Michael Doherty's Music Log

Brief Notes On New Jazz Releases

2026-10-19T23:40:00.000-07:00

If the world is making you a little crazy, turn off the news and turn on some music. Here are notes on a few new jazz albums you might want to check out.

Dave Bass: "Trio Nuevo Vol. 3" - In 2023, pianist and composer Dave Bass released The Trio Vol. 3, and the next year began Trio Nuevo, with Tyler Miles on bass and Steve Helfand on drums. Now we have the third volume in this series, completing the second trilogy of trio recordings. I have to assume there will be a third, though I don't know what he will title it. Anyway, this album opens with an original composition, "Neither Have I Wings," which starts with a piano solo. Its first moments have a warm, even somewhat romantic bent, and then it begins to move, and that's, appropriately, when the drums come in, and soon the bass as well, that rhythm pushing us forward, urging our bodies to dance. From there, the piano work gets more exciting, lively, and bright. In the middle, Tyler Miles takes over on bass, his lead having its own sense of excitement, its own sense of life. And we feel that, though the water be wide, these guys will find a way across. That's followed by another original composition, "Toccata," inspired by Bach's work. There is a pause after its first section, and then it moves more firmly into that classical realm, taking us to another time, and doing so with strength and a sense of urgency, or perhaps need. For me, the most interesting work comes in the second half in the freer moments. Then, interestingly, Dave Bass tackles the traditional folk song "The Water Is Wide," interesting because that song contains the line "Neither have I wings to fly," from which the title of the first track comes. The trio delivers a wonderful rendition featuring some beautiful work on piano and an excellent lead on bass. Things get particularly interesting on "Fingerprints/Gantry," Chick Corea's tune combined with another original composition. This is a lively track. I especially love Steve's drumming on this track. There is some delicious work on bass too, especially in the second half. That's followed by "When You Wish Upon A Star," which has that familiar fairy tale vibe as it starts, and then settles into a jazz context, partly grounded and partly eager to enter a land of dreams. "Black Swan" is an original piece that borrows a bit from Tchaikovsky's "Swan Lake," but set to a good rhythm, and builds from there, featuring a wonderful lead on bass. Dave Bass then delivers a cool rendition of Thelonious Monk's "Work," a track that becomes even more fun during that bass lead. Great stuff! It is after that section that Dave's piano really takes off into especially delicious territory. That's followed by a good rendition of "Try A Little Tenderness," Dave Bass putting his own touches on it. He then returns to original material for the album's final three tracks, starting with "Lost Mambo," which, as you might guess, has a fabulous rhythm, and following it with "Far And Wee," which has a playful vibe, ready perhaps for a bit of mischief. The album concludes with "You Lose," moving a good pace and featuring a strong lead on bass and an outstanding piano lead, and even a drum solo. This album was released on October 2, 2026.

Alexis Cole: "Taking My Seat: A Musical Inheritance" - Vocalist Alexis Cole's new album was recorded back in the fall of 2020, during the time of the pandemic, and it features not only her excellent vocal work, but also her talent on piano. She is joined by David Finck on bass and Kenny Hassler on drums. The album contains mostly standards along with a couple of original compositions. She begins it with "Bye Bye Blackbird," that opening section building in power and then suddenly softening for her entrance on vocals, an effective way of drawing us in and commanding our attention. What a voice she has. And it isn't long before she delivers a good lead on piano. This too builds in power, before then easing back and leading to some really nice work on bass and a cool drum solo. The section where the bass and drums exchange ideas is wonderful. That's followed by Cole Porter's "Get Out Of Town," the first of two Cole Porter songs on this album (the other being "Night And Day"). Alexis begins this one on vocals and piano, the others joining her nearly a minute in. It's interesting how seductive she is as she tells us, "Get out of town before it's too late." This track also contains a great lead on bass, and the transition from that back into the main theme is so smooth. The first of the original numbers on the album is "Blues For All Of Us." It has an interesting beginning, as she mentions various women, and we can't help but guess what they all have in common. "Why is Alice so great, what's she got over me?/How about Stella, Laura or Emily?" Soon she explains that those names have their own jazz songs (those names also have their own rock, pop and folk songs). "And yet there's no song for me." Somehow this song comes across as both heartfelt and playful. That is followed by the album's other original composition, "Momentary Lapse Of Happiness," which is even more enjoyable. Check out these lines, which begin the song: "Well, I'm back from happiness/Romance had turned my life into a mess/Walking with both feet off the ground/Is a hard way to get around." This song is a delight, one of my personal favorite tracks. Alexis Cole adds a little spoken word part to the end of "Girl From Ipanema." She also adds another section to "My Funny Valentine," original lyrics about Richard Rodgers and Lorenz Hart meeting. But it is the final section of this rendition that is especially arresting. Then Alexis Cole's rendition of "Jitterbug Waltz" finds her voice supported by just bass. And she delivers some delightful scat. Another highlight is her touching and passionate rendition of "Here's To Life," a song that I find more striking as I get older. "And who knows what tomorrow brings, or takes away." The album concludes with "Yesterdays," which might get us reflecting on our own personal histories. Do we dream of our yesterdays? This album is scheduled to be released on November 6, 2026.

Event Horizon Jazz Quartet: "Consternation" - It's been six years since the debut release from Event Horizon Jazz Quartet, but now we are treated to the group's follow-up, Consternation, a perfect title for these days of dismay and alarm. The album features all original material, written by saxophone player Jim Kaczmarek and keyboardist Scott Mertens. The opening track, "Spring Was Here," was written by Scott Mertens, who delivers some warm work, as if the band is trying to coax spring to return. Interestingly, Rick Vitek's drumming has a cool, somewhat unpredictable sense to it, like a storm brewing beneath. There is a feeling of excitement, especially during Scott's lead in the middle, giving us the notion that we should enjoy the moment, for we never know what is just around the corner. Donn DeSanto delivers a good lead on bass in the second half, and, as the track is reaching its conclusion, Jim Kaczmarek's saxophone work really starts to take off. I wish the track did not fade out so soon, and the saxophone were allowed to explore that area further. That's followed by the album's title track, "Consternation," written by Jim Kaczmarek. The drums create the atmosphere on this one, and as the others come in, there is an almost eerie feeling, the feeling that something is not quite right. The saxophone seems to be dancing around the truth, the music leading us down one path where, it turns out, there is a different sort of storm, a place of dark greys. The keyboard attempts to cut through it, but the drums and bass are right on its heels. This is a fascinating piece. "Tumbling After" then begins with some pretty work on piano, and soon feels like the delight of a new day, a day that promises little or no stress, a day that celebrates simple pleasures and memories. The lead on saxophone has a free, wonderful vibe, lifting us up and setting us on our way. And I love the way the energy builds in the second half. "Ballad Di Sienna" contains some sexy work on saxophone, conjuring one of those nights when maybe things work and maybe they don't, but the desire in the room is nearly tangible. That's followed by "Going Home," which has a delicious rhythm, yet a sense of melancholy playing over it. The idea of going home is appealing in song, though here is an ambivalance about it, for there is an acknowledgment of what is left behind, what is lost, expressed especially in Jim Kaczmarek's excellent work on saxophone. The quartet has a couple of special guests on "JC In The Club": Victor Garcia on trumpet, and Raphael Crawford on trombone. The JC of the title is John Coltrane, this piece paying tribute to his work. There is a brief moment when the piano work reminds me of the Grateful Dead's "Terrapin Station." Then there is a New Orleans flavor to "I Have No Idea," particularly in that great drum work. There is a wonderfully positive vibe to "Yes," as you might guess from its title. This is a fun one. "Prattle Away" is another fun one, moving at a good clip, and featuring a cool bass line. "The Dane Effect" is a particularly engaging and exciting number. The album concludes with "Fourthwith," which has a kind of funky, bluesy vibe at the start, and features a strong lead on saxophone, along with some playful touches. This album was released on September 25, 2026.

Angela O'Neill And The Outrageous 8: "A Live Musical Tribute To Peggy Lee" - This special tribute to Peggy Lee was recorded live at Vitello's in Studio City on September 10, 2024. It includes the briefest of introductions, and the band gets this album off to a wonderful start with a fun rendition of "Take The 'A' Train," here delivered as "Outrageous 'A' Train," featuring a series of good leads, including some great work by Sam Morgan on tenor saxophone and by Dennis Mitcheltree on alto saxophone, as well as some delicious stuff by Bill Bodine on bass (even before his lead). There is even a cool, though short, drum solo from Tony Pia. A nice way to introduce the band straight off, everyone getting a moment to shine on the opening track before Angela O' Neill comes in on vocals on the next song, "I'm A Woman." And when Angela belts out the title line of that song for the first time, the crowd reacts, giving her some deserved applause. Oh yes! This is a totally cool rendition, featuring some really nice stuff from the brass section too. "What do you think, ladies, has much changed since Peggy Lee sang that song?" Angela asks the crowd. We hear someone shout out, "No!" The fun continues with "Hallelujah I Love Him So," with a great arrangement by trombone player Harry Smallenburg. Angela provides a bit of backstory for "It's A Good Day" in her introduction. This track is a highlight, in large part because of her vocal performance, which has great doses of both power and joy. There is one odd thing about how this album is put together, and that is that after the applause comes at the end of certain tracks, there is then more at the beginning of the next track, but not continuous applause. So it feels like the applause at the beginning of a track follows a song that is not included here. Weird. And on some later tracks, the applause is cut. Anyway, the rendition of "I'm Beginning To See The Light" included here is a delight, with a special energy and vibe. That's followed by "I'm Gonna Go Fishin'," another of the disc's highlights. It includes a cool bass line, some nice stuff by Rocky Davis on piano, and a phenomenal vocal performance. Al Timss then sings lead on a good rendition of "Mean To Me." "It may be great fun to be mean to me/But you shouldn't, for can't you see what you mean to me," he sings over that delicious rhythm. All smooth and cool. And he ends it by saying, "Don't be mean." "All Right. OK. You Win" is another totally fun number, the band swinging and cooking, and getting playful. That's followed by "Fly Me To The Moon," which contains some wonderful drumming, along with a good series of leads from the horns. As you might expect, "Why Doncha Do Right?" is another of the album's best tracks, oozing cool from its opening moments, and featuring an alluring vocal performance. Everything is working perfectly, as the band struts about, in complete control. Al Timss joins Angela O' Neill on vocals on "I Love Being Here With You," and the two sound excellent together, mentioning the Outrageous 8 in the lyrics. The disc concludes with "Fever," here listed as "Fever: A Live Musical Tribute To Peggy Lee." Angela gets the crowd snapping at the beginning, and then delivers a delicious rendition. This album was released on August 21, 2026.

Visions Jazz Ensemble: "Of The People" - This year marks the 250th anniversary of the signing of the Declaration of Independence and the beginning of this country. There wasn't really a celebration, since the country is now run by fascists and incompetent imbeciles who would have trouble organizing a child's birthday party, but nevertheless it's a significant milestone. Visions Jazz Ensemble marks the occasion with Of The People, an album celebrating this country's music. The songs are of several different genres and types, given a fresh jazz perspective. The album eases in with "Simple Gifts," a song from the mid-1800s, this version sounding like a dawn breaking gently over the land in its opening moments. "To turn, turn, it will be our delight/'Til by turning, turning, we'll come 'round right." David Linard's work on keys leads the group from the pretty vocal section to the central instrumental section, which grows and breathes. And it is the piano that begins the group's version of John Denver's excellent "Take Me Home, Country Roads," this version more contemplative, introspective, with a wonderful vocal performance by April Varner. A striking atmosphere is created here. Then in "The Wreck Of The Edmund Fitzgerald," April's voice comes almost like a warning to those on the ship, as if she could reach back in time to save people. And who knows? I believe music can work miracles. There is a certain power to this rendition of the Gordon Lightfoot classic, and it features really good drumming by Francis Bassett-Dilley. An instrumental opening section sets the tone for the group's moving take on Patty Griffin's "Not A Bad Man," a track featuring some nice guitar work by Alex Turner. The group puts its own spin on Dolly Parton's "Coat Of Many Colors," delivering a passionate rendition that features an excellent lead by Alex Hoberty on bass, and some wonderful work by Caleb Robinson on tenor saxophone. That's followed by "Going Home," the only instrumental number on the album, featuring some gorgeous work by Garrett Fasig on alto saxophone. A very cool rendition of "Ghost Riders In The Sky" follows, containing some excellent work by Sam Butler on trumpet. I've heard a lot of versions of this song over the years, but nothing quite like this. Then "Deep River" begins with some soft work on drums, setting a slow pace, and preparing us for April's strangely captivating vocal performance. The group's version of "God Bless America" also begins on drums, but setting a much different vibe, the song having a cool, funky element, and featuring some strong work by Jeff Parker on trombone and by Sam Butler on trumpet. "Revolutionary Tea" features some good drumming, feeling like the heart of the piece to me. Then "America The Beautiful" has a kind of bluesy beginning, and in the middle begins to swing, containing some wonderful work on trombone and alto saxophone. That, for me, is when the track is really successful, and that rousing ending is great. The album concludes with Stephen Foster's "Hard Times Come Again No More," here simply titled "Hard Times," the trumpet shining. This album was released on July 31, 2026.

JoJo Green: "Paint The Sky - Part 1" (2026) CD Review

2026-10-13T11:38:56.163-07:00

JoJo Green is a group that deftly combines elements of pop, jazz, rock, soul and funk to create its own special sound and vibe. Based in St. Paul, Minnesota, the band released its first full-length album, The Line, in 2021, and followed that with an EP titled The Summer Tree the next year. Now, four years later, these guys give us Paint The Sky - Part 1, which features all original material. The band is made up of Sharisse Germain on lead vocals, organ and keyboard; Scott Yonke on bass; Zach Miller on alto saxophone, tenor saxophone and backing vocals; Nancy Long on drums: Conner Allen on guitar; Doug Christianson on percussion; Dawson Redenius on trumpet; and Annie Hicks on backing vocals. The album was produced by Scott Yonke, Sharisse Germain and Matt Patrick.

The band does not make us wait for the funky fun to begin. The bass line at the beginning of the opening track, "Get Me Back," announces that the party has started. "I can feel the weight of the world/It's got me pinned to the ground," Sharisse sings. Yet her voice seems completely unrestrained, gloriously free and powerful. Her delivery has a tremendous energy, her voice seeming to drive this song. "I know the road I need to travel/I know the road that leads me home." I've said it before, but there is always something appealing about going home in song, and here that road is exciting. I love how that bass pops and dances. And the horns add another delicious layer. When this track seems to be reaching its conclusion, instead it enters another realm, led by the drums, this other realm being a seriously cool space. And then we are back in the main body of the song, and somehow there seems to be even more energy now. That song is followed by "Two Different People." Its first line, "Why are you two different people," is delivered a cappella, and then we're into another cool realm. The question is asked again, "Why are you two different people?" There is a somewhat heavy vibe to the song as the question is asked. But the band soon finds itself a delightful groove, and everything feels good, not just because of that rhythm, but because of the horns. This is a fun song to dance to, let loose to, and the horns are especially delicious. "Holding out just ain't my style/Holding on seems way more fair." Interestingly, when the question is asked again, the song returns to that initial sound; so the song has two different vibes, one more serious than the other, which works well with the question. This track also features some excellent guitar work.

The band takes us into smoother territory then with "Paint The Sky," the disc's title track. This is a jazzy pop realm with a somewhat dreamy aspect. "And I let out a sigh/I want to stay forever right here/You get up and fly/Take me by the hand, let's disappear." And when she sings, "Let's just stay here please," that line is allowed to hang in the air for a moment, before the song takes on a somewhat funkier vibe. And interestingly, this is when the song becomes more beautiful too. There is some pretty fantastic vocal work here, as well as a good lead on guitar. This song also contains really nice work on saxophone. It ends by returning to that line, "Let's just stay here please." So that thought lingers, at least until the next song begins. That song, "Couldn't Do Wrong," begins in a mellower, more intimate folk space, with some nice work on guitar. "If I could sing you this song/If I could sing you this song/If I could sing you this song/I couldn't do wrong." Those are interesting opening lines, because they get us wondering what wrong she has been doing, or is afraid of doing. Perhaps it is a greater need than we understand at first, a need to be able to sing to this person, a need to be with this person. A vulnerability is expressed in those lines. The song takes on an undeniable beauty. "The lake, it seems peaceful tonight/I couldn't do wrong, I couldn't do wrong." This is a song that really grew on me, and before the end it had become a favorite, something I wasn't expecting when it began. And each time I've listened to it since then, I've loved it more.

The album concludes with "Timothy B. Schmit," a funky number with some disco elements early on and featuring more delicious percussion, as well as some glorious saxophone work. There are interesting changes. At times, it has a dramatic, playful, even cinematic, sense that reminds me of Double Naught Spy Car. Plus, it's an instrumental number, which is perhaps another reason that group comes to mind. And it's great fun, while not being afraid to go in more romantic directions at certain moments. Also, as you might guess from the track's title, it contains some good stuff on bass. It's a wonderful ending to this thoroughly enjoyable disc. I am looking forward to Part 2.

CD Track List

Get Me Back
Two Different People
Paint The Sky
Couldn't Do Wrong
Timothy B. Schmit

Paint The Sky - Part 1 was released on September 26, 2026. As I understand it, Paint The Sky - Part 2 will be coming in 2027.

Tom Ciurczak: "Antarctica" (2026) CD Review

2026-10-12T18:38:48.399-07:00

Last year Tom Ciurczak released an album titled Yorick, and it was that title that first drew my interest. I'm always curious when an artist uses or cites Shakespeare in his or her work, and a reference to a character that doesn't even appear in the play is particularly intriguing. Anyway, I'm thankful for that title, for I otherwise might not have heard this engaging and exciting singer and songwriter. He has now followed Yorick with a new album, Antarctica, which features all original material, songs that tell compelling stories, while still maintaining a strong rock vibe. Backing Tom Ciurczak on this album are Jimena Fosado on electric guitar, Oscar Jesus Bugarin on electric guitar and acoustic guitar, Rob Reischak on electric guitar, Matt Hornbeck on electric guitar and acoustic guitar, Sean Sobash on bass, Travis Carlton on bass, Billy Diisko on bass, Valerie Chaikin on keyboards, Stephen Haaker on drums and percussion, and Jayme Palmer on backing vocals, along with guests on various tracks. The album was produced by Stephen Haaker and Brett Grossman. The painting on the album's cover, by the way, is by Camille Woods, who also did the cover of Yorick.

The album opens with "Invisible Man," a song told from the perspective of someone who is struggling, who doesn't feel his own worth. A serious subject, and yet I find some humor in the first stanza, or at least in its final line: "Dad ain't been the same since Vietnam/And Mom is back in prison again/Bank took away our car and house/And I'm starting to have some serious doubts." This track has a good rock sound, with the right raw emotion in Tom's vocal performance. I think most of us can relate to these lines: "I don't know what I'm supposed to do/Everywhere there's trouble/Lots of people struggle/But that ain't nothing new." Are we all just numbers? Certainly from the perspective of the government or any other official organization, we are. And that's part of the reason we turn away from those sorts of organizations. In music is where we find humanity, where we can be reminded of our own humanity, our own worth. That's followed by "Haunted House," which has a great energy as it begins. Jayme Palmer joins Tom on lead vocals for this one, delivering the song's opening lines as spoken word. "This place doesn't need a barbed wire fence/The hardest prison to escape is in your mind." And Tom sings, with a sort of desperation, a driving need, "I'm always waiting here for you." Jayme delivers another spoken word section partway through, and that section contains one of the song's best lines, "There's something seductive when you scream." And Tom sings, "When are you coming back for me/I need for you to set me free//From living in this haunted house alone." His vocals are particularly good on those lines.

There is a dramatic opening to "Antarctica," the album's title track, creating an atmosphere that sets us at unease, taking us to another place and another time. That work on keys has a deliciously haunting vibe. Then a rock sound emerges from that opening, and we learn this song takes place a hundred years ago, soon after the end of World War I, telling a true story about a whaling operation. Check out these lines: "Set out from Argentina, headed for Whalers Bay/Sailed out through Drake Passage on a cold October day/To the edge of the world, at the end of the road/Maps said there'd be dragons, but never mentioned the ghosts." This track features some really nice stuff on keys, particularly during that instrumental section in the second half. And the line "Weigh, heigh, up she rises" of course reminds me of "Drunken Sailor." This track ends as it began. Then "Blackout Jack" seems to open in a dark realm, with a dramatic tone and sense, and some seriously cool guitar work in that opening. Adding to its intriguing vibe is Lasim Richards on trombone. This one too, after that first section, goes more into a rock realm, while maintaining some of that initial sound. There is a great energy to Tom's vocal performance. "I know the streets like the back of my hand/Seen every type of con and scam/Laugh at the cops who think I'll crack." The guitar drives things upward during that instrumental section in the second half, scratching at the sky, taking a swipe at the gods. Wonderful stuff! Oddly, and unexpectedly, this track ends with some laughter and banter.

"And here we go" comes the announcement at the beginning of "Looking For A Place." And the song comes on like a delicious blues rock number with a driving beat and a strong bass line, and develops from there. "Ain't running from the law/Ain't running from my wife/Just need a place to go/And think about my life." Ah yes, where are those places? This track features some delicious stuff on keys. That's Bobby "Bundst" Victor on keyboards. Tom Ciurczak switches gears then with "We Were Immortal," taking us to a strange, haunting place, reminding me of some of those weird early 1970s horror films as it starts. "There's a deep abyss/Where all his monsters exist." And then there is a different sort of 1970s flavor to the music as the song continues, a touch of progressive rock. "We never made it far/The music gave us away/We didn't have the fuel/To keep the stars in tune." This is a song that takes us on a ride, something that a lot of music, particularly the stuff on the charts these days, no longer does. It's a cool track. Then "Going Down In Flames" has a solid rock sound, like some of the stuff I grew up on. "I was born with a thunder crack/Rocked my world and I rocked it back/I stood up and started to laugh/Man, this is gonna to be fun." Indeed! Those are the song's opening lines, some unabashed rock lyrics. Isn't it great to have something like this again? This track features some good drumming and some wonderful stuff on electric guitar. "Crank it up, it's gonna get real loud/If you can't handle it, better leave right now."

Tom Ciurczak switches gears again with "Losing You," which has a sweeter, mellower vibe from the start, with some pretty work on keys. That's Neara Russell on keys for this one. "See the highway fading as/The sun sets in these tired eyes/As I drive away now." Jayme Palmer joins him on lead vocals again, this time the two blending their voices in a pretty duet. This is a song about a musician trying to make it on the road, while thinking about home. "'Cause all this time away from home/I was just losing you." It's a touching number. That's followed by "Atom Glow," a song that takes place in a post-apocalyptic setting, and yet has a rather pretty sound, "Survivors stalk the subway fallout shelter/That's where I found you/Your eyes were glowing like that yellow sun/That died when the angels fell from the sky/Lobotomized zombies wandered the streets/Looking for a meaningful purpose." And it has a sense of humor, heard in lines like "But when I look at you with that atom glow/Well, I melt down, darling/This half-life's better/Than the one we left." The album concludes with "Creature From The Blues Saloon," its title, obviously, a reference to the old horror film Creature From The Black Lagoon. Interestingly, its opening lines refer to Casablanca and then Looney Tunes, an interesting combination. But it is about a dangerous creature who "matched me drink for drink" and apparently led him into criminal activity. It's hard to say, because he "Can't remember what happened after that." Both Matt Hornbeck and Dylan Tirapelli-Jamail play electric guitar on this one.

CD Track List

Invisible Man
Haunted House
Antarctica
Blackout Jack
Looking For A Place
We Were Immortal
Going Down In Flames
Losing You
Atom Glow
Creature The Blues Saloon

Antarctica was released on September 18, 2026.

I See Hawks In L.A., The Underthings, and Double Naught Three at Maui Sugar Mill Saloon, 10-9-26

2026-10-10T19:42:17.737-07:00

The Underthings

Last night's outstanding concert at Maui Sugar Mill Saloon was billed, at least in some corners, as a "Farewell To The Underthings." But I have some great news. It might not, in fact, have been the final show by The Underthings. Rather, it might have signaled a new beginning for that band. But more on that in a bit. The concert, which was one of the best of the year, featured three bands that Paul Lacques was a founding member of. In addition to The Underthings, there was I See Hawks In L.A. and Double Naught Three (previously known as Double Naught Spy Car). One thing that is remarkable about that lineup is how different each of those bands is from the other two. Paul Lacques didn't just focus on one small area of music and excel in that space; his interest seemed to cover great realms in music, and he excelled in all of them. And though he is no longer with us, the music is very much alive, as was clear last night. What a joyous, vibrant, exciting night of music. And it was free. Paul Marshall joked with me before the show, "Three great bands for the price of none."

I See Hawks In L.A.

The night started with I See Hawks In L.A., Richie Lawrence (a member of Rotondi as well as The Underthings) joining the band on accordion for the entire set, which was a treat. The room was packed for the soundcheck, "Turn That Airplane Around," a song from the band's first album, which the band recently celebrated at a special show at McCabe's. Apart from some sound adjustments made during the song, it felt to some like it might have been the beginning of the set rather than just the soundcheck. Either way, the song drew applause from the eager crowd. There was a great buzz in the room, and as the band left the stage for a few minutes before the start of the set, I could hear that many of the conversations around me focused on Paul Lacques. A knowledgeable crowd, and that generally means a fun crowd, an enthusiastic crowd, a respectful crowd.

When the band took the stage just before 8:30, Rob asked for the televisions to be shut off. "No one here cares about that." It is a rare thing when you can speak for an entire crowd, but in this case the statement was spot-on. Everyone was there for the music. The Hawks kicked things off with "Live And Never Learn," and right away the music took hold, the world feeling like a much better place. The song featured some really nice harmonies and a good lead from Dan Wistrom on pedal steel. Paul Marshall's bass work was excellent, particularly during that special section in the middle. While a sound adjustment was made on Rob's vocal microphone, Rob mentioned being excited to celebrate the last show of The Underthings. Apparently there were some issues with the monitors, but everything sounded wonderful in the house. Dan switched to electric guitar for "White Cross," and both he and Richie delivered strong leads. And Rob's vocals were fantastic. There was an electricity on certain lines. "Well, tonight we're also thinking about Paul Lacques," he said after that song, then mentioned how Paul had founded all the bands on the bill, and how they were all different. The Hawks gave us an especially good rendition of "California Country," a great joy to the song.

"Ohio" (or, rather, "Get Back To Ohio," as it is now officially titled) was tremendous fun, featuring some nice work by Dan on electric guitar, and some wonderful stuff on accordion, especially near the end. Folks in the audience added their voices to the "Sweet home" line, which felt just right. This music is like a sweet home for us, isn't it? And it felt right dancing joyfully to a line about being poisoned by the California dream. The band followed that with a fairly new song, "Turtle Song" (this was only the second time I've seen these guys play it), which had a sweet vibe. The accordion worked especially well on this one, adding an element that now seems almost necessary to the song's success. "I know it's crazy, but it just feels right." After that song, Rob joked with the crowd: "Everybody gets a turtle. You get a turtle. You get a turtle. You get a turtle." Dan added to the Oprah Winfrey joke, telling the audience, "Everyone look under your seat." I have a special fondness for turtles, but, though I didn't check, there was no turtle taped to the bottom of my chair. Rick, a guy near me in the audience, happened to be sporting a cool turtle shirt, and I think he enjoyed the song as much as I did. It seemed everyone in the room embraced this new song.

Victoria Jacobs took a turn on lead vocals, delivering a stellar rendition of "Skipping Stones." Dan added some nice touches on guitar throughout the song, and Richie delivered a great lead on accordion. Also helping this song stand out was the delicious interplay between guitar and accordion at one point. But it was the rhythm that drives this song and especially stands out. This was a highlight of the set. That was followed by another favorite, Paul Marshall's "Talking To The Dog." I've seen him perform this song several times now, and it still makes me laugh every time. Both Dan and Richie delivered good leads, and the song had such a delightful sound and vibe. "Paul Marshall's brand new song," Rob said afterward, playing on the song's line about the dog liking his brand new song. A cover of Willie Nelson's "Me And Paul" followed, the song featuring beautiful vocal work. And then they gave us "I Fell In Love With The Grateful Dead," which had a great rhythm, Victoria kicking ass on drums during this trip. The song also gathered a fantastic energy. The band concluded the set with "Hope Against Hope," its opening section containing some wonderful work on bass. Paul delivered cool stuff on bass throughout the song, and the band included a sweet jam at the end.

The Underthings

The Underthings were up next, and the crowd was certainly ready. I had seen this band perform a few songs at the Paul Lacques celebration at McCabe's in April of 2024, but had never seen a full set. The group was made up of Stefanie Naifeh on vocals, Richie Lawrence on accordion and backing vocals, Marcus Watkins (of Double Naught Spy Car) on guitar, Terry Wilson on bass (sitting in for Simeon Pillich), and Tony Braunagel on drums. A ridiculous amount of talent and experience packed into one band. They got right into the magic with "My Ship," with its totally cool, jazzy vibe, Stefanie taking command of the room. The song was wonderful, even without the saxophone, and it included a bit of "Sixteen Tons," the audience singing along. "I'm so happy to be here with you," Stefanie told the crowd, before mentioning this was the group's final show. The band then delivered a delightful rendition of "I Will Eat You Up," although at first Tony, who began the song on drums, started playing a different song. Very quickly he realized his mistake, and then got the song off to a great start with that wonderful rhythm, a sort of Bo Diddley, New Orleans thing happening. Stefanie was a gloriously twisted force, a compelling presence, and an absolute delight. I doubt anyone would object to being eaten up by her. That song comes from the band's self-titled album, and they followed it with another song from that same album, "Waiting For The End Of The World," Stefanie introducing it by saying they'd been having dreams of the end of the world. It was written in 1988, recorded in 1990, and it featured a beautiful vocal performance, along with really nice touches on bass. It was another of the set's highlights.

"I Ain't Lonely" was another delicious number with a jazzy vibe. Oh yes, swing me, baby! Richie delivered some fantastic work on accordion, and the song had a delightful ending that caught us all by surprise. That was followed by "I Want To Sleep," a song that was just released on Bandcamp, and one containing a compelling, captivating vocal performance, along with a nice rhythm. "How many people here know the song 'The Curse Of Bigness'?" Stefanie then asked, and several people cheered (including myself - I have the band's first album on cassette). It's an intriguing song anyway. It was the title of a play that Paul Lacques wrote, produced in 1987. And it's something that Sandy Rogers has been mentioning at recent concerts, as she covered "Wild Bill" on her latest album, Tingling Blue, that song having been written for the play. After a false start, The Underthings delivered a really good version of "The Curse Of Bigness," a number with its own wild drama. "I get headaches from low-flying planes." That was followed by another song included on that self-titled album, "La Vie," which featured some excellent stuff on guitar and some wonderful accordion work.

The final three songs of the set were, interestingly, the three songs they performed at the McCabe's show in 2024. The first of them was "Voulez Vous Danser," which Richie began on accordion. He delivered some wonderful work throughout the song, and also provided backing vocal work. A guest backing vocalist also joined the band. Richie spoke a bit about Paul Lacques after that song, referring to him as a champion of music, and speaking for everyone in the room. That was followed by a fun rendition of "Home In My Heart," everything sounding so damn good. They wrapped up the set with "Brand New Mind," featuring some wonderful drumming, making it a great song to dance to. This is a song that was also recorded by Rotondi, and a perfect choice to conclude the set, there being a certain elation to the song's sound. "Shine, shine, my head shines/I woke up with a brand new mind."

Double Naught Three

Double Naught Three closed out the night. And this time it really was the Double Naught Three: Marcus Watkins, Marc Doten and Joe Berardi. Violinist Kaitlin Wolfberg, who has been playing with them lately, wasn't able to be there. The band went right into the music, no introduction, no preamble, seemingly not even a soundcheck. Just, bam, right into the glory of "Macedonia 6-5000," featuring some incredible drumming from Joe. Marc began the night on the keyboard, delivering some wild stuff. I suppose that first song functioned as the soundcheck, for there was a quick adjustment after it, before the band continued with "Jan-Michael Vincent Rehab.com," which was great fun. I love when things get weird, as they did here. And from weird to more fun, this band determining the course of our little universe. We were in good hands, of course. Strike that. We were in spectacular hands.

"Kay Sara Sarah" was up next (a song title I love, by the way), with that totally delightful, catchy part at the beginning on keys. So cheerful. And the band took us into disco land later in the song. This was a particularly good rendition, and a highlight of the set. Marcus switched guitars then, and Marc said, "I don't know if that's the Underthings' last gig." At that moment, I thought perhaps it was just wishful thinking on his part, for no one wanted this to be that group's final show. More on that in a bit, really. Anyway, "Kay Sara Sarah" was followed by "I Rose In A Field," with that wonderful reggae thing. There were some interesting breaths in that number. Yeah, this band can even make a brief pause exciting. And things then got wild, got intense, and got so fucking good. Then "Arrangement With A Dung Beetle" began in that gloriously strange place, that place that felt perfect for Halloween month. The song then became a dance.

It was after that song that Marc switched from keyboard to bass, and the band launched into "What's Your Hurry," Marc almost immediately delivering some delicious stuff on bass. And Joe's drumming was fantastic. And Marcus delivered a great lead on guitar. Everything felt exactly right, and this was one of the highlights of the night. Joe then set "Double Naught Spy Car" in motion on drums. Yes, the band has a song sharing the band's name. So does I See Hawks In L.A. So does Rotondi. So there. Anyway, the song featured a seriously cool groove, and Marcus delivered some absolutely incredible stuff on guitar. "Helicopter" began with a delicious bass line, moving directly at us, and soon we were in another cool dimension. This tune was a whole lot of fun, and I especially loved the interactions between guitar and bass. Marc then returned to keys for the final song of the night, "The Mooche," introducing it, "This is a classic." Indeed, and Joe was delivering some spectacular stuff on drums. The set ended at 11:28 p.m., and the crowd erupted, wanting an encore. But no such luck. Interesting that the Hawks didn't play "Good And Foolish Times," and Double Naught didn't play "Danger High." But that probably adds to the special aspect of the show, playing with, or against, audience expectations. But it wouldn't have mattered if Double Naught had chosen "Danger High" as an encore or not. It was just that no one was particularly keen on this night ending, and any song at all would have been welcome.

So, as for this being, or not being, the final show for The Underthings, I had a chance to talk with Stefanie after Double Naught Three's set. I asked her if this was really it, and she said it might not be the end after all. The band's bass player did not want to continue without Paul Lacques, which I understand. But that bass player wasn't able to make it last night, and the set was still a great success. Terry Wilson filled in admirably. So might the band continue in this new configuration? From what I gathered, Stefanie does not want this to be the end any more than the audience did, and so there is good chance that the band will continue. It was a phenomenal night of music, and I left the venue feeling optimistic, not only about The Underthings' future, but about the world in general.

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

Ben Tatar And The Tatar Tots: "The Kids' Table" (2026) CD Review

2026-10-07T19:23:17.115-07:00

Ben Tatar And The Tatar Tots continue their delicious tradition of singing only about food on their new release, The Kids' Table. The kids' table, of course, is always the fun table at holiday gatherings, the table with the most joy, the most noise, and likely the most spills. The band captures the fun of that table in the original songs of this album. And just as a side note, what other bands can you think of that have a theme to their material? There is The Baseball Project, of course, all their songs being about baseball. The Zambonis sing about hockey. The Firkins sing about beer. There is also The Legendary Ten Seconds, singing about Richard the Third. Any others? Anyway, this album is a treat for anyone who likes both music and food, regardless of which table he or she ends up at during holiday feasts. The band is made up of Ben Tatar on vocals, acoustic guitar, trombone, trumpet, keyboards, glockenspiel and banjo; Jon Gould on electric guitar; Cory Biggerstaff on bass; Kurt Lubbe on drums; and Anthony Bruno on saxophone and clarinet. Cameron Tatar and Everleigh Tatar provide some vocals.

The Kids' Table opens with its title track, which has a good rock sound, with a steady beat, at its start. "I have dreams/Of cakes and ice creams," Ben sings at the beginning. Soon the song kicks in. "And I recall/The flavor of it all/The aromas wafting down the hall/Assembling the group." We all have memories like those, don't we? And certain smells, certain tastes, take us back. "Save a spot at the kids' table for me," he sings, a certain amount of excitement in his voice. The horns respond. It's a fun number, featuring some nice work on bass, and that instrumental section in the second half is wonderful. That's followed by "Jumping Beans," a song that in its first moments promises to be a fun one, with the great rhythm. I love the drums on this track, and the song feels like a dance. A silly dance, to be sure, but aren't all dances delightfully silly dances? "Jumping beans are coming to town/Up, down, left and right/Jumping beans are out of sight/My jumps are sky high/Everybody jump, no reason why." And then he sings, "Everybody join in the fun." That's a key line, not just to this catchy song, but the whole album. For this is fun, and it encourages all of us listening to have fun too.

The rhythm is a big part of the appeal of "Put A Little Ranch On It" too, a big part of its fun. And the song mentions the band in its lyrics: "Put a little ranch on it/It's good on cucs and carrots too/Makes Tatar Tots a happy crew." Of course, that now makes me wonder if these musicians are covering themselves in ranch dressing. No judgment. Whatever you enjoy. This song has a cool vibe, and these guys wouldn't lose that sense of cool even if they were covered in Russian or Catalina dressing. The fun continues with "Pass It On Down The Line," which has a delightful jazzy vibe and a totally delicious rhythm. It's a song about wanting a hot dog, and the title makes me think he's ordering the hot dog at the ball park and his seat is in the middle of a row. The clarinet work here is absolutely wonderful, the heart of this piece. This is one of my personal favorites (and I don't even like hot dogs).

There is more of a folk sound at the beginning of "Pictures Of Food," and the first lines made me laugh out loud the first time I put on this disc: "Scrolling through my mama's phone/That's what she gets for leaving me alone." This song is adorable. "A picture of a menu, and a picture of my dad/Then ten to twenty pictures of a dinner that they had." Those lines remind me of comedian Lachlan Patterson's bit about how photos used to tell a story, used to have meaning, while now we take pictures of food and clothing we think of purchasing. And, in fact, this song's second verse mentions clothes: "Here's a picture he took yesterday/Of a shirt he didn't buy/Ten pictures of the same thing/In case my sister blinked an eye." Perhaps Ben Tatar heard that same comedy routine. And in this song he talks about how we all do it, how we all take pointless and numerous photos of completely uninteresting subjects. The band then gets into a rock sound with "The Candy Dance," a song in which Ben Tatar asks, "What kind of candy is your, what kind of candy is your, what kind of candy is your favorite?" There is a dance associated with each candy. I'm partial to milk chocolate and white chocolate. I used to buy one-pound bags of M&Ms, back when such a thing existed. Now there is much less than a pound in those bags, and yet they cost more than twice what they used to. That's progress. I don't buy them anymore. Too expensive. Anyway, this fun song encourages dancing.

"Get ready to act out the foods in this song, and in the end let's see who can do them all at once," Ben Tatar tells us at the beginning of "All The Cooks In The Kitchen." I love the playful aspect of these songs, heard in lines like "Flip a pancake with your foot/That's a thing to do." Hmm, I'm guessing if I tried to do that, that would end up being a pancake I wouldn't be eating. But I'm digging this song. It features nice stuff from the brass section. "Crack an egg with your armpit." That's followed by "Five Second Rule," another jazzy delight, moving at a fast pace. "One hot potato jumped off my plate/But the timer starts when it hits the floor/Better be quick if you want some more." And how could anyone not love the moment when he says, "Cue the sad trombone"? The band gets a little funky for the album's final number, "Boogie On The Cookie." "There's a boogie on the cookie, oh yeah/There's jam on my bread." Yup, this is fun. And silly. And it features some good work from the horns.

CD Track List

The Kids' Table
Jumping Beans
Put A Little Ranch On It
Pass It On Down The Line
Pictures Of Food
The Candy Dance
All The Cooks In The Kitchen
Five Second Rule
Boogie On The Cookie

The Kids' Table is scheduled to be released on November 20, 2026 (just in time for Thanksgiving).

The dB's: "Cycles Per Second: US Tour 2024" (2026) CD Review

2026-10-07T13:32:04.189-07:00

If, like me, you were unable to get a copy of The dB's Record Store Day release Cycles Per Second: US Tour 2024 earlier this year, there is some excellent news. The album is being released on CD, and in addition to the record's thirteen tracks, there are another nine included here. I still wish I'd been able to get that record, of course, but this expanded edition helps alleviate some of the disappointment I felt at missing out on it. After all, I'd been at the November 16th show in Los Angeles that is represented here, and that was an outstanding concert. Interestingly, the songs are in a different order than they were on the vinyl release, and a different order from the concert I attended, which is odd. All the songs that were played at that show, with the exception of "My Little Red Book" (which is a cover), are included here, though these recordings come from different shows, both Los Angeles shows and the North Carolina show. For some reason, the liner notes do not indicate which songs come from which show, which is a shame. The band is made up of original members Chris Stamey on guitar, Peter Holsapple on guitar, Gene Holder on bass, and Will Rigby on drums, along with Wes Lachot on keys.

The disc opens with "Neverland," a song from Repercussion, the band's second album, released in 1981. "You're asking where did my love go/I tell you really I don't know." This is a song the band played deep in the set at the Zebulon show I attended in Los Angeles, but it works really well in this lead spot too, establishing the wonderful sort of power pop the band excels at. The track features some excellent stuff on guitar, particularly at the end. It's followed by "Black And White." This song opened the band's debut album, and it closed out the set at Zebulon, and it is perhaps the band's most popular song. There is a fantastic energy here, and the crowd joins in on the action, singing "You don't like it at all." And check out Will's drumming near the end. There is the power in power pop.

"Dynamite" is another song the band played late in the set at the concert. I wonder why the songs were re-ordered. This order places the song after "Black And White," as it was on that first album. Anyway, this is an spectacular rendition, the bass at the center. It features some very cool stuff on drums, as well as some wonderful touches on guitar and a catchy keyboard part. But it's the vocal work that has always drawn me to this song, and the vocal work here is excellent. Because the songs are not in the order presented at the shows, the applause at the end fades out before the next track, "Lonely Is (As Lonely Does)" (here titled simply "Lonely Is") begins. This is a song from Like This, released in 1984. "Well, living in the past is rough/Living here today is enough."

I recall that at the show I attended "Happenstance" was a highlight for me. And listening to this rendition now, it is a highlight of this disc (though, again, I'm not sure if this recording comes from the show I attended or one of the others). There is a delicious intensity to the delivery, some excellent vocal work and a great beat. Also, I love that section in the middle when the guitar takes control, when it transports us to an unusual place. You might find yourself holding your breath as you wonder just where the guitar will take you. The song builds wonderfully from there toward its climax. That's followed by "Love Is For Lovers," which did follow "Happenstance" at the concert I attended. This is a delightful rendition. And I love that the lyrics include a nod to Shakespeare's Measure For Measure (that title itself a biblical reference).

We can hear the crowd react as "She's Not Worried" begins. This is a song from the band's first album, and a total delight. "Sometimes I don't say the silly words she wants to hear/But you know they're always on my mind." There is a bit of a Beach Boys flavor here, and this song is another highlight of the disc. "She's not bothered by the foolish way I lead my life/'Cause she knows it'll be over soon." Then a totally delicious beat sets "Cycles Per Second" in motion, and sets us in motion too. Everything is working perfectly, ths song's fantastic energy driving us forward, the drumming keeping us grooving. This is another of the band's most popular numbers, a song from the debut album. It is the second song the band played at the Zebulon show I attended.

"Molly Says" is a song that was not played at the Los Angeles show, the only such number on this disc. It comes from The Sound Of Music, an album the band released in 1987. It's a good song with some lyrics that stand out, such as these lines: "She could stand in a deep, dark hole/And still look down on me." And of course its title puts this song in that special category that includes "Candy Says," "Stephanie Says," "Lisa Says" and "Jane Says." It is followed by "We Were Happy There," which was the first encore at the show I attended. It comes from Repercussion. Isn't there something beautifully sad in a line like "We were happy there"? As it places happiness in a time and place that exist no longer. I'm digging the bass line. There are a couple of moments when the guitar reminds me of T. Rex's "Bang A Gong (Get It On)." The song ends with the line "And we're going to go back home," which is a cheerful idea, and delivered with a certain beauty. "(I Thought) You Wanted To Know" was also in the encore. It was the final song of the night. It features that great jangly guitar, like The Byrds. "(I Thought) You Wanted To Know" was the band's first single, released in 1978. This is a wonderful version. "Molly Says," "We Were Happy There" and "(I Thought) You Wanted To Know" were not included on the Record Store Day release.

"Living A Lie" is the lead track from Repercussion, and another that was not included on the Record Store Day release. It features a fantastic vocal performance and some excellent stuff on guitar. There is a delicious strength to this song, a power. And speaking of power, that song is followed by "That Time Is Gone," a song full of attitude and grit, and another of the album's highlights. It comes from the band's 2012 album, Falling Off The Sky. This song is so damn good, and is perhaps more striking now than when it was released. "You'd better wake up, wake up, wake up/That time is gone." Then "From A Window To A Screen" features a beautiful vocal performance. "Some would say we were friends/I won't make that mistake again."

"The Fight" is the song the band chose to open the Zebulon concert I attended. It's one of my favorite songs from the first album. The version included here is excellent, with all the energy you'd hope for, hopping in the right spots, rocking in the right spots, and with a strong vocal performance. I'm still curious why this song didn't open the album. You can hear the crowd responding enthusiastically at the end. That's followed by "Before We Were Born," a song from Falling Off The Sky, one of that album's highlights. "I'm telling you right now/Nothing's gonna change a thing/Are you ready for the news/It's hidden in the words I sing." And he tells her, "I've got a feeling that I knew you/Before we were born, before we were born." And that guitar work adds to the great vibe of this song. Then "Big Brown Eyes" features a great bass line. Right from the start, that bass is delicious. This music has such a good feel to it. "You give me something to think about."

A delightful rhythm is at the center of "Ask For Jill," and is a large part of this song's appeal, making it a fun one to dance to. But there is more going on here, including some particularly interesting guitar work. The crowd joins the band during that section in the second half when Chris held up the pages containing the lines from one side of the phone conversation. That's followed by "I'm In Love," the opening moments of this song, with that great drumming, pulling us in. The vocal work stands out here. "I've got, I've got no idea/Just how far to press my luck." And I love the way that declaration is delivered, "I'm in love, I'm in love, I'm in love." We even get a brief burst from Chris on harmonica. "In Spain" then follows. This was one of the encores at the show I attended, and is another fun number, featuring some very cool stuff on guitar. By the way, none of the stage banter is included on this live album, just the songs.

The album concludes with two versions of "Amplifier," the first coming from one of the two Los Angeles shows, and the second from the North Carolina show (the only tracks so identified). Hey, if you're going to choose one song to get two renditions, this is the one. It's such a great song. Check out these lines: "She took his car, took his bike/She took everything that she thought he liked/And what she couldn't take/She found a way to break." And here Wes gets a chance to really shine on keys. In the first version, after that great keyboard lead, Wes is introduced. Will and Gene are also introduced, Gene described as "Weighing in at 121, standing six foot nine." The second version is slightly shorter. This one also contains some great stuff on guitar, and Wes gets his cool lead. The band jams, with a little nod to "Funk #49," but in this one, the band members are not introduced.

CD Track List

Neverland
Black And White
Dynamite
Lonely Is
Happenstance
Love Is For Lovers
She's Not Worried
Cycles Per Second
Molly Says
We Were Happy There
(I Thought) You Wanted To Know
Living A Lie
That Time Is Gone
From A Window To A Screen
The Fight
Before We Were Born
Big Brown Eyes
Ask For Jill
I'm In Love
In Spain
Amplifier (LA)
Amplifier (NC)

Cycles Per Second: US Tour 2024 is scheduled to be released on October 30, 2026 on Propeller Sound Recordings. It's such a treat to revisit these songs. I hope this band tours again soon.

Dallas Burrow: "The Way The West Was Won" (2025) CD Review

2026-10-03T19:52:05.540-07:00

Dallas Burrow is a singer and songwriter based in New Braunfels, Texas. He released his first EP in 2012, and followed it with three more in 2016. His first full-length album, Southern Wind, came out in 2019, and was followed by a self-titled album in 2021 and Blood Brothers in 2023, and then two live albums in 2024. His music exists in that wonderful land between folk and country, personal numbers that feel universal. Then last year, he gave us The Way The West Was Won, an album with its own particular vibe, mostly original country songs that conjure a different time. Songs that tell stories of another age. The classic look of the album cover gives us a good clue as to what we might expect from these songs. The album was produced by Lloyd Maines, who plays dobro, bass, acoustic guitar, electric guitar, steel guitar, banjo, flute and percussion on these tracks. It was engineered, mixed and mastered by Pat Manske, who is on percussion. Dallas Burrow has some special guests joining him, including Ray Wylie Hubbard, Kelly Willis and Jim Lauderdale.

The album's first track, "Read 'Em And Weep," opens with some cool guitar work, and then he counts us in, perhaps dealing us in, for the first line then is "Cut the cards, boys, deal me in." And we are invited into a world of the untamed west, a world of possibilities, which is so appealing. "I've got a little story to tell." And indeed Dallas Burrow proves himself a damn fine storyteller. This track features special guest Ray Wylie Hubbard on vocals. It also contains some really nice work by Katie Shore on fiddle, that instrument a large part of the track's appeal, a large part of what enables us to journey to that time. Then her fiddle work at the beginning of "Colorado Bound" sets a very different tone. This song has a gentle, sweet, pretty sound, and its first line, "I saw you in a daydream," comes naturally from that sound. "Heading west for the mountains/In a sleeper car/In your head you were counting/All your lucky stars." Kelly Willis joins him on vocals for this one, delivering some beautiful work, and Lloyd Maines provides some good stuff on dobro. We are set in motion to Colorado, while also remaining behind, watching as the train goes.

Brian Beken is on fiddle for "Disappearing Ink," providing some nice work at the start, and at key moments throughout the track. The rhythm of this one plays a prominent role, not just the percussion, but the rhythm of the vocal delivery. This track features some wonderful vocal touches, like when there is almost a growl to his voice as he repeats, "Here I go again." Lloyd Maines delivers good work on banjo, including during that delicious instrumental section. "I've been a hundred places I shouldn't have been/I spent my last dollar 'bout a hundred times." That's followed by "Justice In The West." Something about this one has me feeling good from its opening moments. It's in the rhythm of the guitar, it's in the tone of his voice. We all know this place, recognize it, and feel drawn to it. And we can be there through this music. This song is told from the perspective of someone who became a lawman and went after bandits. It's a world that is now in the past. Not just our past, but the narrator's as well. This is a wonderful song, one of my personal favorites.

Another strong character is established in the opening lines of "Black Rock Desert Blues": "I headed out of Silver Springs/Just pawned a wedding ring/I've done some terrible things/But that one haunts me still." This track contains some really nice guitar work, and Bukka Allen adds some great flavor on accordion. We learn more about that wedding ring later in the song. Again, Dallas Burrow can tell a good tale, and this track is another of the album's highlights. It is followed by "Streets Of Dodge," which also makes great use of the accordion. There is something in that instrument that works to conjure memories, and to place us within them. There is a gentle, easygoing vibe to this song, and yet the tale turns to one of pain and loss. "I left old Dodge City/When I lost my loving bride/When I lost my loving bride." Then "Tornado" begins like one of those classic westerns, with a very cool sound. The opening lines are delivered in a way close to spoken word, setting the atmosphere for this tale about a horse named Tornado and that horse's rider.

Jim Lauderdale joins Dallas on vocals for "The Way The West Was Won," the album's title track. "Gold in them hills, and hope in our chest/We saddled up the ponies and we headed out west." There has always been something appealing about heading west, right? Following dreams, following legends, following desires. Lloyd Maines delivers some great work on dobro, as well as guitar and bass, on this track. Then Lloyd Maines plays flute on "Indian Song," and that instrument helps to create the atmosphere in the song's opening moments. This one features an especially cool vocal performance. "Got run off by long knives/The settlers and the trains." I also love the way this track ends. I highly recommend checking it out. "Time is of the essence/It's always running out/Like a freight train in the night," Dallas Burrow then sings at the beginning of "Livin' For Today." Oh yes, and as we get older we become more and more aware of that, and songs like this one hit us harder. Katie Shore returns on fiddle, delivering some wonderful work, especially on her lead in the middle. This is another of my personal favorites. "But if all our days are numbered/Like the sand in an hourglass/We still have a choice/As to how we let 'em pass."

"When The Cowboy Rides" is a lively number, featuring good stuff from Brian Beken on fiddle. It's a song that puts cowboys, poets and philosophers out on the same plain. "A woman's heart is wild as the sea/You can love her, but set her free/It's been this way for eternity/A woman's heart is wilder than the sea." Lloyd Maines delivers some good work on steel guitar, and Jim Lauderdale provides harmony vocals. Then "The High Low" begins with some nice work on guitar. The vocals have a friendly folk tone, fitting the vibe established by the guitar. And soon the percussion and fiddle are added and everything feels right. Brian Beken delivers excellent work not just on fiddle, but also mandolin. I love the playful aspect to this song, heard in lines like "She was born a brunette/Grew up to be a blonde." It's a fun number. And Jim Lauderdale, Kelly Willis, Katie Shore, Lloyd Maines and Pat Manske all join Dallas Burrow on vocals near the end. The album then concludes with "Cowboy's Prayer." "At the end of the trail" seems a perfect line to begin this album's final track, doesn't it? This song feels like the end of the day as well as the end of the trail. "If I've done some wrong, Lord/Well, I'll pay the price/If you could forgive me/That sure would be nice."

CD Track List

Read 'Em And Weep
Colorado Bound
Disappearing Ink
Justice In The West
Black Rock Desert Blues
Streets Of Dodge
Tornado
The Way The West Was Won
Indian Song
Livin' For Today
When The Cowboy Rides
The High Low
Cowboy's Prayers

The Way The West Was Won was released on September 26, 2025 on Forty Below Records. And since then, Dallas Burrow has released another album, Modern Day Vagabond, which came out just last week.

Jimbo Ross: "Beyond The Groove" (2026) CD Review

2026-09-29T22:08:00.417-07:00

On his new album, Beyond The Groove, the great Jimbo Ross focuses on material by Dizzy Gillespie, Thelonious Monk and Horace Silver, giving each composition his special magical touch. He plays that famous five-string electric viola and violin on this album, and is joined by Joe Gaeta on guitar, Stuart Elster on piano, Peter Marshall on upright bass, and Ron Wagner on drums. The arrangements are by Jimbo Ross and Joe Gaeta, and the album was produced by Jimbo Ross.

The album gets off to a wonderful start with "Groovin' High," a Dizzy Gillespie number. There is a fun, light, playful vibe as it begins with the interaction between Jimbo Ross and Stuart Elster. And when the musicians move into the main body, there is a good amount of cheer, especially in Jimbo's playing. It is like we are invited to a festive gathering led by Jimbo Ross. This is something certain to raise your spirits. Stuart delivers an excellent lead on piano, keeping things moving, keeping spirits high, while Peter Marshall's bass work beneath it has its own special charm. If you'd like to forget about the world's current troubles, this music should do the trick. A good guitar lead follows, Joe Gaeta at first keeping with the established dance, while adding his own delightful touches. And before the end of this opening track, we're treated to some brief, but lively drum solos by Ron Wagner. Then we return to that initial section, signaling the dance is complete. That's followed by "In Walked Bud," a great choice, for it seems to pick up where "Groovin' High" left off. Jimbo has a great freedom early on, taking off into some glorious territory, knowing he'll be followed. No one is lonely or alone in these places. It's as if setting off for the mountains, leading a troupe of musicians and other explorers. Joe's guitar lead follows, as he takes up a position in front, charting a new path with the same destination in mind. Stuart's piano lead seems to add more energy to the endeavor, shining more light upon the path. The interactions between the instruments in the second half are exciting, one of my favorite sections of this album. Fantastic. This is the first of three Thelonious Monk compositions included on this album.

The second Dizzy Gillespie tune, "A Night In Tunisia," begins with its great rhythm, and soon we are off a new journey, familiar and yet new, Jimbo finding fresh territory to explore, and new ways to explore what might have been so familiar, and doing so with skill and joy. He takes charge of this place. We know we are in good hands, as he charms us right out of our blues. Joe Gaeta's guitar lead delights and pops and moves. At the heart of this track is its rhythm. There is some outstanding stuff on both drums and bass. Everything is working perfectly here. Then "Peri's Scope" has a sweeter, softer tone at the start, a friendly hand reaching out and taking hold, leading us in a dance. Our partner hums to us, making sure we remain within the music, within the dance. But how could we ever miss a step with these guys? There are magical touches to Stuart's piano lead, as if we're entering a fairy tale before things begin to rock a bit more. Reality or fantasy, it doesn't matter, as long as we can stay in the realm these musicians have opened for us. The guitar lead focuses our attention on the movement before Jimbo then sweeps us up into the air again and builds something for us all there, a place where we can enjoy ourselves.

There is a light, pleasant vibe at the start of "Afternoon In Paris," feeling like a wonderful walk through daylight when the air is cool and the flowers are in bloom. This music takes us to places we long to go, helping us escape from the twisted mess of our current landscape. And during the piano lead we sense more excitement in the air. It is no longer a casual stroll. Now there is a point to our excursion, a purpose. Though that doesn't in any way lessen our enjoyment. And everyone we meet along the way gets caught up in the joy of the movement, the joy of the moment. "Nica's Dream" follows. There is a different kind of energy here, a different sort of passion. Here the dance has a more intimate, more focused sense. There is something classy here. Furs and good wine. But nothing stuffy. Elegance and smiles, the strings seem to express. And joy, joy, joy. The guitar spins us around on the floor, seeming to promise an endless celebration, an endless escape from whatever it is we are eager to forget. This song was composed by Horace Silver, the first of three Horace Silver tunes included on this disc. It's followed by "Juicy Lucy," also written by Horace Silver. There is a delicious, playful vibe to it from the start, the kind of song that struts in, but never takes itself too seriously. Life is much too short for that anyway. Let's enjoy ourselves. The guitar lead certainly encourages us to do that very thing. and the beat keeps us feeling light, never aware of our own bulk, our own dimensions. And during Stuart's piano lead, we can carry ourselves on our toes, twirling around with ease.

Jimbo Ross' instrument takes on a certain character at the beginning of "Ba-lue Bolivar Ba-lues Are," creating this character, filling it out, and dancing it about. It is so vivid for us. And perhaps as we listen, we become that character. Why not? Jimbo's work is absolutely wonderful, one of the album's most delightful performances. And Stuart Elster delivers a strong lead on piano, reminding us how good life can be. Jimbo Ross again delivers some excellent work, over a cool rhythm, to start "Whisper Not," a tune composed by Benny Golson. And during Stuart's piano lead, you might find yourself snapping your fingers or anything else you can snap. That's followed by "I Mean You," the final Thelonious Monk composition included on this album, and it's a fun one. This is one of the most delightful tracks, in large part because of Jimbo's playing, his approach. And the piano is hopping. This track also features an excellent guitar lead. Everything is moving, swinging. This track is one that should add some cheer to your day.

Things then slow down a bit for "Gloria's Step," a track with warm tones and a late-night, kind of romantic feel, particularly during Stuart's piano lead. Yet, that doesn't mean this track lacks excitement. Just listen to that guitar lead. And there is a good vibe during Jimbo's lead. Thing then move at a good clip on this rendition of Miles Davis' "Solar." There is certainly a bright feel to the music, to the approach, and a joy in the sound. Again, this is music that will melt away all troubles and distractions. This track features some excellent drumming, and I'm especially fond of that work on drums toward the end. The album concludes with its third Horace Silver composition, "Nutville," which has a cool vibe from the start, with that steady rhythm and delicious work by Jimbo on strings. Partway through, it picks up the pace, Jimbo's strings flying around the room with confidence, with knowledge, with experience, and we can't help but get caught up in the motion. This track also contains some fantastic stuff on piano. A perfect way to end this excellent album.

CD Track List

Groovin' High
In Walked Bud
A Night In Tunisia
Peri's Scope
Afternoon In Paris
Nica's Dream
Juicy Lucy
Ba-lue Bolivar Ba-lues Are
Whisper Not
I Mean You
Gloria's Step
Solar
Nutville

Beyond The Groove was released on August 21, 2026 on Bodacious Records.

Old Californio and The Firkins at Highpoint Brewing Company, 9-27-26

2026-09-28T19:14:19.663-07:00

I don't know how everyone else is dealing with our current reality, but one thing I've done to keep myself relatively sane is shorten my give-a-shit list. I've shortened it considerably. Goodbye, politics. Goodbye, news. I've even stopped caring about baseball (all the recently imposed rules are awful, and the sport is no longer the thing I fell in love with). As a result, I'm pretty damn happy. Focusing on what is truly important. And that is friends and family. And music. Music, music, music. Old Californio headlined a fantastic show yesterday at Highpoint Brewing Company (one of my favorite places, thanks to its first-rate beer, friendly staff, and, of course, excellent lineup of music), delivering an exceptional set that included "Shorten Your List," a song that encourages us all to shorten our give-a-shit lists.

The Firkins

The show started with a great set from The Firkins, with Gloria Delgado first acknowledging the heat. "It feels like summer." Indeed. While some of the country has moved into autumn, Los Angeles and its surrounding areas have clearly decided that summer is not yet over. The band then opened the set with "I Like Beer," a delightful choice. And if you like beer, Highpoint Brewing Company is the place for you. I've had several different selections there, and enjoyed them all. "I Like Beer" was followed by "Adventures At Bootleggers," a highlight of the set, Sophia Delgado delivering some wonderful guitar work with a cheerful, classic vibe. "Straight Out Of The Barrel" was another fun number with a good vibe, in part because of Sophia's guitar work, but also because of that rhythm. Gloria then told the crowd that all the band's songs are love songs. That is, love of beer. And she delivered some especially good work on bass on the next song, "Fiending For Hops," which had a sweet pop sound. She mentioned that the band will release an album before the end of the year, good news for fans of music and beer. Sophia switched to lap steel for "The Ticker." Then, interestingly, after the song was briefly halted, she switched back to electric guitar for the song. She then went to lap steel for "My Dad's Drinking Gene," delivering some really nice work. That song also had a catchy rhythm.

Another highlight of the set was "Pliny The Younger," which Gloria introduced as a song about a seasonal beer, one she recommends. The song featured some great work by Danny Ruiz on acoustic guitar, and some fantastic drumming by John Harris. It got a big (and deserved) reaction from the crowd. Gloria dedicated "San Diego" to Albert, who used to play drums in the band and was in the audience. She added that it was his favorite song to play, which makes total sense, as it featured a delicious beat. And Sophia delivered some wonderful work on electric guitar. She also delivered some great work on "High Speed Chase," a song that also featured excellent stuff on bass. That was followed by "Mr. Odd," which was met with cheers from several in the audience the moment it began. A catchy, cool number. The band then played "Victory At Sea." "Sing along if you know it," Gloria said when introducing it, and it seemed that a good number of folks did know it. The band gave us a beautiful rendition, and followed that with a cover of "One Hundred Years From Now," which Gloria said was in honor of Gram Parsons. They followed that with "A Few Rounds," a fun, rowdy number to close the set, which ended just before five o' clock.

Old Californio

Old Californio had done a few shows in recent weeks billed as Old Californio Quartet, a variation on the band's usual lineup, but yesterday was a full-band show, though with Bob Roach sitting in on bass and backing vocals in place of Jason Chesney. And the band's choice of opening number showed they meant business, and they weren't about to hold anything back. That first song was a glorious rendition of "Lean Into It," the guys jamming a bit at the start to set the tone, and then soon cooking. There was an especially delicious power on the chorus, but the whole song contained a great pulse and featured some excellent playing. Jon Niemann in particular was shining, during his lead on keys, but also during the jam. And Woody Aplanalp let loose on the guitar. This was an absolutely phenomenal start to the show, a ten-minute "Lean Into It." "Happy Sunday," Rich Dembowski then greeted the crowd, also joking that he'd pitch for the Dodgers if necessary. "Millard Canyon Run" followed, which Rich introduced as an old tune, the first he wrote. This one had a much sweeter vibe, with a Neil Young thing happening at times. And, yes, it was the weekend.

This set featured quite a few covers, including an excellent version of Little Feat's "Willin'" that began with a good little jam and contained a nice lead on keys. Woody eased into his lead, and delivered some fantastic work, doing it rather softly, beautifully, at one moment sounding like drops of water from a heavenly source. Rich also delivered some great stuff on guitar. The section featuring the two guitars was superb, and received applause from the crowd. On top of all that, the song featured some wonderful harmonies. That was followed by a cover of "Fine Artiste Blues," which was a delight. I think it had been a little while since I'd last seen them do that one, and again Jon was delivering some strong work on keyboard. A cover of Lucinda Williams' "I Lost It" followed, Rich acknowleding Bob's great work on bass afterward. And then they delivered their special take on The Beatles' "Because," and this was a particularly good rendition, with Woody delivering some absolutely wonderful work on guitar. Of course, it's the vocal work that always stands out when they do that song. Beautiful harmonies. That was followed by a cover of The Byrds' "Lover Of The Bayou," a song I don't recall seeing the band do before. Their rendition rocked, featuring some phenomenal work on guitar and keys.

As soon as the band started "Shorten Your List," several people in the audience cheered, so I guess I'm not alone both in my love for this song and in my need to eliminate excess craziness from my life. "Shorten your give-a-shit list/Accept the world for the mess that it is." There was a time there not too long ago when the world seemed to be moving closer to our ideal vision of it, but that time has passed (and likely won't come around again). So here we are. "That's my response to the current political environment," Rich said afterward. That was followed by "Ring Of Fire." I know I've mentioned this before, but this band's version of that classic number is incredible. These guys have a knack for taking songs and making them their own, and this song in particular always manages to stand out. It is consistently a highlight of their sets, and so expectations are high when they start it. Yesterday they surpassed all those expectations, and delivered a rendition so bloody good that many of us were left gobsmacked. This song felt more forceful than usual, the band taking it to new places. Woody's guitar work was outstanding. And the rhythm was great, Bob delivering a delicious bass line. And then later in the song, he had an opportunity to take a lead on bass. By then, we already knew we were in special, perhaps uncharted territory. Did anyone record the show? I hope so, because people need to hear this rendition. How do you follow that song? The band made a good choice, "Warmth Of The Sun," which came on strong, Justin Smith's rhythm quickly taking hold. And later in the song, there was that Bo Diddley thing happening. For me, this song is all about the rhythm, not just the great stuff on drums, but the rhythm of the guitars and even the keys too. And that's how the set ended. But folks called out for an encore, and the band obliged with a high-energy rendition of "Mother Road," featuring some cool stuff on bass. The show ended at 6:33 p.m.

Old Californio Set List

Lean Into It
Millard Canyon Run
Willin'
Fine Artiste Blues
I Lost It
Because
Lover Of The Bayou
Shorten Your List
Ring Of Fire
Warmth Of The Sun

Encore:

Mother Road

Highpoint Brewing Company is located at 402 W. Arrow Highway in San Dimas, California.

Pat Todd & The Rankoutsiders Album Release Show at Maui Sugar Mill Saloon, 9-26-26

2026-09-27T23:37:00.000-07:00

Pat Todd

Pat Todd & The Rankoutsiders celebrated the release of their new album, I'll Dream Alone, last night at Maui Sugar Mill Saloon, a fantastic hometown show before the band heads to Europe for an extended tour of several countries there. There was a good crowd and a great energy in the room, just the right sort of vibe to both celebrate the new album and send the band off to Europe on a high note. Joining Pat Todd & The Rankoutsiders on the bill were The Glimmer Stars and The Legendary Swagger, so it was an excellent night from start to finish.

The Glimmer Stars

The Glimmer Stars started promptly at 8:30 p.m., Tom Dunne sitting in on the drums for this show (Richie Mendez had another gig with GG & The Buzz). This was the first time I'd seen Tom Dunne play with The Glimmer Stars, though I'd seen him play with Mini Mendez several times (and, of course, with Tranquilina). Before the show, Tom told me I was going to see a different side of him. And, indeed, at this show he cut loose. The band opened with "Nice," and right away the energy took the crowd to that special place where we are all still sixteen and the world is eager to embrace us and thrill us, everything laid out before us like a glorious road. And soundman Nubs got his first shout-out of the night as he made an adjustment, Mini calling him the "hardest working man in Tarzana," and Steven adding, "I think he's the only working man in Tarzana." The band followed "Nice" with "Pictures Of You." "We're all all right," indeed! That great pounding on the drums guaranteed it. "Welcome to this rock and roll celebration tonight," Mini told the crowd. He then mentioned that Pat Todd will be touring Europe for a month after the show. "If I Only Could" was a highlight of the set, a great power pop gem. Then before "Better Day," Mini mentioned the band's latest album, quickly adding that it's Pat's night so the crowd should buy his record instead. "Plus," he added, "I didn't bring any." "Better Day" had a great energy, and Steven joked, "I'm glad they put the heater on." It may be autumn in some parts of the country, but it's still summer in Los Angeles, and was especially hot here in the valley yesterday. "Hey! Hey! Hey!" was another highlight, a song I haven't seen the band do very often. A good rock number. If you like AC/DC, this is a song you'll love. And it featured some delicious drumming. That was followed by "Maybe," another favorite of mine, Tom getting playful on the drums at the end. Paula Tiberius joined the band on backing vocals and tambourine on "Feel It," which was great. And the band followed that with "I Need It Now," that excellent beat setting everything right at the start. We all need it now, don't we? Well, this band delivered. The song featured some fantastic stuff on guitar. The band wrapped up the set with "Paulina." "It's about a girl," Mini said, and before Mini could continue, Paula shouted out from the audience, "They're all about a girl!" The song featured some wonderful, catchy guitar riffs. The set ended at 9:03 p.m.

The Legendary Swagger

The Legendary Swagger took the stage at 9:19 p.m., eleven minutes earlier than scheduled. Why fucking wait, right? Geoff said, "We're The Legendary Swagger and tonight we're going to do this set," poining at a set list taped to the wall at the back of the stage. It's been there for a long, long time, and that was the first time I recall anyone referring to it. Someone should actually do that sometime, play that set. But last night The Legendary Swagger kicked off the set with "Back In Circulation," a kick-ass start, with a delicious power. That led straight into "One And Done." Now that they were loose, they took things up a notch with that one, delivering a strong rock number that included some nice stuff on that black saxophone. The song came at us with a great force. And that led straight into "Give Me A Reason," not a moment to breathe, the song moving at a fast clip, the band in complete control. It wasn't until after that song that came the first break in the action, as Geoff shouted out to The Glimmer Stars. "Guilty Conscious" was a fun number with a driving beat. It was followed by "Out Of Control," the band seemingly racing through the set list, having achieved a momentum that couldn't be slowed, Dino attacking that bass. "My Evil Ways" followed, and before the line about bringing you to your knees, Geoff said that in his younger days this was the moment when he'd get down on his knees, but since now he wasn't sure if he'd be able to get back up, he'd do it standing up. "My Enemy" was delivered at a fast pace, and was followed by "Stand," which featured some cool stuff on drums. Geoff held up a shirt that he'd grabbed from the merchandise table, a cool shirt designed by Skot. He asked if anyone wanted it, and Gabriel Johns beat the rest of us to it. "Fuck It" followed, the band getting heavier, louder, the song having a great punk energy, and featuring some excellent stuff on guitar and saxophone. A fantastic highlight. "Automatic" also featured a good sax part, as well as some tremendous stuff on bass. The set concluded with "Waiting For My Main," which came on fast and hard, and contained some cool work on guitar. Toward the end, they broke it down, giving folks a moment to breathe, while the bass kept the pulse. And then, bam, back into the fray. The set ended at 9:52 p.m.

Pat Todd & The Rankoutsiders

Pat Todd & The Rankoutsiders also began a little earlier than scheduled. None of that waiting around nonsense for this crowd. Most of the band was drinking water ("It's a mixer," as Edina Monsoon would say). Interestingly, there was a copy of the band's set list taped on the audience side of one of the monitors, so we could follow along. That was actually brilliant, as much of the band's set was material from the new album, material folks probably weren't yet familiar with, so people could glance down to learn the name of a particular song. The band opened the set with the album's lead track, "Desire Has Left Town," which began with a great explosion of sound, like the finale of another band's set, and then proceeded to drop us straight into a certain rock and roll bliss. That song led straight into "Ambition Street," which also follows it on the record. It featured some great stuff on electric guitar. The band was cooking, moving with a fiery joy into "Night Beat," a seriously fun number from the new album. Pat then picked up his tambourine for "Back To The Wind," the first song of the set not from I'll Dream Alone. That was another fun number. There is a great joy to this band's rock and roll, just as it should be, and that song featured a nice lead on electric guitar. There was then the briefest of pauses before the band launched into "It Ain't All My Fault," glorious rock and roll at just the right pace, the kind of thing to keep one's heart beating, to keep people involved in this great experiment. That song is also from the new album, and Pat Todd mentioned the album, "amongst all the other fine wares over there." He introduced the next song as being an homage to Levi Stubbs of the Four Tops. That song, "Beyond The County Line," also from the new album, featured a great steady pounding on the drums.

There was the shortest of pauses and the band went into "You're Gonna Lose It All," which then led straight into "This Counterfeit World." The band was rolling along, seemingly without the ability to halt the celebration. And who would want it to? Folks were clapping along to this one. "You've got to watch out for this counterfeit world," Pat told them afterward. Then it was back to material from the new album, with "We're Outta Time," which Pat dedicated to Mini Mendez in his introduction. "Make your peace with reality while you can," Pat said. The song was a lot of fun, and Mini was singing along from his spot in the audience. That led straight into "The Rope," which featured some excellent stuff on drums. At one point, Pat put his water bottle against Kevin's neck to cool him down. The song contained some playful false endings. "Blood & Gunpowder" followed, a fun number from the new album, delivered with a tremendous energy. The band kept the energy high with a cover of The Rolling Stones' "All Down The Line," some delicious and delirious rock and roll to wrap up the set. But the audience wanted more, and the band was not about to let anyone down. "Let's just get carried away," Pat said, and the band launched into "Somewhere Down The Line," which Pat dedicated to Jessica (of The Williamsons), who was in the audience. It was a fun, excellent rendition, and it led straight into "Why Don't You Marry Me," Mini playfully getting down on one knee in front of the stage at one point. This was a wild, totally enjoyable number, and from there the band went straight into a high-energy cover of "Route 66," a kick-ass rendition to send everyone home feeling completely satisfied.

Maui Sugar Mill Saloon is located at 18389 Ventura Blvd. in Tarzana, California. By the way, the official release date for the new Pat Todd & The Rankoutsiders album is October 2nd, and it will be available on vinyl as well as CD.

Red 32: "Cryogenic Dreams" (2025) CD Review

2026-09-26T16:25:08.774-07:00

The band Red 32 released its first album, a self-titled disc, in 2023. That album included a song titled "A Place To Call Home," in which they sang, "Our world's an oasis/In a vast oblivion/Whose truths are as yet unknown/Someday we'll be one/Of many alien cultures/Looking for a place to call home." And in the band's follow-up, Cryonic Dreams, the guys explore that idea of needing to find another world to call home after rendering this one uninhabitable. It's a subject that has been in the air for quite some time, but for a while felt somewhat comfortably distant, at least until the current group of morons and bastards took power. Now the issue feels pressing. And so the music of this album takes on a sense of urgency. It is music that we should pay attention to. The band is made up of Steve Bonino on bass and vocals, Anthony Romero on keys and spoken word vocals, Erick Confer on guitar, and Robert Schindler on synthesizers, with special guest drummer Jimmy Keegan joining them.

The album's opening track, "Continuum," drops us into an electronic world, a world of our own making, and yet foreign to us. How did this happen? How did we get here? "Why do you think we grew to walk on two legs?/ Why do you think we think therefore we are?/Why do you think we have the right to do whatever we want whenever?/What do we leave our children when we're gone?" The album begins by posing these questions, and so encourages thought, encourages reflection and deliberation. "How do we bear the weight of all the centuries of destruction?/Where do we get the strength to carry on?" And perhaps that question is key. The phrase "carry on" will be revisited later in the album. The world is a mess, and we are at fault. How do we carry on? This track includes a cool instrumental section that features some excellent drumming. This is a song for our times. And if we don't find some answers, this song will be for all times. "Why do we think that we deserve a future?" Then "Outer Limits" feels like a great science fiction opera early on. "In the outer limits of your mind/In a place beyond all space and time/There's a planet we may call our own." Will humanity get a second chance once this world is made uninhabitable? And will we have learned any lessons? My view of humanity has become understandably dim in the last decade, and I bet if we managed to get to another world, we'd fuck that one up too. But who knows? "Neither fake, nor real, but in between." The music is dark, but yet perhaps hopeful. We always retain that hope, don't we? And that's how we carry on.

"Puddle Of Tears" comes on heavy and strong, a song that travels back to us from a point of destruction, a point of despair. A song, a voice from that future. And yet it is a voice of now, for we can feel it in our chests, we can feel it all around us. It feels that only those on the fringe are going to heed the warning. Only the weird ones, those on the edge already. "So let us raise our glasses high/As we drink our puddle of tears/We only have ourselves to blame/That we no longer live here." And, yes, the feeling here is that if we get to another planet, we will be taking along our troubles, our misery, our foolishness. There is a power to this song. And I'm digging the bass line, and those ethereal cries over it. That's followed by "Face Of Sorrow." We have so many images of the end. They abound in films and literature. And so we have them at the ready as the music here begins, calling several to mind during that great insrumental section at the start. The song's first lines are delivered as spoken word, and they provide the album with its title: "Cryogenic dreams/Of children dying/Oh so young." And isn't that the most horrifying image? The death of innocence, the death of our future, the death of hope. This track contains a glorious, wailing guitar. There is more spoken word in the second half. "Knowing what we all know now/Would we have changed their fate?" And there is a haunting call, "Children, children."

"After The Disaster" begins with the line "The worse things got, the worse things got," delivered as spoken word over a desolate, broken landscape. There is a meaningful pause halfway through that line, giving the second part a more final and fatal sense. "Though it could have been prevented" is a line that is haunting because now is the time to prevent it. And we know there isn't a chance in hell that the imbeciles and shitheads in power could be capable of such action, or even want it. People now seem to revel in disaster, in pain, in the coming of their so-called "End Times." "You can hear echoes/Of every ghost." This is a compelling, intriguing track. It is followed by "Before The Rain," which also begins with spoken word. "Before the rain/You know how the world was/It's no mystery that we had our problems/But we always believed that we could handle them/I guess not." That "I guess not" is delivered with a grim humor, which we can relate to. This song looks back to a time before the end. And what is it they look back at? Human contact, passion, love. That's what it's all about, isn't it? It's what we have in common. This song creates a vivid landscape, and takes us on a journey along it. "We had dreams before the rain." It ends with some pretty work on keys.

"Our Resting Place" has us in motion from the start, and that motion itself gives us a certain hope. Doesn't it? We're still here. We're still capable of movement, capable of life, that rhythm tells us. There is a lighter feel to this one. "Our hearts were beating slow enough to carry on." Then there is something hesitant and curious at the beginning of "Hollow Heart," as if testing the waters. Soon the song kicks in, the vocals at the fore. And again, the voice poses questions: "How did you feel when you hurt other people?/How did you sleep knowing you'd let them down?" Questions to those in positions of power, those who could have done something, those who claim climate change is a hoax. "You, you are the reason/There are no seasons/Left for us." And yet this track is strangely beautiful. The band switches gears for the final track, "Finding A New Home," which begins as an energetic rock song. Will humanity prevail after all? Rock music seems to suggest it will, suggests a new beginning, suggests youth. And then suddenly after a minute or so, there is a change, a shift in style, as we hear spoken word delivered by the captain of a ship heading to a new world. "Apprehension mixed with fear and hope/Always hope to carry on." And then the rock vibe resumes. Will we build a better future? The music is encouraging. The music is hopeful.

CD Track List

Continuum
Outer Limits
Puddle Of Tears
Face Of Sorrow
After The Disaster
Before The Rain
Our Resting Place
Hollow Heart
Finding A New Home

Cryogenic Dreams was released on October 17, 2025 on Transglobal Records.

The Laurie Berkner Band: "A Laurie Berkner Halloween" (2024/2026) CD Review

2026-09-21T06:15:00.000-07:00

Things are scary out there, no question. But the best holiday is just around the corner, and The Laurie Berkner Band's A Laurie Berkner Halloween is now available on CD to help get you and your children in the mood. It was previously available digitally. The songs are aimed at children, but most of them can be enjoyed by adults as well. The band is made up of Laurie Berkner on vocals and guitar, Susie Lampert on keyboard and piano, Bob Golden on drums and percussion, and Winston Roye on bass. There are also guests on various tracks, including some children who provide backing vocal work.

The album opens with "Halloween Train," which begins with a train whistle. Laurie sings, "All aboard, choo choo," backed by several children's voices. "Fly like a bat, come in from the rain/Let's get on the Halloween train." And, hey, it's not just bats and children on this train. A couple of black cats, a few spiders, and four ghosts make their way on. But no worries, the ghosts don't take up much space. That's followed by "What Am I Gonna Be (For Halloween)." That's the big question, isn't it? I bet I'm not the only one who puts off making the decision until it's too late to put together anything really spectacular. "Wait, I've got a great idea/I'll wear a suit all made of fur," Laurie sings. That is a great idea. That's what I'll do. This is a fun number. Laurie has children joining her on this one too. And there is a horn section, adding to the enjoyment. David Mann is on saxophone, and Trevor Neumann is on trumpet. Brady Rymer plays bass on these first two tracks.

"I Picked One Pumpkin" has a nice folk song sound. Laurie performs this one solo on guitar, and her vocals have a bright, friendly, and pretty sound. "I picked one pumpkin from the meadow/And the scarecrow waved at me/The crow said caw/And the moon shone bright/I picked one pumpkin from the meadow that night." On each verse she picks more pumpkins (the crow interestingly keeping track), until, you guessed it, there are no more pumpkins. But what you might not guess is that then the song turns into a strange dance number for pumpkins, with hand claps. "All those pumpkins came alive!" That's followed by "Peek-A-Boo Ghost," a totally delightful number. The kids are particularly cute here, giggling and singing. And the band adds some traditionally haunting sounds at certain moments. "It's okay, 'cause I know who/It's a peek-a-boo ghost playing peek-a-boo." The track ends with children's laughter.

"I'm the biggest monster that you've ever seen/My eyes are purple and my teeth are green/I'm big and I'm scary, you know what I mean," Laurie sings at the beginning of "Monster Boogie." And then this monster introduces her own dance, and encourages everyone to join in. Yes, it's another fun number, and it ends with a roar. Then "Which Witch" has a pleasant, kind of sweet vibe. "Which witch was which/I just couldn't tell/Hocus pocus, they must have cast a spell." Brady Rymer plays bass on this track, delivering some good work. This one contains some nice stuff on drums too, and ends with chimes (as it began). That's followed by "Trick Or Treat." The first line is "Today's my favorite holiday," and I'm totally on board. What other holiday even comes close? This is a ridiculously cheerful number about that wonderful tradition. Sometimes I still want to knock on strangers' doors and ask for candy, and not just on Halloween. I always loved that moment just before I was handed the candy, when the possibilities were exciting and seemingly endless.

"Choc-o-lot In My Pock-o-lot" is one of the disc's highlights, in part because of the delicious, jazzy vibe. This one too features a horn section, including Andrew Maroco on trumpet, Joe Ruddick on baritone saxophone, and Kevin Sztam on trombone. This one also features some really nice work on keys. I've left a piece of chocolate in my pocket, and here in Los Angeles that is just not a good idea. It led to me later discovering a little packet of brown water in my pocket. Laurie is clearly having a great time here, this track featuring a playful and fun vocal approach. And the results are excellent. That's followed by the old traditional children's number "The Itsy Bitsy Spider," which Laurie performs solo on acoustic guitar. She adds little comments, such as "Oh no" after the line "And washed the spider out."

It's been ages since I've thought about hayrides, but I remember those being fun when I was a kid, and a different kind of fun when I was like thirteen. Laurie Berkner's "Hayride" song is, of course, about the more innocent hayride, and she is joined by children on vocals. And there are hand claps. "Bump bump bumpity bump." The pace picks up toward the end, and then slows down again. I love that this track ends with people shouting "Hello." That's followed by "Moon Moon Moon," which is all about the vocals. This track features some pretty vocal work. "Moon moon moon, I can see/Moon moon moon, you're taking care of me." Then "The Owls" has a gentle, sweet vibe. This is another song that includes counting as part of its progress. You know: first one owl, then two, then three. "Now all of the owls were resting in bed."

"What Falls In The Fall?" features Adam Bernstein on bass and Joe Ruddick on piano backing Laurie's vocals and guitar work. This song is about the season, about the leaves changing. It's a beautiful folk song, and it contains some really good work on bass. It's one of my personal favorites. "What falls in the fall?/Temperatures fall/Down, down, down, down, down/It's when the summer ends/You've got to hug your friends." That's followed by "Waiting For The Elevator - Halloween." This is a song that Laurie included on an earlier album, but this version features Halloween-related creatures entering at each of the various floors. The cat from the earlier version still is allowed on, which makes some sense, as well as the alligator, which makes less sense. And there is an adorable children's part to this song. Then we are treated to a Dance Remix version of "Monster Boogie." It has a pop sound, and the vocals have a different sound as well. It would be fun to hear this song at a club. I think someone should make that happen. The album then concludes with "Peek-A-Boo Ghost (Reprise)," a short track with just vocals and laughter. Are you ready for Halloween now?

CD Track List

Halloween Train
What Am I Gonna Be (For Halloween)
I Picked One Pumpkin
Peek-A-Boo Ghost
Monster Boogie
Which Witch
Trick Or Treat
Choc-o-lot In My Pock-o-lot
The Itsy Bitsy Spider
Hayride
Moon Moon Moon
The Owls
What Falls In The Fall?
Waiting For The Elevator - Halloween
Monster Boogie (Dance Remix)
Peek-A-Boo Ghost (Reprise)

A Laurie Berkner Halloween was released on CD on August 28, 2026 on Two Tomatoes Records.

Cindy Lawson: "Long Live The Resistance!" (2026) CD Review

2026-09-14T08:25:00.000-07:00

The United States is in the hands of fascists, led by an old, obese child rapist and convicted felon. We are in ugly times, the Republicans having turned completely evil and the Democrats having become a bunch of cowardly and ineffectual losers. And this country's lawless Gestapo, called ICE, is running loose, attacking and murdering people. Perhaps nowhere was their horror felt more than in the city of Minneapolis early this year, when Renee Good and Alex Pretti, both U.S. citizens, were murdered by ICE thugs in two separate incidents. Cindy Lawson is based in Minneapolis, and her powerful new EP, Long Live The Resistance!, is in response to the government's unlawful siege of her city. She is on vocals and guitar, and is joined by Pony Hixon Smith on bass and vocals, Jerry Lefkowitz on guitar and vocals, and Mark Devaraj on drums and vocals.

The disc opens with "The Reckoning," which begins with some guitar work and then quickly kicks in to become a hard-hitting rock song, delivered with plenty of anger and grit, aimed directly at the source: "And now your reckoning is nigh/Karma's a bitch, but so am I." Cindy describes the guy: "You're a tiny little shell of a man without a shred of decency." I suppose these days there are a lot of people that fit that description. And then: "I'd like to see you on your knees/Cry, cry, cry." What a cathartic image that would be. I think we'd all like to see that rapist in the White House on his knees, begging for his life. At the end, Cindy asks, "If you could get away with it, would you do it again?"

"Burn" also comes on strong, with a sense of urgency. Here are the opening lines: "You kill what you don't understand/Does it make you feel like more of a man/We're the daughters of the witches that you couldn't burn/You stupid git, you'll never learn." And then everyone joins Cindy on the line, "Don't believe the lies," each syllable given equal weight. Another line that stands out for me is "You long for a past that never existed." When the morons first started saying "Make America great again" (a slogan stolen from another asshole, Ronald Reagan), I wondered just when they believed America was great. What time period did they want to return to? But I think we have the answer now. They want to return to the time just before the Civil War, which is clear from their Confederate flags and their fear of science and their bigotry. A time when they could own slaves, a time when women had few rights. But they don't really want to return to that time; they want to go to their own romanticized idea of that time. This is a kick-ass, empowering number. Halfway through, there is a spoken word section, where Cindy Lawson quotes a passage from George Orwell's 1984, a novel that now seems like an instruction manual for the Republicans. And then Cindy directly addresses the criminal in the White House: "Rapist, con man, pedophile/You're front page news in the Epstein files/You Nazi scum will die in prison/Because Minnesota fights against fascism." Trump and his entire administration deserve to die in prison, though as long as they die soon, I don't particularly care where they do it.

"Eat The Rich" comes at us at a fast pace, a great punk number. I used to think it was kind of ridiculous to hate rich people, but now the rich are richer than ever before, greedier than ever before, and the gap between the rich and the rest of us is greater than ever before. The ultra-rich are a special class of assholes. Cindy Lawson takes a different approach to this one, singing at times from the perspective of a rich person: "I'm about to land my private plane/The working class is such a drag." I love the punk attitude on the title line. I'm guessing you'll be shouting along too: "Eat the rich, eat the rich, eat the rich." The EP then concludes with "Howard Zinn Died For Your Sins," a powerful number. "I know you're lying/Your lips are moving/I hear you talking/And it's all bullshit/How do you sleep/How do you sleep at night/How do you sleep." This track features some delicious work on bass. This one directly addresses the actions of this country's version of the Gestapo: "We were there/We saw it happen/In our town/You shot her down." I sometimes wonder when people will start hunting down members of ICE. When learning about the Nazis, we used to wonder why more people didn't kill Gestapo agents in Germany. Will the anger that decent folks feel, the anger expressed in this music, result in people taking action against ICE? ICE needs to be completely destroyed, and all its members tried for crimes against humanity, before this country can hope to regain even a small fraction of its former dignity and prestige.

CD Track List

The Reckoning
Burn
Eat The Rich
Howard Zinn Died For Your Sins

Long Live The Resistance! is scheduled to be released on October 2, 2026 on Rum Bar Records.

Fernando Perdomo: "Cloud 9" (2026) CD Review

2026-09-08T10:59:35.677-07:00

For the ninth volume of Fernando Perdomo's Clouds series, he's giving us something a little different. Before you even take the disc out of its case, you'll notice a change, and that's the title. Instead of Clouds 9, as you'd expect the title to be, in keeping with the titles of the previous eight entries in the series, it is Cloud 9. For how could he pass up the chance to call it that? And when you look at the back of the CD case, you'll see that the tracks (or most of them) were recorded live, also a departure from all the earlier volumes. You'll also see that one track has a co-writer, which has not been the case with any of the tracks from the other volumes. Up until now, all the material was written and performed by Fernando Perdomo solo. This one track was not only co-written by another artist, but is performed with him. This is also the first volume to contain fewer than ten tracks. So, quite a few differences.

On August 2nd of this year, Fernando Perdomo performed a special concert at Kulak's Woodshed in North Hollywood, recording the show for release as Cloud 9. At the time, I wondered how much of the show would end up on the CD, because the show was approximately two hours, and a good chunk of it featured guest guitarist Steve Caton joining him. Well, none of the Steve Caton material is included here (perhaps it will end up on a future release). Still, the album contains more than fifty minutes of music. It opens with its title track, immediately taking us to a beautiful place. I love music that is able to transport me in some way, and this track does so straight away. And once we are in this other land, Fernando begins to explore it, to fill it with color. It is welcoming, soothing. And then there is a delightful moment when his guitar dances upon that landscape, like a sprite. After that, the piece begins to build in power, and then lifts us to yet a different realm just before the end. Or before pausing, as the case may be. At the show, this seemed to be the end of the piece, and you can hear applause in that moment. But the next piece is included on this same track, all under the title "Cloud 9," which is interesting. And it is here that we get into stranger places, and are able to experience more details of this landscape. Like we are now closer to the source, and are able to get glimpses of the inner parts and their motion, immersing ourselves in the music, in the experience. As it swells and grows, it feels like it is all around us. The applause is cut from the end of the track, and from most of the rest of the tracks too. So though the album was recorded in front of an audience, we can, for the most part, forget about that while listening. The audience's presence does not intrude on our own personal experience of the music.

There is a hypnotic effect at the beginning of "Transporter," as the music takes hold. The different layers to the music help create that effect. We trust the music will take us safely into whatever territory lies ahead. And perhaps the movement is within us anyway. There is something soothing here, though it is a full sound, and a vibrant sound. In the second half, there is a different intensity, and it is then we feel there are others around us. We are not alone on this journey, even if we at one point felt it was an inward adventure. Streaks of bright sunlight break in. That's followed by "St. Peter's Gate." As it starts, ethereal voices like great fingers reach down, playing upon our reality, pressing against our atmosphere. Then something grows from beneath, from within. There are brief playful touches, like some other creature is nearby making tiny adjustments on our reality. Then we settle into a relaxing, welcoming place, where everything feels right. In the second half, there are little changes, like someone is again fiddling with our reality, an interesting effect. Then a more drastic change occurs, and we are removed from that gentle cradling we felt and brought to a place with sharper edges, before being soothed once again.

"What Is A Cloud" is the track that was co-written by Bradley Bobbs, who joins Fernando on vocals here, delivering the piece as spoken word. This is a great departure from the other tracks on these volumes, not just having someone join him, but containing lyrics. Fernando's playing still has a soothing aspect, but this track is a bit jarring at first because of the vocals and the way they are delivered. It is a sort of science lesson about clouds. There is some humor, and the track contains references to Winnie The Pooh, Superman and The Rocky Horror Picture Show. This is also a track when we become aware of the audience, as laughter is audible at times, and there is applause at the end. Fernando delivers some interesting, kind of trippy stuff on guitar. This track is the longest on the album, at more than twelve minutes. It ends with a reference to Joni Mitchell's "Both Sides Now."

"The Weather Station" begins with messages sent from the cosmos. Or perhaps sent out to them. Soon those messages begin to melt, to change, to warp, to slip out of our realm, though only for a short time. Then we are back where we were, but our grasp on reality is perhaps a bit more tenuous now, for we know that things can change at any moment. And soon they do. Electronic voices, electronic footsteps, like the universe is one great and vast machine, pulses riding its wires from one end to another. And we are small, lost somewhere within its intestines. This track takes us on the album's most interesting journey, and is one of my personal favorites. Then with "God," we are in a brighter place, but with heavier rumblings beneath. Sounds are coming at us from above and below, but there are still places to breathe, to take a look at our surroundings. A thunder rolls about, gathering energy. There is a sense of excitement, as we are taken to those deeper places, places previously hidden from our sight. There is no turning back now, as we push through another barrier and find ourselves in a wilder space, where the air is heavy enough and sharp enough to bruise us if we're not careful. This is another of the album's best tracks.

At the concert, that was the point when Steve Caton joined Fernando Perdomo on stage. The album could have ended there, and certainly no one would have objected. Those first six tracks add up to approximately forty-seven minutes of music, more than enough to qualify as a full-length album. But Fernando does something else unexpected. He adds two more short tracks, listed as bonus tracks on the CD case. These are studio recordings. The first is "Head In The Clouds," soon taking us to a rather pretty place, a place where we have no obligations, where we are free to float, to turn inward or outward as the mood strikes us. Then in the second half, as the track is nearing its conclusion, it seems to collect all its thoughts in a more focused way, pulling us all in. The album concludes with "Keith's Song," which has a different sound and vibe, delivered on acoustic guitar. There is a sweet beauty to this one, and it will likely leave you feeling good. This track is dedicated to the memory of Keith Boundy.

CD Track List

Cloud 9
Transporter
St. Peter's Gate
What Is A Cloud
The Weather Station
God
Head In The Clouds
Keith's Song

Cloud 9 was released on September 1, 2026.

Jeff Colella & Putter Smith: "Between Friends" (2026) CD Review

2026-09-07T12:48:58.128-07:00

In 2014, pianist Jeff Colella and bass player Putter Smith released an album together titled Lotus Blossom, which featured covers of tunes by Billy Strayhorn, Miles Davis and Bill Evans, along with a couple of original compositions. Fans have had to wait more than a decade for the duo's follow-up, but it's here now. Titled Between Friends, this album contains a good mix of covers and original material. Interestingly, for some of the covers, they turn again to the work of Bill Evans and Billy Strayhorn. Both musicians are known for their talent in improvising, and so there is a lively sense to these tracks, for each musician is actively listening to the other, communicating as they go, letting each piece breathe and have a life of its own. So even the well-known numbers might take you to some unexpected places. The album was produced by Jeff Colella, Putter Smith and The American Jazz Institute.

The album opens with one of the original compositions, "For Us," written by Putter Smith. As it begins, it feels like a gentle and warm piece, with a possible romantic bent and atmosphere, with a cool, late-night vibe. And there is that, for sure. But there are surprises, especially in Putter Smith's bass lead. There is a wonderful freedom of movement in that lead. And as they come out of that section, there is a great energy and joy, a sense of fun, and that informs some of Jeff Colella's work in the second half. This track provides an excellent start to the album. It's followed by another original composition by Putter Smith, "Anam Cara, VR," a piece written in memory of his wife ("anam cara" means "soul friend," a wonderful concept). Putter begins this one with a bass solo, which feels right. And there are surprises here too. Am I crazy, or is there a brief nod to "Young At Heart" in that solo? The song takes on a warmer aspect when Jeff comes in on piano, delivering some beautiful work. And we find ourselves walking in someone else's memories, which of course become mixed with our own. It's marvelous how music is able to do that, how it is able to make those memories come alive. Who is that companion that this music conjures for you? If you close your eyes, you might feel that person's touch upon your skin. This is a beautiful track.

The first of the album's covers is "Laurie," written by Bill Evans, this song being the first of two Bill Evans compositions on the album (interestingly, both compositions were included on Bill Evans' 1980 record We Will Meet Again). Jeff Colella begins this one solo, with a gentle touch, and with hints of the great magic we experience in love. The piece takes on more energy at moments after Putter comes in, and these two extraordinary musicians take the piece in some unexpected and delightful places. That's followed by "Voyage," written by pianist Kenny Barron. Jeff Colella and Putter Smith approach this one in an interesting way, as if both are leading together rather than each taking a turn. The results are lively and exciting, and the track breathes and moves. It does feel like it's over a bit too soon. Then Jeff begins "Locomotive," performing solo for just the first moments before Putter joins him, the two handling the theme together. There is something darker to this one early on, as well as something beautiful. There is a strong focus here. I especially love Putter's lead on bass.

The mood then changes with the duo's cover of Billy Strayhorn's "Isfahan." There is a refreshing lightness to their rendition, and a certain joy to the playing, particularly in the bass work. I love their approach. Because of that groove, things seem right with the world. The piece's beauty shines as well, and the track has a wonderful ending. That's followed by "Catastrophe Loops," an original composition by Putter Smith. These days catastrophe loops seem an almost logical rection to the uncertainty of things, when worst-case scenarios play out on a daily basis. Anyway, there is an intensity at times to this track, sometimes heard more in the piano work, sometimes more in the bass work, though it is never overwhelming. This is a fascinating piece, and it reaches a calm place at the end, as if we've emerged from the loop.

"A Prayer For The World" is an original composition by Jeff Colella, his only composition on this album. It is a contemplative number, which then grows in power partway through, as if reflection is not enough, and it now is demanding a response. It then returns to a softer tone. I am still hopeful that things will improve, but too many people don't want them to improve. Just think of all the people that willingly, eagerly, put a rapist and convicted felon back into the White House. There is a sadness heard at the end of this track, as it slows and lets go. Jeff then begins "The Glide," and soon Putter joins him on that initial theme. This track gets more interesting once the two musicians begin exploring areas outside that theme, while still keeping it in mind. Then when we return fully to that theme at the end, it means more to us. This is a wonderful rendition. The album concludes with its second Bill Evans composition, the title track to his We Will Meet Again album. They deliver a touching rendition. It's difficult saying goodbye to someone, especially when we consider the probability that there is nothing after this, that we likely will not meet him or her again. But who knows? And perhaps this song is more about meeting someone again in this life, or at least intending to, before death permanently separates us. We remain hopeful, don't we? There is some beautiful work here.

CD Track List

For Us
Anam Cara, VR
Laurie
Voyage
Locomotive
Isfahan
Catastrophe Loops
A Prayer For The World
The Glide
We Will Meet Again

Between Friends was released on August 21, 2026.

Hootenanny at Maui Sugar Mill Saloon, 9-5-26: Photos

2026-09-06T19:39:39.926-07:00

Feef Mooney

Last night a hootenanny was held at Maui Sugar Mill Saloon, featuring Feef Mooney, Bernie Barlow, Cameron Dye, Fernando Perdomo, Mason McNulty And The Burning Fields, Gabi Lima, Violet Rey, and Ursula Lari. This was Feef Mooney's first time ever playing at Maui Sugar Mill Saloon, and she kicked off the show promptly at eight o' clock, focusing on songs from her new album The Really Real. She played "Evolution," "The Really Real" and "The 25th Hour" from that album. I especially loved her guitar work on "The 25th Hour," with its 1960s flavor. She delivered a seriously good rendition, featuring a delicious bass line from Fernando Perdomo and some great stuff by Nick Vincent on drums. A highlight not just of her set, but of the night. After that song, she mentioned how she was new to the Maui Sugar Mill Saloon experience, but now understands why everyone likes the venue so much. She wrapped up the set with "Cleo September." Actually, she had intended to play at least one more song, but was told her time was up. The audience wanted more. It was a very short set so that the next artist could start promptly at 8:30. Later in the show, that sort of strict time was let go.

Bernie Barlow

Bernie Barlow was up next, her set focusing on songs from Walking Around This Town, which was released last year. She opened with "Brave," which features the line "You make me feel like everything's real/You make me feel alive." She also played "Which Way To Go," "Enough Time" (which she introduced by saying, "This next song is about how we don't have enough time on this Earth," something that has been on my mind a lot lately), "Stay Right There" (which featured some nice harmonies), and wrapped up the set with "Million Miles An Hour," a rocking number.

Cameron Dye

Cameron Dye kicked off his set with "Thick Skin," which had a really nice vibe and featured some good work on harmonica, plus some wonderful stuff by Lyn Bertles on violin. He followed that with "The Lie We Have In Common," a cool number with some good drumming (that was Nick Vincent again on drums), and then "Blown Away," the line "Tell yourself I told you so" making me smile. That song also featured some powerful work on violin. The set also included "Nasty Girl," "Right Outa My Mind" and an excellent rendition of The Rolling Stones' "Child Of The Moon," featuring some great stuff on bass.

Fernando Perdomo

Fernando Perdomo opened his set with a wonderful rendition of "Home," with Kaitlin Wolfberg joining him on violin. What a nice choice of opener. Then Michael Collins and Janet Thompson joined them on drums and bass respectively for the rest of the set. "Photographers In Love" had a false start because of a power issue, but was a good rendition nonetheless. "I'm No Fun" followed, that song having such a sweet and catchy sound. Then, after "Goodbye Sun," Fernando introduced the band and announced that he and Kaitlin are starting a duo project to be called Fernando & The Wolf. Fernando wrapped up the set with "Girl With A Record Collection," which was a lot of fun and featured some great stuff on drums.

Mason McNulty And The Burning Fields

Mason McNulty And The Burning Fields kicked off their set with "Dust," which featured some really nice guitar work. The band's set had a good energy, and included a song that he sings in the movie Billy The Kid: Blood And Legend, as well as a song titled "Sirens."

Gabi Lima

Gabi Lima let the audience know she'd had a sore throat all week, but based on her performance I'm not sure anyone would have suspected that. Backed by Teresa Cowles on bass and Jason Berk on guitar, Gabi kicked off her set with "Sidecar," which was a lot of fun. She followed that with "Boy In Love," a delightful power pop gem. Gabi anounced she's working on a new album, and then played "Loose Cannon," which will be on it. She followed that with a cover of Steely Dan's "Dirty Work," with Teresa and Jason joining her on vocals for the chorus, and then "Sunny," the first song she recorded for the new album. She wrapped up the set with "Tinnitus," another totally fun one.

Violet Ray

Violet Rey opened her set with a traditional folk number, "The Cuckoo," a song she introduced as a Townes Van Zandt song (while Townes did record it, as "Coo Coo," it was written long before he was born). She delivered a really good rendition, and followed it with a strong original song, "Peeping Tom." She also covered The Rolling Stones' "Wild Horses," and played a few more original numbers, including "Transformer," "Asking For" and "Coyote." She mentioned that "Coyote" has two titles, as her mother calls it "Dangled Carrot."

Ursula Lari

Ursula Lari closed out the night. Her set included "En Mis Suenos" (a good original song), and covers of "In The Morning, Rain Or Shine" and "Corazon Espinado." Partway through "Corazon Espinado," Fernando Perdomo joined her on electric guitar, and that song ended up being another highlight of the night, a perfect way to wrap up the show.

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

Oil Capital Underground DVD Review

2026-09-05T16:55:36.756-07:00

Every city has its music and its musicians. Every city has its music scene, some bigger and more robust than others. When one thinks of Tulsa, it is likely the so-called "Tulsa sound" that springs to mind. The documentary film Oil Capital Underground: The Genesis And Evolution Of Punk Rock In Tulsa - Late 70s To Mid 90s begins by listing on screen some of the famous musicians who hail from that city (some being born there, others spending at least part of their childhoods there), people such as Leon Russell, JJ Cale, Elvin Bishop, and Dwight Twilley. The focus of this film, however, is on the city's punk scene, something that many people might not be as knowledgeable about. It documents the punk scene from the late 1970s all the way through the mid-1990s, with interviews with many of the key players. Not just musicians, but those who owned and ran some of the important music venues that catered to the punk scene. It covers a lot of territory, and takes us deep into the scene, the subject handled with affection.

Interestingly, it begins with some thoughts on the reaction to the scene, particularly by the police. "You know, the police in a town like Tulsa, they're not going to let kids have too much fun for too long," says Dale Lawton. The Sex Pistols show in January of 1978 is said to be the start of Tulsa's punk scene, with The Ramones playing there soon afterward. Then the documentary gets into the Tulsa bands, such as The Automatic Fathers, New Mysterians, Los Reactors, Bridge Climbers, Food Chain, and (of course) None Of The Above (known affectionately as N.O.T.A.). It features interviews with musicians such as George Anthony, Jeff Klein, Anthony Lookout, Roger Scott, Bruce Hendrickson, Joe Danger, Sarah Wagner and Tex Montana. Bruce Hendrickson says that "it was kinda us against the world on a daily basis." And I love Sarah Wagner's anecdote about what inspired her to start a band, which was having someone tell her, "A woman's place is in the audience." There is some cool old footage of these bands, and we're treated to bits of several great songs. This documentary has added significantly to my records wish list. Seriously, I must have some recordings of Los Reactors, Bridge Climbers and Food Chain in my record and CD collection.

The history of the punk scene is a history of different venues, and this documentary does a great job of giving those venues their due. Places like The Bleu Grotto, Cain's Ballroom, Crystal Pistol, and Club Nitro. Charlotte Tanner, owner of Crystal Pistol, talks about being asked by the country music fans why she was now booking punk bands, and says, "Well, they've got to play somewhere." And as the documentary moves into the late 1980s and 1990s, the venues change, and we learn of places like Annie's Diner, Vortez, Ikon, and 424 (the story of 424 is crazy). Khaled "K" Rahhal, owner of Club Nitro, is mentioned by many of the musicians, and is interviewed in the film. As you might guess, there are plenty of wild stories. The film gets into some of the later bands, such as Predestined Fate, Asylum, Crimes Against Humanity, Cenotaph, Concept Of Nonsense, Brother Inferior, Baby M, Bunnies Of Doom and Pitbulls On Crack. In general, I found the footage on the earlier groups a bit more interesting, and there seemed to be a bit too much time dedicated to later bands. Still, this documentary is certainly worth checking out. It's great to look back to a time when music was exciting and fresh. And there is a good chance you'll be turned onto some songs you'll want to add to your music collection.

Special Features

The DVD contains some bonus material, including a short reel of outtakes, featuring bits from interviews. There is also a photo gallery, which plays as a video. And there is a commentary track by the director of the film, Bryan Crain, who is a musician himself. He talks about the look of the film, about getting some of the old footage and still photos, and he provides more information about some of the venues. And though his own band The Outcasts is not featured in the film, Bryan Crain points out moments when he was able to put in a bit of his music in the background.

Oil Capital Underground: The Genesis And Evolution Of Punk Rock In Tulsa - Late 70s To Mid 90s was originally released in 2018, and is scheduled to be released on DVD on September 22, 2026 through MVD Visual.

Jennifer Kaiser: "Guided By The Light" (2026) CD Review

2026-09-04T19:18:11.114-07:00

Jennifer Kaiser's new album, Guided By The Light, might come from darkness, from a place where grief and worry seem to hold sway, a place that is familiar to many of us, but the music itself is a way out. It is the music of an irrepressible spirit, one that might help us move beyond our own troubles. The album was recorded in two different sessions, one of which was produced by Andy Kravitz and Fernando Perdomo, both of whom also play many of the instruments on these tracks. Jennifer and Fernando have known each other since their youth, and Fernando produced her earlier albums, 2011's Masquerade and 2017's Closer To Red. The other session was produced by Tommy Radikales and Mane Ariza, and recorded at Taganga Sounds in Colombia, those tracks having a different vibe. There are a couple of tracks that both sets of producers had a hand in recording. The album features mostly original material, written by Jennifer Kaiser.

The album opens with "I Didn't Lose The Light," a song title that sets the perfect tone, a title that expresses a certain resilience in the face of troubles. There is some pretty work on strings at the beginning. That's Kaitlin Wolfberg, who plays violin, viola and cello on this track. "They tried to take it all away from me. I lost a lot in that fight/I lost my mother. I lost my brother. But I didn't lose the light." And then she tells us, "Everything is different/I can't say I know the way, but I know that I am not alone." Another line that stands out is "I will find my way back home." There is always something incredibly appealing about heading home in song. It touches something inside all of us, a longing, a need. That's followed by "Radiator." This one has an interesting opening, Jennifer repeating the word "radiator" over some cool percussion by Andy Kravitz. The vocal approach to this one is different, at times like spoken word, as on the line "The stars were shining overhead." And while in the first song she sang of still having the light, here she sings, "No lights behind, no lights ahead/We were going steady as the dead." There is something fascinating, perhaps even hypnotic about this track, and it contains some really nice stuff on guitar. Both Jennifer Kaiser and Fernando Perdomo play guitar. It ends, as it began, with repetition of the word "radiator."

"How Do You Like Me Now" is a wonderful, strangely uplifting song that offers a hand to any who might need it. "You're a beautiful boy, you're a beautiful girl/You're a one-of-a-kind child/Don't let them break you down." There is a certain beauty in those lines, in their delivery. This one also features some excellent drumming, the beat playing a prominent part. And it contains a great bass line. It is followed by "Everything Changes." This one was written by Jennifer Kaiser, Fernando Perdomo and Andy Kravitz, and the music does feel like something that would be equally at home on a Fernando Perdomo album. There is that touch of magic. This track contains some beautiful vocal work, especially on the chorus: "Everything changes, no matter what I do/Move the pieces forward, but you're still in my rear view/Everyone changes, no matter who they are/In the end we're all just stardust reaching for each other's hearts." Another line that stands out, and might be helpful to many folks these days is: "But I don't worry anymore 'cause it makes no sense to worry when nothing is for sure." This track also features some really nice work on bass, as well as excellent stuff from Kaitlin Wolfberg on strings. This is one of my favorite tracks.

"Waited For You" is more firmly in the pop realm, with a different sound, a different vibe, a different approach. This is one of the tracks that was produced by Tommy Radikales, and it features a different set of musicians backing Jennifer, including Jairo Zuniga on guitar, Beto Urieles on keys, and Mane Ariza on backing vocals. "I waited for you to come out and say/That everything would be okay." "One Sided Dreamer" was also produced by Tommy Radikales. It features some wonderful guitar work by Jairo Zuniga. "If I could ease your pain, then I would ease mine too/It's just a silly game, anyway, win or lose," Jennifer sings at the beginning. And when the song kicks in, it takes on stronger pop elements. Jennifer delivers a pretty vocal performance. "I don't know where I'm going, but I'm still hanging on." And in the second half, there is a nice whistling section. That's Mane Ariza whistling.

The album's only cover is Joan Osborne's "St. Teresa," the lead track from her 1995 album Relish. It was written by Joan Osborne, Eric Bazilian, Rob Hyman and Rick Chertoff. Eric Bazilian and Rob Hyman are members of The Hooters, and they played on the original recording. There is no mandolin on this rendition by Jennifer Kaiser, but there is sitar, giving this recording its own special sound. That's Fernando Perdomo on sitar. He also plays guitar, bass and organ on this track. And here is something interesting: Andy Kravitz, who plays drums on this track, also played drums on the Joan Osborne recording. Jennifer Kaiser delivers a compelling vocal performance. That's followed by "I Am Love," a seriously cool track, with its own special sound and vibe. Fernando Perdomo plays Mellotron on this one (in addition to guitar, bass and keyboard). Kaitlin Wolfberg returns on strings. Plus, there is some good percussion. And then in the second half, Jennifer plays kazoo. An unexpected and interesting use of that instrument. "They tried to break my heart, ya see/And they got nothin'."

"Will I Have A Chance" is one of the tracks that was produced by Tommy, Mane, Fernando and Andy. Most of the musicians are from the Tommy Radikales camp, but Kaitlin Wolfberg joins them on strings, and her work is an important part of the song's appeal. This track also features a beautiful vocal performance from Jennifer, and ends up being another of my favorites. It is followed by "I'm Not Afraid," which was produced by Tommy Radikales. "I'm sick and tired of feeling so alone/I'm sick and tired of fearing the unknown." This one is more firmly in the pop realm. The drums sound fake, which I don't care for. Gabriel Salazar is on guitar for this one. The album then concludes with "Break Of Dawn," the other track to feature the work of all four producers. As with "Will I Have A Chance," the track started at Taganga Sounds and then Kaitlin Wolfberg's string work was added. Actually, this one started long before that, for this is a song that Jennifer Kaiser included on her Masquerade album. This new version has a different sound, a different approach, and features some nice work by Beto Urieles on keys. And in the middle, there is a short, but good guitar lead by Jairo Zuniga, followed by some wonderful stuff from Kaitlin Wolfberg. "Take me to your room, hide me in your arms/Cover me in kisses until the break of dawn." Ah, yes, that's what life is all about. While everything else falls apart, being in that special someone's arms makes all the difference, and helps us face the next day. This music does the same thing.

CD Track List

I Didn't Lose The Light
Radiator
How Do You Like Me Now
Everything Changes
Waited For You
One Sided Dreamer
St. Teresa
I Am Love
Will I Have A Chance
I'm Not Afraid
Break Of Dawn

Guided By The Light was released on August 13, 2026.

Sandy Rogers Band at Cinema Bar, 8-30-26

2026-09-01T22:09:58.367-07:00

After catching Pulsars at Echo Park Rising Sunday afternoon, I got in my car and drove to Culver City to see Sandy Rogers Band at Cinema Bar. Is there anything better than catching two great concerts in one day? Sandy Rogers was scheduled to go on at 7 p.m. I got there just before 5 o' clock, and the music was already in swing, Tom Gramlich's band delighting the crowded room. In fact, all the seats in front of the stage were already taken, but I managed to grab the last chair off to the side and settled in for a wonderful evening of music. Tom's band was cooking.

A table in the front opened up before Sandy Rogers' set, so I grabbed it. During the soundcheck, Paul Marshall sang a bit of Sam Cooke's "Good Times." There was playful vibe even before the show began. And then Sandy Rogers opened with "Tingling Blue," the title track to her latest release, and there was a great joy in the room the moment the band began. It seemed Sandy held onto the first syllable of the word "losing" a bit longer than usual, another example of the sense of play which was so appealing. And the energy was high. Dan Janisch delivered a good guitar lead. And Paul was all smiles, a clear indication that everything was right, and that it was going to be a good set. "Tingling Blue" was followed by "One Of Those Kind," which featured more good work by Dan on guitar. Paul came in on backing vocals on "Oh yeah," again highlighting the special vibe of the show. "How about Sandy Rogers, back from a broken ankle?" Paul said to the crowd after that song. Yes, it was great seeing her on stage again. At least a couple of shows had to be canceled, or postponed, after she broke her ankle.

The band delivered a nice rendition of "Fool For Love," Sandy first mentioning how the song was written for one movie and ended up in another (the move it is in is Reservoir Dogs). Victoria Jacobs gave the song a delicious rhythm, and Paul delivered some particularly excellent work on bass. "I have the best band," Sandy said afterward. One of the outstanding numbers at this show was "Train Fare To Memphis." It was a beautiful rendition with a fantastic vocal performance and a pretty lead on guitar from Dan. Everything was working perfectly, and everyone in the room could feel it. Sandy joked around afterward, saying that Dan should sing "Honey, here's your train fare to Memphis." And so he did. And it was funny. Again, it was that kind of show. I'm just so happy I was there to see it. And the band followed "Train Fare To Memphis" with another highlight, "Lonesome Man." Sandy mentioned in introducing the song that it's her favorite from the new album. And from the reactions of people in the crowd when she introduced it, it was clear she was not alone in favoring that song. The band gave a great rendition, with tremendous passion, particularly in Sandy's vocal delivery.

"In Her Auto-mobile" is a always fun one, in part because of its rhythm, and in part because of the way Sandy delivers the lyrics, holding onto certain words, stretching them. And it didn't hurt that there were some particularly delicious moments on guitar during that song Sunday. That was followed by "Missouri Blue," another highlight. This was an especially cheerful rendition, featuring some great work on bass. This was the kind of set where after each song, I thought, "Wow, that was a great version," one of the best I've heard. The band was giving a little extra something to seemingly every song. "Trailer Up On A Hill," for example, had a playful beginning. And then "Let's Ride" featured a seriously cool vocal performance right from its opening moments. Sandy had someone in the audience retrieve her cowboy for her before starting "Why Wyoming." Did the presence of the hat have any bearing on how good that rendition of "Why Wyoming" was? Maybe. It was a phenomenal rendition, and the crowd reacted strongly to it. Who can say the hat was not responsible in some way? Sandy kept the hat on after that one, following "Why Wyoming" with "You Lied Your Way." Perhaps the hat's magic had run its course, because this was the only song of the set to get a bit messy. But even that didn't detract from the audience's enjoyment of it. Sandy and her band had the crowd on their side. Someone called out, "Broke Ankle Blues," and Dan obliged with a nice blues lick. The band then played "No Antidote" and wrapped up the set with a great rendition of "Run Out Of West," with something of a haunted vibe at the start, and featuring a wonderful vocal performance as well as a really nice lead on guitar. This was a great set.

Set List

Tingling Blue
One Of Those Kind
Fool For Love
Train Fare To Memphis
Lonesome Man
In Her Auto-mobile
Missouri Blue
Trailer Up On A Hill
Let's Ride
Why Wyoming
You Lied Your Way
No Antidote
Run Out Of West

Cinema Bar is located at 3967 Sepulveda Blvd. in Culver City, California. By the way, the crummy photo I included was taken with my cell phone. Please forgive the poor quality. I had my good camera with me, but something about that venue makes photography a losing game.

Ruby James: "Call It Rock & Roll" (2026) CD Review

2026-09-01T04:14:00.000-07:00

I recently read that MTV got rid of the rock category for its Video Music Awards. Now while some of us might be surprised to find that MTV still exists at all (wasn't there some announcement last year that it was ending?), this move does show the lack of respect the music industry has these days for rock and roll. What the hell happened? Why are rock bands largely absent from the Billboard Hot 100 chart? Have kids gone soft in the head? While the decaying remnants of MTV might have no interest in rock, and the charts are filled with rather dull songs, there are artists who are still tapping into the rock and roll spirit, artists that can rock when they wish. And if the world hadn't ceased making sense, these artists would be dominating the charts. Ruby James has titled her new release Call It Rock & Roll, and I see no reason not to follow her wishes. Here she digs into spirit of rock, with its roots in blues and country. The disc contains mostly original material, along with a couple of covers. Joining Ruby James on this disc are Kyle Crusham on guitar, bass, keyboards, and Mellotron; David Jimenez on guitar; Harmoni Kelley on bass; Jan Flemming on keyboards; Jimmy Paxson on drums and percussion; and Darin Murphy on drums and percussion. There are also some special guests, including Eddie Spaghetti and Rosie Flores, on certain tracks.

Ruby James kicks off the disc with "Voodoo Queen," and in the track's opening moments, there is a kind of twisted and delicious laugh, letting us know she is up to no good. And that means nothing but good for music fans. The song has a great energy, particularly in her vocal delivery, and some interesting touches. Perhaps what's most important is that there is a sense of fun here. Remember fun? Ruby James wrote this one with Adam Mackintosh. It's followed by "Gasoline," which begins with a strong, fast pulse. "I'm standing naked at the gates of hell/I'm just as useless as a girl can be/You came to play a game and cast your spell/I've come to crown the king to rescue me." But before you get the wrong idea, she sings, "You never met a girl so hard and mean/You're just as useless as a boy can be." She delivers a great vocal performance, toying at the edges of darkness and danger, just as rock should do. It's a kick-ass number. "Your dirty blood is rushing through my veins/I want to show you what your pain can mean."

"I should have seen it in your eyes," Ruby sings, or taunts, at the beginning of "Novocaine." Something about the way she sings, we can hear a certain amount of attitude in her voice, and of course there is something exciting in such a voice, something sexy. And here she again mentions a spell, and there is a sort of haunted vibe heard here: "What is it going to take to break me from this spell?/I tried to numb the pain, a shot of novocaine." This is a very cool song, written by Ruby James and Kyle Crusham. Then "Honeydripper" has a slow, steady pulse at the beginning, emerging from the haze. It might feel heavy, it might feel dark, but there is also a pop thing to this one. And when the guitars have their say, the song gets into heavier rock, and that's when this one shines. "I'm coming for you, baby, and I'm coming at you hot." There is some nice percussion here. This song was written by Ruby James, Kate Vargas, and Bruce Butkovich. The great Rosie Flores adds some guitar work to this track, and Courtney Santana provides backing vocal work.

The first of the two covers on this disc is Ruby Janes' own special rendition of The Supersuckers' "Pretty Fucked Up," here titled "Punk Rock Love Song (Pretty Fucked Up)." Supersuckers' Edward Daly (known as Eddie Spaghetti) joins her on it, playing bass and acoustic guitar, and providing some lead vocal work. And Supersuckers' Chris Von Streicher is on drums for this one. This rendition sets itself apart immediately, beginning softly on piano. That's Ruby James on piano on this track. In this opening section, there is a crackling sound effect as if we're listening to an old record, an effect I would rather do without. But what's especially striking is Ruby James' vocals. Her performance is soulful, moving. "I probably won't die, but it sure feels that way/I used to be strong, I used to be tough/I used to be pretty, but now I'm just pretty fucked up." So, yeah, we get the story from the girl's perspective. Then Eddie comes in, "Now I know people change, and sometimes that's good/And some people don't, but maybe they should." And the song becomes one of those great rock ballads. It's an interesting, unexpected take on the song. Ah, we're all "pretty fucked up now."

The disc's other cover is "Bumble Bee," a song from the early 1960s, one that has been covered by a lot of artists. Rosie Flores joins Ruby James on lead guitar on this one, delivering some excellent stuff. "You know you hurt me once before/You'll never hurt me anymore." Oh, we have no doubt of that. This is a seriously cool and fun rendition. And, hey, a song with the phrase "an evil bumble bee" can't be taken too seriously, right? And that's what we're missing from a lot of music these days, that sense of fun. Ruby puts her own spin on it, but keeps some classic rock and roll elements here. I love this rendition. It's another of the disc's highlights. Ruby James then wraps things up with an original number titled "Boogiedown Town," which she wrote with James Hall. Phrases like "got a zeppelin in my pocket" put us in in the proper mood. And on the chorus, there is a bit of 1970s flavor. "I got this fire on my heels/And these hips that don't lie/I got a love that keeps 'em thirsty/And a beat that won't die." That steady beat keeps us in line. And Rosie Flores adds some guitar to this track as well, and Courtney Santana again adds some excellent backing vocal work. A delicious conclusion to a really good disc.

CD Track List

Voodoo Queen
Gasoline
Novocaine
Honeydripper
Punk Rock Love Song (Pretty Fucked Up)
Bumble Bee
Boogiedown Town

Call It Rock & Roll was released on August 7, 2026 on Mule Kick Records.

Pulsars Play Echo Park Rising, 8-30-26

2026-08-31T21:20:50.916-07:00

Pulsars

Echo Park Rising is finally back to its two-day format after several years of being just a one-day event. Yesterday, the second day, Pulsars played the festival, delivering a fantastic afternoon set at the Dada stage. It was another brutally hot day in Los Angeles (the word had gone around that the heat wave was breaking, but clearly the sun ignored that memo). At one point during the set, I turned to the guy next to me and said, "My elbows are sweating." It was that kind of heat. And immediately next to the area where the audience stood, someone had a grill going, which, if it did not actually add to the heat, at least seemed to do so. But none of that mattered, because the music was so damn good.

Beatrix

Beatrix (the stage named used by Arielle Kasnetz) opened the show just after 2 o' clock, performing as a duo with Ryan Lerman, both of them on electric guitar. Beatrix opened her set with "Class Reunion," and I was struck by her appealing and compelling vocal performance, drawing us in closer before then raising the energy. "It's hot as fuck right now, so thank you for being here," she said after her first song. Fortunately, there was some shade on the stage. Ryan delivered a nice guitar lead on "Firefly." And then "Somebody Else" featured an especially pretty and touching vocal performance. "By Mistake" contained another beautiful vocal performance. She wrapped up the set with "Dead Dog" and "Crushing."

Right at 3 o' clock, a playful recorded introduction to the show came through the speakers, making it clear this was going to be something different, something fun, getting the audience prepared. The short "Wisconsin" led straight into "Tunnel Song," and it was so great to hear the power in Dave Trumfio's voice, this rendition having tremendous energy. There was also a delicious pulse. This was fun, and some folks figured the heat be damned, and started dancing. It was an excellent start to the set. "Yes, Echo Park Rising," Dave shouted afterward. And then he asked, "Can I have a little more vocal please?" Then the Pulsars gave us "Suffocation," with a great steady pounding on the drums at the beginning. This was a gem from pop heaven, a song that most certainly should have been a hit. Dave again asked for a little more vocal in his monitor, and this time apparently got it. And the duo played "Owed To A Devil," followed by "Worker Robot Droid." "Do you ever smell the flowers that grow? No, you don't." Ah, I bet the same can be said for some humans. Dave playfully introduced the next song: "Yet another song about technology. Called 'Technology.'" A song with a good dance beat, with lots of hi-hat. "Technology will take control/Will take control technology/Technology will never die." As you might guess, the crowd especially responded to that song. "Thanks," Dave said, and then added, "Holy shit, it's hot." He mentioned that they just did a show in San Francisco, and some of the Silicon Valley folks were there and told him to watch out, that technology really is taking over. The advice Dave offered to the audience in Echo Park: make friends with the robots.

"Tales From Tomorrow," that song title, feels like a good description of this band's music. Although I suppose now we're living in tomorrow, which is a bit frightening. "Tales From Tomorrow" was followed by "Silicon Teens" (actually, first by "Machine Talk," which functioned as an introduction to "Silicon Teens"), a totally delightful number. "Clearly I am not a robot," Dave said afterward. The duo then played "Chicago Swingers," with Dave commenting that they were doing some deep cuts. He added that they might all be deep cuts for some of the folks there. I glanced around, and it was hard to tell whether these songs were familiar or unfamiliar to people in the audience. What seemed clear was that either way, the folks were digging what they were hearing. Next up was "Cast Iron Dog," which Dave introduced as "the first song I ever wrote for the Pulsars." "Everybody hydrating?" he asked the crowd after that song. You know it's an especially hot day when the band checks to make sure the audience is drinking enough water. And once it was clear that people were drinking water (or drinking something, anyway), Dave introduced the next song, "This is another song about robots." The song, "My Pet Robot," was another pop gem, another true delight. This whole set was a lot of fun. "Dear" followed, and then both parts of "Lucky Day." I especially loved when the second part began, with that great beat. Pulsars wrapped up the set with "Submission Song," the first lines delivered a cappella. "Put me on your latex bed/I won't breathe or pretend I'm dead." A totally delicious ending to an excellent set. I hope these guys will play more often. If you get a chance to see them, I highly recommend seizing that opportunity. You will not be disappointed.

This stage was located behind Dada, 1606 Sunset Boulevard.

Fernando Perdomo: "Clouds 8" (2026) CD Review

2026-08-30T11:54:08.668-07:00

Fernando Perdomo is continuing his second year-long project, Clouds, with the latest volume, Clouds 8 (though the ninth entry in the series is ready to go, and will be released in two days). And in case you're wondering, yes, this outstanding musician and songwriter is planning another year-long project for 2027, and that one will be a bit different from Waves and Clouds. Clouds 8, as was the case with previous entries in the series, contains all original material composed and performed by Fernando Perdomo. He also produced the album. The album cover photo was taken by Liza Kane, and it has a cheerful and relaxed vibe, which reflects the album's music. Though there is that warning sign near the bottom left corner to keep an eye on the speed.

The album opens with "Desert Dream," the guitar transporting us gently to a realm of beauty, a place of relaxation and perhaps contemplation, where the thoughts come easily, in spurts between breaths. And when we feel completely settled in this place, it seems that memory shifts and we recognize our surroundings, feel they have something to impart to us, perhaps something from our own pasts, something we may have forgotten. But we are also free to simply close our eyes and let the music play over us. Then "Memories Of You" feels like a door to the past, to a past we wish to revisit, even if there are sad elements. Or perhaps that sadness simply comes from knowing that it is the past and not the present. But that's the magic of this music, for the past becomes present. The memories become almost tactile.

"Relaxed" opens upon a soothing landscape, a soft light playing upon the surface. And the places the light touches become our focus. Then the light begins to dance on the flowers, on our skin, soon seizing hold of whatever worries we've brought with us, pulling them from us and letting them disappear in the ether. There is more of an intensity to "The Wicked Wind," to the guitar work. There is a potent energy that cannot be denied, but perhaps needs to be appeased, a message that demands to be heard. That is not to say there is no beauty here, for there is, particularly in the second half of the track. Then the opening section of "Waltz For Mother Earth" is testing the atmosphere, taking short steps forward. And once we are certain of our footing, the music becomes a glorious dance, like the voice of the land welcoming us as part of it, something we don't experience as much these days. There is a bright energy, an excitement, and also still moments to pause, to breathe. The music seems to provide a reminder that life will continue, the world will continue, that it is all much greater than our current concerns.

With "Spirit Of Love" comes a gentle echo from the skies, from all around us, and perhaps coming from us too. How wonderful to feel a part of the universe, to add what we can to this incredible celestial experiment. A joy is heard here, is felt here. A joy that cannot be contained or restrained. We send our own messages outward, trusting that they'll be received and knowing it doesn't matter if they are or aren't. It's the sending that counts. How wonderful it is to be alive, and to be able to share this experience with someone. This is one of my personal favorite tracks. It is followed by "The Core." Now the message has weight, has warmth. Each thought like a short dance in our minds. Then there is an opening, an accepting of something greater being received and being welcomed. This music takes us to some lovely places, and doesn't hold back, but moves forward with certaintly and delight.

There is a more somber vibe to "Intensity In The Cosmos," this piece touching upon a darker place. It becomes forceful, yet also lets go at moments, relaxing its grip. We find ourselves in more unsettling surroundings. Perhaps it's that we realize a lack of control on our part. We are so tiny in this whirlwind of activity, of energy, of intention. This track contains exciting guitar work. It is followed by "Beautiful California." A title like that reminds us of how fortunate we are to live in this place. And the music here does too, opening with a sudden bright force, and then finding bluesy areas at the edges. Even then there is a magic that we witness, that we feel. This really is a wonderful place. The energy begins to pick up, like a fiery joy rushing toward us, or with us up some mountain side. This is another of the disc's highlights.

There is something soothing to "Evening Of Pleasure," like a warm summer breeze as the sun goes down and the possibilities of night begin to open before us. There is an unexpected excitement here too, before we are soothed again. The album then concludes with "Cloudia." Most of the albums in the Waves and Clouds series have had ten tracks, with a few exceptions along the way. With this eleventh track, this album is among that number. The track's title makes me smile, as I take as it as a play on the name Claudia. There is something youthful and feminine here. A young woman at play, perhaps. However, something serious lingers at the edges, the future almost visible. And then it is as if we are present in two times, in the past looking forward and in the future looking back, until it all comes together, Fernando delivering some wonderful guitar work.

CD Track List

Desert Dream
Memories Of You
Relaxed
The Wicked Wind
Waltz For Mother Earth
Spirit Of Love
The Core
Intensity In The Cosmos
Beautiful California
Evening Of Pleasure
Cloudia

Clouds 8 was released on August 1, 2026.

Alan Arena: "Cape Cod Girl" (2026) CD Single Review

2026-08-29T15:08:09.145-07:00

"It's ninety degrees on the Cape Cod beach," Alan Arena sings at the beginning of his new single, "Cape Cod Girl," and I'm hooked at that moment. It's been in the nineties here in Los Angeles for a while now, and that kind of heat makes you want to be at the beach. It also makes you want to slip back to your youth when the heat didn't matter all that much, and the beach meant a certain kind of freedom, and promises of a certain kind of action. I grew up in Massachusetts, and every summer my parents would take my brother and me to Cape Cod for a week. The hope was always meeting a Cape Cod girl, and it usually seemed to happen too. There was that kind of magic then, wasn't there? And girls were everywhere. This song has that kind of vibe, that kind of youthful enthusiasm and energy.

Alan Arena is a blues artist based in Massachusetts. Last year he released Deceived, an album featuring a lot of original material, and followed it with a holiday single, "Gritty Holiday Ditty," a song that mentions Chuck Berry. And on this new single, "Cape Cod Girl," there is a fun rock and roll thing happening, with some delicious stuff on keys and saxophone. The musicians backing him include Brooks Milgate on piano and organ, Gordon Beadle on saxophone, Mike Welch on guitar, Brad Hallen on bass, Marty Richards on drums, and Joe Russo on backing vocals. "When she gets up from her blanket, everybody looks/With just a little smile, everybody's hooked/Ain't nothing gonna matter in this whole wide world/When you fall in love with a Cape Cod girl." And of course the girl doesn't care about all the attention she attracts. She just wants to enjoy the beach, the day. That sounds about right, eh? This track also features some really nice guitar work. The song feels like summer, like all the best things about summer. It's good that folks are still writing numbers like this. "She wants to live today like it's all she's got."

CD Track List

Cape Cod Girl

Cape Cod Girl was released on June 12, 2026. Alan Arena is working on his next full-length release, which is due out in early 2027.

Dave Rudolf: "Roll With The Punches" (2026) CD Review

2026-08-28T18:40:51.827-07:00

Dave Rudolf has done it again, chosen an album title that speaks directly to what we're experiencing in these frustrating and ugly times, to what we must do to get through them. Roll With The Punches. There is something positive in that title, for it suggests we are able to deal with the seemingly endless series of difficulties and troubles coming our way. Of course, it is music that helps us roll with these punches, isn't it? This album follows last October's We'll Find Our Own Way, and it features most of the same musicians who played on that album, including Felton Offard on guitar, Jack Whittle on guitar, Gary Victorine on pedal steel, Thomas Linsk on keyboards and organ, Jim Widlowski on drums, Wally Hustin on bass, and Michael Hesiak on saxophone, with Marsha Lynne Smith on backing vocals. Dave Rudolf plays acoustic guitar and electric guitar, and wrote all the songs. Once again, he proves himself completely at home in several different musical styles and realms.

Roll With The Punches opens with its title track. With that delicious work on keys and saxophone in the song's opening moments, we are immediately thrust into some great rock and roll territory. And like any good rock and roll, there is a blues base here, heard in the song's first line "I lost my job because the business was slow." Soon he lets us know the job was causing him distress, and he sings, "So I packed up my things and said Adios/And jumped in the car and headed to the coast/You gotta roll with the punches." Leaving the blues behind. He makes it sound like a celebration. And shouldn't life be a celebration? After all, what are the odds that we'd be here at all? There is a wonderful lead on keys in the middle. This track also contains some good stuff on guitar. "I was always aware that life wasn't fair," Dave sings. Indeed. If there was a sense of fairness to this existence, Dolly Parton would still be alive, and that rapist occupying the White House would be rotting in a hole. "I live by the motto 'Buyer beware.'" Then Dave Rudolf takes us into more soulful territory with "Lend A Hand." This one too features some good work on keys, and also a heartfelt vocal performance right from its first lines, "There are those who are hungry/Far too many in need." The song is a positive and hopeful number about doing what we can. It contains some really good backing vocal work too, giving the song a gospel-like bent, and a good bass line. The guitar leads the way to a better world at the end.

Some really nice work on guitar helps to create an appealing rhythm at the beginning of "Unrequited." Check out these lyrics: "Lost in her visions of stories she's read/No one can live up to the hero in her head/Her impossible standards, the perfection she seeks/Have doomed her to failure, and her future is bleak." Then Dave Rudolf goes into reggae territory with "The King In His Castle," another track with a strong bass line. This one also features some delicious percussion. "For the king in his castle, in his marble hall/Is a small, little man who believes he is tall/Thinks he is smart, but he's a court fool." And with phrases like "throne of gold" and "they tell him he's strong," it's clear just who is the subject of this song. I especially love the drumming on this track. "I've been traveling down this lonesome road/Searching for someone," Dave sings at the beginning of "She's Somewhere," a pretty number. "I still have hope I will find that place/Where my love she waits patiently there." I was pretty far into my life before I finally met my love. This song is for all those who are still looking, still waiting, still hoping. It urges people to not be discouraged, to not quit looking. There is a really good vibe to this song. May each of us find that special someone.

A while ago, someone told me that whenever I'm in need of a laugh, all I had to do was conduct an online search for "Florida Man" and any randomly chosen date, and I'd be sure to read a ridiculous story. I've done it several times, and it has never failed. Dave Rudolf's song "Florida Man" seems to come from such stories, such headlines. "It might be their genes, might be the gin/It might be the heat that does those boys in," Dave sings. Maybe, but something is terribly wrong with that state and the people there. Nothing wrong with this song, however. It's a fun song, with a cool groove. "Bless his heart, he's doing the best he can." Ah, we all know what people really mean by "bless his heart." "Only in Florida logic don't stand/We build our castles out of rusty beer cans/We got bugs and hurricanes and swampy lowlands/It's a crazy stew that makes a Florida man." That's followed by "Forever Is Not Long Enough," a song that sounds like a romantic island vacation, with a nice bossa nova vibe, and features some excellent work on guitar. "The tide keeps time with love that grows/The world slows down just for a while."

Dave Rudolf gets funky with "Infectious," a fun number with a certain 1970s thing happening, along with a 1980s dance element. "Feeling the bass," he sings at one point, and, yes, the bass is present in our chests. The saxophone also plays a prominent part in this song's appeal. "We're left with no choice, we have to move our feet." Indeed. Ed Tossing plays keys on this one. That's followed by "You Make Things Better," Dave Rudolf changing gears again and moving more into country territory. Here are the first lines: "When the road gets rough, and the nights are long/And I'm weary of the trials and the things that go wrong/You lift me up with a simple smile/And my joy comes back to make it all seem worthwhile." Yes, exactly. That's all it takes, a smile from my girlfriend. This sweet country number contains some wonderful work on pedal steel, and it features a passionate vocal performance. This is one of my personal favorites. "You make things better for me/In these troubled times, when the world gets you down/We all need a helping hand."

"No One Should Feel This Way" is an older song, one that Dave recorded earlier and is revisiting here. This track has a heavier, more serious tone than many of the tracks. "When I wake up, it's hard to leave the bed," Dave sings here. I think many folks find it difficult to get out of bed these days. The bed holds more appeal than the world outside. "Where's the promise about American dream/If you work hard, you'll have wealth and esteem/That ship has sailed." Yes, that seems to be the case. We still hold onto hope, but working hard is not enough anymore. It just isn't. It's enough to squeak by, but not to thrive, not to get ahead. "It's not that I haven't tried, I work until my hands bleed/But down here in the deep, deep mud, we're all drowning in man's greed." Then "Simpler Times" has a pretty sound, in part thanks to the work on pedal steel. "Take me back to a simpler time," Dave sings. There is certainly something appealing in that idea. In this song, it is about returning to an earlier time in a relationship before their lives became complicated, but the line that especially stands out to me is this: "Before our dreams ran away and hid."

"The Devil Drives That Soul" is a cool song, with a dark thread running through it, with great lines like "The choir sings of mercy, but they choke on their refrain" and "And the saints are selling secrets while the rich have no regrets." Yeah, the song is of this time. And it contains a strong vocal performance. The song's rhythm helps us through, encourages us to dance into oblivion. "This world was born in chaos, and it runs on hidden fears." And there is no help coming from above. The track contains some good stuff on bass and on guitar, and is another of the disc's highlights. It's followed by "Not What I Had Planned," which has a much gentler approach. Here is a taste of the lyrics: "Sometimes the things that you have lost/Turn out to have too high a cost/And it takes a while to understand/It's better than you had planned." I do not believe that things happen for a reason, but sometimes things turn out better when they don't go the way you'd hoped or planned. "It might not be the world that you had hoped/But you must learn the best way to cope." The album concludes with "The Long Road To Your Heart," a song with a soulful sound, featuring nice touches on saxophone. There is an appealing 1960s vibe. I love that the final song contains the phrase "where the journey starts."

CD Track List

Roll With The Punches
Lend A Hand
Unrequited
The King In His Castle
She's Somewhere
Florida Man
Forever Is Not Long Enough
Infectious
You Make Things Better
No One Should Feel This Way
Simpler Times
The Devil Drives That Soul
Not What I Had Planned
The Long Road To Your Heart

Roll With The Punches was released on March 25, 2026.

Deep Valley Roots Music Series Continues At Maui Sugar Mill Saloon, 8-26-26

2026-08-27T20:45:43.952-07:00

While most of us are busy trying to come to terms with a world without Dolly Parton, a world without Tim Curry, great music continues. Last night at the Maui Sugar Mill Saloon, Karman Jeanne hosted her Deep Valley Roots music series, the night including performances by Buddy Greenbloom & Friends, Zachary Ross, Karman Jeanne And The Fish, Ted Russell Kamp, and RJ Chesney. Quite a lineup, right? And, yes, there were a couple of tributes to Dolly Parton over the course of the night.

Buddy Greenbloom & Friends

The night started with a set by Buddy Greenbloom & Friends, who opened with "Rodeo Grounds," delivering some wonderful old-time sounds. There was an especially nice lead on fiddle by Andrew Frankel. That was followed by "Whiskey And Tears" and then a cover of Merle Haggard's "Mama Tried," Buddy Greenbloom giving us a good rendition. Andrew Frankel provided another wonderful fiddle lead on "(Better Off) I Remember Those Times." "I remember when the world was mine/I could play in the street and not get a fine." Afterward, Buddy told the crowd, "That was my first single I recorded," adding that it was recorded here in Los Angeles. And he mentioned his vinyl release. His record release party is tonight, at Desert 5 Spot in Hollywood. His set also included "Wild Woman Of The West," a cover of Faron Young's "Alone With You" and "Gothic Cowboy."

Zachary Ross

Zachary Ross was up next, performing solo. This was a treat. I'd seen him play with Ted Russell Kamp, with Amilia K. Spicer, with others (and of course you know him as a member of Rose's Pawn Shop), but never solo, playing his own material. "It's been a long time since I've been playing my own stuff," he mentioned at the start of his set. He introduced the first song as a "story that takes place in the middle of nowhere, Kansas." Interestingly, there was a subtle shift from the first song's introduction into the body of the song, as that first number was delivered as spoken word. He followed that with a murder ballad, which he described as really being about missing his wife when she's on tour. "But I disguised it as a murder ballad," he said. The whole set was excellent, captivating, but for me the highlight was the song about a friend who had died. It was a compelling song, one that was also about regrets. Even the song's introduction was heartbreaking. At the end of it, he mentioned that he'd never performed the song in public before. That was followed by a breakup song, the first of two, in which he sang, "Why don't you let me let you down easy." The second breakup song was from the woman's perspective, and it featured some great guitar work. That was followed by "Kiss Your Blues Away," a cool song with a strong vocal performance, and featuring some more good stuff on guitar. Ted Russell Kamp joined him on bass for the final song of the set, a cover of "Rainy Night In Georgia," Zachary again delivering excellent work on guitar.

Karman Jeanne And The Fish

Karman Jeanne And The Fish took the stage just after 9:30 p.m., joined by Ally Corbett on fiddle. This was the first time Ally had performed with the duo, but no one would have guessed that had Karman not revealed it, for she sounded right at home with them. They opened with "Free Rocks For Sale," which featured some nice work on fiddle and some especially good vocals. That was followed by a beautiful rendition of "Strange Time," the violin sounding perfect, and Karman playing a couple of percussion instruments. A highlight of the set. Ally then left the stage, and the duo performed "Tell Me Tomorrow," the song featuring some nice harmonies. The line "Only gravity could make us stay" grabs me every time. For anyone outside of Los Angeles, we've been experiencing a heat wave for more than a month. It's not really a wave at this point, though that word is still being used by certain people. In introducing "Come October," Karman asked the crowd who else was looking forward to the cooler weather, when folks can wear sweaters. It seems like a dream at this point. After "Come October," Ted Russell Kamp joined the duo for the rest of the set, starting with "Talking About You" and then a fun rendition of The Everly Brothers' "Gone, Gone, Gone," on which he delivered some nice stuff on bass. Ally Corbett rejoined the group on violin for "Empty Bed," a song featuring a particularly good vocal performance. "I never said I was an angel/And I meant the words I said." This was another of the set's highlights. Ally left the stage again, and the duo wrapped up the set with "What If I Said" and a wonderful rendition of "Take."

Ted Russell Kamp

"We lost one of the greats," Ted Russell Kamp said as he began his set. I was surprised we had gone that far into the night before someone mentioned Dolly Parton. He kicked off the set with a passionate rendition of her "Old Flames Can't Hold A Candle To You." Her light is going to be missed, no question about it, but it felt good hearing a song of hers. Ted played it solo on acoustic guitar. He followed that with a delicious rendition of his own "Hobo Nickel," and then "This Old Guitar," that one featuring an especially strong vocal performance. He then switched from guitar to bass for "Hangin' On Blues," a song from his 2024 album California Son. And when he sang "Trying to make sense of it all," he spoke for all of us. Is there any sense to be made of the world today? Well, that delicious work on bass made plenty of sense to us. He then dedicated "Only A Broken Heart" to "all of my musical friends here." That one too was performed solo on bass. Zachary Ross joined him on acoustic guitar for "Right Down To The Wire," and everything was feeling just right. He stayed for the rest of the set, and Ally Corbett joined Ted also for a really nice rendition of "Path Of Least Resistance." Zachary delivered a good lead on guitar, which was followed by some sweet work on violin. Ted sang just a bit of "Islands In The Stream," which was a big hit for Dolly Parton and Kenny Rogers in 1983, before he delivered a cool rendition of "Eye On The Horizon." He wrapped up the set with "The Good Part," a fun number. For this one, not only did Zachary Ross and Ally Corbett join him, but also Karman Jeanne on backing vocals. "The best is yet to come," Ted sang, and we felt some of that optimism. There was some magic there, to be sure, and the song became a delicious jam.

RJ Chesney

RJ Chesney closed out the night, joined on his set by Zachary Ross on acoustic guitar and Ted Russell Kamp on bass. His short set focused on music from his upcoming release, A Southern Man, and specifically on songs he wrote with Zachary Ross. He kicked the set off with the album's lead track, "Unforgiving Heart," Zachary delivering a nice lead on guitar. After that song, RJ Chesney mentioned the new album coming out in September, and gave us a really good rendition of "Afraid Of The Ball." In introducing "My Heart Is My Home," RJ Chesney mentioned it was based on a poem written before he became a singer/songwriter. And what a beautiful rendition! It was a highlight of the night. That was followed by an excellent rendition of the album's title track, "A Southern Man." Ally Corbett joined him on violin partway through, adding to the song's great appeal. And she stayed for the final song of the set, the final song of the night, Dolly Parton's "Coat Of Many Colors." RJ said that it was the type of song that made him want to become a songwriter. It was a perfect way to wrap up a great night of music. The show ended just after midnight.

Maui Sugar Mill Saloon is located at 18389 Ventura Blvd. in Tarzana, California. The Deep Valley Roots music series is held there on the fourth Wednesday of every month.