Rick Shea & The Losin' End and I See Hawks In L.A. at Maui Sugar Mill Saloon, 5-20-26

Last night was the night of Rick Shea's monthly "Swingin' Doors" music series at the Maui Sugar Mill Saloon in Tarzana, and joining his band was I See Hawks In L.A., promising a special evening. For those who haven't yet been to one of the "Swingin' Doors" nights, the way it works is Rick Shea & The Losin' End do two sets, and in between those sets, the guest band performs a set. So that's three sets of great music. And there is no cover. 

Rick Shea & The Losin' End

Rick Shea & The Losin' End opened the first set with "A Week In Winnemucca," which is the lead track from Rick Shea's new album, Smoke Tree Road, and was a perfect choice to set the tone for the set, the song having such a good vibe. I'm not sure I ever noticed this before, but drummer Dale Daniel held a stick in his right hand (for the floor tom) and a brush in his left (for the snare) for this song. He switched to two sticks for "The Town Where I Live." In introducing that song, Rick mentioned being from San Bernardino. "It was a rough place," he said, and it's gotten a little rougher since then. That was followed by "Mexicali Train," which is about a train trip Rick Shea took a long time ago. The song is one of those that take us all on a trip, the song's rhythm being that of the train (Dale using brushes for this one). The song featured a really nice vocal performance, as well as some pretty guitar work from Tony Gilkyson during his lead. "Mariachi Hotel" also takes us straight into its world, a world populated by interesting characters. The great vibe of this song always hits the right spot, and Rick delivered a cool lead on guitar, with Tony adding his own delightful touches.

Jeff Turmes has a new album in the works, and last night marked the first time he played "I Heard You Were In Town" in concert with Rick Shea. The band has been playing another of Jeff's new songs, "Things I'm Not Gonna Think About," off and on since last summer, and it's clear from these two songs that this is going to be a good album. So keep an eye out for that one. "Guardian Angel," a song from Rick's new album, followed. In introducing the song, Rick thanked Paul duGre, who mixed and mastered the album, and who was in the audience. The band delivered a really nice rendition. "I took a lot of crazy chances/I was lucky that I pulled through." That was followed by "Hold On Jake," with a good energy to the performance. "Hold onto whiskey if it gets the job done." Tony was delivering some particularly wonderful stuff on guitar at the end. Tony then led the band in his "Papa Don't Sleep," an instrumental number that had its own delicious energy and was a whole lot of fun. Rick mentioned that Tony is working on a new album, and Tony said it will be out in the fall. So there's another album to keep an eye out for. The band wrapped up the set with a couple of Midnight songs: "Blues At Midnight" and "Midnight Shift."

I See Hawks In L.A.

I See Hawks In L.A. then took the stage. The configuration was a bit different from usual, with Rob Waller standing stage right, and Dan Wistrom in the center. The band opened with "Raised By Hippies," a fun way to kick off the set. Everything was feeling right, and the song featured a good lead by Dan on pedal steel, as well as some great harmonies, particularly at the end. Dan asked about turning off one of the stage lights, which wasn't possible. He's not the first person in his spot on stage to remark on that light. "I like the dim lights," Rob said, "thick smoke," and Dan finished the sentence with "and loud, loud music." There was certainly a playful vibe last night, something that is always appreciated. A really good rendition of "Hope Against Hope" followed, that song featuring an excellent vocal performance from Rob, some great stuff from Paul Marshall on bass, and a sweet lead on pedal steel. After that song, Rob's beer bottle fell onto his pedal. "I imagine I'm not the first person to spill a beer on this stage," Rob said as he retrieved the bottle. Nubs, the venue's sound guy, immediately confirmed this. Dan switched to electric guitar for the always-fun "Ohio." "I was hooked on my vanity project, but now I'm clean." Rob then announced there seemed to be no damage to the pedal caused by the beer, just as was the case with his brain. That was followed by an excellent rendition of "White Cross" that featured a particularly nice lead on electric guitar that drew applause from the crowd.

The band played a sweet rendition of Willie Nelson's "Me And Paul," featuring a good rhythm from Victoria Jacobs on drums. Rob led Paul into telling the story of meeting Willie Nelson, and about hanging out with him and smoking pot with him, jokingly ending it with the bit of advice that Willie gave him: "Paul, don't be a name-dropper." That was followed by one of my favorites, "Jug Of Misery," a song with some wonderful harmonies, a song that might have you close to tears if you let the music in that way. Rob then mentioned the world losing Clarence Carter. He said Clarence did a lot of dirty songs, but that the band was going to do a clean one. Someone in the audience expressed some disappointment at that. "Am I the only one here who didn't know who Clarence Carter was?" Dan asked. Paul quickly answered, "Yes." But a woman in the audience called out that she didn't know either. The song they chose to play was "I Stayed Away Too Long." Rob then introduced Paul Marshall, and someone in the audience shouted out, "Bass solo!" Paul immediately responded, "So low you can't hear it." The song he chose to do was "Talking To The Dog." The first time I saw him play that one was during a solo set, and the entire audience was laughing so hard that we missed some of the lines. It's hilarious.

Then it was Victoria's turn to pick a song, and she chose "Skipping Stones," another highlight of the set. A good deal of the fun is in the song's delicious rhythm. In the playful introduction to "I Fell In Love With The Grateful Dead," Paul said, "Despite what Willie Nelson told us, this is a song about the Grateful Dead." For those who might not know, Paul Marshall played on Grateful Dead keyboardist Brent Mydland's unreleased solo album (for Dead fans, that album contains an early pre-Dead version of "Tons Of Steel" you're going to want to hear). "I Fell In Love With The Grateful Dead" featured some great drumming. After it, Rob said, "That's all true." He then mentioned that this year marks the twenty-fifth anniversary of the release of the first I See Hawks In L.A. album, and to celebrate the occasion the band will be doing a special show at McCabe's (with Rick Shea and Tony Gilkyson opening). That show is scheduled for September 19th, though the album was released on September 11th. Yes, September 11th, 2001, and Rob joked about how that was perhaps not the most auspicious beginning for the band. From that album, last night they played "Beautiful Narcotic Place I Reside." It was great hearing this song again, and it featured some nice work on pedal steel. The band then wrapped up the set with "California Country." Now anyone who has been to Maui Sugar Mill Saloon loves Nubs. The main reason for that is he is a damn good sound man. But it's also for actions like what he did last night. As soon as the band finished, he marched over to the stage and told them they weren't done, and made it clear precisely what song they had to do, and then went back to his soundboard, confident that they would do it. And they did. The song Nubs chose was "Good And Foolish Times." It was a good rendition, though without the extended ending. A fun way to wrap up the set.

Rick Shea & The Losin' End

Fifteen minutes later, Rick Shea & The Losin' End were back on stage, opening the final set of the night with "Georgia Bride," a song from Rick's new album. The band delivered a cool rendition. If you haven't yet heard the new album, I highly recommend purchasing a copy (you can order it here). They followed that with a fun rendition of "Juanita (Why Are You So Mean)." You'd swear there was an accordion present at the beginning of the song, though there wasn't. Tony then sang lead on his "Man About Town," a very cool, slow number. Rick followed that with another seriously cool song, "El Diablo Manda," which he introduced as "Another new one that we have not done very much." It's one of my personal favorites from the album, and for part of it Dale played the drums with his hands. That was followed by "The Starkville Blues," Rick changing the lyric at one point to "I knew a girl in Maui Sugar Mill Saloon." Jeff Turmes then sang lead on his "Don't The Moon Look Real," dedicating it to Nubs, who had requested it. There are certain advantages to being the sound guy. The song had a delicious jazzy vibe, and featured some wonderful work on guitar. Tony Gilkyson sang lead on "Tear It Down," keeping the cool vibes going, the song developing into a good jam. The set concluded with "(You're Gonna Miss Me) When I'm Gone," which also became a great jam at the end. The show ended at 11:52 p.m. An excellent night of music.

Set List

Rick Shea & The Losin' End Set I

1. A Week In Winnemucca
2. The Town Where I Live
3. Mexicali Train
4. Mariachi Hotel
5. I Heard You Were In Town
6. Guardian Angel
7. Hold On Jake
8. Papa Don't Sleep
9. Blues At Midnight
10. Midnight Shift

I See Hawks In L.A.

1. Raised By Hippes
2. Hope Against Hope
3. Ohio
4. White Cross
5. Me And Paul
6. Jug Of Misery
7. I Stayed Away Too Long
8. Talking To The Dog
9. Skipping Stones
10. I Fell In Love With The Grateful Dead
11. Beautiful Narcotic Place I Reside
12. California Country
13. Good And Foolish Times (encore)

Rick Shea & The Losin' End Set II

1. Georgia Bride
2. Juanita (Why Are You So Mean)
3. Man About Town
4. El Diablo Manda
5. The Starkville Blues
6. Don't The Moon Look Real
7. Tear It Down
8. (You're Gonna Miss Me) When I'm Gone

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

Feef Mooney: "The Really Real" (2026) CD Review

What is real anymore? I bet a lot of us are routinely questioning reality, what with all the deliberate lies and misinformation being spouted everywhere, and with photographs being easily manipulated, and now with that awful artificial intelligence creeping into all areas of life. And so a phrase like "really real" isn't quite as comical as it once was. It's now beginning to make some sense. And that's the title of Feef Mooney's new album. The Really Real. Which seems perfect, for it is in music that I find humanity, compassion, and, yes, reality. And I find all of that in Feef's music. Her new album features all original material. Feef plays acoustic guitar and electric guitar on these tracks, and provides the vocals. She is joined by Fernando Perdomo on bass, organ, electric piano, electric guitar and drums; and Nick Vincent on drums and percussion. There are also a few guest musicians on certain tracks. The album was produced by Feef Mooney and Fernando Perdomo, and mastered by Matt Forger.

The album opens with "Waiting For Life," a title that speaks to me. Interestingly, the song begins with Feef delivering some "doo doo-doo doo-doo" vocals before giving us the first line. Check out these lines from that first stanza: "Forever making plans/Is she living by a list?/Is she getting her day done?/So much to accomplish." Admittedly, those lines stand out to me because I do have a list of things to accomplish each day. And, yes, it does sometimes feel like I'm waiting for life to happen, which is frustrating, even frightening, when coupled with the knowledge that life is so incredibly short, and might be over before it happens. I'm guessing I'm not alone in this, and this song will speak to many others. Feef's vocal delivery is gentle, one of empathy. This song contains references to The Beatles' "Eleanor Rigby" and "Nowhere Man": "Nobody wants to be Eleanor Rigby/In a land of nowhere men/Buried alive like a thistle in a sidewalk/Just planning for life to happen/Just waiting for life to happen." Then "Evolution" has more of a bluesy vibe at its start, heard particularly in the guitar work. And the track features a really good vocal performance from Feef Mooney. Sometimes her voice has a sort of whispered punk attitude, as on the lines "Every day is/Evolution." And I love when she dips into those deeper regions, as on the words "steady now" in the line "Hands so steady now make me want to be ready now." There is something kind of catchy about this song too. It's a cool song, encouraging us, or reminding us of the value of singing, living, even as things seem to be ending. And perhaps in doing so, we are becoming better in some way.

"Good Changes" has a lighter vibe as it begins, and I love the guitar work immediately. Interestingly, like the first track, this one mentions waiting early on: "I'll be all right/I'm just waiting for/Something about good changes." Here too Feef offers a wonderfully varied vocal performance that keeps us engaged. For example, after a brief instrumental section, she sings "I'm not looking for romance/I just want to jam," and she kind of belts out that first line, while delivering the second in a more straightforward, though somewhat playful way. This song features a good rhythm. It is followed by "In Love With Free." In this song, Free is a character, a person, as much as an idea. And a person with special abilities: "Now he can woo anything/He can fly to Paris in the dark/On a kite with a piece of string/He's got the power of the mermaids." Fuzzbee Morse plays flute on this track, that instrument adding to the magical side of the song, while the wonderful rhythm keeps us more grounded. I love the percussion. This track also features some nice work on electric guitar. There is something in this song's sound and vibe that reminds me of some of Joni Mitchell's work.

Near the beginning of "Underground," these lines grabbed me: "We circle time and question love/Analyze it, break it down/Mysteries avoid this." I tend to analyze things, except love, which I am thrilled to simply accept, both in the giving and receiving. Is it something that happens deep within? Or is it also on the surface, where it is more easily shared? I love how these songs can cause reflection, but also can be enjoyed even without it. This one, for example, has a good groove. Then "The 25th Hour" begins with some good, thoughtful work on guitar. When Feef comes in on vocals, her voice has an unusual character. The second line is "Or you won't pick up the phone," and it might be that her voice seems to be coming to us through a phone line, at least in those early moments. Then that sense is gone, and we are just captivated by this number. "Everybody wants to be somebody famous/Everything is open late/So much cleverness, imitation/So much fear, intimidation/So much poison, they call power." This song is so damn good, one of the album's best. There is a lot happening here, and it hits us in the gut as well as the head. "Big fish swallow the little fish/Is it choice or fate?" At one point she repeat the question, "Who do you trust?" A good question in these days of rampant dishonesty and manipulation of imagery.

On "The Really Real," the album's title track, Feef sings, "And oh my love, what good is fear/It will not bring you back, it's clear/Why is love such loss and letting go?/Embrace all we can never know." The music has a positive vibe, even as the lyrics ask some serious questions. "Oh my love, what good is grief/It burns so deep I can barely breathe." This track contains some nice work on electric guitar. There is a 1960s influence heard here, partly in the vocal line at times, which makes me think of some of the great female folk voices of that time. "Step inside, trust the ride." That's followed by "I'm Calling You Home." Check out the opening lines: "Since you've been gone/I crave sugar all day long/Doctor says it's wrong/But that's another story." I can't help but find humor in the line "But that's another story." The line "I miss you. I'm sorry" also stands out, for in my head the two feelings are connected, perhaps because of the way there is barely a pause between the words "you" and "I'm," like apologizing for missing the person. This track is yet another of the album's highlights, in part because of Feef's vocal performance, which is fantastic.

"My Crossroads" has a great groove that grabs us and delights us immediately. A bluesy sort of funk. This number will have you moving. It's fun, no question, but that doesn't mean its lyrics don't have their own force. Here is a taste of the lyrics: "The storm releases, the storm releases/All my pain. All my pain/And I seek to be empty/I seek your love/To go where I desire to be/Let's not give up." Then "Just Where You Are (No Country)" opens with these lines: "Sunshine, it isn't my friend/How I wish these Disney days would end/You smile and you are kind/When I want to say 'Never mind'/Wishing I could find/A way out of pretend." Yeah, Feef Mooney can craft some excellent lyrics. This track contains another of the album's best, most compelling vocal performances. And Kaitlin Wolfberg adds some wonderful string work, also helping to make this track stand out. "I miss you, my crazy weather/Trust my heart, I'm trying to keep it together/When it's up to you, you gotta make it better."

"The truth is, you can't trust your feelings now/You know you've got to get a grip somehow," Feef sings in "Godspeed The Plough," revisiting that idea of what can be trusted, something I assume most people are grappling with these days. Yet this song has a lighter, brighter feel, and a good beat, leaving us feeling hopeful and cheerful. The album concludes with "Blue State Of Mind." On this track, Adam Steinberg plays drums, Wendysue Rosloff plays autoharp and spoons, and Matt Lomeo is on harmonica. The track has a strong rhythm and features some great blues elements, especially Matt's work on harmonica. This country has a serious case of the blues, and I sincerely wish we could leave all the fascists (previously known as Republicans) behind. It is like we live in separate realities anyway. The problem for me is I no longer have any faith in the Democrats either. They could have put a stop to this if they'd had the gumption, and they didn't. The entire system is corrupt and broken. I am in a blue state of mind, but more of the blues than of any kind of optimistic fervor regarding a political party. We'll see. Either way, we have the music, and that, more than anything else, is what will lead us out of the mire.

CD Track List

1. Waiting For Life
2. Evolution
3. Good Changes
4. In Love With Free
5. Underground
6. The 25th Hour
7. The Really Real
8. I'm Calling You Home
9. My Crossroads
10. Just Where You Are (No Country)
11. Godspeed The Plough
12. Blue State Of Mind

The Really Real is scheduled to be released on July 10, 2026.

The Claudettes: "Garage Glamour" (2026) CD Review

If you're looking for some good news, here's it is: The Claudettes have a new album coming out, Garage Glamour (yeah, this band tends to have cool titles, perhaps the coolest being Dance Scandal At The Gymnasium! from 2018). Since the release of their last album, 2022's Go Out!, they've had a change in personnel, with Rachel Williams having joined the group on vocals in 2023 after the departure of Berit Ulseth. So Garage Glamour is the first album to feature Rachel's vocal work. The rest of the band remains the same, with Johnny Iguana on keyboards and vocals; Zach Verdoon on bass, guitar and vocals; and Michael Caskey on drums and percussion. They have a couple of guests joining them on certain tracks. The album features mostly original material, written by Johnny Iguana.

They get things started with "(You Are My) Whole World." Yes, a sweet number, a soulful number, a love song. And why not? We need these things, always, and especially now, when love seems to be in short supply. And we all need someone to be there for us. "My whole world would come crashing down around me/If you didn't hold it up for me/You are my whole world, and I'll hold up yours for you/Just as long as you want me to." It's not long before we get the chance to be impressed by Rachel Williams' vocal work. Those first lines are delivered with power, with passion. John Primer (yes, the Chicago blues icon) joins the group on vocals and guitar, adding to the strength of this opening number. "When every choice you make seems to backfire/When the voices in your head rage like hellfire/I'll do everything I can to inspire you again."

I mentioned how this band tends to give its albums interesting titles. Well, often the same goes for its songs. One of my favorite titles on this album is "Winter Came While You Were Gone." It's also one of the best songs. Check out these lyrics: "You say you love me so much, and you go on and on/But it's dark around here, before and after dawn." And again, Rachel delivers some excellent vocal work here, and there is just the right amount of attitude in her delivery of the song's title line. I love that, but I also love the way she varies her approach, taking on us on an emotional ride. There is a delightful power to this song, and a good dose of blues. Plus, it features some seriously cool work on keys. It's followed by "That Could Be Arranged." After a rather pretty introduction, the guitar suddenly seems to tear that apart and thrust us straight into mean and sexy territory, where Rachel holds court, like a goddess accepting the presence of a few mortals, ready to test them. "You say you want to get together with me? That could be arranged." Perhaps more surprising is that the song then returns to that pretty realm, and her vocal approach changes accordingly. I love how gently, how beautifully she delivers these lines: "You mindless man, so gullible/So blind to angles, imbecile/You'll find escape impossible/Because you're mine." We are brought back and forth, the band in total control. And, hell, who wants escape? I love that instrumental section in the middle of this track. And things get wilder from there. "Have I been taping all our calls? That would be deranged."

"Touch You Back" was released as a single. A good choice for that, because it's a fun one, with certain 1970s elements to its sound, to its vibe. It sounds like a hit, maybe from then, maybe from now, but a hit either way. I'm especially digging its funkier elements, particularly that bass line. And speaking of the 1970s, it contains a reference to Star Wars (which is also something that our current time holds in common with the 1970s): "The force with this one is strong." This track contains some excellent stuff on guitar. Ella Feingold joins the band on guitar for this one. I also like the more fanciful moments on keys. I appreciate that the lyrics include the word "obtuse" at one point, a word we don't often hear in songs, and it reminds me of a moment from WKRP In Cincinnati, another piece of pop culture from the late 1970s. That is followed by the album's sole cover, "Whirlpool," a song written by Marijohn Wilken and Fred Burch, and recorded by Wanda Jackson, who released it on a single in 1962. As Wanda did, Rachel delivers the first couple of lines a cappella. These guys do a really good job with this song. The track features some wonderful work on keys, as well as an excellent lead on guitar. But it is Rachel's vocal performance that drives this track. And those final moments, Rachel is just absolutely captivating.

Things then turn delightfully fun with "Mr. Pecker's Apoplexy" (another wonderful song titled, don't you agree?). As the song starts, Mr. Pecker's name is repeated, before Rachel comes in. And here she soon belts out the lyrics. This is one wild ride, keeping us on edge. "You say you won't accept the deal? You won't deny there's outside forces?/This is getting so surreal. You know, people get divorces." It's always great to hear this band driving into the stranger corners of reality, as it does here. This is certainly a highlight. And now that we're accustomed to the odder realms, we are totally ready for "No Matter How Much." The first line is "No matter how much magic potion I drink, you will not appear behind me," and so it's a song that takes magic potions for granted, or at least it seems to. Soon we learn just what that magic potion is. There is an interesting intensity to this track, mostly in the work on keys. Check out that delicious lead in the middle. That's one of my favorite moments of the whole album. It's just fantastic. And then the keyboard takes us momentarily into a fairy tale land before that intensity comes pounding back, as Rachel's vocals return. And then I just have to laugh out of pure joy at the repeated line "Shame on you, Kentucky," which concludes the song.

On "The Aftermath," Rachel's vocal work has a certain beauty, and so lines like "I was next in line after nobody, so I never did arrive/Are they still looking for me?" surprise us. Again, reality is something this band uses like clay, shaping it into whatever forms they desire. This is another wonderful song, ending with the question, "Are they still looking for me?" The band then goes in another direction with "Don't Give It Up To The Thieves," the lyrics delivered as a sort of rap, which surprises us at first, then feels right. "The thieves are coming for your innocence/They'll leave you with nothing but common sense/They're disgusted by all they have learned/Keep on trusting even if you get burned." Man, this band can do anything. The album concludes with a song titled "There Is No Other Side," which stood out to me the first time I glanced at the track list, two thoughts immediately occuring to me: a response to the fallacy that there are two sides to every story or every argument, and the idea that there is nothing after this life, that when we're dead, we're dead. And so it was a song I was particularly curious about. From its first line, "No Heaven. No Eden. No Hell. No grand Elysium. No Pandemonium," it's clear which direction this band is going. I love this. I wish people would recognize and acknowledge that this life is likely all we get. I have a feeling things would greatly improve here. This is it, friends. There is no other side. This is a short, beautiful song. And that's what this life is too.

CD Track List

1. (You Are My) Whole World
2. Winter Came While You Were Gone
3. That Could Be Arranged
4. Touch You Back
5. Whirlpool
6. Mr. Pecker's Apoplexy
7. No Matter How Much
8. The Aftermath
9. Don't Give It Up To The Thieves
10. There Is No Other Side

Garage Glamour is scheduled to be released on June 5, 2026 on Pravda Records (though some websites list the date as July 10th). The album release party is on June 6th, at North Street Cabaret in Madison, Wisconsin. Though, hold on, they also have a show on June 5th, that one at Gibson Community Music Hall in Appleton, Wisconsin, and I imagine that too would be an album release party.

JP Soars & Anne Harris: "Gypsy Blue Revue" (2026) CD Review

Both JP Soars and Anne Harris are accomplished musicians, each with an impressive list of credits. JP Soars has perhaps an unusual career, having played in several heavy metal bands early on, including Raped Ape and Divine Empire, before turning to the blues and forming JP Soars And The Red Hots. He's also released several solo albums. Anne Harris, in addition to her own solo work, has worked with Poi Dog Pondering, The Juleps, and Cracker, and has a number of other projects, including Halo Rider and Magnolias. There are several different musical styles in their backgrounds, and that certainly influences the music on Gypsy Blue Revue, which features mostly original material. JP Soars, who wrote most of the tracks, provides the vocals and plays electric guitar, acoustic guitar, Merlin stick dulcimer, two-string cigar box guitar, cavaquinho, dobro, lap steel guitar, cowbell, shekere and whistle. Anne Haris plays fiddle and mandolin. They are joined by Chris Peet on drums, Cleveland Frederick on bass and bongos, and Jeremey Staska on shaker and tambourine.

The album opens with "Jessie Mae," and right away we are chin-deep into some great blues, this song having a good, mean, raw vibe. JP Soars wrote the music, and Rev. Billy C. Wirtz wrote the lyrics to this one. "When she touched that guitar, the strings seemed to melt/There was nothing pretty about the cards she'd been dealt/She sang of places from long ago/And you knew she'd forgotten more than you'd ever know/Jessie Mae." Another line that stands out is "Even the devil called her ma'am," and following that line we're treated to a very cool lead on fiddle. Seems the perfect timing, doesn't it? Then "Go With The Flow" gets off to a great start with some delicious drumming that will perhaps put you in mind of certain classic big band jazz numbers. And when the guitar comes in, we realize we're in a couple of different musical worlds here. The guitar very quickly takes us into some delightful territory, with a catchy hook, while the drums maintain a great rhythm. There is a very strong bass line as well. This instrumental number is fantastic and is fun to dance to. In the second half, when you think this couldn't possibly get any better, Anne dips into "It Don't Mean A Thing (If It Ain't Got That Swing)" on fiddle.

The guitar sets "Viper" in motion, this song having that totally delicious gypsy vibe, and featuring a great vocal performance. "That girl's a viper, evil and mean/She's a snake in the grass, even though she looks like a queen." JP sings of trouble, and we can feel it, but it's the kind of trouble that draws us closer and closer. We can't help ourselves. There's a certain kind of darkness that holds tremendous allure, and we find ourselves immersed in it, willingly, happily. This track contains some wonderful guitar work. Is it an attempt to hypnotize that viper, to charm it? Perhaps. And maybe it works, But either way, it works on us. And the fiddle completely understands that, that instrument singing of our enthrallment, our captivity. This is a song that JP Soars has been playing for a while. A different version of this song was included on his 2014 album Full Moon Night In Memphis. Then "Paradise" takes us to a more cheerful section of that world, the fiddle being the driving force here, at least for a while. Then we are treated to some impressive guitar work. I love how this music transports us, out of our time, out of our normal space. This instrumental track is over far too soon.

JP Soars and Anne Harris get back into bluesy territory with "Goin' To South Carolina," the guitar leading the way, creating the path. "I'm headed down to South Carolina/I'm going to put my mind at ease/Well, I found a little place by the water/And the rent, it's kind of cheap/Think I might stick around for a while/See what the future brings." There is a laid-back, easygoing feel to this number, and the track features some pretty work on fiddle. This music itself will put your mind at ease. And, hey, don't we all need just that sort of thing these days? That's followed by "May Mountain Waltz," which immediately transports us to another place, somewhere in the great natural world, a world untarnished by pollution and greed. This one was composed by Anne Harris, who begins it with some absolutely wonderful solo fiddle work. This piece is like a fantastic breath of fresh air, and yes, it's a dance. So move the furniture out of the way, close your eyes, and let your body go where it will through the realm of this beautiful music.

"Old Silver Bridge" is a song in the folk realm, and is a soothing number. The music, and even the lyrics, help us to relax, help cheer us. "The sun is shining, ain't a cloud in the sky/As I look up to the heavens, everything is all right/It don't even matter that the fish ain't biting/Because I know everything is gonna be just fine." This is a song that lifts our spirits, that lifts our faces to the sky. Much of that is accomplished through Anne's work on fiddle. This is another wonderful song, and I love that it is not rushed, that it is given the time to stretch out. It is followed by the album's only cover, "Minor Blues," written by the incomparable Django Reinhardt. This one also has us feeling good, has us swaying, tapping our toes to the rhythm, and enjoying our excursion to this other realm. Who would want to return from this place? I love this music. Halfway through the track, the pace increases, and then dancing is the thing to do. The music then seems to joyfully shout, "Yes! Yes! Yes!" Or perhaps that's just our response to it. There is even a cool lead on bass toward the end, and then a drum solo. Oh yes, everything is all right with the world.

The CD concludes with a glorious, epic number titled "Cigar Box Jam." After a cool introduction, this one takes us to some familiar territory, with nods to other songs, including The Beatles' "Norwegian Wood (This Bird Has Flown)" and what sounds to me like the end of Santana's "Black Magic Woman." If this song were on vinyl, it would take an entire side of the record (it's almost exactly the length of "Alice's Restaurant"). By the way, there is a vinyl release of this album (on beautiful blue vinyl), but this track is not included on it. Apparently, "Cigar Box Jam" is the piece that JP Soars likes to close a set with, and that's reason enough to make me want to see him in concert. There's a lot of great drumming on this track, which makes it a favorite of mine. And it's a tremendous jam. What a wild way to close the album.

CD Review

1. Jessie Mae
2. Go With The Flow
3. Viper
4. Paradise
5. Goin' To South Carolina
6. May Mountain Waltz
7. Old Silver Bridge
8. Minor Blues
9. Cigar Box Jam

Gypsy Blue Revue is scheduled to be released on May 29, 2026 on Forty Below Records.

Lester Winchester McKendree: "They Got It All" (2026) CD Review

They Got It All is the debut full-length album from Lester Winchester McKendree, the trio of Jimmy Lester on drums, Mark W. Winchester on bass and vocals, and Kevin McKendree on keyboards. All three are accomplished, talented musicians whom you've likely heard. You probably know Jimmy Lester from his work in Los Straitjackets and with Billy Joe Shaver, and you know Mark W. Winchester from The Planet Rockers and Brian Setzer Orchestra, and you know Kevin McKendree from his work with Delbert McClinton and Tinsley Ellis. These three musicians have known each other for a long time, and have played together mostly in their home town of Nashville. The album features original material, including a couple of instrumental numbers.

The album opens with "I'm No Amateur," a song with a catchy element, particularly in its vocal line, and a timeless quality, which is incredibly appealing. "Don't be surprised by the look in my eyes/Every faked emotion will ring so true/I'm no amateur." And soon they dig in, as they repeat "I'm going to make you smile." And, true to their word, this song will likely make any listener smile. There is a good vibe to this song, and I love the work on keys, especially following that repeated line. It's a great choice to start the album. The energy then picks up on "Delaney And The Ditch," which has an early rock and roll thing happening, and moves at a good pace. That bass is so damn good, and I am especially loving the drumming on this track. This one is a whole lot of fun, with Kevin rocking the keys, particularly in the middle of the track. There is also a section of vocals and drums, something that I always find appealing. Remember when rock and pop songs routinely included sections like that? Those were good times, and this track promises that good times are returning.

From the moment "They Got It All" starts, it has a cool vibe, a sound and rhythm that immediately affects you. This song has it all, everything you love about a rock song. Hell, it even includes cowbell. This is a gem, a delightful number with such a catchy groove. "I got suspected, I got teased/I got hurried, I got squeezed/I got inspected like a bug/I scurried under the rug/They got it all, they got it all wrong about me." Doesn't this sound like a hit to you? It's difficult to imagine anyone not loving this song. That's followed by "Surf The Allman Ballroom," a delicious little jam. This instrumental track will have you moving and shaking and feeling good. Whatever concerns and cares might be occupying your thoughts will slip away before this track is halfway over. Two minutes in, it seems to be concluding, but then takes a turn, a breath, before kicking in again with a wonderful energy for the song's finish.

"Down The Same Street" has a strong, straightforward rhythm. Mark sings, "I see my baby walking down the street/I hope my baby's coming back to me/Back to me, back to me." Ah, if this music has anything to say about it, then she'll be coming back. That solid beat will match her steps, and soon they'll be walking together. At least, that's my expectation. After all, who would want to stray too far from music like this? But damn, I'm wrong, for soon he sings, "I'll have to move from this neighborhood/Now no one here will ever treat me good." The trio then gets into serious rock and roll territory with "Baby's Carburetor," with some fantastic stuff on keys (think of Jerry Lee Lewis, that sort of thing, that sort of energy). "I want a girl with a fuel injection/When I start her up, there won't be no objection." Perfect! This is so much fun, and I don't think I would trust anyone who didn't enjoy it. These guys fit a lot of rocking into two minutes. Less than two minutes, actually. It's the shortest track on the album.

"Bad Mantras" had me laughing pretty quickly. I should have expected it would happen from the title. Check out these first several lines: "Don't have any luck/Bad mantra/Everything's fucked/Bad mantra/Listen up, a bad mantra will do you in/Always gotta think twice/Bad mantra/'Cause this world ain't nice/Bad mantra." I suppose we all have them these days, things we find ourselves repeating, negative things. "Everything's fucked" is certainly one of them. So, yeah, while this song had me laughing, it then got me thinking and evaluating my own reactions to the state of things, and how repeating something negative might be having a negative impact on my own state. "I might as well give up/Bad mantra/It's a half-empty cup/Bad mantra." This ended up being one of my favorite tracks. It's followed by "Dylan Ain't Spillin'," kind of an odd number, with its own special appeal, an undeniably endearing quality. Here is a taste of the lyrics: "Folks in Madrid don't eat, I heard/Until ten o' clock at night/The King got tired of the movie set/The Beatles got tired of the throngs." Another line that stands out to me: "Even Gandhi got tired of being poor, I bet."

"The Right Pose" is a slower number, more introspective and contemplative, with a cool, bluesy vibe, and featuring some really good vocal work. "I guess sometimes I strike the right pose/I wear the right smile and the right clothes/Once in a while, it's the right words that I chose to say." The album concludes with another interesting track, "Along With The Sunshine," an instrumental piece that has its own unexpected beauty. This one can take you on a journey inward or outward, depending on your mood, on what you need. There is a hopeful, optimistic tone as it progresses. Ah yes, perhaps we'll all emerge from the darkness into a brighter, more sane world. You can feel it happening as you listen, can't you?

CD Track List

1. I'm No Amateur
2. Delaney And The Ditch
3. They Got It All
4. Surf The Allman Ballroom
5. Down The Same Street
6. Baby's Carburetor
7. Bad Mantras
8. Dylan Ain't Spillin'
9. The Right Pose
10. Along With The Sunshine

They Got It All is scheduled to be released on May 29, 2026 on Times Three Records.

Marley's Ghost: "Honky Tonk" (2026) CD Review

Marley's Ghost was formed in 1986, forty years ago, and interestingly the band has released a new album to celebrate each decade of the its existence. In 1996, it was Four Spacious Guys. In 2006, it was Spooked. In 2016, it was The Woodstock Sessions. And now, to celebrate this excellent band's fortieth year, we have Honky Tonk, which follows 2019's Travelin' Shoes (yeah, seven years is a long time to go between albums, the longest gap in the band's career). Like The Woodstock Sessions, Honky Tonk focuses on covers. While The Woodstock Sessions featured traditional numbers, and Travelin' Shoes got into gospel numbers, this new album, as its title suggests, gets into honky tonk country music. Whatever area of the music world this band decides to explore, you can be certain the results will be wonderful, and will features some excellent vocal work. The band is made up of Mike Phelan on guitar, dobro, bass, fiddle and vocals; Jerry Fletcher on keyboards, accordion and vocals; Ed Littlefield Jr. on pedal steel guitar and vocals; Dan Wheetman on bass, steel guitar, fiddle, guitar and vocals; Jonathan Wilcox on mandolin and vocals; and Bob Nichols on drums and percussion. They are joined by Larry Campbell on acoustic guitar, electric guitar, fiddle and backing vocals (Larry Campbell also produced the album); and Cary Black on bass.

The album opens with "Invitation To The Blues," which has a nice vibe right from its instrumental introduction, featuring fiddle. This song was written by Roger Miller, and it was a hit for Ray Price. Here Dan Wheetman is on lead vocals, delivering a good, passionate performance. "I don't know why you caused me such pain/I only hope I never go through this much again." In the middle, we are treated to several great leads in a row, beginning with guitar, that section a reminder of how talented all these musicians are. That's followed by "Honky Tonk Song," the first of two tracks on this album to include the term "Honky Tonk." This one was written by Mel Tellis and Buck Peddy. Mike Phelan sings lead. "A band kept playing in a joint underneath/I picked up my pillow and I covered up my head/But the band kept playin' and shakin' my bed." Then it kicks in, and it's like the music itself might be what's keeping him up. This is a fun number featuring some delicious work on piano. And of course we learn that the band playing dowstairs isn't the real problem. "Well, I'm so blue, my baby's gone/She took all my money and left me all alone/I'm trying to forget her, but I don't know what to do/A honky tonk song keeps leaking on through." Yup, the real trouble is a woman who has done her man wrong.

Ed Littlefield Jr. sings lead on "Brand New Mister Me," a song written by Ronald McCown, and recorded by Mel Tillis And The Statesiders. It's one of those sweetly sad country number, and these guys do a great job with it, Ed's vocal performance containing just the right amount of ache. It's an interesting song, as it directly addresses his love's new man. "Is my darling good to you/I hope you're feeling happy/'Cause I'm sure feeling blue/And I drive by every morning/And see the man I used to be/How does it feel to be/The brand new mister me?" Then we get the second song with "Honky Tonk" in its title, "Burn Another Honky Tonk Down," a song most famously recorded by George Jones. It's a delightful waltz, with Jon Wilcox on lead vocals, and featuring some really nice drumming. This track has a full and vibrant sound, with lovely work on accordion and fiddle. "Spending my money I earned at the saw mill/To build another honky tonk wall/Early each morning I'm back on that mountain/Wishing her lies were the truth." This is one of my personal favorites on this album.

Teresa Williams joins Dan Wheetman on vocals for "Just Someone I Used To Know," a song written by Jack Clement, and a hit for George Jones. This song is also known as "A Girl I Used To Know." "There's a picture that I carry/One we made some time ago/When they ask who's in the picture with me/I say just someone I used to know." This song always works better as a duet (Porter Wagoner & Dolly Parton, George Jones & Tammy Wynette), because they're both experiencing the same thing, the same longing, yet each (we imagine) without knowing the other does. It's like they are in two different places, but expressing the same things simultaneously, which makes the ache all the more striking. It's a beautiful and sad song, and features some nice work on fiddle. That's followed by "Only Daddy That'll  Walk The Line," a cool and catchy number written by Ivy Bryant and recorded by Waylon Jennings, who included it on his Only The Greatest record. This one is great fun. Ed Littlefield Jr. is on lead vocals. "I keep working every day/All you want to do is play/I'm tired of staying out all night/I'm coming unglued." This track contains a good lead on guitar, as well as some delicious stuff on pedal steel and piano.

Mike Phelan sings lead on "Slowly," delivering a moving performance. There are also some excellent harmonies. "Now I can't hide my feelings no matter what I do/For slowly I'm falling more in love with you/More and more, I need you and want you by my side/More and more, I love you as each day passes by." Oh yes, what a great feeling. Hey, even the peddle steel seems cheerful. This is another of my personal favorite tracks. It's followed by "Rockin' Chair Money," the Hank Williams number (through it was written by Lonnie Glosson and Bill Carlisle). "And I love to rock/Yeah, rock/Baby, rock/Rock on down the line." There are many precursors to rock and roll, but obviously this song is one of them, and this track features a cool bass line and some hopping stuff on piano, through the fiddle and peddle steel provide a lot of its charm.

I love Merle Haggard's songs, especially his slower, sad numbers like "Sing Me Back Home" and the one that Marley's Ghost chooses to cover, "If I'd Left It Up To You," which was on Merle's 1965 album Strangers. Dan Wheetman is on lead vocals, and he delivers an excellent performance. "You made plans to leave a thousand times, I know/And a thousand times I should have let you go/But then I'd always beg you back somehow/If I'd left it up to you, it would all be over now." This track also features some really nice work on guitar. Then "Detour" is a fun, delightful number, with Mike Phelan on lead vocals. "Spent the next five years in jail/Should have read that detour sign." Part of its charm is in its rhythm. And, like many of these tracks, it contains some really nice work on fiddle and pedal steel. These guys need to go on tour soon, spread some of this great music to all the places where it's needed, which, as far as I can tell, is everywhere. Mike Phelan also sings lead on "Midnight," another of the disc's highlights. This song was a big hit for Red Foley, and if this world made any sense, it would be a big hit for Marley's Ghost too. Everything about this track works perfectly. I especially love that guitar work in the middle.

"Motel Time Again" was written by Bobby Bare, and was a hit for Johnny Paycheck. Here it is sung by Jon Wilcox. "Motel time again/Yes, I take myself to bed/I don't even know what town I'm in." Sometimes I miss being on the road, but I don't miss the motels all that much. Road trips still hold their appeal, but I doubt gas prices will ever return to a place where such adventures again become affordable. That's followed by "Waltz Of The Angels," a good, slow waltz featuring Dan Wheetman on lead vocals. "It's surely from heaven, this music I hear/When your lips say I love you in waltz time, my dear." The album concludes with a cover of "Birmingham Bounce," which is a total delight. Jerry Fletcher sings lead on this one. The line "When the drum starts playing that solid beat" leads to a brief drum solo that I love. This track also contains some great stuff on piano, along with a strong bass line. What a perfect choice to wrap things up, the band leaving us feeling good, leaving us dancing. "Now everybody's dancing and they're jumping too/When the music starts rocking, nobody's blue." Exactly. So if you're feeling blue, put this album on.

CD Track List

1. Invitation To The Blues
2. Honky Tonk Song
3. Brand New Mister Me
4. Burn Another Honky Tonk Down
5. Just Someone I Used To Know
6. Only Daddy That'll Walk The Line
7. Slowly
8. Rockin' Chair Money
9. If I'd Left It Up To You
10. Detour
11. Midnight
12. Motel Time Again
13. Waltz Of The Angels
14. Birmingham Bounce

Honky Tonk is scheduled to be released on May 19, 2026. 

Amy Rigby at Permanent Records Roadhouse, 5-13-26

Amy Rigby

"I'm holding onto anything that's good in this world/There's a lot that's good in this world." Those lines come from Amy Rigby's "Don't Ever Change," and they provide a good reminder, particularly these days when we are constantly alerted to everything that's wrong. For, truly, there's a lot that's good in this world, even now. I find much of it in music, and especially in live performances. Amy Rigby delivered a special show last night at Permanent Records Roadhouse. It was a combination book reading and concert, along with a conversation about her new book, Girl To Country, a sequel to her first memoir, Girl To City. And it concluded with a book signing.

starting the show by reading a passage

At 7 p.m., Amy Rigby took the stage, introducing herself, She mentioned that at first she was nervous about the night, until she reminded herself that she wrote the book, and so the hard part was over. Rather than doing a reading and then a concert, or a concert and then a reading, she went back and forth, a performance that connected her memoir to her songs, which of course made perfect sense. The first song she played was "Beer & Kisses," a track from her Diary Of A Mod Housewife album. She mentioned her daughter's wedding, and joked about how her daughter did not ask her to sing any of her songs at the ceremony, and that led to "Cynically Yours." She said that the line "I can picture being with you until one or both of us is dead" isn't as funny to her now as it was twenty years ago. (By the way, her daughter Hazel was the one spinning some great records before the show started, including a song from my favorite Kinks album.) Amy then read some more from her book. If you're familiar with Amy Rigby's music, you know that there is a great deal of humor to her work, and the book, from the passages she shared last night, is also quite funny. As for the songs she played, "Keep It To Yourself" in particular received a lot of laughter from the crowd. If you haven't heard that one, I highly recommend checking it out. I think everyone can use a laugh or two these days.

Amy Rigby and Wreckless Eric

Amy Rigby can also rock when she wants to, as she did on "Bricks," a song from Hang In There With Me, which was released in 2024. I love when an artist rocks out on acoustic guitar. From that album, she also played "Too Old To Be So Crazy," an especially fun song. Following that song, she read from her book a passage about meeting Wreckless Eric, and then Eric joined her on stage. He had played a show at the Wild Honey Backyard Amphitheatre on Sunday (a show I wish I could have attended), and there Amy had joined him for a couple of songs. Now he returned the favor, playing electric guitar and singing backup on "Do You Remember That" and then delivering an excellent lead on "Genovese Bag," which was such a treat. Amy read a final passage from toward the end of the book, and then closed out the performance with "Don't Ever Change," Wreckless Eric again joining her on electric guitar. While that was the end of the music, it wasn't the end of the evening. Pat Thomas joined Amy on stage for a conversation about the new book, and they talked a bit about the writing process and about self-publishing. At the end, Pat Thomas encouraged everyone to purchase a copy of the book, reminding the audience that the event had been free so that people could use what would have been the admission cost to get a book. And though I'm broke, I had to add that book to my collection of music memoirs. Actually, Amy had copies of both books for sale, and as much as I want to read Girl To City, that will have to wait until the next time I see her perform or read. Anyway, it was a wonderful evening, and I'm looking forward to reading my copy of Girl To Country.

Wreckless Eric sets up Pat Thomas' mic

Amy Rigby and Pat Thomas

Permanent Records Roadhouse is located at 1906 Cypress Ave. in Los Angeles, California. 

Stunt Drummer: "Warm Up, Tiger" (2026) Vinyl Review

Stunt Drummer, a band based in Portland, Oregon, put out its first full-length album in 2023, and has now followed that with Warm Up, Tiger. The album title is a combination of two song titles, one from the first side of the record, one from the second. So I guess there are two title tracks to this one. And while we're talking about titles and names, the band's name comes from the fact that different folks would fill in on drums in the early days, and even after the release of the first album. The drummer on this album, Paul J. Leaver, did not play on the band's first album, a self-titled release. The band is also made up of Erik Becker on guitar and vocals, Marty Buckenmeyer on guitar and vocals, and Ethan Schee on bass. Ezra Meredith, who recorded and mixed the album at The Deer Lodge, helps out on these track, and is credited with "Various Bells, Whistles, Howls, Antics and Flamethrowers." Someone might have to explain to me where the flamethrowers come in, but certainly there is some heat to these tracks, some power. The music is a combination of punk and garage rock elements, often with an intense, heavy sound. The album features all original material.

Side A

The record's first side, which is labeled the "Stunt Side," opens with "Pool," which comes on strong, with a heavy, raw and insistent force. There is something frightening as Erik repeats, "Everyone in this place is gonna drown." A mantra of doom, and there is something of an aggressive attitude. But, and maybe I'm just crazy, there also seems something strangely, darkly humorous about that, when you remember that they're singing about a swimming pool. And, hey, we all are doomed, and there's no escaping that. So have a little fun. That's followed by "Chinese Windows." It's interesting that each of these songs has a line that is repeated. Here it is "Chinese windows, they don't fit like they used to," the very first line of the song, repeated several times. What a strange line to be in a song at all, but to be repeated like a chant? It's a song about architecture. And it is delivered with a great energy that comes rushing at us. "He makes his bosses happy/And Peter gets a bone/And now he builds his empire/The model for his class."

"Warm Up" is the song from the first side whose title contributes to the album title. This one has a great beat, a cool groove, so the raw scream of the vocals comes almost as a surprise. There is an intensity, and almost a desperation, to the vocals. And before the end there is the demand, "Get up get up get up" and then "Warm up warm up warm up." And it's over. The first side concludes with "Voodoo," which begins in a surprisingly softer place, though we sense something is nearby, coiling, getting ready to strike. The slow pace of it contributes to an ominous sensation, which is cool. "Are you a witch and will you fly, let's push you off the cliff and see if you try." There is something haunting, even mesmerizing here. This one too has a line that is repeated, "What is up with all the voodoo dolls," and it is during the repetition of that line that the energy increases, the vocal approach changing from an ache to a howl. And from there, the track begins to roll right over us, and then it cannot be stopped. Incredible. This is one of my personal favorite tracks.

Side B

The second side, labeled the "Drummer Side," opens with "Vortex," which is interesting, the way it takes us through different places, different expectations and feelings, even before the vocals come in. The first lines are delivered in a fairly straightforward way. And the very first line, "The vortex is nice this time of year," is undeniably funny, and the straightforward aspect of its delivery makes it funnier to me. The chorus is then shouted, and it becomes frightening. This track ends in mellower territory. It is followed by "Paul The Pear Farmer," which has a delicious beat, and a sort of 1960s element to the guitar work at the beginning. It's a strange song, and there is something scary in the lines, "Paul spent a lot of time down in his room/Down in his room sharpening his knife." But the madness might be coming from within rather than without. Who can keep a hold on reality anymore? Then "Switch" begins with a strong beat, and quickly becomes delightfully strange, many things happening at once, and that bass is so damn good. There is a fierce energy to the vocals, like his life depends on it, or our lives do. "It's got nothing to do with everything/Start it over from the end, turn it on turn it off." It then slowly pushes through, until the vocals return for one last quick burst at the end.

"White Tiger" is the song from the second side that contributes to the album's title, and it contains some good stuff on guitar. "Did you see my car, I think it's blue/Did you cut my throat, yeah, I would've too." This music feels like it exists right on the edge, and if you throw yourself too far in any direction, bones and light will shatter. "Did you see my ghost?" The line is repeated. An answer is needed, is demanded. I love the drumming on this track. The record concludes with "Dress," this one opening in a mellower place, creating a very cool vibe. And maybe we need this, a space to relax a bit after the previous intensity. This one is like a late-night city street. There is even saxophone on this track, Tom Ricciardi delivering some excellent work. "You were insane then/Your favorite word was/Isolation." I especially love the guitar work here, helping to make the track another of my favorites. This is totally delicious. "You only wanted my attention/When you wore that dress."

Record Track List

Side A

1. Pool
2. Chinese Windows
3. Warm Up
4. Voodoo

Side B

1. Vortex
2. Paul The Pear Farmer
3. Switch
4. White Tiger
5. Dress

Warm Up, Tiger was released on April 17, 2026 on Cavity Search Records.

Grateful Dead: "Dave's Picks Bonus Disc 2026" (2026) CD Review

Thanks to my mom, I have a subscription to the Dave's Picks series of Grateful Dead concert releases. Four times a year, a new Grateful Dead show arrives in my mail box (or somewhere in the general vicinity of my mail box, as happened with the new volume), and once a year that show is accompanied by a bonus disc. This year the bonus disc arrived with Dave's Picks Volume 58, a three-disc set that contains the complete show the Dead played on December 18, 1973, and a couple of songs from the December 12, 1973 show too. The Dave's Picks Bonus Disc 2026 contains more songs from that December 12th show at The Omni in Atlanta, Georgia, songs from both the first set and second set.

The disc opens with "Sugaree," which was the second song of the first set, following "Promised Land." Interestingly, some setlists online don't include the first four songs of the show, perhaps basing their list on incomplete audience tapes. Anyway, this is a sweet rendition of "Sugaree," featuring a vocal performance from Jerry Garcia that is wonderfully gentle at the beginning. This song grows in power at the right moments, a song of hills and valleys, and of beauty. The disc then skips to the middle of the first set for "Peggy-O," this being only the second time the band played this song. The first was two days earlier. And again, Jerry's voice is so gentle, so sweet as the song begins. And the track features some really nice work by Keith Godchaux on keys. There is something about this rendition that just feels so good. Then we go to the final song of the first set, a glorious, epic "Playing In The Band." It begins with that wonderful energy, like something opening, like a bright light breaking over us, and then gets into the action of the main theme of the song. But of course the real action is after that, when the band begins to explore other spaces, when the music takes us away from the ground, away from stage, almost like the music somehow separates from the instruments, taking on its own life and choosing its own direction. There is a moment, approximately six minutes thirty-eight seconds in, when the sound shifts to a lesser source. There were a few of those moments on the discs of Volume 58 too. It lasts nearly a minute, and then we are back to the clearer, crisper sound. By that point, it is like the entire universe is dancing, everything the music encounters becoming immersed in the groove, in the energy, in the drive outward. Bill Kreutzman's drumming is so good, and Jerry's guitar reaches to delicious heights, and sometimes turns inward too. What I love is that this version is able to get out there into those exciting places while still maintaining, more or less, a wonderful rhythm that we can hold onto. And then, somewhere around the nineteen-minute mark, the song's main theme is re-established. I always love when the song kicks back into that theme with full force. It's like a welcome back to the earth, but now with whatever knowledge and experience we've gathered along the way, and so our approach to the song is different. There is often more joy. We are not quite the same people we were when this started.

We then skip the first couple of songs of the second set and go right to "China Cat Sunflower," and so we head straight back into interesting territory. After all, there was never any question about what this song was about. Here the structure remains even more intact, while still giving us a chance to open up to different realms. The jam here moves forward with a joyful, delicious force, certain of itself, of its destination. And soon we are into "I Know You Rider," which begins in perhaps a somewhat mellow place, yet with a good amount of heart, and then rises to a great peak on Jerry's "I wish I was a headlight on a northbound train." The disc skips a couple of songs, and moves to "Weather Report Suite," the full song, including the pretty, meditative "Prelude" and a really nice rendition of "Part 1," even if Bob Weir seems to momentarily lose his place. This song feels like it can take care of us, can see us through. "We'll see summer by and by." And then we're into the "Let It Grow" part, the only section that I ever got to see the Dead perform. There is a wonderful power to this piece, and we get a strong rendition here. "And listen to the thunder shout, I am! I am!" What an excellent jam, showing again how 1973 was the best year for the band, as far as live performances are concerned. The band then goes into "Wharf Rat," another of my personal favorites. And this is a striking rendition. Listen to the ache and determination in Jerry's voice as he sings, "But I'll get back on my feet someday." The song at key moments feels like a combination of magic and perseverance. And it gently lets us go at the end.

CD Track List

1. Sugaree
2. Peggy-O
3. Playing In The Band
4. China Cat Sunflower >
5. I Know You Rider
6. Weather Report Suite
7. Wharf Rat

Dave's Picks Bonus Disc 2026 was released in early May, 2026.

Grateful Dead: "Dave's Picks Volume 58" (2026) CD Review

Nothing raises my spirits more than a new Grateful Dead concert recording arriving in the mail. After worrying that the new Dave's Picks volume got lost on its way to me, I discovered it had been delivered to the wrong spot, and today got a chance to enjoy it. And enjoy it, I did. After all, Dave's Picks Volume 58 contains music from 1973, which I still consider the absolute best year for Grateful Dead live performances. This three-disc set contains the complete show the band performed on December 18, 1973 at Curtis Hixon Hall in Tampa, Florida, the penultimate show of the year (the final show had been released as Dick's Picks Volume One). It also contains a couple of songs from the December 12th show in Atlanta. There is a slight re-ordering of songs, with the night's encore placed toward the end of the second disc, just before the Atlanta tracks.

Disc 1

The first disc contains most of the first set. Yup, it's a nice long first set, too much to fit on a single disc. After a moment of tuning, the band opens the show with "Tennessee Jed." This is one of those songs that just always seems to hit the right spot. There is a kind of gentle vibe to this one as it begins, and it soon grows from there, featuring some nice work by Keith Godchaux on keys and some passionate vocal work from Jerry Garcia. It's a good rendition. There is some more tuning afterward, and then Bob Weir leads the band into "Me And My Uncle," with Bob adding "That's me" after the line "I'm as honest as a Denver man can be." There is some stage banter after that song, Bob saying, "As you can see, one of our fellows here is diligently nailing Billy down to the floor." The band then delivers a fun rendition of "Don't Ease Me In" that bounces along, keeping the audience's feet from remaining on the floor for too long. Does Jerry forget which verse he's starting, just for a second? Well, no matter. This rendition has a sudden ending. And the band then eases into "Looks Like Rain," and we can hear some folks cheer as they recognize it. Seems fairly early in the show for "Looks Like Rain," but Bob gives a really good vocal performance here. Check out, for example, the way he delivers these lines: "But it's all right, because I love you/That's not going to change anyway/Run me around/Make me hurt again and again." There are some sweet, pretty moments here too, particularly some of the stuff that Jerry is doing on guitar. And I love Phil Lesh's work on bass, keeping things from getting too light. This is an excellent "Looks Like Rain." "Whole world's turning grey, and it looks like rain."

That rhythm at the beginning of "They Love Each Other" is so catchy, one to get us dancing, and it's allowed to go on a bit before Jerry comes in on vocals. I love early versions of this song, with its bouncy groove, Bill Kreutzman dancing behind the drum kit, and with those extra lines. This is a lot of fun. And then it's suddenly over, and Bob leads the band into "Me And Bobby McGee," delivering another good, moving vocal performance. Everything sounds so good, so crisp, so sweet, and this song ends up another highlight of the first set. Bob then announces they're going to take a moment to fix the piano. The band soon starts "Brown-Eyed Women," another song that always hits its mark. And this version contains some particularly good guitar work. "And the old man never was the same again." A nice gentle ending, too. "Beat It On Down The Line" is next, with like fourteen or fifteen beats to start it. Does the number of beats determine how good a given rendition will be? I bet someone's done a study of it. Anyway, this is a fun, strong version of the song, with some energetic playing. 

Jerry begins "Peggy-O" on guitar, emerging beautifully and sweetly from a bit of tuning, and this is a gorgeous, striking rendition, another of the set's highlights. Everything comes together perfectly here. It's interesting, because, depending on your mood, it's a version you can dance, or least sway to, because of Billy's drumming, or you can close your eyes and drift into a gentle dream of a time gone by. Then the moment "El Paso" begins, some folks cheer. This song too takes us into its particular world, its own story, though this one with undeniable energy. Hearing it, and knowing how things turn out, I find myself still wanting a different outcome for the main character of the song. But of course the end is inevitable, and everything is moving toward that conclusion, even as Jerry's guitar takes us for some delightful twirls. Some odd stuff on piano between songs, like demanding something or other. And Jerry leads the band into "Deal." Maybe it has just a bit of a relaxed vibe early on, but the guitar starts calling down its own energy, creating its own heat, and then everything has to follow that, doesn't it? Jerry starts pushing things vocally too. "Deal" is followed by "Jack Straw," which has a pretty opening, and features some wonderful work on guitar, the music feeling like one final, glorious chance at something grand, if only we can make it happen. I love when the music transports us like that, creating an entire world and placing us at the center of it. This song does it perfectly.

Disc 2

The second disc contains the final two songs of the first set, along with the first chuck of the second set, the encore, and two songs from the December 12th show. The disc opens with "China Cat Sunflower," and you can bet the crowd reacts as soon as it starts, knowing where this song can take folks. And there certainly is a bit of magic here, especially in the guitar, that instrument helping to open the door between this world and another, the band urging everyone to dance straight through. And that's the way we want to enter other worlds, isn't it? There is a joyful energy to the jam, causing even the light to dance. The segue into "I Know You Rider" is seamless, and that song has such a good feel to it. It's great as the energy builds. For a moment approximately halfway through, it sounds like the sound shifts to an audience recording. Still, this is a really good rendition of "Rider." And that's how the first set ends.

This disc then presents the first section of the second set. There is a bit of joking at the beginning. "It's a terrible feeling to step on a flower," Bob says. "If you're going to throw flowers, throw 'em at Bill." After some tuning, the band starts the second set with "Promised Land," shifting things right into gear and getting things immediately in motion. That leads straight into "Bertha," to keep that energy high, keep everything dancing forward, Jerry delivering a strong vocal performance, with some power at the right moments, as well as a wonderful lead on guitar in the second half.  The band then goes straight into "Greatest Story Ever Told," choosing another high-energy song. There is some interesting stuff on guitar in the second half, with a different feel, even as the rhythm continues to rumble beneath it, and then things start to seriously rock. After a brief pause, letting folks cool off, the band goes into "Row Jimmy," slowing things down and taking us into a prettier area, Jerry's voice soothing us. There is some beautiful guitar work here, and I just want to stay in the world of this song a little longer, let it rock us to and fro. This is an excellent version of "Row Jimmy." The disc then moves to the show's encore. "It's gonna be a couple minutes," Bob tells the crowd, "Because a couple of our fellows are backstage taking care of business." Soon the guys deliver a nice rendition of "Uncle John's Band," featuring a delicious jam that takes us quickly toward the outer reaches of the atmosphere. "He's come to take his children home." Didn't we always feel at home at a Dead show?

The final two songs on this disc are from deep in the second set of the December 12th show. (By the way, this year's bonus disc, which arrived with Volume 58, contains more selections from that show.) The band eases into one of my favorites, "Eyes Of The World," a song that always makes me feel good, always gets me moving. The jamming here is wonderful, flying and flowing so naturally in the brightest sunlight early on, and then taking us into more interesting territory in that final jam, teasing darkness before stepping back into the light. And this is 1973, so the jam has the extra section that would later be dropped (and sort of turned into "Stronger Than Dirt"). That song then drops us into "Morning Dew." I love the combination of grief and anger in Jerry's voice on certain lines, which seems exactly right. This is a powerful rendition, even in its quietest, most delicate moments.

Disc 3

The third disc contains the bulk of the second set. "We're going to figure out what we're going to play next," Phil told the crowd. And then when the band eased into "Weather Report Suite," he said, "This is the quiet part, folks." I always loved hearing the band do "Let It Grow," and these early, full versions of "Weather Report" are a treat to listen to. And, yes, as Phil said, it begins softly, in pretty territory with "Prelude." And there is an undeniable beauty to "Part 1." "Like a song that's born to soar the sky." And then the power grows during "Let It Grow." Maybe because it has the chance to grow from the softer, earlier sections of this song, but this "Let It Grow" has an incredible intensity and is just a great rendition. The jam is particularly good. There is a moment toward the end of the track when it seems to switch to an audience recording. Certainly, there is shift of some kind, and it lasts a little longer than the one on the second disc. Usually when something like that happens, Dave Lemieux includes a caveat, but I didn't see one in this volume (maybe I missed it). But no matter, because then we are into "Dark Star," a song that promises an intriguing and often exciting journey. And this version doesn't wait at all before beginning its exploration, dancing in a garden where lights spring up and twist around in response to our attention. And once enjoying a taste of life, they continue to grow and spiral above us, pushing open new doors we didn't realize were even there. And we follow them upward and outward, and we then we are floating on our own, in unfamiliar territory, no clear way back (and who wishes to go back anyway?), and so the only thing to do is look ahead, accept whatever is coming, look the Weird straight in the eyes, with a smile. It seems to work, and a different reality begins bubbling up around us, little beings dancing and popping up into sight and then disappearing again. And then we are back into the song's main theme, and soon Jerry delivers the first verse. That's like eleven minutes in. "Shall we go, you and I, while we can?" And then we are almost immediately placed in a darker, less certain realm, one where atoms are less inclined to stick together. Reality flows into large blue, curious masses, which can't help but overwhelm us, whatever their inclination might be. Other, smaller creatures cry out into the void, waiting for answers. Expecting them? And the answers, when they do come, fly by in unexpected forms and so are largely unintelligible. A beauty tries to emerge, and the band never gets to the second verse.

A short, but good drum solo from Bill Kreutzmann is what does come out of "Dark Star," and it in turn leads to "Eyes Of The World," effectively lifting us out of whatever strange world we'd found ourselves in. This song calls everyone back together, and reminds us of a shared reality, one of our own making. And I love how when Jerry's guitar is flying, so is Phil's bass, though not at the same height. "And the seeds that were silent all burst into bloom and decay." And the jam after the final verse is particularly good, the band cooking, leading to that cool extra "Stronger Than Dirt"-type section. I wish they had kept that in, so that I could have seen the band do it in the 1980s and 1990s. This is an absolutely stellar "Eyes," with an unusual conclusion, leading into "Wharf Rat." Normally you'd think that might be something of an extreme shift, from "Eyes" into "Wharf Rat," but the jam led us here in such a way as to make it feel completely natural, even inevitable. We were ready for it then, ready to be taken into the particular story of this song, to be able to approach it with the right frame of mind. And this is an excellent "Wharf Rat," Jerry delivering a phenomenal vocal performance, pulling us right in at key moments, making us feel like we're privy to confession. And is there another shift in sound sources? Weird. This one is brief, but still jarring. And it's a shame it comes in such a great "Wharf Rat." Keith delivers some nice work on keys. As this song eases out, "Sugar Magnolia" comes alive, always a good choice to wrap up a set. This version features a good jam, building in energy as it goes. Wow, there is something of an extended pause before "Sunshine Daydream." What a great show! The Dead could do no wrong in 1973.

CD Track List

Disc 1

1. Tennessee Jed
2. Me And My Uncle
3. Don't Ease Me In
4. Looks Like Rain
5. They Love Each Other
6. Me And Bobby McGee
7. Brown-Eyed Women
8. Beat It On Down The Line
9. Peggy-O
10. El Paso
11. Deal
12. Jack Straw

Disc 2

1. China Cat Sunflower >
2. I Know You Rider
3. Promised Land >
4. Bertha >
5. Greatest Story Ever Told
6. Row Jimmy
7. Uncle John's Band
8. Eyes Of The World >
9. Morning Dew

Disc 3

1. Weather Report Suite >
2. Dark Star >
3. Drums >
4. Eyes Of The World >
5. Wharf Rat >
6. Sugar Magnolia 

Dave's Picks Volume 58 was released in early May, 2026. I got my copy on May 7th. This release is limited to 25,000 copies (mine is number 17002).