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


DVDs

“IT’S THE OLD ARMY GAME,” “RUNNING WILD”
The voice of W.C. Fields is one that impressionists have always loved to imitate. But even without sound, Fields was an unparalleled comedian. His silent films are not often seen, but now is the perfect opportunity. Kino Lorber has released these two classics on Blu-ray. Mastered in 2K from 35mm film elements, the films look strikingly clear and clean. Fields had honed his skills in vaudeville and even at this stage of his career, he was a master of reaction and visual gags. Other than a silly dark mustache, this is the same Fields we know and love — irascible, irritated, conniving, yet lovable. In 1926’s “The Old Army Game,” Fields plays Elmer Prettywillie, the druggist in a small town. The never-give-a-sucker-an-even-break philosophy prevails, when a dodgy real estate salesman shows up. Whether he’s trying to put out a fire, handling a noisy baby, dealing with a bratty nephew, confronting a shell game scammer, taking his annoying family picnicking on a millionaire’s lawn or maneuvering his auto through chaotic streets on a New York City trip, Fields generates laughs galore. Louise Brooks plays the pharmacy counter girl. She went on to epitomize the flapper. But here, in a sweet, ingenue role, with a touch of coquettishness, she’s enchanting. In 1927’s “Running Wild,” directed by Gregory La Cava (“My Man Godfrey”), Fields plays a henpecked, browbeaten accountant. Under hypnosis, this everyman takes on the characteristics of a lion, able to stand up to all of his detractors. This one is another laugh fest. On both discs, there are informative commentary tracks by film historian James L. Neibaur, which will enhance your appreciation of these great comedies, plus clever original scores — organ by Ben Model for “It’s The Old Army Game” and piano by Donald Sosin for “Running Wild.” You don’t have to be a silent film buff to be wildly entertained by these vintage films.

“GOTTA SERVE SOMEBODY: THE GOSPEL SONGS OF BOB DYLAN”
Bob Dylan has gone through many artistic incarnations. In the late 70s and early 80s, he wrote, recorded and performed in concert his own new gospel tunes. His fans were largely taken aback. But this documentary, presenting these songs performed by great gospel singers, clearly demonstrates how moving and powerful this material can be. It depicts the making of the 2003 tribute album “Gotta Serve Somebody: The Gospel Songs of Bob Dylan.” There’s a soaring spirituality to the music — the uplifting version of “I Believe in You” by Dottie Peoples, a supremely soulful “Gotta Serve Somebody” by Shirley Caesar and a righteously rousing “Saved” by Mighty Clouds of Joy.” Other artists include Aaron Neville, Chicago Mass Choir, Rance Allen Group and Fairfield Four. There’s also 1980 footage of Dylan himself performing “When He Returns.” The documentary, now available on DVD from MVD Visual, includes insightful interviews from musicians who worked with Dylan during the gospel era, including Jim Keltner, Spooner Oldham and Regina McCrory. In retrospect, given a clearer perspective, with magnificent voices interpreting the songs, it’s evident that this portion of Dylan’s songbook deserves much more attention. As a bonus on the DVD, you get an animated music video of Dylan’s original version of “Gotta Serve Somebody.”

“A FANATIC HEART : BOB GELDOF ON W.B. YEATS”
In this lovingly assembled documentary, musician/activist Bob Geldof examines the work and legacy of the great poet W. B. Yeats. It celebrates the unique beauty of Yeats’ writing and illuminates his impact on the Irish culture. Geldof presents scholars and authors, as well as actors and songwriters, praising Yeats and reading his memorable stanzas. Among them are Bill Nighy, Liam Neeson, Colin Farrell, Shane McGowan, Noel Gallagher, Van Morrison and Sting. Yeats’ influence has been widespread and lasting. The outstanding documentary, certain to enhance viewers’ admiration for Yeats, is now available from MVD. It offers nearly three hours of extras, including commentaries, bonus readings and songs by Bono and Elvis Costello.

“REBECKA MARTINSSON”
It won’t take long for you to get hooked on this dark, intense Swedish crime series. The tales are based on Asa Larsson’s award-winning crime novels. The charismatic Ida Engvoll stars as Rebecka, an unorthodox, headstrong, resourceful lawyer in a top Stockholm law firm. When she learns that her childhood friend has fallen to her death, Rebecka returns to her little rural hometown for the funeral. She quickly senses that much is amiss. Her friend’s demise was no accident. Rebecka determinedly digs. Secrets are unveiled. Plot surprises spring up like twisted vines. This strong, independent woman ends up completely broken down by the terrible, traumatic incidents she witnesses in the two-part opener. But Rebecka is resilient and soon she’s rebuilding her resolve and putting her legal skills to good use again. A pregnant acquaintance in the police force begins to rely on her to help solve puzzling cases. The characters are multidimensional. Engvoll keeps Rebecka fascinating at all times. Her arctic blue eyes, expressing layers of emotions, are riveting. The stunning Swedish landscapes add to the show’s appeal. Immerse yourself in Series 1, now available from Acorn Media in a two-disc set.

“THE AFTERMATH”
You’re an astronaut returning to Earth after a wearying space mission. You’re thinking, “There’s no place like home.” Unfortunately, when you arrive, you discover that home has been devastated by nuclear and biological warfare. Instead of friends and family, you’re greeted by cannibalistic mutant survivors. And watch out for those radioactive storms! It’s all part of “The Aftermath.” The 1982 cult flick has just been released on Blu-Ray/DVD by VCI/MVD Visual. It’s low-budget and highly entertaining — for shocker sci-fi/horror, that is. Steve Barkett not only stars, but wrote, produced and directed. Lynne Margulies makes a fetching love interest for Barkett. They protect a young boy they find hiding (Christopher Barkett). But the movie’s big draw is Sid Haig (“House of 1000 Corpses”), who leads a barbarous biker gang that enjoys nothing more than murder and/or rape. These evil dudes even relish killing kiddies. Stop-motion animation legend Jim Danforth plays Newman’s fellow astronaut. Watch for a cameo by Famous Monsters of Filmland publisher Forrest J. Ackerman. And there’s a bit of voiceover by the one and only Dick Miller (“Little Shop of Horrors).” Though the effects are limited by budget constraints, some top talent participated, including the Skotak brothers — Robert and Dennis — who later worked on many of James Cameron’s sci-fi blockbusters. (They also appear on screen as gang members) The film goes so far overboard on sex and violence, it was originally banned in the U.K. Bizarre fact — Stanley Livingston, of “My Three Sons” fame, co-wrote the script with Barkett. Remastered in 2K from the 35mm negative, in the original widescreen theatrical ratio, the film looks great. The new release contains some interesting extras, including commentary, theatrical trailer and Barkett’s short, “Night Caller,” based on a Ray Bradbury story.

“IMAGES”
Arrow has just released a newly restored edition of 1972’s “Images,” on Blu-Ray” In this intriguing, seldom seen psychological horror film, directed and written by Robert Altman, a writer is beginning to panic as her tenuous hold on reality continues to slip. Working on her fiction, she’s living in her imagination. What is real and what is not? Is she talking to herself? To a ghost? To a friend or unknown antagonist on the phone? Is her husband unfaithful? And what about the trail of blood on the floor? She sees alternate versions of her husband, of herself. Violence. Rifles. Cameras. Sexual interludes. Altman keeps the viewer off guard. The tension bristles under the surface. There are jarring juxtapositions of images. Altman has cited Ingmar Bergman and Joseph Losey as influences. With antecedents such as Bergman’s “Persona” and Polanski’s “Repulsion,” Altman’s “Images” explores madness. A bravura, complex performance by Susannah York as the writer makes the film gripping. Rene Auberjonois is fine in support. John Williams delivers a superlative, unnerving score, very atypical of his ouevre. Disorienting sound effects add to the eerie atmosphere. Equally impactful is the cinematography of Vilmos Zsigmond, who accents Altman’s vision, while making good use of locations in Ireland. This abstruse, suggestive, surreal film fascinates. It’s one of the most unusual creations in Altman’s amazingly diverse body of work (“Nashville,” “M*A*S*H,” “McCabe & Mrs. Miller,” “The Long Goodbye,” “The Player,” “Gosford Park”). The new Arrow release offers valuable extras, including a trailer, a commentary track by the editors of Diabolique magazine and selected commentary previously recorded by the late Altman, as well as an interview with featured actor Cathryn Harrison, who was 13, when the film was originally released. This is a film worth watching, dissecting and rewatching.

“NEWTON’S LAW” - SEASON 1
From the producers of “Miss Fisher’s Murder Mysteries” comes this highly entertaining Australian crime/legal drama. Josephine Newton (Claudia Karvan, “Jack Irish”) an altruistic solicitor, is left without a place to practice, after an angry client torches her office. Reluctantly, she sets up shop with a high profile firm, joining her university chum Lewis Hughes (Toby Schmitz, “Black Sails”). Newton feels responsible for her now adrift former co-workers, ex-thief Johnny (Sean Keenan) and Helena (Georgina Naidu), an astute lawyer who’s phobic about courtrooms. Newton surreptitiously ensconces them in an abandoned car wash in the office’s garage basement. Further testing Newton’s stamina is the fact that she’s raising an adolescent daughter, juggling home life and career. After the first episode gets all the premise-establishing out of the way, Newton and company can get on with the fun. Like “Miss Fisher,” this is a light-hearted, enjoyable series. But it can deftly blend in some serious issues, as when Newton defends transgender rights or investigates a dangerous pharmaceutical corporation. It’s the winning cast that makes the show so pleasurable. Karvan is sharp and appealing. Schmitz has an earnest, somewhat mischievous charm. And there’s a cute flirtatiousness between their characters. The strong supporting cast gives viewers plenty to absorb over the eight episodes, now available in a three-disc set from Acorn Media.

CDs

FIRST AID KIT — “RUINS”
The stirring harmonies of Johanna and Klara Söderberg continue to captivate on their fourth album. The Swedish siblings’ voices entwine magically, providing a source of wonder. They add their own colors and textures to the Americana palette. The sisters enlisted top talent to help make this album something special, including R.E.M. guitarist Peter Buck and Wilco’s Glen Kotche on percussion. Producer Tucker Martine (Neko Case, Decemberists) added his expert input. And the Swedish duo’s daddy, former rocker Benkt Söderberg, plays bass. The sisters’ songwriting continues to evolve and grow. They communicate profound thoughts and emotions dealing with love, heartbreak and regret. “To Live a Life” is one of their most touching ballads. “It’s a Shame” has a classic Buddy Holly feel. There’s a 50s sort of charm to “Fireworks.” “Postcard” rides along with a country lilt. Those two exquisite voices, wrapping around one another, raise this album to an elite level. Among the other gorgeous tracks are “Rebel Heart,” “My Wild Sweet Love,” “Distant Star” and “Nothing Has to Be True.” This folk-pop album is pure pleasure from start to finish.

JANIVA MAGNESS — “LOVE IS AN ARMY”
A Grammy nominee and Contemporary Blues Female Artist of the Year, singer-songwriter Janiva Magness is back with her 14th album, and it proves that she’s at the top of her game. Whether she’s singing about love or social/political issues, Magness’s brand of blues-rock bristles with burning emotion. There’s a gospel tinge to the opener, “Back to Blue.” Other outstanding tracks include “When It Rains,” “Love to a Gunfight” and “Love Is an Army.” There are some colossal collaborations here. A pounding urgency infuses “Hammer,” which features the legendary Charlie Musselwhite. Pedal steel star Rusty Young adds a country element to “On and On.” A heart-wrenching soulfulness runs through “What I Could Do,” teaming Magness with Delbert McClinton. Cedric Burnside adds to the powerful statement of “Home.” On the closing “Some Kind of Love,” Magness delivers one of her most glorious vocals. Throughout, her voice brims with fire and feeling. On this album, Magness exudes a resilience, rising above pain to prevail.

ELISE LEGROW — “PLAYING CHESS”
Canadian vocalist Elise LeGrow works wonders with completely fresh interpretations of classics from the Chess Records catalog. Some were smash hits. Others are more obscure. She retains the essence of each song, but gives each a tantalizingly fresh twist. No matter how far she veers from the originals, LeGrow never does it for the sake of novelty. It always feels right. LeGrow gets things off to a hot start with a sensuously simmering take on Bo Diddley’s “Who Do You Love?” There’s a carefree joy to Etta James’ “You Can’t Shake Me.” LeGrow delivers a hot vocal over cool instrumentation on the Fontella Bass hit “Rescue Me.” She puts the passion into Sugar Pie DeSanto’s “Going Back Where I Belong.” There’s a wistful jazziness to LeGrow’s rendition of Chuck Berry’s “You Never Can Tell.” “Searching for My Love” and “Long Lonely Nights” are among the another top tracks. Making guest appearances on the album are The Dap-Kings, R&B great Betty Wright and The Roots’ Captain Kirk Douglas and Questlove. (Lee Andrews, Questlove’s father, co-wrote “Long Lonely Nights” in 1965.) But this is LeGrow’s show and she dazzles. Her distinctive voice has an edge and intensity, but her performances are also nuanced. This is a tour-de-force full-length debut for LeGrow. With “Playing Chess,” LeGrow establishes herself as a soulful new queen.

MICHAEL LANDAU — “ROCK BOTTOM”
Landau has long been one of the top session and touring guitarists, enhancing the music of Boz Scaggs, Robben Ford, Pink Floyd, Joni Mitchell, James Taylor, Rod Stewart, B.B, King and Ray Charles among many others. The time has come for Landau to step into the spotlight, displaying his vocal and songwriting gifts, as well as his guitar magic. This is intelligent rock with enticing blues and jazz flavors. He rocks on “We’re Alright” and “Bad Friend.” Landau’s plaintive vocals make the ballads “We All Feel The Same” and “One Tear Away” memorable. “Freedom” is a pensive gem. Landau’s expressive guitar work shines throughout. His solos are scintillating, as on the opening “Squirrels.” The expansive, exploratory closing number, “Speak Now, Make Your Peace,” might make you feel like you’re in a 50s beat cafe on acid. The album is deliciously diverse. “Rock Bottom” is top-notch music.

NORMA WINSTONE — “DESCANSADO: SONGS FOR FILMS”
This is a gorgeous album, eloquently telling touching musical stories. Winstone, a brilliant vocal artist, takes an entirely original approach to interpreting cinematic music. She brings her own exquisite sensibilities to a dozen well chosen pieces, some very familiar, others less so. But her evocative vocals and arresting arrangements take each to a new place. Winstone transports the listener, skillfully wending her way through transcendent musical landscapes. She beguiles on the Michel Legrand/Alan Bergman/Marilyn Bergman number from “The Thomas Crown Affair” — “His Eyes, Her Eyes.” You’ll never hear a lovelier version of “What is a Youth?” — Nino Rota/Eugene Walker’s romantic theme from “Romeo and Juliet.” Winstone’s performance on Ennio Morricone’s “Malena,” from the film of the same name, is soul-stirring. No Lyrics? No problem. Winstone penned her own elegant lyrics to many of the songs here, including Luis Bacalov’s “Il Postino,” the title track from that 1994 Italian film, and Bernard Herrmann’s “Theme (So Close to Me Blues)” from “Taxi Driver,” which she gives an appropriately uneasy allure. And her lyrics fit like a glove. Her poetic gift adds or enriches textures in the music. Each of the album’s selections offers a rare beauty all its own. Perfectly complementing Winstone’s sensitive singing are bass clarinetist/soprano saxophonist Klaus Gesing, pianist Glauco Venier, percussionist Helge Andreas Norbakken and cellist Mario Brunello. The instrumentation is just as delicately lovely as the vocals. And, as a vocalist, Winstone is genuine, affecting and endlessly expressive. This album achieves a rare intimacy and poignancy.

“STEVE GADD BAND”
The Steve Gadd Band earned a 2016 Grammy nomination for their “Way Back Home” album. This follow up, the group’s fourth album, is just as exciting. Teaming with drum great Gadd in this brilliant band are Walt Fowler (trumpet/flugelhorn), Kevin Hays (keyboard,/vocals), Jimmy Johnson (bass) and Michael Landau (guitar). Each creates sparkling moments on these tunes. They read each other intuitively. All of these musicians played in James Taylor’s touring band. With subtlety and skill, they mesh melody and groove. And the results are entrancing. Each number has its own feel. Top tracks include “Auckland by Numbers,” “Where’s Earth,” the funk-fueled “Rat Race” and the winsome “Norma’s Girl.” Gadd is widely viewed as one of the world’s top drummers. He has played with such artists as Paul McCartney, B.B. King, Steely Dan, George Benson, James Brown and Al Jarreau. But as band member, leader and producer with his own combo, Gadd reaches a new zenith.

LUCIA COMNES — “HELD IN THE ARMS”
This warm and wonderful Americana album by Northern California singer-songwriter Lucia Comnes is her fourth studio record, the second featuring original songs. Her concept for the collection was to pay homage to the nurturing things in life — family, friends, nature. There’s earthy appreciation in the country charmer “On the Farm.” A reverence for tradition shines in “Grace.” Among the other top-notch tracks are “Winter in the Mountains,” “Side by Side,” Mirabelle,” “I’m With You,” “The Sleeping Lady’s Daughter” and the touching and insightful tribute to a loving parent, “Song for Mama.” Comnes creates enchanting melodies and lovely lyrics. She co-produced the unwaveringly engaging album with Gawain Mathews (Mickey Hart Band). One of the Bay Area’s finest guitarists, Mathews also plays numerous other instruments here, including mandolin and dobro. He also co-wrote three of the songs. The instrumentation tastefully enhances Comnes’ gently beautiful and sincere vocals. And her fiddle playing, joyful or poignant, takes flight, as well. “Held in the Arms” is an album listeners will embrace.

CHIP TAYLOR — “FIX YOUR WORDS”
The words on Chip Taylor’s new album definitely do not need fixing. Few singer-songwriters convey what’s inside them so eloquently… or so profoundly. His whispery, growl of a voice, soaked with world-weariness, benefits from a soothing coat of tenderness. Taylor talk-sings so effectively it will reach right down into the listener’s heart. These are songs that come from deep within his soul. His utter sincerity creates a deeply moving, rare level of intimacy. The cover displays a vintage photograph of Taylor as a child, with his brothers and mother. And that’s an indication of how personal this music is. The 78-year-old artists draws on all of his life experience. Among the perfectly unpolished gems here are “Whatever Devil Is in Me,” “A Little Bit Underground,” “The Ground Moving Around Me,” “Love Knows The Clouds,” ‘We Have Not to Say,” “When He Goes… He Goes,” “Crazy Dreams Crazy” and “You Just Think You Changed Your Mind.” The instrumentation enhances but never intrudes. Chip Taylor is well remembered for penning such 60s classics as “Wild Thing” and “Angel of the Morning.” In the more recent decades, he has been writing and performing less commercial, but more sagacious and moving songs. But these contemplative pieces, like his hits, will be timeless.

CAROLINE COTTER — “HOME ON THE RIVER”
The singer/songwriter/guitarist, who hails from Rhode Island, has traveled the world, living in 31 countries on five continents in the past 15 years. This seeker has found inspiration for “Home on the River,” a new collection of thoughtful, beautifully crafted, disarming songs. Her pure, heartfelt vocals, pretty melodies and honest lyrics will immediately connect with listeners. The compositions explore the things most important to Cotter — family, love, deeper forms of fulfillment. The opening number, reveals the holy grail of her quest — “Peace of Mind.” Other highlights include “Can’t Stop the Waves,” “Hey Mama,” “Found” “My Peace” and the title track. Cotter’s music is authentic and moving. It feels like home.

COLIN CURRIE GROUP — “STEVE REICH: DRUMMING”
Classical percussionist Colin Currie, for the first release on his own label, appropriately performs Steve Reich’s complex and compelling “Drumming.” The Currie group was formed in 2006 for a performance of the epic 1971 piece at BBC Proms, marking Reich’s 70th birthday. The work features nine percussionists, two vocalists and a piccolo player, performing four connected segments — tuned drums featured first, then marimbas, glockenspiels in the third portion. Part four brings all of them together. The vocal and piccolo sounds are used to enhance the percussion. Tones overlap seamlessly. The music is exciting and mesmerizing, building to a tremendous sonic climax. To have the Currie Group’s powerful performance preserved in the studio and now available, is truly a gift.

SHAWN COLVIN — “THE STARLIGHTER”
During her childhood, Grammy winner Shawn Colvin was enchanted by the children’s collection “Lullabies and Night Songs,” which combined the talents of composer/arranger Alec Wilder and the imaginative artwork of Maurice Sendak. Colvin returns to that material to present the 14 enchanting tracks of her new album, “The Starlighter.” The selections, traditional tunes and children’s standards, range from cheery to yearning to poignant. Colvin’s sweet voice brings a new level of charm to Wilder’s arrangements on such numbers as “Go Tell Aunt Rhody,” “Minnie and Winnie,” “Bobby Shaftoe” and “Hush Little Baby.” This is a welcoming, warm, comforting album that will enthrall listeners of all ages. “The Starlighter” is available exclusively for purchase on Amazon Music and streaming through Amazon Music Unlimited and Prime Music.

CHRIS HILLMAN — “THE ASYLUM YEARS”
Country-rock pioneer Chris Hillman enjoyed huge popularity with The Byrds in the 60s and Desert Rose Band in the 80s. In between, following the moderate success of the Souther-Hillman-Furay supergroup, Hillman released two solo albums on the Asylum label. Showcasing Hillman’s pure and pleasing vocals, they deserved far more attention than they received at the time. They have CSN&Y and Eagles flavors that should have helped them climb the charts. The two albums have been re-released on one CD by Omnivore Recordings. The first, 1976’s “Slippin’ Away,” boasts some fine Hillman original tunes, such as “Falling Again” and “Take It on the Run.” His blend of bluegrass and gospel, “(Take Me In Your) Lifeboat” soars in inspirational fashion. There’s also a strong cover of Stephen Stills’ moody rocker “Witching Hour.” Many consummate musicians join him on this record, including Rick Roberts, Herb Pederson, Bernie Leadon, Al Perkins, Steve Cropper, Jim Gordon, Joe Lala, Russ Kunkel, Donald “Duck” Dunn and Lee Sklar. Hillman plays mandolin, as well as acoustic and electric guitars. The follow-up album, “Clear Sailin’,” opens with a lively, tropical-sounding romp, “Nothing Gets Through,” with tasty sax and piano sections. Other excellent Hillman compositions include “Fallen Favorite,” “Hot Dusty Roads” (not the Buffalo Springfield song) and the breezily wistful “Clear Sailin’” (for which former Byrdmate Michael Clarke jangled the tambourine). In addition to those originals, there are top-notch covers of Danny O’Keefe’s “Quits” and Smokey Robinson’s, “Ain’t That Peculiar,” which gets a surprising, hot and infectious treatment. These albums were an important part of Chris Hillman’s evolution. And Chris Hillman is an important part of country-rock’s evolution.

JOHN MAYALL — “THREE FOR THE ROAD”
The legendary John Mayall doesn’t need a big band of Bluebreakers to make his presence felt. Joined by his roadmates bassist Greg Rabz and drummer Jay Davenport, Mayall, now 84, turns up plenty of heat with his raw-edged vocals and soulful piano, organ and harp playing. Mayall still displays ample energy and fire. He’s a master of the blues. The “Three For The Road” set, a live 2017 recording, is a real crowd pleaser. Among the grabbers here are Curtis Salgado’s “The Sum of Everything,” Lionel Hampton’s “Ridin’ on the L&N,” Sonny Landreth’s rollicking “Congo Square” and Mayall’s own “Streamline.” The man who helped launch the careers of such giants as Eric Clapton, Jack Bruce, Mick Taylor, Peter Green, John McVie and Aynsley Dunbar, is an icon in his own right. Seemingly, his road goes on forever.

“THE BAND’S VISIT” — ORIGINAL BROADWAY CAST RECORDING
Based on an award-winning Israeli film, the acclaimed Broadway show “The Band’s Visit” focuses on The Alexandria Ceremonial Police Orchestra, whose eight members are traveling from Egypt to Israel to perform at an Arab cultural center. They end up stranded in a remote spot in the desert. Spending the evening at a local cafe, they meet the venue’s owner, Dina. Their thoughts and expressions are revealed in the impressive music and lyrics by David Yazbek, who wrote equally marvelous, clever songs for 2000’s “The Full Monty” and 2005’s “Dirty Rotten Scoundrels.” He writes with intelligence, empathy and humor. The score here is filled with smart lyrics, wondrous melodies and irresistible rhythms. The impassioned voice of Katrina Lenk (as Dina) stands out on tracks like “Welcome to Nowhere,” “It Is What It Is” and “Omar Sharif.” Strong, sassy or yearning, she holds the listener’s attention. Tony Shalhoub joins Lenk for the touching “Something Different.” Adam Kantor effectively delivers the poignant “Answer Me.” Another highlight is “Itziks’ Lullaby,” which features John Cariani and George Abud. The album also offers an abundance of stirring, original, instrumental Middle Eastern music. The original Broadway Cast Recording of “The Band’s Visit” is now available from Ghostlight Records.

JIMI HENDRIX — “BOTH SIDES OF THE SKY”
“Both Sides of the Sky” is heaven for Hendrix fans. This album, released on CD, digital and as a numbered 180 gram audiophile vinyl double-LP by Experience Hendrix and Legacy Recordings, presents 13 studio recordings, 10 of which have never before been released. The incendiary opener, “Mannish Boy,” has Hendrix taking Muddy Waters lyrics and putting his own distinctive driving force behind them. It’s an early collaboration with soon-to-be Band of Gypsies compadres Billy Cox (bass) and Buddy (drums). The trio of Hendrix, drummer Mitch Mitchell and bassist Noel Redding teams for a bruisingly bluesy “Hear My Train a Comin’.” Johnny Winter joins Jimi for the Guitar Slim classic “Things I Used to Do.” A simmering quality infuses the ferocious funk of “Power of Love.” On the instrumental rendition of “Sweet Angel,” a beauty, Hendrix plays not only guitar and bass, but vibraphone. Hendrix’s guitar work contributes to the Stephen Stills track “$20 Fine” and Jimi plays bass on “Woodstock.” “Stepping Stone” is the final single released before the artist’s tragic passing in 1970 at age 27. The previously unreleased version of “Cherokee Mist,” an instrumental on which Hendrix plays electric sitar as Mitchell’s pounds out an infectious beat, memorably closes this historic set. The album is further proof of Hendrix’s effectiveness as a vocalist, his magic as a songwriter, as well his absolutely wizardry on guitar. He stands as one of the most innovative musical artists ever.

NINA SIMONE — “MOON INDIGO: THE COMPLETE BETHLEHEM SINGLES”
The extraordinarily evocative voice of Nine Simone already exudes a confidence, worldliness and earthiness in these tracks, which were recorded in 1958, when she was just 25 years old. She offers a sophisticated, knowing take on these tunes. Eleven of the tracks were released as “Little Girl Blue,” her debut album on Bethlehem. The label issued all of them, in edited form, as singles. Those versions, remastered, make up this new CD on BMG/Bethlehem, along with three additional tracks. Her powerful rendition of the Gershwin’s “I Love You, Porgy” is here. She swings on “Love Me or Leave Me” and “Moon Indigo.” Among the other highlights are the heartrending “Don’t Smoke in Bed,”a riveting “Plain Gold Ring,” the innocent and lovely Rodgers & Hart number “Little Girl Blue,” and an alternate take of the dramatic, uplifting “He’s Got The Whole World in His Hands.” A classically trained pianist, Simone sounds cool on the keyboards on tracks like “Good Bait.” The songs left off the original LP are all strong cuts, especially the rhythmic “African Mailman.” The jaunty “My Baby Just Cares for Me,” the last song on this set, actually reached the charts in 1987, after it was used in a TV commercial. Simone is a recent inductee into the Rock and Roll Hall of Fame. Her voice, flying with the freedom and fearlessness of jazz, transcends genre. And 60 years after these tracks were recorded, they still hold a hypnotic beauty.

SUNNY WILKINSON — “INTO THE LIGHT”
On her latest album, Sunny Wilkinson proves that she is not only an extraordinary jazz vocalist, but an exceptional songwriter, as well. She co-wrote five of the songs here, including the captivating title tune. Several display the composing skills of her husband Ron Newman, who’s also her pianist. They are joined here by bassist Ed Fedewa and drummer Larry Ochiltree. Wilkinson puts her sophisticated stamp on diverse numbers by James Taylor (“Don’t Let Me Be Lonely Tonight”), Chick Corea (“Crystal Silence”), Antonio Carlos Jobim (“Corcovado”) and Joni Mitchell (“Big Yellow Taxi”). Wilkinson serves up a superb rendition of Stephen Sondheim’s “Not While I’m Around.” And her take on Bobbie Gentry’s “Ode to Billie Joe” is a soulful surprise. Whether sultry, swinging or scatting, Wilkinson’s voice is always a finely tuned, pleasing instrument.

BOOKS

“WONDER WOMAN: AMBASSADOR OF TRUTH”
By Signe Bergstrom [Harper Design]
This beautiful book Lynda Carter, TV’s Wonder Woman, wrote the foreword, stating, “Wonder Woman belongs to you.” And we have embraced this heroic figure whether in comic book, television or movie form. This is a character that has been impacting our culture for more than 75 years. Though society has changed dramatically since Dr. William Moulton Marston, a psychology professor, inventor and writer, dreamed up the Amazon Princess during World War II, she has remained relevant. She’s a warrior who fights for peace. Armed with Bracelets of Victory and a Lasso of Truth, what really gives her power are her resilience, courage and heart. The book offers Diana Prince’s history, from comic art origins to Gal Godot’s triumphant portrayal in the recent blockbuster film. There are plenty of gorgeous photos and illustrations. The little bonus surprises inside are fun, such as a vintage-looking pop-up valentine and a reproduction of the original paper doll and clothes. Over the decades, the character has inspired countless little girls. But Wonder Woman’s appeal breaks down barriers of gender, ethnicity and age. She stands for empowerment and justice. Fans will revel in this sumptuous new tome.

“GOON: MEMOIR OF A MINOR LEAGUE HOCKEY ENFORCER; SECOND EDITION”
By Doug Smith with Adam Frattasio [McFarland; www.mcfarlandpub.com; 800-253-2187]
The hockey movie “Goon,” written by Jay Baruchel and Evan Goldberg and starring Seann William Scott, a cult hit, was based on this book. The movie’s hero, Doug Glatt, is a version of this memoir’s author, Doug Smith. Smith, the black sheep of his family, didn’t lace up skates until the age of 19. He was interested not in scoring hat tricks, but in landing punches, serving as a team’s enforcer. There was much to be learned, tricks of the trade — how to avoid breaking knuckles on a helmet and how keep a jersey tied down, so it won’t be wrenched over the head, rendering a would-be combatant defenseless. Hockey fighting is unique job. A fairly skilled boxer, Smith’s big challenge initially was just to stay upright. Over the years, he became a passable skater, barely. But he wasn’t trying to become a proficient player. He just wanted to defend his teammates and best rival goons. That was his passion. For a meager salary, he made his teammates feel taller and boosted ticket sales. He took pride in instigating a bench-clearing brawl. Smith drifted from one minor league squad to another, plying his brutal services wherever he could. And he steadfastly followed his own code of ethics. Smith introduces us to the colorful cast of characters he encountered in his travels, going from one small town to another in the U.S. and Canada. Goons are rapidly becoming extinct in pro hockey. This book is fascinating, not only as a chunk of hockey history, but as a personality study. Plus the reader will discover all the finer points of thuggery. In this second edition, Smith also goes into detail on the making of the film “Goon” and its sequel, “Goon: Last of the Enforcers,” in which he makes a fistic cameo. He has worked as a police officer in Massachusetts for more than two decades and as an assistant coach for a three-time state-champion high school hockey team. But the years he spent as a fan favorite, pummeling opponents as blood-lusting crowds cheered, makes for compelling reading.

ROLLING STONES ON AIR IN THE SIXTIES: TV AND RADIO HISTORY AS IT HAPPENED
By Richard Havers [Harper Design]
This ultra-cool book is a must-have for all Stones aficionados. It chronicles the history of the band through their television and radio broadcasts, running from their first TV performance on “Thank Your Lucky Stars!” to 1969’s televised free concert in London’s Hyde Park. You’ll find out what songs were featured in these appearances and the significance a show might have had to the group’s progression and mushrooming popularity. There are even examples of correspondence dealing with appearances the band cancelled. All sorts of interesting information fills these chapters. The pages are packed with fantastic photos, including posed and candid shots of the band members, record sleeves, newspaper headlines, pop charts, sheet music, documents and much more, including the one-sheet movie poster for all-star “The TAMI Show.” Readers can see how public response to Stones evolved over the years. In the early days, the establishment bristled at the brash, boisterous band. The book quotes old school comedian Red Skelton’s line, when the group appeared on his variety series. “Ain’t Those Rolling Stones really something? That hair! They make The Beatles look like Yul Brynner.” Through the book, you’ll get a much clearer picture of the 60s British rock scene. And even the most hardcore Stones fan will undoubtedly gain tons of fresh insights.

“REINVENTING PINK FLOYD: FROM SYD BARRETT TO THE DARK SIDE OF THE MOON”
By Bill Kopp [Rowman & Littlefield]
The book focuses on the little explored period between the band’s 1967 debut, “The Piper at the Gates of Dawn” and the mind-bogglingly successful 1973 masterpiece, “Dark Side of the Moon.” Kopp keeps the focus primarily on the music itself, rather than personality issues. The book explores how the group managed to organically transform itself following the departure of the enigmatic, tragic Syd Barrett, originally the primary songwriter. With new guitarist David Gilmour, the rest of the band — bassist Roger Waters, keyboardist Richard Wright, and drummer Nick Mason — was able to morph into a creative force capable of dreaming up and executing “Dark Side of the Moon.” The book meticulously examines every Floyd project — the songwriting processes, melodies, lyrics, time signatures, arrangements, production techniques — that came before that magnum opus. You’ll also gain ear-opening insights into “Dark Side” itself. Kopp makes it clear how daring, inventive and influential the band was from its inception. And his analysis isn’t dry and clinical. It’s fascinating throughout. It helps us better understand music that is among the most complex, challenging, progressive and, ultimately, satisfying, in the annals of rock. And makes us want to go back and listen to those Floyd albums again… and again… and again.

“MY DAYS: HAPPY AND OTHERWISE”
By Marion Ross with David Laurell [Kensington]
For years, she was America’s favorite TV mom, Marion Cunningham, the cherished Mrs C. on the hit series “Happy Days.” Upon absorbing Marion Ross’ new autobiography, readers will realize that, off screen, she was also a lovable, huggable, empathetic, nurturing human being, much like the character she portrayed. Her honest account of her life goes through all the triumphs and tribulations, personal and professional. She was a Midwestern girl who grew up dreaming of standing ovations, appearing on camera and signing autographs. She idolized Shirley Temple (whom she later met, with mixed results). She pored through Theatre Arts magazine and the movie publications. Even in school plays, Ross took acting seriously. She honed her skills at college and the famed Pasadena Playhouse. She shed her Minnesota accent. But major success in Hollywood didn’t come quickly. She aced her screen test and signed with Paramount. But there were years of small roles in film. She describes encounters with screen legends such as Gable, Bogart and Bacall. There’s a memorable incident between sophisticated playwright Noel Coward and the diva Claudette Colbert. And Ross landed guest roles in many of the top TV shows of the 50s and 60s. Then came the opportunity that turned her into a pop culture classic — “Happy Days.” Though the show’s initial pilot failed to sell, the box office smash “American Graffiti” made the notion of starring Ron Howard in a nostalgic comedy a no-brainer for ABC. Ross takes us through the whole process, from producer Garry Marshall’s original creative spark to fruition. She gives plenty of behind-the-scenes information, including the fact that, at first, her relationship with her on-screen husband, Mr. C., Tom Bosley, was prickly. He frequently snapped at her. But she learned that he was trying to cope with his wife’s terminal illness, so Ross reacted with great compassion and, like the rest of the cast, crew and production staff, he soon grew close to her. Off screen, Ross had to deal with a depressive, alcoholic husband. But she persevered through marriage, motherhood and divorce. Later in life, she did find her soul mate… and eventually, tragically lost him. Many of those who love Ross present their remembrances of her in this book, including Garry Marshall and castmates Ron Howard (who also wrote the foreword), Erin Moran, Scott Baio, Anson Williams, Donny Most and the Fonz himself, Mr. Winkler, to whom Ross refers as “My beloved Henry.” The memoir offers a chance to share many of the memorable days of a wonderful life.

“COUNTING DOWN ELVIS: HIS 100 FINEST SONGS”
By Mark Duffett [Rowman & Littlefield]
Elvis Presley recorded more than 700 songs over the course of his career. Choosing the 100 finest is a fun concept, which should spark lots of debate — Why did you leave out that one? How could this one be #7 and that one be #93? But inarguable is the fact that author Mark Duffett, a reader in media and cultural studies at the U.K.’s University of Chester, has done an admirable job. And it’s clear that his love for and knowledge of Elvis music is in the uppermost echelon. Duffett goes into detail about each of the 100 tunes, putting them into context, in terms of not only the King’s life and career, but of the surrounding societal environment. The author includes selections from all periods of the artist’s recorded output, spanning rockabilly, rock ’n’ roll, country, spiritual and Easy Listening. The diversity in the Presley body of work is remarkable. Duffett points out that in Elvis’ career, there were peaks and troughs. But even from the tough, trough times, there are gems to be uncovered. You’ll find all sorts of interesting tidbits on the songwriters, producers, recording sessions, the players and the TV shows on which Presley performed these numbers. Elvis was generally great at choosing material to record (we’ll discount all those cheesy movie tunes that were thrust upon him). Duffett says that Presley’s real mission was to “help the country out.” And the singer achieved that through his culture-shaping music. The book counts down from #100 to #1. The cover shot of Elvis in his iconic white suit might give you a hint of the top tune. Fans will have a great time reading Duffett’s analysis and making their own Top 100 Presley list. The book is a perfect blend of facts and opinions. Duffett fosters an appreciation for Elvis not only as a magnetic performer, but as a peerless interpreter of songs.