Michael Doherty's Music Log

The Shirts: "Live" (2025) CD Review

2026-04-11T22:07:00.000-07:00

It must have been something to be in New York in the 1970s and early 1980s, to be able to catch some of those great punk and new wave bands as they were starting out. The Shirts were one of the bands that played regularly at the famed CBGB, a band that, from all I've heard, was predominantly a live band. The real magic was in their concert performances. As a Grateful Dead fan, I know precisely what The Shirts fans are talking about. The Shirts put out their first album in 1978, and followed it with LPs in 1979 and 1980. And then that was it. At least as far as studio albums were concerned. The band focused on what it did best, live performances. Live was recorded at Hi-Five Studios in Manhattan in the spring of 1981. What is especially wonderful about this album is that it features material that was new at the time, songs that were not on the band's studio releases. The band is made up of Annie Golden on lead vocals; Arthur "Artie" Lamonica on guitar, keyboards and vocals; Ron Ardito on guitar and vocals; John Piccolo on keyboards and vocals; Robert "Bob" Racioppo on bass and vocals; and John "Zeeek" Criscione on drums, percussion and vocals. The album contains all original material, with five of the six members contributing songs. This release contains a good, informative liner notes booklet written by Roger Houdaille.

"Let it roll, baby," one of the band members calls out at the beginning of the first track, and the band launches into "Little Bit Of Action," which begins with a strong, steady beat. And, yes, you can feel the energy immediately. In this song, they sing, "All I wanted was a little bit of action." Well, they're delivering it here, more than a little bit. This track features some good stuff on guitar. "Little Bit Of Action" was written by Ron Ardito. The energy remains high on "Nancy," written by Robert Racioppo. One of the lines from this one that stands out is "I wasn't blind, there's nothing to see," and they repeat it later in the song. This is fantastic, and that instrumental section in the second half is especially delicious. If I could get a time machine, I always said I'd travel back to the late 1500s in London and watch Shakespeare's original stage productions. But my next stop would be New York in 1981 to catch this show.

Annie Golden introduces "Lost In A Rhyme," saying, "This song is also new." She delivers a great vocal performance. "Words come so easy when you're around." By the way, even if you are not familiar with this band, you likely know Annie Golden from her acting career. I think the first thing I saw her in was Milos Forman's film version of Hair. She had a part in Forever, Lulu, a movie that also stars Deborah Harry, and had a recurring role on Cheers, and, more recently, in Orange Is The New Black. "Lost In A Rhyme" was written by Artie Lamonica. "This is another new one," they tell the crowd, and go into "Don't Say Forever," one that begins more slowly. "You keep yourself up on the news/You gotta lot of nerve, and got no clues/It's better than before/'Cause you're standing by an open door." This one has a different vibe, and a certain beauty. It's a thoughtful number that puts us in a more reflective frame of mind. "And we could get through and get by."

The energy then increases again with "I Wanna Be A Rocker," a totally fun track that features some delicious drumming. The vocal work has a great rhythm to it too, particularly on the verses. Plus, the guitar work is excellent, certainly at least partially inspired by some of the early rock and roll greats. This one was written by Robert Racioppo and Ron Ardito. "This song is called 'Tears Comin' Down,' when things don't quite work out," Annie then tells the audience. There is a sweeter feel to the vocal work on this one, at least at the start. And the song still rocks, growing in power. "Tears comin' down, I'm growing up/You called my name, I called your bluff/Too bad we both were not enough." That's great. I love her vocal performance, as well as the backing vocals echoing "Growing up." And check out that bass work. This ends up being one of my personal favorites. By the way, I should mention here that the sound quality is excellent. And the bass at the beginning of "Boys Will Be Boys" is so damn good, and it, along with the drumming, works to get us excited. Oh yes, this track is a treat right from its start. It does kind of settle a bit after that opening section, but soon returns to it again. This one was written by John Piccolo and Annie Golden.

The guitar starts "Laura's In The Lion's Den," and soon there is a solid beat. But it is when we get that great stuff on keys that the song really takes off for me. "She says no more, no more, no more." This song has a certain power, and I especially love when Annie belts out lines toward the end. That section is fantastic. This one was written by Arthur Lamonica. "This is a quiet song," the band warns the audience before "One Of The Masses." Check out the opening lines: "I'm one of the masses/I'm feeling so mass-produced/And it's Friday night." Those are good opening lines, and this song features some passionate vocal work. It was written by Robert Racioppo and Artie Lamonica. That's followed by "Love Don't Arrive." I love the interesting opening of this one. And there is an intensity to this song that keeps us engaged. It's a compelling and fascinating number written by Artie Lamonica.

"This song is as yet unrecorded as well," Annie tells the crowd when introducing "Whoever Thought." "I keep repeating myself. I must be excited." I know I mentioned this before, but the sound is so good on this recording that it easily takes the place of a studio album. And Annie delivers another powerful vocal performance here. "I know I'm not the only one/I know we have to brave the storm." There is also something catchy about this song. "This is a torch song for the 1980s," Annie says in introducing "Boomerang." Her vocal delivery is sexy, sometimes soft and sweet, sometimes with a tremendous energy. There are parts of this song that have something of a 1960s vibe, particularly in the work on keys at certain moments. This is another catchy number, with some cool work on drums. It was written by Robert Racioppo and Annie Golden. Then "Hangin' On A String" comes on strong, this great force moving in toward us. Then, as it kicks in, it becomes a delightful number featuring a delicious beat and certain pop elements. It's a fun number, written by Ron Ardito. "Okay, thanks for coming to our party," Annie says. "This is the way The Shirts say, 'Good night, ladies, good night, ladies.'" That way is with "Like A Satellite," a kick-ass song, with a fiery energy to Annie's vocals. "My patience is wearing thin/I'm taking it on the chin." What a great ending. The band thanks the audience for coming, and then offers this advice: "Okay, now everybody get drunk." Good advice, especially these days.

CD Track List

Little Bit Of Action
Nancy
Lost In A Rhyme
Don't Say Forever
I Wanna Be A Rocker
Tears Comin' Down
Boys Will Be Boys
Laura's In The Lion's Den
One Of The Masses
Love Don't Arrive
Whoever Thought
Boomerang
Hangin' On A String
Like A Satellite

Live was released on September 26, 2025 through Think Like A Key Music.

The Riflebirds Of Portland: "April" (1989/2026) CD Review

2026-04-10T16:50:00.000-07:00

In the late 1980s and very early 1990s, many albums were released only on cassette, which at the time was not a problem, because everyone not only had a cassette player as part of his or her home stereo, but most cars came with tape decks too. And let's not forget boom boxes. Cassettes were everywhere. Now, not so much. Since that time, a lot of those albums have gotten CD, and even vinyl, releases. Others have not. I'm still waiting for that sole Tree Full Of Crows album to come out on CD, as well as the first few Jim Infantino albums. Those are east coast artists. On the west coast, there was The Riflebirds, now known as The Riflebirds Of Portland. That group's 1989 album, April, was one of those cassette-only releases. And now, thirty-seven years later (holy moly, has that much time really passed?), it is getting a CD release (and a vinyl release). And it has been remastered by Sean Magee at Abbey Road Studios in London, with some post production work by Adam Pike at Sound Asylum in Pasadena. The album features mostly original material, along with one cover. The band is made up of Kate Oser on vocals, Lee Oser on bass and rhythm guitar, Kevin Kraft on lead guitar, and Kevin Jarvis on drums and percussion. There are several additional musicians playing on various tracks, including Michael Danner on keyboards.

The album opens with "Pieces Of Time," which begins with a beat. And then, as the other instruments and vocals come in, a dreamy aspect is created. "Maybe tomorrow/Maybe sometime/We'll fly a spaceship across the sky/And settle on a world somewhere/On which you are always near." The album's title is mentioned in the lyrics to this song: "Maybe in April/When flowers thrill/I'll meet you walking upon a hill." Those moments when the vocals take on more power are expecially striking. The great Phil Parlapiano plays accordion on this track, adding another delightful layer, and Kenny Edwards plays bass. This song was written by Lee Oser and Marvin Etzioni. It's followed by "Memory Street," which has a cool vibe from its start. "I always thought that I was the strong one/Pain was a word that would never find me." There is an interesting effect, with what seems like an extra beat or breath in a line, keeping us on our toes. This track features some really nice guitar work. Jerry Donahue is on lead guitar, and Marvin Etzioni (of Lone Justice) is on acoustic guitar. This song was written by Marvin Etzioni. By the way, Marvin produced the original release of this album, and then returned for this reimagined version.

"Dreaming Of A Kiss" was released as a single in 1986 (on vinyl). The version here, as listed, is an alternate mix. There is a delicious pop energy to this song, and this version features some excellent work by Skip Parente on fiddle, which works in a delightful contrast to that great guitar work. The combination of those two sounds is fantastic here. There is a strong vocal performance as well. It all adds up to something special, and this song is one of my favorite tracks. I love that vocal work at the end, which takes us into a different place, where desire moves beyond words. This song was written by Lee Oser. The band slows things down then with "Michael," a beautiful song. Interestingly, there is some vocal work at the beginning of this one, some pretty humming before the lyrics. "When I look into your eyes/I see the world go by/Like a cloud alone at the edge of the sky." Wow, what a gorgeous and moving vocal performance. "Take a hard look at the city between us/Nobody else could find you/As the day dims to evening/There are no angels singing." Greg Leisz joins the band on pedal steel, Jim Garafolo is on bass. This is a completely captivating song, another of my personal favorites. It was written by Lee Oser.

Kate Oser delivers another beautiful vocal performance on "The Rain," and Skip Parente lends his talent on fiddle to this track. "I'm ready for a change/The world is not the same/So I think that I could pray/For many rainy days." What, a band in Oregon singing about the rain? Crazy. I lived up there for five years, and it rained every day from September through April. Marvin Etzioni delivers some nice work on mandolin on this track. "I feel I could sleep/And not awake/But if something could grow/Like roots beneath the snow." This song was written by Lee Oser. There is then an interesting intensity to the pop sound at the beginning of "After Today." And it has a good opening line: "The last time we kissed I was thinking to myself, we're done." And it takes off from there. This song is a delight, featuring some good work on horns. Scott Schuerman plays trumpet, and Doug Weiselman plays the other horns and did the horn arrangement. "After today, it's gonna get better." Oh, I hope so. Listening to this music, I believe it. This wonderful song was written by Lee Oser and Marvin Etzioni.

The drum at the beginning of "All I Know" feels like it's announcing the commencement of some somber ritual, and then the acoustic guitar has a wonderful folk sound. This one also features a different vocal approach, Kate taking hold of us with the first line. "Tears won't shake me/Dreams won't wake me/Like you do." This music is really something special. I need to hear more from this band. The band reunited and released a new album last year, which is good news for people who love music. I hope I get the chance to see these guys perform. "All I Know" is followed by the album's sole cover, The Beatles' "And Your Bird Can Sing," which is actually a bit jarring when it starts, particularly after the beautiful spell created by the previous song. It's not that they don't do a good job with this song; they certainly do. It's some jangle pop bliss. Andrew Williams plays electric guitar on this track. I also really like the bass line. It's interesting that The Riflebirds Of Portland covered The Beatles and then were able to remaster the album at Abbey Road Studios.

The album concludes with "Might As Well Stay," which was the flip side of the band's 1987 "On A Day Like This" single. The album version is a bit longer. It fades in, eases in, approaching gently. "We'll see how we feel when the sun comes up." There is something strangely soothing about the music, and then halfway through, it picks up in energy. "I thought I'd be walking on air/Thought I'd love you anywhere." This track contains a good bass line, which figures prominently. Marvin Etzioni plays bass on this one. I love how the song returns to a softer realm again in the second half. As it faded in, it fades out. This song was written by Lee Oser and Marvin Etzioni.

CD Track List

Pieces Of Time
Memory Street
Dreaming Of A Kiss (alternate mix)
Michael
The Rain
After Today
All I Know
And Your Bird Can Sing
Might As Well Stay

April was released on CD and vinyl on April 3, 2026.

The Blasters: "Hard Line" (1985/2026) CD Review

2026-04-09T14:04:00.000-07:00

In February, two Blasters albums from the 1980s were re-issued: The Blasters and Hard Line. Both contain liner notes by Chris Morris, and the notes are particularly interesting with regards to Hard Line, the final Blasters studio album with the original lineup. Those notes of course include information on what led to Dave Alvin's departure, but also about how the John Mellencamp song was recorded after the album was essentially finished, something I didn't know. In addition to that song, there is one traditional number, but the rest of the tracks were written or co-written by Dave Alvin. The band is made up of Dave Alvin on lead guitar, Phil Alvin on vocals and guitar, Bill Bateman on drums, John Bazz on bass, and Gene Taylor on piano. There are also some guests on this album. This re-issue was produced by Antone DeSantis and Chris Morris.

The album opens with "Trouble Bound," which surpisingly begins with some beautiful a cappella vocal work, voices softly singing, "Trouble, trouble, trouble." You might think it was the beginning of a gospel number. That vocal work, by the way, is by the Jordinaires. "Well, I'm old enough to know the score," Phil then sings, and we are into a delicious rock and roll number. "Well, that's all right, I'm just here for the fun." There is plenty of fun here to be had, no question. The backing vocalists echo, "Trouble bound." They also deliver a nice "Mmm bop bop" part that adds to the song's charm and appeal. And in the second half, Dave delivers a good lead on guitar. That's followed by "Just Another Sunday." This one was written by Dave Alvin and John Doe (of X), and it has a different vibe, a different sound, feeling a little more serious. It also has an interesting beat. While much of The Blasters' music feels like it comes from an earlier time, this song has more of an 1980s flavor. They tell us, "And it's just another Sunday/In a small town motel," and then, "It's just another Sunday in hell." How can you not love that line?

The band then goes more into Cajun territory with "Hey, Girl," which features accordion. That's David Hidalgo (of Los Lobos), by the way. And yet it's still rock and roll, a Cajun sort of rock and roll. It's a whole lot of fun, and features some good stuff on guitar. And even while Phil sings, "Hey, girl, don't you stay gone long/Don't you keep me hanging on/I hope you're fakin'/My heart is breakin'/Girl, don't you stay gone long," the song has such a cheerful vibe. Things then get into bluesy territory at the beginning of "Dark Night," one of the album's coolest tracks. Yeah, it's heavier, but so damn good. Check out these opening lines: "Hot air hangs like a dead man/From a white oak tree/People sitting on porches/Thinking how things used to be/Dark night/It's a dark night." The repetition of the line "It's a dark night" drives the point home, and grabs us. We can't help but agree. And this song features a strong vocal performance. "I thought these things didn't matter anymore/I thought all that blood had been shed long ago/Dark night/It's a dark night."

"Little Honey" was written by Dave Alvin and John Doe, yet has quite a different feel from "Just Another Sunday." There is a country vibe to this one from the start, with that great work on fiddle. That's Richard Greene, and his instrument plays a prominent role in this great track. "Little honey, it won't make me mad/If you tell me about a boyfriend that you had/Who lied last night, who made you sad/Who left you cryin' by the side of the road/Who left you cryin' to walk home all alone." The band then delivers a wonderful rendition of the traditional number "Samson And Delilah," this one featuring some excellent backing vocal work. It's quite a different approach from, say, how the Grateful Dead handled this song, in large part because of the backing vocals. And the guitar has a delicious, raw sound. It works so well.

"Colored Lights" is the song that John Cougar Mellencamp gave The Blasters. John Mellencamp's version would eventually be included on On The Rural Route 7609, a four-disc boxed set released in 2010. Interestingly, this version by The Blasters sounds more like what John Mellencamp sounded like in the 1980s; that drum beat at the beginning could easily be by Kenny Aronoff. "How do you talk to an angel?/I wish I knew/And when the room goes dark/They're going to turn on the colored lights." This song was also released as a single. It is followed by "Help You Dream," which is delightful from the start, with that wonderful backing vocal work. This track has an excellent mix of early rock and roll and country vibes, with a strong bass line. "'Cause you're the prettiest woman I think I've ever seen/And tonight if you let me I'd like to help you dream." I love that. And I love how later the woman kind of calls him out on his lines, "You should have been in movies/You say you haven't heard that in a while." This is one of my personal favorite tracks. It features some really nice stuff on piano.

The album takes another interesting turn with "Common Man," which has a bluesy edge and a catchy rhythm. These lines certainly strike us these days: "He says he's your friend/A friend of the common man/He's got all the answers/The good days will be back soon." Yikes! Things just don't change, do they? The problem is that there are too many stupid people who fall for this kind of crap every time. Who would have thought they'd fall for it from a supposed billionaire who continually bragged about being rich, a guy who clearly never worked a day in his life? But they did fall for it, over and over and over. I love the intensity of this song, and I love that guitar work. This is a song that should be played for all the fascist fools, but of course they won't get the message. The album concludes with "Rock And Roll Will Stand," a delicious rock and roll number, owing something to Chuck Berry. "Soon you'll have the biggest record in the land/Everybody knows rock and roll will stand." The piano lead here is bloody great. And, hey, even if you don't make it, the music will keep you going.

CD Track List

Trouble Bound
Just Another Sunday
Hey, Girl
Dark Night
Little Honey
Samson And Delilah
Colored Lights
Help You Dream
Common Man
Rock And Roll Will Stand

This special re-issue of Hard Line was released on February 6, 2026 through Liberation Hall.

The Blasters: "The Blasters" (1981/2026) CD Review

2026-04-07T20:35:00.000-07:00

Record Store Day is almost here, and if you've perused the list as I have, or even casually glanced at it, certainly one of the releases that has you excited is The Blasters' Rare Blasts: Studio Outtakes And Movie Music 1979-1985. If you purchased the 5-LP boxed set An American Music Story last year (I had it in my hands, but sadly couldn't afford it), then you already have it. You also have The Blasters, the band's self-titled second album, along with the other studio albums the band released in that time period. The good news is that these individual albums are being re-issued on CD too. In February, Liberation Hall put out two special re-issues, The Blasters and Hard Line. The Blasters contains some of the band's most beloved tracks, including "Border Radio," and new (at the time) recordings of "Marie Marie" and "American Music" (both of which had been on the band's first LP). This re-issue was produced by Antone DeSantis and Chris Morris, and contains liner notes by Chris Morris, who wrote the liner notes for that boxed set, and they tell the story of the band in the early 1980s. The band is made up of Phil Alvin on vocals and guitar, Dave Alvin on lead guitar, John Bazz on bass, Bill Bateman on drums, and Gene Taylor on piano. The album contains a mix of original material written by Dave Alvin and some cool covers.

The album kicks off with "Marie Marie," a totally fun, rocking number that had been included on American Music and was re-recorded for this album. What a joy it is to hear the way Phil delivers the lines, "I said, hey, pretty girl/Don't you understand/I just want to be your loving man." The early 1980s were such an interesting time for music, with things going in several different directions. The Blasters were a breath of fresh air, keeping the origins of rock and roll alive and certainly kicking. That's followed by "No Other Girl," which has more of a rockabilly sound, with a delicious bass line and some great touches on drums that snap us to attention, as well as a fantastic vocal performance. "I don't know why I do it/Spend a day at another girl's place/She'll know that when I open the door/She can see by the look on my face." And Gene's lead on piano is just the kind of thing to keep us rocking and swinging, sort of following in Jerry Lee Lewis' footsteps, rocking those keys.

The band's cover of "I'm Shakin'" is one of the album's coolest numbers, the way it struts in, the band getting some help by the presence of sax. Lee Allen and Steve Berlin both play saxophone on this album. And Phil delivers a strong vocal performance. I love the quaver in his voice on the title line, "And I'm shakin'." This song was written by Rudy Toombs, and was a hit for Little Willie John in 1960. "Early in the morning time/Late in the middle of the night/Whenever this chill comes over me/I want to hug you with all of my might/And I'm sweatin'." Oh yes, we can hear it in his voice, while the music maintains a sense of cool. Then "Border Radio" is delicious from that opening on guitar, and totally catchy. "She prays to herself that wherever he is/He's listening to the border radio/This song comes from 1962/Dedicated to a man who's gone." This music fits in with that great early rock and roll. As you are probably aware, this song inspired the 1987 film Border Radio.

"American Music" is another lively gem. This one was also included on the band's first album, and re-recorded for this album. I love that lead on guitar. Totally delicious! Patriotism is silly, but if there is anything that should make you proud of this country, it is certainly the music. And this song provides a reminder of just how good it is, both through its lyrics and the music itself. The band keeps the energy high with "So Long Baby Goodbye." This one features some totally satisfying work on saxophone. Plus, this one features Phil Alvin delivering some good stuff on harmonica. Everything is feeling right. Then "Hollywood Bed" has a delicious New Orleans vibe, with some wonderful stuff on piano right from the start. And that beat! Go ahead, try to remain completely still while listening to this song. Good luck. This one also features some wonderful stuff on saxophone. "Lift up the shade, let's see the lights/We came this far, honey, let's see the sights/Hold me close, don't try to fight/Let's work up a sweat on a summer night/Hey, rocking in our Hollywood bed." Yeah, everything about this track is fun. And that lead on sax is kind of sexy. "Wasting our time, but it sure feels good." It sure does!

The band then gets into country with a cover of Jimmie Rodgers' "Never No More Blues" (usually listed as "Never No Mo' Blues"), with that wonderful country flavor to the music. Phil puts that into his vocal performance too, as we hear on the song's very first line, "I'm just blue as I can be." And, yeah, there is some yodeling, and he totally sells in. This is a fun rendition. It's followed by "This Is It," a great rock and roll gem. "I can tell your future/By looking at the highway sign/There's something that we'll never know/Unless we get up and go/This is it now, baby/We're going to have a time tonight/This is it, this is it." It's a song that encourages us to enjoy ourselves, enjoy our time. This is it, folks. This track features a nice lead on piano, and then an energetic lead on guitar.

The band then turns to the blues with a cover of "Highway 61," a track that contains some great stuff on harmonica and a strong vocal performance. A cool, mean sound. The band stays in the blues realm with a cover of Bo Diddley's "I Love You So." This one comes barrelling along, like a rockin' train that might have taken just a bit of some psychedelic. Most of the energy comes from Phil's vocals. "In the morning, she's all right/In the evening, she's still all right." I love the way it is building toward the end, and it seems a shame to let it fade out like that. Don't you want more? I certainly do. The album concludes with a cover of Bob Ehret's "Stop The Clock." "We've got to stop the clock, baby/I want to spend more time with you." Oh yes, I think we're all in touch with that. Time is moving much too quickly, and too much of our time is wasted by all sort of obligations and nonsense. What does any of it mean? Spend more time with the people you love, and with the music you love, because, as we already established, this is it, folks.

CD Track List

Marie Marie
No Other Girl
I'm Shakin'
Border Radio
American Music
So Long Baby Goodbye
Hollywood Bed
Never No More Blues
This Is It
Highway 61
I Love You So
Stop The Clock

This special re-issue of The Blasters was released on February 6, 2026 through Liberation Hall.

Brief Notes On New Jazz Releases

2026-04-05T17:38:00.000-07:00

Part of me applauds those who are in the streets fighting for democracy; part of me finds the whole thing pointless, because democracy is already dead, and justice has ceased to exist in this country. A man is convicted of thirty-four felonies and, instead of serving time in prison, he becomes the president. That really marked the end of the whole game, as far as I'm concerned. But while politics and the courts have completely failed us, music continues to shine a bright light. This is where the best parts of humanity still reside. The rest is just noise. Here are notes on a few new jazz albums you might want to check out.

Cyger & Butterworth: "Plaid Pants" - Cyger & Butterworth is the duo of Ron Cyger on saxophone and flute and Brent Butterworth on bass, guitar and ukulele. On Plaid Pants, they are joined by three different percussionists on various tracks. Though on the first track, "Pequena Diabla," Brent Butterworth delivers the percussion, and his work actually begins the track, setting a kind of fun, cool tone that invites us to a somewhat exotic dance. Soon the saxophone comes in and straight away sweeps us up in its easygoing, suave style, subtly suggesting some mischief. Let go and let the music carry you to a distant locale, away from current concerns. This track also features a wonderful bass line and some delicious work on guitar. Ron Cyger composed this one. He also composed "Round & Round," which follows it and features a cool bass line by Brent Butterworth. There is a sense of fun about this one, and the saxophone work suggests these guys know the angles and just where to go for whatever it is you desire. Dimitris Terpizis is on drums, creating a fantastic groove. Everything feels just right, and that lead on bass reminds us of just how good this life can be. There is just no reason not to immerse yourself in the world of this music. Dimitris Terpizis also plays drums on "Clunky," composed by Brent Butterworth, who begins it with a bass line that has a strong sense of character about it. I'm reminded of certain comedic detective films of the past. Ron's flute certainly adds to that vibe, to wonderful effect. And I love that guitar lead in the middle. Around that time, Ron switches from flute to saxophone, and somehow the song gets even cooler. I want to write a screenplay based on this song. That's followed by the album's title track, composed by Ron Cyger, which has a light, fun vibe. There is a good deal of cheer here, particularly in Ron's work on saxophone. I also like the surprising pause early on and the changes. There is a cool section with bass and drums. That's Leo Oliveira on drums on this one, and he delivers a delightful solo toward the end. Then in "Poydras St.," I love how the saxophone and guitar work together. The percussion plays an important role in this one as well. Dimitris Terpizis is on drums. There is a brief moment near the end that reminds me of a moment in Queen's "Crazy Little Thing Called Love." They change gears then at the beginning of "Larry's Lament," which opens with a lonesome saxophone. It is surprising then when the tune kicks in and starts to swing. Then there is something beautiful and sad about "Bye-Bye Blue Whale," which features some moving work on saxophone, and a really good guitar lead. They wrap things up with "LP," a fun number that contains some great stuff on guitar and lively work on saxophone. Dimitris Terpizis is on drums, and Larry Salzman is on bongos for this one, and there is a delicious section with just percussion and bass in the second half. This album was released on March 13, 2026.

The Flying Horse Big Band: "Unbridled: The Flying Horse Big Band Meets George Garzone" - Tenor saxophone player George Garzone, member of the jazz trio The Fringe, joins The Flying Horse Big Band on four tracks of Unbridled, including the opening track, "Giant Steps," the first of two John Coltrane compositions performed here. It isn't long before this rendition is hopping, and, as you'd expect, there is a lot of great saxophone work here. In addition, Max Terechenok's work on drums is fantastic, and there is some seriously good stuff by Carlos Barreto on bass. This track is cruising, and then it's suddenly over. George Garzone also plays on "Pharaoh's Daughter," which follows. This is an original composition by Jeff Rupert, the band's director. There is a brief breath after the opening section, and then the bass takes the piece in a cool direction, kind of strutting in. And that's when the brass section really begins to shine. I love the whole character of this song, the whole vibe. There is certainly something dramatic about this piece, and at times it feels like we are on an exciting ride. And before the end, we're treated to a drum solo by Jamesly Jean-Mary. "Chasin' Tail," another original composition by Jeff Rupert, comes in at a fast clip, this one racing along with a sense of fun, a sense of joy. Just see if you can keep from smiling while listening to this track. And though George Garzone is not on this one, there is still plenty of great saxophone work, especially by Edmund "Quint" Johnson V. Jamesly delivers some excellent drumming here. George Garzone returns then for "Reflections," written by Lalo Schifrin, a softer, more contemplative number, the saxophone both reaching inward and out. It's a beautiful track. It's followed by "It Gets Better," the disc's final original composition, which has a positive bent without being euphoric. It is hopeful, while being somewhat grounded as well. "View Of Heaven" features some gentle, pretty work by Daniel Tenbusch on piano, then builds from there, turning our eyes and thoughts skyward, and seeming to lift our entire bodies at the same time. The piano lead in the middle takes the track back to a more intimate level. The album concludes with its second John Coltrane number, "Impressions," with George Garzone again on tenor saxophone. This is an exciting track right from its start, and features some excellent drumming by Clarence Penn. Richard Drexler delivers a hopping piano lead. And the work out saxophone is outstanding. What a great way to wrap things up. This album was released on October 24, 2025.

Isabella Isherwood: "The Sweetest Sounds" - I was listening to this album for a while before learning that it is the debut release from vocalist and pianist Isabella Isherwood, something that surprised me. It seems like the work of someone who has at least a few albums under her belt. Anyway, she chooses a mix of standards along with some more recent pop fare. Joining her on this album are Mike Allemana on guitar, Joe Policastro on bass, and Alejandro Salazar on drums. She opens the album with "Devil May Care," providing a little vocal work right from the opening before starting the lyrics, making her presence known and appreciated immediately. But her phrasing and delivery of the lyrics are what make this rendition so special. That's not all that stands out here, however. That lead on guitar is excellent, and I love the drumming beneath it. It's a fantastic start to the album, and is followed by the album's title track, the Richard Rodgers song, which features some cool work on bass at the start. What's remarkable is how different her vocal approach is here, and how right her choices are, some early lines delivered with a dusky quality, before she begins to raise her voice. She then gets rather playful in her rendition of "Till There Was You," her voice backed by some excellent drumming. That's followed by an interesting choice, Bob Dylan's "Don't Think Twice, It's All Right," which has a relaxed vibe at the beginning, and features some good work on guitar. Though this rendition is a bit slow, it grows in passion. We can hear the importance of the words, the need for getting across the message, in her delivery, and it soon becomes a captivating take on the song. "My Buddy" is another track that stands out, Isabella opening it with some pretty work on piano, and soon adding a beautiful and touching vocal performance. No other instruments are needed on this intimate rendition. Then "The Song Is You" has a delicious energy and features a great drum solo. Isabella's rendition of Amy Winehouse's "Love Is A Losing Game" finds her backing herself on piano for the first minute or so, before the other musicians come in. This track features another excellent and varied vocal performance, as well as some good work on piano. This album also contains a compelling rendition of "'Round Midnight," Isabella's voice supported just by bass. "Every day is gonna bring some sadness," she tells us, and there is both authority and experience in her delivery, so that no argument can be offered. This track features some cool changes, and is another highlight. Isabella Isherwood wraps things up with a cheerful number, "I Love Being Here With You." This album was released on April 3, 2026.

Francesca Prihasti: "Beneath The Sun" - Francesca Prihasti is a pianist and composer from Indonesia and now based in New York. Her new album, Beneath The Sun, features all original material. Joining her on this disc are Nic Vardanega on guitar, Drew Gress on bass, Mark Ferber on drums, and Nick Brust on saxophone. As "In Between" opens it feels like it is already in the action. Something is happening, something has been decided. It does soon relax a bit, and the piano work takes on its own beauty. This track also features a excellent lead on guitar early on, a lead that is given the space to grow before Francesca takes over again on piano, her lead having both beauty and certainty. It is the final section that is most interesting to me, for there is an intensity while also becoming softer. That's followed by the album's title track, which has a somewhat magical and mysterious vibe at the start, and features some wonderful work on bass. Francesca is on electric piano for this one. The piece soon takes on a soothing feel, while retaining some of that magic. It's interesting that while the track has a somewhat relaxing effect, the drumming has a good energy. There is some tension at the beginning of "Reason And Will," as if the piano is expressing two opposing thoughts, wishing to go in two directions. Some common ground is quickly found and explored, and then there is more joy, though that opening section returns briefly at times. There is some wonderful work on piano, and I am especially fond of the drumming on this track. Interestingly, toward the end, when the drumming feels more unleashed, it seems that one of the two forces has won. "Leura" then is pretty, gentle, warm and welcoming. A place without tension is created here, a place we could all stand to visit. Partway through, we are treated to a lively bass lead. And Francesca's piano work feels like sunlight and a spring breeze dancing about the air. Francesca again switches to electric piano for "Till We Have Faces," and here is joined by Nick Brust on saxophone, who delivers some excellent, expressive work. The song was inspired by the time of the pandemic, when our faces were largely covered with masks and communication was thus made difficult. We had to show what we felt through our eyes. I remember that humor was more difficult to get across then. "Unanswered Questions" begins on drums, and it is somewhat surprising that when the piano comes in, the piece takes on a somewhat soothing quality. Ah, I wonder if most questions will remain unanswered, and we just have to accept that and continue with our lives. The music seems to urge us to do so, especially when it begins to pick up energy partway through. And then "Fortitude," the final track, urges us to remain strong even when things are chaotic or tense. This track features the saxophone, which feels like the voice rising against the powers that be while simultaneously encouraging our own inner strength. This album was released on January 16, 2026.

Tierney Sutton and Tamir Hendelman: "Spring" - Vocalist Tierney Sutton and pianist Tamir Hendelman give us an album of songs for spring, including several with the word "spring" in the title. It is traditionally a time for renewal, and certainly we need that now. The world is aching for it. The duo opens the album with two pieces by Antonio Carlos Jobim - "Double Rainbow" and "Waters Of March." "Double Rainbow" begins with some beautiful work on piano that makes us feel like the world is waking up, opening its eyes. And, what's more, seeing something worthy of song, of celebration. Tierney's vocal work then adds to that sense, like she is reacting to the beauty, at first without actual words, and then with lyrics. Then it is like her voice is dancing, the world opening before her (and so before us too). Tierney begins "Waters Of March" with some playful, light vocal work, and the piano soon joins her in that vibe, like drops of rain bouncing off flowers. Tierney delivers the first several lines a cappella. Soon there is more force to the piano work, and to her delivery, and the song develops an absolutely wonderful tone. Tierney and Tamir then give us a pretty rendition of Simon & Garfunkel's "April Come She Will," the vocals have a soothing effect. The track is one of meditation and reflection, and of great beauty. That's followed by "'S Wonderful." As you know, you can never go wrong with Gershwin, but when I first read the track list, I wondered which lines of this song were directly related to spring. But as the track begins, there is a spoken word introduction by Tierney, in which she says, "Now this song has a little bit of an added lyric that I just wrote today, because it has to have something to do with spring." Soon she sings, "You always bring/A breath of spring/In everything you do/An April breeze/That moves the trees/My heart agrees it's you." As for the songs with the word "spring" in the title, they all come in the second half of the album, one after another. The first is "Spring," written by Dori Caymmi and Tracy Mann. Tierney and Tamir deliver a beautiful, tender rendition. "The possibility of warmer days/Will arrive with the news/You still love me." This track also features some delightful stuff on piano. That's followed by a wonderful rendition of "Spring Can Really Hang You Up The Most," featuring some strong work on piano. "Spring came along/A season of song/Full of sweet promise/But something went wrong." Then they give us a lively version of "Spring Will Be A Little Late This Year," cheering us, the music making us hopeful. Tierney begins "Spring, Spring, Spring" a cappella, delivering some delightful vocal work. I am especially fond of her playful performance on this track. The final song in that "spring" series is "You Must Believe In Spring," with a performance that feels intimate, a performance that touches us in these strange days. Just listen to the way Tierney sings, "You must believe in love and trust it's on its way/Just as the sleeping rose awaits the kiss of May." This album was released on April 3, 2026.

The Secret Lives Of Bill Bartell Blu-ray Review

2026-04-03T21:19:00.000-07:00

There are some wild stories in the music world, and the story of Bill Bartell is certainly one of the wildest. From the moment the documentary The Secret Lives Of Bill Bartell opens with a closeup shot of Bill while an unseen person repeatedly calls his name, it is clear this movie is going to be an unusual and wild ride. For those who are not familiar with Bill Bartell, he was in the band White Flag and was founder of Gasatanka Records (those beginning as humorous plays on Black Flag and Casablanca Records). But that is just the tiniest bit of it. At the beginning of the film, we hear various folks describe him, and someone says, "Bill ends up in these very funny situations where he changes musical history from the background and nobody even realizes that it's happening." And the film goes on to back that statement up with all sorts of delightful examples. So, again, if you are not familiar with Bill Partell, he probably still has had some effect on your life. This movie demonstrates how.

The movie contains interviews with lots of musicians that knew Bill, that worked with him in one way or other, including members of White Flag, The Melvins, Redd Kross, The Muffs, The Germs, Camper Van Beethoven, Generation X, Os Mutantes and Black Flag. And the stories they tell are fascinating and often very funny. Early in the film, it is established how Bill Bartell seemed to always be in the action. There is footage of him in the front row of punk shows when he was a teenager, and footage of him catching a Devo sign on stage at a concert. He is even spotted in The Decline Of Western Civilization. And from there, he just always seemed able to be where he wanted to be, showing up in so many different scenes and easily working his way into many different groups, to the point where he is referred to as the punk rock Zelig. And though he was important in the punk scene, his musical tastes extended far outside that realm. Jeff McDonald (of Redd Kross) talks about bonding with Bill because they both admitted to liking the band Kiss. And several of the people interviewed comment on how he did not look like a punk rocker at all. In addition to that, his band would sometimes cover straight rock songs, confusing the audience. This is when punk had a sense of humor, when it did not take itself too seriously. As several people note in the film, Bill Bartell out-punked the punks.

There is a lot of humor to this story. The film contains some hilarious stuff about whether White Flag was a real band or not, and how the name was a play on Black Flag, with the logo being Black Flag's logo laid on its side. Dez Cadena (of Black Flag) says, "Bill Bartell was a really good guitar player, but you couldn't tell if he was serious or if it really was a joke." And that was only a small part of the strange mystery surrounding this guy. "No one knows how he made money," someone points out early in the film, regarding the way he would fly to various places to catch concerts and then later book White Flag for a European tour. Apparently at one point he became a substitute teacher, using the name Pat McPherson, bragging to other punk musicians that he was giving the students false information. This made me burst out laughing. How punk rock is that? Going into a school as a subsitute teacher and presenting all sorts of false information as facts. It's a shame that a few of his students weren't interviewed for the film. And then there is the whole thing of Bill becoming a cop. And there is the matter of riding bulls too. Seriously.

But for me it's the music stories that are the most interesting. The Generation X story is particularly crazy and delightful, about Bill getting the manager of Kiss to manage that band, and how when Generation X broke up, Bill took Billy Idol from the band to help make him famous. Bill was also responsible for getting Os Mutantes known in the United States. Seriously. If you're a fan of Os Mutantes (and you absolutely should be), you kind of owe it to Bill. He also promoted Shonen Knife. The stuff about the band Sator is also crazy. But perhaps my favorite bit is the story of his band Tator Totz playing BeatleFest in 1988 and covering a Yoko Ono song. I love the great punk humor of doing that. They even made a reference to John and Yoko's "bagism." The footage is fantastic. Look, I love The Beatles, but to hell with all those Beatles fans at that concert that couldn't see the humor and couldn't find pleasure in that performance.

So, as you perhaps gathered, Bill Bartell's story isn't one crazy story, but many crazy stories. And it took many different people telling these stories, because Bill was apparently particularly adept at compartmentalizing, and so each person in his life was only privy to certain bits of information. So film director David Markey had a lot of work to do in piecing it all together. And though there is a lot of humor to this tale, there is a sad story running underneath the entire thing, the fact that Bill Bartell felt he couldn't tell his friends the truth of his sexuality (though they mostly all knew it anyway), and so this is also a story of loneliness, a story with a sad ending.

Special Features

The Blu-ray contains a lot of bonus footage, including more from interviews with Sergio Dias and Ave Cope, about Kurt Cobain getting into Os Mutantes because of Bill. There is also more with Jim Laspesa, Dez Cadena and Jennifer Schwartz. It's surprising that this was cut from the final film, because there is some fantastic stuff here, like about the recording of the first White Flag record and the anecdote about the Redd Kross recording. Also, the stuff about his band Chariot is hilarious. That bonus footage totals approximately forty-six minutes. Also included is footage of the Q&A from the Slamdance screening of the film, featuring director David Markey and producer Brian Kehew. In this Q&A, we learn that the opening sequence was shot in 1994, and was the director's first attempt at interviewing Bill Bartell. Also, the director is in the film for a moment. He's the guy who puts the Tator Totz singer in the bag during that fantastic performance of the Yoko Ono song. Some other folks who appear in the movie were in the room for the screening, but there was only one camera, which was set up for a static shot, so we don't see them, only hear them. This Q&A is approximately sixteen minutes. The special features also include the film's trailer.

The Secret Lives Of Bill Bartell was released on Blu-ray on February 24, 2026 through MVD Visual.

Elvis '56 Blu-ray Review

2026-04-02T22:08:00.000-07:00

Whether you're an Elvis Presley fan or not, you have to concede that the man had a huge impact on rock and roll. I personally don't consider him the King (Little Richard and Chuck Berry seem to have more claim to that title), but I still love the music, especially from those early years before he went into the army. This was his most exciting period. Elvis '56 is a documentary from 1987, produced and directed by Alan Raymond and Susan Raymond, and narrated by Levon Helm (yes, of The Band), that, as its title suggests, focuses on the year 1956. And what an incredibly busy, momentous and exciting year for Elvis and for music.

The movie starts with just a little bit footage of Elvis from 1973, with him performing "My Way," then goes back to 1968, and in that footage he is rocking. But that just gets us more excited for what we know is coming: Elvis performing in 1956. "When Elvis was young, so was rock and roll," Levon Helm tells us. And we see Elvis performing "Blue Suede Shoes," and things are even better than they were in 1968. It's a nice introduction. Before getting into the main body of the film, a quote from John Lennon appears on the screen: "Before Elvis, there was nothing." We do get a bit of information on some of the Sun records, and on Tom Parker, a character in his own right, this being before 1956. But very quickly, this documentary gets into the year in question, mentioning that in January of 1956 Elvis turned twenty-one and then recorded his first RCA record, "Heatbreak Hotel." A pretty good start to the year, don't you think?

This documentary takes us through the year chronologically, mentioning specific dates, so that we always know where we are within the year. It treats us to footage of his first television appearance, performing "Shake, Rattle And Roll," and there is no denying how cool Elvis was then. Interestingly, the film puts his performance into the context of the time. And poor Perry Como. You just can't put Perry Como next to Elvis and expect Perry to come out looking even remotely interesting. He seems a sad clown next to Elvis. There is also mention of the civil rights problems of the time, positioned before footage of Elvis performing Little Richards' "Tutti Frutti." His version isn't nearly as powerful or wild as Little Richard's, but it is still pretty good, and clearly his version introduced the song to some folks who might not have otherwise heard it. There is also some great footage of Elvis performing "Heartbreak Hotel," one of his best songs. This documentary includes plenty of film footage, but also some great still photos from the period. I love the photos of Elvis walking around in New York, as Levon Helm let us know it's the last time Elvis would be able to do so without being recognized. There are many photos I hadn't seen before. I love the photos of Elvis behind a drum kit, and the ones at home with his family, as well as all those photos from the sessions for "Hound Dog" and "Don't Be Cruel."

I didn't realize that Elvis Presley had played Las Vegas for the first time as far back as 1956, and this film includes some delightful footage of him with Liberace. For a documentary that is only an hour long, there is quite a bit of great footage. I love that the camera gives us a close-up of the guitarist during his great lead in the middle of "Hound Dog," and I love that moment when Elvis slows the song down. There is also a really nice section in the film regarding the criticism that Elvis received, where we hear audio of the criticism followed by audio of Elvis' responses. And, yes, there is footage of "the new Elvis Presley," when he sang "Hound Dog" to that damn dog. Good for him for totally going for it, but it's painfully embarrassing. Still, I'm glad it was included. If you're an Elvis fan, clearly you're going to want to own this disc. But if you're not, this documentary is still worth checking out. Any fan of rock and roll should be interested in this early chapter of its history.

Elvis '56 was released on Blu-ray on March 6, 2026. The disc contains no bonus material.

Young Fresh Fellows: "Loft" (2026) CD Review

2026-04-02T15:38:00.000-07:00

On Black Friday last year, I was one of the lucky ones who was able to purchase a copy of Young Fresh Fellows' Loft on vinyl. According to the Record Store Day website, only 750 copies were available. If you were not lucky enough to get one of them, the album is now available on CD through Yep Roc Records, and it sounds just as good on CD as on vinyl. Young Fresh Fellows, for those who don't know, formed in the early 1980s up in Seattle. The band's first album, The Fabulous Sounds Of The Pacific Northwest, was released in 1984, and several other albums followed. In recent years, there haven't been as many new Young Fresh Fellows albums, as Scott McCaughey has been busy with The Minus 5 and The Baseball Project (two other phenomenal bands, by the way), and so when Loft was announced, it was met with an understandable amount of excitement. And upon listening to it last November, I found all the excitement was justified. It's a fantastic album, with everything you want from this band. The wit, the unusual and delightful lyrics, the energy, the delicious sound. The band is made up of Kurt Bloch, Scott McCaughey, John Perrin and Jim Sangster, getting some help from some other outstanding musicians, including Jonathan Segel, Neko Case, Morgan Fisher, Jenny Conlee-Drizos, John Stirratt, Steve Berlin, Peter Buck, Mark Greenberg, Dave "Max" Crawford and Joey Adragna.

The album opens with "Overture" which features Max on trumpet, delivering some wonderful stuff. Scott plays several instruments, including mellotron and piano. And yes, the track introduces some different themes, as overtures do. This is a delightfully odd way to begin things, which, of course, is perfect for this band. That track leads straight into "I'm A Prison," which comes on strong, with some dominant, energetic guitar work by Kurt, and a wild, powerful punk force, particularly to the vocals, and also to that excellent bass line. "Won't get over the wire/Or through any tunnel/Or beyond the tree line/Without my permission/I'm a prison/I'm a prison/I'm a prison/You can't get in." At the end, it begins to break down, as if having worn itself out, which is fantastic, feeling just exactly right.

A good beat then gets "Killing Time In Union Square" in motion. There is certainly a more relaxed feel to this one, but with a rhythm that is catchy, a bass line you can't help but like. The energy then increases for these lines: "And if you need me to fly/I will fly, I will fly/And if you dig me a door/I will take you every place/I've never been before." I'm digging those lyrics, particularly the image of digging a door, a provocative image. That's followed by "Three Gasconading Saints," which features some good work by Max on trumpet at the beginning. This is what pop music could and should be. There is a delicious vibe to this, plus some cool lyrics, like these lines: "The pause of ancient scribble/Courtesy of closet haints." There are not many songs that use the word "haint." The first I remember hearing is that old "Haunted House" song, the one from the 1960s, which had the line "Ain't no haint gonna run me off." The only other one I can think of is Charlie Musselwhite's "Ghosts In Memphis." Jenny plays accordion on this track, and Peter Buck is on 12-string guitar.

"Before The Deluge" has a pretty sound, created in part by Jonathan's wonderful work on violin at the beginning, and also by that wonderful work by Morgan Fisher on piano. Jonathan also adds some sweet touches on mandolin. "My missile to Mars/I cannot return/Forgotten the way/Sorry the soujourn/Became a cliche/Hey hey hey/But it's a good day." Scott's vocal approach here has a certain touch of melancholy, and so there is something of a mixed feeling as he repeats "It's a good day/It's a good day/It's a good day." This is one of my personal favorites, in large part because of his vocal performance. The track ends with the violin and mandolin. Things then get wonderfully strange with "Death Becomes Us," which has a certain psychedelic element, particularly in that work on strings, and owes something to The Beatles' "Tomorrow Never Knows," partly in that beat, which I love. Jonathan is on violin, and Morgan provides the synth strings, as well work on electric piano. This track also features a very cool bass line. And check out these lyrics: "Old death was classic, dark victory style/Petrified ever in celluloid frame/The good and the worst, too bloodless to smile." And speaking of smiling, how can you help but smile at a phrase like "Capo'd crusaders"? This is another of my personl favorites.

"Entr'acte" is a short, beautiful and somewhat sad instrumental number, delivered by just Scott on piano and Jonathan on violin. That's followed by "Books Don't Burn Twice," which has a more mellow and sweet vibe, a song that plays at the edges of our memories. "Our books down't burn twice, beyond regretting/Words getting married, song is a wedding/Our books don't burn twice/Our books won't burn twice/Our books don't burn twice/But I'm forgetting." Within the last few years, I re-read Ray Bradbury's Fahrenheit 451 (this is the time for all dystopian novels, isn't it?), and one thing that stuck with me was the people who were responsible for memorizing the books, for keeping them alive. If I were one of those people, and of course as I was reading that's precisely the role I assigned myself, I'd be so afraid of forgetting. I forget so very much as it is. So much can be lost forever. And that became the most worrisome part of the novel for me. And listening to this song puts me back in that frame of mind. The way the world is now, it seems that a lot is being forgotten.

Neko Case provides the lead vocals on "Destination," a song with a totally delicious pop energy. I think it would be damn near impossible to not fall for this song. "The train didn't stop/The train didn't stop/At your destination." Ah yes, I think we can all relate to those lines. Yet something about this song just makes me feel so bloody good. I love, love, love this song. It features some wonderful guitar work. I'm digging that drumming too. "I am leaving/I am going." Then "Whispering Hole" is a great, fast-paced, high-energy number. It's a short song, coming in, grabbing us, and getting out in less than two minutes. Yet it is still long enough for a cool, though, brief, guitar lead. And it features Steve Berlin on saxophone. "Isn't it a gas?/Lit up like a blast/Oh, where does it go?/Oh, where will you go?/Whispering hole." That's followed by "1987," which has a steady beat, a steady pulse, and a good groove. That delicious power pop thing. "Memory's journal/Is often replaced/Nails scratching a cell wall/Blown up and erased." This song also mentions Nina Simone, and I love that "mone, mone, mone" after her name is mentioned. "Memory infested/And guzzled like paste."

The band then goes in another direction with "Harpoon In The Hay," with Mark on vibraphone, helping to set the unusual tone at the beginning. "Last time that I looked at you/Your smile had been reversed/A choir had been paid in full/Though never been rehearsed." This track has a great jazzy vibe, with some psychedelic touches and a seriously cool vocal performance. "And that's why I'm a puppet/With so very much to say/Looking for the fatal sentence/A harpoon in the hay." This is yet another of the disc's highlights, a fantastic number that gets wild toward the end and then continues to push on through. The album then concludes with "Exit Music/The Theme," which opens with the line "The future was now," and I'm immediately in love with the song. Future, past and present are all forced into that opening sentence. "The future astounds/The future confounds/I will abuse it." It is like a dark, slow carnival number. How did we all end up on this crazy ride anyway? I don't know, but I'm so glad this band is on the ride with us.

CD Track List

Overture
I'm A Prison
Killing Time In Union Square
Three Gasconading Saints
Before The Deluge
Death Becomes Us
Entr'acte
Books Don't Burn Twice
Destination
Whispering Hole
1987
Harpoon In The Hay
Exit Music/The Theme

Loft was released on CD on March 27, 2026 on Yep Roc Records.

Lisa And George, EZ Tiger, and Kristi Callan at Unurban, 3-31-26

2026-04-01T21:50:00.000-07:00

It's always a great time when EZ Tiger plays, and last night was special, as the band delivered a rare acoustic set, something I don't think I'd seen them do before (though who can trust memory anymore?). This was part of the Night Of A Thousand Stars series at Unurban Coffee House in Santa Monica. And Debbie Shair, instead of keyboards, played that upright piano that is always on stage. It's not just for show, after all, not just part of the decor. There was a wonderfully loose vibe in the room, which seems to be standard for shows at this venue, one of the reasons I love going there. Lots of joking around during the soundcheck, and lots of smiles throughout the evening.

Kristi Callan

Kristi Callan (of Dime Box Band) hosted the night, and kicked things off with a short set, as Ben Vaughn does when he's hosting. Ben Vaughn, by the way, was in the audience. Kristi performed solo on acoustic guitar. "I think you've been reading way too many books," she sang in her first song. Yes, perhaps, but how many is too many? After that song, she mentioned Jon Dee Graham, who died on Friday. We've been losing way too many musicians. I keep telling Mr. Death that when he's feeling hungry he should take a trip to D.C. and visit the White House, but the old bastard ignores me and takes musicians instead. Anyway, Kristi covered a Jon Dee Graham song, "Wave Goodbye," which includes the lines, "I hate it when someone packs it in/We should live it up." It was a really nice rendition, and a touching moment, for after that song, Kristi decided she had to stop, overcome with emotion.

Lisa & George

Lisa And George (that is Lisa Jenio and George Woods of Candypants) were up next. They opened with a totally delightful number that featured George on ukulele, a fun song about not wanting to be another notch on the bed post. "So I'll make you one instead," Lisa sang. "I'm nervous, 'cause there's a lot of rock stars here tonight," Lisa said after that first song. I've said this before, but it seems reasonable to mention it again here. I have found that a strong indication for a show being good is when there are other musicians in the audience. Musicians don't just go out to any old show. If you look around before a concert starts and recognize several musicians in the audience, chances are it is going to be a fantastic show. And this certainly was. George switched from ukulele to guitar for the next song, and Lisa played flute. George played guitar for most of the rest of the set. There was a good love song about not wanting to die alone, that one delivered as a duet. And the next song, as Lisa explained, was written about Sarah Palin during that "innocent time when we thought she was the worst person in the world." The song was newly dedicated to all those blond women with crucifixes, and includes the line "Crocodiles call you when they're mating." There was a lot of humor to their set, and I especially loved the song about finding happiness after everyone else on the planet disappears. "Now that no one is in my way/I can stand to face another day." They wrapped up the set with what Lisa called a happy protest song, with their friend Tina joining them on tambourine. This one wasn't about everyone disappearing from the planet, just one specific person that we'd all love to see go. "Spring is here/The skies are clear/The clouds are gone/And we will go on."

EZ Tiger

There was a good deal of joking around while EZ Tiger was setting up. "Who ordered the turkey melt?" Kristy McInnis asked from her seat behind her snare drum. Someone's food was ready, but no one knew just who that someone was. When that was settled, the band opened the set with "Nowhere Now," and all the energy we expect from this group was still there in this intimate acoustic setting. Everything sounded so right. Even that old upright piano sounded great. Debbie Shair delivered some really nice stuff during "Path," a song that also featured good harmonies and a good bass line from Teresa Cowles. Tina DiGeorge introduced "Stay" by reminding us, "This is from an album from long ago." Yeah, sixteen years ago that album was released. When we still believed in democracy, when women had a reproductive rights, when we thought maybe only five or ten percent of people were horrible. Another lifetime. "Stay" remains a wonderful gem, and after it, Kristy commented, "That took me back." Then "Any Other Day" began in a softer place. They delivered a beautiful rendition. "This is gonna save your life." Yes! They followed that with "Go!" "If you know it, join in," Tina told the crowd. This song was so much fun. If I recall correctly, this song reached #1 on the Billboard Hot 100. And if it didn't, then something is terribly wrong with this world. Either way, you could feel the joy pouring off the stage. Tina then mentioned the band is recording a new batch of songs, which is wonderful news. The band then went into "Fall Into The Wheel," a really good song with moments of powerful beauty. They wrapped up the set with the new single, "Outside Your Sun," which featured some great harmonies. Oh yeah, the next album is going to be good.

Kristi Callan

Kristi Callan then returned for her second set, this time joined by Teresa Cowles on bass and backing vocals, because it feels strange when Teresa plays on only one set at a show. Teresa delivered some really nice stuff on bass right from the first song, "Carpet," and some particularly impressive bass work on the second song, a song that featured the line "Wherever you go, there you are," which of course reminded me of The Adventures Of Buckaroo Banzai Across The Eighth Dimension. It was a fun, energetic number featuring great harmonies. Kristi then indicated Teresa and said, "She's amazing, right?" "Right," someone in the audience shouted out. Kristi started the next song solo. "On a dime everything can change/This is my line in the sand." Those lines stood out for me in these troubling times. She followed that with "Cat," and it wasn't until that moment that I realized Teresa was wearing a cat T-shirt. That was followed by "Pickle," a cool number, with the line "It's not too late" repeated at the end. Then Kristi told the audience she decided she needed to do a happy song, and invited Debbie Shair and Lisa Jenio to join her and Teresa for a cover of "Oh How Happy," the Shades Of Blue song, to wrap up the set and leave everyone feeling good. Debbie was on piano, and Lisa was on backing vocals. The song ended with some really nice vocal work.

Fernando Perdomo: "Clouds 3" (2026) CD Review

2026-03-31T13:46:00.000-07:00

Fernando Perdomo is continuing his year-long Clouds project with Clouds 3. This volume, like the other instalments in this series, contains all original material composed and played by Fernando Perdomo. That's right, he wrote all the tracks and plays all the instruments. He also produced the album. And this, as you perhaps already know, follows last year's Waves project, which also featured an album of new material every month. Last year he looked at the oceans and sometimes took us down into their depths, exploring all sorts of interesting areas. This year he looks up at into the skies, finding plenty of inspiration there, and plenty of new places to take us. By the way, that great photo on the album's cover is by Mindy Hertzon.

Clouds 3 opens with a pretty, somewhat soothing number titled "Midwestern Emo Sky," a track offering a place for some contemplation, with a theme on guitar that we can soon internalize. The sound becomes our own, the rhythm and motion of our own thoughts. Changes in the sky are noticed, incorporated, but perhaps aren't as fast as we might notice in real time. This music allows us to slow things down, to take in more of what is visible, and contemplate more of what is within too. Then something interesting happens early on in "Dusk Storm" that grabs us: after a short opening section, there is a breath, a pause, one that is longer than you might expect, and then the music returns. This reminds us of those summer storms when we were kids enjoying the show. There would be some lightning, and then a pause, during which we'd desperately, eagerly search the sky for the next strike. And just when we'd basically given up on the whole thing, there it was. There is that sense here. What's also interesting is that Fernando Perdomo doesn't push or exaggerate the drama of a moment like that. Instead, there is a kind of relaxed pace and vibe to this track. The universe is in no rush to appease us. A storm takes its own time, and in that time we are able to inject our own meaning to what we see, what we hear.

With "The Relayer," there is a rumbling in the sky, and the movement of something big passing overheard, something that disturbs the air. There is no sense of danger, but rather wonder, in being part of this whole crazy universe, most of which we don't understand, and realizing it is perfectly fine to not have the answers. Things pass. Look up occasionally. There is a darker, deeper rumbling toward the end. And then a streak of light, and it's over. That's followed by "Angel Rays," which kind of eases in, taking short steps. Not far into this track, the sky seems to open and a fantastic light breaks through, pouring down upon us in gentle, warm waves. There is the sense of something guiding the light, something happy to share it, welcoming us to a larger world. And if we let go of everything else for a moment, we can walk within this magic, really experience it. As we sense it coming to a close, the real world remains changed for us.

As "Glow" begins, a soft beauty surrounds us, a warmth. It feels like memories and hopes for the future are all wrapped up in one moment, or like we've stepped out of time completely, so that those memories and hopes are indistinguishable, each as real or as unreal as the other. And that sort of thing, whether they are real, ceases to matter. We are urged to just enjoy this moment, whatever it is, real or otherwise. For it is all so brief. And as the music fades, it is like this whole life does too. That is followed by "Day Dream." On the CD case, it is listed as "Day Dream," two words, while online I see that it is listed as one word, "Daydream." There is a different sense to it as two words, isn't there? There is more emphasis on the word dream, and that seems fitting, for as this track begins, it is like we enter a sort of dream state. More than just a casual daydream. This is a dream, with colors and sounds and streaks of light playing about us. And it begins to build, in size and intensity, before then letting go and finding a beginning again. We seek patterns, don't we, even in dreams, where no significance or meaning likely exists.

The next track has a much different title on the CD case, where it is listed as "Warm," than online, where I've seen it listed as "Warped." Both titles could work. There is a warmth, but there is also a repeated movement upward that makes me think of a spaceship attaining warp speed. This one too has a pause in the middle, which is surprising, a pause just long enough to make us think the track might be over, before returning to its pattern. It is like a little dance, which is then offered to the heavens and accepted, sucked up into the skies, thoughts disappearing into the ether. And the same thought occurs again. There is an unusual feel to this piece, and it ends with a final rush upward. Do we all move with that motion? By the way, Fernando Perdomo does have another song titled "Warm," the title track from his 2014 album, that one with vocals. "Atmos Cosmos" has the sense of a pattern at the beginning as well, yet now the motion seems to be moving down to us, yet still fading as it reaches its goal. Is darkness to be our destination regardless of which direction we move? There is something beautiful here, even at the edge of eternity, the edge of oblivion. Strangely, we find we can relax here. In fact, perhaps we can do nothing but relax here, even as certain thoughts rush at us, certain questions, certain objections. But they too soon disappear.

There is a very different feel as "Amber Dawn" starts, a steady rhythm, a lower tone. It feels like something is being prepared. And it continues, even as light plays above and across it. It is like two different elements are coming together. In the middle of the track that rhythm suddenly ceases, a change occurs. Then after a breath, that rhythm returns, a steady pulse. There is a moment a little later when it seems to grow in intensity before then letting go. And soon there is a sweet, gentle ending. Will it be that way for us? The album concludes with "Icicles." I love how the sound hovers, kind of sweeping over us, a hum that echoes and remains, while the guitar offers drops of water upon our skin, cold but refreshing. Partway through, there is a surpring spiritual turn, and the hum is lifted up in offering. Soon blue lights play across a solid sky, and from there something larger answers, coming down to meet us, and everything becomes one. What a wonderful way to wrap things up.

CD Track List

Midwestern Emo Sky
Dusk Storm
The Relayer
Angel Rays
Glow
Day Dream
Warm
Atmos Cosmos
Amber Dawn
Icicles

Clouds 3 was released on March 1, 2026.

Fernando Perdomo Unveils New Projects At Kulak's Woodshed, 3-29-26

2026-03-30T10:41:00.000-07:00

Perdomo Kravitz

Fernando Perdomo has two new projects (projects which overlap), and last night at Kulak's Woodshed performed material from both. These, of course, are in addition to his Clouds project (which is an album of new material every month this year), his rock opera (which apparently is finished), Broken Sound, his work with Marshall Crenshaw, his new David Bowie tribute, and all the artists he's producing. This man is a force. And a joyful force at that. For these projects he's teamed up with Andy Kravitz, a drummer and producer who's also fairly busy. You've certainly heard his work, with Todd Rundgren (both he and Fernando sported Todd Rundgren shirts last night), David Bromberg, Juliana Hatfield, Imogen Heap and many others. Well, last night Perdomo Kravitz (the first of the two new projects) kicked off the show with "Canyon Trilogy," which is made up of "Meet Me Down On Love Street," "Harmonics And True Love," and "I'm Free." Then Kaitlin Wolfberg joined them on violin for "The First Day Of Fall" and "I'm No Fun." Lots of great new songs! Vocalist Broadway B then performed a few of his own original songs solo on piano. After that, we were treated to the full band performance of Perdomo Kravitz, including "Free From The Me" and "Goodbye Sun". Fernando then playfully asked those of us in the audience to close our eyes for ten seconds. When we opened them, the band was now The SOUL (standing for Sound Of Unstoppable Love), with Broadway B on vocals, along with Fernando Perdomo, Andy Kravitz, Kaitlin Wolfberg, Michael Collins, and Keith Hosmer. One of my favorite songs of the night was "I Want A Girl With A Record Collection," a song with a delightful reference to Record Store Day (which is coming up in a few weeks). "Who I Really Am" was also outstanding. I am looking forward to the release of these new albums. This show should be available to watch online on the Kulak's Woodshed YouTube channel, so be sure to look for it. In the meantime, here are a few photos:

Kulak's Woodshed is located at 5230 1/2 Laurel Canyon Blvd. in North Hollywood, California.

Johnette Downing, Nathan Williams & The Zydeco Cha Chas: "My Little Snap Bean: Zydeco For Children" (2026) CD Review

2026-03-29T17:45:00.000-07:00

We can all use a little joyful music to pick us up, no matter our age. And what is more joyful than zydeco? Johnette Downing, Nathan Williams & The Zydeco Cha Chas present My Little Snap Bean: Zydeco For Children. Yes, it's a children's album. But also yes, you can absolutely enjoy this music regardless of how many times you've been around the sun. The album features original material, written or co-written by Johnette Downing, along with some traditional numbers adapted by Johnette Downing. The group is made up of Johnette Downing on vocals and ukulele, Nathan Williams on vocals and accordion, Dennis Paul Williams on electric guitar and backing vocals, Allen Williams on bass and backing vocals, D'Juan Francis on rubboard and backing vocals, Keith Sonnier on drums and backing vocals, Scott Billington on harmonica and backing vocals.

The album opens with "My Parrain Is The Loup Garou," which is also the title of a book that Johnette Downing wrote, a Cajun tale that was published in 2023. This song is a fun number, as you might have guessed from its title. Hey, we all have interesting characters in our families, I suppose. But if your godfather is a werewolf, I would be careful at family gatherings, although, as happens here, you'll probably have some grand adventures. The energy on this track is popping. I love that last section, when there is a cool change. This track ends with a howl. Why not? The loup garou should have his say, right That's followed by "Going To The La La." "Yeah, we're going to the la la, going to have some fun/Put on your dancing shoes, and lace 'em up real tight." Oh yes, it's another fun number. Well, most zydeco is fun, so what do you expect? This one was written by Johnette Downing, Scott Billington and Nathan Williams. It features some great stuff on accordion, plus some delicious work on harmonica. "We're going to the la la, it's a happy place." Well, then that's where we all need to go. Enough of this misery, let's enjoy ourselves.

"Juré" begins with a beat, including some clapping, and you immediately want to join. So go right ahead. This song features some seriously good drumming throughout. I'm also digging that harmonica. Clearly we are in that happy place, because everything sounds cheerful, everything sounds good. Apparently, this is an older song, here presented with some different lyrics. There is also a very cool lead on guitar in the second half. This one ends as it began. It's followed by "My Aunt Came Back From Louisiane." It is a delightful number, though I have to say it still rubs me the wrong way when people pronounce "aunt" like "ant." I mean, do they pronounce "haunt" like "hant" and "gaunt" like "gant" and "flaunt" like "flant"? No! So cut that "ant" nonsense out! By the way, this song is also a title to a children's book written by Johnette Downing. This song is one to get everyone dancing.

"The Fifolet" is also the title of a children's book by Johnette Downing. Kids are going to learn a few new words listening to this album (unless, of course, they've already read the books). A fifolet is a sort of will-o'-the-wisp type thing found in the swamps of Louisiana. This track has an appropriately haunted type of vibe, and features a wonderful vocal performance. "It will tease and coax you and draw you near/But all the Cajuns know that you'd better beware." This is one of my personal favorites. There is a seriously cool sound and atmosphere to this song, and the accordion seems to want to dance with that light. Why not? Then "Hitch Up My Pony" is so ridiculously cheerful that I find myself laughing almost immediately, a surprised kind of joy taking me over as soon as the vocals come in. This song has a beat that might have you dancing, and it also contains some really nice work on accordion. "Kick up the music, gonna start up the dancing/And everything's gonna be just fine." I don't doubt it. That bass line makes it certain.

"Ready Or Not" is a song about a game of hide and seek. Having heard this song, now I think whenever the game is played, instead of calling out "Ready or not, here I come," you should sing that line as is done here. Come on, you know the game will be all the more fun if you do it. I love the way Johnette Downing delivers the line here. And if you can coerce some accordion player to accompany your game, all the better. That's followed by "Pass It On," one of those songs that kids love singing. It's easy to slip in a new lyric whenever one is needed. You can keep these songs going forever if you want. But here I don't care all that much about the lyrics. It's the music that makes me happy, that good, prominent work on accordion and that great guitar work underneath it. In fact, it's the guitar work that I love most about this particular track. "It makes you warm and fuzzy, pass it on."

"Eh La Bas" is a traditional New Orleans number, here with a new adaptation by Johnette Downing. And, yes, everything is delicious about this track. I am particularly fond of the beat. And the vocal performances are delightful. Plus, the lead on accordion has a great energy. And to top it off, there is a cha cha cha ending. That's followed by "Loop De Loop," a variation on the "Hokey Pokey" theme, but, of course, much cooler because it has that zydeco feel and includes a good lead on accordion. Okay, I know you are all shaking a little while listening. You can't help it, it's okay. I can't help but love the section that is just vocals and percussion. I was probably programmed in my youth to love that because it was in so, so many songs at that time.

The pace increases on "Give Me That Zydeco." Just try to stay still while this song is playing. If you need a song to tire out the kids (or yourself), here it is. It contains some fantastic stuff on harmonica, calling us all to celebrate. This track is so much fun, and is another of the disc's highlights. The band then wraps up the album with its title track, "My Little Snap Bean." This is another traditional number, with some additional lyrics by Johnette Downing. It's all about the beat. So, yes, be prepared to dance, to shake. "If you'll do me the honor/I'd like to dance with you."

CD Track List

My Parrain Is The Loup Garou
Going To The La La
Juré
My Aunt Came Back From Louisiane
The Fifolet
Hitch Up My Pony
Ready Or Not
Pass It On
Eh La Bas
Loop De Loop
Give Me That Zydeco
My Little Snap Bean

My Little Snap Bean: Zydeco For Children is scheduled to be released on April 10, 2026 on Wiggle Worm Records.

Lights Out Levine, The Smokey Lonesome, and The Williamsons at Music Garden L.A., 3-28-26

2026-03-29T16:02:00.000-07:00

Music Garden L.A. has quickly become a favorite spot to catch live music. It's a totally relaxed, friendly outdoor venue in Highland Park, not out to sell you overpriced drinks or anything. In fact, there is no alcohol for sale there. For that, you have to go next door, which is fine. This place is truly all about the music. And though the vibe is laid-back, that doesn't necessarily mean the music will be, as was demonstrated yesterday afternoon, especially when Lights Out Levine took the stage.

The Williamsons

The show began just before 3 p.m. with The Williamsons. This is the duo of Mike and Jessica, and it was their first performance as The Williamsons, and so a special occasion right from the start. And there was a good crowd present for the show, more people than I'd seen the previous times I'd been there. They opened with a good cover of Johnny Cash's "Crystal Chandeliers And Burgundy." Mike was on lead vocals and guitar; Jessica was on banjo and backing vocals. They followed that with a fun cover of "Leaving Louisiana In The Broad Daylight." "It gets real hot down in Louisiana," Mike sang, and it was real hot in Highland Park yesterday too, even a bit muggy, which is odd for L.A. But this was where we wanted to be, and there was some shade provided by the umbrellas. Even more fun was the duo's rendition of "I Could Drive You Crazy," a song written by Sierra Ferrell. A line that stood out to me was "And they'll pull you over like a small town cop," reminding me of the cops in my home town. They then treated us to a sweet rendition of Tom T. Hall's "That's How I Got To Memphis." I've been hearing this song a lot lately, and that's a good thing. The duo then took us from Memphis to Dallas, covering Jimmie Dale Gilmore's wonderful "Dallas." Before that song, Jessica mentioned how just ten months ago her friend lent her a banjo, and since then, one thing led to another, and here we were enjoying their first gig. Dave Porter and Natalie Fratino of The Smokey Lonesome joined them on their rendition of Hank Williams' "Jambalaya," Dave on electric guitar and Natalie on backing vocals and shaker. It's always fun to hear this one.

Jon Levy and Mini Mendez

Mike stayed on the stage, and while Jessica left, Mini Mendez (of The Glimmer Stars) and Jon Levy (of Hollywood Sinkhole) joined him, and the three launched into a cover of The Ramones' "I Wanna Be Your Boyfriend," all three providing vocals. Mini Mendez was sporting a Cruzados T-shirt. They followed that with a Glimmer Stars song, "Paulina," with Mini Mendez on lead vocals. This was a totally sweet, beautiful rendition. Mini Mendez then left the stage, and Mike Williamson and Jon Levy continued with "Western Skies," a really good song from Mike's 2022 self-titled album. It featured some nice guitar work from Jon. Jon then told the audience, "That was Mike at his most sensitive." They followed that with "Good Times," another song from that same album. "The good times come and go." Yes, indeed, so we have to enjoy those times as much as possible. Jon Levy then sang lead on a new song. In introducing it, he told the audience the song would hit folks differently depending on whether they were born in Los Angeles or not. "California, wrap me in your arms/Came here for a dream, and never want to leave." He then sang, "It feels so right until it feels so wrong." Yeah, I think all of us from elsewhere completely understand where he's coming from. They followed that with another Jon Levy song, "Life Was Going Great 'Til I Met You." As you might guess from the title, this was a fun one, with a sort of pop vibe to it. Jon then teased, "Did I tell you Mike has a really sensitive side?" Jessica, now in the audience, called out, "I didn't know about it," which got deserved laughs. Jon told her she was about to find out, and Mike sang lead on a song that featured the line, "But Jessica says it will be all right." They wrapped things up with "Around The Block," the lead track from that 2022 Mike Williamson song, saying it was in honor of Adam Levine.

The Smokey Lonesome

The Smokey Lonesome then took the stage, getting straight into the music, opening with "Frontera," the lead track from the Desert Run disc. It's a song I always enjoy hearing, and it certainly had the right energy yesterday. Again, there is a laid-back vibe to the venue, which is very much appreciated, but the music had a great, fiery spirit. After that song, Natalie asked about the sound, joking that the "guitar's too loud, I'm sure." But no, it wasn't. Everything was just right. They followed "Frontera" with "Koa Box," keeping the energy high. I've mentioned this before, but I keep a list of bands that have a song sharing the band's name (it's a much longer list than you might expect). The Smokey Lonesome is on that list. "We are The Smokey Lonesome; this song is called 'The Smokey Lonesome,'" Dave said, introducing the song that secured them a spot on that list. You're probably now thinking of a few bands yourselves. Here, let me help: Bad Company, Beastie Boys, Broken Sound, Bullied By Strings, Kool And The Gang, Motorhead, Night Ranger, They Might Be Giants (just a few). Anyway, "The Smokey Lonesome" is actually one of my favorite Smokey Lonesome songs, a very cool tune. Dave switched guitars for that one, and the next one, "Desert Run," which came on with a delightful force. There is a moment in that song when Dave sings, "Where are we going?" and Natalie sings, "Don't know." I don't think anyone knows, but that doesn't stop us. Right? There was a fun, wild energy to this song yesterday, totally unrestrained. Natalie then sang lead on "Ways To Be Wicked." There was not a lot of stage banter. At one point, Dave said, "Pretty warm out here today," then immediately jokingly asked if that was enough talk. Natalie agreed it was. Their set also included "Heartbroken Heartbreaker," "Jasmine," and Tammy Wynette's "Your Good Girl's Gonna Go Bad." Natalie sang lead on the Tammy Wynette number, delivering a totally fun rendition. Dave joked about the time, saying they were already getting near the end of their set, that somehow these four-minute songs were turning out to be two-and-a-half-minute-songs. Well, it was that kind of energy, the kind that is then perfect for "Cannabis," a song about how weed is legal in California, a fan favorite. They wrapped things up with a couple of covers, Dwight Yoakam's "Guitars, Cadillacs" and Johnny Cash's "Folsom Prison Blues." "All's well that ends well," Dave said before starting that last number.

Lights Out Levine

Lights Out Levine then took the stage at 4:51 p.m. For this show, the band was the duo of Adam Levine on guitar and Justin Kunkel on bass. "Happy Saturday, everyone," Adam said, also noting that he had family in the audience. The two of them rocked the space, deliving a delicious set. "You could never have predicted/That's I'd become so addicted," Adam sang in their opening number. A bit of tuning, and then onto the next song, which also came on strong with a great punk rock energy and featuring some fantastic work on bass. There was a bit more tuning after that song, and Adam asked the crowd, "So where are we going afterward, Maui Sugar Mill Saloon?" And, indeed, a large segement of the audience was planning on making its way over to Tarzana for that show, the bill there including The Glimmer Stars and Pat Todd & The Rankoutsiders. I had hoped to make it there myself, but ended up missing that show. But I was getting a good dose of solid rock music right then. "This is weird, no tequila," Adam commented, then kicked into "I Like It With The Lights Out." "So we can start this party right." There was something of a back yard party feel to the day. "We're going to do some new stuff, guys, some shit you haven't heard yet," Adam then told the receptive crowd. That next song was a perfect Los Angeles song, with lines about memories on the cutting room floor. "You didn't make the cut!" he shouted at one point. Isn't there someone you have in mind now, someone you'd like to say that to? "I've got creative control." Again, perfect. "You're right where you belong, on the cutting room floor." Lights Out Levine then did something interesting, choosing to play Mike Williamson's "Around The Block," dedicating it to the Williamsons. Mike had dedicated the song earlier to Adam, and Adam returned the favor. "Come and see me when you're feeling blue." That's exactly what I try to do, go see some great music when I'm feeling down about the world. "Technical difficulties, folks," Adam shouted out while tuning. "We'll be right back." The duo then ripped into "Pervert Queen," one of my personal favorites. "Oh man, she was doing dirty things that were out of this world." A line that made me laugh out loud was "I was desperately in need of a safe word." Justin's great bass work bridged that and the next song, which had a darker vibe. Then Adam sang a song to his son, who was not only in the audience but also stepped onto the stage to say that everyone he heard today was amazing. It was another special moment. "You're the best thing that ever happened to me," Adam sang. And if you worry the song is in danger of becoming overly sentimental, Adam adds some delicious humor to it, singing, "Grownups don't know shit/They only act as if they do." Dave Porter called out from the audience, "Are you going to do that 'Fantasy' song?" Adam replied, "Oh, you want to hear that?" And so we got to hear "Fantasy." "Reality simply ain't the truth," Adam sang. Lights Out Levine then wrapped up the show with "Run From The Moon." "We're ending it with the song we usually start with," Adam told the crowd, and he was howling before the end. What a great afternoon!

Fight On! True Blues Vol. 2 (2026) CD Review

2026-03-28T13:07:00.000-07:00

I feel like it's safe to assume that everyone has the blues these days. And the best way to fight the blues is with some good blues music. Three of the best artists working in that realm today share some excellent recordings on the new compilation, Fight On! True Blues Vol. 2. Corey Harris, Alvin Youngblood Hart, and Guy Davis deliver some blues to help us deal with the troubled world around us. The tracks they provide here are delicious solo performances, some of classic blues numbers, some of original material, all with a wonderfully raw and honest sound.

The album opens with Corey Harris performing "We Are Almost Down To The Shore (Fight On)," a traditional number. This performance has a great, timeless feel, and features some good guitar work. Corey recorded this and his other tracks in Virginia, where he is currently based. This song provides the album with its title, and it has a sudden ending. Alvin Youngblood Hart then gives us "Screamin' And Hollerin' The Blues," a song written by Charley Patton. He delivers a really good rendition, with a strong sense of play, which is perfect. Just listen to the way he sings "If I ever get back home, I won't be around here no more/No, I won't be around" and "No use to screamin' and cryin'/Oh, sugar, you know it ain't no use." One thing I love about these recordings is that they feel like live performances, musicians in the moment, and so it is like we are sharing those moments with them. Alvin Youngblood Hart's tracks were recorded in Mississippi.

Guy Davis performs an original number, "See Me When You Can," a song he included on his 1996 album Call Down The Thunder. There he is backed by a band. Here he performs the song solo, and the track has a great, raw, immediate sound. When he first sings, "Oh, do me a favor/Come on by and see me when you can," we can hear the need in his delivery. "Well, my body's failing, and I can't get around/The next time I leave here, they might carry me down." Oh man, we can feel this as he sings it. So good. Guy Davis recorded his tracks in New York. Corey Harris then gives us an original number, a playful and totally delightful song titled "What's That I Smell." Check out these lines: "I was up on the hill top in a big white house/Had to burn it down 'cause a man ain't a mouse/Ask me why I do it, I say, well, why not?/I start a revolution and I don't want to stop/Open up the window and tell me what's that I smell." He does a bit of sniffing during the guitar instrumental part in the middle, and also concludes the song with some sniffing. This song is wonderful.

"If The Blues Was Money" is an original number from Alvin Youngblood Hart. It was included on his 1996 album Big Mama's Door, where it was listed as "If Blues Was Money." Though it's an original songs, some of its lines will be familiar to you from a song like "I Know You Rider": "Lay down in the evening, just can't take my rest/My mind get to rambling like the wild horses in the west." Interestingly, that earlier version was also performed solo. This new recording is excellent, featuring some great stuff on guitar. "If the blues were money, babe, I'd sure be a millionaire/But it's all I can do just to keep out the electric chair." That's followed by "Deep Sea Diver," an original song from Guy Davis. It has some wonderfully unsubtle double meanings in lines like "I'm a deep sea diver, and I know how to go below/When I leave a little girl, she beg me, daddy, please don't go." The song is told from the perspective of a traveling man referred to as Handsome Jack. It is a delight.

Corey Harris' last number is a cover of "I Belong To The Band," a song from Rev. Gary Davis, the man responsible for "Death Don't Have No Mercy." Corey Harris delivers an excellent rendition, with a good, loose vibe and a fantastic vocal performance. It feels like he's playing on our porch. What could be better? Alvin Youngblood Hart follows that with "Highway 61," a traditional number, mostly associated with Mississippi Fred McDowell and often titled "61 Highway." Alvin Youngblood Hart gives us a passionate rendition, and halfway through it we are treated to some rousing work on harmonica. The album concludes with Guy Davis performing "Everything I Got Is Done In Pawn," an original number, though largely inspired by Elizabeth Cotten's "Shake Sugaree," which has the line "Everything I got is done in pawn" as well as these lines that begin this song: "Well, I pawned my watch, and I pawned my chain/Pawned everything that was in my name." Guy Davis takes it to another level with lines like "Even pawned the old lady who used to live upstairs" and "Pawned so much I'll have to live outdoors." And the funniest moment is the line he leaves unsung. It's a cool way to wrap up this album of delicious blues.

CD Track List

We Are Almost Down To The Shore (Fight On) - Corey Harris
Screamin' And Hollerin' The Blues - Alvin Youngblood Hart
See Me When You Can - Guy Davis
What's That I Smell - Corey Harris
If The Blues Was Money - Alvin Youngblood Hart
Deep Sea Diver - Guy Davis
I Belong To The Band - Corey Harris
Highway 61 - Alvin Youngblood Hart
Everything I Got Is Done In Pawn - Guy Davis

Fight On! True Blues Vol. 2 is scheduled to be released on April 17, 2026 on Yellow Dog Records.

The Town And The City Festival Boasts A Fantastic Lineup

2026-03-27T12:55:00.000-07:00

When I was growing up in Massachusetts, if you'd told me Lowell would host one of the coolest music and art festivals, I would have laughed. Anyone would have laughed. Lowell, back then, was a place largely to be avoided. The city has changed quite a bit in the last few decades, those changes for the better, and has become a really nice spot. Lowell is now celebrating its bicentennial. The Town And The City Festival, a music and art festival named after Jack Kerouac's book, will be held from April 30th through May 2nd, and feature performances by John Doe & David Lowery (that alone makes it worth going), Jon Langford & Friends (anything Jon Langford does is worth checking out, and everything he does he does with joy; The Mekons are one of the absolute best bands in the world), Steve Wynn (in addition to his great solo work, he's known for The Dream Syndicate and The Baseball Project, two excellent bands), and Kris Delmhorst (a phenomenal singer/songwriter, but of course you already know that), along with many other talented musicians and singers. In addition to the music and art, there will be comedy, along with a book reading by Chris Wrenn (the book is Fenway Punk: How A Boston Indie Label Scored Big On Baseball's Biggerst Rivalry, a book I need to get a copy of). Tickets and three-day passes are available now on The Town And The City Festival website.

Lois Blaisch & Friends, The Sallys, and Jed's Dead at Maui Sugar Mill Saloon, 3-25-26

2026-03-26T17:57:00.000-07:00

Lois Blaisch

We all know Tiffany from those Sci-Fi channel movies (and, yes, I know they switched it to Syfy, but that's just stupid) like Mega Piranha and Mega Python Vs. Gatoroid (I keep reading that as Gatorade), but when she first came on the scene, it was through singing the songs of other artists. She had hits with covers of The Beatles' "I Saw Her Standing There" (which she switched to "I Saw Him Standing There") and Tommy James And The Shondells' "I Think We're Alone Now," as well as the song "Could've Been," which was written by Lois Blaisch. I could not stand her renditions of "I Saw Her Standing There" and "I Think We're Alone Now," but "Could've Been" was something different, something special, and on that song Tiffany's vocal work was quite good. It's actually a beautiful song, later covered by Sarah Geronimo. And the woman who wrote it, Lois Blaisch, has her own band. That band performed last night at the Maui Sugar Mill Saloon as part of a bill that also included The Sallys and Jed's Dead.

Jed's Dead

Jed's Dead was up first, and the room was quite crowded, especially for a Wednesday night (Moses had his hands full behind the bar). Apparently this band doesn't play all that often, which was likely part of the draw. Sandra Macat, of The Macat Persico Band, was hosting the night, part of the Open Road Americana series, and this, as it turned out, was her last time hosting the series. She introduced the band a few minutes before the scheduled 8:30 p.m. start time, and the group opened with "A Girl From Texas." It's a wonderful song, and I especially loved the line about his regret, "And I didn't have a chance to break your heart." Fantastic! The group delivered its own special kind of country rock, with even some pop elements thrown in, as on "Grace," a fun and seriously catchy number (which was written for Amilia K. Spicer). And check out these lines from "Trouble Girl": "Smoke my weed and drink my wine/But don't try to tell me that you love me." These guys did mostly original material, but also delivered a good rendition of "Looking At The World Through A Windshield," the Del Reeves song, featuring a nice lead on electric guitar. "Small Gods" featured some good work on harmonica. They wrapped up the set with a couple of totally fun numbers. The first of those, "Party Wrecker," had a delicious bass line and included these lines: "I didn't mean to wreck your party/But you shouldn't have broke my heart." "That song's based on a true story," we were told afterward. With a little clarification: "Not my true story." It was based on an episode of Cops.

The Sallys

The Sallys were up next, with David Serby filling in for Mike Brady on bass. The band started promptly at 9:30 p.m., kicking the set off with "Back On The Road Again," a song I love. "I learned when I was just a boy/People would lie right in your face for no good reason." Nubs made a quick sound adjustment, and Dan Janisch called out, "Let's hear it for Nubs," before then starting "Here She Comes." "How's that feel?" Dan asked at the end of that one. So good! In fact, so good that sometimes it's easy to miss just how good this band's lyrics are. Dan said he was dedicating the show to Mike getting better (Mike was in the audience). "Wild Fun" was certainly fun, with a great punk flavor and some delicious rock and roll guitar work. As you might expect, there was a sense of humor to the set. "To the lighting guy, this is where the mood lighting happens," Dan told the non-existent crew member. Then, after waiting for a moment, during which nothing happened, he said, "Okay, perfect." But, you know, it was perfect. And the trio played "Everybody's Got Somebody They Used To Love," a pretty song. Dan warned Sandra Macat that she'd be needed shortly, then noticed the containers of cupcakes on her table. "What's that?" He joked that the band needed to take a break immediately. The cupcakes were in celebration of Lois Blaisch's birthday, which was the previous day. After a totally cool cover of "Little Black Egg," Sandra joined The Sallys on vocals for a beautiful version of "Cannot Settle Down." The crowd, recognizing the tune immediately, applauded the moment the song started. That was followed by a rocking rendition of "Like You Best." The trio got dirty and mean with "Damnation," the final song of the set. What a great vocal performance! Just before the end, Dan signaled for the audience to be quiet, saying "Let's listen to what they're talking about." For a moment, we all listened to the conversation of the two people at the pool table, who didn't seem to notice, and then The Sallys finished the song. It was such a fun set.

Lois Blaisch & Friends

Sandra introduced Lois Blaisch & Friends and wished Lois a happy birthday. She also mentioned that Karman (of Karman Jeanne & The Fish) would be taking over the music series. Karman, by the way, was one of the Friends of Lois Blaisch & Friends, providing some wonderful backing vocal work for much of the set. In the very first song of the set, Lois Blaisch sang that things were going to be all right, reminding us that everyone needs a little tenderness. It was a perfect song to start things, a perfect song for our strange times. Lois then asked if anyone in the audience had a sweet tooth, and said that she brought cupcakes for everyone. By this point, the containers of cupcakes had been moved to the table off to the side of the stage. "Pour Your Sweet Love Down On Me," a song she wrote with Jim Messina, featured some really nice harmonies, plus some good stuff on drums too. "All right, we're going to get country for a little bit here." Ed Tree (who was on electric guitar) jokingly asked, "Which country?" And Lois replied, "This country." The song, "Feels Like Love (And It Feels Alright)" was a fun country number. Ed Tree then delivered some excellent stuff on guitar on "Hurricane," a song that addresses the climate change crisis. Lois introduced a new song, "I Wanna Be Your Old Lady," saying, "I wrote myself a yodeling song." And indeed, she yodeled on the word "Lady." And, yes, it was delightful. Karman had stepped away before this song and didn't sing on it or the next three songs. The first of those three songs was "Could've Been," the song that was a big hit for Tiffany. She said in the song's introduction that Tiffany's recording helped her get out of debt. After a false start, Lois delivered a moving rendition.

Lois then switched to electric guitar for the rest of the set, beginning with "Back In Time," a good bluesy number. Lois said the guitar was a Valentine's Day gift to herself. She followed "Back In Time" with "Gourmet Love," a cool, totally enjoyable tune. Both "Back In Time" and "Gourmet Love" come from Lois Blaisch's most recent album, last year's Magic. And the band next played that album's title track, with Karman rejoining the group on backing vocals. Lois then asked, "Do we have any home owners here tonight?" The question was met with silence, which actually surprised me. I know that most of us cannot afford a home in this city, but I figured at least a couple of people in a crowd that size might have managed it. Nope. The song, "Home Owner's Blues," was a fun blues tune. She then returned to the new album for "The Electric Man," a song inspired by some electricians who came to install recessed lighting in her home. That was followed by "Rollercoaster," a rocking number from Magic, this one finding Karman on tambourine as well as backing vocals. "Thank you for helping to celebrate my birthday," Lois told the crowd. And the band led everyone in singing "Happy Birthday To You" before going into the final song of the night, "Weather Man," the audience echoing "weather man." The show ended at 11:44 p.m. Another great night at this venue.

Maui Sugar Mill Saloon is located at 18389 Ventura Blvd. in Tarzana, California.

Brief Notes On New Jazz Releases

2026-03-25T17:29:00.000-07:00

I hope everyone is doing all right. This country is neck-deep in fascism, and seems to be in a rush toward complete oblivion. I'm doing my best to avoid the entire mess, but it's getting more and more difficult. Fortunately, there is still a lot of great music out there to help ease our troubled spirits. Here are notes on a few new jazz albums you might want to check out. It's interesting that some of these artists are also teachers.

Naseem Alatrash: "Bright Colors On A Dark Canvas" - Bright Colors On A Dark Canvas seems like a perfect and promising title for these dark and frustrating times. Naseem Alatrash is a talented cellist and composer, who is based in Boston and is a part-time faculty member at Tufts University. This album features all original material. It opens with "Prelude," and immediately the music transports us to another place and perhaps another time. There is a history here that we can feel, a shared sadness. This beautiful piece contemplates that and raises its voice in reaction. Then pianist Chase Morrin and percussionist George Lernis are featured on "Riwaya (Narrative)," which also includes the string orchestra, so there is a fuller sound that seems to celebrate a place. We are taken along its streets, invited to taste its foods, and get caught up in its spiritual passion. There are more somber spots too, which are not kept hidden from us. Yet as we navigate them, we find that these spots also contain a dance. There is beauty, joy, and fondness expressed here, and we feel welcome. The orchestra is conducted by Eugene Friesen. Things then become more intense in "Ramad (Ashes)," and we soon feel pursued. We are on the run before we even know why. There is not time for questions. There is some exciting and excellent work by Chase Morrin on piano, and in the second half we are immersed in a more chaotic environment. But the pursuit seems to continue from that place. There is a more lonesome feel to "Lifta" as it begins, as if weary from the earlier pusuit, and we are now taking stock of where we are, what is left of what is behind us. Yet there is beauty here, almost in defiance of a world grown cold. And it has a rather gentle ending. "Echoing In The Hollow" begins with some pretty, though perhaps tentative, work on piano. The cello is gorgeous, moving. There is sadness, but also hope. "Risala (Message) - Part I" quickly establishes a good rhythm, and there is the sense of a grander picture, a grander landscape, and some intrigue. And now the movement is more deliberate, more certain. This track features some excellent and powerful work on cello. It leads straight into "Risala (Message) - Part II," which soon moves quickly. This time it is not running away, but running toward some more desired future. Here we experience a different kind of excitement, more positive. I love the percussion. This album was released on February 27, 2026.

Wayne Alpern: "Alchemy" - You can always count on composer Wayne Alpern to deliver something interesting and wonderful. Alchemy is an album of original pieces composed for woodwinds. The group that performs the pieces, Imani Winds, is made up of Brandon Patrick George on flute, Tovin Spellman-Diaz on oboe, Kevin Newton on horn, Mark Dover on clarinet, and Monica Ellis on bassoon. The album opens with a playful number titled "Stomp," which has a delicious, comedic bent, reminding me of some of the great cartoons I watched when I was a child. So, yes, the kind of thing that should immediately raise your spirits and return you to a less stressful time. The fun continues with "Gigue," which has a delightful sense of mischief about it. You know that someone is up to no good, but you also know that no harm will result from it, so you can just enjoy the action. The characters are so clear, as is the action. The same is true for "Burlesca," though the characters and action are so different. This one takes us into more of a folk realm, a foreign town or community, where there is also humor, but here it comes from a collective space rather than individual behavior. "Impromptu" has a stronger presence, demanding attention at its start, before easing back at moments, and finding some truly pretty areas in the second half. "Masquerade" is a total delight, a playful number that swings and teases and promises that life can be lighter, even when some mystery is acknowledged. "Partita" becomes exciting toward the end, and then the music changes gears with "Elegy," which, as you'd expect, has a more somber vibe. Yet there is also something uplifting here, something that encourages people to maintain a certain amount of hope. And there is a dramatic sense to the second half. It's interesting that this album includes a piece title "Overture" in its second half, but it's a fun, lighthearted and adventurous number. One of my favorites is "Rag," which, as you likely gathered from the title, plays with some ragtime themes, which I've always found appealing. It's totally enjoyable, and includes a nod to Gershwin, which of course I appreciate. Another highlight is "Capriccio," which is like a lively dance of sprites and pixies and other playful spirits, yet a dance that has some function in mind, some goal. Like, by the end, you find they've built an entire little town. It builds to an exciting climax. This album was released on December 19, 2025.

Darren Litzie: "On My Own Time" - Darren Litzie is a pianist and composer who released his first album as leader in 2022. His new release, On My Own Time, features mostly original material. with Chris DeAngelis on bass, and John Riley on drums. It opens with its title track, which eases in with a short introduction on piano. Then it kicks in, taking on a fun rhythm that quickly has us feeling good. There is a Brazilian influence here, and some interesting changes. I especially like when Darren gets loose in the middle of the track. Both Chris and John then get chances to shine in the second half. That's followed by the album's first cover, "Moonlight In Vermont," this being a more somber rendition than most, a bit sadder in its contemplation. Darren delivers some beautiful work, and does find lighter moments. There is a gentle, thoughtful bass lead in the second half. Then "Just After Three" has the feel of a pleasant dance, when all of nature seems to be encouraging a lighthearted, joyous approach to life. This is one of my personal favorite tracks, everything coming together perfectly to create a better world. "Maybe We'll Try" urges a different type of dance, and the Brazilian influence is heard again on this one. Chris delivers an excellent, impressive lead on bass early in this track, things popping there. And it just gets more fun from there, with some delicious, lively work on piano, becoming another of this disc's highlights. The trio then gets bluesy with "If Only I Could Forget," and gets even cooler with "Busy Work," which features more excellent work on bass. When "Before Tomorrow" starts to take off, it too becomes another standout track. I love its loose feel combined with that attitude of really going for something. I find that's often when magic occurs. Plus, this track features some really good drumming. "A Short Walk From Here" has a light vibe, music that seems to push cares aside. The album's second cover is Thelonious Monk's "In Walked Bud," this version given a good, somewhat funky groove, with lots of wonderful touches throughout. The final cover is perhaps the most surprising choice, The Zombies' "Time Of The Season," a song I love. It begins with something of a mysterious air, starting to take form in the mist, and growing from there. It's an interesting approach that I ended up really digging. This album was released on February 6, 2026.

Pat Petrillo: "Contemporaneous" - Pat Petrillo is an accomplished drummer and composer. Contemporaneous features all original material, written or co-written by Pat, tracks that bring several different musical areas together in one great creative eruption. Joining him on this album are Scott Ambush on bass, Gary Grainger on bass, Blake Aaron on guitar, Oz Noy on guitar, Chieli Minucci on guitar, B.D. Lenz on guitar, Matt Rohde on keys, Mark Baron on keys, Chris Fischer on keys, Plinky Giglio on keys, Mike Cordone on trumpet, Steve Jankowski on trumpet, Lemar Guillary on trombone, Scott Mayo on tenor saxophone, Tom Timko on tenor saxophone, and Phillip Wack on alto saxophone. The album gets off to an energetic start with "Fused," which, as you might guess from its title, combines rock and jazz. There is some fantastic drumming here. There are also some surpisingly heavy moments mixed in. What an exciting and great start. That's followed by "Late Night Diner," which has a cool vibe and seems to celebrate the city life and atmosphere. It might be late night, but things are still happening, still hopping, and this track features some delicious stuff on sax. Then some wonderful work on bass sets "How's The Weather?" in motion, and it isn't long at all before we are treated to some excellent drumming. This is another lively number with a sense of excitement. Will Donato joins the group on both tenor sax and flute on "Summer In Philly," which has a more laid back and sexy vibe. It also includes some good work on both guitar and keys. Pat begins "On The Regular" with some great drumming, and soon we are immersed in a fantastic funky realm from which we have no interest in emerging. There is a lot of stuff happening here, all of it delicious, but it is the drumming that really makes this track stand out. The album's title track is an odd little number on which Pat Petrillo plays all the instruments. This track features spoken word vocals, but I'm not certain who is speaking. By the way, Pat Petrillo plays keys on several tracks. "Grizzle" then has a different feel, due in part to Rob Paparozzi's presence on harmonica. There is something of a New Orleans feel to this one. "Dirty Jerz" will get you on the dance floor, as will "Sunset Sound Studio 2," both having some 1970s vibes. "Weekend Vibe" will help turn any workday into a more relaxing and enjoyable time. And "Glide In My Stride" leaves us in a good mood. This album was released on July 11, 2025 (okay, so maybe it's not quite new, but in the larger scheme of things, it certainly is).

Erica von Kleist: "Picc Pocket" - Erica von Kleist plays several instruments, including saxophone and flute, and on her new album, the playfully titled Picc Pocket, she plays piccolo. She is joined by Yago Vazquez on piano, Noriko Ueda on bass, and Anton Kot on drums, along with John Ellis on tenor saxophone and Jennifer Krupa on trombone on certain tracks. The album features all original material. It opens with "We Know How To Picc 'Em," a totally fun number that begins on drums. Maybe you don't think of the piccolo as a cool instrument, but you likely will after listening to even a few moments of this track. It has a familiar vibe that you'll immediately enjoy, and features some fantastic work by Erica on piccolo. There is also a delicious lead on bass that is not cut short. It's a fun, lively and cool start. It's followed by "Let Me Picc Your Brain." And, yes, before you ask, all the song titles, like the album's title, contain plays on "pick" and "picc." There is a mellower feel to this one at the start, and yet soon we get some excellent drumming. It's kind of an intriguing track that, before you know it, develops its own delightful energy, and features a wonderful lead on piano. In the second half, there is a surprising and excellent section where Erica's piccolo is backed just by bass. "Bone 2 Picc" is a playful number featuring some absolutely wonderful work by Jennifer Krupa on trombone. The piccolo is then like a sprite dancing about. When the two instruments work together, is there anything more delightful? "Picc & Choose" has a sweeter vibe. There is a pleasant feel to this one, even as the bass and drums push things forward. "Picc Up Lines" is great fun from its opening on drums, this one featuring excellent stuff from John Ellis on saxophone. Everything moves along at a good clip, leaving all our troubles behind. And we are treated to a drum solo in the second half, so all is right with the world. The album concludes with "Picc A Peck," which is surprisingly bluesy, proving once again that the piccolo is cool. And here Erica gets loose over that good rhythm. This album is scheduled to be released on April 23, 2026.

James Houlahan: "On A Wing" (2026) CD Review

2026-03-24T15:35:00.000-07:00

James Houlahan is a talented songwriter based in Los Angeles, and originally from Boston. Each album he releases is something special. His new album, On A Wing, contains mostly original material, along with a few covers. It's his first new album in nearly three and a half years, following Beyond The Borders. As on that album and previous albums, he gets some help from Fernando Perdomo, who co-produced the album with him and plays keyboards. Danny Frankel again joins him on drums and percussion, and Esther Houlahan again joins him on vocals. This time he also has the great Feef Mooney joining him on backing vocals. And the incredibly accomplished Greg Cohen plays both electric and acoustic bass on this album. John Kruth plays a great variety of instruments, including mandolin, flute, Irish whistle, harmonica, mandocello, bulbul tarang, arghul, electric sitar, and autoharp. And Tim O' Gara plays jaw harp and provides vocal work. It's an impressive group of musicians performing on an excellent group of songs. The album's title, by the way, is interesting, for the phrase suggests a bird in flight, generally a beautiful and graceful thing, while also (because that phrase is usually "On the wing" rather than "On a wing") reminding us of the saying "On a wing and a prayer," which is hopeful but not optimistic. And I suppose that's how many of us feel these days.

The album opens with "These Changes." Sometimes I just want a song to make me feel better, feel better about the world, feel better about myself, just feel better. You know? This song does that even before the vocals come in. That guitar work at the beginning sets a beautiful, positive tone. And then when the vocals do come in, we find it's a love song, and not only that, but about starting a family. "Now these changes are coming/They turn two to three." And by the time James sings, "Our love is a light that sets us free," I am smiling, and the horrors of the world have slipped away. This track features some really nice work on flute. "Dressed up in the beauty of all that you are." Yes, yes, yes! Here is a song I think we can all appreciate, and it's over much too soon. It's followed by "Chariot Song." Here are the opening lines: "Chariot of the sun/Take me to that star/A road that goes through justice." Oh yes, I seem to recall something called justice. I'm pretty sure that no longer exists, but it's nice to hear the word again. This track features some good guitar work, and cool stuff on harmonica. "She'll take my hand and lead me/Out into the world at last." I also love the backing vocal work here. There is a kind of loose vibe here that is really appealing. The song returns to those first lines again before the end. But before that, the song's lyrics mention a bird: "I long to be the bird/Who's landed free from harm/Rescued from delusions/Of what we think we are." Bird imagery is encountered throughout the album.

And speaking of bird imagery, the first of three covers on the album is "The Cuckoo Bird." James Houlahan puts his own spin on this traditional number. That's apparent from the track's opening moments, with a great acoustic base and these bright lights flashing across the horizon. I've heard many versions of this song, but I don't think I've ever heard one quite like this. There are some cool, surprising touches that keep us totally engaged, including the use of a jaw harp. And James Houlahan adds some lyrics to it. I love this rendition. It does owe something to some of the great 1960s recordings I've heard; there is a psychedelic element to the song. Then there is some really nice percussion from the start of "All Night." The song does a superb job of establishing the mood, the atmosphere, before James comes in on vocals, the percussion being part of it. "All mixed up, feeling confused/Breaking down, untying my shoes." When a friend arrives with a bottle of gin, maybe things are going to be better. Interestingly, we are then given a part in the song, a character, as James sings, "We stayed up all night/Didn't talk about you." This is a particularly interesting vocal performance, a different approach that is captivating. And though this song employs the dreaded "self"/"shelf" rhyme, it kind of works here, since the bottle that ends up on the shelf has been established. There is some excellent guitar work in the middle, the flute seeming to dance with it briefly. The repetition of the lines "We stayed up all night/Didn't talk about you" have an interesting effect; because on one hand, there is something triumphant about it, like he is over whatever it is he feels he should be over; on the other hand, by repeating "Didn't talk about you" he is talking about that person. I love that vocal section at the end.

The album cover's artwork is by Hieronymous Bosch, the bottom left portion of "The Garden Of Earthly Delights." It features many birds, fitting with the album's title and some of the imagery in the songs. "That Bird & I" is the second song to have a bird in its title. "Before I slept, I took a walk/Through a dark silent canyon wood/There I heard a lone mocking bird/Who was singing a song that I understood." There are some deep tones that reverberate in our chests and echo in our minds, in places we don't often go. In some contrast to that, there is the lighter sound of the mandolin. "Songs of love and songs of pain/Songs of sweet and dark mystery/Our old tunes from voices past/They echo in a grand symphony." After a brief pause, he encourages us, "So let us sing on," and creatures from all around answer the call. What a wonderful effect. This is one of my personal favorite tracks. I love, love, love this song. It's about being a singer, but that includes all of us who, sometimes without apparent reason, find ourselves singing.

A pleasant and pleasing vibe is established right at the beginning of "I Believe In You." There is a nice groove, and I'm digging that beat. There is a joy from the start. "Someday I'm going to rise up singing," James then sings, conjuring Gershwin, and making me think briefly of Janis Joplin ("Summertime" is one of my favorite songs, actually), but also continuing the imagery of the previous song, likening a solitary singer to a bird. "Every sound plays a part," he sings here, which also makes us think of the previous song. We all have a part. "I believe in you/I believe in you." May we all have that special someone in our lives, that person who believes in us, that person we believe in. There is a bit of a Bob Dylan thing happening here, just at certain moments, like on the line "Coming through." This track makes great use of the flute, and I love when the flute and guitar work together. And again I am feeling good about the world, feeling good about being alive. "Maybe we can find a song/That we all can sing along." That's the trick, right? I believe in the power of music, where everything else fails (and everything else has failed, hasn't it?).

The second of the album's covers is Willy Mason's "Carry On," the title track of his 2012 album. James Houlahan delivers an excellent, touching rendition. "I just watch and wonder how we carry on" is one line in particular that stands out in this rendition. How do we? Life is so brief, death taking all of us into oblivion before too long. And before that inevitable end, there is pain. That's followed by "Hurriquake." This one creates an unusual vibe at the start, like a strange siren in nature, some sort of alarm. "I felt an earthquake/In a hurricane," James then sings, and the first time I heard those lines I found myself laughing. If you live in Los Angeles, you most certainly remember this. It wasn't all that long ago (summer of 2023) when we had a hurricane, and in the middle of it, there was an earthquake. Insane, right? The world was laughing at us, and so we had to laugh back. "A strange twist of fate/That you can't explain." This is a wonderful, unusual song, featuring some good percussion. I also love the psychedelic aspect of that instrumental section. "I think I'll sing along/In the pouring rain." Perfect.

"Lucinda" has a surprisingly cheerful, sweet vibe, considering it's about a love's gravesite. "The storm that blew through summer/Knocked down that old oak tree/Upset the grave of Lucinda/I've got no more tears to cry." When there are no more tears, are there smiles? Maybe. This music seems to say so. This is a wonderful folk song, one that could become a standard folk number in years to come. And speaking of folk songs, James Houlahan decides to wrap up this excellent new album with a cover of Richard Fariña's "Joy 'Round My Brain." This song also mentions birds, by the way: "Yeah, those hummingbirds, they were flying upside down." This song also puts politicians in the trees. And why not? This song is a great choice, actually, to end things, with both male and female vocals. We hear the joy of the song, in that vocal work, but also in all the instruments, even the percussion. Hell, there is even some laughter heard during the song. "I'm so happy I could die/I don't know the reason why."

CD Track List

These Changes
Chariot Song
The Cuckoo Bird
All Night
That Bird & I
I Believe In You
Carry On
Hurriquake
Lucinda
Joy 'Round My Brain

On A Wing was releaed on February 25, 2026.

Turn Turn Turn: "All Hat No Cattle" (2026) CD Review

2026-03-23T17:39:00.000-07:00

Turn Turn Turn has a new album out, All Hat No Cattle. First of all, the album's title made me laugh out loud, especially living in the city as I do, where there are cowboy hats but no cows. When I was living in Oregon, I had a band, and the first song we wrote together was "Cowboy Hats," a short punk number that went "Cowboy hats/In the city/Look silly." I no longer think they look silly, but I do still find that funny. Of course, the title carries the meaning of talking a big game but not following through, but to me it also means assuming the trappings of a thing without being the thing. Anyway, this album features all original material, with all three band members contributing. Adam Levy is on vocals, acoustic guitar, electric guitar, bass, mandolin, banjo, keyboards and percussion; Barb Brynstad is on vocals and bass; Savannah Smith is on vocals and acoustic guitar. All Hat No Cattle follows the group's 2023 album New Rays From An Old Sun. It was produced by Adam Levy.

The album opens with "Antietam." Adam Levy, who wrote this one, begins it a cappella. "Please come in closer/I'll tell a story/Of how the strong are sometimes weak/We are here briefly." The song is about a battle during the Civil War. The others soon come in on vocals, and there are beautiful harmonies. "Well, our great country was torn asunder/Two years of bloodshed, a death toll large." Those lines strike us in these days when another civil war seems possible, when half the country has turned to fascism. The instruments come in after those lines. And in the second half, there is a wonderful, rousing instrumental section. This song ends with its last several lines delivered a cappella. Then "Last Drink" has a lighter, fun vibe. Here are the opening lines: "It's time to go home/The party is over/Just put on your coat/And take your things when you go." Until that fourth line, we might be thinking they were singing of an actual party. But on that line, things turn. What's interesting is that the sound makes us think of something lighter, like the end of a party, and that seems to inform how the guy of this song is taking it, for he sings, "When you leave don't let the door hit your rear end." There is nothing sad or despondent here, no regret or yearning. There is some nice work on guitar. It sounds like the guy of this song will be okay. "You helped me forget/But I'm thinking clear again."

"Cities" comes on with some energetic work on guitar, and takes on a rhythm like a delightful dance. "Cities are flesh and cities are smoke/Cities are noise and cities are bones." To me the most interesting line is "Blame the cities for the change we allow." Perhaps it is because of these strange times we find ourselves in, when no one accepts responsibility or blame for anything, but that line stands out. I love the guitar work in the second half of this track. Scott Wenum adds some wonderful work on percussion. That's followed by "Magnolia Tree," which was written by Savannah Smith. Check out these lyrics: "It's a worn-out story takes the air out of my lungs/I'll explain away my days when loneliness became my drug." Wow, those are good lines. This song has a sweet, pretty sound, with some gorgeous harmonies. It's a positive and encouraging number, one that looks to a bright future. Joe Savage joins the trio on dobro, delivering some excellent stuff.

"Trouble" is a fun, lively number, moving at a good clip, making us feel like we're on the run. Peter J. Sands delivers some delicious work on organ on this one, and Josh Kaplan is on drums, that rhythm driving everything forward. "Somehow I'm in trouble now/Well, it may not be a sin/But I found hell again/I'm in trouble, I'm in trouble now." And as in any good country tale, someone's going to die here. But there is a playful aspect to it, all the same. This one was written by Barb Brynstad and Adam Levy. That's followed by "Hand-Me-Down Sadness." My girlfriend had read that stress suffered by someone can be inherited by that person's children, and actually stay in the family for three generations. I was thinking of this when I read this song's title. Could sadness work that way as well? If so, some folks I know are really up against it. "All the years of hand-me-down sadness/From one generation to the next/You try to move beyond it, kick it to the curb/But it's got its claws in you like a hex." This song also mentions a party having to end. That idea is certainly in the air these days, isn't it? I think this country's party has ended. This song was written by Adam Levy.

"Serious," which was written by Adam and Barb, is about that time when a relationship suddenly proves itself to be more serious than intended. The line that grabbed me the first time I listened to this song is "I know this ain't my stop, but I want to get off." This is a fun track. Some of the vocal work kind of reminds me of the best of the late-1970s Fleetwood Mac output (you know, once the girls joined the band). Peter J. Sands plays piano on this track, delivering some delicious work, especially that brief lead in the middle. "Why can't we go back to being friends?" That can work, you know. It did once for me, anyway. I also love these lines: "Don't need astrology to sort it out/I just need a parachute and I'll jump out." Then "Manitowoc" begins with some really nice guitar work that grabs us immediately. There is a sweet vibe to this song that is incredibly appealing. "Waiting for the end to start/Fever dreams on these concrete shores." Joe Savage adds some excellent stuff on pedal steel, that work contributing greatly to this song's overall sound and effect.

There is some interesting percussion to "When Love Reigns," Josh Kaplan on drums and percussion. "I've been around a long time, baby/Fires die, and hearts rearrange/All is fair game when love reigns." And after those lines there is a little rock and roll thing happening, something we might here from Roy Orbison, which is wonderful. These lines surprised me: "Machines will beat us at our games/They'll try to learn the secrets, but some things can't be explained." They surprised me because of the atmosphere of this song, which feels like it comes out of some wonderful past. Adam Schmidt plays pedal steel, and Peter J. Sands is on organ. That's followed by "Hungry Ghosts." There is a glorious intensity to its opening instrumental section. Then it shifts as the vocals come in. There is something of a 1960s influence heard here, especially to some of the guitar work. "We're hungry ghosts singing our sad love songs/We go remote when the connection is too strong/You went out lookin' for what we had all along/And I'll breathe a little lighter when you're gone." And I love this line: "Before we got all tangled in each other's strings." This song features a good bass line, and also some nice work on pedal steel by Adam Schmidt. It has a strong ending. This song, written by Barb Brynstad and Adam Levy, ended up being one of my favorites.

The disc's final listed track is "Solid State," a delicious country number. "This world is run on greed, mountains of corn/Factory machines, palm oil and soy beans/We got lost somewhere between the vaccum tubes and the slot machines." We got lost, indeed. But everything feels in its right place when I hear some wonderful guitar work like this. And the way their voices blend, you'll want to add your own voice. Don't be shy. Life's too short for that. There is a delightfully loose vibe to this one. The song ends, but there is still more than a minute to go on the track. After a bit of silence, we get a very short hidden track (actually hidden song, same track), which is the title track. Who hides the title track? Actually, I'm only assuming that's the title, for here are some of the lyrics: "Cowgirls and boys with no saddle/From New York City to Seattle/Looking good is half the battle/All hat, no cattle." It's a nice, lo-fi gem.

CD Track List

Antietam
Last Drink
Cities
Magnolia Tree
Trouble
Hand-Me-Down Sadness
Serious
Manitowoc
When Love Reigns
Hungry Ghosts
Solid State

All Hat No Cattle was released on March 6, 2026.

Fasby Barnes & Fernando Perdomo: "Starmen: A Tribute To David Bowie" (2026) CD Review

2026-03-22T12:46:00.000-07:00

Last year while Fernando Perdomo was working on his Waves series, an album of new material released every month, he somehow managed to find time to work on several other projects. And this year, while working on Clouds, a similar monthly release, it is clear he will not be limited to just that one feat. In February, he teamed up with vocalist Fasby Barnes to release Starmen: A Tribute To David Bowie. Fernando plays most of the instruments on this release, but gets help from Robbie Gennet and Kaitlin Wolfberg on certain tracks. By the way, you won't find any information on vocalist Fasby Barnes, because it's not the singer's real name. Whatever his real name might be, he delivers some excellent work here.

David Bowie created an incredible body of work. With so many great songs to choose from, where would one even start on a tribute album? Fernando Perdomo and Fasby Barnes pick "Ashes To Ashes," a song from Bowie's 1980 record Scary Monsters. It's a cool, fun, kind of quirky number, and one that speaks to us pretty strongly today. The message received, "I'm happy, hope you're happy too," is one that I can respond to, when listening to this music, with a "Sure thing." Even if everything has gone to hell, as it most certainly has. Just listen to these lyrics, which deal with addiction and whatnot. Anyway, Fasby Barnes and Fernando Perdomo deliver a strong rendition here. That's followed by "Golden Years," from Bowie's Station To Station album. It's a good song, though certainly not the most interesting track from that album. Fernando Perdomo and Fasby Barnes deliver a cool rendition, seeming to slow it down just a bit, which gives it a more thoughtful vibe. When Fasby sings, "Run for the shadows, run for the shadows, run for the shadows," I feel like maybe it's a good idea.

Fasby and Fernando then get into more interesting fare with "Life On Mars?" (here listed as "Life On Mars"). This is one of the tracks to feature Robbie Gennet on piano. Here's an interesting (and completey crazy) side note: like Fernando Perdomo, Robbie Gennet released an album of new material every month last year. What the hell? There are days when I feel productive if I've managed to get to the grocery store. Anyway, "Life On Mars?" is from the wonderful Hunky Dory album, and is the first of two songs from that record to be included here. The piano work is a big part of the song, and Robbie Gennet does a great job. This track also features some beautiful guitar work, as well as a great vocal performance. "It's the freakiest show." Ah yes, and we're all in the middle of it now, aren't we? We all need some means of escape. That's followed by the fantastic "Moonage Daydream," the first of three songs from The Rise And Fall Of Ziggy Stardust And The Spiders From Mars. So, yeah, there is life on Mars, after all. This has always been one of my favorite David Bowie songs, and Fasby and Fernando give us an excellent, energetic rendition. "Don't fake it, baby, lay the real thing down on me." That instrumental section in the middle is a total delight. By the way, another cover of this song you should check out is the one by Ann Magnuson.

"Oh You Pretty Things" is the second song from Hunky Dory to be included here, and also the second track to feature Robbie Gennet on piano. The piano starts this one, and plays a prominent part throughout the track. "All the nightmares came today/And it looks as though they're here to stay/What are we coming to/No room for me, no fun for you." Yet the song is is own sort of fun, isn't it? Particularly during the chorus. "Homo sapiens have outgrown their use." Looking around today, it's kind of difficult to argue with that sentiment. That's followed by a very cool, haunting rendition of "Space Oddity." That first section is kind of frightening, and the takeoff is powerful. These guys really dig into this one. "Now it's time to leave the capsule if you dare." Oh man, in this version, I'm not sure I would dare. This is wild. And Fernando Perdomo gets to spin his magic on guitar during that instrumental section in the middle. Fasby repeats "There's nothing I can do" near the end, a wonderful touch, and just before the music fades out, he repeats, "Planet Earth is blue." This is one of the album's best tracks, and I wish they let this one go for another three or four minutes. It feels like there is more happening there as it fades out.

They then treat us to the second of three songs from Ziggy Stardust, "Starman," which was used, sort of, as the title of this release. This one has a different feel from the start, using elements of disco. I like how these guys are getting a little looser with the material at this point, putting their own touches to it, their own spin to it. This is a fun rendition. But don't worry, it doesn't go too far afield. I'm especially digging that bass work. Then both Robbie Gennet and violinist Kaitlin Wolfberg join Fasby Barnes and Fernando Perdomo on "Young Americans." Obviously, the presence of violin instead of saxophone gives the song quite a different feel. I'm always happy to hear Kaitlin's work, and she does an excellent job here. This is a delightful rendition, with a bit of a barn dance vibe. There is something in its rhythm that makes you want to take a partner out onto the dance floor, you know? Well, you'll know when you hear it, and you should definitely hear it. Kaitlin gets another chance to shine in the middle. I love these musicians' approach to this song.

The third song chosen from the Ziggy Stardust album is "Ziggy Stardust." How could you not choose that one? Fernando Perdomo puts his own touch on that great opening. The energy to this rendition has this song sounding fresh and exciting, tearing a large hole in our reality and letting in all the delicious monsters. Fasby Barnes and Fernando Perdomo wrap up this tribute with a cool rendition of "Heroes." It's a positive number to keep our spirits up in these uncertain and ugly times. And it features a passionate, powerful vocal performance. "I, I will be king/And you, you will be queen/Though nothing will drive them away/We can beat them, if just for one day."

CD Track List

Ashes To Ashes
Golden Years
Life On Mars
Moonage Daydream
Oh You Pretty Things
Space Oddity
Starman
Young Americans
Ziggy Stardust
Heroes

Starmen: A Tribute To David Bowie was released on February 5, 2026.

Mark Knight & The Unsung Heroes: "Sixth Time's The Charm" (2025) CD Review

2026-03-21T18:56:00.000-07:00

Recently, I had the pleasure of seeing Mark Knight & The Unsung Heroes at Maui Sugar Mill Saloon, on a night of great rock music that also included Cruzados and The Blessings. They were the first band on the bill that night, setting the tone and delivering some delicious and fun rock music, including a few songs from their most recent album, last year's Sixth Time's The Charm. The album features all original material, written by Mark Knight, with many of the songs having a somewhat different vibe from what we heard at that concert. These songs feel more intimate, more personal, with folk and country elements as well as rock. So, basically, the album is even better and more engaging than I expected (and my expectations were fairly high). The band is made up of Mark Knight on vocals and guitar, Tigg Ketler on drums, Damian Valentine on bass, and Charles Cicirello on guitar and backing vocals, with Adam Hamilton on drums, percussion, bass and piano. The album was produced by Mark Knight.

The album opens with "Best That We Can," which has a kind of sweet acoustic country sound at the start. Like I said, it's a bit different from what we heard at that rock show, but great, and the song features some really nice work on guitar. Check out these lyrics: "Repeated patterns/Important matters/They all get washed away/Denial sets in/And thoughts get scrambled/And time just slips away." There is a certain pain in his delivery, and that works to draw us in further. These lines also stand out: "Was I too hard on you/Was I not hard enough/Was it all just out of love?" I suppose we all question things we've done, and whether we could have done more, and we replay moments in our heads, and that has to be all the more poignant when you have children. Toward the end of the song, we suddenly get a good lead on electric guitar, raising the energy of the track, which feels right for that moment. But I also love the raw country rock vibe of this song.

"Been around the block a couple times/Up in the clouds and down in the dust," Mark sings in "Back Out On The Run," and we hear the experience in his voice. This is a song about being a traveling musician, with nights of "Empty tip jars and broken hearts." And then the song addresses a specific person, asking, "Would you stick around if I went back out on the run?/Would you stick around, or join me in the fun?" Ah, the road always calls, doesn't it? But maybe at a certain point you don't want to give up time with that special someone. As we get older, life gets shorter and shorter, and time spent away from that special someone becomes less and less attractive. But the desire persists. This track contains some excellent guitar work. "The dreams faded, so did the luck/And I don't really know any other way/It's just who I am, and these things I need to say." That's followed by "11:11," one of the songs the band performed at that recent show. Here it begins rather softly, with some nice work on guitar, and then soon kicks in to become a heavier rock number, with prominent guitar work. This track's steady rhythm reminds me of some of the rock music I grew up with. This song taps into those same places, you know? "Do you ever wonder why/The stars don't align." It is interesting how this song begins to build and to dig its way into our brains, and before we know it, the song has us. And then that guitar soars above us.

"Right My Wrongs" begins on acoustic guitar. I love how this album often combines a great rock voice with a sort of folk vibe. "Well, I'll wait while you sleep/And I promise I will be there when you wake." There is a wonderful rock energy to the delivery at certain moments. "No, it won't be long/If we could just hold on." And as we do hold on, the guitar sings for us, letting us know things will be okay. This is one of my personal favorite tracks. Then "Might Be Lonely" is more in that rock vein, and is another that Mark Knight & The Unsung Heroes played at that recent show. "Well, I wonder/Why am I feeling lonely/Every day's like a Monday/I'm waiting for the week to end." While we can relate to those lines, they also bother us, this idea of waiting for a week to end. We only get so much time here, and the thought of waiting for some of it to be over is troubling, but this thought only nags at us somewhere in the back of our minds. Mostly we're enjoying the guitars, particularly that lead in the middle. And when the pounding of the drum returns, steady, building, we think, hey, things are going to be all right. Maybe we can even seize that time back from whatever creatures were making it unenjoyable. Even as Mark sings, "Getting old's funny/Your circle of friends grows small."

"Someplace Better" contains some really pretty guitar work at the start. I love it, connecting with it immediately. The song soon kicks in, though remains largely in that folk realm. "Some days the colors are a deeper shade/All dark and grey/No shimmering rays." Mark Knight delivers a passionate vocal performance that is excellent. And don't we all think about going "someplace better than here"? Sometimes that thought is related to the actual physical space, and sometimes it is more about the emotional space we occupy or find ourselves in. These days it's probably both. "It's been one hell of a year/Headed out to Colorado/Maybe it'll do me good/A little cooler weather." Several friends have found better places outside of the country altogether, moving to Portugal, Spain, Australia and other lands. As far as I know, not one of them has regretted the move. This song is another of the disc's highlights. "For what it's worth, I will do my best," Mark sings, reminding us of the album's opening track.

"Triple 3S" opens with these lines: "Take a deep breath/Looks like it's June again/You say I'm dying/But you're the one hiding." This is an interesting song. I found myself oddly captivated by it. It's a song that had my thoughts racing in different directions, making me think of some troubled people that I've known, mixed with my own worries. "I've never been here before/Might need a lesson." It's a song you're going to want to pay attention to. Then "Truth Always Rises" is a solid rock number, coming at us at a fairly fast clip. And, yes, if you've picked up on the pattern, this is one of the songs the band played at the bar that night. It is a fun, delicious rock number. "Keep your head above water/And those thoughts out of your mind/Because in time, it's gonna shake loose/The truth always rises." These days, I'm not sure. The truth is there for all to see, but so many idiots refuse to believe it. Did you ever suspect that this country housed so many morons? Anyway, this song is yet another highlight of the album.

"Stranger Of The Night" begins kind of quietly on guitar, though its first line mentions a rock and roll show: "All dressed up for the rock and roll show." Again, I love when a powerful rock and roll voice is used in a more intimate setting, as on this song. Then halfway through, the song takes on a different energy, going into an instrumental section that features some really good stuff on guitar, that instrument addressing the skies, looking for answers there. "Where do we go from here?" Mark then asks. "A moment in time/A time in the moment/Then gone." That's followed by "The Angels Cast A Light," which has an electric sound, though moving at a slower pace. "Kiss me now, am I alive or dead/Wasn't this hard in my younger years/Turn back the clock, erase the fear." This one has a darker vibe. "Still I notice nothing's changed at all." The album concludes with "Yaamava." This track features some different musicians: Wayne Lothian is on bass, and Brian Forsythe provides the great guitar solo. The song is about an odd gig, and it has a great beat. "The wind is blowing/But the air is still as ice."

CD Track List

Best That We Can
Back Out On The Run
11:11
Right My Wrongs
Might Be Lonely
Someplace Better
Triple 3S
Truth Always Rises
Stranger Of The Night
The Angels Cast A Light
Yaamava

Sixth Time's The Charm was released on July 15, 2025.

Paul Kaplan: "King Of Hearts" (1985/2026) CD Review

2026-03-19T22:29:00.000-07:00

Singer and songwriter Paul Kaplan released his first album, Life On This Planet, in 1982. And then he decided to make his second album, King Of Hearts, a live album, an interesting choice, especially as how the album includes all different material from the first album. But, as he describes in the liner notes of the new CD edition, he wanted the sound of an audience singing along. And when you listen to the album, that makes complete sense. It was recorded on February 8, 1985 at Speakeasy in Greenwich Village. It features mostly original material written by Paul Kaplan, who plays guitar and harmonica, and provides lead vocals on these tracks. He is joined by Mark Dann on bass, Kenny Kosek on fiddle, Robin Greenstein on vocals and banjo, Ed Baker on piano and synthesizer, and Larry Cole on bagpipes.

The first track gets right into the music. There is no introduction or anything, no immediate indication that it is a live recording. Yet soon we hear folks singing along, so this must have been a song Paul had been playing out for a while, so that the audience would be familiar with it. The song, "I Will Keep You Warm," is exactly the kind of song we need in these rough days. "I will keep you warm/I'll keep the fire burning/Keep you dry in the storm/When winter is returning true to form/I will keep you warm." Robin Greenstein provides some excellent backing vocal work. And this track includes some really nice work on harmonica. "Let me take your cup and I will fill it/With as much as it can hold." Look out for each other, friends. Keep each other safe in these unsavory times. There is applause at the end of the track. "I Will Keep You Warm" is followed by "Blow, Winds, Blow," the title of this one making me think of King Lear on the heath ("Blow winds and crack your cheeks! Rage, blow!"). But this song has a decidely different vibe. The family of this song is certainly more functional than that of Lear. It's a sweet song full of love for a couple getting married, told from the perspective of their parents. I love the way the song urges them to experience life. "So blow, winds, blow/Flow, rivers, flow/Grow, children, grow." Kenny Kosek delivers some uplifting work on fiddle.

"I'm Feeling Blue" has a delightful, fun, light, jazzy vibe. "I'm not looking for someone else/I don't want to live by myself/But I'm feeling blue lately when I'm with you," Paul sings at the beginning. But we get the feeling, or at least the hope, that these guys will work it out, especially when he sings, "No one but you can make me sigh/No one but you can make me high." This track features a particularly wonderful vocal performance, and some excellent work on fiddle, those elements making this track one of my personal favorites. It is followed by the album's title track, "The King Of Hearts." Paul introduces this one, and it begins with some good work on guitar. There is some humor to this one, as he sings, "He's a royal pain in the neck," a wonderful nod to the fact that the king holds a sword just behind his head in the picture on the playing card. Will a pain in his own neck result? This song has a great classic folk feel, as it tells a timeless story. "I ran out into the road/But all that I could find/Was a golden band from her left hand/That she had left behind, that she had left behind."

While the title of "Blow, Winds, Blow" had me briefly thinking of King Lear, "Take Out The Garbage When You Go" actually does mention a Shakespeare play in its first lines: "You tell me that you're leaving/That our love has lost its glow/Though you were once my Juliet/And I your Romeo." Soon it becomes a delightful, humorous song, as he asks her to please take out the garbage when she goes. This is another song that benefits from an audience singing along. I wonder if he taught the audience the song in an introduction, which was then cut from the final recording, or if the folks already knew their part. This is one you might also find yourself singing along to before very long. Or at least laughing. There is audible laughter from the audience at certain points, as in reaction to the line "My house is filled with smells." And your laughter will likely join that on the recording. This track features some nice work on fiddle. Then "Orphans Of The Storm" has a more somber, serious sound. It's a song about this country, and though it was written many decades ago, it speaks to us right now. "America the beautiful/Certainly has changed/She wears a lot of makeup/But she'll never be the same." The chorus is delivered with a certain power, and it's easy to imagine, say, David Crosby singing it: "We are orphans of the storm/With no father and no mother/We are orphans of the storm/With no home to go to/We are orphans of the storm/With nobody but each other."

Paul Kaplan then gives us a drinking and dancing song, "Wedding In The Village." Amen to that. "Oh ho, won't you come and join the fun/A wedding in the village/A festival for everyone/Oo-wee, the sun keeps coming up/So let's all drink another round/From the loving cup." It's a song that sounds like a celebration, a song that makes us want to introduce ourselves to strangers, and think of everyone as a friend (it's hard to remember that feeling these days, but music is what can help). And I love the traditional folk dance at the end, this song coupled with "Rondeau From Gascony," a traditional song. It feels perfect. Lisa Roth joins the band on tambourine on this track. That's followed by another traditional number, "Heather On The Moor." Paul Kaplan is a perfect voice to deliver it, for he has the ability to tap into that timeless something. He has that quality in his voice. Not everyone does. He delivers a wonderful rendition, inviting us to step into another place outside of the now.

"I Had An Old Coat" feels like a traditional folk song. It has that kind of vibe. Part of it is the audience singing along, making us feel that the song has been around for a long time. And, actually, the story behind this song has apparently been around a long time, even if this specific song hasn't. Again, you'll likely find yourself singing along too. I certainly do each time I listen to this song. "And I sing every day of my life." This track includes some good work on fiddle. That's followed by a traditional number, "The Greenwood Lassie," an Irish song, usually presented as "Greenwood Laddie." This one has a different vibe, for Paul Kaplan plays the cuatro on it, immediately transporting us. The focus then is on his voice, on the lyrics, and he gives us a beautiful rendition. That is followed by "Money," a funny number that had me laughing out loud almost immediately. "Well, here's a tip for you: make money," he sings. Remember, this was the 1980s, that awful time of Reagan, a time of greed. The nation is still suffering because of that despicable person's time in office, and now we have an even worse person in the White House. There are a lot of laughs here. Part of the humor is the way he delivers it, and part of it is a line like "No matter how you get it, they call it legal tender," which is brilliant. And there is a reference to The Merchant Of Venice: "What buys flesh by the pound?" Paul delivers some good work on harmonica too. This song is delightful.

"Phil (For Phil Ochs)" is a pretty, tender song, opening with the line, "Phil, what went wrong? Why are you quiet now?" Phil Ochs was an excellent and influential songwriter who killed himself in 1976. He wrote about the events of his day, songs that were seen as protest songs. We could use his songwriting now, don't you agree? And in this song, Paul sings, "Phil, where's your song? I really need it now." I suppose we'll always need those songs. The album concludes with another somber number, "Just Another War." And, guess what, this country is now involved in another war, this time purely to distract a stupid population from the fact that the president raped children. Yeah, we're in seriously ugly territory now, the country hitting a shocking new low. And that, of course, is not the only war going on. Russia is still involved in its depraved activity, and Israel seems to have gone completely nuts in Gaza. As far as countries go, I've always appreciated Maude's take: "What sense in borders and nations and patriotism?" Here Paul sings, "Governments, flags/Borders all are fleeting/In an hour they disappear/But somehow the drums of war/Never stop their beating/Year after bloody year."

CD Track List

I Will Keep You Warm
Blow, Winds, Blow
I'm Feeling Blue
The King Of Hearts
Take Out The Garbage When You Go
Orphans Of The Storm
Wedding In The Village/Rondeau From Gascony
Heather On The Moor
I Had An Old Coat
The Greenwood Lassie
Money
Phil (For Phil Ochs)
Just Another War

This special reissue of King Of Hearts was released on February 1, 2026. This is the first time the album has been made available on CD.

Rick Shea & The Losin' End and Sandy Rogers Band at Maui Sugar Mill Saloon, 3-18-26

2026-03-19T18:12:00.000-07:00

"Happy Hangover Day," one guy at the bar said soon after I arrived at the Maui Sugar Mill Saloon last night. Ah, if only. But the venue where I caught music on St. Patrick's Day did not serve alcohol, so I was in no danger of a hangover yesterday. I decided to make up for that during this show, and got there early to get a head start on my drinking. There is always a good selection of beer at this place (for my second beer, I had a green-tinted IPA that was delicious), and that's one good reason to visit this venue. But mainly I was there for the music, of course. It was a phenomenal double bill: Rick Shea & The Losin' End and Sandy Rogers Band. This is the kind of music to help you get back in touch with the best parts of humanity, with the best parts of yourself.

"Mexicali Train"

Rick Shea & The Losin' End opened the show, taking the stage just after 8:30 p.m. Rick mentioned his new album, Smoke Tree Road, saying the band was going to play a few songs from it, including the one Rick chose to begin the night, "Guardian Angel," a sweet number to get things going. By the way, Tony Gilkyson was back on guitar last night. The last few times I saw The Losin' End, Rick had other guitarists sitting in with him. Rick then led the band into "Mexicali Train," a song with a rhythm like a friendly train coming from the past. We wouldn't be surprised if Kerouac stepped off that train and greeted us. Or, more likely, the ghosts of our own pasts. Tony delivered a really nice lead on guitar. That was followed by one of my favorites, "Mariachi Hotel," with a cool vibe, a sound that feels both haunted and wise, and featuring some excellent guitar work from Rick. The band then played another song from the new album, "A Week In Winnemucca." There is such a good feel to this song, and it featured some wonderful work from Tony on guitar.

"Papa Don't Sleep"

"Shelter Valley Blues" is another of my personal favorites, a song I love more each time I hear it. If you haven't yet heard this song, take a few minutes and check it out. You will not be disappointed. The band then dipped into Tony's material with "Papa Don't Sleep," an instrumental number that was a whole lot of fun last night. I especially enjoyed that bit on bass. Rick returned to the new album for "An Irishman's A Laborer At Heart," which was fitting for the day after St. Patrick's Day. Rick mentioned in his introduction to the song that he didn't get anywhere on the holiday except his couch. The song is beautiful, and it gets to me every time I hear it, reminding me of my dad. Jeff Turmes then took a turn at lead vocals, choosing "Don't The Moon Look Real" from his Five Horses, Four Riders album. It's a cool, jazzy number, and Tony's guitar lead last night was something special. "Midnight Shift" is another song that Rick included on his new album, and last night it was dedicated to a woman named Annie in the audience. It was a particularly fun rendition, and afterward Rick said, "That's 'Shift,' it's hard to get that 'f' in there." Rick wrapped up the set with another song from the new album, "One More Night," which is one of my favorites from the disc. Apparently this was the first time the song was played live, and it was wonderful hearing it. "I'm no closer to that dream." Ah, yes. I hope this song finds a regular spot in the band's set lists. The set ended at 9:21 p.m.

"Tingling Blue"

Fifteen minutes later, Sandy Rogers Band was on stage, and Sandy started by introducing the band before then kicking things off with the title track from her newest album, Tingling Blue. The energy was great, seeming higher than usual. There was perhaps a bit more volume too. When she sang, "feel it, feel it," we certainly did. She mentioned how it's been a year since the album came out. Is that possible? Well, not quite, but nearly a year. Still, time is flying. There was a bit of tuning, and once everything was right, the band started "One Of Those Kind," both Dan Janisch and Paul Marshall counting it off together, which was actually adorable. "It's not my song, but it feels like my song," Sandy said afterward. It certainly does! That was followed by "Fool For Love," which had a bright energy, and then "Turn Around," a song that will make anyone happy basically the moment it starts. And don't we all need this sort of thing these days? "Don't know who to trust." Well, we can trust these musicians, this music.

"Run Out Of West"

"This is my favorite song on the new record," Sandy said in introducing "Lonesome Man." "I waited so long/For you to really love me." Those are such beautiful, heartbreaking opening lines. Sandy and her band mates delivered a great rendition of the song last night. They followed that with the always-fun "In Her Auto-mobile," and then "No Antidote." A bit of tuning was necessary before "No Antidote," Sandy saying it was the stage lights knocking the guitar out of tune. Paul joked that the cause was Sandy's body heat. There was that kind of delightful, loose vibe, an undeniable joy, to the set. Some songs always hit the right spot, and "Missouri Blue" is one of those songs, and it was great hearing it last night. It's always great hearing it. Sandy introduced "Let's Ride" by saying she had written it for the film version of Fool For Love, had sent the demo to Altman, who began cutting the film to the demo rather than waiting for the final version of the song. So what we hear in that movie is the demo version. Anyway, last night the song featured one of the set's best vocal performances. Another of the best vocal performances was in "Why Wyoming," a highlight of the set. In "You Lied Your Way," Sandy's matter-of-fact delivery of "And I am madly in love with you" stood out. That was followed by a beautiful rendition of "Wild Bill," a song written by Paul Lacques. Afterward Sandy said, "He wrote that for a play called...," and turned back to Victoria Jacobs, who completed the sentence, "The Curse of Bigness." Some information just refuses to stay with me, so I can relate when Sandy has to turn to Victoria for the title every time she mentions that play. The set concluded with "Run Out Of West," featuring a wonderful, passionate vocal performance. The set ended at 10:43 p.m.

"The Town Where I Live"

Within ten minutes, Rick Shea & The Losin' End were kicking off the final set of the night with "The Starkville Blues," a good, mean tune. Rick followed that with "The Town Where I Live." When he introduced it, he said he could tell the story of the song, "But it's a long story, so I think I'll just play it." Again, it was that kind of a loose, fun night. Tony then sang lead on his "Man About Town," which is such a cool tune featuring delicious, expressive guitar work. And Jeff delivered his great "Early Train." The line "Summer's coming and I love someone" grabs me every time, and last night it hit me differently, the vagueness of the word "someone" seeming darker than usual. That was followed by two songs from the new album. The first, "Georgia Bride," was a song that stood out for me the last time I saw Rick Shea perform, and I was happy to hear it again, this time with Tony Gilkyson on guitar. The second was "El Diablo Manda," and this was the first time the song was played by the band. It was a treat to get to hear this one, and, like "One More Night," it is a song that deserves a regular spot in future set lists. That was followed by a fun rendition of "Hold On Jake."

"Hold On Jake"

The fun continued wih Tony's choice of "Tear It Down," which featured some delicious guitar work and became a wonderful jam. They kept the energy up with "Juanita (Why Are You So Mean)." Then Jeff sang lead on "Things I'm Not Gonna Think About." In this one, he mentions how the news may not be good, and perhaps the trick is to avoid thinking about certain things. That's been part of my strategy for the last fifteen months. Thinking about the horror show in D.C. just makes me angry and depressed, and doesn't cause any harm to the beast in office. There are many things I don't want to think about, preferring to focus on positive things, such as good music. Rick Shea & The Losin' End wrapped up the show with a couple of covers: Hank Williams' "Honky Tonk Blues" and Chuck Berry's "Thirty Days," the latter dedicated to Nubs, the sound man, and featuring plenty of great guitar work. The show ended at 11:50 p.m.

Set List

Rick Shea & The Losin' End Set I

Guardian Angel
Mexicali Train
Mariachi Hotel
A Week In Winnemucca
Shelter Valley Blues
Papa Don't Sleep
An Irishman's A Laborer At Heart
Don't The Moon Look Real
Midnight Shift
One More Night

Sandy Rogers Band

Tingling Blue
One Of Those Kind
Fool For Love
Turn Around
Lonesome Man
In Her Auto-mobile
No Antidote
Missouri Blue
Let's Ride
Why Wyoming
You Lied Your Way
Wild Bill
Run Out Of West

Rick Shea & The Losin' End Set II

The Starkville Blues
The Town Where I Live
Man About Town
Early Train
Georgia Bride
El Diablo Manda
Hold On Jake
Tear It Down
Juanita (Why Are You So Mean)
Things I'm Not Gonna Think About
Honky Tonk Blues
Thirty Days

Here are a few more photos:

"Mexicali Train"

"A Week In Winnemucca"

"Don't The Moon Look Real"

"Tingling Blue"

"One Of Those Kind"

"Fool For Love"

"No Antidote"

"Man About Town"

"El Diablo Manda"

Maui Sugar Mill Saloon is located 18389 Ventura Blvd. in Tarzana, California.

Ben Vaughn, Kip Boardman and Sarah Stanley at Unurban, 3-17-26

2026-03-18T13:19:00.000-07:00

Ben Vaughn Duo

If you had told me a week ago that I'd be going out on St. Patrick's Day to see live music that's not Irish at a venue that doesn't even serve alcohol, I would have laughed in your face. But when I learned that Kip Boardman was on the bill with Ben Vaughn and Sarah Stanley at the Unurban, well, that's precisely what I did. Kip Boardman so rarely performs, and it turned out that this was Sarah Stanley's first show in two years, so it was a special evening, to be sure. Ben Vaughn Duo (that's Ben Vaughn on vocals and guitar, and Teresa Cowles on bass and vocals) started the night off, as those two are wont to do, with a short set, kicking things off with "Looking For A Friend" at 7:12 p.m. This is one of the songs that feature Ben and Teresa doing their vocal versions of horns, and this one also had them doing their own fadeout. That was followed by "Apropos Of Nothing," which included a humorous guitar intro and then more good work on guitar later, with Ben playfully indicating that applause was due. And applause was received. The audience echoed him toward the end. Ben then joked with someone in the audience who is apparently obsessed with Jerry Lewis in his introduction to "Jerry Lewis In France." And that song marked the end of the short set. Only ten minutes long, but we knew there would be more from Ben Vaughn Duo later.

Kip Boardman

Kip Boardman was up next, and this time he was on keys. The other times I've seen him perform (the last time being in April of 2024), he played guitar. So this added another layer to my excitement about his set, since whatever he did, it was going to be different from what I'd seen before. He opened the set with "Upon The Stars," the title track from his 2022 album, softly captivating the audience. "I still bear the scars/She's up there dancing upon the stars." He followed that with "Last Mistake," a song from his 2023 album The Good Leave. Such a good vocal performance. And that's one of his main draws, his delivery, which somehow seems effortlessly beautiful and tender and meaningful. "I really want to play this cover," he then told the audience, and apologized for not having it memorized, asking folks to bear with him as he played and read at the same time. That cover was "A Salty Dog," one of Procol Harum's best songs. This is the second Procol Harum song I've seen him cover. In both 2023 and 2024, I saw him play "Homburg." He stopped for a moment, then picked up where he left off, and easily brought us into the world of that song, delivering a special rendition. Kip started to play an original number, but gave up on it after a few moments. "It's going to be good, though, one day," he said, and from what we heard, that seems certain. Kip decided to go back to more familiar material, and delivered a really good rendition of The Band's "Twilight." "How much longer I got, Ben?" he then asked. "You mean in life?" Ben Vaughn replied jokingly. "Yeah," Kip said, going along with the joke. Ben said he didn't have the answer to that, but figured three more songs seemed about right for the set. One of those three was a new one, or "newish," as Kip described it. And the last song of his set was a beautiful rendition of "Waterfall."

Sarah Stanley Trio

Sarah Stanley Trio then took the stage, and it turned out this group was yet another to feature Teresa Cowles on bass. Does anyone have a comprehensive list of bands she plays with? It must be pretty long. Anyway, in this band she played standup bass, which was cool. The third member of the trio was Jay Green on guitar. The trio kicked off the set at 8:14 p.m. with "Down And Dirty," a totally fun song that at one point mentions beer, which felt a bit like a tease to me. For, again, this venue did not serve alcohol. And the beer I downed in my car before heading in wasn't nearly enough to get me where I wanted to be. Anyway, "Down And Dirty" was followed by "Tuesday Girl," and after the first time she sang the line, "She's not your Tuesday girl," Sarah said, "It's Tuesday," suddenly realizing, which was kind of adorable. Jay delivered some nice guitar work. At the end, Sarah added, "St. Patrick's Day Tuesday girl." Teresa then laid her bass down on the stage for "Love Is For Lunatics," Sarah's voice supported by just guitar and Teresa's backing vocals on that one. "Caught up in some crazy dream/Only you can make me scream/It's undeniable/We're certifiable." Sarah has a great voice, and perhaps her best vocal performance of the set was on "Sunshine." "Sunshine, will I ever see you again/Or do I make the nighttime my new friend?" "Promises" was dedicated to the sound woman's dog, who was relaxing in front of the stage, and at the end Teresa sang the dog's name instead of "Promises." By the way, there was some excellent harmonizing during the set. The set ended with "Let Me Be Me."

Ben Vaughn Duo

Ten minutes later, Ben Vaughn Duo was back on stage, and Teresa Cowles was back on electric bass. There is something about Ben's music, his voice, his approach that makes me happy. Even when he's singing "People It's Bad," the lyrics are delivered with a wink and a smile. That song also featured some nice work on guitar last night, and after that part, he stopped the song to say, "That was the guitar solo," as if to indicate that applause would be appropriate. And the crowd applauded. Because the audience is in on the act, is in on the fun. Ben Vaughn has several songs that feature an audience vocal part, for example. Before one of those songs, "Too Sensitive For This World," Ben mentioned that Mark Fletcher was in the audience, and that the two of them were in a punk band called Sic Kidz in Philadelphia. Ben delivered a particularly good "Too Sensitive For This World" last night, and followed it with the fun "Miss Me When I'm Gone," featuring the return of the Pico Boulevard Horns. "I got high, but I'm still feeling low," he sang at the beginning of "New Jersey Rock 'N' Roll." It's a funny line, obviously, but it's also an honest line, a line many folks can relate to. And that's part of the genius of Ben Vaughn's songwriting. His material is full of lines like that, lines that simultaneously make us laugh and reflect. "That song was so heavy, we ended it on two different chords," he joked afterward.

Ben Vaugh Duo, with Dan Marcus

"Blind Alley" had been stuck in my head for a good part of the day yesterday, and I was happy to see Ben Vaughn play it last night. There was no guitar on that song, so Teresa's bass was the driving force and heart of the number. And Ben delivered some great stuff on harmonica. "Heavy Machinery" was one of the songs given a cha-cha-cha ending, and after it, Ben mentioned that it was written by Dan Marcus, who was in the audience. He then invited Dan Marcus to come up and sing a couple of songs. Both songs were funny. The first, "The Existential Banana Peel," was dedicated, in part, to Jean-Paul Sartre. And when asking the audience to join in, instead of saying "Everybody," as is usual, he said, "Anybody," which got a big laugh. The second, "Sometimes I Feel Like Richard Nixon," featured these lines: "But you've got it all down on tape/Every little mistake that I ever made." Marcus ended with the line, "I'm going to resign," giving the crowd Nixon's odd victory sign and then walking off the stage while Ben and Teresa finished the song. Not only did he leave the stage, but the venue entirely, Teresa mentioning how she could see him through the window walking down the street. The set concluded with "Walkin' My Way (Back To Your Heart)," which featured some nice whistling by Teresa Cowles, perhaps more than she had intended to do, for Ben repeated the final section. And if you know Ben Vaughn, you know he occasionally likes to playfully milk an ending, so Teresa was in danger of having to do that whistling part multiple times. But Ben showed her a little mercy last night, having her do that final part only twice. The show ended at 9:37 p.m.

The Unurban is located at 3301 Pico Boulevard in Santa Monica, California.

Hello George (2026) Book Review

2026-03-16T19:24:00.000-07:00

Hello George is a wonderful new novella by Jon Fried, one half of the musical duo known as The Cucumbers. The book is closely tied to The Cucumbers' new album, As You Heard Me. Though the songs came first, the music is the soundtrack to the book. Each can be enjoyed separately, but certainly you can get even more enjoyment from the book if you are familiar with the songs on the CD (and more enjoyment from the CD if you've read the book). The book tells the story of Barry, a music publisher who is sent an unusual four-song demo tape that he falls in love with. One of the songs on it becomes a hit for country music star George Krott. Yet he knows nothing about the songwriter, Daisy Steinberg, and is determined to track her down and learn all he can about this delightful voice.

It's a book for those of us who fall in love with CDs and records (as we once did with cassettes), who fall in love with a voice on a tape. And if you're the type of person who reads about music, you're exactly the kind of person this book is for. The type of person who wants to know more about music, about a song, about a singer. You might fall in love with this book the way you fall in love with a singer, with a song, with an album. The cassette pictured on the book's cover is also the one featured on the CD cover, and it is the demo tape sent to Barry (which is the music that makes up the first four tracks of the CD).

The story is told from Barry's perspective, so his excitement about these songs becomes our excitement, his journey becomes our own. And even if you are not familiar with the music on the new Cucumbers CD, your head will certainly be filled with some music that you do know. Music fans will be able to relate to many passages in this book, and have an opinion, one way or the other, on something like this: "For many, if not most, the songs that matter are the old songs, the ones that imprint in the raw mud of adolescence and remain stuck in the remnant of that pain and pleasure center. For me, there are always new ones. It comes with the dayjob. Even if I don't love them, or love them despite myself, they take over, they do the job of pushing other songs aside – especially helpful when your marriage is fading out and you're stuck on some old breakup ballad" (p. 19). The old songs certainly do matter, and often they're the ones that get stuck in my head, but for me, it's the new songs that are exciting, that take me to different places, that open up unexpected vistas before me. I assume that's the case for most people who read music blogs, that they're the people who want to hear an artist's new material, who want to hear new artists, new music. Here is another passage music fans will especially relate to: "When you play songs for people, they sound different, as if you're listening through their ears, or what you imagine their ears are hearing. A song you've loved can seem stupid, trite, annoying. This one sounded lighter than air, as if might float up into the sky and just disappear, its sweetness a fading aftertaste" (p. 21). I love turning a friend onto a song, especially when I hear something even more special in the song that I imagine that person is picking up on. But, yeah, every once in a while, I realize that person is not digging it, and the song sounds somehow weaker. That never ruins a song for me, however. I just have to give it a few days, then come at it with my own ears again.

And for music critics (a label I've never applied to myself), there is a great bit of dialogue, where Daisy asks Barry, "Are you a music writer?" Barry replies, "You mean a critic? Nah, too harsh." Daisy then tells him, "You seem like someone who would find something good to say about everything." This is Barry's reply: "If by that you mean that's why I say good things about your work, no. I can be hideously judgmental. I just wouldn't want to say it in public. I picture the poor musicians reading it, suffering from my oh-so-great opinion" (p. 16). Perhaps that's part of why I only review music I love on this blog. Mostly it's an attempt to be positive in an increasingly negative world, to let folks know about some of the excellent music that's out there to help them through the day, but I think there is a bit of not wanting to hurt people's feelings as well. Daisy calls that "sweet," while Barry says it's "cowardly." Maybe it is a bit of both. Certainly there is a lot of shitty music out there. But why focus on that? And this book feels quite positive. Sure, there is a troubled marriage in there, and the country star has a continuing problem with alcohol, but this story is about the love of music. It is a love story of two kinds, really, and it leaves us with a good feeling.

Hello George was published on February 14, 2026, the same day that As You Heard Me was released.