Peter Tork, R.I.P

Very sad news, today.  Peter Tork has passed away at the age of 77.  He was battling adenoid cystic carcinoma, a rare cancer of the salivary glands, the past ten years, going thru two surgeries and chemo treatments early on.  He was in remission for several years.   Two years ago when he stepped away from the Monkees after the 50th Anniversary tour, and went into seclusion, there was speculation the cancer had returned. 

An official statement from his family states he succumbed to the disease, and he "died peacefully... at a family home in Connecticut".

Michael Nesmith issued this statement,
“Peter Tork died this a.m. I am told he slipped away peacefully. Yet, as I write this my tears are awash, and my heart is broken. Even though I am clinging to the idea that we all continue, the pain that attends these passings has no cure. It’s going to be a rough day. I share with all Monkees fans this change, this ‘loss,’ even so. PT will be a part of me forever. I have said this before — and now it seems even more apt: the reason we called it a band is because it was where we all went to play. A band no more, and yet the music plays on, an anthem to all who made the Monkees and the TV show our private — dare I say ‘secret’ — playground. As for Pete, I can only pray his songs reach the heights that can lift us and that our childhood lives forever — that special sparkle that was the Monkees. I will miss him — a brother in arms. Take flight my Brother.”

Micky Dolenz sums it up best,
"There are no words right now...heart broken over the loss of my Monkee brother, Peter Tork."

I can only offer up my prayers for Peter and his family.  You will be missed greatly, Peter.

Eternal Rest grant unto him O Lord,
Let perpetual light shine upon him,
May he rest in peace.

movie review: STAN & OLLIE

This dramatized biographical film, directed by Jon S. Baird, stars Steve Coogan as Stan Laurel, and John C. Reilly as Oliver Hardy, telling the story of the famous comedy team's final bow on a tour of the United Kingdom in 1953.  The film opens in 1937, on the Hal Roach lot, of the team filming their movie Way Out West, to introduce the characters and set up the story. Roach has the duo signed to separate, staggered contracts, which limits their power of negotiating. In this scene I quickly noticed a mistake.  On the Roach lot, there is a poster of the Little Rascals.  The "Little Rascals" name did not exist at that time.  It was a title created for the films' TV syndication in the 1950s.  The series was originally titled Our Gang Comedies and the group of kids were billed as "Hal Roach's Rascals", although by the mid 1930s, both the series title and the group of kids were streamlined to simply "Our Gang".

We skip ahead to 1953, and the team, despite failing health, embark on a tour of the United Kingdom in hopes to get financing for one more movie. There is heart, humor, and a bit of drama.  Coogan and Reilly do a magnificent job portraying Mr. Laurel and Mr. Hardy, and one of the highlights of the film is to see these guys doing comedy bits off stage in "real" life, not so much for the entertainment of others, but for their own amusement. The film also portrays their wives, played by Shirley Henderson and Nina Arianda, as an entertaining comedy team in their own right. One thing I find unique about Laurel and Hardy is that they were not an "organic" comedy team, like The Marx Bothers, The Three Stooges, or Abbott and Costello.  Much like The Monkees are considered a "manufactured" band, Laurel and Hardy were a "manufactured" comedy team, put together by Hal Roach.  And like The Monkees, it was the right combination that resulted in magic.  This movie is well made, and it shows on the screen. This film is in limited release, but if you happen to have in playing in your town, be sure to see it.

Review: Shazam! #2

This issue opens with the Vasquezes suspicious about the man who claims to be Billy's father, continuing the final scene from the previous issue.  Cut to the kids in the Rock of Eternity, debating if they should explore the Magiclands. They decide to go to Funland, despite Mary's protests. We then cut to Dr Sivana, waiting to see a medical doctor, as he is infected with Mr Mind.  Back to the kids, on the train, they arrive at Funland and are met by a talking clown doll. Funland appears to be "Disneyland on steroids", and we get the very first "Holy Moley" from Billy in this continuity (prior to this, Johns attempted to make "badass" Billy's catchphrase during Curse of Shazam and his appearances in Justice League). The kids pair off to explore.  Back to Sivana in the doctor's office.  Mr Mind tells him to take the doctor's tongue for a magic spell.  Back to the kids, enjoying the amusement park.  Billy and Freddy observe a suspicious incident where an adult is running away from a child.  Then they meet King Kid, who looks like he stepped out of an old Sid & Marty Krofft production. 

Geoff Johns' script is kind of trite, and this issue reads almost like a filler. The art is by Marco Santucci, who, like Dale Eaglesham last issue, turns in a good yet generic job, although Santucci's art is a little more polished.  If I had my druthers, I would prefer Mayo "Sen" Naito be the series artist, as her artwork from last issue's back up story showed far more charm and character that would better embellish Johns' underwhelming scripts.  This issue earns a C-.

Review: Shazam! #1

The first issue of the new, ongoing Shazam! series, written by Geoff Johns with art by Dale Eaglesham starts with a quick recap of the origin. Then it skips to the present, where Billy and Freddy are on a field trip.   First thing I notice is Johns seems to have switched Billy and Freddy's personalities. Freddy is now the one acting like a jerk.  There is a blatant rip off of the Spider Man Homecoming scene where crooks in JLA masks bust in.  Billy changes to... well isn't this interesting... could it be a hint the name may change back to Captain Marvel???  More likely a cruel tease that will never amount to anything.  Suddenly the rest of the family pop in to help what's his name, but he seems annoyed by that.  Afterwards they get into an argument about who's in charge.

Later at the Vasquez home, with another Captain Marvel tease, they celebrate Billy's one year anniversary with the family. The kids go to the Rock of Eternity, which they have made their base, and they discover the mystery train, and that it leads to the magic lands.  Meanwhile back at the Vasquez's, an unexpected visitor drops in to see Billy.

The script by Geoff Johns isn't as annoying as his Curse of Shazam script was, but it does seem to be on a children's sit-com level.   The art is by Dale Eaglesham and is very good, if a little generic, but my biggest complaint is his Captain Whateverhisnameis has a face identical to Superman, with even the spit curl.

There is a second story, also written by Johns with superb art by Mayo "Sen" Naito that tells how Mary came to the Vasquez family and establishes her real family abused her.

All in all, this issue isn't as bad as I thought it would be, but it is still a far cry the the real "World's Mightiest Mortal". Mayo "Sen" Naito's art earns an A+, and the rest of this issue gets a C+.

The best Elvis songs you've never heard, part 2.

To celebrate Elvis Presley being honored by President Donald Trump with the Presidential Medal of Freedom, I thought I'd take the opportunity to add to my previous list of Elvis' best overlooked and under appreciated recordings.

Good Rockin' Tonight One of Elvis' Sun singles that just doesn't get enough love these days.

Milkcow Blues Boogie is another Sun single that seems to have fallen into the obscure, but has the great lyric "if you don't believe I'm leavin', you can count the days I'm gone".

I Was The One The flip side to Heartbreak Hotel, RCA initially thought it would be the hit.  A classic doo-wop ballad that set the standard for all doo-wop ballads that would come in it's wake.

Too Much is one of Elvis' hits from 1957 that sadly, is today mostly forgotten.

I Need You So is a blues style ballad that that has a beat and swings, with Elvis' vocal really selling it.

So Glad You're Mine is a honky-tonk blues tune written by Arthur Crudup (That's All Right) with some raunchy lyrics.

Is It So Strange is another ballad that Elvis' voice soars to another level.

When It Rains It Really Pours is a song Elvis attempted in the Sun years, but went unreleased.  He tried it again at RCA with a fuller sound (but less lyrics), and still unhappy with the performance, it went on the shelf for several years until finally getting released in 1965.
 
King Creole, the title song from one of his best movies, showcases Elvis with a bigger, Dixieland influenced sound that still rocks.

The Girl of My Best Friend is a bouncy song of unrequited love.

Reconsider Baby A track from the brilliant Elvis is Back! album is perhaps his finest blues performance, with a killer saxophone solo by Boots Randolph.

I Got Lucky  A song from the movie Kid Galahad, this mid-tempo number is all charm and happiness.

Your Cheatin' Heart  Elvis' super-charged cover of the Hank Williams classic rocks.

One Broken Heart For Sale is a quick but great tune written by one of Elvis' best songwriters, Otis Blackwell.

I Gotta Know is a mid-temp rocker with clever lyrics.

It Hurts Me is another great song where Elvis pleads for an unrequited love to give him a chance. Elvis also performed this song in a memorable sequence on his 1968 Comeback Special.

Night Life is an outtake from Viva Las Vegas. Its surprising it has never yet been used to promote Vegas tourism.

Down in the Alley is a great blues jam.

Tomorrow is a Long Time  Elvis sings Dylan.  'Nuff said.

Witchcraft  A completely different song than the standard made famous by Sinatra, but one that swings and rocks.

She's a Machine  A song from Easy Come Easy Go about a girl who is every boy's dream and every mother's nightmare.

Clean Up Your Own Backyard is a great tune accented by some fine resonator guitar riffs.

Polk Salad Annie  A song Elvis never recorded a studio version of, but the live version shows the energy of his concerts in the 1970s.

The Fool is a kind of funky Country track.

Funny How Time Slips Away has Elvis taking the Willie Nelson standard into a bluesy zone.

If You Don't Come Back has Elvis returning to the blues, recorded at the famous Stax studios.