RJ Bloke (Jay Souza) Bids Adieu To Los Angeles With Four Concerts

at Tom Bergin's, 6-18-23

Jay Souza, who these days has been performing under the name RJ Bloke, is leaving Los Angeles in a month or so, and has four concerts scheduled before his departure. Though not originally from Los Angeles, he has a voice that has become closely associated with the southern California sound, and he plays an important role in the music community of this great city, having organized numerous concerts, including his Bigtop Bandstand music series, held at Tom Bergin's and then at Frogtown Brewery. When I first saw Patrolled By Radar in concert, the band was still known as 50 Cent Haircut. This was quite some time ago, but I remember being immediately drawn to the music and to Jay Souza's voice. Since that time, the band has released some phenomenal albums, including Be Happy and Cool Your Jets. And in 2023 Jay Souza, under the name RJ Bloke, released Hold Drugs Dear, an excellent solo album that included some songs he'd been performing with Patrolled By Radar along with some new material that seemed to point to even greater things ahead. Now it seems those greater things will take place in Portland, Oregon, not Los Angeles.

But before he goes, he'll be playing four last concerts. I'm sorry that I'm going to miss the first two, but I aim to catch the other two. If you live in the L.A. area and have not yet seen RJ Bloke in concert, here are four chances. I highly recommend checking out this important voice in music while you have the opportunity. Here are the four shows:

• September 26th at Cinema Bar in Culver City, 9 p.m.
• October 11th at Frogtown Brewery in Los Angeles, 6 p.m. (yes, this is part of the Bigtop Bandstand series)
• October 16th at Audio Graph Beer Company in Los Angeles, 8 p.m. (part of the Big City Campfire music series)
• October 29th at Big Foot West in Culver City, 8 p.m.

I'm really sad that Jay Souza is leaving Los Angeles, and I wish him the best in his new home in Portland. The music scene in Portland is about to get a whole lot better.

The Baseball Project and The Minus 5 at Crystal Ballroom, 9-23-25 Concert Review

The Baseball Project (photo by Tim Doherty)

The Baseball Project and The Minus 5 are currently touring together, a fantastic double bill, which they are describing as a doubleheader. This makes perfect sense, for in addition to being a wonderfully playful reference to a baseball term, the lineup of both bands for this tour is the same. While both bands normally share a few musicians, this time around all five members of The Baseball Project are The Minus 5 too. The bands brought this incredible doubleheader action to the Boston area last night, while the Red Sox are fighting for a playoff spot. That playoff spot looks like the second or third wild card. Having more than one wild card is absurd - can you imagine a professional poker game with three wild cards? - but for folks in Boston, it's important for the team to have a chance, however ridiculous the way in may be. And so there was that great September baseball energy in the city. What better atmosphere for The Baseball Project to play in?

photo by Tim Doherty

Leading off the night was The Minus 5, a band celebrating the release of its phenomenal new album, Oar On, Penelope!, and now including, on the album if not on the tour, Debbi Peterson (whom you know from The Bangles) as a member. For those who aren't familiar with the band, it was started by Scott McCaughey (of The Young Fresh Fellows and also known for his work with R.E.M.), along with Peter Buck (of R.E.M.), both of whom are also members of The Baseball Project. And though the players last night were the same as in The Baseball Project, there was a different batting order for this set, with Peter Buck on bass, positioned stage left, while Mike Mills was on keyboard, stage right. At 8:09 p.m., Scott led the band onto the stage, sporting a Minus 5 "Oar On" T-shirt. "We're going to sing eleven songs not about baseball," he told the crowd, promising a good rock set and saying that after that it would be all baseball for the rest of the night. The Minus 5 then got right into it with "Words & Birds," the lead track from the new album, and followed it with another song from Oar On, "The Garden Of Arden." "Here's an old song," Scott said, and the band launched into "You Don't Mean It" from the album Let The War Against Music Begin. That was followed by an excellent and energetic rendition of "Falling Like Jets," another song from the new album.

photo by Tim Doherty

Josh Kantor had been spotted in the crowd before the show, and he now joined the band on stage, playing accordion. He's been playing with some fantastic artists. Last fall, he did a short tour with Jon Langford and Sally Timms of The Mekons. Of course, Boston baseball fans know him as the organist at Fenway Park. And we love him for his work in Jim's Big Ego, Jim Infantino's band. And though he lives in Boston, he grew up in Athens, Georgia (you know, the place where R.E.M. came from), and has been connected with The Baseball Project for a while. The first song he joined them on was a cover of Buffalo Springfield's "Out Of My Mind," a good choice for these strange days. That was followed by "I Don't Want To Hate Anyone," a particularly good track from the new album, with Peter leading the band into it on bass, and Steve Wynn delivering some excellent stuff on guitar. Josh then left the stage, and Casey Neill joined the band on guitar and backing vocals for the rest of the set.

photo by Tim Doherty

From the band's 2006 self-titled album, they played "Twilight Distillery." mentioning that this was the first time they'd played the song on this tour. The song featured some really strong vocal work, and at the end, Scott gleefully exclaimed, "Sweet!" Indeed! It was certainly one of the set's highlights, and it was followed by another highlight, "Let The Rope Hold, Cassie Lee," a song from the new album. While introducing the song, Scott mentioned how the new album features a pretty girl on the front cover and a pretty dog on the back cover. "Don't get them confused," Mike joked. This was an incredibly fun rendition, with Steve at the edge of the stage rocking the guitar, and Scott jumping around. They followed that with a cover of "She Cracked" by The Modern Lovers, a band that is of course held in particularly high regard in Boston. The band delivered a really good take on that song. That was followed by "In The Ground," a song that was included on the Dungeon Golds disc. They then wrapped up the set with a great rendition of Neil Young's "Hitchhiker," a song that The Minus 5 recorded for Calling Cortez. It was a great rock and roll set, just as Scott had promised at the beginning. The set ended at 8:49 p.m.

photo by Tim Doherty

At 9:12 p.m., the band was back on stage, now as The Baseball Project, with Peter Buck on guitar, stage right, and Mike Mills on bass, stage left. Scott no longer had on his Minus 5 shirt, and was now sporting a striped shirt. There was no introduction, the band immediately ripping into the first number, "1976." the lead track from the band's Volume 2: High And Inside. For those who might not yet be aware of this band, it is made up of serious baseball fans, and all of the material they perform and record is related to baseball. All of it. And it's fantastic. For example, that first song "1976" is about a player named Mark Fidrych, who was a rookie in 1976, the lyrics likening him to Peter Frampton, whose Frampton Comes Alive album came out that year. This song featured Steve Wynn on lead vocals, and Peter Buck on twelve-string guitar. That player, by the way, was born in Massachusetts, so a good choice to lead off this Boston show. Mike then asked the lighting technician to kill the white lights on the stage. Any other color is fine, he said. Two seconds later the stage had more blue on it. From a song about Mark "The Bird" Fidrych, they went to a song about Hank Aaron, "They Don't Know Henry," with Scott McCaughey on lead vocals, and Steve and Mike sharing a vocal microphone for the backing vocals.

photo by Tim Doherty

Peter switched to a six-string guitar for the title track to the band's most recent album, Grand Salami Time, Scott on lead vocals for this one too. It's a fun song with a great energy, just what you'd expect for its subject. That was the first of several songs the band played from the latest album, following it with "Uncle Charlie," a song about the curve ball. Steve Wynn, who sings lead on this one, joked about how there have been many great songs written about the curve ball, such as "Bridge Over Troubled Curve Balls." Steve then introduced "The Yips" as "a song all about fucking up." It's one of my favorites from the album, and they followed it with another of that disc's standout tracks, "Stuff." Mike introduced it by talking about going to spring training and learning that seventy-five to eighty percent of pitchers put stuff on the ball. I love the darker vibe of this song. Some people in the audience cheered after the line about Vaseline. 

photo by Tim Doherty

"Here's a song about a guy you might know," Steve said, introducing "Ted Fucking Williams." My brother and I had been in the front row at the beginning of the set, but the sound wasn't great there. It was mostly guitar, with the vocals suffering by comparison. So we had moved a bit farther back after the first four songs, and I ended up behind a guy wearing a Ted Williams jersey. I figured he'd go nuts for that song, but I guess he was a bit more reserved than we were. Still, the audience was singing along. How could you refrain from singing, or shouting, along to this one, especially in Massachusetts? This song was a whole hell of a lot of fun. And speaking of Boston baseball, Josh Kantor then joined the band on accordion for the next couple of songs, first updating the crowd on the scores of the Red Sox and Yankees games. Fittingly, the next song was "Box Scores," with Scott on lead vocals, and Peter back on the twelve-string. Josh got a chance to lead for a moment. I just love that they have a song dedicated to box scores, something we'd study as kids, taking as much information as we could and imagining the games from the night before based on that information. After that song, Steve called Josh the "Cal Ripken of organists," since Josh hadn't missed a game. That song was followed by "Twilight Of My Career," which has its own Boston connection, being about Roger Clemens, though focusing on his career after leaving the Red Sox. Josh then left the stage, and right about then Peter told his band mates, "It's twelve-string from here on out." There was some issue with his other guitar.

photo by Tim Doherty

The band then returned to material from Grand Salami Time, delivering a great rendition of "New Oh In Town," a song about Shohei Ohtani and one that is a lot of fun to sing along with, and following it with "Journeyman," a song written by Steve Wynn and Peter Buck. It's kind of a sad song, with lines like "Always keep my bags packed/Never get too close to anyone," but I was dancing to it anyway. It was that kind of night, when the energy and the joy kept our bodies moving, kept us smiling. This band creates a fun atmosphere, especially when delivering songs like "From Nails To Thumbtacks" and "Disco Demolition." The first of those two is about Lenny Dykstra, who had been on the Mets in the 1986 World Series, a series that haunted Boston until 2004. It's a great rock and roll number, even including a section of vocals and drums. I've always had a weakness for such things. Linda Pitmon's drumming is so damn good ("Yo, Pitmon!"), and then during "Disco Demolition," she was also blowing the whistle. That song is about a specific game and a promotional gimmick that went all sorts of wrong. That game, the first of what was scheduled to be a doubleheader on July 12, 1979, and everything that resulted, can be viewed online, and I recommend checking it out. Peter was back on the six-string for this song, but soon went back to the twelve-string.

Each baseball fan has at least one player that he or she fervently believes should be in the Baseball Hall of Fame. For Mike Mills, that player is Dale Murphy, and that's what the song "To The Veterans Committee" is about. Have the people on the committee not heard this song yet? Come on, guys! The song has convinced me he deserves a spot in the Hall of Fame. Steve then told the Boston crowd that he thought it was time to sing about a Yankee. That was, predictably and understandably, met with some jeers from the crowd, but all in good fun. The song, "Monument Park," is about Bernie Williams. Even for those of us who hate the Yankees, it's pretty difficult to hate Bernie Williams. Same goes for a guy like Scott Brosius. They don't deserve any hatred. Save that for pricks like Jorge Posada and Alex Rodriguez. Linda then counted off "Past Time," a song that featured a great scream from Scott. They wrapped up the set with "¡Hola America!" which featured some excellent stuff from Linda on drums.

Moments later the band was back on stage for the encore. "Thank you, Boston," Mike said to the crowd. He then said they saw the new Spinal Tap movie, and found it disturbing, joking how weird it is for people to get old and still play in bands. They started the encore with "Ichiro Goes To The Moon," a wonderful song from Volume 2: High And Inside. Steve Wynn then mentioned that The Dream Syndicate will be coming to town in December. (And I learned they'll be in Los Angeles in November, so I need to get a ticket for that one.) Josh Kantor joined the band for "Harvey Haddix," which was perhaps the most fun song of the entire night. Josh exited the stage, and Scott announced: "This is our last song. I hope you like it. It's a great one." That song, "The All Or Nothings," is a great hard-rocking number from Grand Salami Time, a delicious way to wrap things up. The show ended at 10:36 p.m., but the night was not quite over, for the band soon came out to chat with folks and sign records and CDs and whatever else people might have bought or brought.

The Minus 5 Set List

1. Words & Birds
2. The Garden Of Arden
3. You Don't Mean It
4. Falling Like Jets
5. Out Of My Mind
6. I Don't Want To Hate Anyone
7. Twilight Distillery
8. Let The Rope Hold, Cassie Lee
9. She Cracked
10. In The Ground
11. Hitchhiker

The Baseball Project Set List

1. 1976
2. They Don't Know Henry
3. Grand Salami Time
4. Uncle Charlie
5. The Yips
6. Stuff
7. Ted Fucking Williams
8. Box Scores
9. Twilight Of My Career
10. New Oh In Town
    
11. Journeyman
12. From Nails To Thumbtacks
13. Disco Demolition
14. To The Veterans Committee
15. Monument Park
16. Past Time
17. ¡Hola America!

Encore

1. Ichiro Goes To The Moon
2. Harvey Haddix
3. The All Or Nothings

Crystal Ballroom is located at 55 Davis Square in Somerville, Massachusetts (attached to the Somerville Theatre).

The Kerry Kearney Band: "The Kerry Kearney Band" (2025) CD Review

Kerry Kearney is a celebrated guitar player and songwriter working in the blues realm. He's received several awards for his playing over the years, and now has a new album out. It's a self-titled release by The Kerry Kearney Band, and it features a mix of covers and original material. The band is made up of Kerry Kearney on electric guitar, slide guitar, acoustic guitar, mandolin and vocals; Jack Licitra on keyboards; Gerry Sorrentino on bass; Mario Staiano on drums; and Nydia "Liberty" Mata on congas and percussion. They are joined on this album by Mark Mancini on keyboards, Bill Lifford on harmonica, Camryn Quinlan on vocals, and Jeff Naimoli on percussion.

The album opens with a good blues cover, "All Your Love," the Otis Rush song. Right away it contains some strong guitar work to set the mood. This track also features a good vocal performance. "Before I met you, baby/Didn't know what I was missing." Oh yes, I think that's the way it is for a lot of us. Until we meet that one special person, we thought love was a certain thing. And that was fine, until we found out what it could be. In the middle of this track, there is a great lead on guitar. And then toward the end, suddenly there is a cool lead on harmonica. Kerry Kearney follows that with an original number, "Harder To Breathe," which also features some excellent guitar work right at the beginning. There is also some nice stuff on keys beneath that soaring guitar. Camryn Quinlan takes lead vocal duties on this one. She also co-wrote the song, with Kerry Kearney and Jack Licitra. "Minute by minute, hour by hour/Your love is slipping away from me," she sings, and grabs us immediately. That first line has power behind it, and the second has a more intimate, softer sound. She grabs us, then makes us totally feel for her, all in the span of two lines. "They say love can make you crazy/But I've already lost my mind," she sings, and the guitar responds, perhaps trying to help. And then check out that cool lead on keys. This track is certainly one of the album's highlights. And in the second half, the guitar is let loose. Wonderful.

"Walk Right Out The Door" is another original composition. This one announces itself as a fun tune, a bluesy boogie to get you moving, with some heavier moments too. "I've got new numbers/I've got a new face/I've got a new everything/I've been making space/Since I walked right out the door." This track also contains some good, mean harmonica work. "Everything is right/Since I walked right out the door." The door I want to walk out is the political one. I want to leave all that behind, never look back, never hear another political speech, never see another politician. That's followed by a cover of Warren Zevon's "Rub Me Raw," a song from the 2003 album The Wind. "Well, I know these blues are going to rub me raw/Every single cure seems to be against the law." These guys deliver a seriously good rendition, and are clearly having a good time with it. There is, of course, some inherent humor to this song, and you can hear it in the vocal delivery here at certain moments. Plus, this track features some great stuff on guitar.

"Voodoo Ways" is an original number written by Kerry Kearney and Jack Licitra, and it's another fun one. "A drumbeat and rhythm that feels so right/An owl calling out from a nearby tree/There's something in these swamps, it's an energy." Oh yes, there is some kind of great energy to this music too, along with that rhythm that feels so right. That guitar is eager to get us going, casting its own wild spell on us. This is a song that urges us to drop our troubles, and join the party out in the wild, which of course has great appeal. And speaking of good rhythms, "Bobbique Romp" opens with a delicious beat. It isn't long before the other instruments join in, and then things begin to feel like a party, all right. The harmonica confirms it.  And that lead on keys is absolutely delightful. Everything seems to tell us that life can be great, so long as it has a good rhythm going. This is an instrumentl track, apart from a few calls of "Yeah" in the second half.

Last year, Uncovering Dylan Volume 4 was released, that album containing a good rendition of "Meet Me In The Morning" by Kerry Kearney & The Kings Of Psychedelta. On this album, he delivers that song too. This track features some really cool work on both keys and guitar. Then we're more in folk territory with "West Of The Ashley," an original tune. There is a wonderfully cheerful vibe to this instrumental number. Part of that is due to the presence of mandolin. This ends up being another of my personal favorites. "Off To The Jubilee," as its title suggests, is another fun track. Here is a taste of the lyrics: "Put on that lipstick now, baby/Yeah, we're going to the jubilee/There'll be rambling and gambling/We won't be home 'til two or three." There is a great thumping rhythm, and I'm digging that bass line. Plus, there is a playfulness to the vocal performance. And, as if there were any doubt, there is also some great stuff on guitar. This is yet another of the disc's highlights, and it is over too soon. The album wraps up with "Santa's Got A Brand New Bag." But, no, it's not the one you're thinking of. This is an original number, featuring some excellent stuff on guitar and a wonderful vocal performance by Camryn Quinlan, who tells us "Santa took back all the presents we had/Santa took back all the presents we had." It's a track to add to your holiday play list this year.

CD Track List

1. All Your Love
2. Harder To Breathe
3. Walk Right Out The Door
4. Rub Me Raw
5. Voodoo Ways
6. Bobbique Romp
7. Meet Me In The Morning
8. West Of The Ashley
9. Off To The Jubilee
10. Santa's Got A Brand New Bag

The Kerry Kearney Band was released on June 20, 2025 on Paradiddle Records.

Rebecca Pidgeon: "Unillusion" (2025) CD Review

Last year Rebecca Pidgeon released an album titled Songs Of L.A., an album inspired by this crazy and beautiful city, and in particular by Hollywood and the film industry (which of course is something she knows a thing or two about). That album was produced by Rebecca Pidgeon and Fernando Perdomo, with Fernando Perdomo playing several instruments on it. Rebecca's new album, Unillusion, was also co-produced by Fernando Perdomo, and he plays bass and electric guitar on it, because apparently he still has extra time on his hands while creating an album of new material every month this year (his Waves project). This album touches on different themes, finding inspiration from a much wider range of sources, but that doesn't mean that the city of Los Angeles doesn't pop up at least once. In addition to Fernando Perdomo, this album features the work of Andy Studer on violin and viola, and Matt Tecu on drums, both of whom also played on Songs Of L.A. Eszter Balint plays violin on two tracks. The album features all original material.

The album gets off to a great start with "Be My Butterfly," which has a cool, easygoing groove that gives the track an undeniably catchy element, particularly in the bass work. But it is Rebecca's beautiful vocal performance that is the center and heart here. And actually, the vocal line has a catchy rhythm to it at times. "There's a window that's over the bar/Looking like a rocket, looking like a rocket/There's a staircase into the light." There is some excellent work on strings too, adding to the track's appeal, giving it an unexpectedly spellbinding quality. As I mentioned, even though this album is not tied specifically to Los Angeles, this song takes place there, at a hotel, and its lyrics refer to a famous street here: "There's a mirror over the bed/Looking down on Sunset, looking down on Sunset." This song was released as the album's first single back in April, and it's a wonderful track to start things off. That's followed by "Dasharatha," an interesting song that tells the story of a king, his son and his wife Kaikeyi. This story was not familiar to me, but its themes of jealousy and despair are likely familiar to us all. "So he walks into the river/He walks into the river/Cover his shoulders/Covers his head/To wash away the memory." This one too contains some good work on strings. In fact, it feels like the emotional core of the story is within that work on strings, particularly because of the placement of that lead. "In my beginning/Is my end."

The guitar work at the beginning of "Queen Of The Fields" pulls me in, helping to set the tone and create a strong atmosphere, a specific world. This song was inspired by the story of Sita, a Hindu goddess who is held captive. This track contains a gorgeous vocal performance. There is a dreamy quality to this song, and it's one of my personal favorites. "I need simple direction/A steady hand driving the plow." There is a cool layering of the vocals in the section at the end when she sings, "She walks in beauty/She's the queen of the field." Then "Where Is The Man?" features a seriously cool sound that has a sort of timeless aspect to it, with a beautiful and dramatic vocal performance. "Where is the man/With the shining face/Who alone is the handsome one/Radiant, who has conquered love with no jealousy/Destroyer of his enemies/Possessing all the qualities." This is one of the two tracks to feature Eszter Balint on violin, and she delivers some wonderful and striking work. "Where is the man/With no thing hidden."

"The Pleasing Waters Of Jahnavi" is a beautiful, captivating folk song. It has a delicious, timeless vibe, especially because of Rebecca's vocal performance, which has an ethereal quality. "The sound they made was beautiful/All the creatures heard their song/Down by the pleasing waters of Jahnavi." After those lines, some really nice percussion work is introduced, adding another layer to this excellent track. That's followed by "Drumlins." Interestingly, this one begins with a spoken word section: "I saw you through the trees/Walking up to me/Black dog running at your heels/Quartering the field." Then when she begins to sing, it is those same lines delivered again. The song soon kicks in, taking on some rock elements, an engaging combination of sounds. "On waking fom the dream/Oh, what are you to me/Pain of mothers gone before."

"Monkey Man" is the other song to feature Eszter Balint on violin, and it's a fascinating number, grabbing us from the start. "Let me not eat what you eat/Let me not sleep when you sleep." There is a sort of insistent rhythm to the vocal line, holding our attention. Then she sings, "Let me be your monkey/Let me be your monkey/Let me be your monkey man," and for that last line, she drops into her lower register, delivering it almost as spoken word. Then "Warm Stone" begins with an intimate, almost delicate sound on guitar, and Rebecca looks inward from the song's first lines: "I looked down in my soul/Found granite there/But it was a warm steady stone." After a minute or so, it kicks in, and features some strong, beautiful work on stings. "I saw that woman there/Lost in despair/And I knew that it was I." And in this song she mentions songwriting: "I was never much good at talking/Can't even write a proper song/To tell you how much I love you/Wanna be a rock."

"Hypnotize Me" begins with  just acoustic guitar supporting Rebecca's voice. "Mornings I'm okay/That's a time I call my own/But then something that you say/Shows up on the telephone/Oh, to hypnotize me." Soon the strings join her. "I should get away/I'm a slave to this machine." It seems that these days many people are slaves to their phones. Just try to put that machine down, leave it at home when you go out, or even just ignore it when it makes a noise demanding your attention. There is a really nice raw quality to this one, which fits well with the lyrics. "And though I know/You're just lying through the phone/I see myself suddenly sliding/And I'm buying." Rebecca Pidgeon wraps up the album with "Myself," grabbing us with its opening lines: "I'm at war with my own nature/And it's a battle to the death/Someone's got to save me/And it has to be myself." This is one that I think many people will be able to relate to. It's an incredible song, one of the album's best, with a vocal performance that is tremendously moving. I also love the way the strings swell. "Sometimes it's hard to find the good inside/But there's a place of silence/Where beauty resides." A lot of us have some work to do in this regard. Exterior situations and circumstances have turns things rotten inside too. Many folks are feeling it, and it's time to find that beauty and strength within. 
 
CD Track List

1. Be My Butterfly
2. Dasharatha
3. Queen Of The Fields
4. Where Is The Man?
5. The Pleasing Waters Of Jahnavi
6. Drumlins
7. Monkey Man
8. Warm Stone
9. Hypnotize Me
10. Myself

Unillusion was released on August 29, 2025.

Irving Flores Afro-Cuban Jazz Sextet: "Armando Mi Conga" (2025) CD Review

Irving Flores is a talented jazz pianist and composer currently based in San Diego. His new album, Armando Mi Conga, is a total joy to listen to. In the liner notes, producer Amanda Flores tells us this album was recorded in two days, with no rehearsals. No rehearsals? That's madness, particularly as the results are incredible. Clearly, there was a bit of magic happening in the studio. Of course, it doesn't hurt to have fantastic musicians. The band is made up of Irving Flores on piano, Horacio "El Negro" Hernandez on drums, John Benitez on upright and electric bass, Giovanni Hidalgo on congas, Bryan Lynch on trumpet, and Norbert Stachel on saxophone and clarinet and flute. So, okay, maybe now we can see how this spectacular album came about over the course of two sessions with no rehearsals. The album contains all original material, composed and arranged by Irving Flores. And it is probably exactly what you need to remind you that humanity can be wonderful. We don't get much evidence of that in the political realm, or on social media (if it weren't for bands listing shows on those sites, I would argue it's time to put an end to them), but here it is clear. This music will help you regain your faith in humanity. 

The album opens with its title track, "Armando Mi Conga," which begins with a delicious section of percussion featuring Giovanni Hidalgo. I could listen to those drums all day. After approximately a minute, the song kicks in, and becomes a delightful, fast-paced gem, featuring some excellent work on piano. This track comes alive, eager to wrap us in its joy. And we certainly need that these days. There is a great excitement here, the horns singing and dancing, our souls eager for this sort of dance. And then that piano lead is fantastic. And what a way for it to be introduced, a rapid descent into the unknown. I love it. This music moves so quickly, so swiftly, and with such certainty, that all of my worries are left behind. There's no way they can catch up now. This is a dance that encompasses the entire universe. Can't you just see a comet spinning a distant moon around the dance floor? And it concludes with another section of percussion. I'm not sure there is any way I could be happier.

Then with "Gary En Nanchital" we are engaged in a very different dance, a more intimate dance, but still with a sense of fun. And the piece leads us in some interesting directions, playing with pace and attitude. Let the music take us where it will, for it is a strong character leading this dance, and we are the willing partners, thrilled to be along for the ride. Ah yes, a reminder that we should always let the music be in charge. That piano lead in the middle is absolutely wonderful, a dance of its own, one that gets the gods themselves lined up, eager to follow. And then that drum work beneath it begins to take charge, to demand its own voice be heard. And right when we feel there is going to be an explosion of sorts, the clarinet leads us out of the glorious mayhem into brighter places. And soon after that, the piece concludes. "With Amanda In Favignana" takes us to Italy, a place I've been longing to see for many years. I am determined to get there, though I'll be taking Theresa, not Amanda. The joy, the excitement, the wonder are all here in this track, everything I hope, and expect, to experience. For now, this music can provide me with a special trip of its own. I love that work on trumpet, which seems to create its own world and invites us to take part. And the piano work, while expressing an excitement, also has a great warmth. The percussion keeps everything moving forward. No need to reflect, that will come later. For now, just enjoy the moment, the food, the motion, the beauty.

Then surprisingly, we enter darker, more thoughtful territory at the beginning of "Tramonto A Massa Lubrense," a track that soon develops its own beauty, a beauty that is awash in memory, in desire, in hope and loss. I am quickly immersed in this piece, lost to it. The piano work is gorgeous and expressive. What does it conjure for you? I imagine each of us receives strong images related to our own pasts or hopes. And then after a few minutes, it settles into a somewhat romantic, somewhat magical, late-night vibe, the drums and bass joining the piano. This track is just that trio. In the second half we are treated to a really nice lead on bass. There is a wonderful warmth to the piano work here too, and I love where the piano leads us and leaves us. I am grateful to this music. That is followed by "Music En La Calle." The percussion drives things forward into a place of joy and smiles and dancing. There is a fast pace here, as if we are eager to leave any troubles behind (and aren't we?), and the music makes sure that those are soon forgotten. Who has time or the inclination to reflect on the past when the present is so damn exciting and good? The bass gets a chance to lead, and that is great, but it is the percussion here that is at the center of the action.

"Samba Con Sabor" has an exciting rhythm. And on this track Norbert Stachel plays flute, delivering some excellent work. I like the changes this track undergoes, sometimes entering sweeter territory. Yet even then, pay attention to what the bass is doing, for it still carries a good deal of that excitement into those sections. This track also features a delightful lead on piano, delivered with both power and joy. And then there is a really good lead on bass. And check out the drumming toward the end. That's followed by "Recuerdos." Here the piano leads us into a delightful dance. There is a lightness to the work, and every step is right. Joy and melancholy hold hands here, moving around the room through light and darkness, and if only we can keep moving, remain in motion, the past will not be able to grab us. And perhaps neither will the future. There are moments when we are not certain, but then the dance takes hold again, and we move with determination. The second half of the track takes us into some interesting territory, particularly during that lead on bass, and the piano work that follows it. Some madness has entered this dance, and is welcomed. That's when things become particularly interesting. And then we somehow make it to the other side at the very end. This is a piece that served as the title track to a 2010 release from Irving Flores, that version quite a bit different from this new recording.

There is a great sense of fun to "Dana Point." Part of is in the rhythm, part of it in the magic of the piano. And then that lead by Brian Lynch on trumpet carries us into a brighter realm, while the percussion keeps our bodies moving. It's like our minds and bodies are separated, but both are moving in the same direction. And Norbet Stachel delivers an interesting and wonderful lead on baritone saxophone. In the second half of the track the drums are completely unleashed. What a great joy. The album then concludes with a different version of "With Amanda In Favignana," this one a solo piano piece by Irving Flores. This is a beautiful rendition, expressing joy and warmth and magic, like a wonderful dream.

CD Track List

1. Armando Mi Conga
2. Gary En Nanchital
3. With Amanda In Favignana
4. Tramonto A Massa Lubrense
5. Music En La Calle
6. Samba Con Sabor
7. Recuerdos
8. Dana Point
9. Amanda In Favignana (Solo Piano)

Armando Mi Conga was released on August 26, 2025. 

Candice Ivory: "New Southern Vintage" (2025) CD Review

Candice Ivory, who was born in Tennesse and now resides in St. Louis, Missouri, is a singer and songwriter working in the blues realm. Her new album, New Southern Vintage, is a celebration of southern blues music, and includes a couple of Memphis Minnie covers. Much of the album features original compositions, written by Candice Ivory, Robert Allen Parker, or the two of them together. On many of the tracks, Candice Ivory is backed by The Blue Bloods, made up of Robert Allen Parker on guitar, Adam Hill on guitar, Khari Wynn on bass, and Donnon R. Johnson on drums. Then the later part of the album has a looser vibe, with Candice's vocals supported by guitar and piano.

The album opens with "Ain't So Blind," an original composition by Robert Allen Parker and Candice Ivory. It begins with a steady pounding of the drums, and then kicks in with that familiar blues sound, and with a glorious power. Here she confronts a certain someone: "You think I don't know you're lying/You know I ain't so blind." There is a smooth aspect to her vocal delivery that shows she is in control. She doesn't need to shout here. She knows what's what and doesn't have a damn thing to prove. Jan Hartmann delivers some strong work on harmonica. That's followed by "Blue Blood," which has a cool vibe, a snappy rhythm, and features some delicious work on harmonica. It's a fun song, especially considering her band is called The Blue Bloods. "You forgot that you were royal." This song was written by Candice Ivory, and was originally released in 2022.

Candice Ivory delivers a really good rendition of "I'm In Trouble," a song written by Joe Hicks and originally recorded by The Fieldstones. While it is a cover, there is still a personal connection, for The Fieldstones' guitarist Will Roy Sanders was Candice's great-uncle. In addition to more great stuff by Jan Hartmann on harmonica, this one features some really good work by Ben Levin on piano. And when Candice sings about being in trouble, there is enough attitude and grit in her voice that we feel she can cause more trouble than she might find herself in. "Brothers, they got the world in a bad shape/And ain't nothing we can do/I went out and looked for a job/He said we ain't got nothing for you to do/I'm in trouble." Hey, we're all in trouble these days, aren't we? Then a seriously cool vibe is established at the start of "Foolish Pleasure," a raw, mean thing happening. Yubu Kazungu joins Candice Ivory on vocals on this one. "Give me foolish pleasure/I'll play the fool for you." This one moves at a slower pace and gets its hooks into you fairly quickly. That harmonica work is certainly a part of its appeal, but it is the vocal work that is captivating. It was written by Robert Allen Parker.

The energy and the pace increase on "Lookin' For My Baby," which was also written by Robert Allen Parker. There is something playful here, which you can hear in a line like this: "He ain't at Johnny's house, ain't at Eddy's house, ain't at Mary's house, just ain't been around." We can just imagine this frantic woman going to all these houses looking for this guy. Seems a bit crazy, right? Meanwhile, the drumming tells us everything is fine, tells us to dance. Ben Levin delivers some wonderful stuff on keys. And there is a section where the two guitars engage in some back-and-forth business, and it's great. This track also features some excellent work on bass. Basically, everything is working. That's followed by "Strong Black Mattie," a song written by Candice Ivory. I love this vocal performance, how she dips into her lower registers on a word like "clothes" and then lifts her voice on other lines, and then delivers a few lines toward the end as spoken word. Chris Stephenson delivers some nice work on organ, but it might be the guitar work that shines the brightest here. This is a song that Candice Ivory released as a single in 2023.

"Let Your Love Shine On" has a smooth aspect that is quite appealing, and it's there right from the beginning with those vocals, "Thank you for letting your love shine on." This song feels like a nighttime number. There is something sexy in its attitude, in its presentation, and something very cool. "When the sun sets/And I'm feeling a lack of trust/You lay the law down/And you light me up." There is also a nice lead on guitar in the second half. This song was written by Robert Allen Parker. "Look Away" also has a late-night feel to it. "I've got my eyes on you, baby/But I've got to look away for a while/One day you're so good to me/Then you turn around and treat me like a child." There is power and passion to her vocal performance, and a whole lot of soul. Chris Stephenson delivers me wonderful stuff on organ, and there is another strong guitar lead. That's followed by "Tradition," a short track of spoken word by Andrew Cohen, basically defining the word "tradition," with some guitar work. This works as a transition from the full-band tracks to the looser vibe of the rest of the album's songs. It's fine, but feels unnecessary.

Candice Ivery then gives us a really good cover of "Catfish Blues," featuring special guest Jimmy "Duck" Holmes on vocals and guitar. This is a song that Jimmy "Duck" Holmes included on his 2019 album Cypress Grove. Interestingly, Jimmy "Duck" Holmes joined Ryan Lee Crosby on his At The Blue Front album, which was released just a few weeks ago, and the two of them also tackled this number. This rendition also features some excellent stuff by Ben Levin on piano and by Damion "Yella P" Pearson on harmonica. That's followed by another cover, this one of "Corrina" written by Clyde Maxwell. This track also has a great, raw vibe, Candice's vocals supported by just David Evans on guitar and Ben Levin on piano. Then we get the album's final original composition, "Crown Royal Bag Blues," written by Candice Ivory, who is again backed by just guitar and piano, though this time by both Damion Pearson and Takuto Asano on guitar. There is a natural, sort of improvised feel to this music, which I love. This track is another highlight of the disc.

Candice Ivory wraps up the album with two Memphis Minnie numbers. The first is "World Of Trouble," which features a delicious lead by Ben Levin on piano. That instrumental section with piano and guitar is wonderful. But it is Candice's passionate vocal delivery that drives this rendition and makes it something special. "It's a cold, cold morning/I was out in the rain and snow/Yes, in a world of trouble/I couldn't find no place to go." The second is "Shout The Boogie," a fun number where Candice's vocals are supported most prominently by Ben Levin on piano. Both David Evans and Andy Cohen are on guitar on this one. Oh yes, Candice Ivory is cutting loose here. We all need to do this, don't we? Particularly these days that seemed governed by the blues. Well, this track will help.

CD Track List

1. Ain't So Blind
2. Blue Blood
3. I'm In Trouble
4. Foolish Pleasure
5. Lookin' For My Baby
6. Strong Black Mattie
7. Let Your Love Shine On
8. Look Away
9. Tradition
10. Catfish Blues
11. Corrina
12. Crown Royal Bag Blues
13. World Of Trouble
14. Shout The Boogie

New Southern Vintage was released on September 12, 2025 on Nola Blue Records.

Fernando Perdomo: "Waves 8" (2025) CD Review

By now, you're probably aware of Fernando Perdomo's Waves project, in which he is releasing a new album of ten original compositions on the first of every month this year, and playing all the instruments on each one. That's an incredible feat, and the word is he's already finished his October volume (like two days after the September one was released). That's because in addition to this album project, and his other projects (including a rock opera), he's currently on tour with Marshall Crenshaw and wanted to finish recording that disc before the tour began. I was already convinced he doesn't require any sleep. Now I am wondering if he even takes time to eat. Perhaps for sustenance he simply nibbles on a few extra chords at the end of a song. Anyway, Waves 8, which was released at the beginning of August, features wonderful instrumental numbers that will take you on journeys both inward and outward.

The album kicks off with "The Motion," which begins with a solid rock beat, and then gets into more dreamy territory with the guitar work. There is a relaxed and soothing aspect to the guitar work that makes me think of looking out to the horizon and letting one's thoughts fly to points unknown. There is something of a surf element to the sound. And then there is a slight change in the sound, perhaps like the guitar is now answering those thoughts from that distant point, or perhaps beckoning us to join it, with a brighter energy. In the second half, there is a slight pause as we rise and step onto the water, and soon we are flying above the sea, free, untethered to the ground or to reality. What a great feeling. Then "Fire Water" rushes in on us in its opening moment, grabbing us and taking us on a ride. There is more intensity to this one, more urgency to its sound. The images are vibrant, sharp. There is a slight pause here too, in the middle, as the music changes gears, and then things fly off into a realm that feels like a late 1970s rock concert climax. It is strange to remember that all this music is being made by just one person.

On "The Porcelain Palace," the guitar gently leads us into its preferred world, acting as a tour guide of sorts, telling us of certain details, certain features, and at a relaxed pace. It is interesting that there is a breath in the middle of this track as well, as we turn a corner, and new things open before us. This track gently approaches its conclusion. That's followed by "A Good Haul," which has a very different sound and vibe at the beginning, an interesting sound, almost mechanical, but sounding natural as well. We get the sense in those first moments of things being counted. The guitar work on this one is in the acoustic realm, and yet the track has an unusual vibe, like reality is being played with somewhat, adjusted, fiddled with. Until it seems right, or until we ourselves can adjust. And soon we have done that, for then we can perceive a strange beauty to the piece. There is something childlike in the joy of it, and this ends up being one of my personal favorite tracks.

"Rainy Day Embrace" begins in a mellower place, with a relaxed disposition. There is no hurry here. It might be just for a moment, or we could settle into this landscape, this way of being, of thinking, of acting, for there is certainly something appealing in that idea. And that is because there is something soothing in the way this track moves us. But toward the end, there are hints that it might be winding down, coming to its own natural conclusion, whether we wish for it or not. Then "Current" has a brief electronic opening, like a machine gathering energy, and before we can give that much thought, we are into the song, which has a bright, rather cheerful energy, moving steadily, and carrying us along with it. There is an otherworldly aspect that is layered upon our world so that the two seem to be moving in conjunction, so naturally. In the middle, there is a change in the rhythm, in the motion, in the approach, in the intensity. It is an exciting section. There is suddenly another change, and the drums lead us into more cheerful, familiar territory again. I love the ride this track takes us on.

The guitar soars at the beginning of "Cousins," with a more playful bass line below it, and we soon find ourselves in a place where there is some magic around us, something we didn't notice at first as we had focused on the movement of the guitar. That guitar takes us on a glorious ride, through a daytime sky, passing through the light itself on into the darkness of space, which isn't dark at all, with stars and comets and whispers from the great unknown welcoming us. That's followed by "Florida Man." When I first glanced at the track list, this is one title that stood out to me, because of that thing that a friend once told me, and which you all probably know. Searching "Florida man" along with any date online will result in one of the most outrageous and ridiculous stories you'll read. Seriously, I just did it, randomly picking September 21st, and what came up was "Florida man steals Alabama ambulance from Taco Bell." But Fernando Perdomo is from Florida, so it's not just lunatics living there, apparently. This is a fun song, with a cool groove. There is something of a laid-back vibe here, but also a sense of curiosity. A sense of looking for the good times and finding them everywhere. I'm especially digging the bass work here.

With "The Cool Down," we are in softer, gentler territory now, with a sound that feels like those moments on the beach just before the sun goes down, when everyone is looking in that direction, perhaps reflecting on the day and wondering what tomorrow will bring, but really just enjoying the moment, the beauty of it and being a part of it, if only a very small part of it. This is a pretty track, reminding us what a wonderful thing it is to be here, to be alive. Waves 8 then concludes with "Love Is An Echo," an interesting, somewhat contemplative piece that has its own beauty, particularly in the guitar work. Here there is a more intimate sense, combined in a subtle way with the infinite. Interestingly, there is a hint of darkness just as it ends.

CD Track List

1. The Motion
2. Fire Water
3. The Porcelain Palace
4. A Good Haul
5. Rainy Day Embrace
6. Current
7. Cousins
8. Florida Man
9. The Cool Down
10. Love Is An Echo

Waves 8 was released on August 1, 2025.

Tav Falco: "Desire On Ice" (2025) CD Review

The world has grown uncertain, and this country has gone completely sideways, but there are still some things you can count on. One thing you can be certain of is that a new Tav Falco album will contain great and interesting music. His new album, Desire On Ice, might be just what you need in these harsh and stupid times. An escape into a different world, populated with interesting characters - men in black, rebel girls, female spies, vampires - their stories told with wit and wisdom, and also a great sense of fun. And Tav Falco has an incredible cast of real characters joining him, including his fellow Panther Burns band mates - Mario Monterosso on electric guitar, Giuseppe Sangirardi on bass, and Walter Brunetti on drums. There are several special guests too. The album is a sort of retrospective, with Tav Falco revisiting songs from throughout his career, songs from both Panther Burns and solo releases. 

And to establish the sense that these songs have a dramatic and cinematic or literary quality, the album opens with a track titled "Prologue." As it begins, it feels like an instrumental theme to a cool television series or film. And if that guitar work reminds you of Reverend Horton Heat, that's because it's Reverend Horton Heat. Ross Johnson is on percussion. Then halfway through, there is a spoken word section, like something Vincent Price might do. That kind of vibe, you understand. It's done by Kid Congo Powers (of The Gun Club, The Cramps, etc). "Mysteries are better left alone/Looking back, you turn to stone." And then it returns to that main theme, led by the guitar. That's followed by "Gentleman In Black," a song that was included on Tav Falco's Disappearing Angels. The first lines are delivered as spoken word too, this time by Tav Falco himself, introducing this character: "There's a gentleman in black/He travels alone...A man without a country/A man without a home." These days many of us feel we don't have a country. Then we get into the song: "The women he's known have all forgotten his name/And the new ones he meets can sense he's strange." I love it. It's like we're being told a great story. "So he keeps on moving/From town to town/Not even his agent/Can track him down." Jimmy Rip is on electric guitar, Puccio Panettieri is on percussion.

The great Charlie Musselwhite gets "Cuban Rebel Girl" started with some cool, bluesy stuff on harmonica. Then Tav Falco begins to describe this girl: "I met her on the east side/Of lower New York City/She wore a black fur hat/And cherry red lipstick/She's running through the streets/Shouting at the world/Running everywhere/Running like a squirrel." The image of her is so clear, especially that wonderful description of her "running like a squirrel." We can all picture what he means. This is a Panther Burns song from the 1980s, and this rendition features not only the current Panther Burns members and Charlie Musselwhite, but also Chris Spedding on electric guitar and Francesco D'Agnolo on piano. I love the guitar work here, and there is a section with the guitar and harmonica interacting that is just great. Then "Sympathy For Mata Hari" has a deliciously dark vibe, and yet there is a humor here. "I caught a glimpse of you in Sarajevo/Drinking champagne and eating fried potatoes." Those lines, for whatever reason, make me laugh. This line also tickles me: "Nothing, but nothing, outshines the sequins of your gown." Yet there is a serious story here. It is fun immersing myself in this music. Jon Spencer plays electric guitar on this track, and offers some vocal work too. Yeah. this album features some outtanding musicians. Chris Maxwell also plays guitar on this one, and Jonathan Kirkscey is on cello. 

"Vampire From Havana" is a totally fun number with something of a 1960s feel. It was included on the Panther Burns album Life Sentence, but this new rendition is much better. Partly that is because Ann Magnuson joins him on vocals, the song becoming a delightfully twisted duet. And Ann adds some vocal touches that remind me of her "Sex With The Devil." This is one of my favorite tracks. Bubba Feathers plays electric guitar on this one. "Keep it dark, close those curtains/I don't want to see us in the light." And it suddenly ends there with those lines. Oh, I want more. That song is followed by "Doomsday Baby," another of the disc's highlights, with a strange, dark humor that I appreciate. Bobby Gillespie joins Tav Falco on vocals for this one. "They pray to gods we don't understand/Their children throw stones when our soldiers try to shoot 'em/They all live in hovels, but we bulldoze 'em." This is a wild number. "We're the master race and they're insects, baby." Isn't it crazy that a large portion of this country still harbors these twisted notions? We are sick. But this music is fantastic. Mario Monterosso is on guitar, Michael Perry Allen is on keyboard, Kai Eric is on bass, Jim Sclavunos is on drums, Marc Franklin is on trumpet, and Puccio Panettieri is on percussion.

"Crying For More" is a new song and has something of a 1960s flavor. There is something wonderfully playful about this song. "The girl who keeps us hungry and crying for more." That backing vocal work, so perfect and so beautiful, had me laughing out loud the first time I listened to this disc. Nicole Atkins and Mario Monterosso provide those backing vocals. "She's just lying there on a leopard skin rug/She's just lying there reading Baudelaire." Richard Barone is on acoustic guitar, and Scott Bomar plays bass. That's followed by "The Ballad Of Rue De La Lune," which has a good pop feel, with some 1960s flavor to the guitar work. Both Mario Monterosso and Boz Boorer (of The Polecats) play guitar on this track. I also like the percussion. Walter Brunetti is on drums, and Puccio Panettieri is on percussion. Giuseppe Sangirardi delivers some really good stuff on bass. Pete Molinari joins Tav Falco on vocals. "You stepped out of your dress in such a hurry/And fell into my caress without a worry." This song was released as the album's second single in August. Another version of this song was included on the 2023 Panther Burns album Nashville Sessions: Live At Bridgestone Arena Studios. 

"Garden Of The Medicis" is a very cool, jazzy number, with more nice work by Guiseppe on bass, and great touches by Bertrand Burgalat on piano. And I love Tav Falco's vocal performance. "Wandering along in this enchanted place/I don't want to see another pretty face/A girl strolls by in her plaid miniskirt/She catches my eye and she tries to flirt." Mirko Dettori's work on accordion in the middle takes us to some wonderful cafe in Paris, and we engage in a dreamlike dance. Toward the end, there are lyrics delivered in French. This is yet another highlight of the album. Then "Lady From Shanghai" takes us into the darker areas. It's a cool, dramatic piece inspired by the Orson Welles movie of the same name. "She shot her husband and his lawyer dead/And left you holding the bag instead/And drew you deeper into her web." This track features some excellent work by Rene Coman on bass, and some wonderful work by Alex Greene on piano. "With her pretty talk and her foggy smile/Her sultry furs and her sultry style." Sultry furs? Yeah, I'd fall for her too.

"Chamber Of Desire" is a slow, kind of haunting number. "Once I lived in a chamber of desire/It had no door, only a curtain." Jolie Holland joins Tav Falco on vocals for this, delivering some excellent, gorgeous work. Mario Monterosso plays both electric guitar and piano on this one, and Scott Bomar is on bass. The album began with "Prologue," and it ends with "Epilogue." As with "Prologue," this track has some spoken word, this time done by Nicole Atkins, who reminds us we've been listening to stories. "Of love gone wrong, lost causes, desire and betrayal." Mario Monterosso is on rhythm guitar, Eddie Angel is on electric guitar, and Luca Chiappara is on bass.

CD Track List

1. Prologue
2. Gentlemen In Black
3. Cuban Rebel Girl
4. Sympathy For Mata Hari
5. Vampire From Havana
6. Doomsday Baby
7. Crying For More
8. The Ballad Of Rue De La Lune
9. Garden Of The Medicis
10. Lady From Shanghai
11. Chamber Of Desire
12. Epilogue

Desire On Ice was released on September 12, 2025, and is available on both CD and vinyl.

Mud Morganfield: "Deep Mud" (2025) CD Review

Mud Morganfield, was, as he himself is quoted as saying in the liner notes of his new album, born in the blues. His father was McKinley Morganfield, better known to the world as Muddy Waters. Those are big shoes to fill, no question, and Mud Morganfield makes his own name in the blues realm. His new album, Deep Mud, includes a couple of songs written by his father, but mostly it is filled with his own original great blues numbers. Joining him on this release are Rick Kreher on guitar, Melvin Carlisle on drums, Studebaker John on harmonica, Mike Wheeler on guitar, E.G. McDaniel on bass, Sumito Ariyo Ariyoshi on piano, and Roosevelt Purifoy on piano and organ, along with some guests on various tracks. The album is dedicated to Mud Morganfield's mother.

The album opens with a delicious original number titled "Bring Me My Whiskey." Oh yes, who doesn't have the blues these days? And who isn't drinking? Music, loved ones, good books, and alcohol are the things I turn to these days. "Well, you don't know how good that makes me feel when she's sitting by my side." Some of us are fortunate enough to know exactly that thrill. And the line "I'm gonna lay my head down in my baby's lap" makes me think of Hamlet and Ophelia, though this song is much more joyful. This song has a groove you can move to, and features some very cool guitar work in the middle. That's followed by "Big Frame Woman," a fun number right from its start, with that delightful stuff on both harmonica and piano. Soon Mud Morganfield comes in, telling us just what sort of woman he wants: "I want a big frame woman/One that'll love and treat me right." The harmonica backs him up here on everything he says, everything he claims. And the guitar work here is outstanding. The jam in the middle is a big part of what makes this track so special. Following the guitar lead is a great lead on piano. There is a good amount of joy to the playing, and we need that these days, for that joy transfers to us as we listen.

"Strange Woman" is the first of two Muddy Waters songs that Mud Morganfield delivers on this album. I love that opening moment, when it kind of creeps in. So damn good. There is something sexy about this song's vibe, and it contains an especially strong vocal performance. And, yes, it too contains some really good guitar work, particularly during that instrumental section in the middle. "Hello, strange woman/Can I go home with you?" I don't think that line would work for me, but I'm sure Mud Morganfield has no trouble with it. By the way, he plays bass on this track. Just before the end of this track, there is a very cool lead on keys. Then the harmonica is singing at the start of "Don't Leave Me," over a good rhythm. "Don't leave me/Don't leave me here all by myself," Mud sings, and at first it sounds almost like he's pleading. But then he continues: "'Cause if you walk out that door/You can't come back no more," taking a position of some strength. Though soon he apologizes and admits to making a mistake, which makes me wonder if he'll be able to hold this promise to himself, not letting her back if she walks out that door. "All the promises I made, I tried to keep them."

There are some crowd sounds at the beginning of "She's Getting Her Groove On," and here we get a fun and funky rhythm. You'll be getting your groove on too whenever you play this track. Phil Perkins joins the band on trumpet on this track, delivering some great stuff. "My telephone rings, don't pick it up," Mud sings at one point in this one. It's interesting, I've heard several songs this week that mention ignoring the phone. Can anyone do it anymore? Everyone expects you to immediately return calls and messages. But it might be a good thing for all of us, in our efforts to retain at least a portion of our sanity. Anyway, this track also includes a good lead on organ. That's followed by "Ernestine," which has a full, pumping, delicious sound and groove. I'm digging that bass. And again, Mud is eager to go home with a woman. "Ernestine, Ernestine/Can I go home with you?" he sings at the beginning of this one. This is a totally enjoyable tune, and that lead on keys really shines. "Ernestine, Ernestine/Can I make love to you?/I'd go anywhere/Anywhere you want me to." The guitar lead in the second half flows so naturally. Yup, everything is working perfectly.

"Strike Like Lightning" has a classic blues vibe and sound, the harmonica driving things forward. "I call her up on her phone/But no one ever answers," Mud sings. It's weird, but it still sounds appealing even here, this whole not-answering-the-phone thing. This track features an excellent vocal performance and a very cool lead on guitar. It's followed by "Cosigner Man," another fun number, with Phil Perkins again delivering some fantastic stuff on trumpet. You can get your groove on to this track too. Mud Morganfield is clearly having a great time here. Some wonderful backing vocal work by Felicia Collins and Kristen Lowe adds to the appeal of this song, to its great sense of fun. Their voices will take you back to an earlier time. The work on piano here is delicious. "I just want you to know/Everything I say is true." Oh yes, we implicitly trust him. That voice won't steer us wrong. "Cosigner Blues" is followed by yet another fun one, "Lover Man," a song to get you on your feet. See? Life can be good. This music tells us so. Once it is established that he's the woman's lover man, he asks, "Now can you shake it for me/Just like a willow tree?" I love that. And I have no doubt that the woman in question had no trouble fulfilling that request.

"In And Out Of My Life" has a different vibe, a sweeter feel, and Mud Morganfield's vocal approach is different too, to match the song's feel. He delivers some wonderful work here, and Felicia Collins and Kristen Lowe again join him on backing vocals. "The first time I saw you, the rain was falling down/The first time that I saw you, the rain was coming down." This track also contains some good stuff on piano. Then the first moments of "The Man That You're With" announce we are getting deeper into the blues, digging in, and everything sounds excellent. This track contains a great vocal performance by Mud Morganfield, and some passionate work on harmonica. Those elements are striking early on, and the track just gets better and better as it goes. That guitar work is so damn good! This is one of my personal favorites. It's followed by "Carolina," some swinging blues to get you smiling and snapping. "Now when you move it to the left/I'm going to move right with you/I'm going to love you, girl/'Til you don't know what to do." That guitar is moving too.

The second and final Muddy Waters song on this album is "Country Boy," Mud Morganfield delivering a deep, mean vocal performance. "I just love to stay out all night." Oh yes, you can imagine this song being delivered at some obscure hour of the night. Things are still moving, but more slowly now. Rodrigo Mantovani plays upright bass on this track. This one also contains some nice work on guitar. The album then wraps up with "A Dream Walking," a song that begins with some cool, interesting stuff on organ. I am totally enamored with this song from its first line, "Have you ever seen a dream walking." This wonderful song features some great gospel-like backing vocals from Felicia Collins, Jacole Avent and Demetrias M. Hall. The album, as I mentioned, is dedicated to Mud Morganfield's mother, and this song is about her. A beautiful, personal song. "I'm a sad, sad boy/A sad, sad boy ever since you went away."

CD Track List

1. Bring Me My Whiskey
2. Big Frame Woman
3. Strange Woman
4. Don't Leave Me
5. She's Getting Her Groove On
6. Ernestine
7. Strike Like Lightning
8. Cosigner Man
9. Lover Man
10. In And Out Of My Life
11. The Man That You're With
12. Carolina
13. Country Boy
14. A Dream Walking

Deep Mud is scheduled to be released on September 26, 2025 on Nola Blue Records, and will be available on both CD and vinyl.

Ruby Friedman Orchestra: "Chimes After Midnight" (2025) CD Review

One of Orson Welles' Shakespeare adaptations, Chimes At Midnight, takes its title from a line that Falstaff speaks in the third act of The Second Part Of King Henry The Fourth: "We have heard the chimes at midnight, Master Shallow." In that line, Falstaff is reflecting rather fondly on earlier exploits, and suggesting a bond exists between himself and Shallow. It is a line also about aging and memory, and there is something sad in it, a touch of melancholy, and the sense that death lurks in the near future. The line comes in a scene in which recruits are being selected by Falstaff for the army. It is from that line, and the title of Orson Welles' film, that Ruby Friedman gets the title for her new album Chimes After Midnight, which features all original material, written or co-written by Ruby Friedman. Interesting, forgotten characters from the past populate many of these songs. Here too there is the sense of death lurking nearby, but it feels that life wins in these songs. The musicians supporting Ruby Friedman on this album include Ben Landsverk on banjo, violin, viola, upright bass, bass guitar, acoustic guitar, keyboard, piano, organ, synthesizer. and percussion; Adriana Wagner on trombone and trumpet; Mark Pender on trumpet; Adam Zimmon on guitar; Lewi Longmire on acoustic guitar; Cactus Moser on drums and bass; Steve Williams on drums; Alex Elena on bass and percussion; Craig Macintyre on drums; Scott Healy on accordion; Arlan Schierbaum on organ, synthesizer, glockenspiel and celeste; Nicholas Allen Johns on guitar, bass, piano and synthesizer; Kaitlin Wolfberg on strings; and Meena Ysanne on strings.

The album opens with "Honeystomach (The Flight Of Connie Converse)," a strangely beautiful and captivating song. After its opening section, it develops a dark sort of folk sound, fitting for the subject of the song, a woman who was active in the folk scene in New York in the 1950s and who then disappeared in the 1970s. She deliberately disappeared and was never heard from again. This track features some gorgeous vocal work. "I want you to carry me where my dreams don't need a gun/I want you to tell me what's the point if I have no fun." There is also some intriguing work by Ben Landsverk on fiddle. And we hear chimes at the end. Then "Music Row" has a different sound and vibe, with a strong beat. This song tells an interesting story taken from a part of the history of this country not often mentioned. It's about the temporary legalization of prostitution in Nashville during the Civil War. "Sweet tarts puttin' on a show/'Til they sent 'em upriver on The Idahoe/Spirits dropped to an all-time low/So they brought 'em back home to Music Row." There is a good energy to this track, and even some whistling at the very end, which seems perfectly appropriate.

"From The Storm" also has a strong pulse. There is a great, dark, raw energy to this song, moving slowly, deliberately. "I am your wings/You are my shield/We aren't alone on this battlefield/When I lose hope/You're full of faith." There is a power here, especially in the vocal work, and I am digging that work on strings. Then "Flower Whore" quickly grabs us, in part because of the way those first lines are delivered, the lyrics coming at us quickly. And the work on strings has an intensity, a sort of ominous sound. Check out these lyrics: "Why do you keep bringing up my pain and all that's buried/I told you it's just me, nothing's wrong with my family, move along/Everybody gets beat and hit on when they're just little kids/My friends had it worse than me/Just give me dope money." I also love the way the horns are used on this track. Same goes for the piano. This isn't like anything you've heard before. And then the song's final section comes as a surprise, having a cool vibe.

"When The Hangman..." is another intriguing song with an historical context and featuring some incredible vocal work. This music is just completely captivating. I love these dark corners of the folk realm. "He'll steal your car and help you look for it too/When the hangman is your lover." Adam Zimmon delivers some good stuff on guitar. This is one of my favorite tracks. It is followed by another of my favorites, "Milky Way (Ode To Frank Black)," which has a lighter, more cheerful vibe, and yet another powerful vocal performance. There are moments where I feel the vocals alone can take us on a great ride through the skies. This track features some whistling in the middle, and then the rest of the instruments come bursting back in, a glorious moment. "You know me/I'm in the sky now." Then "Four Day Muse" has a beautifully sad and dreamlike tone. Adding to that dreamy vibe is some wonderful work on strings. That's Kaitlin Wolfberg on strings on this track. "Now I'm wondering/If your eyes 
are still pretty when you're not high/And I'm gonna miss your face."

"The Book Woman's Daughter" has a great raw sound from its first moments, and is immediately captivating. Then a great thumping beat begins, and the power of this song is undeniable. And when Ruby sings "I was born in these mountains," we feel that we've been dropped in the middle of that landscape. There are some interesting, unexpected changes, and we are swept along with them. "But I have seen this world/Through eyes that came before me," Ruby sings at one point, and those lines ring particularly true, not just for this song, but the whole album. Spirits are summoned here, brought back to life through this music. "The Book Woman's Daughter" is followed by "Friday Night Depression," and a siren is heard in the distance in its opening moment. "Friday night depression coming on/Hungry shadow hanging long/I want to be alone and I'm lonely all the time." The siren gets louder, closer. There is action in the city, passing by. On this track Meena Ysanne delivers some excellent work on strings. "Face it, man, we all, we all break sometimes." Indeed. The album concludes with "The Mayor Of North Hollywood Park," another song that tells a story, this one about Greg Sill, the music supervisor who had put Ruby Friedman's version of "You'll Never Leave Harlan Alive" in the television series Justified. He died in 2018. There is a wonderfully sad tone at the beginning, and the song grows from there. At a certain moment it takes on a New Orleans vibe. I love the horns on this track. It slowly fades out, moving into the distance, into the past.

CD Track List

1. Honeystomach (The Flight Of Connie Converse)
2. Music Row
3. From The Storm
4. Flower Whore
5. When The Hangman...
6. Milky Way (Ode To Frank Black)
7. Four Day Muse
8. The Book Woman's Daughter
9. Friday Night Depression
10. The Mayor Of North Hollywood Park

Chimes After Midnight was released on June 13, 2025 on Label 51, and is available on vinyl as well as CD.

Ben Vaughn Hosts An Incredible Night Of Music At Unurban Coffee House, 9-9-25

Ben Vaughn

It was a truly special evening of music last night at the Unurban Coffee House in Santa Monica, part of the Night Of A Thousand Stars series hosted by Ben Vaughn. I've said this before, but the Los Angeles area has probably the best music scene in the entire country. On any night, you can catch stellar musicians in intimate settings. I'm not sure the capacity at Unurban, but it can't be more than fifty or sixty people. And the lineup was the Ben Vaughn Duo, Ruthann Friedman and Paul Marshall. Holy moly! And there was no cover.

There was a strange thing happening with the stage lights, as Ben Vaughn quickly discovered while setting up. The lights reacted to sounds, only turning on when Ben tested the vocal microphone or stomped his foot. Very weird. What lunatic desired that? So part of the soundcheck was used disabling that odd lighting effect and in the process providing a bit of comedy before the show. Then at 7:10 p.m., Ben Vaughn Duo (Ben Vaughn and Teresa Cowles) started the evening off with a short set that featured them doing their vocal horns on the very first song, "Looking For A Friend." And Ben got the audience singing along to "Apropos Of Nothing." They wrapped up this incredibly brief but wonderful set with "When Losers Rule The World." A three-song, twelve-minute set. Crazy. But that was just to get things going; they would do a full set later in the evening.

Paul Marshall

Paul Marshall was up next, and when introducing him, Ben mentioned that he was thrilled to have him perform at the show. And it was soon very clear just why. You all likely know Paul Marshall from his work in I See Hawks In L.A., and maybe also for his work with Fur Dixon & Steve Werner and The Strawberry Alarm Clock. Last night he treated the audience to a rare solo set. Paul said he would "try a few new things and a few old things, and we'll see how it goes." Well, it went great. He opened his set with "Love Works," in which he sang, "When it feels like/There ain't no hope left on Earth/We can keep on going strong/Because, baby, the love works." Now that is something to keep in mind in these days when it seems the people of this country are embracing and celebrating their worst qualities. It's a beautiful song. Paul then picked up the energy with "Sifting Through The Ashes," a song from his excellent Weed And Water album. It's a fun number, and the line "But don't you be surprised when love knocks you on your ashes" got a big and deserved laugh from the crowd.

One of my favorite Hawks songs is "If You Lead I Will Follow," from New Kind Of Lonely, a song which Paul Marshall wrote with Rob Waller. And it was wonderful to get to hear Paul perform his own version of that song last night. It was a particularly moving rendition. That was followed by "If I Had You," the lead song from Weed And Water, which had a positive vibe. But it was probably the next song that most of the crowd would pick as the favorite of the set, "Talking To The Dog," which Paul introduced as a relatively new song. It was hilarious. Seriously, the audience was laughing out loud through basically the entire song. I was laughing too hard to write down any of the lyrics, so you'll just have to seek Paul out yourself and get him to play it for you. I hope he does more solo sets soon. And that wasn't the final song of the set. He followed that with "Truth Is I Lied," a song that he sometimes plays with the Hawks, and one that was included in the film Grace Of My Heart, where it is performed by Jill Sobule. It's still hard to accept that Jill is gone, and in the introduction to the song, Paul mentioned how some of the online tributes posted by fans included her doing this song. Paul delivered an excellent and touching rendition last night. He then ended the set with another song that was included in a movie, "Light Of A New Day," which was in Man Of The Year. An excellent song to wrap up the set. "And I'll leave the past behind."

Ruthann Friedman

Ruthann Friedman then took the stage, backed by Kaitlin Wolfberg on violin and backing vocals, and David Jenkins on bass. It was my first time seeing her perform. She is a singer and songwriter, known for writing "Windy," which was a big hit for The Association. She didn't play that song last night, and there was no need, for it was quickly apparent that she'd written even better material in the meantime. She opened her set with "Spending Time," which she performed solo. That led straight into "That's What I Remember," with Kaitlin and David then joining her. "That's What I Remember" is a totally delightful song, one that made me completely fall for her, and it includes some lines about Hollywood that stood out: "I got screwed up and I got turned down/I wrote a hit song, it was not what I planned/So I ran away and joined a rock and roll band." She followed that with "Chinatown," first saying that she usually does a long introduction to it, but would keep it short for this show: "It's Jewish guilt and opium." It was another excellent song. Then "Get Out Of Here" included the line, or phrase, "Above the clouds," which of course reminded me of "Windy."

Ruthann then switched guitars for "The Tides" in order to not waste time tuning, but ended up having to tune anyway. During that time, Kaitlin told a knock-knock joke, but got it wrong, which was even funnier. Ruthann introduced "The Tides" as a political song, and the line "In the land of the free" carries different meanings these days for sure. "I was born in '44/Near the end of a war," she sings in this one. The line that especially grabbed me was, "'Til the tide carries them away." She then mentioned how the current political landscape is depressing, but she was going to do a hopeful song. Interestingly, she then couldn't recall the song. I think that might say more about the political landscape than about her memory. So instead she played a song she had written for her husband, one that was sweet, with her singing "I want to be with you every single day," and also funny, with her singing, "You know I'm always right." She followed that with "Monster Love," which she introduced as a depressing song about her childhood. "Monster love/Better than no love at all." That song featured some particularly good work on bass. She then delivered a cool number that reminded us there's "no need to hurry at all," and then wrapped up the set with "What A Joy," a song she wrote for her daughter when she was far away at school. I am so glad I got the chance to see her perform.

Ben Vaughn Duo returned to the stage for the final set of the night, a set that focused on music from Ben's album The World Of Ben Vaughn. Apparently, when he had the original album release party for that disc, it ended up being a super spreader event, something he mentioned early in the set. The first two songs of the set were the first two tracks from the album: "In My Own Reality" and "Wayne Fontana Was Wrong." "It's a beautiful day today/And tomorrow's gonna be the same way/There ain't nothing bothering me/Now that I'm living in my own reality," Ben sang at the beginning of "In My Own Reality." And, yes, living in our own reality is especially appealing these days. Since the election, I have avoided the news, instead filling my reality with good music. At the end of that song, Teresa had a chance to lead on bass, which was cool. "Wayne Fontana Was Wrong" had a "Louie Louie" ending. Ben followed that with the last track on the album, "Nobody Likes A Showoff," at the end of which he playfully showed off on guitar. Like I said, I'm doing my best to avoid whatever it is that passes for politics these days, but these lines from "No Count" reminded me of a certain conman/convicted felon/rapist that half this country wanted back in the White House: "You're no good, you're no good/You never do what you should even when you could/You're no good/You're a liar and a cheat/Stepping on people's feet/Up and down the street/Hustling everybody you meet."

"Too Sensitive For This World"

"Asking For A Friend" is a rather pretty, gentle and sad number that I love. "Why do we fall in love?/Please remind me once again/Asking, asking for a friend." Then Ben put down his guitar for "Blind Alley," a cool number that featured Teresa's bass work. Folks in the audience snapped their fingers in time with the beat and echoed the line "Looking for love." Ben delivered some nice stuff on harmonica, and this song ended up being a highlight of the set. He then took out his notes for "You're Gonna Wish Love Was Never Invented," a song with these lines: "Take it from me/Someday you'll see/What a mess love can be." Maybe, maybe, but we're all going to fall in love anyway. All seven of those songs are from The World Of Ben Vaughn. He then strayed from that album for "Pièce de Résistance," a totally fun number, before returning for "Feet" and "You." He followed those with a song I believe is titled "When The Paragons Meet The Jesters," and then said he enjoyed the knock-knock joke during Ruthann's set, which itself was funny. "New Jersey Rock 'N' Roll" was the final song of the evening to come from The World Of Ben Vaughn. So he played all but one track at the show. He wrapped up the set, and the night, with "Where Did You Go, Greta Garbo?" and "Too Sensitive For This World." Ruthann Friedman joined the Ben Vaughn Duo on backing vocals for "Too Sensitive For This World," helping to make it a fantastic rendition. It was a great way to conclude the night.

Unurban Coffee House is located at 3301 Pico Blvd. in Santa Monica, California.