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Great British Director Alan Parker Dies At 76, Gave Us “Fame,” “The Commitments,” “Midnight Express,” “Mississippi Burning” and More

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You’ll realize what an impression the great British film director Alan Parker made on the culture when I tell you just that he made “Fame,” a buoyant musical hit that gave birth to many top 40 hits and a hit TV series. It put the High School for Music Art Performing Arts on the map and famous all over the world. (Now it’s known as LaGuardia.)

Parker has died at age 76 from a reported long illness. But his legacy lives on with “Midnight Express,” “The Commitments,” “Mississippi Burning” (for which Frances McDormand won her first Oscar), “Bugsy Malone,” and the fine film version of William Wharton’s seminal novel, “Birdy.”

He also directed Madonna in “Evita,” but he’s forgiven. Antonio Banderas, however, was wonderful. Another ambitious project that didn’t quite work was the film version of “Angela’s Ashes,” the great memoir by Frank McCourt. Still worth watching, however.

A kind of lost gem of performances with a Bo Goldman script was “Shoot the Moon,” starring Diane Keaton and Albert Finney in a disintegrating marriage story that predates “Marriage Story” by many generations. It was far more raw and ahead of its time.

Alan Parker was nominated for two Oscars and three Golden Globes. He hadn’t made a film since 2003, so he’d fallen out of the vernacular. But he’s at the very top of all directors lists, and his work will live on. Condolences to his family.

 

 

 

Beyonce’s “Black is King” Has Stunning Visuals and a Strange Dedication Only to Her Son, Not His Twin Sister Rumi or Blue Ivy

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Beyonce has made a stunning visual album with “Black is King,” now showing on the DisneyPlus channel. She’s taken the songs she and her team wrote for “The Lion King: The Gift” and filmed beautiful videos to go along with them. It’s like a great Vogue fashion show set to music. I’d like to see the producers take the still shots and make a coffee table book for Christmas. It would sell out in a minute.

There’s no doubt that watching this film you’ll want to revisit “The Gift” album. Suddenly the songs make sense, with imagery of Africa relating black history. I would say every young black person, or any color, will revel in the details and rhythms.Also Beyonce is shot beautifully by about seven different directors and choreographers. The mix on Disney Plus really serves her voice well, too. There’s no clutter, just richness.

When you go to the end of this feast for the eyes, there’s an odd dedication. It’s to Beyonce and Jay Z’s three year old son, Sir Carter. (Yes, that’s his name.) Sir, however, is a twin. His sister is Rumi. They have a famous older sister, Blue Ivy, who appears in the movie. Yet the two girls do not merit a dedication. Rumi, particularly, seems slighted. Do these girls not count? The dedication is like a big snub to the little girl. Imagine explaining to a three year old, “You’ll be next time.” Oucherooni! Those girls are going to be in therapy for some time to come.

The dedication aside, “Black is King” has an important message delivered with a lot of artfulness. Expensive? I’d say so. The costumes, make up and lighting may have set a new record for a “music video.” The choreography is fluid. All of it is inspired by Julie Taymor’s work on “The Lion King,” it’s a genuine compliment to Taymor that she is the grandmother of this project, credited or not.

PS Don’t miss “Brown Skin Girl,” with many celebrity cameos including a knockout Lupita Nyong’o.

And yes, the main photo here is of Blue Ivy.

(Watch) Beyonce Releases Music Video Called “Already” But Her “Black is King” Is Slow to Appear on DisneyPlus

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It’s 12:48am on Friday July 31st. No sign of Beyonce’s 85 minute “visual album” called Black is King, on DisneyPlus.

But she has released a video called “Already.” Enough, already! Where’s the album? Here’s the video:

Amazon Studios Bolsters Its Failing Movie Company with Regina King’s Directing Debut “One Night in Miami”

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Amazon Studios is flailing. They haven’t been able to turn their well intentioned releases into hits. In the process, talented people like Ted Hope and Bob Berney have left the building.

So now what? They’ve just bought Oscar and Emmy winner Regina King’s directorial debut, called “One Night in Miami.” The film stars Kingsley Ben-Adir as Malcolm X, Eli Goree as Cassius Clay, Aldis Hodge Jim Brown, and Hamilton star Leslie Odom Jr as Sam Cooke. Producers are Jess Wu Calder and Keith Calder of Snoot Entertainment (Blindspotting, Anomalisa) and Jody Klein of ABKCO (The Rolling Stones Rock and Roll Circus), King and Powers are executive producers.

The story: “Set on the night of February 25, 1964, the story follows a young Cassius Clay (before he became Muhammad Ali) as he emerges from the Miami Beach Convention Center the new World Heavyweight Boxing Champion. Against all odds, he defeated Sonny Liston and shocked the sports world. While crowds of people swarm Miami Beach to celebrate the match, Clay – unable to stay on the island because of Jim Crow-era segregation laws – instead spends the night at the Hampton House Motel in one of Miami’s historically black neighborhoods celebrating with three of his closest friends: activist Malcolm X, singer Sam Cooke and football star Jim Brown. The next morning, the four men emerge determined to define a new world for themselves and their people.”

Amazon Studios will point toward Oscars and other awards with a winter release. In theaters? Well, this year they don’t have to worry about that. The special rules for 2021 mean they can just put it on Amazon Prime and hope for the best. I wish them luck. All the people involved in this are top notch, and the story is famous in the black community. If we can’t get some black nominees from this film, then something is really wrong.

I look forward to the Peggy Siegal virtual Oscar lunch.

PS I look forward to that soundtrack with Sam Cooke music, from Jody Klein’s ABKCO. They always do a great job!

 

Friars Club, Once Legendary, Now Desperate, Blames This Column for It Woes in Letter to Remaining Members

The poor Friars Club. Once legendary, they are now desperate. One of the Club’s leaders, Marvin Scott, erstwhile sometime anchor on New York’s Channel 11, send the remaining Friars a letter today blaming me for their problems.

That letter, and $2.50, will get you on the subway.

Scott is mad about a story I wrote last week about the continuing internal scuffles at what’s left of the Club. He said my article was “fraught with inaccuracies.” What Marv doesn’t say is that before I wrote the article I emailed him and asked him to call me. It was 3:31pm on a Sunday. I was just sitting around, hoping to talk to him. But Marvin didn’t want to talk to me. He replied: “HI Roger….I’m in the country upstate NY no cell service….will call you when get back to city late tomorrow.”

Hmmmmm…What part of upstate doesn’t have cell service? Well, he had his chance. He never called, or emailed again. Now he’s trying to save his bacon with the board. But his bacon his cooked, it’s gristle. (And he ever does say what those inaccuracies were on my part, and never lodged a complaint to me.)

Nothing in Marvin Scott’s letter is correct. But members of the Friars Club, which is like the Titanic after Celine Dion sang, should especially look at the lie he tells at the bottom. In fact, the Club was sued their longtime receptionist Rehanna Almestica for sexual harassment. She sued the club and Bruce Charet, who for some reason Marvin Scott is still protecting. There was a large six figure settlement. If the case had no merit, the Friars’ insurance company would not have paid Almestica. And this was before #MeToo. Frankly, if I were Almestica I’d go back to the judge who approved the settlement and ask for her NDA to be lifted. Everyone’s doing it now.

The Friars are liars. They have wrecked their Club, its legacy, finances. It’s a mess. If inside dining is ever restored, I’m pretty sure they will have trouble getting even D list celebrities to cross their threshold. They’ve pissed all over the memories of Alan King, Joan Rivers, Jerry Lewis, and the great comics who once did call the place home.

Anyway, here’s Marvin’s letter, which he signed “Prior Marvin Scott.” I don’t if that means he’s the prior Marvin Scott, as in before this one, or he’s from the Book of Mormon. Hello, hello, hello.

This letter responds to concerns expressed by some of you over the recent articles about the Club that appeared in the online SHOWBIZ 411. The articles are fraught with inaccuracies, and contain a reprint of Michael Gyure’s self-serving smear campaign that was scantily clad as a “letter” to the Board of Governors.

Let me address a few of the major points. Michael, our Executive Director, was terminated for cause by unanimous vote. Efforts to part ways amicably were not successful. Instead, Michael dispatched his “letter” and then ran for cover by initiating a legal action. It is wrong for me to use this opportunity to lay out the details, our defenses, and possible claims against Michael. This would include recovery of the legal fees we must expend to defend against his claims. To give a general flavor, in recent months Michael was found to be circumventing directives of the Executive Committee and Board of Governors, and specifically those tied to the Club’s financial affairs. As mentioned above, the decision to remove him was unanimous.

I do want to provide some clarity on our position regarding two of the financial items he mentions. Mind you that Michael’s accounts, which are materially wrong, are intended to distract you from the reason his employment ended. In other words, rather than addressing and disputing the “cause” for his termination, Michael’s letter instead tries to draw attention away from himself by throwing his voice. Here is what I mean. Michael makes noises about the $9 million loan taken by the Club. Contrary to what he wrote, there was no other comparable offer that had “better” terms. In fact, the terms of the other offer were viewed as detrimental to the Club’s interests and rejected by the Executive Committee. The terms of both loans were reviewed and discussed by the Executive Committee which voted unanimously to obtain the $9 million loan.

Similarly perplexing is Michael’s feigned alarm that our Treasurer, Susan Cronin, promoted the $9 million loan so as to benefit her former domestic partner through payment of a “referral fee” from the loan broker. There was nothing underhanded here. The relationship had been disclosed in correspondence and was reflected in the closing statement. Nothing was hidden and there was nothing improper about this transaction. Michael’s attack aimed at Susan is entirely unwarranted. Susan has performed admirably and is to be commended, not chastised.

Finally, I would like to put to rest the beyond well-trodden assertions about a past legal settlement with a former receptionist. Contrary to whatever rumors may still be circulating, neither the Club nor any of its officers were found to have violated any law, nor did they admit any liability. The matter was settled through the Club’s insurance carrier for an amount that reflected good business judgment. Rumors about the settlement amount are false.

Please give some trust and patience to your new Executive Committee and Board of Governors as we work to get the Friars Club up and running again. We envision a renaissance that will appeal to our existing members and prove to be an attraction for new ones. We see a new day and a brighter future for our legendary club. Stay tuned and be smart, informed, and selective about what you believe.

Friarly yours,

Prior Marvin Scott

Ellen DeGeneres at a Crossroads: Miss Nice Guy’s Show in Trouble, Ousts Executive Producer After Investigation

We’ve seen a lot about Ellen DeGeneres’s show and the so called toxic atmosphere. All the employees are angry. After an investigation, Executive Producer Ed Glavin is out. He’s been there for eons, maybe since the beginning. (When I knew Ed Glavin, he was a nice guy. I don’t know what happened.)

Ellen has now issued a letter to her staff, and the world, proclaiming her niceness, and laying the blame elsewhere. What will the upshot be? My guess is this is Ellen’s last season in syndication.  She was supposed to go one more season. but at this point why should she? She is as rich as she could be. It’s time to wrap it up.

Here’s the memo she sent the staff:

Hey everybody – it’s Ellen. On day one of our show, I told everyone in our first meeting that The Ellen DeGeneres Show would be a place of happiness – no one would ever raise their voice, and everyone would be treated with respect. Obviously, something changed, and I am disappointed to learn that this has not been the case. And for that, I am sorry. Anyone who knows me knows it’s the opposite of what I believe and what I hoped for our show.

I could not have the success I’ve had without all of your contributions. My name is on the show and everything we do and I take responsibility for that. Alongside Warner Bros, we immediately began an internal investigation and we are taking steps, together, to correct the issues. As we’ve grown exponentially, I’ve not been able to stay on top of everything and relied on others to do their jobs as they knew I’d want them done. Clearly some didn’t. That will now change and I’m committed to ensuring this does not happen again.

I’m also learning that people who work with me and for me are speaking on my behalf and misrepresenting who I am and that has to stop. As someone who was judged  and nearly lost everything for just being who I am, I truly understand and have deep compassion for those being looked at differently, or treated unfairly, not equal, or – worse – disregarded. To think that any one of you felt that way is awful to me.

It’s been way too long, but we’re finally having conversations about fairness and justice. We all have to be more mindful about the way our words and actions affect others, and I’m glad the issues at our show were brought to my attention. I promise to do my part in continuing to push myself and everyone around me to learn and grow. It’s important to me and to Warner Bros. that everyone who has something to say can speak up and feels safe doing so.

I am so proud of the work we do and the fun and joy we all help put out in the world. I want everyone at home to love our show and I want everyone who makes it to love working on it. Again, I’m so sorry to anyone who didn’t have that experience. If not for COVID, I’d have done this in person, and I can’t wait to be back on our stage and see you all then.

Stay safe and healthy.

Love,

Ellen

Taylor Swift’s “Folklore” Debut Will Still Be Big, But Sales Slowed Considerably During Week

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Taylor Swift’s “Folklore” is big, there’s no doubt. Both clean and R rated versions are at the top of the charts all week. The album has great reviews.

But.

The initial projection from hitsdailydouble of 750K including streaming seems like it was a bit over enthusiastic.

Through Tuesday, Buzz Angle/Alpha Data has the actual sales at 192,300 for paid downloads. (There are no CDs on sale except through Swift’s website.) With streaming, the number is at 370,900.

We still have sales from Wednesday and today, which should bring the total to 500,000– nothing to sneeze at. But that early rush and hype seems to have dissipated as the days went on. It might have been more had Taylor been able to promote “Folklore” — as she does– on all media. But that’s impossible right now.

Stay tuned for the final count tomorrow. Still a big success for a surprise release with no marketing build up. But what marketing there is! Shazam!

Toronto Film Fest Line Up Goes Indie: Regina King’s “One Night in Miami,” Also Doc About FBI Surveillance of MLK, Spike Lee Film of David Byrne Musical

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TIFF 2020 is going to be virtual for us in the US since we can’t cross borders. But it looks pretty cool, like the greatest indie film festival ever. No Hollywood blockbusters but lots of stars including directing turns from Regina King, from Halle Berry, and Viggo Mortensen, a new film from the great Mira Nair, Sam Pollard’s documentary about the FBI surveillance of Martin Luther King, Jr., and Spike Lee’s film of David Byrne’s Broadway musical.

Also in the mix: “Ammonite” from Francis Lee starring Saoirse Ronan, Kate Winslet, and Fiona Shaw; and the previously announced “Nomadland” with Frances McDormand. There’s also “Concrete Cowboy” with Idris Elba, Lorraine Toussaint,and  Jharrel Jerome.

Lots of craft, and diversity. I’m looking forward to it, however it plays out.

180 Degree Rule Farnoosh Samadi | Iran
76 Days Hao Wu, Anonymous, Weixi Chen | USA
Ammonite Francis Lee | United Kingdom
Another Round (Druk) Thomas Vinterberg | Denmark
Bandar Band Manijeh Hekmat | Iran/Germany
Beans Tracey Deer | Canada
Beginning (Dasatskisi) Dea Kulumbegashvili | Georgia/France
The Best is Yet to Come (Bu Zhi Bu Xiu) Wang Jing | China
Bruised Halle Berry | USA
City Hall Frederick Wiseman | USA
Concrete Cowboy Ricky Staub | USA
David Byrne’s American Utopia Spike Lee | USA (Opening Night Film)
The Disciple Chaitanya Tamhane | India
Enemies of the State Sonia Kennebeck | USA
Falling Viggo Mortensen | Canada/United Kingdom
The Father Florian Zeller | United Kingdom/France
Fauna Nicolás Pereda | Mexico/Canada
Fireball: Visitors from Darker Worlds Werner Herzog, Clive Oppenheimer | United Kingdom/USA
Gaza mon amour Tarzan Nasser, Arab Nasser | Palestine/France/Germany/Portugal/Qatar
Get the Hell Out (Tao Chu Li Fa Yuan) I-Fan Wang | Taiwan
Good Joe Bell Reinaldo Marcus Green | USA
I Care A Lot J Blakeson | United Kingdom
Inconvenient Indian Michelle Latimer | Canada
The Inheritance Ephraim Asili | USA
Lift Like a Girl (Ash Ya Captain) Mayye Zayed | Egypt/Germany/Denmark
Limbo Ben Sharrock | United Kingdom
Memory House (Casa de Antiguidades) João Paulo Miranda Maria | Brazil/France
MLK/FBI Sam Pollard | USA
The New Corporation: The Unfortunately Necessary Sequel Joel Bakan, Jennifer Abbott | Canada
New Order (Nuevo orden) Michel Franco | Mexico
Night of the Kings (La Nuit des Rois) Philippe Lacôte | Côte d’Ivoire/France/Canada/Senegal
Nomadland Chloé Zhao | USA
No Ordinary Man Aisling Chin-Yee, Chase Joynt | Canada
Notturno Gianfranco Rosi | Italy/France/Germany
One Night in Miami Regina King | USA
Penguin Bloom Glendyn Ivin | Australia
Pieces of a Woman Kornél Mundruczó | USA/Canada/Hungary
Preparations to Be Together For an Unknown Period of Time (Felkészülés meghatározatlan ideig tartó együttlétre) Lili Horvát | Hungary
Quo Vadis, Aïda? Jasmila Žbanić | Bosnia and Herzegovina/Norway/The Netherlands/Austria/Romania/France/Germany/Poland/Turkey
Shadow In The Cloud Roseanne Liang | USA/New Zealand
Shiva Baby Emma Seligman | USA/Canada
Spring Blossom Suzanne Lindon | France
A Suitable Boy Mira Nair | United Kingdom/India (Closing Night Presentation)
Summer of 85 (Été 85) François Ozon | France
The Third Day Felix Barrett, Dennis Kelly | United Kingdom
Trickster Michelle Latimer | Canada
True Mothers (Asa Ga Kuru) Naomi Kawase | Japan
Under the Open Sky (Subarashiki Sekai) Miwa Nishikawa | Japan
Violation Madeleine Sims-Fewer, Dusty Mancinelli | Canada
Wildfire Cathy Brady | United Kingdom/Ireland

 

A note from TIFF:

TIFF continues to work closely with the Province of Ontario, the City of Toronto, and public health officials on the safe execution of the Festival, with its number-one priority being the health and well-being of both Festival filmgoers and the residents of the entire community. Additionally, TIFF has partnered with Medcan, a global health care leader providing medical expertise, consultation, and health inspiration to achieve its mission of helping people “Live Well for Life.” Based on the pillars of evidence-based care, exceptional client service, and the latest in technology, Medcan’s team of over 90 physicians and specialists support employee health care across the continuum of health, including its “Safe at Work System” helping organizations navigate the pandemic.

The worldwide health crisis has affected everyone working in the cultural industries, and TIFF has been severely impacted. Its role in the ecosystem of the film industry was the impetus to move forward, to deliver a film festival that inspires and engages audiences, and to serve as a beacon of hope for Toronto, for filmmakers, and for the international film industry. TIFF is the cornerstone of a $2-billion-a-year film industry in Toronto, generates more than $200 million in annual economic activity for the City of Toronto and the Province of Ontario, and is the chief market to launch Canadian film content into the global marketplace.

I Told You In June That the Emmy Awards Would Be Virtual, Now They’ve Sent Everyone a Letter Explaining It

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I told you on June 15th that the Emmy Awards would be virtual. That’s when the Governor’s Ball was cancelled, and HBO threw in the towel on their annual gala.

So today the TV Academy and Jimmy Kimmel sent out a letter to everyone involved explaining that the show would be virtual.

Variety snagged the letter. Here it is:

Dear Nominees,

The producers of Emmys 2020 congratulate you on this incredible recognition of your work.

We’re delighted and honored to be producing the event on September 20th and have every intention of not only making sure that it is not compromised by this crazy moment in our lives, but that it is the most memorable Emmys ever and that you have a wonderful night. As you’ve probably guessed, we’re not going to be asking you to come to the Microsoft Theatre in downtown LA on September 20th. This year, it’s still going to be TV industry’s biggest night out… but we’ll come to you!

At a time like this, we’re taking the opportunity to create a moment that is more relaxed, more entertaining, more enjoyable not only for you, but for the millions watching at home. It’s still television’s highest honor, and we never want to lose the significance of being nominated for, and maybe winning, an Emmy, but we’re going to do in a way that is appropriate to the moment (and guarantees you a memorable night).

But we cannot ignore the circumstances, and aside from NOT being able to come together in one place, we also acknowledge that our world is going through a challenging moment in many ways. We’ll be producing an event that is filled with warmth and humanity, which celebrates the power of television to bring us together and to help us shape our world. You are an essential part of that story.So, what does this all mean for September 20th?

We are assembling a top notch team of technicians, producers and writers to work closely with Jimmy Kimmel and with you and your team, to make sure that we can film with you (and loved ones or whomever else you choose to be with) at your home, or another location of your choice. We’re going to make you look fabulous – we’re exploring the cutting edge of technology to allow to use good cameras and lighting and look forward to working with you to produce your unique “on screen” moments.

So, what are you wearing??? Our informal theme for the night is “come as you are, but make an effort!”

If you want to be in formal wear, we’d love that, but equally if you’re in the UK and it’s 3am, perhaps you want to be in designer pajamas and record from your bed! We want to work with you to style your moments, but want you to guide us on your levels of comfort – where you want to be, who you want to be with, what you want to wear etc.

In the forthcoming days, Jen Proctor, our Talent Producer and her extraordinary team at Cultivated Entertainment will be reaching out to you to start talking through the details.

Once again, congratulations.
With respect and admiration,
Jimmy Kimmel, Ian Stewart, Reggie Hudlin, Guy Carrington and David Jammy
Executive Producers, 72nd Primetime Emmy Awards

Paul McCartney’s “Flaming Pie” Box Set is A Must Have with 7 Great “Lost” Songs Featuring Ringo, Steve Miller, Jeff Lynne, Phil Ramone, Dave Stewart

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If you’re like me, you have the artists you love, but you’re not collecting rooms full of bootlegs.

With Paul McCartney, of course, there’s a bootleg economy. A lot of his unofficial stuff is known to those insiders but it’s just too much effort for regular fans. So when there’s a reissue, a box set, an official compilation that contains rarities, I’m there.

Paul’s 1997 album, “Flaming Pie,” is one of his very best solo outings, consistent from beginning to end with 12 terrific tracks. But by 1997, Paul was 55 and not having his spectacular singles career from the 70s and 80s. “Flaming Pie” was a modest hit, but a little lost at that time among contemporary artists (many of whom disappeared after one hit).

So now we have “Flaming Pie” tomorrow in a new expensive, limited edition box, plus other configurations that are more affordable. The double CD contains one disc of the original album, remixed and sounding brilliant. But the real treat is the second disc, which as demos, home recordings, and 7 songs Paul has never released officially.

The unreleased songs include “Bookworm,” with Steve Miller (yes that Steve Miller), “Same Love” with the late very great Nicky Hopkins on piano, “Love Come Tumbling Down,” co-produced by legendary producer Phil Ramone, “Looking for You,” featuring Ringo on drums and co-produced Jeff Lynne, and a doodle called “C’Mon Down, “C’Mon Baby.” These songs are an unexpected gift from Paul as they all stand out as essential new pieces of the McCartney puzzle.  I’m going to need 2 copies of the double CD so I have one for the car. (Yes, I still have CDs in my car.)

There’s also an incredible track called “Whole Life,” recorded with Dave Stewart and released on a Nelson Mandela tribute record in 2005.

The basic “Flaming Pie” is very tasty. (Ouch!) Paul released it the year before his beloved wife, Linda, died of breast cancer. No mention is made of that in Chris Heath’s excellent liner notes for the big box set, but what was going on at home can’t be ignored. McCartney released just two albums of new material in the 1990s– “Off the Ground” in 1993 and this one in 1997. “Off the Ground” was pleasant, but a slump after the amazing 1989 collaboration with Elvis Costello called “Flowers in the Dirt.”

“Flaming Pie” reclaimed the high ground he’d left behind from “Flowers.” Every bit of it feels inspired, new, shiny. The concepts are well thought out. It’s the beginning of Paul grappling with moving forward an keeping an eye on the future. He knows it, too. When he wrote the line, “I go back so far, I’m in front of me” in “The World Tonight” he knew he’d found gold. He was certainly thinking of Linda’s illness and the uncertain future for his beloved family. It’s all contemplated in the opening number, “The Song We Were Singing.” He’d return to this theme in another great album, “Memory Almost Full,” from 2008.

The rock press, writers and critics all think it’s too easy for Paul, so they tend not to take much of his solo output seriously. That’s a big mistake. He’s not just “Band on the Run.” He’s written and produced mountains of really important material that will be raked through in generations to come. “Flaming Pie” will be considered more than just a dessert. It’s a satisfying main dish.

I’m featuring “Love Come Tumbling Down” here because of Phil Ramone, who was also a genius, and because once you hear it you’ll wonder why it was relegated to be a B side of a single and not included on the album.

I’m also a big fan of this one, “Same Love”:

And here’s “Whole Life”