The OUP imprint, however, demands a modicum of academic high-mindedness, and the first pages of Gordon Thompson’s Please Please Me: Sixties British Pop, Inside Out worried me. Three-hundred-plus pages of dry ethnomusicology was definitely not what I’d bargained for. I scanned the list of interview subjects and couldn’t find a single surviving Beatle or Rolling Stone there, let alone a Kink, Animal, Yardbird, or Who. Where was all the “inside” dirt I was hoping for?

Well, luckily, once Thompson gets past his intro -- once the grownups stop paying attention -- he plunges delightfully into the music itself, and delivers a different kind of inside scoop: behind-the-scenes detail on how the record industry of the time actually worked. Forget those oft-quoted headline stars; what Thompson scored instead was exhaustive interviews with several of the period’s top producers, engineers, arrangers, session musicians, and songwriters. The result is a rich and surprisingly nuanced portrait, a vivid fly-on-the-wall view of how those iconic records of the 1960s got made.

Thompson’s got a wonderful ear for rock music - I found myself continually running over to my CDs to replay some track he was writing about, and hearing things I’d never properly paid attention to before. Want to know who really played drums for the Dave Clark Five? Who really wrote “The House of the Rising Sun”? Who sang the backing vocals on the Who’s “I Can’t Explain”? How Donovan’s classic hit “Hurdy-Gurdy Man” gave birth to Led Zeppelin? It’s all here, along with fresh takes on historic moments like George Martin’s original signing of the Beatles and the weekend when Mick Jagger and Keith Richards reluctantly wrote their first song.

After Thompson’s book, I turned with high hopes to Annie J. Randall’s Dusty!: Queen of the Postmods. As a longtime Dusty Springfield fan, I was ravenously curious about this corner of '60s Britpop history. I adore Dusty, one of the greatest-ever singers of “white soul,” captured in hits like “Son of A Preacher Man” and “I Only Want To be With You.” Randall’s quite good on tracing Dusty’s Motown roots, which went even deeper than the Mod generation’s trendy obsession with American R&B. Where Randall really opened my eyes, however, was in fleshing out Dusty’s embrace of a less well-known genre, the European pop aria (just think of Dusty pulling out all the melodramatic stops on her classic tracks “I Close My Eyes and Count To Ten” and “You Don’t Have To Say You Love Me”). The histrionic hand gestures, the platinum beehive wigs, the sparkle-draped evening gowns, the thick mascara and frosted lipstick – every element of Dusty’s iconic '60s act melded these two performance styles with verve and vitality.

The title of that final exodus is tragic in a way, as none of the girls in the present-day or past Destiny's Child lineup beyond Beyonce and her sister Solange have been hits with the public. There's many an obvious reason for that. The oldest one you could use in this case is that none of the others have the chops for the business.

There are things you have to do in order to get noticed. You have to be different, exciting, sexy, and the dream of every man or woman alive. Michelle Williams, Latavia Roberson, Kelly Rowland, and Letoya Luckett don't seem to want the spotlight as much as their former leader. I don't count Farah Franklin, given that her time in the group was shorter than anyone else who’s been in DC.

Beyonce, for all of her acclaim and sexiness, has no real chance to be herself. Coming from a musical catalog of hit songs discussing the art of booty shaking and dumping a trifling boyfriend, it's hard for her as she gets on in years to make that leap and still be relevant. Kelly Rowland actually tried that with "Stole", which she recorded for her first album Simply Deep. 

Because that song didn't involve anything remotely trivial and sounded too much like it belonged in another musical genre, the song got dismissed. Kicking herself probably for breaking from the DC formula, she returned to the more radio-friendly airwaves with her second album Ms. Kelly. It still didn't do anything in the states, but overseas apparently the album is killing the charts.

Michelle Williams is back this time with yet another album, Unexpected. The title basically informs the person buying it that this is not the Michelle Williams of Destiny's Child that no one pays attention to or largely ignores. This Michelle Williams is her own person and is ready to compete in the R&B genre without hesitation - that is if you believe that title. If you take a listen to the actual album, that's a different story.

Like Kelly Rowland's latest effort, Michelle Williams and her venture to party on this latest album feels dishonest. I understand that as an artist you have to do what's necessary to be able to eat. I also understand, however, that you have to do what's comfortable for you.

Does Rowley's album, Little Dreamer, live up to these weighty claims?

Beth was born in 1981 to British missionary parents who were, at that time, living in Lima, Peru. Her father inspired her by playing guitar along with his collection of Woody Guthrie vinyl. On their return to England she spent most of her childhood in Bristol. She later studied at Brighton’s Institute of Modern Music before beginning to get active on the local gigging scene.

As a teenager she provided backing vocals for Ronan Keating. Earlier this year she wrote and recorded a song for the film The Edge Of Love, starring Keira Knightley. Her forthcoming studio album was eagerly anticipated, and in October 2008 Little Dreamer appeared.

The album is beautifully lo-fi, radiating a warm glow of late night atmosphere amid some softly seductive vintage performances. There is a nicely honed balance of soul, pop, and blues, alongside touches of jazz. For one brought up in the way that she was, it is little surprise there are some well delivered gospel songs included in the mix as well.

Beth Rowley’s live performances are attracting a good deal of attention. She clearly has a strong stage presence and her voice can light up even the dullest of audiences. In the studio she loses little of those qualities delivering an impressive set of satisfying songs that showcase her remarkable vocal talent.

A highlight for me is her version of “Nobody’s Fault But Mine”, which is worth the CD’s price alone. Coolly delivered, it has Beth on simply exquisite form. Also included are high quality covers of Willie Nelson’s “Angels Flying Too Close” and a reggae-based version of Bob Dylan’s “I Shall Be Released”.

1. The Kinks - Muswell Hillbillies
Limited Edition, 180 Gram Vinyl.

Ray Davies is certainly not like everybody else here, nor is he a dedicated follower of fashion: “I’m a 20th Century Man but I don’t want to be here,” he angrily seethes. At the same time, in the nostalgically exquisite “Oklahoma USA,” he fairly yearns for the company of Shirley Jones and Gordon MacRae and a cinematic escape away where “All life we work / But work is a bore / If life’s for livin’ / then what’s livin’ for?” Embracing music hall and vaudeville, with songs ranging from country-folk to boozy blues, and subjects covering, say, demon alcohol and “sad memories you can’t recall,” or ocean-side holidays where “the sea’s an open sewer,” 1971’s Muswell Hillbillies is one of the Kinks’ more consistently first-rate albums, in both lyrical wit, bite, and poignancy - and in musical terms, as rooted in its infectiousness and ferociousness with which it conveys the ambiguity and ambivalence toward life in general, and living on London’s Muswell Hill, specifically.

2. The New York Dolls - The New York Dolls
Limited UK 180 Gram, Vinyl Pressing.

When friends were listening to ‘70s luster and sludge like Journey and ELP — whose tunes I could not get attuned to — I discovered this debut '73 New York Dolls LP in, of all places, my local branch of the Orange County, California Public Library. I whisked it away, and soon got carried away by the reckless glam and proto-punk spirit. My friends thought I suffered a 'personality crisis' - and, fortunately, I had.

3. The Beach Boys - Endless Summer 
Two LPs, Limited Edition.

Twenty-one tracks of '60s pop perfection from the first Wilson Administration. “And we’ll have fun, fun, fun ‘til her daddy takes the t-table away…”

4. The Band - The Band 
Four-Color Gatefold Jacket, 180 Gram Vinyl.

A drunkard’s dream if I ever did hear one. Rustic Americana done right by a bunch of mostly Canadian guys.

5. House of Freaks - Monkey on a Chain Gang
Back2Vinyl.com

Though it doesn’t pack the powerhouse punch of their 1989 sophomore stunner Tantilla, this stripped-down but striking 1988 debut presents the range of the guitar-and-drums duo (Bryan Harvey and Johnny Hott) from melodic pop to more dire declarations, such as found in the Wolfeian avowal that “You Can Never Go Home”:

Standing on a dusty road
Praying for a sign
Lightning only struck me once
And then it struck me blind...
You can never go home.

In support of their fifth full-length LP Attack & Release, The Black Keys recorded their April 4, 2008 concert performance at the Crystal Ballroom in Portland, Oregon. Produced and directed by Lance Bangs (R.E.M.'s Road Movie, Nirvana: With The Lights Out), Live At The Crystal Ballroom captures the gritty blues flavor the band (Dan Auerbach - vocals, guitar; Patrick Carney - drums) is known for.

Attack & Release is the byproduct of a collaboration between the Akron, Ohio duo and Danger Mouse (Brian Burton) while the three worked with Ike Turner on a separate album. The combination of using an actual studio, working with Danger Mouse, and being able to run amok cultivated enormous creativity to which fans can now see up-close in the live set. The DVD also includes a short video of the recording sessions for A&R.

There's nothing like experiencing a band live, and The Black Keys give it all to their audience, as seen in the very personal camera angles and shots of the duo. Auerbach and Carney exude so much energy on stage, and it's apparent in the music as well. Seeing them perform adds a whole new dimension to the band because of how much focus and oomph they put into their music.

They appear exhausted near the midpoint but seeing as how they cram seventeen songs into a scant hour-long set would be draining. That said, there isn't much dialogue to the audience by Auerbach or Carney, unfortunately, who jam through each song one by one.

Among the set's highlights are "Girl Is On My Mind" and "Your Touch" which both showcase the band's blues rock sensibilities at their finest. Among the DVD's highlights are the three little-seen, but still cool music videos for "Your Touch" (with accompanying behind-the-scenes making-of video that includes many fake bullet charges), "Just Got To Be," and "Strange Times." The latter video has the backdrop of a friendly game of laser tag.

In 1978 the band released their third album; Heaven Tonight, which contained the song "Surrender." This was the band's first song to make the Billboard singles chart, peaking at #62. As a side note, this album was also the first to use a 12-string bass guitar. During this time, while none of the band's three albums had made it into the top 40 in the U.S. (In Color peaked at #73, while Heaven Tonight peaked at #48), all three albums went gold in Japan.

It was for this reason that the band decided to tour Japan and to do their fans there the honor of recording a live album at one of the most revered sports stadiums in the country.

It was a two night stand at Budokan, and its impact catalyzed the world. Now, three decades later, Epic/Legacy, a division of SONY BMG, has released Cheap Trick - BUDOKAN!: 30th Anniversary Edition, a four disk set that contains one DVD and three CD's, a booklet, and poster.

On the DVD you get the video recording of the second night (April 28th 1978), a one hour 15 song set that was broadcast on Japanese television only once, over 30 years ago. It contains a new studio mix and 5.1 Surround Sound done by the original producer Jack Douglas and engineer Jay Messina.

There are several bonus features on the DVD. One is "Looking Back," a new conversation with the band about their original experience. There is also video of one more song from 1978, "Come On, Come On" and two songs; "Voices" and "If You Want My Love" from their April 2008 30th Anniversary return concert.

The second disk (first CD) contains the audio from the DVD, and the third and fourth disk (CD 2+3) contain the 20th Anniversary (1998) double CD Live at Budokan that has been further re-mastered using 2008 technology.

First off, let me say that the quality of content of this fabulous. It looks good and sounds good. The video, shot with multiple cameras using a very professional production crew. It is fun to watch the band, especially Nielson bouncing around the stage, and hearing Zander and the rest of the band perform the songs as we have heard them on the original vinyl and subsequently the CD's. The extras are also a big bonus for the Cheap Trick fan.

The only problem that I can see is the packaging that houses the DVD and CD's is a slip-case cardboard that could easily scratch the CD and DVD. Mine had a couple of marks that were not quite scratches, but if not careful, could become some. That said the quality of the CD's were just as crisp and clear as the DVD, and just as much fun to listen to. I give this package four and a half stars.

Joe Bonamassa is the best young guitarist in music today.

Damn the rotten tomatoes! Full speed ahead! [Apologies to Admiral Farragut.]

Joe’s abilities aren’t just a screaming guitar, although he certainly is capable of it. Joe was trained as a classical guitarist first, which is an extremely critical basic step in learning any instrument. Not only does it teach you the repetitive skills that are often necessary in playing an instrument, it teaches you discipline. And discipline is the key ingredient in mastering anything one ever does in life. Ever! Discipline is what carries you through earning your keep when you’re sick, when a parent or your best friend just died, or when you’ve just wrecked your brand new car.

Some people say, “But Joe’s a blues guitarist, and blues is dead.” Well, they’re right. And they’re also wrong. Let’s address the first clause first, and save the second for later. Joe is, in fact, primarily a blues guitarist, but that’s certainly not all he is. If you’ve ever been to one of his performances, you’d understand.

Barring that, however, just take a look at one of his websites.  Spend an hour watching him and you’ll see his versatility, and you’ll see and hear his mastery of blues guitar, rock guitar, classical guitar, jazz guitar, and any other form or genre of guitar playing you’d care to name. Electric? Sure! Acoustic? Damned straight! The guy’s limitless.

Here are just a few of his accomplishments:

1) Appeared at Royal Albert Hall (You've arrived once you've played the Royal Albert.)
2) Named 2007 Best Blues Guitarist by the readers of Guitar Player Magazine
3) Every one of his albums has gone to #1 or gone Top 10
4) NPR named him the equal to Clapton, Beck and Page

His music is a fusion of British electric blues, traditional Delta blues and hard-driving rock and roll, with frequent bends and twists in the musical trail to include classical, country, folk, jazz, funk and even a dollop of hair metal every once in a while. He plays basic riffs, expansion, and repetition equally well.

Near the beginning of this review, I stated that Joe’s the best young guitarist out there. He implied in a recent interview that now that he’s 31, he’s no longer young. Quibbling. But he does give a deep bow to a master who’s just a little older: Les Paul (yes, that Les Paul), who recently celebrated his 93rd, and who still plays a weekly gig at Iridium, the NYC nightclub where he’s held court for some time now.