The Motels Featuring Martha Davis Live at the Whiskey A Go Go (2015, Vesuvio Entertainment, Blu-ray, NR, 87 min.). This concert, which occurred on vocalist/songwriter Martha Davis’s birthday on Jan. 19, 2015, helped mark the 50th anniversary of Los Angeles’ Whiskey A Go Go club.

I was an early follower of The Motels. The band began as a new wave group from Berkeley, California. It is best known for the singles “Only the Lonely” and “Suddenly Last Summer,” both of which peaked at No. 9 on the Billboard Hot 100, in 1982 and 1983 respectively. In 1980, The Motels' song “Total Control” reached No. 7 on the Australian chart for two weeks and their song “Danger” reached No. 15 on the French chart. All four are included in this wonderful 18-song show.

The second incarnation of the band, which formed in March 1978 and signed to Capitol Records, included Davis on vocals and guitar, lead guitarist Jeff Jourard (formerly of a pre-fame version of Tom Petty and the Heartbreakers), Jourard's brother Marty (saxophone and keyboards, and still with this 2015 version), bassist Michael Goodroe and drummer Brian Glascock. There would be many lineup changes through the years, as there are 31 former members listed on Wikipedia.

Davis reformed a version of the band called "The Motels featuring Martha Davis" in 1998 and toured under that name with various lineups. The band in this 2015 show, in addition to Davis, who plays guitar on 11 of the songs, and Marty Jourard, are lead guitarist Clint Walsh (strong playing on several songs), bassist Brady Wills (played next to Davis, often interacted with her and sang “Happy Birthday” to her during the encore), drummer Eric Gardner and keyboardist Nicholas Johns.

Jourard’s sax is first heard on “Party Professionals,” the show’s first song, which goes directly, via keyboards and drums, into the strong “Where Do We Go from Here.” Davis picks up her guitar for this song and the lovely “Celia,” which follows. A revenge warning, “Celia” always was a favorite of mine. Her classic “Take the L” – the lyric is “Take the L out of lover and it’s over” – follows and Walsh shines on guitar.

Next is “Counting,” a 1979 song that was recorded for the original band’s rejected demo for Warner Bros. It is followed by the hit “Suddenly Last Summer” and a then-new “Nothing,” about divorce.

“Danger” is harder rock, featuring sax and a strong guitar solo by Walsh. “So LA” is Davis’s first impressions of Los Angeles in 1975 and features ferocious Walsh guitar. During “Total Control,” another highlight, Davis throws her hat into the crowd, and the strong rockers “Obvioso” and “Cry Baby” follow. Davis invites the crowd to form a conga line – they don’t – for “Apocalypso,” another with sax, which ends the main show.

For the two-song encore, Davis exits the building so she can enter from the back of the audience and sings “Mr. Grey,” as she moves through the crowd. The sax-filled “Only the Lonely” then ends the excellent show.

During the closing credits, an early video of Davis singing “Total Control” is shown. Extras include Davis surprising a longtime fan pre-show (1:48) and a first-time interview reunion with former group members Dean Chaberlain, Jeff Jourard and Robert Newman (24:34). Grade: concert A; extras B-

Yes: Live at Roosevelt Stadium, Jersey City, 17 June 1976 (Rhino, 2 CDs, 1:53:23). This is the first official release of the much-bootlegged radio broadcast and marks the concert’s 50th anniversary. The concert features the formidable “Relayer” lineup of vocalist Jon Anderson, guitarist Steve Howe, bassist Chris Squire, drummer Alan White and keyboardist Patrick Moraz. Aside from a few cuts on 1980’s “Yesshows,” this is the only other live document of the “Relayer” lineup.

The band was at a creative peak during the “Solo Albums Tour,” delivering a mix of full-band epics like “The Gates of Delirium” and “Ritual,” alongside their classics “Siberian Khatru,” “Heart of the Sunrise” and “Roundabout.” It was called the “Solo Albums Tour” because it included individual spotlights: Anderson’s ethereal selections from “Olias of Sunhillow,” Moraz’s rhythmic explorations from “The Story of I” and Howe’s acoustic “Clap.”

The background is Moraz joined the band on keyboards, replacing Rick Wakeman, and they very quickly made “Relayer” before heading out on tour. Having toured that album, the members went their separate ways to make solo albums. By this the 17th show of the tour, the solo album material was dropped almost entirely, except for some of “Story of I” in Moraz’s solo and some “Olias” from Jon, both in excerpts here. The other solo material was replaced by the 26-minute “Ritual (Nous Sommes du Soleil” from their “Tales from Topographic Oceans” album.

This show has very good sound quality, making it superior to any prior bootleg recordings. The band plays with a quick, aggressive pace and dynamic energy. Moraz’s keyboard work is different from Wakeman’s, but still distinctive on several Yes classics.

“Siberian Khatru” starts the show off and the band hits the ground running. The pace is relentless as the band also tackles two from “Relayer,” including a superb live version of “Sound Chaser,” with Howe’s strong guitar playing. There is left to right panning during the guitar cadenza, and Moraz’s has searing keyboard solos. The other is “The Gates of Delirium,” with its bass and drums showcases and Anderson’s robust singing during the 22-minute track and its beautiful “Soon” hymn-like finale.

Howe’s guitar shines on “I’ve Seen All Good People.” A short acoustic “Long Distance Runaround” is next, with Howe adding some electric guitar licks. This leads into the solo section, with Moraz playing “Cachaca (Baiao),” Howe his familiar “Clap” and Anderson an excerpt from “Olias of Sunhillow,” even though the album’s release was still a few weeks away.

Moving to disc two, “Ritual” has writers Anderson and Howe sing and play beautifully throughout, and Squire and White have an incredible bass and drum section before the number closes. Next is “Heart of the Sunrise” (11 min.), then a lightning-paced “Roundabout.” The show then ends with an unexpected cover of The Beatles’ “I’m Down,” led by Howe’s guitar work. Grade: CDs A

I Was a Teenage Sex Pistol (1925, Vantage Media, Blu-ray, TV-MA, 95 min.). Glen Matlock, on whose book the documentary is based, was the original bassist of the Sex Pistols, the band that shocked the British music industry and helped bring the punk movement to the forefront. Matlock also was, apparently, the only member who really knew how to play his instrument.

The documentary, directed by Nick Mead and Andre Rells, tells of the band's chaotic rise, from London's grim 1970s streets to global notoriety, sharing untold stories of punk's birth, bandmate dynamics and Matlock’s overlooked role in creating their legendary and only album, “Never Mind the Bollocks, Here’s the Sex Pistols.” Matlock cowrote 10 of the album’s 12 songs.

Drummer Paul Cook and guitarist Steve Jones of the Sex Pistols are interviewed, along with a bevy of their contemporaries from other bands. This includes a lot of Billy Idol, who used to hang out with the band members.

Matlock recalls the Teddy Boys and their brothel creeper shoes, and going to work in Malcolm McLaren’s Let It Rock store. McLaren, wanting to get ride of his Teddy customers, changed the store name to Sex and started introducing wilder clothes styles, which became part of punk culture. Matlock and other members of the Sex Pistols had a common liking of The Faces, the group Rod Stewart sang in before his solo career.

The punk rock movement was a response to the progressive rock movement, which featured long solos.

Matlock, Jones and Cook were the original band members, along with guitarist Wally Nightingale, but McLaren apparently thought Nightingale’s look was unsuitable for the band and got rid of him. Instead, McLaren found singer John Lydon (better known then as Johnny Rotten) and he joined the band. Later, Sid Vicious joined, replacing Matlock at Lydon’s insistence, even though Sid could not play the bass initially. McLaren claimed Matlock was sacked because he liked The Beatles.

The band gave us such classic songs as “Anarchy in the U.K.,” “Pretty Vacant” and “No Future (God Save the Queen).”

During the film, Matlock revisits many of the locations associated with the band. He also is briefly shown performing in 2024 at the Troubadour in West Hollywood. Grade: film A-

Jodeci: Forever My Lady (Uptown/UMe, CD, 79 min.). This 35th anniversary edition of the debut of Jodeci comes with five new bonus tracks. The quartet consisted of DeVante Swing, Mr. Dalvin, K-Ci and JoJo.

The album's production and composition were attributed to group member DeVante Swing (aka Donald Earle DeGrate Jr.), who co-wrote three tracks and wrote the other nine solo, and Grammy-nominated producer Al B. Sure! As they crafted the album's sound. The recording sessions took place at various recording studios during 1990 to 1991, and were relentlessly worked upon in order to shift to the consensus of R&B music. The duo added more of a hip-hop sound to the album, using synthesizer-heavy rhythm tracks.

The songs range from passionate and elegant songs about love, to energetic and swaggering songs centered around sex and partying. The lyrics are delivered in both rapped and sung verses, exploring the feelings of love and seduction. Highlights are “Stay” and “Come & Talk To Me,” both with nicely layered vocals. The title track broadens the sound and phone conversation is used in “My Phone.” A successful upbeat track is “Gotta Love.” Also upbeat is “Play Thang.”

Following its anticipated release, the May 1991 release debuted at number one on the Billboard Top R&B Albums chart and peaked at No. 18 on the Billboard 200. Three of the album's singles charted on the Billboard Top 100, including the top-15 hit “Come & Talk To Me.” The album was certified multi-platinum. It spent 83 weeks on the Billboard 200, making it one of the longest runs by a ‘90s male R&B group.

This new addition includes “Cherish,” which came from the “Fried Green Tomatoes” soundtrack, in a hip hop version, plus the 6:09-long “Stay – A Capella,” “Come & Talk To Me -- Radio Remix” (6:24), “I'm Still Waiting -- Swing Mob Radio Mix” and the acoustic “Forever My Lady -- Live from Uptown MTV Unplugged/1993.” Grade: CD B+