. This second season will have multiple directors. Justin Linn, who directed the Fast & Furious movies, has directed the first two episodes of the eight-episode season.

I absolutely adored the first season; Matthew McConaughey and Woody Harrelson were both spot-on perfect.

The show didn’t score as many Emmy Awards as hoped for, but I think this HBO show was among the best things on TV I’ve seen—certainly, the finale of Season One was reason enough to tune into this amazing show.

And McConaughey’s signature line (“Time is a flat circle”) still resonates.

The previews, so far, have portrayed somewhat the same moody and mystical atmosphere (with a great song featured, written by Lera Lynn and Rosanne Cash and called “The Only Thing Worth Fighting For”) that was evidenced in Season One. And that season had a great theme song: “Far from Any Road” by The Handsome Family.

In a recent interview Burnett said, “It has really strong characters. It’s like a hard-boiled detective [novel]. The first read like a Faulkner novel. But this is more in the James M. Cain and Ross Macdonald kind of world. Nic is a very studied writer.”

I am hopeful that Vince Vaughn’s portrayal of the mob villain will prove to be a highlight. He remains a terrific actor, in my opinion, but to me his talents have been squandered or wasted in many of those terrible film comedies he’s done.

Me? I can’t wait. June 21. Check out the trailer here:

WITHER ENTOURAGE?--- After a massive amount of hype—more than any movie so far this summer season—it turns out that the feature film of the HBO series Entourage was not the movie everyone wanted to see. I was in touch with HBO twice about a pre-release press screening, only to be told that they had nothing to do with it. Being that the original series was a major HBO staple, I wonder how that’s even possible.

With a much-hyped media tour, as well, the picture has so far fallen way below anyone’s expectations. I still want to see it, but I wonder what went wrong here. Stay tuned . . .

RAVEN ON THE VIEW --- With thirty-seven guest spots behind her, Raven-Symone has officially been chosen as the newest co-host for The View on ABC. Along with Whoopi, Nicole Wallace, and Rosie Perez, she’ll attempt to help the struggling show. I saw a show last week with Brian Wilson as a guest—and as I reported, she barely said a word. Good luck!

WILLIAMS GONE? --- I hear it’s all but a done deal that Brian Williams will not be returning to his earlier NBC Nightly News post. Lester Holt, who I’ve always enjoyed, is locked as the new host. The only remaining question is: Does he stay with the network or leave with a hefty paycheck? I guess we’ll see . . .

Meanwhile, I wonder who would get his first major-exit interview should it happen—Barbara Walters or Diane Sawyer?

CLOSING NOTES --- There was a widely-circulated story this week that Disney’s Tomorrowland (created through the collaboration between Brad Bird and George Clooney) could lose upwards of $140 million. This would be Disney’s second disaster epic after Johnny Depp’s clunker The Love Ranger back in 2013.That film lost an estimated $150 million-dollar loss. What’s really interesting is that this story said that, since Disney had The Avengers and the forthcoming new Star Wars sequel from J.J.Abrams, it’s not really an issue. How can it not really be an issue, though? Those folks better keep up attendance on the East Coast at Disney World and the West Coast’s Disneyland . . . and while at it, they might want to star wishing up a star (and I mean the ones in the night sky, not the ones on the silver screen) …

The season’s debut Hannibal episode was exquisite …. More Monday …

Lots of mixed reviews for Love & Mercy, the new feature film epic about Brian Wilson and The Beach Boys. As I said Monday, I saw it and liked it . . . but there was a lot of information left out. I think, depending on your own knowledge base on all things Brian, there’s a chance that you’ll feel a little underwhelmed by it. I don’t remember for sure, but the character of Van Dyke Parks (who was and is a major Wilson reference over the years) is barely there. He’s in the movie, but is only referred to as Van . . . and then promptly disappears. I’d still go see it, but be forewarned—the die-hard Wilson fans may feel like this is merely a retread of what they already know. What they don’t yet have, though, is the mega-inspired performance of actor Paul Dano, who plays Brian Wilson during the period of late 1965 through to early 1967 like a man nearly possessed to the point of madness as he tries passionately to capture the music in his mind.

While talking about the new Love & Mercy film about Brian Wilson, I would be remiss if I didn’t share some feelings from others about Wilson’s new album No Pier Pressure as well.

An anonymous source, upon hearing the new album, reports that “those songs on the new album that embody the vintage Brian Wilson ‘sound,’ created especially for the Beach Boys and evocative of the sweetest summers past, are often led astray by what sounds to me like a collection of synth-drenched and decidedly half-baked songs that seem all the more appropriate as the cheesy background music in a low-priced Chinese buffet-style eatery.” My source goes on to celebrate songs like the first track (“This Beautiful Day”), the third “What Ever Happened,” and the seventh track (“The Right Time,” featuring Brian’s fellow Beach Boy Al Jardine). Weirdly, the best songs seem to be the odd-numbered tracks—while the even-numbered tracks (especially “Runaway Dancer,” which feels further away from what Brian is supposed to be doing than anything on the album—with an absurdly out-of-place ‘80s-style and synth-heavy instrumentation, I find it impossible and depressing to know that the young man who wrote “I Just Wasn’t Made for These Times” is now writing trite tripe like “Runaway Dancer” and that just distracts the entire listening experience. At this point, I still prefer the Beach Boys more recent album, That’s Why God Made the Radio – I love Brian Wilson, but this new material doesn’t stand up to that new Beach Boys’ album from 2012.”

Whether you love or hate Wilson’s music and the new feature film, it seems pretty clear to me that Brian and his music will maintain presence “All Summer Long” (a great Beach Boys hit from 1964 used in the end credits of the 1973 George Lucas hit, American Graffiti) . . .

Wednesday, June 10, 2015



Story By: G. H. HARDING
Anna Wintour

WINTOUR FOR HIRE --- I'm amazed at all the ink that Vogue’s Anna Wintour has generated due to her “spit-and-polish” tweaking of Sunday’s televised Tony Awards fete. Seems the powers that be at the American Theatre Wing called on Ms. Wintour (who is said to have been famously immortalized in the 2006 film The Devil Wears Prada as “Miranda Priestly” played to perfection by the great Meryl Streep) to ensure some real-life visual drama at the event. That seemed to include making the red carpet look redder than ever before and to have some real-life models, like Kendall Jenner, in attendance.

Now, I’m not saying a little tweak here and there wasn't necessary at the hallowed Tony event (which, more often than not these days, looks like some sort of class reunion) . . . but super-models was a surprise.

Several of the attendees said that they got a direct call from Wintour, asking if they personally needed anything . . . like, say, something a tad more glamorous to wear. Actress Debra Messing said she had already chosen her outfit!

Sadly, all this pomp and circumstance didn’t help as the show racked up its lowest rating ever—twenty-five percent (25%) down from last year. Still, we loved Alan Cumming and Kristen Chenoweth.

Alanis Morissette

PILL 20 YEARS ON --- It’s hard to believe that Alanis Morissette’s debut album, Jagged Little Pill, was released twenty years ago (on June 13) and helped define the genre we know today as “Alternative Rock.” It was her first rock album—she had previously released two dance pop records—and at twenty years old, Morissette didn't even have a U. S. record deal when she started to work on what would become Jagged Little Pill. But after being signed (to Madonna’s Maverick label, no less), the album received nine Grammy nominations and helped her earn a spot in the Canadian Rock Music Hall of Fame earlier this year.

In honor of Jagged Little Pill’s 20th anniversary, here are some fun facts about the album.

*Morissette met Guy Oseary, and the Maverick Records team who produced her third record, while wearing sweatpants. “I remember before I met Guy Oseary at Maverick, I was writing ‘All I Really Want’ in my sweatpants, and they said, ‘You need to go over and meet everybody at Madonna’s label.’ And I said, ‘I’m in my f—ing sweatpants!’ And they said, ‘Well, you gotta go now!’ So my first meeting with the whole team was me in my sweatpants. It was horrifying. Thankfully, they loved my music.”

*Each song on the album was recorded in only one or two takes, as Morissette said that was “the shortest distance from the personal to the universal.” She said in 1996, “There’s no better feeling than when you write something that you know is a piece of you and that at some point is going to communicate to someone else. Communication is what I get off on.”

*Jagged Little Pill has no title cut, but the phrase appears in “You Learn,” which reached No. 1 on the Billboard Top 40 in June 1996.

*“You Oughta Know” features the Red Hot Chili Peppers’ Flea on bass and Dave Navarro on lead guitar. “It was very instinctive,” Flea said in 1996. “I showed up, rocked out, and split. When I first heard the track, it had a different bassist and guitarist on it; I listened to the bass line and thought, ‘that’s some weak s—t!’ It was no flash and no smash! But the vocal was strong, so I just tried to play something good.”

*It took Morissette an hour to write “Hand in My Pocket.” “I saw her write that in front of me, like, in an hour,” the album’s co-writer and producer Glen Ballard has said. “I had a 12-string Epiphone electric guitar and we just wrote it on the spot.”

*“Ironic” was the first song Morissette and Ballard wrote together. Ballard said in 1996 that the track allowed Morissette to experience a “stream of consciousness, spiritual way of writing” that she'd “never tapped into before.”

*Even though the album presents challenging themes like “social commentary, eating disorder commentary, embracing emotions, flying in the face of what’s expected,” Morissette still encourages young music fans of today to listen to Jagged Little Pill. “It’s not the kind of record that I would discourage a fifteen-year-old to listen to,” she said. “It’s quite the opposite.”

*Jagged Little Pill won “Album of the Year” at the 1996 Grammys when Morissette was just 21 years old—making the Canadian singer the youngest artist to take home the honor until Taylor Swift did so at age 20 in 2010.

*There’s now a Broadway show based on Jagged Little Pill in the works with Tom Kitt, the composer behind Green Day’s theatrical production of American Idiot. “We’re just in the beginning phases of it so I can barely share anything about it because we haven’t created it yet,” Morissette said earlier this year. “But the story is going to be fictionalized and then at some point down the next 10 years I can envision myself creating a one-person show where I can really get into the subtleties and the stories, but for this particular musical it will be a fictionalized story and we'll add songs and change lyrics.”

A game-changing moment in music may now be just around the bend.

Joe Franklin And Producer Steve Garrin

GOODNIGHT, UNCLE JOE --- For all of us who still mourn the passing of the one and only Joe Franklin this past January, sources tell me that there will be a Joe Franklin Memorial Plaque Dedication Ceremony taking place this Friday, June 12th at The Actors' Temple, 339 W. 47th Street NYC, NY 10036. Friday Night Services are at 7 PM and the Plaque Ceremony should begin at 8 PM. Speakers will include Producers, Actors, Comics and close friends of Joe Franklin. (Some speeches may be before 8 PM and interwoven into the 7 PM Friday Night Service.) Broadcast legend Joe Franklin will be remembered and honored at The Actors' Temple with a Memorial Plaque alongside Jack Benny, Sophie Tucker, Smith & Dale, Joe E. Lewis, William B. Williams and many, many other showbiz Legends. The event is also FREE and Open to the Public. If you’ve lived in New York and had a TV (or even just a radio), then I don’t need to tell you how much more wonderful life in our city has been because of Joe Franklin. Everyone who wants to be there to remember “Uncle Joe” and to take one more trip down Memory Lane should be at the Memorial this Friday night. I certainly intend to be there . . .

R.I.P., V.A. “VINNIE” MUSETTO --- Speaking of the loss of great ones here in New York City, the great tabloid editor V.A. “Vinnie” Musetto has passed away this past Tuesday at age 74. His daughter indicated to press that her father had died from pancreatic cancer shortly after the diagnosis. There are many great things that you can read about Musetto in the coming days’ coverage in both print and digital media. However, everyone has to pay homage to his gritty wit by recalling the controversy of his 1983 New York Post headline “Headless body in topless bar.” It was an especially lurid and definitive “New York moment,” for sure. He will be missed . . .

DOLENZ BISQUITS --- British journalist and BBC personality Iain Lee and his 7A Records are proud to present the first ever reissue of Micky Dolenz’s original MGM singles. This beautifully-packaged limited edition, 180G blue transparent vinyl gate fold set includes all of Dolenz’s original MGM singles.

Dolenz has also done an exclusive interview for this project, which is included along with a 12-inch, 12-page booklet featuring extensive liner notes and never-before-published photos by legendary photographer Henry Diltz. All recordings have been transferred from the original master tapes, except for two tracks where the original masters could no longer be located. Those recordings have been meticulously restored from the original vinyl issues. This release is a must-have for any Monkees fan—even if you don’t own a record player!

We spoke to Iain for a quick interview:

*Why put this package together?

“These songs are an overlooked part of Monkees’ history. They show Micky’s versatility as a songwriter, a musician and they also show just how good his voice has always been! They’ve never been put together in one compilation, and have been unavailable for over 40 years. This is a unique opportunity for fans to get all of these tracks in one stunning package.”

*How supportive has Micky been?

“He’s been wonderful, although he was more than a little surprised that two fans in the UK were doing this! As he said to the executive producers of this project, ‘I am incredibly surprised, and very flattered, and honoured – I am very glad that some of this stuff is being listened to! I liked it, at the time! And I’m glad that other people do. It’s fantastic’.”

*How did your interview go with Micky?

“It was great fun. Micky told some incredible stories about the early ’70s, including hanging out with John Lennon, Marc Bolan and other rock legends. He also suggested that Mama Cass could be singing on one of the tunes. Then again, this stuff happened over 40 years ago and, as Micky says, his memory of the time is ‘definitely a bit hazy!’ The full text of the interview appears in the gate fold sleeve of the album.”

*The booklet features several never-before-seen pics from the legendary rock photographer Henry Diltz. How did that come about?

“Rather cheekily, I emailed Henry and his assistant Gary Strobl direct and explained our situation. They were so pleased to hear about this album that they very kindly went through their extensive vaults and sent us a load of pictures that had never been used. Fans will be amazed at the candid shots we managed to get hold of, these photographs are just incredible.”

*Will it just be available as a vinyl record?

“Once this vinyl run has sold out, we will release the album as a digital download. Don’t worry, the twelve-page booklet will also be available to download and we are investigating the possibility of bonus tracks. One definite thing we can promise for the download version is the audio of the interview with Micky—another world exclusive. We are also looking at the feasibility of a CD release.”

*What does the name of the label signify?

“Monkees fans will get the reference–it’s the spoken intro to ‘Daydream Believer.’ A very tired Davy Jones asking the producer ‘What number is this, Chip?’ to be met by a sarcastic ‘7a!’”

Micky And Georgia Dolenz

CLOSING NOTES --- More Micky: Here's Micky and daughter, Georgia, at last week’s Dwell On Design confab in L. A. They were talking about their new, fine-furniture design firm Dolenz & Daughters ( . . .

The deluxe CD/DVD edition of Pete Townshend‘s Classic Quadrophenia, featuring Les Miserables' Alfie Boe, was released this week.

The deluxe edition of the rock opera from the composer of The Who‘s Tommy, includes the complete CD and a 44-minute DVD featuring an on-camera interview with Townshend, a behind-the-scenes look at the making of the album, and the new music video for the song "Love Reign O'er Me."

Recorded with the Royal Philharmonic Orchestra and conducted by Robert Ziegler, the recording features Boe on vocals, with Townshend on electric guitar and performing cameo vocal roles along with special guest vocals from Billy Idol and Phil Daniels.

The new simonized version of Quadrophenia, an album originally released by The Who in 1973, was orchestrated by Rachel Fuller.

Dolenz Photo By: Mimi Teller