Piper & The Hard Times: "Good Company" (2025) CD Review

At the beginning of last year, Piper & The Hard Times won the International Blues Challenge in Memphis. Then that summer the Nashville-based band released Revelation, an album featuring some excellent original material, largely in the blues realm, but with soul and rock elements too. That album reached #1 on the blues chart. Not a bad year. Now the group is releasing a new album titled Good Company, this one featuring all original material. And I imagine it will gain the band even more acclaim and recognition. The band is made up of Al "Piper" Green on vocals, Steve Eagon on guitar, Amy Frederick on piano and organ, Parker Hawkins on bass, and Dave Colella on drums and percussion. Lisa Oliver-Gray and Etta Britt provide backing vocals. And there are guests on a few tracks.

Good Company opens with its title track, a rocking blues number with a great energy. Early in the song, Al sings, "Making good music, what it's all about." Yes! This is a song that celebrates music and friendship. And hey, those are the very things that keep us going, keep us sane, in these ugly times. And the band touches on that in this song: "I'm sick of these times, y'all/Listening to the news/Everybody's opinion/Is bringing me the blues." I think we can all relate to that. The band is eager to jam, this track featuring some good stuff on guitar and keys. And it is possible that this song might lead to a bit of self-reflection. Do the people in your life consider you good company? "Good Company" is followed by "Now I'm Lovin' You," which quickly establishes a totally delicious groove, and features great stuff on saxophone. Eddie Meyer and Charlie DiPuma are both on sax. "I used to love my whiskey/Now I'm loving you." The band is having fun here, and I have to think this song would be a highlight of the band's live sets. I need to see these guys in concert. This song urges us to dance, that rhythm speaking directly to our bodies, and the guitar flies and swirls around, dancing itself.

A solid, thumping beat at the beginning of "Tear It Down" tells us the band means business here, and the business is good fun. That beat tells us to get ready, be prepared, and the song begins to build around that beat. Eddie Meyer again joins them on tenor saxophone. "Why are we so broken/Listen, it ain't funny/I'm not joking, y'all/We don't listen/We don't hear/It's all driven/By someone else's fear." Well, those are lines for our times, aren't they? And then the band reminds people, "No one wears the crown," something that sadly half of this country seems unable to understand. "I'm so tired/Body and soul." That's the thing: this time we are living in is exhausting. And I know that I personally get cranky when I'm tired, so perhaps it's no wonder that so many people are cranky these days. But this music has a very positive bent, seeming eager to move things forward, past this current mire. Then John Wallum joins the band on organ for "Cowboy Gucci," delivering some good stuff. Here the guitar helps create the steady rhythm. And the vocals are a great raw force.

Good rhythms are an important part of the music here, and with "In The Meantime," a particularly cool rhythm is established at the onset, one that will likely have you smiling. Interestingly, the vocal approach carries a somber tone. "You've got some thinking to do/I don't think you're being true." This song offers a look at a relationship, where there is a difference of views. "You do your thing/But let me do mine." And he repeats, "Let me do mine," and the guitar rises up in support. During the instrumental section, it seems time is passing and changes have occurred, for afterward Al sings, "I'm on my own, y'all/And look at me now." There is a seriously cool instrumental section just before the end, featuring some nice stuff on guitar. Then "Turn The Tables" begins in a mellower place on guitar, and that guitar soon finds a classic blues groove. The first line (after that spoken word intro, that is) is a variation on that classic blues opening line, "I woke up this morning": "You woke up, baby/Tears in your eyes/You say you don't want me no more/But I'm the one with the surprise." I love the way this song is presented, vocals and electric guitar, an approach that ends up making this track stand out.

With "Runaround Man," the band is ready to rock, the drumbeat calling everyone in and pushing them forward. "I'm going to run, run, run, run, run all over town." There is a tremendous energy, and a certain attitude to his delivery. His woman has been treating him wrong, so he's going out too and do the same thing. That might not be the best strategy for a sound mind, but it makes for a fun song, for sure. Check out the great work on both guitar and keys. "Cheatin's Gotta End" also tackles that subject, as evident from its title. "I sit at home all day, you on my mind/But now you are here, and you're looking so fine." This track contains some excellent work on guitar. Interestingly, this song is one the band recorded before. Apparently, originally the band was called Piper, and the first album, released in 1999, was called The Hard Times. That album contains a rendition of "Cheatin's Gotta End."

"Keep It To Yourself" begins with a spoken line: "That sounded like a bomb or something going off in the background, what was that?" We don't know. But the song starts, taking us to a bar and the action there. "Well, people tell me the strangest things/They start to talk before they start to think/And they tell me all their secret stuff/But I tell you, man, I done had enough." And he urges them, "Keep it to yourself." I think we can all appreciate that. I am often amused when people I've just met open up with all sorts of personal information, but sometimes it gets annoying. And it's usually those times when the person just won't shut up. But my favorite line is this: "Now talk is cheap, I'm gonna raise my fee." This is a fun number. It's followed by another fun number, "Not Your Fault," the sax being a big part of the song's appealing sound. This track also features some excellent drumming. But the lyrics are my favorite element of this one. Here is a taste: "Man starts a riot and breaks the law/Now politics and lawyers, he tried to get off/Now he was looking to find the right reason/To blame it on the stress of the holiday season." We all know the man he is singing of there, and that man has sadly led others to approach things the same way. These days, most people just can't admit to a mistake. A guy driving the wrong way down my street yesterday told me it wasn't his fault, blaming his mistake on his phone. Anyway, I'm seriously digging that work on keys during that great instrumental section. This is one of my favorite tracks.

"My Place" has a good, heavy sound as it starts. "We're all stressed about bills to pay/Hell, how are we going to make it through another day?" This song urges us to take a moment to relax, to step away from the stress and listen to the blues. And indeed, that can be the very thing to do the trick. The blues have that capability. This track features an excellent lead on guitar. And I love that backing vocal work toward the end. Then "Those Days" begins with a spoken word section, looking back to the times when he was growing up: "And when you got in trouble, it was the kind of trouble you could walk away from/You know what I mean/Those kind of days." I would hate to grow up now, with school shootings and social media dominating the days. Things have gotten ugly, and children can no longer be children. And we wonder where it all went wrong. It makes sense to look back to childhood now, and to those childhood friends. For they still are our friends. Their memories are our memories. It is always good to hear from them, and to see them, and that's what this song is about.

CD Track List

1. Good Company
2. Now I'm Lovin' You
3. Tear It Down
4. Cowboy Gucci
5. In The Meantime
6. Turn The Tables
7. Runaround Man
8. Cheatin's Gotta End
9. Keep It To Yourself
10. Not Your Fault
11. My Place
12. Those Days

Good Company is scheduled to be released on August 29, 2025 on Hard Times Records.

Mike Pope: "Songs For People High & Low" (2022) CD Review

Mike Pope is a singer and songwriter based in San Diego. In 2022, he released two albums on the Blind Owl record label. Songs For People High & Low, one of those two discs, features mostly original material (along with one Townes Van Zandt cover), music in the folk and acoustic realm with some strong vocal work. Joining Mike Pope on this album are Peter Hirsch on bass, cello and backing vocals; Andy Rae on percussion and backing vocals; and Brady Alvarez on banjo and backing vocals. There are also a few guests on various tracks.

The album's opening track, "Mirror," begins with some pretty guitar work. The rhyme of the song's first lines, "Heard you got another dollar, what's that to ya/All you want's another chance at hallelujah," can't help but call Leonard Cohen's "Hallelujah" to mind. There is an energy to Mike Pope's vocal performance that is in some contrast to the gentle guitar work, and his voice is joined by some beautiful backing vocals. There is a vibrant beauty to the vocal work. "Heard you're bent on breaking things that are trouble to ya." This is a really strong and compelling opening track. It is followed by "Steep Cracked Rocks," which has a classic folk sound as it starts, featuring really good stuff on guitar. Again there is an energy to his voice. You get the sense of him not really needing a microphone, being able to reach a crowd without any sort of amplification. "I look too deeply and I hear those thoughts/I pick myself up." This track also features a nice bass line. Jeff McElroy plays bass on this one. The song ends abruptly and appropriately with the line "But right now I don't feel like talkin'," which is amusing.

"To Teach And To Sow" has an intriguing beginning, with more electronic sounds mixed with acoustic ones. A folk sound begins to emerge from this unusual atmosphere, as the winds continue to blow around the proceedings. Orion Ferguson is on synths here, helping to create that atmosphere. "And that's to teach what can be known/And that's to sow what can be grown." This is a seriously cool song, and its conclusion is as wild as its beginning. Then we get "Maryanne." A glance at the track list on the back of the case reveals this is the first of three "Maryanne" songs, and the titles of the other two are part of the reason for my initial interest in this disc: "Maryanne (Again)" and "Maryanne (Again And Again)." We have those people who persist in our lives, don't we? The titles have that feel. Anyway, this song has a folk feel, in some contrast to the previous track. "Maryanne talks about love/It's like it comes from stars above/Like there's something that it's made up of/That only she knows." This is a song that I appreciate more and more as it continues. "And all that she asked of me was to be thoughtful/Not to go on singing my words like they were gospel/But now she's got me built up into being something awful."

There is a bit of studio noise at the start of "Shooting Star," and then the song begins with a sweet guitar part. There is something adorable about this song. Here is a taste of the lyrics: "And I ain't waiting 'til 9/No, I ain't waiting 'til 9/She either comes or not, that's fine/But I ain't waiting 'til 9/And I ain't waiting 'til 10." I love the humor in that, because obviously when he sings that he won't wait until 10, it means he's already waited past 9 (and 8, for that matter, as noted in the first lines). I suppose that's even clearer here: "And I ain't waiting a week/Well, maybe I'll just give it a week." There is some wonderful backing vocal work on this track too. (By the way, the CD case lists another song here, "Ain't It Strange," but that song is not on this album. It is actually the lead track on Mike Pope's other album released at the same time.) "Shooting Star" is followed by "St. Augustine." Clinton Davis plays violin on this track, delivering some really nice work right from the start. This song mentions Bob Dylan in its first lines: "Well, last night I had Bob Dylan's dream/I dreamed I saw Saint Augustine/And he was looking for them troubled souls." After approximately a minute and a half, the song kicks in to become a fun bluegrass number, the violin taking off. What a delight! There is some delicious stuff on banjo too. After that great instrumental section, those first lines are delivered again, but at a quicker pace now, fitting with this bluegrass sound.

"My Gods" has a darker opening, a haunting sound featuring some gorgeous work on strings. Anna Levitt plays violin on this track, and Jody Bagley delivers some really interesting work on piano. "I've got my gods, ain't giving them names." This is another of the disc's highlights, a song that almost overwhelms us. That's followed by "Ain't It Fine," which begins with some soft work on guitar, and really begins to shine when the vocals come in. "Oh, the springtime must have come/Because the earth is sweet with flowers." This is an absolutely wonderful song, featuring excellent vocal work, a great blending of voices. The sound, which has a classic feel to it, makes me feel good. And don't we all need that these days?

Then we get the second "Maryanne," titled "Maryanne (Again)." It's not a different song, but rather a different version of the same song. Its differences are apparent from the start. This is a cool, intimate, raw rendition, delivered in a more straightforward way. It has the feel of a live performance. That's followed by the album's sole cover, Townes Van Zandt's "None But The Rain." The guitar is soft, the vocals at the fore. This track features beautiful harmonies. "So tell me gently, who'll be your lover/Who'll be your lover after I'm gone/Will it be the moon that hears to your sighing/Will it be the willow that hears your lonesome song?" The album concludes with its third "Maryanne," titled "Maryanne (Again And Again)." This one has a cool back porch vibe. Each of the three renditions has its own sound, its own different approach. This one becomes more lively as it progresses, particularly in the vocal work.

CD Track List

1. Mirror
2. Steep Cracked Rocks
3. To Teach And To Sow
4. Maryanne
5. Shooting Star
6. St. Augustine
7. My Gods
8. Ain't It Fine
9. Maryanne (Again)
10. None But The Rain
11. Maryanne (Again And Again)

Songs For People High & Low was released on October 7, 2022, and is available on both CD and vinyl.

The Legendary Ten Seconds: "The Pageant Of Torbay Part One" (2020/2023) CD Review

Ian Churchward's fantastic ongoing project, The Legendary Ten Seconds, takes inspiration from the life of Richard III, many of the songs relating the story of the War of the Roses and beyond, the music a wonderful combination of classic and modern sounds. Not every song is about the often maligned king, however. The album The Pageant Of Torbay Part One is about The Torquay Pageant of 1924, which celebrated the history of that area. Ian Churchward was inspired by a lecture given by David Hinchcliffe about the pageant. The album features all original material, written or co-written by Ian Churchward. Ian Churchward plays guitar, Mellotron and mandola on this album. He is joined by Mike Zarquon (who goes by the name Lord Zarquon) on Mellotron, keyboards, bass and drums; Bridgit England on vocals, keyboards and violin; Phil Swann on guitar, 12-string guitar and slide guitar; and Elaine Churchward on vocals. There are also a couple of guests on certain tracks.

The album opens with its title track, "The Torquay Pageant Part One." The first five words of the song's first line, "A passion for the past took the counties over," seem to describe this project as a whole. Ian Churchward clearly possesses a strong passion for the past. We hear it not only in the subjects of the songs, but in the music's sound. There is a sweet joy to this track, and some beautiful vocal work by Elaine Churchward, who co-wrote the song with Ian Churchward. I love the blending of their voices. The track sets the scene, working as an introduction, welcoming us. Toward the end, Ian sings, "Now the pageant is forgotten," but this album is testament to the contrary. Then "Torre Abbey" has a more somber vibe. This one takes us back to 1196 and the founding of Torre Abbey. "Many gifts and bequests were received/And their faith in God, they truly believed." This track contains some interesting changes that stand out, especially that cool guitar work. What is also interesting is that the song moves forward several centuries at the end, to the dissolution of the monasteries by King Henry VIII in the late 1530s. Yes, this music contains history lessons.

"William Of Orange" takes us to the 1600s, when William of Orange took the crown from King James II. He and his forces landed at Torbay in 1688. This track has a wonderful, bright sound and is catchy. There is some beautiful work on violin in the second half. That's followed by "The Billy Ruffian," the song's title referring to a boat that was known by that name. Officially known as HMS Bellerophon, it is the ship that Napoleon surrendered to. The ship then landed at Torbay. Again, we can learn a lot from these songs, which is great for those of us in the U.S., where knowledge of history is probably a bit lacking. Don't let the idea of learning something turn you away from this album (or any album by The Legendary Ten Seconds, for that matter), for the music can be enjoyed apart from that. This track has a strong beat, and features some excellent guitar work. There is even a great instrumental section that includes hand claps. Sam Swann plays bass on this track.

"Riots In Torquay" opens in a darker place, the tone of its first moments captivating. And soon there is the distant sound of shouts, before a good rhythm is established. This song tells the tale of riots provoked by the high price of food, something we can certainly relate to now. Known as the Bread Riots, and also as the Food Riots, they took place in 1847 and 1867. This song is beautiful, and again there is a wonderful combination of male and female vocals. Some sound effects are used again later in the song, but they are never overwhelming, but rather in the background. The next song, "Torre Station," takes place around the same time, but this one describing a more cheerful occasion, the opening of Torre Station, which occurred in 1848. It begins with the sound of a locomotive. "The whole event was a great success/Banners proclaimed Brunel's broad gauge/Locomotives in the Victorian age." This one ends as it began, with a train leaving the station. "The Wonderful Paignton Pudding" is also related to the railway, beginning with the lines "In August 1859/They extended the Torbay railway line." This pretty number has some electronic elements, some nice work on keys, and a gorgeous vocal performance. Bridgit England co-wrote this one with Ian Churchward.

"Patent 8294" also takes place in the 1800s. This is a song about Isaac Merritt Singer and his patent for the sewing machine. The connection to the album's theme is that he had moved from New York to Paignton. This one has a somewhat different sound from the earlier tracks, the vocals supported by mainly by keys, though there is also a good lead on guitar in the second half. That's followed by "The Torquay Regatta," which begins with some excellent guitar work. This one also has it own special sound, with acoustic guitar playing an important part. This track also features a strong vocal performance. It was written by Elaine Churchward and Ian Churchward. Then "Buffalo Bill In Torquay" tells of Buffalo Bill's Wild West Show's visit to Torquay in 1904. "Riders from many a nation/Bringing great acclamation/Colonel Custer's last stand/With Buffalo Bill in command."

"Arnold's White Feather" begins with a beat. Here Ian sings, "The suffragettes are busy in the town of Torquay/Handing out white feathers to the men that they see." The white feather was a symbol of cowardice. As for the Arnold of the song's title, Ian Churchward tells us, "Arnold Ridley was a teacher at a Torquay school/Received a white feather which was rather cruel/Seen by a suffragette who wore a fox fur/His silver war badge he didn't show to her." And we learn that he had been wounded in the first World War. It was in 1917 that he was handed the feather, not long after being discharged from the service. That's followed by "Agatha Heads Off East," a song about Agatha Christie, who was born in Torquay. There is something beautiful, almost magical about the music here. It is an unexpectedly captivating number, and you might find yourself singing along with the repeated line "It healed her broken heart." This track features a really good bass line and some excellent guitar work.

Interestingly, "The Lady Cable" is another song about a boat, and, like "The Billy Ruffian," it is named after a specific boat. The Lady Cable, a passenger boat, went from Torquay to Dunkirk for the evacuation during World War II. The track begins with the sounds of war. "At Dunkirk there was danger/From the sky, stern and starboard/Called the Lady Cable/She'd sailed from Torquay's harbor." I love the whole vibe of this track, and it features another strong bass line. That's followed by "The Funk Hole Myth." The Funk Hole Myth: Torquay During World War II is the title of a book by David Scott. Apparently, there was an accusation that Torquay was a hiding spot for those who didn't want to contribute to the war effort. Yes, here we get another fascinating story from history delivered in song. One can certainly learn a lot from this album, and be inspired to learn more. And this track features one of the album's best vocal performances. The album concludes with "The Theatre Of Pain," a playful number about the Torquay United Football Club, nicknamed the Gulls. This is a song I could have related to more before 2004, for the Red Sox until that year always managed to find a way to lose (and yet we always had a good time at the park). "Another season goes down the drain/We have such fun at the theatre of pain/Come and watch the Gulls lose once again." Guy Bolt plays drums on this track.

CD Track List

1. The Torquay Pageant Part One
2. Torre Abbey
3. William Of Orange
4. The Billy Ruffian
5. Riots In Torquay
6. Torre Station
7. The Wonderful Paignton Pudding
8. Patent 8294
9. The Torquay Regatta
10. Buffalo Bill In Torquay
11. Arnold's White Feather
12. Agatha Heads Off East
13. The Lady Cable
14. The Funk Hole Myth
15. The Theatre Of Pain

The Pageant Of Torbay Part One was released on September 15, 2020, and then as a limited edition CD on November 29, 2023.

Grateful Dead: "Dave's Picks 2025 Bonus Disc" (2025) CD Review

Yesterday was Jerry Garcia's birthday. Folks are now gathered in San Francisco to celebrate that occasion and also sixty years of the best band that ever existed, the Grateful Dead. The band is long gone (thirty years now), but the music continues, and some of the spirit too (certainly not all of the spirit, as tickets for these Dead & Company shows in the park were $245, a far cry from the free shows the Dead once played there). I held my own little personal celebration here in my tiny apartment, listening to this year's Dave's Picks bonus disc, which arrived with Dave's Picks Volume 54. It contains a portion of the show the Dead did on March 31, 1973 in Buffalo, New York. The disc contains the end of the first set and most of the second set.

It begins with the final song of the first set, "Playing In The Band," and there is a great energy from the start. It isn't long into the jam before we get into some magical territory, Jerry's guitar leading the way, or perhaps creating the way. Things continue moving forward. I love the excitement of the journey. This really is about seeing where the music can go, where it can take us. It's a great dance with whatever forces might exist, meeting them on common ground. To do that, the band has to first get us there. That's the journey. And they certainly manage it here. We begin to experience new possibilities and tangible, if passing, realities, the band teasing them into different shapes, coaxing from them even an answer or two, before then returning to the song's main theme. And, hey, we're back on firm ground, though changed from the experience. Better, more aware, more open. Bob Weir then announced the short break.

The rest of the disc comes from the second set, skipping only the first three songs. Some playful tuning leads into "He's Gone." This version of "He's Gone" isn't quite as stirring, as moving, as the one from the March 26th show (on Dave's Picks Volume 54), but it's still really good. And that vocal section is gentle and sweet at the start, then becomes more energetic, even fun, like a celebration in honor of a life, rather than mourning its loss. The band then pushes into "Truckin'," everyone together driving this monster down that road regardless of obstacles. And the crowd cheers at the mention of Buffalo. There is a great power behind this rendition. It feels like it could move mountains if need be. Fantastic. The jam then gets into bluesy territory for a bit. Bill Kreutzmann is eager for a solo, you can feel it, and he soon gets it. It's not a very long drum solo, but it's good. It sort of functions as a connection between "Truckin'" and "The Other One." This "Other One" has some of the same great power and force as was propelling "Truckin'" forward. It is immediately pulsing and exploding and thumping as if determined to burst through any final wall between here and there. It then pulls starlight, bending the universe to the music's will. It seems to be able to do so with ease, charming the gods, retrieving ancient knowledge from black holes, rescuing a better reality from the darkness. While also breathing in some of that darkness, incorporating it into the dance. Then more than ten minutes into the odyssey, we get back into the main theme, and Bob delivers the song's first verse.

The band then gets into weird territory. This is listed as a separate track, "Jam," though I think back in the day our tapes didn't make such distinctions. But certainly it is a big turn from what we'd been experiencing so far. We are now in less certain territory, the farther reaches of space, where reality is more tenuous and the spaces between objects much larger. Distances change with each breath. A rhythm is created, perhaps to pull those objects together, and the band finds its way into "I Know You Rider." Yes, a rare "China"-less "Rider." And such an interesting choice out of "The Other One." "The sun will shine in my back door someday/March winds will blow all my troubles away." Being as this show was on the final day of March, this was perhaps the last chance for that to happen. It's a really nice rendition. Then after a pause, during which we hear the audience going nuts, the band wraps up the set with "Sugar Magnolia." the moment they begin it, the crowd gets excited again. It's a fun rendition, with a good, long "Sunshine Daydream." What a great way to close out the set.

CD Track List

1. Playing In The Band
2. He's Gone >
3. Truckin' >
4. Drums >
5. The Other One >
6. Jam >
7. I Know You Rider
8. Sugar Magnolia

Dave's Picks 2025 Bonus Disc was released in late April, sent with copies of Dave's Picks Volume 54 to those of us with subscriptions.

Grateful Dead: "Dave's Picks Volume 54" (2025) CD Review

The new Dave's Picks volume (Volume 55) arrived a couple of days ago, and somehow I hadn't yet enjoyed the previous volume. How did that happen? Especially as that volume, Volume 54, contains a show from what is my personal favorite year for Grateful Dead concert recordings, 1973. Well, I had to listen to that one before getting to the new one. Right? There's an order to things, isn't there? Dave's Picks Volume 54 contains the complete show the Grateful Dead performed on March 26, 1973 at Baltimore Civic Center. And it is something special.

Disc 1

The first disc contains most of the first set. That's right, it's a nice, long first set. They kick it off with a classic rock and roll number, Chuck Berry's "Promised Land," to set things in motion. The energy is good, and there is a nice moment with Keith Godchaux rocking the keys. And those final lines are belted out with a delicious power and attitude. Jerry Garcia then leads the band into "Mississippi Half-Step Uptown Toodeloo." This song really clicks when Jerry sings, "I nailed a re-tread to my feet and prayed for better weather." And from there it is a stellar rendition. Jerry is really digging in and tearing it apart vocally. So good! A jam then gets us from there to the "Across the Rio Grande-O" part perfectly. And Jerry's guitar is a great old friend, helping us carefully find our footing. There is a tremendous beauty to the last section of the song.

Bob Weir then takes the band into a fun country dance rendition of "The Race Is On," Donna Jean Godchaux's vocals figuring prominently. Keith gets a chance to cut loose on the piano. The band then finds its way into "Wave That Flag," a new song that would become "U.S. Blues." Whenever I hear one of these early recordings, the lyrics always surprise me. But whatever set of lyrics is used, this song promises a fun time. Though it is a bit odd to hear Jerry sing something as straightforward as "Feed the poor, stop the war." There is a bit of tinkering before they gently move into "Jack Straw," a song that always brought the audience together. And this is an excellent rendition, beginning in sweet territory and taking us down the road swiftly when it needs to, letting us relax when the opportunities arise. "The eagles filled the sky." Keeping things in the same general realm, Jerry starts "Sugaree," the music gently rocking us in its arms. The guitar is dancing at one point, and Phil Lesh's bass shines and smiles. Jerry's vocals become incredibly passionate toward the end, driving things forward.

Things get much lighter, more playful, with "Mexicali Blues." This is a really good rendition. Listen to the way the guitar dances here, during the lead in the second half. Phil then gets a chance to sing, the Dead following "Mexicali" with "Box Of Rain." "For this is all a dream we dreamed/One afternoon long ago." There is a rather sweet jam in the middle, and there are moments when its power swells. It's those sweeter sections that make this one special, I think. The band then eases into "Row Jimmy," featuring a soulful vocal performance from Jerry. His voice is ageless, in a way, for he could always, even when he was young, summon the sort of wisdom and experience in his voice you'd expect of someone several decades his elder. "Not too fast and not too slow." This is a really nice rendition. Then, what is that, twelve or thirteen beats, that kick off this version of "Beat It On Down The Line"? Can you tell how good a performance of that song is going to be by how many beats they choose to open it? I'm sure someone is studying this question. But as for me, I'm just thoroughly enjoying this version. Keith is again rocking the keys, and Jerry delivers some delicious work on guitar.

"Brown-Eyed Women" is one of those songs that kind of quietly grab you every single time. It gets its hooks into you. "Delilah Jones went to meet her god/And the old man never was the same again." There is a bit of stage banter afterward, with Bob saying it's getting to sound like a roller derby up there. They then glide into "El Paso," engaging us all in a dance, a dance that not all characters will survive, even as we urge them on. This is a particularly strong rendition, featuring an excellent vocal performance by Bob, and some outstanding guitar work by Jerry. That character gets to live again each time we listen to this song, and die again. Bill Kreutzmann gives us some playful stuff on drums right after that song. The first disc concludes with "China Cat Sunflower" into "I Know You Rider," and the moment they begin "China Cat" we can hear the crowd react enthusiastically. It's a joyful journey into that other realm, a fast dance through that land. The jam turns pretty, and the segue into "Rider" is smooth. This rendition of "I Know You Rider" has power in all the right places, and is another highlight of the first disc. This disc, by the way, contains more than seventy-eight minutes of music, but the first set isn't yet over.

Disc 2

The second disc contains the last three songs of the first set, as well as a good chunk of the second set. It begins with a pretty rendition of "Looks Like Rain," with a particularly touching vocal performance by Bob. "It's all right, 'cause I love you/That's not gonna change."And that guitar has a whole world of ache and hope behind it. "Whole world's turning grey/And it looks like rain." This is one of the best renditions of "Looks Like Rain" I've heard. Jerry then gets things rocking and hopping with a fun rendition of "Don't Ease Me In." You'd think that would be it for the first set, but no, the guys have a nineteen-minute "Playing In The Band" left in them. You know that means the band is about to take us into the special territory where they are always completely at home. "I don't trust to nothing/But I know it'll come out right." First we start in more grounded space. Bill is clearly eager to get moving. And it isn't all that long after that when the band begins to explore, tearing away layer after layer that separates us from the answers to all of life's most important questions. They find life pulsing all through the universe, and maybe they themselves are the cause, for even starlight responds to the music. Asteroids adjust their course to be closer to the great glow and sparkle of this band, of the notes that go spiraling off into the farther reaches of space. Jerry's guitar is found to be be fluent in every language needed for interstellar travel. All beings understand the music perfectly. Phil's bass becomes a creature's pulse, speaks directly to its source. There is an interesting section led by piano and drums. Bill is dancing at his kit. More unusual space is explored from there, and the ride becomes rather wild at times. The farther out we go, the closer to home we get. There are little hints, familiar elements of the main body of the song. And when things settle enough for us to recognize our surroundings, the band launches back into the song's main theme. And Donna gives her scream. This incredible "Playing" brings the first set to a close.

Interestingly, Woflman Jack introduces the band before the second set. "This is a great party," he says, and urges everyone to light up. While he tells folks to hold up their matches, the Dead start the set with "Ramble On Rose," a song that mentions Wolfman Jack in its lyrics. And Jerry gives that line a little more emphasis this time around. Does Jerry forget the lyrics for a moment at the beginning? No worries, this is still a really good rendition. It's followed by a fun, hopping version of "Big River" featuring an excellent lead by Keith on keys that takes the song to another level. Then we get a really good "Here Comes Sunshine," featuring some nice jamming in the middle. Some tuning follows, and then the guys go into a strong "Greatest Story Ever Told." Wow, this band seems determined to deliver the goods with every song. There is some jamming here too, with a great energy, and Donna cuts loose. The band then eases into "Candyman." Jerry might struggle to find a line at one point, but this an excellent rendition. The second disc wraps up with "Me And My Uncle" and "One More Saturday Night," the latter actually being the final song of the show, but not fitting at the end of third disc where it belongs. It's a rock and roll number to leave everyone dancing.

Disc 3

The last disc contains the rest of the second set, all eighty minutes of it. It begins with "He's Gone," a song whose meaning changed after the death of Ron "Pigpen" McKernan earlier that month. And you feel it here. There is something sad, something contemplative in the vibe, in the delivery, in the pace. The instrumental section seems to be reaching out to him, to a memory. "Going where the wind don't blow so strange." It's a moving and beautiful rendition. As always, that vocal section is wonderful. Donna plays a part in that vocal section, and the band keeps it going long enough that we all feel a part of it. It comes to feel almost spiritual, growing more and more meaningful. There is a release here. And the jam feels like it is guiding a spirit outward with a soft touch and a smile, and then letting go. It is beautiful. As it leads straight into "Truckin'," you can hear, and feel, the crowd getting excited. Everyone feels a part of the journey, a part of the ride. And there is some steam, some power behind it. The jam maintains a good groove, moving folks forward. Suddenly a new intensity comes over it, and things take on more of a blues flavor, even as they begin to stray away from the road, following the sprites into other realms, where the curtain between us and the spirits fades. As things slow, there is a darkness added, and soon the guitar leads us out of this realm and into "Weather Report Suite: Prelude," which is gorgeous. The full "Weather Report Suite" hadn't been played yet, and the band follows "Prelude" with a sweet, rather pretty jam. After a while, the music enters some sharper and more intense territory, but soon passes through to something brighter. The band does not go fully into that area, instead changing directions and beginning "Wharf Rat." They let the theme of the song run a bit before getting into the lyrics. And then listen to the way Jerry sings, "But I'll get back on my feet someday." That whole section is stunning. Then there is a great power and force to the music coming out of that section, paving the way for Jerry's "I'll get up and fly away." This is a stellar rendition, with some great stuff by Bill on drums. The song comes to a gentle ending, and as it does, "Me And Bobby McGee" begins. It does so softly, almost tenderly, and develops into a beautiful rendition that leaves me feeling good. And of course "Eyes Of The World" guarantees that that good feeling stretches out, grows stronger. Always a good song to dance to, "Eyes" has a delicious rhythm and a great vibe, one that carries optimism even in the face of decay. "The night comes so quiet, it's close on the heels of the day." I love the way things build even after the song's final lines, the jam having a structure. There is one point where it feels it might break apart, but then they're back into that rhythm. And this is an early version of "Eyes," so that other cool section in the jam is included. These are my favorite sorts of "Eyes," and this is an especially good rendition. And what an incredible segue into "Morning Dew." Right from the start, it's apparent this is a special "Dew." Just listen to Jerry's delivery of that first stanza. When he sings, "I can't walk you out in the morning dew, my honey," I just want to cry. You can feel the sorrow, and even the despair at the stupidity of mankind's demise. This is a haunting and captivating performance. The guitar too laments the unnecessary end, and screams out into the void, almost demanding a response. "I guess it doesn't matter anyway" is the depressing conclusion to our story. At the end, nothing will matter. But now there is great beauty in this song. It continues to rise defiantly, as humanity may do right to its ultimate breath. What an incredible rendition of "Morning Dew" to wrap up the disc.

CD Track List

Disc 1

1. Promised Land
2. Mississippi Half-Step Uptown Toodeloo
3. The Race Is On
4. Wave That Flag
5. Jack Straw
6. Sugaree
7. Mexicali Blues
8. Box Of Rain
9. Row Jimmy
10. Beat It On Down The Line
11. Brown-Eyed Women
12. El Paso
13. China Cat Sunflower >
14. I Know You Rider

Disc 2

1. Looks Like Rain
2. Don't Ease Me In
3. Playing In The Band
4. Wolfman Jack Introduction
5. Ramble On Rose
6. Big River
7. Here Comes Sunshine
8. Greatest Story Ever Told
9. Candyman
10. Me And My Uncle
11. One More Saturday Night

Disc 3

1. He's Gone >
2. Truckin' >
3. Weather Report Suite: Prelude >
4. Jam >
5. Wharf Rat >
6. Me And Bobby McGee >
7. Eyes Of The World >
8. Morning Dew

Dave's Picks Volume 54 was released in late April. My copy arrived April 26, 2025. This is a limited edition of 25,000 copies (my copy is number 15089). This volume came with the year's bonus disc, which I aim to listen to soon. And then I'll get to Volume 55. So much good music!

Steven Halpern: "Music For Microdosing" (2025) CD Review

Music for microdosing, what a great idea! Back when we were dosing, music always played an incredibly important role. Mostly it was the music of the Grateful Dead that we turned to, always excellent music for some exploration. But certain albums by Talking Heads (Fear Of Music) and David Bowie (Lodger) also worked well. So it makes sense that music should play a role in microdosing as well. I'm not sure how much a microdose actually is, but we also didn't really know how much a dose was. Back in my acid-eating days, we used blotter paper, and I usually took between one and three tabs, sometimes up to five or six. A friend did thirty-two one time, so I suppose for him microdosing would be two or three tabs. Of course, none of this was very scientific. We had no idea how much LSD was on a single tab. And it was likely spread unevenly on the sheet anyway, so if you got a corner piece it might not be as potent as a tab from the center. I suspect it might be a bit more scientific these days, a bit more regulated. But who knows? What concerns us here is the music to go with it. And who better to take us on that journey than Steven Halpern, who has been recording music for inward journeys for five decades. All the music on this album was composed and arranged by Steven Halpern, who plays electric piano and keyboards on these tracks. He is joined by a few guests on certain tracks. By the way, you don't need a microdose (however much that might be) to enjoy the music on this CD, just as you certainly don't need a full dose or two to enjoy the music of the Grateful Dead. The music itself works to improve mood, relax you, and get those creative juices flowing.

The album opens with its title track, "Music For Microdosing," which eases in, like a world welcoming the morning sun. The light, the breeze, the movement of trees all become one thing, and that one thing surrounds us, gently lifts us or settles us, depending on what it is we need. And as we become immersed in it, letting go of whatever stressful things are on the outside, the music feels like it is communicating to us, guiding us. That's followed by "Music Is The Bridge," a title that I love. And indeed here the music is ready to take us from one place to another. A bridge, and also a hand to hold as we cross it. There is a sweet joy to this piece, and a readiness. As Hamlet said, "The readiness is all." This music is like stepping into a waking dream, one you'll be able to remember, one that opens and opens and opens. "Timeless Truths" has a slightly darker feel in its opening moment, like now we are on more solid ground, a more defined space. That doesn't mean there isn't an ethereal quality, for there is. But now there is something nearly tangible about it, as it begins to take form. Like a heaviness to the air, though light is still able to pass through. And we have the sense of a stream toward the end.

"Whisper On The Wind" takes us into a recognizable natural landscape, with tall trees and hills, birds flying from tree to tree. Part of what gives this track that vibe is the presence of guest Jorge Alfano on Shakuhachi bamboo flute. Jorge delivers some beautiful work, and at times there is a wonderful contrast with the more electronic elements of this one, putting us in mind of two worlds combined. Then "Receiving Insights" takes us into a delicate dream, which we float through, as through a tunnel of gently swirling colors, individual lights sometimes approaching us, checking in on us, on our progress, and perhaps subtly suggesting a slight shift in course. And that shift is effortless. And the lights then engage us in dreamlike dance, before easing us out. Michael Diamond then joins Steven Halpern on synth guitar and keyboards for "Mindful Microdosing," which has quite a different feel, more in the electronic realm. Winds across an electronic landscape, or electronic lifeforms taking on the wind. The action, the creatures become captivating. That's followed by "Time Being II," a piece that Steven Halpern included on an album titled Inner Peace (an album that also included "Time Being I") and later on Crystal Bowl Healing. It glides in, feeling like it moves above us, and then through us, until it overwhelms, and we and it are now part of some new entity. And it is then we perhaps feel most calm.

More than twenty years ago, Steven Halpern recorded a piece titled "Deep Journeys." On this new album, he gives us "Deeper Journeys." As it begins, it feels like it is ushering us into our own personal journey within. Elements of the outside are present, perhaps as guides or guideposts, but this is all about a personal inward journey. Sometimes your own image comes in from without. And sometimes a darkness crouches, prepared, and we look into that. "Inner Space Outer Space" is a perfect title, because it often feels these journeys take place in both simultaneously. Rich Horowitz in responsible for the space effects on this cool track. And there is the feel here that the farther out we go, inevitably the farther in we go as well. Michael Manring then plays bass on "Root Chakra Resonance," an interesting track with a hint of melancholy, seemingly overcome by letting go. We hear ripples in the pool, along with ghosts of the past, and the sound grows toward the end. That's followed by "Transformation," which begins with a light that approaches, breathes, affects everything below it. A calm overcomes us, and we slip into a state where we are both relaxed and prepared.

"Heart Mind Coherence" is like a relaxing oasis in the middle of a busy world, as it tries to push away sirens with ocean waves and focus all thought on that calm place. And the place becomes more welcoming, prettier, as we become more and more a part of it. Then "Sonic Elevation" begins in a gorgeous place that takes deep, sonorous breaths. As we drift along, it feels like we've reached a place of acceptance. And perhaps that was inevitable in the face of such ancient magic as the building blocks of life, the tiniest particle taking on a conscience of its own. And then it all settles together, one great being, the whole cosmos. The album concludes with "At Peace In The Present Moment." And perhaps that title states the goal of this entire enterprise, not just a calmness but an ability to remain in the moment. And the music itself gets us there, centers us and soothes us, and makes us ready.

CD Track List

1. Music For Microdosing
2. Music Is The Bridge
3. Timeless Truths
4. Whisper On The Wind
5. Receiving Insights
6. Mindful Microdosing
7. Time Being II
8. Deeper Journeys
9. Inner Space Outer Space
10. Root Chakra Resonance
11. Transformation
12. Heart Mind Coherence
13. Sonic Elevation
14. At Peace In The Present Moment

Music For Microdosing was released on July 11, 2025.

Bobby Blue Bland: "His California Album" (1973/2025) Vinyl Review

Do you have the blues? Of course you do. Who doesn't? This is a perfect time to revisit the music of Bobby Blue Bland, particularly as His California Album has just been re-issued on vinyl, thanks to the good folks at Bear Family Records. Originally released in 1973, this album was the first of two that Bobby Bland released on Dunhill Records. The second, Dreamer, was re-issued by Bear Family Records in 2017. His California Record, which was recorded in Los Angeles, features some great classic blues and soul numbers, including "This Time I'm Gone For Good" and "(If Loving You Is Wrong) I Don't Want To Be Right." It has been remastered and pressed on 180-gram vinyl, and sounds fantastic. Backing Bobby Blue Bland on this album are Michael Omartian on piano and organ, Ben Benay on guitar, David Cohen on guitar, Larry Carlton on guitar, Mel Brown on guitar, Dean Parks on guitar, Ed Greene on drums, Wilton Felder on bass, and Max Bennett on bass. Chuck Findley, Paul Hubinon, Dick Hyde, Ernie Watts and Jack Kelson Jr. make up the horn section. Sid Sharp is responsible for the strings. And the backing vocals are by Ginger Blake, Julia Tillman and Maxine Willard. The album was produced by Steve Barri.

Side A

The record gets off to a great start with "This Time I'm Gone For Good," which has a delicious blues groove, an opening that sounds down and dark and mean and intimate. And then Bobby Bland's gorgeous, cool and soulful voice comes in, telling us, "I should have stayed gone." Soon he begins to raise his voice over that rhythm. "And when I leave this time/Make sure it's understood/That this time I'm gone for good." And the strings begin to rise in power too. But it is that electric guitar that offers the most intimate support. It is that instrument that will accompany him wherever he goes, if he goes. After all, he says, "It's so hard for me to leave you." What do you think, friends? Is he really gone for good? He takes things in a different direction with "Up And Down World," which features a catchy bass line. Here he tells us the woman is leaving him all alone. "But remember what goes around/Also comes around too/Because it's an up and down world/It's an up and down world." Oh, it certainly is. And now it seems mostly down, doesn't it? But as I said, I suppose that makes it a perfect time for these blues. And I am seriously digging the horns, which give the song that great, classic sound and help make us feel we'll get through the down parts. Hold on, everyone. Don't give up.

"If I ever feel the light again/Shining down on me/I don't have to tell you/How welcome it will be." Bobby Bland delivers a moving reading of those opening lines of "It's Not The Spotlight," setting the tone wonderfully. About that special light, he tells us, "I've seen it shining in your eyes." This is a hopeful song. It's when I look in my girlfriend's eyes that I feel my most optimistic about the world, about life. This track features some nice backing vocal work. Then "(If Loving You Is Wrong) I Don't Want To Be Right" seems to come from a place deep in the night, a time when things take on a special focus, and an unusual light comes into play either from within or without. Once that atmosphere is established, Bobby Bland delivers that first line, the title line, and we hear a whole history in his delivery, in his voice. There is a story that leads to that line, and we feel that even if there were no other lyrics, we'd have a pretty good idea of that story just from the way he sings that first line. But of course there is more, and this track contains one of the album's best vocal performances. There is also some cool work on keys, and more good guitar work.

The record's first side concludes with "Goin' Down Slow," a song that comes from the edge, looking into the abyss, and yet there is a delicious groove, particularly on piano. Who would have thought there'd be such a good feel there at the edge? "I've had my fun/If I don't get well no more/I said I've had my fun/If I never get well no more/Said my head is feeling kinda funny/Lord, and I'm goin' down slow." The song soon gets a bit funky, and the horns make things begin to feel like a celebration. Then the guitar begins to sing, and the band jams. Check out that work on organ. This is the way to go, if we have to go. And there is some good work from the backing vocalists at the end.

Side B

The second side opens with "The Right Place At The Right Time," which has such a good vibe from the start, sort of in the same realm as the Grateful Dead's "Eyes Of The World" in that opening section. This song offers some advice, and Bobby Blue Bland is the right one to deliver that advice. "If you want something in this ol' world/You've got to be at the right place at the right time." This is a song urging us to make something happen, to take charge of our lives. "If all you do is sleep all day/You can't expect nothing but a dream," he warns us. Bobby Bland slows things down then with "Help Me Through The Day." Right away we learn he doesn't just need help in the daytime, for he opens the song with these lines: "Help me through the day/Help me through the night, lord/Darling, your sweet loving/Will make everything all right." That's it, isn't it? It always comes back to love. We have to help each other, help those we love. "I can see so much pain/Deep inside your eyes," he sings, and we hear the truth of those words in his passionate delivery. This track also contains great stuff on strings, as well as a really good lead on guitar.

The energy is then higher on "Where My Baby Went," a track with a good funky vibe and some excellent work on horns. "Show me a woman that likes luxury/And the green grass on the other side/Show me a woman who has it all/And I'll show you one that wasn't satisfied." That's followed by a mellower number titled "Friday The 13th Child." I like the play in its title and first line, but this is a rather somber number. "Mother nearly died in pain/And you never look over your shoulder/Friends and family you'll never see again/Friends and family you'll never see again." Bobby Bland delivers a great, soulful performance, supported by the strings. The album concludes with "I've Got To Use My Imagination," which has a meaner vibe. "I've really got to use my imagination/To think of a good reason/To keep on keeping on/I've got to make the best of a bad situation." Yeah, those opening lines speak to us strongly these days, when the whole country is in a bad situation. This is a great blues number, the guitar acting as a good companion.

Record Track List

Side A

1. This Time I'm Gone For Good
2. Up And Down World
3. It's Not The Spotlight
4. (If Loving You Is Wrong) I Don't Want To Be Right
5. Goin' Down Slow

Side B

1. The Right Place At The Right Time
2. Help Me Through The Day
3. Where My Baby Went
4. Friday The 13th Child
5. I've Got To Use My Imagination

This vinyl re-issue of His California Album was released on July 11, 2025 on Bear Family Records. By the way, there is an insert included in the record sleeve, with images of other vinyl releases, records I certainly want to add to my collection, including Etta James' Tell Mama (I think I have that on CD, but it feels like one that needs to be on vinyl) and Frank Frosts's Hey Boss Man.