DEJA RE-VU
Pop Culture Classics’ Recommended CDs, DVDs and Books
By Paul Freeman


DVDs

“HAROLD AND LILLIAN: A HOLLYWOOD LOVE STORY”
You’ll laugh. You’ll cry. You’ll fall in love with Harold and Lillian Michelson, thanks to this beautiful, entertaining, touching and informative documentary from filmmaker Daniel Raim. Harold became a legendary figure in the movie world, because of his inspired work as a storyboard artist, art designer and production designer. Though the famous directors always get the credit for ingenious shot compositions, it was unheralded Harold who devised many unforgettable sequences in films such as “The Birds,” “The Graduate,” “The Ten Commandments” and “Star Trek: The Motion Picture.” Lillian meanwhile, as a researcher, became an invaluable resource to filmmakers. They treasured her personality, as well as her dedication. She maintained an unparalleled library, even when forced to move from studio to studio. The documentary has tons of fascinating revelations for film buffs. But Raim makes the human side just as important. The Michelsons shared a rich, supportive relationship in their 60-year marriage. Together they overcame work drama, health issues and raising a family that included an autistic son, back in the day when little was known about that condition. The interview segments with the couple are funny, compelling, revealing and poignant. Among those sharing fond recollections of Harold and Lillian are such Hollywood heavyweights as Mel Brooks, Francis Ford Coppola and Danny DeVito. Harold and Lillian were such beloved figures in the movie community that the King and Queen in “Shrek 2” were named after them. The new Blu-ray release from Kino Lorber contains numerous special features, including the short “Storyboarding The Graduate.”

“TAKE THE MONEY AND RUN”
With Kino Classic’s new Blu-ray release, it’s the perfect time to rediscover the early Woody Allen gem, 1969’s “Take the Money and Run.” Co-written by Allen and Mickey Rose, the movie is packed with solid laughs. This is a perfectly realized mockumentary, long before Christopher popularized the form. The film, with its amusingly stern narrator, tells the story of Virgil Starkwell’s life of crime. It’s not a result of desperation. Robbery is his calling, dating back to childhood. His ashamed parents will only appear on camera sporting eyebrow-glasses-nose-mustache disguises. Wonderfully wacky gags abound. When he participates in a prison drug trial, Virgil suffers the temporary side effect of becoming an orthodox rabbi. Then there’s the memorable bank scene where the tellers can’t read Virgil’s illegibly scrawled holdup note. “Is that ‘gub’ or ‘gun’?” Allen spoofs many heist film tropes. And, naturally, there are the sex jokes and much self-deprecating humor. Essentially Allen’s directorial debut (only 1966’s “What’s Up, Tiger Lily?,” his hilarious re-dubbing of a previously shot Japanese spy flick, came before this), “Take The Money and Run” zooms along at a snappy pace. Allen is a delight on screen, honing his nebbishy character already well known from his TV stand-up appearances. And Janet Margolin is endearing as his unwaveringly loyal dream girl. As with Allen’s other Blu-ray releases, there are no bonuses here, except for some like-minded and entertaining trailers.

“CINEMATIC TITANIC: THE COMPLETE COLLECTION”
Fans of MST3K were thrilled when several of their favorite riffers, including Joel Hodgson, reappeared in a troupe called Cinematic Titantic. The project officially sunk a couple of years ago, but over the course of several years, they did a ton of guffaw-inducing riffing. The novelty of this project was that the company — Hodgson, Trace Beaulieu, J. Elvis Weinstein, Mary Jo Pehl and Frank Conniff — performed live on tour. They released single DVD-Rs of a 12 performances, some live, some in-studio. Now Shout! Factory has released the delightful dozen as one dynamic six-disc set. Just checking out the movies’ titles will have you chuckling even before viewing: “The Oozing Skull,” “Doomsday Machine,” “The Wasp Woman,” “Legacy Of Blood,” “Santa Claus Conquers The Martians,” “Frankenstein's Castle Of Freaks,” “Blood Of The Vampires,” “East Meets Watts,” “The Alien Factor,” “Danger On Tiki Island,” “War Of The Insects” and “Rattlers.” Laughs galore. MSTies won’t want to miss the bonus J. Elvis Weinstein interview.

“CANNON FOR CORDOBA”
Kino Classics has released on Blu-Ray this seldom seen action picture from 1970. “Cannon For Cordoba” borrows from many pictures, including Sergio Leone westerns, “The Magnificent Seven” and “The Dirty Dozen.” Of course, it’s not in the same league as any of those, mostly due to a barely coherent script. But that doesn’t mean it’s not worth watching. Set in Mexico and shot in Spain, it has striking visuals, courtesy of cinematographer Antonio Macasoli. It’s stylishly directed by Paul Wendkos, (“Mephisto Waltz”), one of the top TV directors of the time. There’s a sweeping score by Elmer Bernstein. And the cast is terrific, adding far more to their roles than is on the page. George Peppard stars as a captain sent on an impossible undercover mission to thwart sadistic Mexican revolutionary Raf Vallone. Peppard’s cohorts include the intense Don Gordon (“Bullitt”) and the charismatic Pete Duel (“Alias Smith and Jones”). Gordon brings some emotional power to the film. And Duel contributes wonderful, welcome humor, as well as a touch of cool. One disturbing bit of business, however, has him jokingly pointing a pistol at his temple. This was only a year prior to his suicide by gunshot. Italian actress Giovanna Ralli plays a temptress craving vengeance. John Russell (“The Lawman”) and John Larch (“Dirty Harry”) have memorable bits. Though it doesn’t all hold together, there are some great scenes in this violent movie. The Blu-ray’s extras include a commentary track by film historians.

“SGT. PEPPER’S LONELY HEARTS CLUB BAND”
In 1977, 10 years after The Beatles’ revolutionary album was released, director Michael Schultz filmed a splashy movie musical version of “Sgt. Pepper’s Lonely Hearts Club Band.” Released in 1978, the film was quickly dismissed. Critics were waiting, salivating to eviscerate a “Sgt. Pepper’s” project that didn’t actually involve the Fab Four (though George Martin produced the soundtrack album). But with its Shout Factory! Blu-Ray release, it definitely deserves a second look. The film is a fun, weird, imaginative jaunt. There’s good-natured comedy and, of course, all those glorious songs. The soundtrack not only encompasses “Sgt. Pepper’s,” but much of “Abbey Road,” as well, and bits of the “Revolver”and “Let It Be” albums. The film stars Peter Frampton as Billy Shears, who inherits magical musical instruments in the town of Heartland. He forms a new band with his buddies (The Bee Gees). But there are forces that want to use the instruments for evil. In their adventures, Shears and company encounter such characters as Dr. Maxwell Hammer (Steve Martin), Mr. Mustard (Frankie Howerd), an exploitative record company exec (Donald Pleasance) and a cult leader (Alice Cooper). George Burns narrates as Heartland’s mayor. The interpretations of Beatles songs ranges from sublime — Sandy Farina’s “Strawberry Fields Forever” — to ridiculous — Aerosmith’s “Come Together.” There are pleasing musical performances from Frampton, The Bee Gees, Billy Preston, Martin (“Maxwell’s Silver Hammer”) and Earth, Wind & Fire (“Got to Get You Into My Life”). The movie is very much of its time, so it’s also amusing now to bask in all the colorful 70s extravagance. Dozens of stars of the era show up to join in the big finale. The Blu-ray includes the original theatrical trailer and an audio commentary track with pop culture historian Russell Dyball.

“BAND AID”
Music can be a great healer. A married couple discovers that in Zoe Lister-Jones’ extraordinary indie comedy-drama “Band Aid.” Lister-Jones not only wrote and directed, but turns in a tremendously engaging performance in the lead. Adam Pally does a fine job as her husband. This couple has hit a rough patch, following a miscarriage. It seems that everything ends up in an argument. They’re crumbling under the weight of an endless cycle of squabbles. Lister-Jones hits on the notion of putting to work the electric bass and guitar buried in the garage. They begin venting their emotions through song. Their neighbor, a recovering sex addict (quirkily and amusingly played by Fred Armisen), joins them on drums. He becomes wary, then weary of the pair’s constant friction. But they’re working their way towards a relationship breakthrough. The script by Lister-Jones finds the truth in the situation. It’s very funny, particularly in the first half. Gradually she shifts the tone, not shying away from the inherent, uncomfortable pain. She has crafted a fresh, thoughtful and entertaining film. And the original indie rock she plays with Pally is appealing, as well. Extras on the Shout! Factory Blu-ray include outtakes, deleted scenes, music video and theatrical trailer.

“JANET KING: SERIES 3: PLAYING ADVANTAGE”
This Australian legal drama stars Marta Dusseldorp. And for those of us who know and love her performances in other top-notch shows such as “A Place to Call Home” and “Jack Irish,” that’s more than enough reason to immerse ourselves in “Janet King.” Dusseldrop radiates inner strength as King, a senior crown prosecutor. In this third series, King delves into the connections between pro sports, gambling and organized crime. Eventually, the case gets personal. It’s a thoroughly engrossing mystery. You’ll probably want to watch the eight episodes one after another. The series is binge-worthy. Extras include a number of brief, behind-the-scenes featurettes.

“NOW MORE THAN EVER: THE HISTORY OF CHICAGO”
The band Chicago was finally inducted into the Rock and Roll Hall of Fame. And deservedly so. The documentary, made available on DVD by MVD Visual, fully details the remarkable story of this innovative, influential group that expanded the role of horns in rock. Behind-the-scenes footage expands our knowledge of their careers. There are interviews with band members, past and present, though, of course, Peter Cetera is nowhere to be seen. But Robert Lamm, Walter Parazaider, Danny Seraphine, Jimmy Pankow and Lee Loughnane from the original lineup provide ample insights. They serve up wonderful stories. Whether you’re a die-hard fan or a casual observer, you will come away with a greater appreciation of this enduring band.

“L7: PRETEND WE’RE DEAD”
L7 is a female rock band that transcends gender and genre. Their music crackles with a blistering honest and power. This fascinating documentary is available on Blu-ray/DVD and VOD from MVD. The film, culled from more than 100 hours of vintage home movies, offers a far deeper understanding not only of these talented, determined artists, but also of the 80s and 90s grunge scene from which they emerged. In addition to band members, Exene Cervenka, Shirley Manson, Joan Jett, Lydia Lunch and Louise Post of Veruca Salt are among those interviewed. Included in this release’s extras are a booklet, bonus performances and Krist Novoselic’s earlier tongue-in-cheek documentary “L7: The Beauty Process.” Interest in “Pretend We’re Dead” sparked a reunion tour. Welcome back, L7. We need more of your feminist fire.

LEWIS BLACK - “BLACK TO THE FUTURE”
When most people rant, it’s time to make a hasty exit or at least try for a mental escape to Rio. But when Lewis Black launches into one of his titanic tirades, you’d better pay attention, because his comedy is smart and perceptive, as well as cutting and controversial. He’s been delivering incisive, insightful commentary since his days on “The Daily Show.” On his “Black to the Future” special, he tackles such topics as mental illness, Congress (and yes, Black mentions the link between the two), the Old Testament and Donald Trump — “If you vote for Donald Trump, you’re going to hell. I know this, because God told me.” The new DVD release from MVD offers a bonus program, “The Rant Is Due: Live From Napa,” in which Black hilariously responds to input from the live audience and the internet. Our burden seems lightened after Black gives voices to our frustration and aggravation.

“RAKE: SERIES 4”
In “Rake,” Richard Roxburgh breathes life into one of the all-time great TV characters. And I don’t mean just in terms of Australian television. Roxburgh’s portrayal of the rakish, roguish, irresponsible, self-destructive barrister Cleaver Greene would stand out on any continent. The Fox network tried to adapt the show for U.S. TV, in a version starring Greg Kinnear. It fell totally flat. No other actor could do as much with this part as Roxburgh does. He can be utterly hilarious and then, a moment later, equally effective in a suspenseful or poignant scene. Cleaver wreaks havoc on all those who love him. But most of all, he damages himself. He has a knack for unwittingly courting disaster. The comedy-drama “Rake” has been highly entertaining in each of its four seasons that have aired to date. In series 4, now available on DVD from Acorn Media, Cleaver crashes, literally, into the life of a long-hidden, extremely dangerous, most wanted criminal. On the run, Cleaver becomes entangled in a political corruption scandal and, as usual, his personal life is just as harrowing. Even when Cleaver is mired in the most dire circumstances, watching Roxburgh continues to be pure bliss. And the supporting cast is wonderful, as well. The DVD set includes a behind-the-scenes featurette.

“AVANTI!”
“Avanti!” is among the most underrated of Billy Wilder’s films. It’s a delightful romantic comedy, with a spicy measure of dark comedy, whipped together by a superb cast — Jack Lemmon, Juliet Mills and Clive Revill. The perfectly crafted screenplay, by Wilder and longtime collaborator I.A.L. Diamond, involves an American corporate executive who must rush to a small town in Italy to bring back this father’s body. When he arrives, he discovers that daddy wasn’t alone during the fatal crash. Seems he was having an affair and his British paramour perished with him. The woman’s daughter has shown up to claim her mother’s body. There is friction between the two offspring, which, naturally, eventually turns to attraction. A family of conniving thugs kidnaps the corpses, adding to the farcical fun. Lemmon’s character is an ugly American — cold, loud and overbearing. But Mills eventually makes a bit warmer, softer and more human. Lemmon, as usual, demonstrates impeccable comic timing, as well as the ability to convincingly portray a textured character. And even when that character is less than lovable, Lemmon’s innate likability wins the audience over. Mills is adorable and buoyant as the daughter who always sees the positive side of things, while Lemmon is kvetching. Mills holds her own with Lemmon’s comedic brilliance, but also shines in the more poignant moments. She gained weight to play the part, but still looks fit and fetching. So the fat jokes — politically incorrect now in the age of body-shaming — seem quite out of place. Revill, the excellent character actor from New Zealand who excelled in London theatre, is spot-on as the Italian hotel manager. Wilder gets memorable performances from even the Italian cast members with the smallest parts. And the scenery plays a pleasing role, as well. Originally released in 1972, “Avanti!” remains a film of great charm. The new Kino Classics Blu-ray release looks sensational. The audio is crisp and clear. And extras include pleasurable interviews with Mills and Revill.

CDs

CHRIS HILLMAN - “BIDIN’ MY TIME”
If you have any affinity for folk-rock, country-rock or modern bluegrass, this new album from one of the pioneers of those genres — Chris Hillman — is a must-have. Hillman has been making resonant music since the early 60s, including his contributions as a member of The Byrds, The Flying Burrito Brothers, Manassas (with Stephen Stills), Souther-Furay-Hillman Band and Desert Rose Band. The album opens with the Pete Seeger-Idris Davies classic “Bells of Rhymney.” Hillman’s version is gentler, but just as thrilling as the one The Byrds did back in the day. Another track capturing the Byrd magic, but coming across as pure Hillman, is Gene Clark’s “She Don’t Care About Time.” It’s an irresistible version you’ll want to hear over and over again. The Sonny Curtis tune “Walk Right Back” (a hit for The Everly Brothers) is another charmer here, with its sweet harmonies. Several songs co-written by Hillman are among the highlights, including the uplifting “Given All I Can See, a moving “Different Rivers,” the earnest “Restless” and the paen to the outdoors and leaving the city far behind — “Bidin’ My Time.” “Here She Comes Again,” which he co-wrote with Roger McGuinn, fueled by jangly 12-string guitars, is two-and-a-half minutes of pure joy. Now 72, Hillman’s voice sounds just as boyishly sincere and appealing as ever. His new album holds its own with the best of any of his past groups. Pals guesting on the record include McGuinn, Tom Petty, Benmont Tench, John Jorgenson, Herb Pedersen and David Crosby. Byrds aficionado Petty produced this fine album and it’s fitting that he had an opportunity to add to that band’s lore before he left us. His song “Wildflowers” closes Hillman’s remarkable return.

RUSTY YOUNG - “WAITIN’ FOR THE SUN”
It’s been a half-century wait, but Rusty Young finally serves up a solo album. And it’s captivating from start to finish. Known for his decades as the pedal steel player with Poco, here Young gets more of a chance to showcase his songwriting and arranging skills, which are ample. He’s highly skilled on guitar, dobro, madolin and banjo, as well as steel. Young reaches great heights with his beautiful “Heaven Tonight.” “Down Home” goes down a country path. The folk-pop-rocker “Hey There” is a lively and catchy number. The haunting instrumental “Seasons” is particularly evocative. Among the other top tracks are the title tune, “My Friend,” “Gonna Let The Rain” and the lovely, lilting “Sara’s Song,” penned for his daughter’s wedding day. Young’s pure tenor vocals appealingly ring with honest emotion throughout. Guests include Richie Furay, Jim Messina, George Grantham and Timothy B. Schmit. Fans of Poco, Buffalo Springfield, America and Loggins & Messina should love this record. All we can say is — forever Young.

ANNIE HART - “IMPOSSIBLE ACCOMPLICE”
In this, her first solo album, Hart takes a minimalist approach… to maximum effect. She continues to explore the stark yet sensual, rhythmic synth sounds that earned her trio Au Revoir Simone a cult following (which included David Lynch, who featured them on “Twin Peaks”). Hart’s songwriting, singing and production skills enable her to envision and realize a myriad of moods. Her music is atmospheric and haunting. Sway to the beats of the opening “I Don’t Want Your Love.” ”Run to You” and “Breathing Underwater” have subtly, deliciously eerie qualities. Among the most enchanting moments here are “On the Way Down,” “My Heart’s Been Broken,” ”I’ve Been Seeing You in my Dreams” and “Softly.” Hart fashions swirling dream pop that will seep into your soul.

MELISSA MANCHESTER - “THE FELLAS”
In 1989, Melissa Manchester recorded a marvelous album paying tribute to the divas who had inspired her. Her latest release, “The Fellas,” is an homage to the male vocal icons. It features signature tunes of such artists as Frank Sinatra, Tony Bennett, Johnny Mathis, Dean Martin and Nat King Cole. Manchester’s dramatic, emotive voice works wonders with such tunes as “Ain’t That a Kick in the Head,” “Chances Are,” “They Say It’s Wonderful,” “Smile” and “Night and Day.” Whether the numbers are uptempo and swinging or tender and touching, Manchester proves to be riveting. She duets with Barry Manilow on “For Me and My Gal,” which offers a fun bit of scatting. Manchester closes with a sumptuously sentimental and satisfying rendition of “How Do You Keep The Music Playing,” a song penned by Michel Legrand and Alan & Marilyn Bergman. The album was recorded with the 40-piece Blue Note Orchestra, composed of Citrus College students, alumni and faculty. Manchester deserves highest marks for this lush and lovely album. The Fellas would be proud.

BILLY BURNETTE - “CRAZY LIKE ME”
Billy Brunette is well known for his nine years with Fleetwood Mac, as well as for penning songs recorded by diverse artists, including Ray Charles, Willie Nelson, Tom Jones, Greg Allman, The Everly Brothers, Tammy Wynette, Rod Stewart and George Strait. But on this new release, “Crazy Like Me,” he goes back to his roots. And that means the Rock ’N Roll Trio, which was fronted by his dad Dorsey Burnette and uncle Johnny Burnette. Billy has rockabilly coursing through his veins. And it bursts forth in the opening number, the Trio’s anthemic ‘Tear It Up.” It’s the kind of insanely energetic number that drove teens wild in the 50s and made parents uneasy. ”(All I Can Do Is) Dream You” (which Roy Orbison previously recorded), “All Nighter” and “She’s Burning The Honky Tonks Down,” all co-written by Billy, are instantly infectious. “Crazy Like Me” is another cool rocker. Other outstanding songs co-written by Billy on this album include the ballads “Do I Ever Cross Your Mind” and “Anywhere You Go.” Some of the songs go flat-out fiery from start to finish. Peter Green’s “Oh Well” prefers to simmer and sizzle, then soar into incendiary climatic heights. Billy’s tune “When I Remember You” is a breezy ditty that utilizes pedal steel to create a tropical paradise feel. A throbbing urgency drives Dorsey’s “It’s Late,” which Ricky Nelson turned into a smash. Billy’s “Nothing to Do (And All Night to Do It),” which he first released in the early 90s, is a country pleaser. His “Ghost Town” delivers its tale with a satisfying, understated power. Billy Burnette has done a terrific job of carrying on the family tradition. If you dig real rock ’n’ roll, you’ll go crazy for this record. By the way, Burnette also released a memoir titled “Crazy Like Me.” Oh, the stories he could tell!

MATT HAIMOVITZ - “PHILIP GLASS: PARTITAS FOR SOLO CELLO”
Solo cello has never been more compelling. Matt Haimovitz performs the new Partita No. 2, by Philip Glass, as well as the innovative, modernist composer’s earlier Partita No. 1 For Solo Cello — “Songs and Poems.” There’s a Bach-like flavor to the new Glass work and Haimovitz’s handles it masterfully. An extraordinary richness runs through his nuanced playing. His cello is as expressive as the human voice can be. The result is moving, contemplative and transportive. Glass is perhaps best known for his ambitious film scores and operas, but these pieces achieve a rare and revealing degree of intimacy.

ROADCASE ROYALE - “FIRST THINGS FIRST”
Heart’s Nancy Wilson has teamed with Liv Warfield of Prince’s New Power Generation to create an exciting new supergroup, Roadcase Royale. There’s an uplifting soulful quality to their potent brand of rock. The debut album, “First Things First,” is filled with strong new originals, as well as a knockout performance of “These Dreams,” which was the first Heart single on which Nancy Wilson sang lead, instead of sister Ann. Another Heart makeover comes on “Even It Up,” with Nancy delivering a lead that’s every bit as effective as Ann’s was in the earlier incarnation. Among the memorable Roadcase Royale numbers here are “Hold Onto My Hand,” “Cover Each Other,” “The Dragon” and “Never Say Die.” “Not Giving Up” makes a strong political statement. Funk, R&B and pop flavors give the rock ’n’ roll record a pleasing diversity. The vocals, by both Wilson and Warfield, are spirited and expressive. Ryan Waters teams with Wilson on the blistering guitars. Several members of Heart are in this group, including keyboardist Chris Joyner, drummer Ben Smith and bassist Dan Rothchild, who produced this high-powered album.

KARLA KANE - “KING'S DAUGHTERS HOME FOR INCURABLES”
Karla Kane, lead singer of Bay Area indie band Corner Laughers, sparkles on her solo debut. Her bright brand of sunshine pop-folk is impossible to resist. Her disarming, girlish vocals bring to life sophisticated, entrancingly crafted original songs. Unencumbered by lavish accompaniment, The uke-playing Kane’s charming creations find the beauty in simplicity. The album was recorded at her home using one microphone and a laptop. Her appealing vocals, imaginative compositions and tasteful production and instrumentation are all that’s needed to weave a magical spell. You’ll soon be singing along to enchanting songs like “Wishing Tree,” All Aboard” and “Midsommar.” You’ll be moved by such numbers as “The Weight of Acorns” and “Under the Oak in May.” A childlike sense of wonder fills “Grasshopper Clock.” The chant-like “Mother of the Future” has a gently hypnotic power. On the quietly powerful “Don’t Hush, Darling,” Kane, who has a young daughter, includes the feminist message, “Don't be afraid to use your voice; say what you mean …Don’t choose princess, when you should be the queen.” Kane’s melodies are captivating and the smart lyrics are compelling, whether they’re wistful, whimsical or political. Guests on project include England’s Martin Newell, the folk duo Hungrytown and members of Corner Laughers, including Kane’s husband, Khoi Huynh, who co-produced with her. The pleasing results combine elements of California pop and British folk. The effect is extraordinarily pleasing.

LOU REED & KRIS KRISTOFFERSON - “THE BOTTOM LINE ARCHIVE”
The two-disc set captures two legendary artists — Lou Reed and Kris Kristofferson — performing at a legendary Greenwich Village venue, the Bottom line. The historic, unrehearsed event took place on February 2, 1994. The recording includes not only memorable performances, but interview and conversational segments. The discussions of songwriting are very insightful. The sound quality is excellent throughout. Among the songs Reed performs are “Betrayed,” “Legendary Hearts,” “Strawman,” “Sweet Jane” and “Romeo Had Juliette.” Kristofferson delivers stirring renditions of such classics as “Sunday Morning Coming Down,” “The Pilgrim,” “Shipwrecked,” “Help Me Make It Through the Night,” “To Beat The Devil,” “Me and Bobby McGee” and “Burden of Freedom.” Kristofferson says that for him, singing with Reed was the realization of a dream. And for fans of two of the most influential, original and incorruptible artists of their generation, this package is a dream come true.

CHRIS BELL - “I AM THE COSMOS”
A pioneer of power-pop, Chris Bell, founding member of Big Star, had little solo material released during his lifetime. He died in a car crash in 1978. He was 27. His one solo album, “I Am The Cosmos,” was released posthumously. It has been considered a lost masterpiece. Bell was one of the main songwriters, along with Alex Chilton, in Big Star. So his influence on subsequent generations of rockers has been enormous. On the solo record, Bell showed a willingness to experiment, both in terms of songwriting and production. And the results are fascinating. Among the most memorable tracks are the gentle “You and Your Sister,” the driving, guitar-driven “Got Kinda Lost” and the searching “Look Up.” Omnivore Recordings has now made available a greatly expanded, two-CD version of “I Am The Cosmos,” with many previously unissued tracks. This precedes the label’s release of “The Complete Chris Bell,” a six-LP set.

SINNE EEG - “DREAMS”
Considered the cream of the crop, when it comes to Scandinavian jazz singers, Sinne Eeg delivers a rich harvest with her new album “Dreams.” Her voice is distinctive, expressive and attractive. And she’s a gifted songwriter. Among her fine compositions here are “The Bitter End,” “Dreams,” “Time to Go” and the gorgeous, lush “Love Song.” She scats to lovely effect on “Head Over Heels,” among other tunes. Eeg proves equally impressive as an interpreter, offering outstanding renditions of Rodgers & Hart’s “Falling in Love with Love” and Cole Porter’s “What Is This Thing Called Love” and “Anything Goes.” She isn’t afraid to play with the classic melodies and her intelligence as a vocalist makes it work. Joined by fellow Dane Jacob Christoffersen on piano, as well as Americans Larry Koonse on guitar, Joey Baron on drums and Scott Colley on bass, Eeg has created an exceptional album.

WHITNEY ROSE - “RULE 62”
Originally from Prince Edward Island, Canada, Whitney Rose displays a twang that’s true. Her country music is authentic and consistently engaging. Now based in Austin, Rose continues to blossom with this latest album, co-produced by Raul Malo of The Mavericks. There are elements of Texas swing, 50s Nashville and 60s girl group pop. Rose, whose voice is both pretty and persuasive, wrote nine of the 11 songs. Tunes like “I Don’t Want Half (I Just Want Out),” “Wake Me in Wyoming” and “Arizona” would feel right at home in the local honky tonk… or on a Tammy Wynette record. “Tied to the Wheel” has a classic country appeal. “You Never Cross my Mind” is a lovely ballad. Rose stands strong and tall on “You Don’t Scare Me.” “Better to My Baby” could have been a smash for The Shirelles. “Can’t Stop Shakin’,” a reaction to our troubled times, has some hot horns and tasty guitar work. The sentimental “Trucker’s Funeral” has a melody that calls to mind John Hartford’s “Gentle on My Mind.” The closer “Time to Cry” sends us home with rockin’ excitement. This is an outstanding outing for Ms. Rose.

KYLE EASTWOOD: “IN TRANSIT”
Raised in L.A., based in Paris, bassist/composer Kyle Eastwood displays a worldly diversity on his impressive new album. Eastwood, who has worked with his father Clint on several memorable film scores, composes tunes that manage to be both adventurous and accessible, a very appealing quality. On the new album, he shares the writing with members of his amazing British band. Trumpeter/flugelhornist Quentin Collins contributed the sizzlingly stirring opener, “Soulful Times.” Pianist Andrew McCormack contributed the melodic “Jarreau” and co-wrote the cool “Movin’” and the emotive “Night Flight” with Eastwood. Eastwood, Collins, McCormack and saxophonist Brandon Allen all teamed to create the bustling “Rush Hour” and “Rockin’ Ronnie’s,” which will set your fingers to snapping. The superb Italian saxophonist Stefano Di Battista joins Eastwood’s fabulous quintet on four songs, including the haunting “Cinema Paradiso (Love Theme).” Eastwood’s bass-playing on that number will reach you on a profound level. It was composed one of his favorites, Ennio Morricone. “Sunrise,” a bonus track, is an evocative number with awe-inspiring horn work. Eastwood and the band also offer exciting interpretations of tunes by Count Basie, Thelonious Monk and Charles Mingus. Eastwood always plays subtly, complementing the composition and the group vibe, but on Mingus’ “Boogie Stop Shuffle,” his bass work deserves a “Wow!” Actually this entire album should wow jazz aficionados.

FLAMIN’ GROOVIES: “FANTASTIC PLASTIC”
Come on, get groovy! The Flamin’ Groovies are back! The legendary San Francisco band is back with a lineup that teams singer-songwriter-guitarists Cyril Jordan and Chris Wilson for the first time in 38 years. And there hadn’t been a new studio album in 24 years. But there’s no rust on this record. It rocks! The cult faves continue to breathe new life into the exciting musical styles of the British Invasion era, inserting a bit of a punk edge. “What The Hell’s Goin’ On” has that raw, early Stones swagger. “End of the World” gives off a late 60s Byrds feel. “She Loves Me” is sweet and catchy. “Crazy Macy” rocks insanely. “Just Like a Hurricane” is another forceful number. “Lonely Hearts” is an engaging mid-tempo number. The Groovies do a spine-tingling cover of The Beau Brummels' “Don’t Talk to Strangers.” They also perform NRBQ’s “I Want You Bad.” With this new album, it’s as if the guitar-driven, poppily-pleasing Merseybeat sound had never stopped beating. Keep the flame burning, boys!

THE NATHAN BROWN TRIO - “THIS IS THE MOMENT”
The New York-based trio serves up a winning sound that’s both invitingly warm and very, very cool. They perform well crafted originals, as well as captivating interpretations of familiar tunes like the Barry Mann/Cynthia Weil classic “Just a Little Lovin’,” which receives a gently swinging treatment here. Other top tracks include “Bird’s Opening,” “Cheer Up, Charlie,” “The Fourth Way” and the title track. Nathan Brown is superb and subtle on upright bass. Felix Lemerle, originally from Austria, is a jazz guitar wizard. And Peter Traunmueller, who hails from Austria, deftly handles the drumming. The interplay among the three musicians is intuitive and zestful.

BOOKS

MISS D AND ME: LIFE WITH THE INVINCIBLE BETTE DAVIS
By Kathryn Sermak with Danelle Morton [Hatchette Books]
Fear not, this is not another Hollywood tell-all. It’s an affectionate, intimate account of a special relationship and a unique, larger-than-life personality. No one knew Bette Davis in her final years better than Kathryn Sermak. Davis herself, in the wake of the devastating “Mommie Dearest” type tome penned by her daughter Bede, had expressed her wish that Sermak would tell her truth in print. It took Sermak several decades, but she was finally ready. And the result is a warm, loving, meticulously detailed account of the years she spent as Davis’ trusty personal assistant. At first, Davis insisted on maintaining strict employer-employee boundaries. But over the years, the lines blurred and Sermak ended up being the film icon’s dear friend and confidante. Demanding, a perfectionist, Davis trained Sermak to be her perfect helper, teaching her everything from dining etiquette to the right way to dress and walk. She even suggested Sermak change the spelling of her first name from Catherine to Kathryn, to make it more distinctive. There was still glamor in their life when Sermak’s stint began. But as Davis’ health declined, especially following a stroke, Sermak had to oversee her care. Their relationship evolved into a something close to that of a mother and daughter. Bede’s book coming out shortly after doctors had predicted the actress would not survive much longer completely shattered the actress. But the resilient, indomitable Davis lasted for years, defying the odds, rebuilding her strength. She even went on trips to Europe with Sermak, savoring each adventure. Davis didn’t give up her cigarettes and nightly cocktail, though she did switch to low-nicotine and wine spritzers. There are some entertaining anecdotes involving Davis’ friends, such as Robert Wagner, Roddy McDowell and the bickering Roald Dahl and Patricia Neal. But the focus is definitely on Davis — or Miss D as Sermak fondly called her. Sermak credits Davis with helping her grow into a strong, independent woman. That debt is repaid with this tender recollection. And fans will see sides of Miss D that go far beyond the image. But as you might expect, until her final breath, Bette Davis remained Hollywood royalty.

PETE DUEL: A BIOGRAPHY
By Paul Green [McFarland; www.mcfarlandpub.com; 800-253-2187]
He seemed to have it all. His TV series was a hit. He had become a heartthrob on the cover of magazines. Woman flocked to him. Men admired him. He had big, soulful eyes and a warm, infectious grin that melted hearts. There was no denying his immense charisma, on screen and off. Yet, on New Year’s Eve, 1971, Pete Duel placed a gun against his head and killed himself. Why? That’s the question that has plagued family, friends and fans in the ensuing years. He left no note. Perhaps we’ll never completely understand what led Duel to this tragic end. But Paul Green’s exhaustively researched, penetrating, but compassionate book brings us much closer to the truth. The biography was originally published in 2007, but Green has completed a second edition, which includes not only extra photographs, but additional chapters, further illuminating the puzzle. Green details every aspect of Duel’s life. Even as a youth, Duel [originally known as Peter Deuel] displayed a rare magnetism. But he had a dark side and a reckless streak, as well as a sense of fun and a tender side. He took the craft of acting very seriously, right from the start, and honed his skills on stage. But film was his goal. He found some success in sitcoms like “Gidget” and “Love on a Rooftop.” But big screen roles that could showcase his huge talents eluded him. He landed the sort of fame and fortune most actors crave, when the tongue-in-cheek western “Alias Smith and Jones” became an audience favorite, not only on ABC in America, but overseas, as well, particularly in the U.K. Every moment of Duel’s portrayal of the crafty, clever and captivating reformed outlaw Hannibal Hayes was fun to watch. But Duel was never comfortable with this success. He didn’t want to be a celebrity, a pin-up boy, trapped in a lighthearted series. He longed for meaty roles in meaningful films. In the few opportunities he had to immerse himself in dramatic characters, Duel proved he had the chops. But Hollywood couldn’t seem to see past his looks and charm. Frustration grew. But Green delves into the other elements in his descent, including alcoholism, drug use and broken relationships, as well as the chronic pain and possible behavioral changes caused by a serious car accident. There was also the guilt he felt over an injury he caused a young woman during a DUI. And, for this impassioned political activist, there was the depression following the Eugene McCarthy loss, the Bobby Kennedy assassination and the Chicago riots, which Duel witnessed. Ultimately, Duel was a troubled, complicated man, a sensitive artist who couldn’t outrace his self-destructive tendencies. To obtain a clearer picture of Duel, Green interviewed actors, directors, producers and writers who worked with him, as well as his sister, Pamela Deuel, and several of his girlfriends, including Kim Darby. Green also touches upon the effects of suicide on those left behind. We could have had so many great Duel performances to cherish. One can only speculate as to the heights he might have reached. But fans around the world continue to embrace those that he did complete during his far too brief lifetime. And they will be grateful to Green for this sympathetic, comprehensive biography.

WHAT IS ALL BUT LUMINOUS: NOTES FROM AN UNDERGROUND MAN
By Art Garfunkel [Alfred A. Knopf]
This isn’t a traditional autobiography, but a fascinating collage, composed of intriguing poetry, random thoughts, observations, as well as snippets of important moments in Art Garfunkel’s life. His lists of favorite books he read in various periods is also telling. The book is an exploration into the mind, heart and soul of a man, of an artist. Garfunkel ruminates on his childhood and his life after the split from Paul Simon. There are tidbits about his beautiful solo musical works, sometimes massive hits, sometimes under-appreciated, as well as his notable forays into acting, such as Mike Nichols’ “Carnal Knowledge” and “Catch-22.” He has chosen not to detail much of the Simon & Garfunkel peak years, but that has been well documented already by others. In the bits and pieces here, it’s evident that the two have the dynamic of brothers — fiercely competitive, able to infuriate one another, but also possessing a deep love and unique bond. Garfunkel writes of his other great loves — actor/photographer Laurie Bird, who committed suicide at 25, leaving Garfunkel devastated; the salvation found in his wife Kathryn, to whom the book is dedicated; and his children. And of course, there’s his love of music. It obviously permeates every once of Garfunkel’s being. He communicates the joy of raising his heavenly voice in song. There’s a spirituality in its magic. As he says of his vocal cords, “They have vibrated with the love of sound since I was five and began to sing with the sense of God’s gift running through me.” And there’s the thrill of harmony, from doo-wop to the Everlys to those he so brilliantly created. Simon tends to get much of the credit for Simon & Garfunkel’s huge contributions to the music world. But Garfunkel, arranger and often lead singer, was every bit as responsible for their unique sound. And this book offers enthralling glimpses into the complexities that make the ever creative Garfunkel tick. It gives us his wisdom and wit, regarding life, love, loss, pleasure, pain, art and Art. An impressionistic portrait can be more revealing that a simple chronological litany of facts. And “What Is All But Luminous” allows us to absorb how Garfunkel has made the most of his 75 years on this planet.