We've lost another from the days of Camelot.

Robert Goulet, the booming baritone from Lawrence, Massachusetts -- and the original Lancelot in the legendary Broadway musical "Camelot" has died at the age of 73. "Camelot" was Goulet's debut on the Broadway stage, in a cast that included Julie Andrews and Richard Burton. He was an instant sensation in a role that both mocked and celebrated his chiseled chin, and stunning vocal power.

Subtle? No.

Memorable? Absolutely.

The link between Camelot and the JFK White House became a metaphor for the era -- triumph, tragedy, unfulfilled dreams. A lot of that applies to Goulet's post-Camelot career. He actually won the Best New Artist "Grammy Award" over Bob Dylan in 1962 -- but after that he sort of devolved into a Vegas lounge act and B-list Rat Packer. He would never regain A-list status, but the good will and fond memories of "Camelot" would always carry him through. Only a performance of the highest caliber can hold that kind of lasting acclaim.

In later years, Saturday Night Live's Will Farrell would hilariously send up Goulet, but always with more affection than bite. Goulet enjoyed the joke as much as anyone, never taking himself too seriously. That's what I liked most about Goulet, he was a shooting star, but he never whined and moaned about his change in fortunes. Like the city he was born in, he just kept on plugging.

Goodbye Goulet, your shining moment as Lancelot will forever be the stuff of legend.

The Demon Barber of Fleet Street is right at home in the Hub. This re-imagining of Stephen Sondheim's landmark musical is laced with talent, and delivered with the intensity of a fever dream. Intimate and epic at the same time, "Sweeney Todd" draws its audience into a chilling world of revenge and blood lust -- but it does so with scorching wit, and musical dexterity that is a wonder to behold.

The original production of "Sweeney" was big on spectacle. In this production director John Doyle swaps the sprawling streets of London for an intimate parlor room -- and the most imposing bookcase you've ever seen. The company is made up of ten actors who also serve as the show's orchestra. Each plays an instrument, some several, and together seamlessly deliver the complex score. You might think the sight of an actor carrying a cello, or a violin, or a trumpet would break all sense of character development. What actually happens is just the opposite, actor-singer-musician meld in a glorious fusion.

As Sweeney, David Hess is menacing one moment, tender and broken the next. His rage at being deported by the lascivious Judge Turpin, his wife and child stolen from him, is etched in every crevice of his face. His razor slashes at the malignant injustice of the world, his sense of right and wrong blinded by fury. Hess has a powerful singing voice, but he pulls it back skillfully to give his featured songs a chilling edge. He's nothing less than astonishing.

For a show that has a multi-purpose coffin and buckets of blood, it also has an amazing life force -- Judy Kaye as the demented pie maker Mrs. Lovett. Sweeney takes his victims down, and Mrs. Lovett serves them up. In her tattered fishnet stockings and black goth wig, Kaye convinces you that her grisly recipe is actually quite practical. She owns the stage, whether she's cooing the deadpan ballad "By The Sea", trading barbs with Sweeney in "A Little Priest", or stomping around with a tuba. Kaye is rightly celebrated as one of our best musical actresses, and after seeing her as Mrs. Lovett you'll understand why.

There are several key holdovers in Boston's "Sweeney" from the Tony Award winning Broadway production. Benjamin Magnuson as Anthony and Lauren Molina as Johanna are two of them. They both play cello beautifully, and they both bring a geeky charm to their roles as star crossed lovers. Diana DiMarzio is the other, returning as the Beggar Woman who stalks the stage with a heartbreaking secret -- and a piercing clarinet.

The show also gets a nuanced and wickedly funny turn from Keith Buterbaugh in the sometimes thankless role of Judge Turpin. Benjamin Eakeley brings sleazy street smarts to The Beadle, and Edmund Bagnell is haunting as Tobias. He sings "Not While I'm Around" with sweetness and steely resolve and he plays the violin so well that even if he couldn't sing a note you'd be riveted.
A quick note on the Broadway production. There's no question that Patti LuPone and Michael Cerveris brought a different brand of star quality and sexuality to the lead roles. Their performances are now the stuff of legend. That said, the work of Judy Kaye and David Hess should be seen and appreciated with equal wonder. This is once in a lifetime theatre, and you must experience it for yourself.

"Sweeney Todd" is only at the Colonial Theatre until November 4th. As the company sings so convincingly ... "attend the tale."

A show originally scheduled for the massive, and mind-numbingly boring TD Banknorth Garden, finds itself at the compact, and endearingly messed up Orpheum. Kelly Clarkson, the Texas bar room belter who charmed the nation and won the first American Idol competition rolls into the Hub tonight.

Our Kelly is battle tested now, and I'm not talking about surviving Simon -- she's gone nose to nose with record company drones over artistic integrity and the direction she wants to take her career. The industry can claim she's their creation, but you know what, only Kelly herself can deliver the goods -- and you know what. She does.

I'm an indie rock guy, for the most part, but I really enjoy Clarkson's brand of power pop. "Since U Been Gone" is a solid song, but Kelly's vocals turned it into a tour de force. Anyone who's been on a one way street in a relationship can feel the cathartic defiance she brings to it. If some of the material on her new CD "My December" doesn't have the instant catchiness, well that's the way it goes sometimes. This was an album she needed to make.

Also, some music wags have taken some shots at the fact that a lot of tweener girls will take in this show with their moms. You know what I say? Rock on moms! Good for you for taking your kids to an honest to goodness rock show. Clarkson isn't some phony mall rat lip-syncher, she's going to challenge her band and her audience. She's a young woman everyone can relate to, blemishes included.

A word of advise for Kelly, who likes to perform bare foot -- not a great idea at the Orpheum!

Tear it up kid!

Lots of college homecomings in the Boston area this weekend, plus a musical homecoming -- They Might Be Giants. The two Johns (Flansburgh and Linnell) -- still the coolest thing ever to come out of the town of Lincoln -- have a show at the Roxy in Boston tonight, and the Calvin Theatre in Northampton tomorrow. If you can snag tickets, GO!

For 25 years now TMBG have brought their unique brand of inspired quirkiness to anyone willing to listen. Best know for "Birdhouse in Your Soul" and "Boss of Me" (the theme for the television sit-com "Malcolm in the Middle") TMBG was indie before indie, geek before geek, their act wonderfully out of step with current trends, or absolutely perfect for the moment. Commercial radio has never known what the hell to do with them (high praise indeed) -- it's always been word of mouth.

If you've been a fan for a decade, or a day, it really doesn't matter. ALL are welcome in the TMBG universe, but respect your elders. The new CD "The Else" is very solid. The Johns are a lot like Springsteen in the sense that they know what works for them. You'll pick up common rhythms and themes in their tunes, but they'll always throw in a twist to freshen things up.

My personal favorites? "Doctor Worm" (how can you not love a song about a worm who plays the drums!) , "Meet James Ensor" (the best song ever about an obscure Belgian painter!), "James K. Polk" (the best song ever about an obscure American president!), and "New York City" (one of the sweetest songs ever about the Big Apple).

I'd also like to thank my daughter Mallory and her friend Dan for opening my eyes, and ears, to the fun of TMBG.

Have a great weekend.

Sometimes the best way to put a blog entry together is not to try too hard. With the Red Sox in the playoffs the work load in the old news department is pretty thick, but that doesn't mean I haven't been paying attention to the old pop culture beat. Here's some random thoughts.

I didn't get to attend the Smashing Pumpkins concerts at The Orpheum, but there's been quite a bit of buzz from people who did. I love the stuff the Billy Corgan put together for "Siamese Dream" and "Mellon Collie And The Infinite Sadness" --but that's pretty much where it ended for me. All the nastiness connected to the breakup of the original quartet, and Billy's megalomania really spoiled the whole thing for me. Forgive my marketing cynicism, but Corgan brings in a female bassist to replace D'arcy -- the smoking hot and very talented Ginger Reyes -- but then doesn't even bother to introduce her, or anyone else, during the first show. Nice. During the Mellon Collie tour Corgan used to wear a t-shirt with the word zero spelled out across the chest. Bingo.

Led Zeppelin is finally releasing its catalog to iTunes. That's cool. I'll definitely pick up a few choice tracks, but no full Cd's. I know this is rock and roll blasphemy, but I've never been that wild about Led Zep. I put them in the same category as The Doors -- endlessly overpraised.

Jimmy Eat World, a band I feel doesn't get enough credit, has a new album out this week called "Chase This Light." I've got all their stuff, yes I even have my pre-9/11 copy of "Bleed American" -- this group is smart, independent, and worth your time.

Heads up for you Boston theatre fans, "Sweeney Todd" opens at the Colonial Theatre next week. This re-imagining of the Stephen Sondheim classic is lean, mean, and vital. Trust me, get your tickets now, and we'll talk more after the show opens.

Finally, how about a shout out for Oreo flavor Klondike Bars. Yesssssss.

It's another dreary day .. I'm tired ... and for some reason I feel like venting about Kid Rock! Is it the Rolling Stone cover? The Newsweek feature? Maybe. Mostly I think it's the unfairness of a world class jackass like Mr. Bob Ritchie getting any kind of attention at all.

How many worthy bands will break up in frustration while this knuckle dragger cashes checks for millions of dollars? I know the world isn't fair ... but does it have to be so obvious.

On a more positive note, episode two of "Pushing Daisies" was a delight. Kristin Chenoweth doing a sweet Olivia Newton John tribute. This show is so weird and wonderful ... please keep watching.

Tonight at Johnny D's in Somerville it's FODfest. It's a musical tribute to the late Wall Street Journal reporter Daniel Pearl who was murdered by terrorists in Pakistan. Besides being a courageous reporter, Pearl was also an amateur musician and deeply enjoyed the Berkshire music scene. FOD, by the way stands for Friends of Danny. Expect some heartfelt indie and roots rock.

Finally, Radiohead's new album, "In Rainbows," is now available on the group's website. It's download only, and you decide the price. These guys are brilliant, innovative, and fearless ... please support them accordingly. http://www.inrainbows.com/Store/Quickindex.html

Is it still magic when you know how the trick is done?

In Bruce Springsteen's case the answer is. "Yes."

The new CD from the boss is called "Magic" but it's more of the street corner variety than a David Blaine network spectacular. And you know what? -- that's OK. Bruce is now in E Street mode. He's put aside the homespun earnestness of "The Seeger Sessions" and the stripped down grimness of "Devils and Dust." Just in time too, 'cause Bruce can still be a vital voice in contemporary music, not some dusty museum piece.

So what do we have on "Magic?" Well, if Bruce were a public interest group he'd be the Sierra Club because there's a whole lot of recycling going on. With the exception of Radio Nowhere and Last to Die there's nothing that pushes into the breakthrough category. In fact on just about every song you can pick out a riff, or theme or hook that matches up pretty closely to an earlier tune. Livin' In The Future has more than a passing resemblance to Tenth Avenue Freeze Out -- I'll Work For Your Love is a hybrid of Thunder Road and Land of Hope and Dreams. The title track could be The Ghost of Tom Joad Part II. Does that make the new songs weak? Not really. Bruce is smart enough to only re-work the good stuff so the new songs feel instantly comfortable and credible.

"Magic" also flies by at a crisp pace, even the bonus tribute song to Springsteen's late friend Terry Magovern doesn't slow things down very much. If you've ever listened to "Devil's and Dust" from start to finish you'd swear it's six hours long. It also helps that Bruce really has something to say. Last to Die, Long Walk Home and Devil's Arcade all tackle the fragile balance between the promise and reality of American life. Unlike "The Rising" the message songs blend much better with the less heavy material. You can enjoy Girls In Their Summer Clothes without feeling guilty about it. Mary's Place on "Rising" just felt out of place.

You also have to give Springsteen credit for hitting the road with new material. He could fill arenas forever without ever writing a new song, but wouldn't think of it. Hello Sting! Bruce also writes songs that allow his band mates to shine. Sure, he's the ring master, but he loves to share the spotlight. The new songs will blend seamlessly with the classics on tour, and no one will leave a Springsteen show feeling slighted.

"Magic" is not essential Springsteen, but it is most welcome. Bruce proves you don't need smoke and mirrors to sell a class act.

I'm pulling hard for "Pushing Daisies" even though I know in my heart it's far too good for network television. How pumped am I for this show? Put it this way, I'm a lifetime member of Red Sox Nation and I watched tonight's premiere while the Sox were playing Game 1 of the American League Division Series against the Angels. That's right I don't have a Tivo or DVR -- oh, the shame -- and yes, I did check the score during the commercials.

Back to "Daisies." It's everything I'd hoped it would be. Clever, wry, whimsical, twisted and fun. If you were lucky enough to catch a few episodes of "Wonderfalls" on Fox a few years back, then you know the kind of skewed magic creator Bryan Fuller is capable of. Fox quickly pulled the plug on "Wonderfalls" -- intelligence scares that network senseless -- but Fuller has arrived at ABC with an even better mouse trap.

"Pushing Daisies" flows from the Tim Burton school of storytelling. It's like "Beetlejuice" crossed with "Edward Scissorhands" by way of "The Nightmare Before Christmas." Ned, played by Lee Pace, is the central character. He can bring things -- people, pets, fruits -- back from the dead with a touch of his finger. One problem -- if he touches them again they die. This is great news for a profit driven detective who picks up reward money for solving puzzling murders -- not so great news for the love of Ned's life who gets a second chance at living, but can never touch her quirky knight in shining armor.

I know, that's a whole lot of plot for a pilot episode, and boy did it fly by. Anna Friel, as Chuck -- Ned's love interest -- is as ripe and tasty as the pies that Ned whips up in his restaurant. It's called the Pie Hole by the way -- and yeah, it's shaped like a pie. Yummy. Up until her unfortunate demise, and sudden rescue, she'd been living with her crazy, but lovable aunts. Now she's got a new beginning, sure with strings attached, but she's no shrinking violet. She's up for some payback too.

Chi McBride gets to play the cynical detective, and it's so much fun watching him play a character who's not nice or noble. He even gets to call Ned a "bitch" in episode one. Throw in a little toothpick chewing and you can tell the guy is having the time of his life.

Of course none of this works unless you care about Ned, and here's where Lee Pace shows his acting chops. His longing and passion has to be internalized, he's afraid of the physical contact that's led to so much confusion in his life. It's all about the glance, or the catch in the voice. He handles it all beautifully.

Throw in the fact that you've got Kristin Chenoweth playing, well, Kristin Chenoweth -- Swoosie Kurtz as an eye patch wearing aunt -- an eye popping (sorry Swoosie) visual style -- and whip smart writing. Like I said earlier, it's all way too good for network television.

So, in my heart of hearts I know "Pushing Daisies" is probably doomed, but I'm not going to let that deter me. Might this have worked out better as a feature film instead of a television series? Possibly. Can Fuller keep his story fresh and inventive over the long haul? Difficult, but possible. Should we all lobby our friends to jump on the bandwagon while there is a bandwagon? Hello!

Take if from a Red Sox fan, don't let a good thing slip through your fingers.