For the most part, radio in the U.S. plays crap. There's some good stuff out there, but you'd never know it. That ends right now.

From sweet and smooth classics, to new names, to old names with new music...the focus here, is to shine a little light on some damn fine music.

I'll find it. You can listen, review, or tell me I wouldn't know good music if it kicked me in the ass. I personally don't give a shit.

Wednesday, August 19, 2015

My Many Years with Henry Diltz

A long, long time ago, when I was about thirteen years old, the world of music was everything to me. That hasn't changed much, but how I see things, specifically through a camera has.

As a kid growing up before any of today's technology existed, a camera was usually only brought out for birthday parties, special events, and family vacations. Then as I entered my teenage years, a photographer by the name of Henry Diltz, made me look at the world in a different way.

Henry's work was featured in all the teen fan magazines of the day. His name became legend with fans of The Monkees and David Cassidy. He later went on to photograph some of the most important rock albums of the 70s, along with the Monterey Pop Festival, Woodstock, and the later Woodstock anniversary festivals. I loved how he shot pictures. Sometimes fun, sometimes serious, but each one perfectly captured the moment.

But what opened my photographic eyes was a couple of layouts of rural mailboxes and fire hydrants. They were not your standard issue objects but ones that had been fixed up or painted in some imaginative way. I began to look at ordinary things around me and see the possibilities of some interesting shots. My favorite subject turned out to be mushrooms.

Anyway, last week I had the opportunity to interview Mr. Henry Diltz and it was all I hoped for and more. He was funny, interesting and gracious in his conversation and his time.

Here is some of the interview, there will be more about Henry soon.

Seeing Stuff with Photographer Henry Diltz

Some storytellers communicate with their words, others through their music. Henry Diltz tells a story by capturing the fleeting dance of what his eye sees as his finger presses the shutter button on his camera. A moment in time artfully preserved, and forever shaping how that moment is remembered.

Starting out as a musician with the Modern Folk Quartet, fate played a hand in his eventual career path. While on the road with the band Henry bought a used camera and the rest, well let’s just say the history of the musical world would be a little different today had Henry Diltz not found his true calling.

Slideshows became a weekly ritual for his friends and neighbors whose names included some of the most important singer-songwriters of the era: The Mamas and the Papas, Joni Mitchell, Frank Zappa, Stephen Stills and many others.  He took pictures of his friends, and eventually created some of the most unforgettable album covers of all time. James Taylor’s Sweet Baby James, the first album from Crosby, Stills & Nash, The Doors Morrison Hotel, Late for the Sky by Jackson Browne. He documented the Monterey Pop Festival in 1967, Woodstock in ’69, Woodstock ’94, and Woodstock ’99, creating a photographic statement of entire generations in musical history.


It is not an exaggeration to say he has photographed nearly everyone of musical importance in the last fifty years. With some partners, Diltz opened the Morrison Hotel Gallery (NYC and LA) where exhibits of his work and many other of today’s important photographers can be seen. Henry is taking some of his work on the road beginning next month as he and fellow photographer Pattie Boyd begin a limited run multi-media tour featuring historic photos and what no doubt will be extraordinary stories about them.

Having followed Henry’s work since I first became a teenager, it was beyond surreal to interview him. His life is fascinating and he is surely one of the coolest men on the planet, if not the universe. And Henry, thanks for the title.

Kath Galasso: Your first camera came from a second hand shop, you bought some film for it, took the photos, had it developed and only then learned it was slide film not print film. You then went on to have slide shows for your friends, and eventually that cycle was how you became a photographer.  In the game called “what if?” do you think you would have become as interested in photography if you would have picked up developed prints rather than slides?

Henry Diltz: You know, I may not have become a photographer. I don’t say that I thought it would be prints, I had no idea what it would be. We bought these cameras at a junk store on the road and then one of the guys in the group said “pull into the next drugstore and I’ll get film.” He handed everyone a yellow box, I still didn’t know what it would turn out, I never even thought about it. I just said ok and then I said, well how do you set these numbers on the lens and on the camera and he said “look on the box.” Kodak just told you how to set it. Whatever it was I just set the camera that way and it worked out. And when I picked them up, I said “oh look, they’re little tiny pictures, they’re little slides.” And at that moment I said hey let’s get a slide projector and have a slide show. And that was the magic moment right then, actually when the first slide hit the wall, I went “oh my god.” These things could be twelve feet across and glimmering and shimmering in the light. If you have the right conditions in a dark room and your audience is all your stoned, hippie friends, it could be pretty intense. And before I really had a whole collection of music photos, before I got into that really, it was pictures of old junk trucks, pickup trucks, cats sleeping in the afternoon, snails on the ivy or mailboxes. I would just photograph everything and try to make it real interesting, the weirder the better. I wanted to get a response from people. That’s what I went for; to always get a reaction when the next slide hit the wall. And that was what propelled me into photography; I just wanted to have more slide shows.

But isn’t that the coolest thing that you could trace how your life turned out to that one moment?

Yes! I know, I know. I think about it, I think about it in many ways. One way is to say “hey life is a happy accident” you know… and then right away I have to think well, or maybe not. Maybe it’s not such an accident. Maybe my spirit guide or guardian angel said this is what you actually signed up to do, so we’re going to put a camera in your hand. You never know. When you live long enough and really think about life enough, you start to get some answers as to what life might really be, it gets very interesting.

For the rest of the interview, please go over to "Seeing Stuff with Photographer Henry Diltz" at Onstagemagazine.com

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Tuesday, July 14, 2015

Little River Band @ Bergen PAC, Englewood NJ

The evening’s weather forecast was at the very least, ominous. Severe thunderstorms would be passing through close to showtime, and again at the end of the show. Most of us were lucky, having beaten the raindrops into the comfort of the Bergen Performing Arts Center in Englewood, New Jersey.

The Little River Band opened the night with a little a capella intro into “It’s A Long Way There,” just in case you may have forgotten just how strong their five part harmonies can be. Though the band has gone through many changes of personnel over forty years, the integral sound is still very much alive.

Bass player Wayne Nelson has taken over most of the lead vocal duties, though Greg Hind gets plenty of lead time as well. The LRB has a deep catalog of hits with hooks that you can’t get out of your head. All the songs you remember would be played this night, with “Man On Your Mind” as the next in line.

After greeting the crowd and asking if they were ready to sing, the band launched into “Happy Anniversary.” While the set list was heavy on the hits, they didn’t ignore their most recent album, Cuts Like A Diamond, with fine versions “The Lost And The Lonely” and “I’m An Island.” But with an older crowd, the night would indeed be about “Reminiscing.”

For the rest of the review and additional photos, please jump over to Little River Band @ Bergen PAC, Englewood NJ at OnstageMagazine.com

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Tuesday, July 7, 2015

Leaders In The Clubhouse Debut Album "Won" Reviewed


Late last year, Spud Davenport and Charlie Recksieck got together in San Diego and started creating fun music filled with satire and written with a “jaundiced eye.” It resulted in the formation of a band called Leaders In The Clubhouse (LITC) and a debut album titled Won.

Let’s just say their music is a little quirky. At times, you could almost imagine a Seinfeld episode coming out of their song lyrics, but don’t get the impression that they are about “nothing.” Actually Won is about a lot of things, many which are extremely relatable: sex, technology, long-distance romance, getting along with your fellow man, and oh yeah, the end of the world.

For the entire review, please step over to Leaders In The Clubhouse Debut Albun "Won" Reviewed at OnstageMagazine.com


Thursday, June 25, 2015

Got It Covered: Everywhere I Go

It's been a while since I posted an installment of Got It Covered, hope you enjoy this one.

In 1993, Jackson Browne released his tenth studio album titled I'm Alive. On it, Browne returned to the familiar territory of love lost, while easing away from the political flavor that marked Lives in the Balance and World in Motion, his previous two albums.

While I'm Alive didn't break any sales records, it did become certified gold, and more importantly, it gave back to his fans the music they wanted to hear. The song "Everywhere I Go," features Browne's initial foray into a reggae beat, with Scott Thurston on backing vocals.



A little over a year ago, Music Load Records released a Jackson Browne tribute album called Looking Into You: A Tribute to Jackson Browne. It's a two-disc set and it's highly recommended. It would seem all of Jackson's friends lined up for a chance to be included: Keb Mo doing "Rock Me On The Water," Lyle Lovett singing "Rosie," Joan Obsourne with "Late For The Sky," "Lucinda Williams on 'The Pretender," and Don Henley with "These Days." Yeah, it's real nice.

My favorite of the collection is the cover of "Everywhere I Go," sung by Bonnie Raitt and David Lindley. It's a light, airy version and of course, there's Bonnie's voice.

Take a listen.



For a little peek into the recording of it, check out this video.


Fun, don't you think?

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Gary U.S. Bonds Birthday Bash at B.B. Kings NYC


The night was billed as Gary U.S. Bonds with Special Guests, and it was a celebration of Gary’s 76th birthday. This was his seventh B.B. King’s birthday party and it didn't matter who the guests would be, this crowd was there to have fun.

Fun was to be an understatement.

As the band played him onstage to the opening notes of Springsteen’s “Action In The Streets,” Gary, obviously enjoying the moment, had a twinkle in his eyes and a huge smile on his face. That smile did not leave his face all night. And why would it? Bonds still commands the stage, has a natural ease about him as a man who feels right at home in his own skin, a sense of humor, and on this night, was surrounded by beautiful and talented women. On this night, with the exception of two local guitar rockers, Gary’s special guests were all of the female type, and he clearly appreciated every minute of it.

He spent a few minutes talking about some of his dear friends who couldn’t make it to the show:  Ben. E. King, who passed away in April; Springsteen, who apparently was in Europe watching his daughter participate in her equestrian events, and Southside Johnny, for whom he thanked God that he wasn’t there, before getting the crowd going with his rendition of “New Orleans.” It was then time to bring up the first musical guest, singer-songwriter Christine Martucci, who offered a couple of her own soulful tunes before joining up with Gary on another Springsteen treasure “Rendezvous”

For the rest of the recap of the show, please go over to Gary U.S. Bonds Birthday Bash at B.B. Kings NYC at OnStageMagazine.com