
Tina Vozick & Paul Levinson at Old Bear Records, October 2018
reviewing Black Doves; Dark Matter; Dept. Q; Detective Hole; Dexter: Resurrection; For All Mankind; Foundation; Hijack; Memory of a Killer; MobLand; Outlander; Paradise; Presumed Innocent; Severance; Silo; Slow Horses; Smoke; Star City; Star Trek: Strange New Worlds; Tehran;The: Day of the Jackal, Diplomat, Last of Us, Night Agent; Your Friends & Neighbors +books, films, music, podcasts, politics
George Santayana had irrational faith in reason - I have irrational faith in TV.

a nearly two-hour interview by Greg Shanks about my music, with details
"The Soft of Your Eyes", song I wrote for Tina in 1968, just added to new, short "Best of Wrapped" Spotify playlist.
And see 16 other playlists "The Soft of Your Eyes" was added to in the past few years.

"The Soft of Your Eyes" (from Twice Upon A Rhyme) 26th on this list
And here are four more: You May Sweetly Ask ... 70s (first half) ... NTS Heaven and Earth Magic ... Thanksgiving 2021
And here's one from back in April 2021: Cosmic Country Outsiders
And here's another one added later in December 2021: True
And five from January 2022: I Don't Want To Live the Wrong Life ... NTS 3 ... sagit brother ... My Shazam Tracks ... Soft Sands FM
And two from February 2022: Blue Sands ... pain au chocolat
And one from March 2022: Solibo Magnifique
And one from July 2022: Heart Full of Love
And one from December 2022: Best of Wrapped
And one from January 2023: Music for Watering the Mind
And one from January 2024: Down Home Comforts <3
Thank you!
|
Welcome to Light On Light Through, Episode 203, in which I review the fourth episode of Invasion on Apple TV+. This episode of the podcast also includes congratulations from Don Frankel and his very famous alter-ego! Written blog post review of Invasion 1.4 is here. Podcast review of episodes 1.1-3 is here.
Listen to "If I Traveled to the Past" with Don Frankel's accordion on Spotify, Bandcamp, and Apple Music.


That's right -- starting at 4 minutes 54 seconds into the first hour of today's Music Authority program, you'll hear Sundial Symphony singing "Merri Goes Round," a song I wrote with Ed Fox in 1971, recorded back then by a studio group I put together called The Trousers.
Sundial Symphony's version was recorded in 2016, and released on Big Stir Records in 2019. I should mention that Sundial Symphony consists of Robbie Rist (yep, Cousin Oliver) and Don Frankel. Don played keyboard on lots of the tracks on my 1972 LP Twice Upon A Rhyme, and accordion on "If I Traveled to the Past" and "Tau Ceti" on Welcome Up: Songs of Space and Time, released on Old Bear Records and Light in the Attic Records (vinyl) in 2020.
James Jim Prell, DJ for The Music Authority, says all the songs he plays are chosen by "algorithm". But I owe him a big thank you anyway, for presiding over that algorithmic choice!

I was never one to look for differences between the Beatles on their individual own and when they were The Beatles. To my ear and soul, Paul, John, George, and Ringo on their own sounded far more like The Beatles, captured and continued their extraordinary essence far better than any other artist. Sure, some solo numbers sounded more like The Beatles than others. I heard "Ticket to Ride" in Paul's "My Brave Face," and when someone on the Steve Hoffman Forum said it evoked "Things We Said Today," I could immediately hear it.
Maybe that's why Robert Christgau's dispeptic reviews in The Village Voice of McCartney's of first two solo albums felt so wrong to me that I wrote a Letter to the Editor objecting to it, which The Voice published as a straight-up article, which turned out to be my first writing published anywhere. I realized back then that professional reviewers get to where they are because they write well, not necessarily because they hear well (and the same applies to movie critics writing not necessarily watching well, etc).
So, although I've loved The Beatles more than any other music over all of these many years, I've loved Paul's work almost as much and sometimes just as much, and eagerly await everything he does. McCartney III, which I just listened to, was well worth waiting for.
The album, as I'm sure you know, is the third album in the McCartney (1970 - the one that Christgau didn't care for) and McCartney II (1980) series of recordings in which McCartney played all of the parts. One of the reasons why the new album is so endearing is that it evokes elements from both The Beatles and these solo all-McCartney albums.
Here are my favorites:
from the Steve Hoffman forum

Three playlists for your listening pleasure:
Science Fiction and Fantasy Songs
I'm still in a musical frame of mind -- actually, I always am -- but this frame includes writing, so here's my third blog post in two days about exceptional music, in this case, three excellent Beach Boy covers that I've been really enjoying on YouTube.
The first is "Don't Worry Baby" by the cleverly named Foxes and Fossils. That would be three women who look and sing great, and a number of guys who sing and play, and bill themselves as old, though some are probably younger than I am (I usually feel like I'm 17, unless it's a bad day, and it's more like 19). I love the velvety harmony and the whole general feel of this video.
Next is "I Can Hear Music," which I just came across the other day, by Hal Eisenberg with "friends and family" in Nashville. This is not a typical Beach Boys song -- it was written by Jeff Barry, Ellie Greenwich and Phil Spector (Ellie Greenwich, by the way, produced my group The Other Voices aka The New Outlook for Atlantic Records in 1968) not Brian Wilson, who didn't even sing on the Beach Boys 1969 recording (Carl sang lead, and produced the record). That makes it a tough song to cover really well. Hal Eisenberg's is the best I've come across -- I like it even better than Kathy Trocolli's 1996 version with some of the original Beach Boys -- with Hal's evocative lead backed by sweet sweet harmonies.
And last but in no way least is the Fendertones' "Sloop John B". The Fendertones have done so many Beach Boy covers that they may add up to more songs than the Beach Boys actually recorded. And this one is a masterpiece, with Scott Totten and John Cowsill (who tour now with the Beach Boys and, yep, that's John Cowsill from the Cowsills) joining the Fendertones in a gracenote perfect rendition of Brian Wilson's stunning arrangement and recording, down to someone singing "I feel so break up" about a third-way into the song, when everyone else sings "broke up," just as The Beach Boys (probably accidentally) did in 1966.
I should mention how much I've always loved The Beach Boys. They usually are my second all-time favorite group -- the first are the Beatles, and once in a while The Rolling Stones are my second. The New Outlook sang "Surfer Girl" as one of our regular numbers, when we cut classes and sang in the early afternoon in The Alcove at City College up on 140th Street in Manhattan in the Fall of 1963. So I'm always looking for good covers, and Foxes and Fossils, Hal Eisenberg, and The Fendertones are among the very best.

thank you Jon Pruett and Ugly Things Magazine
|