Phil Alvin: “County Fair 2000” (1994/2024) CD Review

Phil Alvin has created a pretty damn impressive and wonderful body of work, both with The Blasters and on his solo projects, and some of it has been getting another look in recent years. For example, in November, The Blasters’ Over There: Live At The Venue, London – The Complete Concert was released, it being a much longer version of the 1982 EP Over There (Live At The Venue, London). And 2023 saw the release of Mandatory: The Best Of The Blasters, a compilation that focuses on the band’s four studios releases from the 1980s. A re-issue of Phil Alvin’s Un “Sung Stories” was also released that year. Originally released in 1986, that first solo album included some work by both Sun Ra & The Arkestra and The Dirty Dozen Brass Band. And this past September, Phil Alvin’s 1994 album County Fair 2000, was re-issued. Though a solo album, it features a few tracks recorded with The Blasters, which is to say the lineup of The Blasters that was current at the time, including James Intveld on lead guitar. And like his first solo album, County Fair 2000 also features work by The Dirty Dozen Brass Band. The music is excellent, and dips into several different musical realms. This re-issue contains new liner notes by Chris Morris, who also contributed notes to The Blasters’ Mandatory.

The album opens with one of the tracks featuring The Blasters, “County Fair.” This song is a total delight, a playful, innocent and fun song. “And if you get scared on the roller coaster/Hold my hand and move a little closer/Do some huggin’ and lovin’ at the county fair.” Phil Alvin is on vocals, James Intveld is on lead guitar, John Bazz is on bass, and Jerry Angels is on drums. I hope this song takes you back the way it does for me. Memories worth revisiting, for sure. Plus, it features some really good work by James Intveld on guitar. The song was written by J.E. Mainer, and adapted by Phil Alvin. Then “Wreck Your V-8 Ford” begins with a bit of spoken word by Phil Alvin and Billy Boy Arnold, which is actually included at the end of the first track. They talk about a car and a girl, and that spoken word section ends with Billy Boy telling Phil he’s going to have to wreck his car. The song itself is a fun blues number, in which Billy Boy sings of the different ways he’s going to wreck his car, and throughout the track, there are the sounds of different damage occurring to the car. Phil responds: “Billy Boy, surely you’ve gone crazy/Your eyes all red, and your face all a-scowl/You are out in the street, wrecking the wrong car/You should be at home, talking with your gal.” This song is fun, which should be no surprise coming from Phil Alvin. There is some really nice work on harmonica.

“The Blue Line” is another song by The Blasters, this one featuring James Intveld on vocals with Phil. It’s a song about taking the subway. Early on, we hear these lines: “There’s no need to feel low-down/Just because you ride this train/That woman’s a banker, he’s a lawyer, over there a millionaire/And they’re riding it just the same.” Well, in Boston, that is true. Everyone takes the T, those with money and those without. But in Los Angeles, I have not found that to be the case. I guess there is more of a stigma attached to it in Los Angeles. But this song finds a lot of fun in the riding, particularly in lines like these: “Not everybody ridin’ is trying to make some special date/Look at the old folks up front playing dominoes and gin/They don’t care where they’re going, probably where they’ve been/They don’t make a point much, they’re just talking with their friends/They want to ride that Blue Line/They don’t care if they get somewhere on time.” Yeah, Phil Alvin makes riding the train sound like a good time. And, you know, if this music were playing on the train, it would be a good time. There is some playful spoken word at the end. Then Phil Alvin delivers a seriously good rendition of Clifford Gibson’s classic country blues number “Don’t Put That Thing On Me,” here titled “That Thing.” This is a solo track, just vocals and guitar, which feels just exactly how it should be. “You can’t eat when you get hungry, friend/And you can’t sleep at night.”

Phil Alvin takes us, and the blues, down to New Orleans with “Turnin’ Blues Into Gold,” a seriously delightful track that features the Dirty Dozen Brass Band backing Phil Alvin and James Intveld.  This track includes some playful banter between Phil and James. Everything about this one is wonderful, everything about this is pure gold. Alchemy works in song, baby! “Well, sometimes it seems the lyrics might get in the way/And start confusing what the music’s got to say.” Of course, those lines themselves are lyrics. I completely love the horns on this track. That’s followed by a really nice rendition of “Starlight,” a traditional number that goes by several titles, including “I Know Moonlight, I Know Starlight,” “I Know Moonrise” and “Lay This Body Down.” Phil Alvin picks up the pace partway through, and he moves into another section, with a line that is also included in “Mary Had A Baby,” “People keep coming, but the train has gone.” He then slows it down again as he goes back into “Starlight.” That’s followed by “Keep In Touch,” another song performed by The Blasters, this time with Jerome Bowman joining the group on guitar and backing vocals. Jerome Bowman also wrote this song. “I love you with all of my heart, heart, heart/And so I got to let you know/I need you, I need you so bad, bad, bad/And so I’m gonna let you know/See, I got to keep in touch with you, baby.” There is a good deal of joy to this song, in its delivery, in its rhythm. It’s one to get you smiling. I also love that work on organ.

One of the album’s most delightful surprises is the cover of “What’s The Reason I’m Not Pleasin’ You,” a song originally recorded by Jimmy Grier And His Orchestra. Here Phil Alvin is joined by Mary Franklin and The Faultline Syncopators, giving the song the proper old-time feel, and yet making it fresh. This is absolutely wonderful, and Phil has a great time with this song, particularly on vocals. “I say, You are my queen/You say, I’m not so keen/Ah baby, what’s the reason I’m not pleasin’ you/When I kiss you, you get mad/When I don’t, then you get sad/Oh baby, tell me what’s the reason I’m not pleasin’ you.” And Mary Franklin joins him, adding another delightful layer. “Phil Alvin, you’re not pleasing anybody,” she tells him. “You’re no Romeo, you’re a bozo.” They toss in a bit of “Yes Sir, That’s My Baby,” riffing on it. That’s followed by “She Loves So Good.” “I’ve got a gal, she’s a little bit naughty,” Phil sings at the beginning of this one. I especially love the way he delivers the word “naughty.” This is a totally enjoyable blues number. The woman he describes sounds great, and so does this song. A large part of the joy of these numbers is hearing the joy in Phil’s delivery. That song is in turn followed by another enjoyable number, “Callin’ Corrine,” written by Frankie Jaxon. “Ah, Corrine, you’re the meanest girl I’ve ever seen.”

Another of the album’s surprises is “The Terror,” with The Faultline Syncopators, taking us to another time. This lively rendition is just completely wonderful. “The Terror” is an instrumental piece composed by Cliff Jackson, and recorded by Cliff Jackson And His Crazy Kats (sometimes listed as Krazy Kats). And these guys have a fun time with it here. Phil Alvin then goes back to the blues with “Oh, Doctor.” There is some great stuff on guitar on this easygoing number, as well as some nice work on harmonica.  “Oh doctor, you’ve got to help me heal this pain inside/’Cause my baby, well, she left me, but I don’t know the reason why/And I love that girl/Yeah, I need that girl.” Jimmy Koncek, known as Top Jimmy, joins Phil on vocals on “Mr. Satellite Man,” delivering a ridiculously cool performance. This song is oddly in the same ballpark as Meri Wilson’s “Telephone Man,” at least in some ways. “I’m the satellite man/My hookup puts a smile on your face.” How could anyone not love this? In addition, Mary Franklin comes in on vocals, singing about how her cable man isn’t satisfying her. There is some delightful work on piano, and James Intveld delivers some wonderful stuff on mandolin. This track is another of the disc’s highlights, another to get you smiling. Jimmy Koncek died in 2001.

“Low Down Rhythm” begins with a bit of dialogue with Phil Alvin, Eddie Baytos and Fayard Nicholas, this dialogue being included at the end of the previous track. This track features the Faultline Sycnopators, and everything is snappy and joyous and right. This track even includes some tap dancing, along with plenty of play and cheer. It was written by Sammy Fain. Fayard Nicholas died in 2006. The Dirty Dozen Brass Band joins Phil Alvin again on “Danny Boy’s Mourning Sunset: Old Rugged Cross,” an unusual track that takes us to some place down south where folks are hanging out, where music and conversation are part of the air, part of the atmosphere, part of life and part of death, as we take that slow walk toward our own demise. The Dirty Dozen Brass Band performs on the album’s final track as well, “Ankh” into “Didn’t He Ramble.” As this track begins, we get the feeling this is a different way of looking at the same subjects, with life and death close to each other. As “Didn’t He Ramble” takes over with a great burst of joy, it’s now a New Orleans street party, and again one associated with death. And when it’s over, it’s not quite over.

CD Track List

1. County Fair
2. Wreck Your V-8 Ford
3. The Blue Line
4. That Thing
5. Turnin’ Blues Into Gold
6. Starlight
7. Keep In Touch
8. What’s The Reason I’m Not Pleasin’ You
9. She Loves So Good
10. Callin’ Corrine
11. The Terror
12. Oh, Doctor
13. Mr. Satellite Man
14. Low Down Rhythm
15. Danny Boy’s Mourning Sunset: Old Rugged Cross
16. Ankh/Didn’t He Ramble

This special re-issue of County Fair 2000 was released on September 20, 2024, and is available on CD and vinyl.

Massy Ferguson: “You Can’t Tell Me I’m Not What I Used To Be” (2025) CD Review

Massy Ferguson is a band based in Seattle, known for mixing country and rock elements to create a good raw sound, something that would be at home at the best music bars you can think of. The band’s new album is titled You Can’t Tell Me I’m Not What I Used To Be, an interesting title, for in some ways the band isn’t quite what it used to be. That it is to say, this new album finds them exploring somewhat different territory. So these guys are what they used to be, certainly, but are also more. Nothing has been lost, but some new ground has been gained. This album features all original music, written by the band. The band is made up of Ethan Anderson on vocals and bass, Adam Monda on guitar and vocals, Fred Slater on piano and keyboards, and Dave Goedde on drums and percussion. Joining them on certain tracks of this album are Micah Hulscher on piano and keyboards, Craig Curran on bass and electric guitar, Damien Jurado on percussion (Jurado also produced the album), Zan Fiskum on vocals, Alex Johnston on tubular bells and vibraphone, and Bradley Hawkins on cello.

The album kicks off with “Early In The Morning,” and here the band finds itself more in the folk realm. I am hooked from its opening moments, with that steady beat and that great vocal performance, one that is part ache, part comfort. The first time I listen to any album, certain lines will stand out, almost apart from what I’m hearing, and with this song, these lines jumped out at me: “Gotta realize there is no truth/I’m just lost/I said I’m lost.” Approximately halfway through, it builds in power, overtaking that folk sound, even as those opening lines are repeated, creating a compelling effect. That’s followed by “Headlights & Highbeams” This one a different sound at the beginning, verging on gospel, with that work on keys and the hand claps. The sound soon expands from there. “So drive/Just drive/Just drive all night/All night with me.” Ah yes, there is something so appealing about that. There is always something appealing about getting on the road in song, I suppose, but these days we think of escape, of separating ourselves from so much that is going on, as a way of maintaining our sanity. And the car often functions as a means of escape in song. “Because there’s so much left for you in this life.” This track also features some nice guitar work.

“When You’re Not Around” has more of a country rock energy, and is a fun number. This one is probably more in line with what you know and expect of this band. The guitar has that great country rock thing happening, and there are also some 1960s elements, heard in the keyboard work, and there is a bit of a Byrds thing at moments in some of the guitar work. Then “Seaside Town” begins with the sound of rain and a storm, something I can always do without, and the vocals are softer, more in the distance in those opening moments. Then we are treated to some good folk guitar work, as the rain fades out, and the song truly begins. The track then quickly develops a delicious vibe with a good energy, feeling like a celebration of sorts. “Going down, going to that seaside town/You can lock me up, I’ll still go to that seaside town/Where I’ll place my bets/Where I can settle my debts/Where the jukebox is old/Where Coke is sold/Where I got some new friends/But the hell with them/They’ll never know.” This is a song to raise your spirits, for it seems to come from a place of raised spirits. It ends as it began, with softer vocals and the sound of rain. “I will come to you now.”

Check out these lines from “So Long, Carry On”: “I’ve got a razor in my pocket/To cut out everything I heal.” From what I understand, this was the first song written for this album, this is the one that got the band moving in this direction. It’s also the first to be released as a single. And all that makes total sense to me, for this is a fantastic song, one of my personal favorites. It features a passionate vocal performance, and here the band is joined by Zan Fiskum, who delivers some wonderful vocal work. “I am barely just holding on, holding on.” At times that is all we can do; at times, that is enough. “So Long, Carry On” is followed by “I’m Almost There.” There is a power within, and we can feel it building under the surface, under the skin. “And I’m almost there/I can feel it/And I’m almost there/Wasted, but I’m almost there.” Strangely positive lines, right? And check out these lines: “Running from the past, and I thought I could escape/With some souls who were stuck in the landscape.” This is another of the disc’s highlights.

As “You Were So High” begins, bright shards of light slide into our reality, an unusual effect and sound, the song like memories punctuated by blades of fire. The song looks back at an older sister who “had all the killer drugs.” “Next to you, I was just ordinary/I always knew we were beneath you/You know you were so high.” I appreciate the playful use of the word “beneath” in those lines, which has a couple of meanings there. And then the song becomes strangely soothing with the layers of vocals on the line “You know you were so high,” especially on the word “high.” That’s followed by “Lights Get Low,” this one having more of a pop feel at its start. In fact, those opening moments remind me a bit of Rick Springfield’s “Jessie’s Girl.” The track builds from there, that keyboard work giving it an even stronger pop sound, with a bit of a Cars flavor. Yet this song has a rock energy, particularly to the vocal work. Then the drum beat at the beginning of “Shrunken Head” makes me think of Joan Jett’s “Do You Wanna Touch Me” for a moment. As the song develops, there is a gentler aspect to it, with some 1960s elements and influences heard in its sound. This song provides the album with its title in the lines, “You can’t tell me I ain’t what I used to be/You can’t tell me what is right for me.” This track really worked its way inside me, and ended up being another of my favorites.

“Lovely Lad” opens with some pretty work on piano, along with some gorgeous work on cello, an instrument I always love hearing. “Won’t you play your favorite songs on your favorite tapes?” I suppose that is something we’ll never hear anyone say again, but it takes me back into my own memories. This is yet another of the disc’s highlights. “And though we fell off, we got up again.” And then the music itself seems to gather more power, to help us up, before then relaxing again. There is something so beautiful about this track. I know this is one that is going to stick with me. The album ends with “Angels In Heaven,” which features a strong, raw vocal performance. And the way the song creeps in, you feel like anything might happen. There is a cool vibe that hints at the possibility of danger just around the corner. And as he sings of shedding his skin, we think of him as part human, part reptile, with some sort of mesmerizing powers, kind of like Jim Morrison. “I’ll be reborn/And I won’t feel no more shame/There ain’t nothing for me here.” There is a moment when it feels like the track is ending, but a pulse on bass continues. It then soon fades out, but we get the impression that it continues in the distance.

CD Track List

1. Early In The Morning
2. Headlights & Highbeams
3. When You’re Not Around
4. Seaside Town
5. So Long, Carry On
6. I’m Almost There
7. You Were So High
8. Lights Get Low
9. Shrunken Head
10. Lovely Lad
11. Angels In Heaven

You Can’t Tell Me I’m Not What I Used To Be is scheduled to be released on CD on February 4, 2025, though apparently a vinyl edition was released late last year.

The Big Ol’ Nasty Getdown: “Mellow/Dream EP” (2022) Vinyl Review

The Big Ol’ Nasty Getdown is a great funky band that delivers some delicious jams and also has different vocalists join them on certain tracks. Two vocalists who joined the group on the band’s second full-length record, Volume 2, which was released in 2018, were Kendra Foster and Taylor Dayne – Kendra Foster on “Mantra,” and Taylor Dayne on “Dream.” Both of those talented singers are also featured on the band’s 2022 EP, Mellow/Dream EP, which is available on vinyl.  Here the band revisits “Dream,” this time with three different versions of the song, along with another song, “Mellow,” that one featuring Kendra Foster. And there are two versions of that song included on the EP. The music is excellent, and this EP is presented on white vinyl (yeah, I have a weakness for different colors when it comes to my vinyl collection). And actually, there is something I failed to mention in my previous reviews of releases by this band, and that’s the album cover artwork. Each of the records I’ve reviewed has had some pretty damn cool artwork, which is something you might expect from a band that thrives in a jam environment. I love an album cover that you just want to lose yourself in while listening to the music, an album cover that adds to the overall experience, and that has largely been the case with each of this band’s records. But this one in particular stands out, and is probably my favorite of the bunch. The artwork is done by James Flames, and it is beautiful. The back cover is just as cool as the front, with the artwork there inspired by the lyrics to “Dream.”

Side A

The first side of the EP is dedicated to “Mellow,” a song written by Kendra Foster, Ryan Martinie, John Heintz and Frank Mapstone. The first version presented here features Kendra Foster’s vocals. Her approach is at first kind of smooth. “Believe in my vibe/I’m worth it, honey/I know how to get some/Alleviate all my pressure from me/I know how to get some.” And she is able to build from there. I love when this one gets a bit wild, a bit heavier, as she repeats, “I just want to take you everywhere.” The song then returns to that cool groove, and features some nice stuff on keys. That’s Jamar Woods on keys. This track also features Josh Blake on guitar, Ryan Martinie on bass, Alvin Ford Jr. on drums, Cynthia Robinson on trumpet, and Jerry Martini on saxophone. You probably know Cynthia Robinson and Jerry Martini from their work in Sly And The Family Stone. This EP is dedicated to Cynthia Robinson, who died in 2015. It is believed that this is the final track she recorded, and she delivers a wonderful lead in the middle of it. The music gets heavier again as Kendra Foster repeats “Smokin’,” and I am particularly fond of this section of the track. I also love that lead on keys that follows that section. And if that isn’t enough to make this track worth listening to, there is also an excellent lead on saxophone. And if that isn’t enough for you, there is some fun scat toward the end, some great vocal play over some fantastic work on drums. Forget the song’s title at this point, for this part is certainly not mellow.

The first side of the EP also contains an instrumental version of “Mellow,” and here we can focus even more on the drum work toward the end. As much as I love Kendra Foster’s vocal work, the last section of the song is perhaps even better in this instrumental version. Certainly it’s more powerful, and takes us on a wilder journey. As for the earlier parts of the track, it is all about the groove.

Side B

The second side of the EP is “Dream.”  The first version included here is that with the Taylor Dayne vocals. I mentioned this in my review of Volume 2, but I was not all that familiar with Taylor Dayne’s work. I revisited a couple of those hits from the late 1980s, but those songs don’t really do much for me. But if this track is any indication of the direction she’s gone in since then, I need to give a listen to some of her more recent output, because she delivers one hell of a great performance here. “But the hardest part of waking up is knowing you’re not real/And the saddest thing of staying up is knowing you’re a dream, you’re just a dream.” By the way, the inside jacket contains the lyrics, and I’m noticing now whoever wrote them put “your a dream” instead of “you’re a dream.” Whoops! The musicians backing her on this track are Tori Ruffin on guitar, Ryan Martinie on bass, Ivan Neville on organ, and Jeffrey Suttles on drums. I am particularly fond of that lead on organ in the second half. “Dream” was written by Taylor Dayne, Tori Ruffin, Ryan Martinie, John Heintz and Frank Mapstone.

The second track is the instrumental version of “Dream.” With this version, I tend to focus on that great work on keys, but at moments I do find myself missing the vocals. This track also gives us a better opportunity to dig the song’s bass line. The final track on this record is “Dream (Original Recording),” a title that I found interesting, since I had just assumed that the Taylor Dayne version was the original version. There is a different intro to this version, and an added psychedelic element, which I love. This version is a couple of minutes longer than the other two, and features some really nice work on guitar. The guitar gets a chance to stretch out, with opportunity for some exploration here. It’s more of a jam than the previous track.

Record Track List

Side A

1. Mellow
2. Mellow (Instrumental)

Side B

1. Dream
2. Dream (Instrumental)
3. Dream (Original Recording)

Mellow/Dream EP was released on November 22, 2022.

The Big Ol’ Nasty Getdown: “Volume 2” (2018) Vinyl Review

The Big Ol’ Nasty Getdown, a great funky group made up of talented musicians you likely know from other bands, released its first full-length album, titled Volume 1, in 2012.  In 2018 came Volume 2, an album featuring many of the same players, such as John Paul Miller on guitar, Frank Mapstone on keys, Greg Hollowell on saxophone, Derrick Johnson on trombone, Alvin Ford Jr. on drums, Laura Reed on vocals, and Kenra Foster on vocals, along with a lot of new folks. This record contains all original material, featuring delicious jams and strong vocal work. The album was produced by John Heintz and Frank Mapstone. By the way, the packaging includes a gatefold, something that always takes me back to my childhood, which I appreciate.

Side A

The first track, “Rock It,” establishes a cool rhythm, nothing too fast or wild at the start, but rather eases in. It features Todd Thomas (known as Speech, a member of Arrested Development) on vocals. “I come to rock this party a special way/Everybody move your body without delay/‘Cause this big ol’ nasty crew ain’t here to play.” Oh, but these guys are here to play, to play some great tunes. There is a delicious and playful attitude, heard in lines like “And if you ain’t having fun, there’s nothing wrong with me, there’s something wrong with you.” This one has a mix of funk and pop elements, a light, playful number to lure folks out onto the dance floor of your party. “I won’t be happy ‘til I see you sweat,” Todd Thomas sings. He soon adds, “I know how funky this place can get.” Oh yes, that sounds like a challenge, and I think we’re all up to it, ready to strive toward that level. This track features some great stuff from the horns, and a lead on keys that comes from the outer reaches of the 1970s. Larry Dunn (of Earth, Wind & Fire), Mary Allen and Frank Mapstone are all on keys. The brass section is made up of Greg Thomas on alto saxophone, Greg Hollowell on tenor saxophone, Debrissa McKinney on tenor saxophone, Ben Hovey on trumpet, Fred Wesley on trombone, and Derrick Johnson on trombone. Tori Ruffin (from Morris Day And The Time) is on lead guitar.

“Love Somebody” comes on with a heavier force as it starts, demanding our attention. It then opens up when Laura Reed comes in on vocals. “Take a chance and give your life meaning/We may not be willing, but we are able.” She delivers a seriously cool and alluring vocal performance, sometimes smooth, sometimes powerful. It’s those powerful, forceful moments that I love most (reminding me a bit of The Peak Show). This track also features a really good lead on alto saxophone. That’s Karl Denson of Karl Denson’s Tiny Universe. Yeah, this track features a stellar lineup of musicians, including Michael Ray on trumpet, Clifford Adams on trombone, Derrick Johnson on trombone, John Paul Miller on lead guitar, Josh Blake on rhythm guitar, Ryan Martinie on bass, Jamar Woods on keys, and Alvin Ford Jr. on drums. Alvin Ford Jr. delivers some great stuff on drums, particularly at the end, helping to make this one of the record’s highlights. “All that we know is we’re here, then we go/Be sure to love somebody.” That about sums it up, doesn’t it?

Things really start to move and groove with “Groovy Nasty.” This one should get everyone else onto the floor, anyone who’d managed to hang back up to this point. I am digging that work on bass by Ryan Martinie. And RonKat Spearman (of P-Funk) is on vocals. What more could you want? How about some delicious stuff on keys too? This track certainly has that. And during that keyboard lead, we learn this party has not just a dance floor, but dance walls as well. Really, with this music playing, any surface becomes a place for dancing, with gravity working only when you really want it to. Let go of inhibitions and all outdated notions of reality. The starlight can become a dance partner. That is Jamar Woods on keys, by the way. This one was written by RonKat Spearman, John Heintz, Frank Mapstone and Ryan Martinie. The first side then ends with “Mantra,” this one sliding in, with some good work on bass. That’s Norwood Fisher, from Fishbone, on bass. This track features some really nice work by Kendra Foster on vocals. The repeated line “Breathe it out and let it flow” becomes the mantra. That works for me. There is also a rap section by Todd Thomas, also known as Speech. Foster and Thomas also had a hand in writing this one, along with Tori Ruffin, Jeffrey Suttles, John Heintz, Frank Mapstone and John Paul Miller.

Side B

The second side opens with “B4U Loved Me,” which has another good dance groove. And, yes, the title is a little annoying, but that doesn’t matter when the music is playing. Reverend Desmond D’Angelo’s smooth vocals are dripping with cool.  “If you don’t care about us no more, that’s something you should share.” And then he begins to put some power behind his delivery, and the horns respond in kind. “You loved me more before you knew me.” Such a good performance. I also love when the guitar comes on strong, a lead that commands our attention. It’s great that the guitar is given the space, the time to stretch out here, leading the group in a mighty jam. John Paul Miller is on lead guitar. Then Taylor Dayne joins the band on vocals on “Dream.” I am not all that familiar with her work, apart from a song or two in the late 1980s, but she delivers a fantastic performance here. And she wrote the lyrics. “If you don’t mean to be so cruel to me/Then let me love you/Be a flower to your honey bee.” This track also features some good stuff on keys. Ivan Neville is on organ, and Frank Mapstone is on electric piano. And I’m digging that drumming. Jeffrey Suttles, a member of Taylor Dayne’s band, plays drums on this track (and on a few other tracks).

With “Past Present Future,” the funk takes over completely, a heavy force that can’t be denied. Interestingly, this track also features the magic of the vibraphone, creating an interesting combination of sounds, of sensations, that ends up being great fun. That’s Mike Dillon on vibraphone. This instrumental track also features some great work by Leo Nocentelli on guitar. These guys do not hold back here, and the results are bloody great. Fred Wesley delivers some wonderful stuff on trombone. The record then concludes with “Creatures Of Habit,” which bursts in, the vocals part of that initial force. Angelo Moore, who co-wrote this song, is on lead vocals. “You’re pushing a dump truck up a hill with the brakes on/You should be turning it off, but you’re just turning it on.” And a whole lot of folks provide the backing vocals, so many voices that we feel we should also add our own and become part of the crowd. “We’re all creatures, creatures of habit/Don’t you like this freaky style/Come on, get it together/Come up to the front/Come up from the back/Funk, funk, funk.” And this song mentions Mr. Magoo, as if it needed another reason for us to love it. This track is so much fun, and that guitar work is outstanding. Vernon Reid (of Living Colour) joins the group on guitar for this one. The band is unstoppable here.

Record Track List

Side A

1. Rock It
2. Love Somebody
3. Groovy Nasty
4. Mantra

Side B

1. B4U Loved Me
2. Dream
3. Past Present Future
4. Creatures Of Habit

Volume 2 was released on November 27, 2018.