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In 1980 Frank Sinatra released "Theme From New York, New York" as a single off of his album  Trilogy: Past Present Future . Despite it becoming what is undoutedly the song most identified with Sinatra "Theme From New York, New York" only peaked at #32 on the Billboard Hot 100, and it was his last single to reach the Top 40. It's probably also the song most associated with the city that never sleeps. This theme replaced an earlier song written for Martin Scorsese's 1977 film,  New York, New York, after star Robert Dinero said the first attempt wasn't good enough. Composers John Kander and Fred Ebb then came up with a spectacular second piece that was originally sung by Liza Minnelli in the movie, but it was Sinatra who turned it into an iconic musical and cultural phenomenon. In 1981 arranger Don Costa received a Grammy nomination for his orchestration, and Sinatra was also nominated for  Best Male Pop Vocal Performance . Sadly, ...

Hittin' The Note  is the only album by  The Allman Brothers Band without the services of original member Forrest Richard (Dickey) Betts.  Think back. The band was going to die along with Duane Allman in 1971, right? Fortunately, it didn't, and Betts was a major reason why. Then, after he was unceremoniously fired in 2000 fans once again questioned the future of the great band from Macon, Georgia. Well, not only did Greg Allman revitalize his group after Betts' departure he made sure they were very much alive and kicking butt. On this album the septet sounds like Duane is still alive because the dual lead guitars were brought back courtesy of Warren Haynes - the leader of Gov't Mule - and the addition of Derek Trucks who also leads his own band with wife Susan Tedeschi. They, and the three remaining original members who recorded this gem - Greg Allman and drummers Jaimoe and Butch Trucks (Derek's Uncle) - almost qualify the band as a supergroup. Mark Quinones...

All photos by Karin Ricci The sign at the entrance to the hall I've continually dumped all over the Rock and Roll Hall of Fame  for many years by heavily questioning what artists should or shouldn't be inducted. It's been a hobby of mine. I still have strong opinions on the subject, especially because all of the obvious choices were rewarded with plaques on the building's third floor gallery a long time ago. Now, just to keep the money rolling in - and produce an annual, overblown, TV extravaganza - the hall seems to honor every artist who meets their minimum eligibility requirements whether they deserve it or not. (I'm looking at you Judas Priest). That said, I must offer some sort of an apology to the hall because - despite their often poor choices - as a museum it was way better than expected and is a place you must see. While there, you'll realize that who is or ...

Here is a word for word reposting of an old review of a great concert I attended sixteen years ago. I admit I was quite skeptical when the opportunity arrived to see Rick Wakeman's "Grand Piano Tour." I was expecting dinosaur rock & roll from a dinosaur musician but instead we were all treated to an outstanding night of music from a man who is a true keyboard virtuoso. Wakeman played alone on his grand piano all evening. He didn't have a band and he didn't need one. He performed music from all phases of his career and regaled us with extremely humorous and detailed stories about every piece. We heard music from his days with the Strawbs. He played two Yes classics, "Wondorous Stories" and the lengthy but superb "And You And I" from Yes's Close To The Edge . He played half of his 1972 solo album The Six Wives Of Henry The VIII and an instrumental version of "Morning Has Broken," the Cat Stevens class...

Photos by Karin Ricci Large stadium concerts have never been my favorite places to watch live music. Unfortunately, in the case of many of planet Earth's most popular artists they're the only venues I'll ever have a chance to enjoy them until they reach legacy status and play smaller concert halls many years from now. Such is the case with Michael Bublé who performed for almost two hours in Philadelphia's not-quite-sold-out basketball and hockey arena, The Wells Fargo Center. Bublé performed many of his best-known songs - twenty-four in all - in a mostly energetic, flashy extravaganza featuring everything from neon lights to pyrotechnics. It was Vegas all the way but that isn't a criticism because even with several hi-def video screens offering closeups the concert-goer's intimacy  with the performer just wasn't there. That meant big entertainment became the modus operandi for the evening. Bublé endeared himself to the local crowd early in the set by acknowl...