Judy Wexler Delivers Two Wonderful Sets At The Famous, 1-21-26

Jazz vocalist Judy Wexler performed last night at The Famous in Glendale. It's a cool spot, with a nice, relaxed vibe. There is no elevated stage, but a carpet is placed in front of the far wall, acting as a stage. There are no stage lights either, but I suppose that adds to the cozy atmosphere of the club. The staff is friendly, the bartender telling me how the previous owner of the club had given the place a Godfather decor, with murals depicting the film on the walls. There is now white brick along one of the walls. There are several tables, and it's a place where you can actually have a conversation before the show starts, the house music kept fairly low. The show was part of the venue's Jazz Wave's Jazz Night music series, and it was Judy Wexler's first time playing there. Backing the vocalist were Jeff Colella on piano, Gabe Davis on bass, and Kendall Kay on drums.

Just after 8:30 p.m., Judy Wexler kicked off the first set with "A Weaver Of Dreams," a song she included on her most recent album, last year's No Wonder. She delivered a strong vocal performance that received applause from the crowd after the first section of the song, leading to a nice, warm lead on piano, and then a good lead on bass. That song was followed by Carole King's "Up On The Roof," a song Judy covered on her 2021 album Back To The Garden. Those opening lines about the world getting us down and people being too much to face are certainly relevant these days, and Judy was able to help us escape the world with her rendition last night. And the band began to take off during that great lead by Jeff Colella on piano. Then Gabe Davis delivered some seriously cool work on bass on "But Not For Me," and "Wish You Were Here" featured some delicious drumming from Kendall Kay.

"Make This City Ours Tonight" featured one of the first set's most captivating vocal performances. "Step into my fantasy and, baby, don't let me go." Judy followed that song with "It's You I Like," written by Fred Rogers (yes, that Fred Rogers). "The more you connect with people, the happier you'll be," she said in introducing that one. I imagine Fred Rogers would agree. I still need to see the documentary about his life. Judy's voice was supported by just piano for the first section of that song. Then she gave us an excellent rendition of "Crowded Heart," a song written by Sinne Eeg and Mads Mathias. Sinne Eeg was in the audience, the Danish vocalist having recently performed at Vibrato here in Los Angeles. "Once In A While" featured a cool section of back-and-forth action between bass and drums. Judy closed out the first set with "Laughing At Life," reminding folks during the song's introduction to laugh as much as humanly possible when dealing with the difficult state of the world. "Start now and cheer up," she sang, and the music certainly helped folks do just that. The set ended at 9:29 p.m.

Twenty minutes later she and the band opened the second set with "American Tune." "This is the saddest song in my repertoire," Judy said in introducing the Paul Simon song, which she had included on Back To The Garden. It is a sad song, to be sure, but her wonderful rendition still had the ability to make us feel a little better about the world. "And I dreamed I was flying." That was followed by "Pretty World" and "A Kiss To Build A Dream On." This music had me feeling so damn good. I especially loved that lead on piano during "A Kiss To Build A Dream On." And for the first section of "They Say It's Spring," Judy's voice was supported by just piano. That song also featured a good bass solo. 

The next two songs she chose were probably the coolest numbers of the night: "The Lonely One" and "Tomorrow Is Another Day." When introducing "The Lonely One," Judy mentioned how she liked Nat King Cole's song selections. Her rendition of the song featured an outstanding vocal performance. And "Tomorrow Is Another Day," a song she included on her 2015 album What I See, contained some great bass and drum exchanges, which I loved. She then wrapped up the show with a beautiful and soothing rendition of "Sack Full Of Dreams," a song she had included on her 2011 album Under A Painted Sky. The show ended at 10:33 p.m.

Set List

Set I

1. A Weaver Of Dreams
2. Up On The Roof
3. But Not For Me
4. Wish You Were Here
5. Make This City Ours Again
6. It's You I Like
7. Crowded Heart
8. Once In A While
9. Laughing At Life

Set II

1. American Tune
2. Pretty World
3. A Kiss To Build A Dream On
4. They Say It's Spring
5. The Lonely One
6. Tomorrow Is Another Day
7. Sack Full Of Dreams

The Famous is located at 154 S. Brand Blvd. in Glendale, California.

Fernando Perdomo: "Clouds" (2026) CD Review

Last year, Fernando Perdomo embarked on an incredible musical project, releasing an album of new material every month, each disc containing ten tracks that he not only composed but on which he played every instrument. That project was called Waves. You'd think that upon completing such a colossal undertaking, he might take some time off, some time to relax. You'd be wrong. On the first of this year, Fernando Perdomo released Clouds, the first volume in a new year-long project. Last year he looked out at the ocean; this year he is looking up at the sky, and finding inspiration there. As with last year's Waves albums, Fernando Perdomo wrote all the material and plays all the instruments on this new disc. And as on the Waves albums, Joe Galdo is again providing the photographs for the album covers, which gives the series a sense of continuation from the previous series.

The album's first track, "Clouds All Around Us," begins with what could be a celestial voice, a ray of light breaking through and hitting us. The music then gently invites us to its realm, welcoming us, the guitar work soothing us. And in the current madness of the world, we could all use exactly this sort of thing. We could all use a moment to breathe, a moment to cast our gaze away from strife and troubles. There is a beauty here, and an overall meditative feeling which I appreciate. "Perfect View" also has a soothing aspect from its start, the music telling us it's all right to take a break, and reminding us to accept our small place in this great universe. We exist for but an instant, so let's not rush it. This is music that slows our breath, re-aligns our pulse with a rhythm outside of us. 

There is a different sense at the beginning of "Vast And Bulbous," something like an air of mystery, of the unknown, though without any fear, without any sharp sensation of danger. It just that we are faced with something new, something unknown. And it soon becomes clear that we are within this mystery, within this new realm. We can feel the air swirling around us, moving steadily past, circling us, with lights twinkling, perhaps communicating. And if we could just access a certain part of our brains, we could understand what is being expressed. And then there is a joy promised, isn't there? Then, in "Astrolab," there is a light, like the sun beginning to rise from around the moon. And here we find ourselves farther out there, though possibly with each step outward we are also moving inward. For in space, what is louder than our own thoughts? Our thoughts seem to take form, and move out from us, become their own light, and it seems we are obtaining knowledge that approaches us in near-solid form. This one has a more electronic sound, with synthesizer rather than guitar dominating the track. And it is from that instrument that the track gets its title, the Arturia AstroLab synthesizer. Though of course the title also gets us thinking of the exploration of the moon and of other planets, and of lunar terrain vehicles. This track soothes us in its own way.

"Euphoria" seems to tell us that happiness can be found in letting go, in opening ourselves up to the greater cosmos and finding our place within that. And in leaving echoes behind, for the movement creates these waves that spread out behind us, as we hear from the guitar. Our lives touch other lives, and our actions, our movements are felt by the universe. Isn't there joy in that? Even if there is a hint of darkness at the very end of this track. That's followed by "Beyond The Blue," which has a full sound that seems to indicate our voices are not alone, that we are not alone. It expresses this appealing idea of exploring the universe with joy, of approaching new situations with joy and wonder, something we should take into our everyday lives. Like bright vessels that remain so even in the darkest of corridors. The final section of the track brings us in contact with an otherworldly intelligence, as we step into a new place.

There is an excitement, a readiness at the beginning of "Moving Through The Sky," an eagerness for exploration, for knowledge. It's interesting the way the track then breathes just as it's beginning to build in intensity. And perhaps there is a lesson there too, for pulling back is not stopping, it's not retreating. But it does give us the chance to appreciate the beauty around us, for this track certainly has a beautiful aspect to it - in its sound, and in its attitude, its approach. And then toward the end it begins to build again, before slowing and easing to its conclusion. That's followed by "Circles Above." When I glanced at the CD track list for the first time, this title reminded me of The Monkees' "Circle Sky." But the feeling of this song is much more peaceful, relaxing, with some really pretty guitar work. We might be put in mind of celestial orbits, or the orbs themselves, and soothed by the natural rhythms of the universe. Partway through this track, things bcome a little darker, or more somber, but that doesn't stop the motion. It simply changes the way we interpret it somewhat, the way we feel.

"Heaven" at the start offers a gentle, almost tentative embrace or welcoming, like fingers causing ripples in the cosmos. And then the sound begins to grow, to swell, as if the voices are becoming more confident. Then it relaxes somewhat, or we do, as we become accustomed to our surroundings, to this reality. The welcoming is repeated until we are certain, until we are secure. The album concludes with "Oneness," a beautiful look at our world, like light dancing down upon us, descending from the heavens in steams that we can see and perhaps even grab hold of, and use to swing ourselves up out of our normal surroundings to explore things from a different perspective, a different angle, taking it all in. Yes, life is so good. Isn't it incredible that we are here at all? If only for a glorious moment.

CD Track List

1. Clouds All Around Us
2. Perfect View
3. Vast And Bulbous
4. Astrolab
5. Euphoria
6. Beyond The Blue
7. Moving Through The Sky
8. Circles Above
9. Heaven
10. Oneness

Clouds was released on January 1, 2026.

Jennie Arnau: "A Rising Tide" (2025) CD Review

Jennie Arnau is a singer and songwriter originally from South Carolina and now based in New York, She released several albums between 2000 and 2010, and then took a break, at least from recording. Now she has returned with a new album, featuring all original material. Titled A Rising Tide, this album feels personal, these songs resulting from experiences and a life lived in the fifteen years since her last release. But the emotions, the needs expressed in these songs are known to all of us, regardless of how our own experiences may or may not differ. Joining her on this album are Alan Lerner (of The Zen Tricksters) on drums, Pete Levin on keyboards, Binky Griptite on electric guitar, Brett Bass on bass, Skip Ward on bass, Greg McMullen on pedal steel, Jacob Joliff (who was a member of Yonder Mountain String Band for a while) on mandolin, Mike Savino on banjo and tenor guitar, and Kendall Sherman on backing vocals. The album was produced by Phil Palazzolo and Jennie Arnau.

The album begins with "Oceans Rise."A kind of soulful vibe is created in the song's opening moment, with that cool work on keys. And then Jennie Arnau comes in on vocals: "You say you got scars/I can't see/They hold you at night/Whisper lies about me." This track contains some interesting and prominent work on electric guitar, acting almost like a response to what she is telling us. "I'm a better man in my head/Than in my heart/And every time I try/To turn this wreck around/The oceans rise up/And drag me back down." Those lines stand out, grabbing us, in part, undoubtedly, because of our own struggles, and in part because of her passionate delivery. "Oceans Rise" is followed by "Countryman." Some nice work on mandolin helps give this song a pleasant, cheerful sound at the beginning. "Scared of the sunset, scared of the dawn/But my heart needs a break/A weekend or a holiday." Oh, yes, we could all use a vacation. The song speaks of traveling this great land, something that is almost always appealing, though these days there are many places I have no interest in going because of the people who are there. And that makes me sad. This music urges joy.

Jennie Arnau changes gears with "Sail Away," which has a sadder, more contemplative sound from its start, particularly in that work on keys. This track features a good bass line and a pretty vocal performance. Interestingly this one begins with the lines "Sunset says/You're gonna be all right," when just the previous song mentioned being afraid of the sunset. But, as she then tells us, "You've got to sail away/Sail away from the past." There is a 1970s influence heard on this track. And check out these lines: "You've got to learn, you've got to learn/How to leave trouble behind/Don't you know tomorrows/Never last." That's followed by "Mabel." I'm not sure exactly why, but the first couple of lines make me smile every time I hear them: "Oh, everyone loves Mabel/Nobody loves me." This one has a sweet and soulful vibe, and features some good work on guitar. "There are storms in the desert/There are monsters in the sea/But they all fade away when I look in her eyes." I hope everyone knows exactly what she's talking about. And I love the way this song builds in joyous power toward the end.

There is a soft, pretty, innocent vibe to Jennie's vocal delivery as "Young & Alone" starts. "I move to the left/You move to the right/We think we're dancing/But there is no dancing tonight." And the softness, the innocence is in contrast to the world being described, the reality being lived. "The news on the TV is so devastating/I think I might vomit/The newscaster's fainting." And the innocence of childhood is gone from the world. The softness is from despair. This song is striking, one of the album's best. "That child is so young and alone." There is more joy then to "The King," a song with a gentle, welcoming and uplifting feel.  "Softly I cry/Please show a little kindness/Just a glimmer of light." That's followed by "Hold On." "You thought you could hold on/One more day," Jennie sings at the beginning of this one, and immediately I find myself in tears. There is a heartrending intimacy to this song. And when she repeats, "Your heart will break," we can feel it, in her voice and in ourselves. Interestingly, the song then kicks in and she repeats those opening lines. The feel of those lines is a little different, with the drums and keyboards and so on, and maybe that helps us lift ourselves from the pain and sorrow and despair. "Desperate as she slowly drifts away/And there's nothing you can do to save her." That's what is so infuriating, watching someone we love leaving and not being able to do a damn thing about it. This is one of my personal favorite songs on this album.

Then "Simple Man" seems to offer some encouragement. "I never look back," Jennie sings here. "I'd rather see the light/From the sun in the morning 'til the moon at night." There is so much beauty in this world, and so much beauty in this song. If only more people would focus on that, find the beauty without and within. This track also features some nice work on mandolin. As I get older, I find that lyrics about time passing hit me harder. Check out these lines: "In the blink of an eye/Our children will grow/Just when I get used to holding her hand/She lets go." Wow. That song ends with the line, "You will see the most wonderful things," and then "One If By Land" begins with the line, "I see you," and I can't help but connect them, and feel a sudden rush of love. "I see you/In everything/I do." Beautiful. This one also kicks in, with a glorious power to the vocals. Here she begs the universe, "Please let me be the one/To save you," and I can't help but think back to "Hold On," when she sang "And there's nothing you can do to save her." Even when we know, we still try, we still crave, we still need to have that ability. This is a powerful and moving song.

There is always something appealing about going home in song, isn't there? In "Back To Carolina," Jennie sings, "Going back to Carolina/I've been gone too long/Tried my best to love this place/But it just ain't my home." Sometimes our hearts are in two places at once, and wherever we are, something is missing. This song features an excellent bass line, and also some really good stuff on drums, in addition to another strong vocal performance. Then "Heaven In Her Eyes" is a song of finding love, but not just that; it's a song of wanting our loved ones to know that we've found love, that we are all right. "I don't need to climb another mountain/Searching for some stairway to the sky." I love the way the backing vocals build there. "Better Luck Next Time" also features some excellent vocal work, plus great stuff on pedal steel.

The beauty of "Every Raindrop" grabs us immediately, first that work on keys, and then the vocals, when they come in, repeating "Every raindrop" like a mantra. "We're all lost in the dark, yeah/We're all scared of goodbye/We all run for cover in a storm/We all need a little warmth." We have so much in common, yet there are people who dedicate their short time of existence to making other people miserable. I will never understand that. "Catch a little light in your hands." The album concludes with "Sunshine," another pretty song featuring some wonderful guitar work. "It's been a long winter/And I'm weary to the bone." In the second half of the track, there is a shift, as the drums come in, moving things in a new direction. "Gonna take my little ships/Sail far, far away."

CD Track List

1. Oceans Rise
2. Countryman
3. Sail Away
4. Mabel
5. Young & Alone
6. The King
7. Hold On
8. Simple Man
9. One If By Land
10. Back To Carolina
11. Heaven In Her Eyes
12. Better Luck Next Time
13. Every Raindrop
14. Sunshine

A Rising Tide was released on November 7, 2025.

Legendary Swagger, Roman's Weirdos, Drool Brothers at Maui Sugar Mill Saloon, 1-17-26: Photos

It was another fantastic show last night at Maui Sugar Mill Saloon. I had been listening to Drool Brothers music most of the day, and was excited to see them again. That band alone would have made it a great night. But in addition, we got a special acoustic duo version of Legendary Swagger, something that hadn't happened before, and, according to the musicians themselves, won't happen again. And on top of that, we were treated to a set by The Weirdos, or Roman's Weirdos, a band that wasn't originally on the bill. It was supposed to be The Furys, but that band's bass player had a medical emergency, and The Weirdos filled in. That was three excellent performances, and with no cover charge. Have I mentioned how great this city is for music fans?

Legendary Swagger

The night kicked off just after 9 p.m. with the acoustic set by two members of Legendary Swagger, Dino Everett (whom you might also know for his work in Streetwalkin' Cheetahs) and Skot Pollock, referring to themselves as Leg Swag for the purposes of this particular show. "We're going to stumble through some acoustic songs before the real musicians get up here," Dino joked at the start of their set. They played a few songs written by Dino's friend John David Baldridge, a songwriter from Florida, including his "Cocaine, Marijuana And Alcohol," which had a great raw edge. They also covered The Ramones' "I Just Want To Have Something To Do" and The Dogmatics' "Thayer St." Perhaps the most surprising cover was Cat Stevens' "The First Cut Is The Deepest," delivered as sort of punk folk. "Okay, we've got one more, then we're gonna break up," Dino told the crowd before the final song, "Is It Ever Over." The set, and the duo's career, ended at 9:40 p.m.

Roman's Weirdos

The Weirdos (or, Roman's Weirdos) were up next. Before they started, Jeff Wolfe, who is also lead singer of The Furys, mentioned how that band's bass player was rushed to the hospital, and that's why the night's lineup was changed. The Weirdos focused on songs from early in the punk band's career, opening the set with "Happy People," which had a delicious energy, and following that with "Life Of Crime," which rocked. Cliff Roman mentioned in the introduction to "Destroy All Music" how the song was recorded the day that Elvis Presley died, and was the band's first single on Bomp. That was followed by "Solitary Confinement," a song that is slower at the start before kicking in with a wonderful punk force. They also did three of the four songs from the Action-Design EP, including the cover of The Doors' "Break On Through," which always felt like a punk song anyway. "Helium Bar" came on at a gloriously furious pace. They wrapped up the set with the great "We Got The Neutron Bomb" and "Fallout." Their set ended at 10:28 p.m.

Drool Brothers

Drool Brothers closed out the night, Tom Slik sporting a cool Slade T-shirt, and Chuck Mancillas wearing his "Fuck You Fame Whore" shirt, which, if I recall correctly, was for sale at Richard Duguay's merchandise table the first time I saw Drool Brothers perform. Anyway, the band was ready like fifteen minutes before they were scheduled to start, and didn't bother waiting around for those minutes to pass before kicking things into gear. They opened with a couple of songs from their new Psychology album, "Have Fuzz Will Travel" straight into "Kaleidoscope." "Enjoy the show," indeed. I especially loved that bass line to "Kaleidoscope." That was followed by "It's A Drag," which featured a cool lead on guitar. Chuck introduced "Psychology" as a disco song, adding, "Disco is the new punk." This was another song with a totally delicious bass line, and the guys threw in a bit of "Get Off Your Ass And Jam" in the middle. And why not? In introducing "Frat Boy," Chuck mentioned, "We have a Supreme Justice that is a frat boy." Indeed, a frat boy and rapist, but those seem like prerequisites for advancement in the country's Fascist Party these days. Drool Brothers then played one of my personal favorites, "Fullerton," a song from the band's debut full-length album. It has a delicious groove, and is a total delight. That was followed by "Alice," a song that is like a great carnival ride, a roller coaster through California darkness and light. "Go ask Alice, she knows everything," Chuck added at the end. The band was then cooking on "Fame Whore," which was a lot of fun. They wrapped up the set with "Get Drunk Talk Shit," from Mondo Electra. "All right, we want to hear you on this one," Chuck told the crowd, reminding them they only had to sing four words. The show ended at 11:25 p.m.

The Drool Brothers: "Mondo Electra" (2023) CD Review

In December, Drool Brothers released a great new album titled Psychology. That album followed the group's 2023 release, Mondo Electra, a six-song EP. As with the new album, this EP contains all original material, written by Chuck Mancillas. Unlike the new album, for this release the group was a trio. Natalie Mancillas hadn't yet joined the band (though she does sing on one track). At this point, the band was made up of Chuck Mancillas on lead vocals, synthesizers, guitar and drums; Tom Slik on bass and backing vocals; and Dan Marfisi on organ, bongos, percussion and backing vocals.

"All I want is a quiet vacation," Chuck Mancillas sings at the beginning of the disc's first track, "Quiet Vacation," speaking for all of us, I suppose. I think we all want to get away. From the news, from this country, from this reality. And he promises himself, "I'll bring some medication/Little high on the recreation." Yup, that's necessary, for sure. The "ba ba-ba ba" backing vocals have something of a 1960s thing happening, and there are some cool, psychedelic elements too. And the very end seems to contain a nod to "Gloria," a song the group's "Freak Out" (a track on the new album) also reminds me of at one point. "I will be in isolation/California is my destination." "Get Drunk Talk Shit" seems to pick up something of that "Gloria" rhythm too, as they repeat, "Get drunk, talk shit/Get drunk, talk shit." Then the verses have more of a pop appeal. "You don't hear a word I say/But you just keep on talking." And there is some really nice guitar work, particularly toward the end.

"We won't follow protocol," Chuck sings at the beginning of "Underground." A good first line, with a punk attitude, helping to establish the tone, the vibe. There is a harder edge to this song, except on its title line. That's when the song has more of a pop feel. There has always been something appealing about underground music, underground journals and the like. These days, with the internet, it might not be quite as clear what classifies as underground, but no matter. Check out your local scene, support your local artists. That's where most of the real action is. And who doesn't want to step away from the mainstream world these days anyway? That's followed by "Sophisticated Twist," a playful number, particularly in the vocal approach. If you dig Devo, you'll probably love this. It's a whole lot of fun, totally catchy, and suddenly over. This track is less than two minutes long.

"Maybe" is another unusual song. You might not think it at the beginning, that guitar seeming to promise a more conventional rock number. And, sure, there is a bit of that in this track, but there are other things at work here, including a varied vocal performance that keeps us engaged. "What did you mean when you said/I don't know, maybe." It's a song that asks for a little clarification. Is that too much to ask? There is certainly something playful too. "The echoes laugh and cry/Haunting endlessly/A third grade spelling word is testing me." There is a cool, fuzzy guitar lead toward the end of the track. The EP then concludes with its title track, "Mondo Electra," and it is this song that features Natalie Mancillas on vocals. It is another fun one, a dance song, with some cool stuff on drums. This song feels like a weird sort of party, one foot in the 1960s, one foot in some electronic realm. But that is what this group is so damned good at doing.

CD Track List

1. Quiet Vacation
2. Get Drunk Talk Shit
3. Underground
4. Sophisticated Twist
5. Maybe
6. Mondo Electra

Mondo Electra was released on September 20, 2023.

Drool Brothers: "Psychology" (2025) CD Review

In December, I went to see Pat Todd & The Rankoutsiders at Maui Sugar Mill Salloon, and at that show got turned on to another band that was on the bill, Drool Brothers. Their set focused on material from their new album Psychology, and when I got home I was kicking myself for not purchasing a copy of that disc. Well, I now have that CD in my collection, and it's even better than I'd imagined. It features all original material, written by Chuck Mancillas. The band is made up of Chuck Mancillas on lead vocals, guitar, mellotron, theremin, and drums; Tom Slik on bass and backing vocals; Dan Marfisi on lead guitar, congas, percussion and backing vocals; and Natalie Mancillas on keyboards, percussion and backing vocals.

The album opens with "Kaleidoscope," which is also the song the band chose to open that show I saw. It's a cool song that combines elements of punk, pop and funk, delivered with a great sense of the absurd and the strange. For certainly this whole world is a circus of sorts, which we witness, as well as take part in. "Lose your mind, let it flow/Kaleidoscope/Enjoy the show/Clear your head, feed your soul/Kaleidoscope." And the instruction is repeated: "Take it slow/Enjoy the show." And maybe that's the conclusion we have to come to these days, to enjoy the show, no matter how twisted it gets, as George Carlin urged us. There are some 1960s influences too, heard in some of the backing vocal work and in the song's psychedelic elements. Then "Have Fuzz Will Travel" has more of a rock vibe, right from the start. This one features Tim Mancillas joining the group on lead guitar. It's a song about music, about guitars, and has some catchy elements, including the backing vocal work and a bit of cowbell (it's still difficult to hear a cowbell without thinking of that Saturday Night Live sketch). "Have fuzz will travel/Distorted thoughts and nothing more/When I plug into you/There's nothing else I want to do." And, you know, I think music is the power supply for a lot of us. Could we keep going withou it?

"The Song That Nobody Heard" is a delightful pop number, with a pleasant beat and vibe that feels familiar, like something that might be at home in a Patridge Family song (which is apparent even before they actually refer to "I Think I Love You" in the second verse). But then these guys do something different with it, taking what is totally cheerful, and giving it an unexpected edge. "Will I be rich, will I be poor/Am I just another bore/Singing songs like everyone else has done before?" And even the song's title is a bit of a play, "The Song That Nobody Heard," as it will sound familiar to anyone with a passing interest in pop music of the 1960s and 1970s, and in later power pop numbers. The vibe gets darker and heavier then with "Green Jesus," like a slow metal number. "Right now, can you hear me/Green Jesus?" I love that moment with the added percussion, which works in interesting contrast to that heavy rock sound. This band is so good at offering surprising mixes of influences and sounds and feelings. And in the second half of this track, there is another change, the band seeming ready to go into a different direction, perhaps to a lighter place, and then returning to the song's main landscape.

There are some strong 1960s influences heard in "Snacks And Treats," a fun, playful track. "Too much sugar can make you ill/Not so fast, you're gonna get fat/Don't be a spoiled brat." I have to remember to play this track for my brother Tim, because of its main line, "Snacks for Melody and treats for Tim." This song is totally enjoyable. I'm digging that stuff on keys. There are even hand claps. The vocal approach at times reminds me of Trey Anastasio. That's followed by the album's title track, "Psychology," and here we get into some delicious disco territory, with that totally wonderful bass line and solid beat. "My mind is racing/And I find myself still wandering/To places I don't want to go/So tell me what to do." Ah, yes. I love Natalie's sweet echoing of certain words: "psychology," "lobotomy," "shock therapy." This is another of the songs that I saw the band perform, one of the songs that made me want to own this album. It's so damn good. 

A decade ago, Richard Duguay released a song titled "Fuck You Fame Whore," and that song inspired Drool Brothers to write their own "Fame Whore" (the night I saw Drool Brothers, Richard Duguay & The Beautiful Decline were also on the bill, so I got to hear both "Fame Whore" songs at that show). This song has quite a different vibe from the Richard Duguay song, and as it starts, something about it reminds me of "(I'm Not Your) Steppin' Stone" (it's at least partly because of the tambourine). This song has a cool garage rock sound. "Everybody around here's doing the same old thing (same old thing)/I'm getting really tired of the same old scene (same old scene)/Same old hair, same old walk/The same old crowd, the same old talk/It's getting really boring, the name-dropping scene." That's followed by "Freak Out." The lyrics in the song's first section are delivered as sort of spoken word. The track soon kicks in, just after we're told, "Breathe in, breathe out." And those lines are repeated as we return from the "freak out" part. This is a wild number, reminding me a bit of "Gloria" on the "freak out" part. "This is what it's about/Close your eyes and freak out."

The album concludes with "Dumb." Here is a taste of the lyrics: "You believe what other people say/You have no problem wasting your day/It's fun being dumb." I know I'm not alone in noticing that people have gotten much dumber in the last decade. If people were this stupid in the past, they were better at hiding it. Of course, the internet has given the dumbest people a large voice. But even before that, electing Ronald Reagan was an early clue that this nation was getting stupid. And then there was George W. Bush (dear lord). But those two seem like geniuses compared to the twit currently occupying the White House and all the morons who continue to support him. Are they happier, those morons? I don't know. But either way, we have to face it, we are a nation of idiots. "Wave your clown flag to the sky/You win, you win."

CD Track List

1. Kaleidoscope
2. Have Fuzz Will Travel
3. The Song That Nobody Heard
4. Green Jesus
5. Snacks And Treats
6. Psychology
7. Fame Whore
8. Freak Out
9. Dumb

Psychology was released on December 5, 2025. 

Sandy Rogers Band at Unurban Coffee House, 1-15-26 Concert Review

Sandy Rogers Band

Sandy Rogers Band returned to Unurban Coffee House in Santa Monica last night. This time the band was a trio (Sandy Rogers, Paul Marshall, Victoria Jacobs), as guitarist Dan Janisch wasn't able to make it. And so the songs had a somewhat different vibe, perhaps a rawer edge, delivered on acoustic guitar, bass and snare drum. Interestingly, Sandy did some things vocally that I don't think I'd heard before. She always delivers a great vocal performance, but last night was something special, with her trying some different things. And everything she tried worked perfectly. Seriously, she gave a phenomenal performance. And Paul Marshall had a chance to do a lot more with the bass, filling in some of the holes created by Dan's absence. It was one hell of a good show. And apparently, Sandy Rogers Band is going to be playing somewhat regularly at this venue, once a month, which is great news for music fans, especially for those of us who love some blues in our country.

"One Of Those Kind"

The first set kicked off at 7:44 p.m. (just a little late, as the doors hadn't opened until just after 7), Sandy Rogers starting the night with "Tingling Blue," the title track from her excellent new album. And immediately the world seemed a better place. You know? Isn't it great how artists can do that, how the right song can do that? We certainly need it, especially these days. The band followed that with "One Of Those Kind," which also follows "Tingling Blue" on the album. And even this early in the show, Sandy was delivering some impressive vocal work. There were signals then that she was going to be pumping even more life into these songs. "Then he's gonna find some other fool/Like you."

"Fool For Love"

"This is the song that started all this off," Sandy said in introducing "Fool For Love," a song written for the movie Fool For Love, but actually used in the movie Reservoir Dogs. She started that one off solo. That was followed by "Suburban Boys," a fun number that featured a kind of adorable bass line that had me smiling almost immediately. After that song, Sandy mentioned that it was written about South Pasadena. She followed that with "Train Fare To Memphis," which featured another tremendous vocal performance. Hers is a voice that has so much going on behind it, or within it, and we feel it all as we listen. She can take us on a great emotional ride all within a single line, and sometimes within a single word. "I can still see him waving goodbye." Then in "Lonesome Man," she sang, "I waited so long/For you to really love me." I especially loved Sandy's delivery of that section toward the end where she sang, "Missing me, you're gonna be so crazy." That was one of those moments where she surprised us with all she was doing vocally. Fantastic and captivating work. Paul delivered some cool stuff on bass on that song too. It was certainly a highlight of the set. "That's my favorite off the record," Sandy said afterward. 

"In Her Auto-mobile"

"In Her Auto-mobile" is also from Tingling Blue, and was another fun number last night. It was followed by "Missouri Blue," a song that never fails to make me feel good. It's all about the journey, isn't it? "I keep on searching." The band then gave us "Wild Bill," a song written by Paul Lacques. "My days of fun are through," Sandy sang at the beginning of this one, with a great ache in her voice. That song comes from a play that Paul Lacques wrote, and after the song Sandy turned to Victoria and said they should put on that play, maybe do it at the Unurban. That would be great! The first set then wrapped up with "Trailer Up On A Hill," another fun one with a rhythm that makes you feel like moving, or at least tapping your toes. The first set ended at 8:34 p.m.

"Let's Ride"

Less than fifteen minutes later, the band was on stage again. "Okay, we're back," Sandy announced, and went into "Let's Ride," which featured some very cool touches on bass. The band then slowed things down a bit with a beautiful rendition of "Why Wyoming." This was another of the songs to feature an incredibly impressive vocal performance, making it a highlight of the evening. Seriously, she was giving the audience something new, something special on this one. Don't you love when you realize in the moment that you're witnessing something fantastic? You could feel it in the room, that everyone was cognizant of what was happening, and was appreciating it. "Turn Around" followed. That's a song that had me smiling from its first notes, its first chords. "Close your eyes and see the joy/Turn around/Turn around/Oh boy, oh boy, oh boy." And here again Paul got a chance to deliver some great work on bass. The second set was much shorter than the first, and Sandy Rogers Band wrapped it up with "No Antidote" and "Run Out Of West." "Run Out Of West" is an excellent song, written by Nick Gravenites, and last night's rendition included some great stuff on bass. The show ended at 9:12 p.m.

Set List

Set I

1. Tingling Blue
2. One Of Those Kind
3. Fool For Love
4. Suburban Boys
5. Train Fare To Memphis
6. Lonesome Man
7. In Her Auto-mobile
8. Missouri Blue
9. Wild Bill
10. Trailer Up On A Hill

Set II

1. Let's Ride
2. Why Wyoming
3. Turn Around
4. No Antidote
5. Run Out Of West

Here are a few more photos:

"One Of Those Kind"

"Train Fare To Memphis"

"In Her Auto-mobile"

"Let's Ride"

"Let's Ride"

Dogs Run Free Episode 9: Two Friends Talking About The Grateful Dead, Part 2

Following the death of Bob Weir, I got together with my friend Jon Rosenberg to talk about our experiences with the Grateful Dead and Dead & Company. I recorded the conversation for my "Dogs Run Free" podcast. We ended up talking for more than an hour, so I divided the conversation into two episodes. Here is the second part.

Dogs Run Free Episode 8: Two Friends Talking About The Grateful Dead, Part 1

Time got away from me, and somehow more than a year went by since the last episode of my podcast was recorded. I'm still not sure how that happened. But after the death of Bob Weir, it seemed like a good idea to work through the sadness by talking with my good friend Jon Rosenberg about our passion for the Grateful Dead. And to share our memories and thoughts with others who might also be hurting. And who knows? Maybe we can turn a few new people onto the music that we love so much. So this new episode is something of a departure from previous episodes of "Dogs Run Free." This one is Two Friends Talking About The Grateful Dead. Enjoy.

   

Betty Bryant: "Nothin' Better To Do..." (2026) CD Review

The great Betty Bryant recently celebrated her 96th birthday with a couple of special concerts, and now has a new album coming out. If you haven't seen her perform and you live in Los Angeles, I highly recommend checking out one of her shows. She is a joyful force at the piano and an absolute delight vocally. You probably can get at least a hint of that from the photo that graces the cover of Nothin' Better To Do..., her new album. This album, by the way, contains a couple of songs that she wrote, because in addition to being a fantastic pianist, she's a talented songwriter. In fact, I wish she'd play more of her original material at her live performances. Anyway, if you aren't able to get out to Los Angeles to catchy Betty Bryant in concert, you can pick up a copy of this new disc. Joining her on this album are Robert Kyle on soprano saxophone, tenor saxophone, flute and guiro; Richard Simon on bass; Hussain Jiffry on bass; Kevin Winard on drums; Aaron Serfaty on drums; Tony Guerrero on trumpet; Kleber Jorge on guitar; Luanne Homzy on violin and viola; and Niall Taro on cello.

Betty Bryant opens the album with a wonderful cover of "You Are Not My First Love," a song written by Bart Howard and John Peter Windsor. This rendition opens with some good work by Kevin Winard on drums before Betty comes in on piano. This track also contains some very cool stuff by Richard Simon on bass at the beginning (and throughout). And then Betty tells us, "Hey now, you are not my first love/I've known other charms/But I've just been rehearsing/In those other arms." And you can hear in her delivery her cheer, her joy, her sense of fun. Check out, for example, the way she sings, of her heart, "But there aren't many scratches/You hardly see the patches." And toward the end, there is a delightful laugh as she delivers the song's first line again. Robert Kyle offers a really nice and warm lead on saxophone, followed by Betty's lead on piano, delivered with a gentle, loving touch. This track also features good solos on bass and drums. That's followed by a cover of "I Can't See For Lookin'," which was written by Nadine Robinson and Arnold "Dok" Stanford, and recorded by The Nat King Cole Trio. There is a vibe to Betty's rendition that is both warm and cool, established in the song's opening moments. I love how you can hear Betty's smile in her vocal approach. This is a song I've seen her perform in concert, and it's always a treat. "Won't some fellah take a chance on me?" she asks, and there is a flirtatious wink in her delivery. We've all heard it said that music can keep someone young, at least to a certain extent, and Betty Bryant is the best evidence for the truth of that statement. Just wait until you see her in concert. Three decades will disappear the moment she starts to sing. Anyway, there is an easygoing feel to her lead on piano here, strutting in, knowing just what it's about, and not needing to present anymore than that.

"He May Be Your Man" is another song I've seen her do in concert, and it's always a highlight of her set. What's more, it is an original number. "Hey now, he may be your man/Aw, but he comes to see me sometimes/I said he may be your man/But he comes to see me sometimes/He's been coming so often/I'm beginning to think he's mine," she sings at the beginning. This is such a cool number, and here Betty Bryant shows her great sense of humor too, as when she sings, "and he's somebody else's too," or when she reveals, "He's got a face like a fish, shaped like a frog/But when he starts to loving me, I holler, 'Ooh, hot dog.'" That humor is certainly part of her tremendous appeal. You can hear it in her vocal delivery, and also in her playing. "I said, if you love your man, you'd better keep him by your side/'Cause if he flags my train, I'm sure gonna let him ride." I remember the first time I saw her play this song, being totally delighted by those lines, and then being delightfully shocked by the next line, "You're so beautiful, aw, but you gotta die some day." This is a song that Betty Bryant earlier included on her Mostly Me album, that version featuring just vocals and piano. This new version features a wonderful lead by Robert Kyle.

"I Haven't Got Anything Better To Do" is the first track to feature the strings, the only track to feature the guitar, giving this one a different sound, a different vibe. As it begins, there is a soft and contemplative beauty to it. Then the guitar takes on a rhythm and leads into the main body of the song. Betty's delivery has a different tone here, though there is still humor, as in the lines, "I think about him on alternate Thursdays/When I haven't got anything better to do." There is a slight pause after "I think about him," which gives the rest of the line more of a punch because it's not how we expect the line to conclude, particularly as the song has this beautiful, mellow feel. It was written by Lee Pockriss and Paul Vance. There is something of a dreamlike atmosphere to this track, created in part by the work on strings and that wonderful lead by Kleber Jorge on guitar. Robert Kyle's work has a great soulful feel. Hussain Jiffry plays bass on this track, delivering some excellent touches. Hussain Jiffry also plays bass on "Time Was," and Aaron Serfaty plays drums. Robert Kyle plays flute on this one. The song was written by Miguel Prado, Gabriel Luna and Bob Russell. Betty Bryant delivers a rendition with some pep, and that is part of what makes her version so much better than others I've heard. She looks back with fondness, but her delivery makes those times feel present. "Time was when we wrote love letters in the sand/Lingered over our coffee and dreamed all our time away." She can make the present just as sweet, and does so here. Plus, there is something about the lead on bass that makes us feel good.

"Mama Sue" is an original number, and a fun one, which the delicious rhythm lets us know right away. And check out Betty's delivery. She has a loose, cool approach, sort of like spoken word. "I have to tell you exacly where/'Cause if you look at a map, it ain't really there." And there is a laugh in her delivery there. This is fantastic. She wrote this one with Robert Kyle, whose work adds another cool element. And the drumming gives this one a New Orleans flavor. This track is popping, grooving. "Did I mention the jam session Saturday night/Neighbors don't mind, 'cause the music's all right/Sometimes it lasts 'til the first morning sun/It ain't BB King, but it gets the job done." Oh yes! This is so good. It's followed by "Thanks For You," which was written by Bernie Hanighen and Marvin Wright. "I offer my grateful heart now," she sings, and her delivery is honest and true. And, again, we hear the joy in her voice as she sings lines like "My feet have found the ground/And yet my heart has wings." It is like she is having and expressing these thoughts for the first time, singing these words for the first time. That is one way she makes these songs so fresh. This is the other track to feature Aaron Serfaty on drums.

Tony Guerrero joins the group on trumpet for "Awrite Then," an original piece, not written by Betty Bryant, but by Robert Kyle. It is another joyous number, with a great sense of cool also, particularly in its bass line. And, as you might guess, Robert Kyle delivers some totally delicious stuff on saxophone. It is his work that especially stands out here, on the album's only instrumental track. This relaxed, bluesy number also contains wonderful leads on piano and bass, as well as a drum solo toward the end, which of course I appreciate. The album then concludes with "Winter Warm," a pretty song written by Burt Bacharach and Hal David. Luanne Homzy and Niall Taro return on strings, their work setting the tone, creating the atmosphere. "But your kisses make December seem just like May." Ah, yes. May we all know just what she's talking about here. "Tonight was made for lovers to embrace." Isn't that what life is about? There is a yearning here, and Robert Kyle's work on flute adds a light, magical touch, making us feel that life can be a fairy tale.

CD Track List

1. You Are Not My First Love
2. I Can't See For Lookin'
3. He May Be Your Man
4. I Haven't Got Anything Better To Do
5. Time Was
6. Mama Sue
7. Thanks For You
8. Awrite Then
9. Winter Warm

Nothin' Better To Do... is scheduled to be released on January 16, 2026.

A Wonderful Afternoon Of Music At Music Garden L.A., 1-10-26

Los Angeles has all sorts of cool little music venues, and one I had not really known about until yesterday is Music Garden L.A., an intimate outdoor spot in Highland Park, located right next to the Highland Park Brewery. Highland Park has certainly changed a lot since I first started seeing music in that neighborhood back in 2002, and I was so happy to learn that there are still cool, loose spots like this, where it is all about the music. The lineup yesterday was something special: Mini Mendez & Tom Dunne, The Smokey Lonesome, and Kenny Jamison & The Somethin' Like Thats. The venue actually has two small stages, the second of which functions (or at least it did yesterday) as a spot for the other bands to set up some equipment while one band is performing on the main stage. There are several tables and chairs, but no bathrooms or anything (you can use the bathroom at the brewery next door, and while there, check out the Good Night L.A. black IPA, it's delicious). All the artists remarked on what a beautiful day it was. Hey, where else can you catch an outdoor show in January?

Mini Mendez & Tom Dunne

Mini Mendez & Tom Dunne were up first, taking the stage just after 3 p.m. I had seen The Glimmer Stars a few times, but had never seen Mini Mendez in this context before. Never seen him on acoustic guitar instead of electric bass, never seen him seated instead of running around on stage. Hell, I'd never seen him in daylight before. He opened the set with "Friday Night I'm Wearing Blue," and right away I was struck by the fact that he still had that terrific energy to his vocal performance, even with an acoustic guitar on. After his second song, he asked if his voice was loud, saying it felt loud to him. Well, yeah, you bet! He did a song called "I'll Be Paul," in which he sang, "I'll be Paul, you'll be John," and that led straight into a bit of "Ticket To Ride." Later in the set he added a bit of "Da Doo Ron Ron" to the end of a song. And actually he and Tom ended the set with the Glimmer Stars song "Nice" leading straight into a bit of Big Star's "In The Street." The set also included "December" and "Paulina." After "Paulina," Mini joked, "I was going to do a bass solo, but I have a guitar on me." The set ended at 3:32 p.m.

The Smokey Lonesome

The Smokey Lonesome was up next. This is a band that I had tried to see twice before (after reviewing the 2024 EP Desert Run), and was excited to finally get to see perform. The band is the duo of Dave Porter and Natalie Fratino, with Dave on electric guitar and Natalie on acoustic standup bass. After their first song, Natalie asked how the balance was. The answer coming from someone in the crowd was "More bass," to which Natalie replied that was what she liked to hear. You might not expect this duo to rock, and you'd be happily surprised. Particularly on a song like "AC Breakdown," in which Dave sings, "No air conditioning, nothing on there to crank up" while they themselves were cranking up the energy. Dave was tearing into those vocals. They dedicated a song about how cannabis is legal in California to Gloria (of The Firkins, and also a member of The Somethin' Like Thats). It was a fun song, and suddenly all I could smell was pot, though I didn't see anyone smoking. Go figure. Natalie then sang lead on a cool rendition of "Besame Mucho." They also covered Tom Petty's "Ways To Be Wicked." One of the most fun numbers of the set was "Paulito's Old Lady." At times, Dave's vocal approach reminded me of some of Chris Chandler's early work. They followed that with "The Smokey Lonesome," which Dave introduced as their theme song, and which, yes, puts them in that category of bands who have a song that shares their name (along with Bad Company, I See Hawks In L.A. and They Might Be Giants, among many others). That song had a line about rays of the falling sun, and at that moment we were reaching the golden hour. They wrapped up the set with the title track from Desert Run. The set ended at 4:40 p.m.

Kenny Jamison & The Somethin' Like Thats

Kenny Jamison & The Somethin' Like Thats then took the stage. "We're gonna have a little fun," Kenny told the crowd before starting the first song. The band included Gloria Delgado and Sophia Delgado of The Firkins on bass and lap steel respectively, as well as John Harris on drums, an excellent group of musicians. And right away it was clear that one thing all three bands on the bill had in common was high-energy vocals. This was country with a bit of punk in there. You know? The song "Widow's Waltz" featured some really pretty work on lap steel. And after that song, Kenny joked "Something like that." Sophia Delgado then switched to electric guitar for the next song, a fun number with a delicious energy. Afterward Kenny again joked, "Something like that," a running gag with the band's name. I love when artists riff on those standard band comments. I remember another artist at one point introducing a song by saying, "It goes exactly like this," playing on the oft-heard, "It goes something like this." They followed that with a song I assume is titled "Smooth Motherfucker," a song that featured some great stuff on lap steel and cool work on bass. "John Harris is the smooth motherfucker of the band," Kenny said afterward. "Life's A Hangover" was another delightfully playful number, even the false start kind of fitting in with the vibe. They then ended on a softer, prettier note, "The Girl Who Stole My Heart." "Thank you very much for staying out this late," Kenny joked at the end. It was 5:34 p.m.

"Sing Me Back Home"

James, the guy who runs the venue, then got on stage and played a little of Merle Haggard's "Sing Me Back Home" with The Somethin' Like Thats backing him. That was a great song to hear in that moment because I had just learned that Bob Weir had died. "Sing Me Back Home" is a song that the Grateful Dead played several times in the early 1970s, though it was Jerry that sang lead on it, not Bob. A wonderful afternoon of music turned much sadder with the news of the end of a wild journey.