ALTERED IMAGES: The Epic Years (4CDs) reviewed!

Regardless of what the naysayers think, the ‘80s was an extremely exciting decade for music. From Punkto Post-Punk, Power Pop to Synthpop, New Wave to New Romantic, there was so much creativity in the air. Punk had come along in 1976 and levelled the playing field, allowing bands to create new musical genres, of which there were many. On any given week, you could buy new releases from artists like A Flock Of Seagulls, Gang Of Four, The Icicle Works, Peter & The Test Tube Babies, Spandau Ballet, XTC, Squeeze, Culture Club, Split Enz, Madness, Blancmange, PiL, The Clash, The Human League, The Jam, Siouxsie & The Banshees and so many other remarkably talented bands. Sure, there were second and third tier bands that seemed to jump on whatever bandwagon was the most popular at the time but by and large, there were many unique bands that really stood out from the pack. Altered Images was one of those bands and THE EPIC YEARS (4CD) is all the proof you need! This box set contains the band’s three studio albums (with bonus tracks) plus an additional CD containing nine extended remixes. THE EPIC YEARS is the definitive Altered Images collection and should be a part of any serious music fan’s collection. Ahem, that means YOU, the reader!

AMPED™ FEATURED ALBUM OF THE WEEK: CINDY ALEXANDER/NOWHERE TO HIDE

For two decades,  singer/songwriter/multi-instrumentalist Cindy Alexander has been crafting albums of emotional strength and delicate beauty. Thankfully, the string of albums that she has released over the years have not gone unnoticed. In 1998, she was named Songwriter of the Year and nominated for Female Vocalist of the Year by the Los Angeles Music Awards. Her debut album SEE RED was nominated for Independent Pop Album of the Year. Since then, she’s received many more awards and nominations including Songwriter of the Year –JPF Music, Best Female Rock Vocalist – All Access Music Awards, and Special Achievement Pop Artist – Los Angeles Music Awards. She was offered a major label recording contract thanks to her appearance on NBC’s Star Tomorrow but she chose to have more control over her career and rejected the offer.

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AMPED™ FEATURED ALBUM OF THE WEEK: INGRAM/NIGHT STALKERS

     
     NIGHT STALKERS, originally released in 1984, was Ingram’s third and final album. And before you jump to conclusions, this band of Ingram siblings was not related to Grammy-winning singer/songwriter James Ingram although there is a member of this act who goes by the named James/Jim! This album features the multi-talented former basketball player Norman AKA Butch Ingram (bass and trumpet) joined by his siblings James (vocals, keyboards, sax, flute), Barbara (vocals), Billy (guitar, bass, trombone), John (lead vocals, drums, tuba), Timmy (drums, percussion, trumpet) and Francis, Edith, and Virginia (vocals).  Unlike most other family bands at that time, Ingram was a self-contained unit – writing, arranging and producing their own material.

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AMPED™ FEATURED ALBUM OF THE WEEK: BLACKTOP MOJO/BURN THE SHIPS

     Palestine, TX-based hard rock band Blacktop Mojo returns with their sophomore album BURN THE SHIPS. This blistering potpourri of power was recorded at Sound Emporium Studios in Nashville, TN, FAME Studios in Muscle Shoals, AL, and Audioworx Studios in Palestine, TX. Blacktop Mojo’s blend of Metal, Southern Rock, Hard Rock and Grunge ensures that they will appeal to heavy music lovers across the board.

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AMPED™ FEATURED ALBUM OF THE WEEK: THE GUESS WHO/AMERICAN WOMAN (DELUXE EDITION)

 On the surface, it is slightly ironic that “American Woman,” one of Rock’s most memorable hit singles of the ‘70s, was written and recorded by a Canadian band – The Guess Who. Unbeknownst to some, “American Woman” was, according to guitarist Randy Bachman, an anti-Vietnam War protest song! Regardless, The Guess Who’s Blues-based Rock workout became a fist-pumping anthem and remains a staple on terrestrial and satellite Rock radio… and rightly so!

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AMPED™ FEATURED ALBUM OF THE WEEK: KEITH HARKIN/IN THE ROUND

     IN THE ROUND is an intimate and personal live album recorded by Keith Harkin, best known as a founding member and lead soloist of Celtic Thunder, the Irish sensations who have sold over a million albums worldwide. Prior to the release of IN THE ROUND, Harkin released two solo studio albums – KEITH HARKIN (2012) and ON MERCY STREET (2016) – plus the Christmas album NOLLAIG (2016), which debuted at #1 on the Billboard World Music Chart. While Celtic Thunder’s theatrical live performances are the stuff of legend, Harkin’s live performance on this release is stripped down to acoustic guitar and vocals. IN THE ROUND lets Harkin’s voice and the songs’ melodies do the talking.

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AMPED™ FEATURED ALBUM OF THE WEEK: AWAKENING BEYOND

     Tina Turner has been a crucial piece of pop culture since the late ‘50s when she began working with Ike Turner. Throughout the ‘60s, she was an electrifying performer, touring around the world and recording hit records. Her career calmed down in the ‘70s but by 1984, when she released the album PRIVATE DANCER, she became the worldwide superstar that she was always meant to be.  By the dawn of the millennium, she stepped out of the limelight and has not released a full-fledged Pop or Soul album since 1999’s TWENTY FOUR SEVEN.

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AMPED™ FEATURED ALBUM OF THE WEEK: BLOODSHOT RECORDS’ 13 DAYS OF XMAS!

     I’m either the right guy to be writing a review of a ‘new’ Christmas release… or I’m the wrong guy. You see, I’m a connoisseur of Christmas music and I’m extremely picky about the holiday music that I listen to.  I don’t care who performs the song or in what style – I’m looking for the FEELING of the season in the song. And for someone who loves Christmas music, there’s very little that has tickled my fancy since the ‘70s. There are exceptions but my favorites tend to be random singles (XTC, Band Aid, Status Quo, etc.) and very few albums. Sure, I appreciate the attempts to create a new classic Christmas album but it is very obvious to me when it is merely a cash-grab by the artist or the label. Or almost as worse – when an artist is only interested in celebrating their own voice and not the holiday they sing so joyfully about. So, sadly, I now approach every Christmas album with trepidation and fear. And suddenly, Bloodshot Records’ 13 DAYS OF XMAS landed in my lap and I needed to take some anxiety medication before I could even listen to it….

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LEWIS BLACK: An EXCLUSIVE Q&A

BLACK TO THE FUTURE
 
STEPHEN SPAZ SCHNEE: BLACK TO THE FUTURE has just been released on DVD and CD. How are you feeling about the way the whole project turned out?
LEWIS BLACK: I am thrilled and couldn’t be happier, especially since this is the first time I’ve produced a DVD and CD on my own label.
SPAZ: Even though this show was taped before the election, I sense that you knew how it was going to turn out. As you imply during the show, the jokes write themselves. Did you realize just how crazy it was going to get?
LEWIS: I wish. I wish I’d actually began writing a book once he had started running. It would have been interesting to see if I could have really captured the crazy that was too follow. But I just didn’t have enough imagination to imagine it could really happen. Every step of the way I thought, “This can’t get more insane” and then it did.
SPAZ: Why do you think that humor helps people understand the way this world really works? Your humor is biting but your messages seem to stay with people.
LEWIS: I think it’s because it helps provide a framework for all of the nonsense and hoo-hah and B.S. that life throws at us. It allows folks to step back from the madness, as they laugh, even if it’s just for a moment and be able to realize that this too shall pass.
SPAZ: I believe that the reason you remain so relevant is that you never pretend you have all the answers because you seem just as befuddled by political shenanigans as the rest of us. Do you think that helps you to connect with your audience?
LEWIS: Yes, I do. I also think because as many folks have said to me throughout my career, “You’re just like my dad, only funnier.”
SPAZ: BLACK TO THE FUTURE’s bonus CD contains additional material that didn’t make it to the show. How much prep does it take to put together a show when you know it is going to be filmed for prosperity? And do you tend to cut a lot of material before that taped show?
LEWIS: Once I finish putting a special together and getting it filmed, I begin working on the next one. Sometimes, I already have new material that I have been working on and I start there. Other times, I am starting from scratch and so I set out trying to find what I want to basically yell about and find the arc of a story I can tell. Along the way I cut pounds and pounds of material and eventually when I feel I am getting close, I start to figure out where we will shoot the special.
SPAZ: A comedian’s stand up show must change and evolve at a rapid pace, especially when there’s so much inspiration for new material. Do you tend to tape your shows right before you set aside (or retire) certain material? People don’t realize how difficult it must be for a comedian to constantly have to change his/her act in order to survive in this industry.
LEWIS: Actually, there are many comics who don’t change their material, they continue to hone it, which would drive me nuts but which other comics find satisfying. I tape every single one of my shows, probably because I am crazy.
SPAZ: After the laughs subside and the audience heads home, what is the most important thing you want them to remember after the show?
LEWIS: That they had a good time.
SPAZ: You’ve been doing segments for The Daily Show. One of my friends said that you should have taken over from Andy Rooney on 60 Minutes. Is that something you’d even think about doing or would you feel uncomfortable having to edit yourself to fit into that show’s tried and true format?
LEWIS: They were interested in me, but I wasn’t interested in dealing with the powers that be at CBS or the limitations imposed by the show itself.
SPAZ: The recent political climate has ripped friendships and families apart like never before. There’s so much finger pointing, name calling and shit slinging… and that’s just from the White House! Do you think that social media is to blame?
LEWIS: God only knows. What I know is that social is social and media is media and maybe the two shouldn’t have met.
SPAZ: In regard to those that influenced you in your career, are there any artists outside the comedic field that inspired you along the way?
LEWIS: If you mean outside of comedians I would say, writers such as Kurt Vonnegut, Joseph Heller, Paul Krassner, and Herb Gardner to name a few. Then there’s the Marx Brothers, Madeline Kahn, Judy Holiday, Ernie Kovacs, Steve Allen and Sid Caesar and his crew. I could go on and on and on.
SPAZ: What’s next for Lewis Black?
LEWIS: Another special sometime down the road, when I get a grip on what is going on these days. Hopefully some more voice-over work and maybe a couple of nice acting roles. I’d like to write another book or play if I could find the time.
SPAZ: What is currently spinning on your CD, DVD, Blu-ray or record players?
LEWIS: I’ll be watching all of the DVD’s of films and TV shows that I am sent to try and convince that they should get some sort of award or another. I like to play the brilliant CD’s of Jazz artist Jane Ira Bloom.
Thanks to Lewis Black
Special thanks to Larry Germack, Clint Weiler, Tim Elliot and Dave Rayburn
LEWIS BLACK
BLACK TO THE FUTURE
(2CD)
LEWIS BLACK
BLACK TO THE FUTURE
(DVD)

L7: An EXCLUSIVE Q&A with DONITA SPARKS!

L7: PRETEND WE’RE DEAD

(The Documentary)

STEPHEN SPAZ SCHNEE: L7: PRETEND WE’RE DEAD is finally available. How are you feeling about the project and the reaction to it so far?
DONITA SPARKS: Well, I’m relieved it’s going out into the world because a lot of work went into it, especially from the producers Blue Hats Creative: getting the footage and photos together, interviews with the band members and guest stars, music clearances, etc. This has been years in the making. I’m touched by the reaction to the film by those you have seen it. It hits home with a lot of different people. In the screenings that I’ve attended there’s laughter where there should be, and complete silence during the heavier stuff. Musicians in particular relate to the ride.

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