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


DVDs

“ACCEPTABLE RISK”
There’s no risk involved in watching this show — you’re certain to be riveted. Acorn Media has made this suspenseful mystery, an Ireland/Canada co-production, available on Blu-ray and DVD. Sarah Manning has left her lofty position as a lawyer for a mega pharmaceutical corporation to raise her family. She is shocked by the news that her husband, who worked for that same corporation, has been murdered while on a business trip to Montreal. But why was he killed? By whom? And why was her husband carrying a gun? Sarah won’t rest until she finds the answers. But it won’t be easy. Powerful corporate and police figures stand in her way. But she has the intelligence, courage and determination to overcome all obstacles. Elaine Cassidy is excellent as Sarah, conveying the complexities of the character, capturing the feeling of a woman on the edge, one who won’t be stopped, no matter what secrets are revealed, regardless of the betrayals by those she has trusted, personally or professionally. Fine support is provided by Angeline Ball (“Shameless,” “The Commitments”), Lisa Hogg (“The Fall,” “Across The Universe”) and the menacing Morten Suurballe (“Vikings,” “The Killing”). The mini-series is well written by Emmy winner Ron Hutchinson (“Murderers Among Us: The Simon Wiesenthal Story,” “Traffic”) and crisply directed by Kenneth Glenaan (“Wired”). Tension builds with each progressive episode. You get all six episodes on two discs. Dublin locations add to the show’s appeal. After viewing the episodes, you’ll want to check out the bonus cast interviews and featurettes.

“ATTACK OF THE KILLER TOMATOES”
“Attack of the Killer Tomatoes” is killer camp! Yes, this juicy 1978 satire of B-horror flicks actually centers on mutant tomatoes that threaten to destroy the planet. The cult classic looks and sounds incredible in its latest incarnation, on Blu-ray and DVD, as part of the MVD Rewind Collection. And there are tons of enjoyable special features, including an informative commentary track and the short film that spawned the feature. The movie itself is supremely silly, spoofy, campy fun. Can we ever trust our salad again? Trivia — the featured song “Puberty Love” was sung by teen Matt Cameron, who later became the drummer for Soundgarden and later, Pearl Jam.

“CAMELOT”
Richard Harris made an indelible impression when he played the visionary King Arthur in the 1967 film version of this classical musical. In 1980, “Camelot” was revived on Broadway, with its original stage star, Richard Burton. He soon gave way to Harris, who welcomed a return to the Utopian kingdom. And it was Harris who played Arthur in HBO’s 1982 production, videotaped live on the stage of New York’s Winter Garden Theatre. The charismatic Harris performs the role with power, majesty and magnetism, giving it a noble flair. And the added years give his Arthur more gravitas. Though Burton, too, had played the role admirably, Harris is a much better singer, bringing the dramatic maximum to each song. He shines on such numbers as “I Wonder What The King is Doing Tonight,” “How to Handle a Woman,” “What Do the Simple Folk Do? and, especially, the “Camelot” finale. He receives luminous support from Meg Bussert as Guinevere. Her lovely voice is showcased on “I Loved You Once in Silence.” Richard Muenz makes a staunch Lancelot, singing “If Ever I Would Leave You.” Achieving its initial success in the Kennedy era, the romantic musical stands the test of time, with its depiction of paradise lost and idealism faded. S’more entertainment has just released this treasure on DVD. The extra is a black-and white image gallery, filled with striking images from the play.

CDs

THE SEARCHERS: “ANOTHER NIGHT: THE SIRE RECORDINGS 1979-1981”
In the early 60s, The Searchers, like most of their Merseybeat brethren, relied on revitalizing R&B tunes. They had a hit with The Drifters’ “Sweets for My Sweets.” By 1964, the Liverpool group really hit its stride, pioneering the folk-rock sound with such joyously jangly hits as “Needles and Pins,” “When You Walk in the Room,” “Take Me For What I’m Worth” and “What Have They Done to the Rain.” They gradually fell out of chart favor and dropped completely off the North American radar. But they continued to record and tour. And in 1979, they signed with Sire Records, the hip home of Talking Heads and The Ramones. The Searchers created two albums for the label. Both received lots of critical raves and almost no promotion or airplay. With a new Omnivore double-CD deluxe reissue, it’s time to reexamine these recordings. Both albums are winners, bolstered here by bonus tracks. The eponymous first album presents strong Searchers originals — “This Kind of Love Affair” and “Don’t Hang On” — as well as brilliant covers of Tom Petty’s “Lost in Your Eyes” (Petty was undoubtedly influenced by the band) and Bob Dylan’s “Coming From The Heart.” Results are best on songs where The Searchers stick close to their guitar-driven roots. Attempts to blend into the ‘70s pop sensibility are fine, but less convincing. Overall, this is a catchy, well-performed and produced record that should have yielded several singles chart successes. The second album, “Love’s Melodies,” is even better. The chiming guitar sounds of “Silver” get things off to a bright, shiny start. And the band never lets up. “Everything But a Heartbeat” throbs along with a catchy, Buddy Holly energy. Moon Martin’s “She Made a Fool of You” is also happily hooky. “Sick of You” is a rip-roaring, ‘50s-style rocker. The Searchers cover Big Star’s “September Gurls, penned by Alex Chilton. It’s a perfect choice. And again, Chilton was certainly inspired by bands like The Searchers. There’s a great version of John Fogarty’s “Almost Saturday Night.” A cool, previously unreleased bonus track of John Hiatt’s witty “Ambulance Chaser” is another highlight, as is Hiatt’s “Back to the War.” But two of the very finest tracks here — “Another Night” and “Little Bit of Heaven,” were written by Searchers John McNally, Mike Pender and Frank Allen. This is a fantastic collection of music by one of the British Invasion’s most influential, enjoyable, enduring bands. And they’re still touring today! The Searchers deserve inclusion in the Rock and Roll Hall of Fame.

ALVIN LEE - “LIVE AT THE ACADEMY OF MUSIC, NEW YORK, 1975”
After exciting audiences as vocalist/lead guitarist of the terrific British rock-blues band Ten Years After, Alvin Lee moved forward with strong solo projects. This ’75 live set, captured on a 16-track recorder, has finally been released in a two-CD package. And it’s a treat. “Got to Keep Moving” gets things off to a hot, urgent-sounding start. But instead of relying on show-stopping, blazing guitar solos, Lee generally takes a more laid-back approach here, finding a groove and then exploring the rhythmic, melodic and harmonic possibilities. He adds traces of funk, jazz and country to his blues and rock foundation. Lee was always a master at injecting new blood into traditional tunes and his acoustic rendition of “Baby Please Don’t Go” is low-key, but high in energy and tension. He can still cook up a rootsy storm, as on “Money Honey.” He wails on “I’m Writing You a Letter.” And “Ride My Train” drives hard. “Going Through The Door” offers him a more reflective moment, as does “All Life’s Trials.” A great band backs Lee, including former members of King Crimson and Stone The Crows. Years after Ten Years After, Lee was still making riveting music.

THEY MIGHT BE GIANTS - “I LIKE FUN”
That undeniable, irrepressible, irresistible They Might Be Giants sound is back with a new album, “I Like Fun.” And what’s not to like? There’s fun aplenty here. Led by John Linell and John Flansburgh, the band serves up saucy, quirky, clever pop numbers. Though they’ve made a lot of children’s music over the past several years, they savor the opportunity to infuse some of these songs with darker layers beneath the bubbly, sunny surface. Among the memorable tunes here are “Let’s Get This Over With,” “I Left My Body,” “Mrs. Bluebeard,” “McCafferty’s Bib” and “Last Wave.” These musicians remain giants of the indie scene.

CURTIS SALGADO & ALAN HAGER - “ROUGH CUT”
Curtis Salgado, who has sung with Robert Cray and Santana, as well as delivering many rousing solo albums, teams with guitarist Alan Hager to great effect on this new Alligator Records album. Having endured several recent health crises, Salgado proves that there’s plenty of life left in this great bluesman. He uplifts listeners with his powerful opener, “I Will Not Surrender.” There are some top-notch covers here, including Elmore James’ “Got to Move,” Muddy Waters’ “I Can’t Be Satisfied,” Son House’s “Depot Blues” and the pertinent Sonny Boy Williams tune, “Too Young to Die.” “Morning Train” has a simmering gospel fervor. Salgado, who helped inspire John Belushi’s “The Blues Brothers’ character, is the real deal. Hager’s deft guitar work rings with honest emotion. And Salgado’s authentically soulful singing and harp playing make this album a must-hear. He exudes a moving melancholy, but also a righteous resilience.

DIANA PANTON - “SOLSTICE/EQUINOX”
Diana Panton’s pure, vibrant voice is a breath of fresh air, subtle as a sigh. The Canadian jazz vocalist presents a pleasing package of songs in her new album, “Solstice/Equinox.” She lends her delicately delightful vocal interpretations to such familiar numbers as “They Say It’s Spring,” “September in the Rain,” “Estate,” “Manhattan” and “Tis Autumn.” There are lesser known beauties, such as “I Like Snow,” “By The Fireside” and “Lerner and Lowe’s lovely “The Heather on the Hill,” from “Brigadoon.“ Throughout, singing in both English and French, Panton communicates every musical moment eloquently. This is a warm and wonderful album.

MARIA SCHAFER - “TO KNOW LOVE”
Maria Schafer’s voice is soothing, sensuous and exquisite. And with this finely tuned instrument, she creates perfectly engaging, fresh-sounding versions of Brazilian numbers and jazz standards. She can sweetly swing and silkily sway. Every track on the album is a gentle gem, among them “You Don’t Know What Love Is,” “In Summer (Estate),” “Body and Soul” and a lushly sung “Lush Life.” And “Bewitched, Bothered and Bewildered” is especially beguiling. Joining Schafer here are guitarist Shane Savala, bassist Joe Butts, drummer Kyle Sharamitaro and trumpeter Brad Black, all providing subtly sublime support. The satiny-voiced Schafer, who toured internationally as featured vocalist with the Glenn Miller Orchestra, is ready for the headliner spotlight. The album is her sparkling debut.

MAMA SPANX - “STATE OF GROOVE”
Mama SpanX puts together a grabbing combination of fierce funk, rollicking rock and sizzling soul. They soar thanks to the power-packed vocals of Nikki Armstrong, hot horns and infectious grooves. There’s a retro feel to the band’s exciting sound. Standout tracks include “Let’s Roll (Get Your Mama Spanx On),” “All Around the World,” the catchy title track and the torchy “Wrong Side of the Garden.” Armstrong can beautifully deliver a ballad, as well, as she demonstrates on “Anywhere You Are.”

HRISTO VITCHEV QUARTET - “OF LIGHT AND SHADOWS”
The extraordinary Bay Area guitarist Hristo Vitchev and his superb quartet return with another outstanding album. Vitchev’s imaginative, elegant and fluid guitar work stands out. But he allows ample space for his fellow musicians, particularly Brazilian pianist Jasnam Daya Singh, to shine on such enchanting compositions as “Of Light and Shadows,” “Prismic Dance” and “A Portrait of Love Forgotten.” Bassist Dan Robbins and drummer Mike Shannon are impressive, as well. This tight-knit, inventive combo deserves to be at the top of the jazz world.

FELSEN - “BLOOD ORANGE MOON”
Frontman Andrew Griffin battled through cancer and, after reflection, came out the other side with a burst of creativity. The result is this compelling, moving, thought-provoking indie-rock album. Offering up potently rocking interludes and gently contemplative ballads, The Oakland-based Felsen delivers memorable music. Griffin sings convincingly of shaking off contemporary distractions and focusing on human connections. With convincing vocals, absorbing melodies and intelligent, evocative lyrics, he holds the listener’s attention throughout. Many of the numbers are hauntingly atmospheric. Production enhances the songwriting and performances, tastefully complementing the diverse works here. Among the tantalizing tracks are “Vultures on Your Bones,” “Airplane Mode,” “Telepathic Kind,” “Poor Wealthy City,” “Lovecraft” and the title track. This is an entrancing album.

BOOKS

THE NOIR WESTERN: DARKNESS ON THE RANGE, 1943-1962
By David Meuel [McFarland; www.mcfarlandpub.com; 800-253-2187]
After World War II, the nation, and the movie industry had a darker perspective on life. That was most evident in the wave of film noir crime dramas. But even the western genre was effected. The days of the singing cowboy were numbered. Audiences were no longer satisfied with simple stories of good vs. bad, with the clean-cut hero and naive sweetheart riding off happily into the technicolor sunset. They wanted more complexity. And noir offered gripping greys, literally and figuratively, as well as more complicated characters and thought-provoking subject matter. As author Meuel says, in his chapter on Robert Wise’s “Blood on the Moon,” the western had been transformed into “something different… with many of the psychological shadings, moral ambiguities, existential suggestions and ominous undertones of the best noir crime dramas.” Meuel’s expert analysis of this important hybrid genre, the noir western, focuses on the filmmakers who made a tremendous impact. That includes not only familiar names like Wise, John Ford, Raoul Walsh and William Wellman, but lesser known directors such as André de Toth, Delmer Daves, Henry King and Allan Dwan. Also examined are works of such cult favorites as Anthony Mann, Budd Boetticher and Sam Fuller. Because striking, moody visuals were so vital to noir, Meuel also writes about such key cinematographers as Nicholas Musuraca. Among the classic films studied here are “The Ox-Bow Incident,” “Ramrod,” “Pursued,” “I Shot Jesse James,” “The Naked Spur,” “3:10 to Yuma,” “Ride Lonesome” and “The Man Who Shot Liberty Valance.” Meuel offers valuable insights into a very intriguing and too often under-appreciated sub-genre.

CLASSICS ILLUSTRATED: A CULTURAL HISTORY, SECOND EDITION
By William B. Jones, Jr. [McFarland; www.mcfarlandpub.com; 800-253-2187]
The new, revised, expanded second edition of this treasure-packed book offers a remarkably thorough study of “Classics Illustrated.” Many Boomers received their introduction to great literature via these beautiful, dramatic, comic book-style adaptations. The series was the creation of Albert Kanter. The son of Russian-Jewish immigrants who fled the Czar’s pogroms, Kanter epitomized the American Dream. He made the works of Shakespeare, Dostoyevsky, H.G. Wells, Mark Twain, Robert Louis Stevenson, Dumas and Dickens accessible to youngsters. Editions began in 1941 and extended into the 21st century, evolving over the decades. Even when self-righteous right-wingers ranted about the dangers of comic books, Classics Illustrated thrived. Educators declared their appreciation for these particular illustrated publications that enhanced school studies. Author William B. Jones, Jr., having exhaustively researched his subject, delves into the various Classics Illustrated incarnations, the founders and the most important creative talents, particularly the extraordinary artists involved. The illustrations, including many new photographs added for this second volume, help to tell the Classics Illustrated story. Most of the illustrations are in black-and-white, but there are also many full-color depictions of the eye-catching covers, which celebrate the remarkably striking artwork. As stated in the book, Classics Illustrated was “as much a part of growing up in post-war America as baseball cards, hula hoops, Barbie dolls or rock ’n’ roll.” This book was obviously a labor of love for Jones. And those who grew up with Classics Illustrated are sure to love it, as well.

MICKEY ROONEY: A SHOW BUSINESS LIFE
By James A. MacEachern [McFarland; www.mcfarlandpub.com; 800-253-2187]
He was a diminutive performer who led a colossally colorful life. It was definitely a show business life, from cradle to grave, for Mickey Rooney. Author MacEachern details it all in this informative and entertaining biography. Immensely talented, energetic and versatile, Rooney went from vaudeville to silent pictures to child star. This whirlwind could sing, dance, do impressions and act up a storm. Then, in the 30s, he became Hollywood’s box office champ, thanks primarily to the popular Andy Hardy films, as well as favorites like “Boys Town” and, with co-star and dear pal Judy Garland — “Babes in Arms.” But it’s precarious at the top and Rooney toppled. His string of unsuccessful marriages and lifelong insecurities didn’t help. But he never stopped working. He developed into an outstanding character actor, delivering memorable performances in noir crime dramas and TV classics like “The Comedian” and, much later, “Bill.” In between B-pictures, he kept popping up with great performances in memorable movies such as “Requiem for a Heavyweight,” “It’s a Mad, Mad, Mad, Mad World” and “The Black Stallion.” Rooney conquered Broadway with “Sugar Babies.” He lived to work. But crippling romantic relationships and financial fiascos always plagued him. MacEachern documents all of it, triumphs and tragedies. In the end, the reader is filled with admiration for Rooney, as well as sympathy, though, most of his problems were of his own making.

NICK NOLTE: REBEL: MY LIFE OUTSIDE THE LINES
By Nick Nolte [William Morrow]
At the outset, Nolte confesses to readers that he has a gift for telling outrageous lies. Nonetheless, this memoir offers the unadorned truth. As in his acting, Nolte, the memoirist, is startlingly, revealingly honest. And his life story is a remarkable one. As the book’s title indicates, Nolte and rules have never mixed well. He got much of his rebellious streak from his defiantly independent mother, who gave her children an appreciation for imagination. She nurtured in Nolte a love of nature and freedom. And she stoked the intensity that burned in her son. Unwaveringly unconventional, mom fed Nolte a “vitamin” potion that contained Dexedrine. No wonder he was sometimes out of control as an adolescent. A penchant for practical jokes and a disdain for regulations often brought trouble. To alleviate tension, the self-destructive Nolte had a habit of head-butting parked cars. The Midwestern kid found a healthier outlet in football. But injuries destroyed any hopes of a gridiron career. Fate introduced him to acting during his college years. And it became his new passion. It provided an adrenaline rush similar to the one he had savored in sports. Theatre opened up a whole new world. From the beginning, he displayed a tremendous talent and, in the book, he presents insights into his acting process. Through acting, he could become someone else, a notion that appealed to him. But an emotional breakdown delayed his progress. He has always battled anxiety and depression. He was in his mid-thirties by the time he made his Hollywood breakthrough with the mini-series “Rich Man, Poor Man.” “The Deep” transferred his stardom from small screen to big screen. But after that, he concentrated on finding challenging roles, rather than surefire blockbusters. Nolte offers interesting glimpses into his films, including those in which he gave his finest performances — “Who’ll Stop The Rain,” “Thin Red Line,” “Cannery Row,” “Affliction,” “Down and Out in Beverly Hills,” “North Dallas Forty,” “48 Hrs.,” “Heart Beat,” “Prince of Tides” and “A Walk in the Woods.” These roles afforded Nolte a chance to display his depth and versatility as an actor. Over the course of these pages, there are insightful, amusing or enlightening descriptions of interactions with other artists, including Robert Redford, Barbra Streisand, Jacqueline Bisset, Eddie Murphy, Sam Shepard, Martin Scorsese and Debra Winger. “Rebel” is unflinchingly revealing. Nolte documents his relationships with women — his other life’s passion, besides football and acting — and his battles with addiction. Initially, his friendship with weed and his experiments with LSD expanded his horizons. But substances such as booze and cocaine eventually became soul-crushing. He went from being People magazine’s “Sexiest Man Alive” to reluctantly posing for one of the most infamous celebrity mug shots. Clean for years, he is enjoying another shot at fatherhood, as well as a career resurgence, no longer the leading man, but the grizzled character actor. The book includes mentions of his latest TV projects, such as the political comedy “Graves,” and Nolte notes that he is inching towards the grave. But now 76, he seems a bit bemused by the fact that he has survived so long. Whether you want to refer to him as an eccentric, a maverick or a rebel, Nolte has, for over 40 years, been one of our most important actors. He has been part of box office triumphs. He has had his share of flops, as well. But he never relinquished his grip on his artistic integrity. And his creative spirit remains vibrant. Over the course of his impressive career, Nolte has brought to life a panorama of fascinating characters — none more complex or compelling than Nolte himself. This book, written with an earthy eloquence, will keep you enthralled.