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


DVDs

"FLIGHT TO MARS"
This 1951 science-fiction movie, produced by Walter Mirisch, looks great in a new Blu-ray presentation from The Film Detective. The 4K restoration was sourced from the original 35mm Cinecolor separation negatives.

The crew on the first manned flight to Mars includes a physicist, a professor, an engineer and his attractive assistant, as well as a journalist (Cameron Mitchell) covering the mission.

After a meteor storm disables the ship, they crash land. They're greeted by Martians, who conveniently appear to have human form and speak English, but they're dressed like Teletubbies. Once inside the underground city environs, the Earthlings are dazzled by the advanced technologies.

The female engineering assistant, of course, immediately wants to see the kitchen. Mars has no kitchens, just food labs, where you order whatever you like and it pops up, ready to eat. And the dishes are self-cleaning! She declares, "This a woman's paradise!" The Martians are eager to learn about our atomic power.

The visitors get tailored clothes in the latest Martian style. 'When on Mars, do as the Martians do." But not all is friendly on the Red Planet. Some of the Martians want to keep the Earthlings captive permanently. Others are willing to secretly help them repair the ship and return to their home planet.

Marguerite Chapman stars as a Martian scientist. The cast also includes such B-movie stalwarts as John Litel, Arthur Franz and Morris Ankrum.

Director Lesley Selander keeps the action moving. With a career spanning the 30s through the 60s, including many TV episodes, he helmed more than 100 western features.

Though shot on a small budget in just five days, with Death Valley, California as its primary location, the movie remains quite entertaining to watch. Relish the campy fun!

The Blu-ray offers several bonus features worth checking out, including an audio commentary track and two documentaries -- "Walter Mirisch: From Bomba to Body Snatchers" and "Interstellar Travelogues: Cinema's First Space Race."

"DUNE" [2-DISC LIMITED EDITION)
Sometimes films, like other artistic works, need to be reassessed decades after their unveiling. David Lynch's 1984 version of Frank Herbert's 1965 science-fiction novel "Dune," loudly flopped upon its initial release. But it has achieved cult classic status over the years. Now is an ideal time to have another look. Arrow Video has just released a two-disc, limited edition, 4K Ultra HD and Blu-ray, remastered version.

Herbert's wildly sprawling book was nearly impossible to tame as a cohesive screenplay. Alejandro Jodorowsky had tried and failed to adapt it in the 70s. After earning raves for "Eraserhead" and "Elephant Man," Lynch accepted the challenge of writing and directing a big-budget "Dune." It was exec produced by Dino De Laurentiis and produced by his daughter, Raffaella.

In the year 10,191, the most valuable substance in the universe can only be found on a desert planet. Rival factions battle for control. The intricacy of the plot and the number of important characters make it very difficult follow the story in film form. But this epic undertaking is so visually stunning, it really doesn't matter. In Arrow's remastered edition, the sets, scenery, props, costumes and effects are eye-popping.

Consider the level of talent involved -- Cinematographer Freddie Francis, special effects artist Albert Whitlock and creature designer Carlo Rambaldi. Toto and Brian Eno contributed to the score.

Our royal hero in "Dune" is Kyle MacLachlan (in his movie debut). The all-star cast also includes Sean Young, Sting, Patrick Stewart, Dean Stockwell, Francesca Annis, Jose Ferrer, Linda Hunt, Brad Dourif, Richard Jordan, Virginia Madsen, Jurgen Prochnow and Max von Sydow.

Arrow's new release offers tons of special features and they will definitely enhance your appreciation of the film. Among them are new audio commentary tracks, new featurettes on the film's score and merchandising, archival interviews, deleted scenes, the interesting documentary "Impressions of Dune," plus vintage looks at the costumes, effects and models & miniatures. The lavish limited edition comes with a 60-page book.

Lynch is a master at bringing audiences into unfamiliar worlds. His fondness for the bizarre serves him well here. Sandworms 1,000 feet long? He must have been in heaven.

But not having final cut, he was crushed by what the studio did with the film. Despite being flawed and fragmented, this opulent, operatic "Dune" deserves to be re-explored. A new "Dune," directed by Denis Villeneuve," is due in October. In the meantime, experience Lynch's vision of Herbert's science-fiction masterpiece.

"THE LAST TIME I COMMITTED SUICIDE"
If you're fascinated by the Beat poets of the 50s, you're sure to be intrigued by the 1997 indie film "The Last Time I Committed Suicide." The movie, which has just been released on Blu-ray by MVD, is set in the late 40s and is based on letters written by Neal Cassady to Jack Kerouac. Thomas Jane stars as Cassady.

As the film begins, Cassady's lover (Claire Forlani) is in the hospital, following a suicide attempt. The film shifts back and forth, before and after this harrowing incident. The very loose narrative mainly displays the hedonistic 20-year-old Cassady's sexual shenanigans with various women.

The film accurately depicts the details of the era, capturing the atmosphere. It shows the restlessness and rebelliousness of youth in the post-WWII period, which led into the Beat generation. Cassady, who died at age 41, inspired such key figures at Kerouac, Ken Kesey and Allen Ginsberg. His autobiographical novel, "The First Third," was published posthumously. The movie sets the stage for the revolutionary literary movement to come.

Jane does a commendable job in the complex role of Cassady. Forlani is arresting in support. Many notables fill out the cast, including Keanu Reeves, Adrien Brody, John Doe, Marg Helgenberger and Gretchen Mol.

The film was written and directed by Stephen T. Kay (who helmed the misguided 2000 "Get Carter" remake with Sylvester Stallone, as well as episodes of several hit TV series, including "Friday Night Lights," "The Shield" and "Covert Affairs"). In "Suicide," he uses a lot stylistic flourishes to keep viewers involved, including flashes of black-and-white, slow-motion and quick cuts.

The coolest part of the film is the well chosen soundtrack tunes. Featured are such artists as Charles Mingus, The Max Roach Quartet, Dianne Reeves, Miles Davis, Charlie Parker Dizzy Gillespie, Ella Fitzgerald, Art Blakey and Thelonious Monk. There are also songs by the eclectic, experimental band Red Fish Blue Fish. Tyler Bates ties it all together with his jazz score.

ALBUMS

MILES DAVIS - "MERCI MILES! LIVE AT VIENNE"
These tunes were recorded on opening night of the 1991 jazz festival in Vienne, France, less than three months before Miles Davis' death. He passed away from pneumonia, respiratory failure and a stroke. He was just 65. But there's no hint of fragility in this performance. He displays ample robustness, both as trumpeter and bandleader.

Rhino has made this previously unreleased concert available in two-CD and two-LP sets. It's a must-have for even casual fans of Miles... or jazz... or music.

The band comes charging out of the gate with "Hannibal," as Miles bleats out inspired melodies and rhythms. The number wends its way through different, intriguing directions. Davis find a compelling, throbbing tension in "Human Nature," written by John Bettis and Toto's Steve Porcaro, a number that found its way onto Michael Jackson's "Thriller" album. Davis pours fervent feelings into Cyndi Lauper's "Time After Time." It's a heartfelt highlight. "Wrinkle," which Davis co-wrote, struts and soars. Marcus Miller's "Amandla" is a more pensive, pretty piece.

Funk fuels two Prince-penned compositions -- "Penetration" and the bluesy "Jailbait." The concise rendition of the latter, including a hot organ passage, proves to be forcefully persuasive. Sultry R&B flavors also tastily mingle with the jazz foundation throughout this captivating album.

Davids gives each of his imaginative, virtuosic musicians opportunities to shine. And what a lineup! It includes saxophonist Kenny Garrett, keyboardist Deron Johnson, drummer Ricky Wellman, bassists Richard Patterson and "Lead Bassist" Foley. Each contributes mightily to the unit's power and inventiveness, helping to make this a historic concert.

The eight impressive selections here skillfully walk the line between adventurous and accessible. This important new release adds to the breathtaking legacy of Miles Davis.

WANDA JACKSON - "ENCORE"
At 83, the only kind of rocker a typical senior would be ready for is the kind you sit on. Wanda Jackson, however, has never been typical. She has just released a new album, "Encore," that features rockers that will make you leap out of your chair, thrust your fists in the air, grin and dance your butts off.

The pioneering female rockabilly icon, who just recently retired from live performing, has put together a record that's as fiery and defiant as anything she's ever released. These tracks are lean, mean and filled with sizzle.

An inductee into the Rock and Roll, Rockabilly and Gospel halls of fame, Jackson, even as an octogenarian, still has a voice that rivets listeners, thanks to its honesty and power. She makes every lyrical line ring true.

Making age irrelevant, Jackson teams with fellow trailblazer Joan Jett for three songs here. (The album was recorded for Jett's Blackheart Records.) Their voices are perfectly entwined, a surprisingly good fit, on the poignant "That's What Love Is" and an instructive ballad "Treat Me Like a Lady." Elle King teams with Joan and Wanda on the rousing rockabilly number "Two Shots."

On the unflinching "Good Girl Down," one of four Jackson co-writes on the album, Angaleena Presley and Candi Carpenter provide backing vocals. You won't hear a grittier, more grabbing rocker than "You Drive Me Wild." Jackson steadfastly faces relationship challenges in an earthy, bluesy rendition of "We Gotta Stop."

"Big Baby" has the no-nonsense Jackson effectively putting her man in his place. She's equally convincing with Johnny Tillotson's country weeper "It Keeps Right on a Hurtin,'" making the open emotional wound visceral.

Jackson, the rockabilly queen, who dated Elvis, when he was the rockabilly king, still has a commanding vocal presence. There's strength and integrity in every note she sings.

Jett and her longtime collaborator Kenny Laguna, who oversaw the "Encore" project, found the ideal sound for Jackson, capturing her 50s excitement and modernizing it just the right amount. No frills get in the way here. Crisp rhythm, edgy electric guitars, resounding backing vocals and Wanda's impactful voice are all that are needed to make every one of these tracks thrilling.

"Encore" adds perhaps the final exclamation point to Wanda Jackson's truly remarkable career. The album, like Jackson herself, will be everlasting.

MELANIE - "THE SONGS I SANG AT WOODSTOCK"
If anyone epitomizes the beautiful, loving, hopeful spirit of the 60s, it's Melanie. Singer-songwriter-guitarist Melanie Safka attained icon status with her unforgettable performance at Woodstock. She was an inexperienced teen, but her fragility only made her more appealing. Gentle, authentic and exquisite, she gave that August 1969 festival some of its most moving moments.

Over the decades, she has continued to make gorgeous music. Now she has released, from her August 2021 online concert, "The Songs I Sang at Woodstock." Warm yourself in the glow Melanie's natural radiance as she revisits the tunes that mesmerized the vast 60s crowd at Max Yasgur's dairy farm in Bethel, New York.

In the online concert, Melanie is accompanied by her talented son Beau-Jarred Schekeryk. He contributes harmonies in opportune spots, blending pleasingly with his mom's vocals. The occasional synth string or woodwind passages tastefully and imaginatively complement the acoustic guitars.

Folk, blues and a soulful essence are engrained in Melanie's music. The opener, "Close to It All," reminds us that Melanie wants to us break down barriers and connect with one another. That's the Woodstock vibe. In the song, she sings, "Everyone tear down your own little wall...that keeps you from being a part of it all."

The next number, the emotional "Momma, Momma" is riveting as it reveals insecurities and yearning.

The in-between-song chatting to the audience adds another element of charm to this concert. Melanie mentions that she was too nervous to attempt any patter at the 1969 concert. But her little comments here add immeasurably. They include memories of what she felt as an out-of-body sensation at Woodstock.

Prior to serving up a powerful, dramatic version of the song, Melanie describes the obstacles the classic "Beautiful People" faced before it could be widely heard. The song shows vulnerability. That trait vies with the desire to establish a link with strangers with whom we may have much in common.

The tone changes with the wonderfully whimsical "Animal Crackers." She then offers an enchanting, thoughtful rendition of Dylan's "Mr. Tambourine Man." Melanie points out that she had written "Birthday of the Sun," just prior to playing it in the drenching rain at Woodstock... and had never performed it live since that time... until now. She momentarily falters a couple of times, but that only makes it a more disarming and winsome segment.

Melanie ends the 2021 concert, as she did in 1969, with "Tuning My Guitar," to which any singer-songwriter can relate. After that, she thanks those who attended this new performance virtually. She bids adieu, before tossing in a sweet little a cappella snippet from "Lay Down (Candles in the Rain)."

This lovely, uplifting acoustic set will remind you that the world is capable of optimism, sincerity and idealism. When you think of beautiful people, Melanie should immediately spring to mind. Her music is timeless. Her voice is extraordinarily expressive, only enriched by the years.

This is the first time Melanie has performed this exact song lineup since the historic Woodstock event in 1969. Don't miss the chance to relive this captivating concert. It will renew your adoration for Melanie, as a singer and songwriter. At the end, feel free to light candles in gratitude and solidarity.

You can stream and download this extraordinary album, for just $10, on her Bandcamp site: https://melaniesafka.bandcamp.com/album/the-songs-i-sang-at-woodstock

And if you haven't yet read our 2014 interview with Melanie, you'll find it here: http://popcultureclassics.com/melanie.html

THE RUBINOOS - "THE CBS TAPES"
Have you wondered whatever happened to good old rock 'n' roll, the unadulterated, ultra-exhilarating stuff? Tracks that haven't been polished to the point of being neutered? Well, Yep Roc has released just such an unrestrained album, a buoyant batch of early, previously unreleased performances by The Rubinoos.

"The CBS Tapes" contains the group's pleasing power pop-punk at its most raw and rowdy. This 1976 material represents sort of a warm-up session, allowing the lads to get accustomed to the studio, prior to recording their 1977, eponymous, explosive debut. No retakes. No overdubs. Just frenzied, feel-good rock 'n' roll.

Getting together in Berkeley, in their teens, The Rubinoos sounded like the ultimate garage band, with the infectious energy of the Cavern-era Fab Four. This set includes a couple of irresistible Beatle covers -- "She Loves You" and "I Want to Hold Your Hand."

They draw from a wide spectrum of sources, bringing their own sassy sensibility to The Meters' "Cissy Strut" and King Curtis' "Memphis Soul Stew,"

Even more satisfying is The Rubinoos' version of the Jonathan Richman & The Modern Lovers number "Government Center." Shedding the saccharine elements of the DeFranco Family's hit "Heartbeat, It's a Love Beat," The Rubinoos give the song a compelling exuberance.

"All Excited" is a propulsive original tune that gives the band's vocal harmonies a chance to shine. Also included in the lineup of original compositions are "I Want Her So Bad" and "Nooshna Kavolta."

Though the bright, unaffected vocals are a big part of the band's appeal, they also display a strong instrumental prowess, delivering the tantalizingly twangy Ventures classic "Walk Don't Run."

Despite being new to the studio, The Rubinoos -- lead vocalist Jon Rubin, lead guitarist Tommy Dunbar, bassist Royse Ader and drummer Donn Spindt -- sound carefree, confident and dynamic. Having already gigged extensively, they mesh as a tight-knit, well balanced band. They're melodic, but always display an enticing edge.

Above all, this album, from start to finish, sounds fresh and fun, even after 45 years. There's an unbridled joy present that is missing from so much of more recent rock. The Rubinoos were one of the best bands (though unfortunately, not one of the best known) of the 70s. They did go on to have success with such songs as "I Wanna Be Your Boyfriend," "Revenge of the Nerds" and a killer cover of "I Think We're Alone Now."

It's great to hear what they sounded like in their first studio excursion. The albums they were soon to record were a bit more produced and shiny, but they retained the rough-and-ready eagerness. "The CBS Tapes," which offers a glimpse into The Rubinoos' roots, provides pure rock 'n' roll bliss.

SUPERGRASS - "IN IT FOR THE MONEY" (DELUXE EXPANDED EDITION)
Another band that could pump out the grabbing rock and pleasurable power pop-punk was Supergrass. But they could also draw from psychedelia and even a hint of prog. Sophisticated songwriting, potent instrumentation and strong production made their music memorable.

The Britpop band's epic second album, "In It For The Money," has been released in a remastered, expanded edition. It's available in vinyl packages, as well as in digital formats and in a 3-CD set. With brash, ragged energy, Supergrass showed that the sophomore jinx is a myth. They had scored big with their 1995 debut, "I Should Coco." But this 1997 follow-up, despite the pressure, distractions and squabbles resulting from sudden fame, proved to be even better.

Led by brothers Gaz (guitar/lead vocals) and Rob Coombes (keyboards), with powerhouse drummer Danny Goffey and bassist Mick Quinn providing a solid foundation, as well as backing vocals, the alt-rock group earned massive sales and rave reviews. Fans can get an even greater appreciation for what was accomplished by listening to this expanded version.

The dynamite dozen tracks from the original album take on added punch, thanks to the remastering. The CD set includes tons of rarities, such as B-sides, outtakes and live tracks.

The album contains instant classics like "Richard III," "Late in the Day," "Cheapskate" and "Sometimes I Make you Sad." There's a delicious density to the sound. But hooky guitar riffs leap out.

The rarities disc serves up some real treats, such as the unadorned demo for "Late in the Day," as well as winning tunes like "Nothing More's Gonna Get in My Way" and "We Still Need More (Than Anyone Can Give)," which benefits from alluring harmonies.

The third disc is bursting with live gems, mostly recorded during a 1998 Rock City, Nottingham concert. Highlights include the smash "Alright," plus "Lose It," "Mansize Rooster" and "Melanie Davis." There's also a surprisingly fierce rendition of "Just Dropped In (To See What Condition My Condition Was In)," a 1967 Top 10 hit for Kenny Rogers and the First Edition.

Nearly 25 years after the original release of "In It for the Money," Supergrass will still give you a terrific musical high.

JUDY WEXLER - "BACK TO THE GARDEN"
Back to songs that had something to say. Songs with social and political relevance. Songs brimming with emotion and insight. Back to the 60s. That's where Judy Wexler travels, via her beautiful new album, "Back to the Garden."

Baby boomers will instantly perk up, when they glance at the familiar song list. But they'll be wowed by the unexpected turns in which Wexler takes these 60s classics. Armed with inventive arrangements and the stellar work of superlative session musicians, she utilizes her marvelously winning and expressive voice, as well as her impeccable jazz sensibility, to transform treasures from the pop, rock, folk and R&B realms.

Each well chosen song takes on a fresh identity, thanks to Wexler's bold, yet loving approach. Chet Powers' "Get Together," popularized by The Youngbloods, gets things off to an inviting start. Wexler imbues "Up On The Roof," the Drifters' hit, penned by Goffin & King, with warmth and hope. Violin, viola and cello complement her moving vocal on Paul Simon's "American Tune."

A funk feel adds vibrancy to the rhythmic rendition of Joni Mitchell's "Big Yellow Taxi." Wexler finds the poignancy, as well as the urgency in Bob Dylan's "The Times They Are A-Changin.'" She draws on Dylan again for an enthralling "Forever Young."

Wexler's sensitivity serves Judy Collins' "Since You've Asked" quite well. With bluesy guitar and gospelish backing vocals, Wexler energizes the Stephen Stills/Buffalo Springfield anthem, "For What It's Worth." There's a plaintive power to her interpretation of Fred Neil's "Everybody's Talkin', which Harry Nilsson recorded for the film "Midnight Cowboy."

Perhaps the loveliest track is the closing one, Sandy Denny's "Who Knows Where The Time Goes." Wexler makes it a wistful wonderment.

Wexler's "Back to the Garden" is a tantalizing trip back to the age of flower power. But it's far more than Woodstock-era nostalgia. She has breathed new life into all of these great tunes. The album, which transcends genre, deserves a wide and appreciative, multi-generational audience.

CLIFFORD/WRIGHT - "FOR ALL THE MONEY IN THE WORLD"
Wow, talk about buried treasure! You might assume that if an album had been stuck in a vault for 35 years, it must have serious flaws. You'd be assuming incorrectly in the case of "For All The Money in the World." The Clifford/Wright debut just might be the best classic rock album you've never heard.

In 1985, Doug "Cosmo" Clifford, legendary Creedence Clearwater Revival drummer, put together a supergroup to create a rock album. His primary collaborator was an old pal, Steve Wright, bassist of the Greg Kihn Band. The 11 songs they wrote for this project are diverse, exceptionally well crafted and immediately memorable.

To help them pump life into the exciting tunes, Clifford brought on board lead vocalist Keith England (The Allman Brothers Band), guitarists Greg Douglass (Steve Miller Band), Jimmy Lyon (Eddie Money) and Joe Satriani, plus keyboardists Tim Gorman (The Who) and Pat Mosca (Greg Kihn Band). England has the perfect amount of sandpaper and soul in his voice. The guitar work is outstanding. And, of course, you'd be hard-pressed to find a rhythm section to rival the duo of Clifford and Wright.

Top numbers include the title track, as well as the vigorous "Weekends," "Lonesome Boy" and "You're Gonna Love Again"; the persuasive power ballads "I See Your Silhouette," "Just in the Nick of Time" and "Real Love"; the gripping, mid-tempo "Lost Pride Fever"; and the rollicking roots rocker "She Told Me So."

Most of the songs here sound like they could have, should have, been big hits in the 80s. Hell, there's no reason they couldn't be hits right now. When you listen to these tunes, you're likely to exclaim, "I wouldn't have missed this 'For All The Money in the World.'"

Why Clifford stored the masters for these tracks in "Cosmo's Vault" for all these years is a mystery. This album cries our for exposure.

Clifford is said to have lots more material stored in that vault of his. Can't wait to hear it!

TEN YEARS AFTER - "NATURALLY LIVE"
A sensation at Woodstock, the British band has been electrifying audiences for more than half a century. Now the group, through DEKO Entertainment, has released a deluxe edition of "Naturally Live," featuring sizzling versions of their most popular numbers.

Fans from the late 60s and early 70s may still lament the loss of the original lead guitarist/vocalist, the charismatic Alvin Lee, who passed in 2013. However, this current lineup can definitely rock up a storm. Founding members Chick Churchill (keyboards) and Ric Lee (drums) are joined by singer/guitarist Marcus Bonfanti and bassist Colin Hodgkinson.

Bonfanti's earthy voice and robust guitar riffing deliver the goods on such classic numbers as "I'd Love to Change the World," "Good Morning Little Schoolgirl" and "I'm Going Home." The blues-drenched "One of These Days" packs quite a wallop. The bonus tracks, "I Say Yeah" and a previously unreleased version of "33-20 Blues" really cook, as well.

The band delves into a more traditional blues vein in the semi-acoustic portion of the show, with "Don't Want You Woman" as one of the high points. The band also includes several tunes from their successful 2017 studio album, "A Sting in the Tale," such as "Land of the Vandals."

Recorded in concert, in Germany, in 2018, this set will keep fans' heads bopping appreciatively throughout.

BOOKS

INSIDE COMEDY
THE SOUL, WIT, AND BITE OF COMEDY AND COMEDIANS
OF THE LAST FIVE DECADES
By David Steinberg [Knopf]
When you want to know about comedy, turn to a comedy insider. That's David Steinberg. He has been one of the most innovative and illuminating figures on the comedy scene for more than half a century. His mischievous, irreverent brilliance made him a standout stand-up comic in the late 60s, 70s and 80s. He became of the top sitcom directors after that. He not only knows all about the great comedians, he knows most of them as dear friends.

That made him the perfect host of Showtime's "Inside Comedy," featuring his in-depth interviews with many comedic geniuses. Now he has gifted us with an insightful new book, "Inside Comedy: The Soul, Wit, and Bite of Comedy and Comedians of the Last Five Decades." Yes, it's educational, but it's also hilarious. You'll find it difficult to turn the pages, you'll be laughing so hard.

It the first portion of the book, Steinberg gives us an amusing, brief look at his personal history. The Canadian-born Steinberg grew up in Winnipeg. He went to Chicago to pursue rabbinical studies. But catching a Lenny Bruce gig in the Windy City changed his direction completely. Steinberg writes, "I suddenly knew that I wanted to be smart as much as I wanted to be funny. And then I realized that being funny is a version of being smart." Steinberg was soon honing his innate improvisational comedy skills at the famed Second City.

He created a demented psychiatrist character who startles his patients by shouting, "Booga! Booga!" He recorded hit comedy albums. Establishing himself as one of the smartest and most original comics, Steinberg began appearing on TV frequently.

The book has an appropriately lionizing chapter titled "The Brave Humor of the Smothers Brothers." Steinberg guested on the duo's show several times, presenting satirical sermons. That ratcheted up the conflict between the Smothers Brothers and the CBS censors, eventually leading to their cancellation. Steinberg has never run from controversy.

On stage, with his sharp tongue, he earned the ire of Richard Nixon. He hosted a series that melded the cool combo of rock and comedy, "Music Scene."

His quick wit made Steinberg a terrific guest on chat shows. Johnny Carson loved him. Hie guested on "The Tonight Show" 140 times, more than anyone but Bob Hope. He also served as guest host. Steinberg includes warm remembrances of Carson in the book. He also discusses those who came before and after -- Jack Paar, Steve Allen, Letterman, Conan.

Steinberg talks of his friendships with greats like Richard Pryor, Don Rickles, Steve Martin, Martin Short, Robert Klein and Lily Tomlin. There are little stories about what bit John Belushi borrowed from Steinberg for one of his most iconic "SNL" characters and how Steinberg introduced Barbra Streisand to Isaac Bashevis Singer's "Yentl."

A couple of the most entertaining chapters feature "The Comedians' Comedians" and "Actors as Comedians," "Comedians as Actors." Throughout, Steinberg uses memorable quotes from the most fertile comedic minds. Woody Allen and Mel Brooks sing the praises of Sid Caesar; Robin Williams does the same for Jonathan Winters.

So many colossal comedians appear on these pages -- Larry David, Carol Burnett, Julia Louis-Dreyfus, Will Ferrell, Chris Rock, Mike Myers, Jon Stewart, George Carlin, Ellen DeGeneres, Bob Newhart, Billy Crystal, Wanda Sykes, Dave Chappelle, brothers Albert Brooks and Bob Einstein, and many more.

Steinberg takes us right onto the set of some of the TV shows he has directed over the years, including "Curb Your Enthusiasm," "Seinfeld," "Friends," "Designing Women," "Mad About You" and "Golden Girls." You'll get juicy tidbits on the series' stars.

So many amazing anecdotes jump out. Steinberg attended a party at Lucille Ball's house with his idol and close chum Groucho Marx. He asked Groucho how he knew Lucy. The answer will have you rolling on the floor. Then there's the time that Don Knotts was stuck wearing a drag costume after rushing out of a film shoot and Tim Conway convinced him it would be okay to go into a Stockton, California cowboy bar.

Steinberg presents the inside stories of our favorite comedians, uncovering their real personalities, the keys to their unique styles, their influences, the reasons they got into comedy, how they found their voices.

The book is a treasure for anyone who enjoys comedy. Isn't that all of us?

SINATRA AND ME
IN THE WEE SMALL HOURS
By Tony Oppedisano with Mary Jane Ross [Scribner]
Imagine kicking back in the wee small hours of the morning, sipping Jack Daniels listening to your pal's innermost thoughts, his deepest secrets. And that pal was none other than Frank Sinatra.

Tony Oppedisano, author of the new memoir "Sinatra and Me: In The Wee Small Hours," did just that, for countless hours. A one-time singer, Oppedisano became a friend of Sinatra's close cohort, Jilly Rizzo, gained access to the Rat Pack and eventually, following Rizzo's passing, took over as Sinatra's road manager and bosom buddy. He was there for the final years of the Chairman of the Board's life.

Oppedisano doesn't hide from the more controversial aspects of Sinatra's colorful escapades. He touches on the mob connections, the Marilyn Monroe rumors, the divorce from Nancy Sr., the shifting relationship with the Kennedys, even the question of Ronan Farrow's paternity. There's quite a bit about the tempestuous romance with Ava Gardner. And Oppedisano talks of Sinatra's difficulties coping with his failing health in the later years.

So many celebrities drift through these pages, including Natalie Wood, Tony Bennett, Nat King Cole, Bing Crosby, Angie Dickinson, Tommy Dorsey, Ella Fitzgerald, jJudy Garland, Steve & Eydie, Peggy Lee, Gregory Peck, Don Rickles, Grace Kelly, Bob Hope, just to name a few. Of course, there's plenty said about Dean and Sammy.

The book also explores the songs. Oppedisano says, "If you want to understand Frank Sinatra, listen to his music. It's his life -- the love, the passion, the pain, the loss and the jubilation... Frank was an autobiographical singer."

With most of the many Sinatra biographies, even if exhaustively researched, you have to wonder what they know about what was really in Ol' Blue Eyes' mind. But here you're getting it essentially straight from the crooner's mouth.

Despite Sinatra's volatility, the author clearly loved the man. Written with tremendous affection and respect for his subject, Oppedisano offers a fresh perspective and new insights for the legions of fervent Frank fans. They will cherish this intimate, revelatory book.

SAVED BY A SONG:
THE ART AND HEALING POWER OF SONGWRITING
By Mary Gauthier [St. Martin's Essentials]
A song may save you... as it has countless others. Music does have magical curative powers. Mary Gauthier, one of our finest singer-songwriters, has herself been saved by song. And she in turn, has saved countless others.

In her deeply moving and insightful new memoir, she reveals the essence of songwriting. Though the book has an autobiographical component, it goes beyond her personal story, striking universal chords. It's about understanding trauma, facing it, dealing with it, striding beyond it.

As the empathetic, perceptive Gauthier writes, "Song is the most distilled of all the arts, the most clarified, accessible and democratic; anybody can connect with a song." Songs can make us feel that we're not alone.

Gauthier does not seek to write songs to feed the hit-making machine. For her, songwriting is about self-exploration, self-expression and reaching out compassionately to others.

Adopted as a baby, Gauthier had a troubled childhood. Alcohol and drug abuse numbed the pain momentarily, but caused even more problems. So she sought treatment. She discovered that songwriting could be a huge part of her healing and growth. She has been clean and sober for decades.

Gauthier explains how and why songs by other artists, such as John Prine's "Sam Stone" and John Lennon's "Mother," profoundly affected her, both as a songwriter and a human being. She also goes into the details of the origins and development of her own wonderful works, such as "Mercy Now," "Drag Queens in Limousines," "Our Lady of the Shooting Stars" and "Blood Is Blood."

Coming full circle, Gauthier tells us how she has used her gifts and knowledge to participate in SongwritingWith:Soldiers, a non-profit that teams professional songwriters with wounded veterans to tell their stories. That transformative process has resulted in such striking songs as "Rifles and Rosary Beads" (which Gauthier co-wrote with Joe Costello) and "Still on the Rise" (co-written with Josh Geartz). This is a heart-rending segment in an enormously moving book.

After reading Gauthier's words, you'll have a better sense of what songwriting should be. Music business aside, it's all about unearthing the truth, digging into the darkest corners of your soul to find illumination. In the book, as in her songs, Gauthier courageously presents the nothing but truth -- unvarnished, uncompromised.

Gauthier believes that a song can change the world. Her kind of songs surely can.

STORIES TO TELL: A MEMOIR
By Richard Marx [Simon & Schuster]
He's a popular singer who has sold more than 30 million albums. He's also a successful music producer. But Richard Marx states in his new memoir that he identifies primarily as a songwriter. He has a natural gift, having gorgeous melodies just flash into his head.

In the book, Marx provides details on how he transforms these inspirations into fully realized, memorable songs. Written in engaging, casual style, the autobiography provides an entertaining look at a career that has thrived for decades.

Music is in his blood. His mother was a vocalist and his father, an acclaimed jazz pianist, was the preeminent writer and producer of jingles. By his teens, Marx, who grew up in Chicago, was already opening doors with his talent. Lionel Ritchie became a mentor.

Marx's first made a living as a background singer, doing sessions with the industry's top names. Soon he was gaining recognition as a songwriter. Finally, after struggling to gain a foothold as a performer, he landed a contract and began making hit records of his own. His self-titled debut album went triple platinum. His memorable singles included "Don't Mean Nothing," "Endless Summer Nights," "Right Here Waiting" and "Hazard."

According to the old adage, you should never meet your heroes. Throughout the memoir, Marx proves that to be resoundingly untrue. Destiny gave him the chance to write with many of his idols, including Burt Bacharach, Olivia Newton-John, Kenny Rogers and Luther Vandross. Other collaborators who became friends included Keith Urban, Hugh Jackman, Barbra Streisand, Kenny Loggins and Fee Waybill of The Tubes. Marx has great stories about all of them.

He also recounts a big event in his early life. On his first day of kindergarten, the teacher told Marx to sing a song in front of the class. He chose his favorite, The Monkees' "I Wanna Be Free" (written by Boyce and Hart). Then, thanks to his father, Marx had the opportunity to meet his childhood idol, Davy Jones, whose graciousness cemented Marx's desire to make music.

He also delves into the triumphs and tribulations of touring, including going on stage despite a debilitating mystery illness, as well as racing away from Chinese gangsters bent on assassinating him after a Taiwan concert.

Marx writes about his travels and adventures with winning humor. But he doesn't shy away from the sad times, including the loss of his beloved father Dick Marx and close friend Vandross. He also reveals the negative aspects of the music business.

Marx is all about the music. And so is his book. He has never shoved his personal life into the public eye. But the memoir does pause to talk about his 25-marriage to actress/singer/dancer Cynthia Rhodes and his pride in their three sons. He also glowingly writes of his present wife, actress/model/MTV VJ Daisy Fuentes.

Though songs penned or co-written by Marx have topped the charts in four different decades, it's clear from the book that he feels he hasn't received the full respect he has earned. He would like to be taken seriously as an artist. And, like any performer, he has had to endure the valleys, as well as riding the peaks. But he also makes clear that audience enthusiasm, having crowds sing along to the enduring hits he has written, makes facing all the challenges worthwhile.

Marx's memoir will fascinate not only his fans, but anyone interested in the music industry, as well as the crafts of songwriting and producing.

DARK CITY: THE LOST WORLD OF FILM NOIR
REVISED AND EXPANDED EDITION
By Eddie Muller [Running Press/Turner Classic Movies]
Wondering whether you should venture down that dark alley? Hesitant? Pulse rate rising? Scared? Don't worry. You can turn to Eddie Muller. Put your trust in him. He will make your excursion into the city's underbelly exciting and memorable.

Muller, dubbed "The Czar of Noir," hosts TCM's popular "Noir Alley" and is the founder and president of the non-profit Film Noir Foundation. Through his efforts, more than 30 lost noir films have been restored and preserved. His encyclopedic knowledge of the genre, as well as his sharp wit, make him an ideal movie host and spellbinding author.

The newly revised and expanded 2021 edition of his fascinating book "Dark City" will be a welcome addition to any film aficionado's library. Originally published in 1998, it's a seductive, immersive journey into the shadowy world in which noir revels.

The films are populated by outsiders, the desperate, the forgotten, the greedy, the lustful, the victimized, those who have stumbled into the dark side and can't claw their way out -- the petty criminals, the world weary cops, the dodgy private eyes, the brash reporters, the tantalizing temptresses. Their cynicism has been well earned. Muller's book gives us a stronger grasp of these characters whose toughness gives them a slightly better chance of survival.

Filled with grit, grime, sin and danger, these films sneer their contempt for Hollywood happy endings.

In the cleverly assembled book, Muller pays tribute to many of the greats who elevated the genre, actors like the defiant John Garfield, flinty directors like Samuel Fuller, astute producers like Hitchcock collaborator Joan Harrison, robust writers like Mickey Spillane.You'll find many other persons of interest here, including Robert Mitchum, Gloria Grahame, Ida Lupino, Sterling Hayden, Gene Tierney, Alan Ladd, Dan Duryea, Richard Widmark, Peter Lorre, Fritz Lang, Tom Neal, Steve Cochran, Ella Raines, Lizabeth Scott, Gail Russell and Belita.

Muller's writing is definitely not a cold, clinical analysis. It's a passionate plunge into the thought-provoking themes noir films examine, pointing out previously undetected elements of some of the genre's most intelligent, transcendent and haunting works.

Though most of the movies covered here were shot in the 40s and 50s, Muller points out that the noir sensibility continued to permeate films decades later, spotlighting "Chinatown." He investigates not only well known classics, but obscure gems, as well, such as "Somewhere in the Night" and "Thieves' Highway."

The author is not only an incisive historian, but also a highly effective entertainer. Every penetrating page of Muller's book proves to pleasurable. With its smartly written text and abundance of fabulous photos and poster art, you'll want to keep the handsome "Dark City" on your coffee table, so you can continually thumb through its informative content.

Muller is to be applauded for shining a light into the darkest corners of cinema, giving film buffs a greater understanding and appreciation of the film noir genre. His championing of anti-heroes has been heroic indeed.