Di'anno: Iron Maiden's Lost Singer Blu-ray Review

Iron Maiden, the heavy metal band named after a torture device, was formed in the mid-1970s, and has an interesting history, with a lot of personnel changes in the early years. Paul Di'anno joined the band in 1978, and was the lead singer of Iron Maiden for the band's first two albums. If you're my age, you remember those albums well, and it might have been the artwork that drew you to those records. The first album featured an undead character, a sort of punk zombie staring right out at you. And that character, though going through many changes since then, has been a staple of the band's albums and live performances. But the artwork wouldn't have been enough to hold people's attention long. Clearly the music held great appeal. And Paul Di'anno (whose real name was Paul Andrews) was the voice of the band at that time, the voice that folks connected to. But before the band's third album, 1982's The Number Of The Beast, Paul had left the band, replaced by Bruce Dickinson. And then what?

Di'anno: Iron Maiden's Lost Singer is a documentary film that picks up Paul Di'anno's story long after his departure from Iron Maiden, at a time when he is struggling with health troubles and financial woes, and literally trying to get back on his feet. That is his goal, to get out of the wheelchair and be able to walk again. The movie opens with footage from a few of those reaction videos that some people find appealing these days, folks listening to early Iron Maiden music, but fortunately there is only a little of that. There is also some footage of fans talking about the band's early albums, and one says, of Paul, "I have no idea what he's doing now, or what he's done since." And, sadly, he speaks for many of us. But it is that footage that leads us to Paul Di'anno, who enters in his wheelchair and talks about his bad knee and how he's unable to walk at all. We see him meeting with an orthopedic surgeon, who tries to get him to straighten his legs, something Paul cannot do. Paul is candid and endearing, saying he refuses to spend his life in a wheelchair. But he is not getting the care he needs in his home in the U.K.

The film really takes us on two journeys simultaneously. There is the journey through Paul Di'anno's music, of his time with Iron Maiden, how he joined the band, and what he has done musically since then, and what he hopes to do. And there is the medical journey, his journey into ill health and his long road back to a better state. The two journeys are, of course, intertwined. And it is the fans that help him along both. Paul Di'anno is an interesting character. He is so likeable despite also being unpleasant and antagonistic at times. Part of it is his sense of humor, which is on display early in the film during a Q&A at a pub. And part of it is seeing just how rough the road is for him. We can't help but feel for the guy, and connect to his spirit. By the way, you do not have to be an Iron Maiden fan to appreciate this documentary. But for Iron Maiden fans, there is some great footage of the band playing in 1980, with a punk energy, as well as footage of Paul performing with The Iron Maidens, an all-girl tribute band. And the film contains interviews with several members of the band, including Doug Sampson (drummer 1978-1979), Bob Sawyer (guitarist 1977), Terry Wapram (guitarist 1977-1978), Dennis Stratton (guitarist 1979-1980), and Blaze Bayley (singer 1994-1999). About touring, Bob Sawyer says, "It was like being on a school trip, only ten years later and with worse behavior." There are also interviews with members of Iron Maiden's crew, as well as with other musicians including James Hetfield (of Metallica), Gary Holt (of Exodus and Slayer), and David Ellefson (of Megadeth).

The film cuts between the music footage and the medical footage. Because Paul was not getting the care he needed in his own country, fans urged him to travel to Croatia. And this documentary travels with him. "I'm fucking scared," he tells an EMT at the beginning of this trip. And we believe him. There are interviews with some of the medical professionals who help him, including nurses who begin to see some improvement in his condition. We see it too, some strength returning to his left leg. "I'm taking care of me for the first time ever," Paul says, eager to return to the stage. He is someone who clearly lived for the moment now having to think about the future, and having to work to make it happen. Some of the most uplifting footage in the film is of the first show he is able to do, after seven years, where he seriously rocks and sounds great. Other folks remark on how he sounds better than ever. And after that, he is invited to an Iron Maiden show, leading to the first time he'd seen Steve Harris in forty years. Perhaps the most moving moment of the film is when he learns that Iron Maiden is going to help with his medical bills. Paul says how he had been feeling alone. "Then I found out I'm fucking nowhere near alone. I've got the Beast army. Never felt so much love in all my life."

The film does include information about Paul's departure from Iron Maiden. And, yes, for Maiden fans, Paul does briefly discuss the decapitated head cover for that rare edition of Maiden Japan. There is also information on his post-Maiden bands, including Battlezone and Killers. All of that is interesting, no question, but what is most striking is the personal struggle with his health. One other thing I should mention is that the documentary crew is allowed into the operating room to film a procedure on his leg, and some of that footage is rather difficult to watch. But don't let that scare you from seeing the film.

Special Features

The Blu-ray contains two deleted scenes. The first is about the group Warhorse, which Paul worked with in Croatia, and includes interviews with Paul and the other two main musicians. This scene is approximately two and a half minutes. The second scene takes us inside the home and office of Stjepan Juras, the fan who helped Paul throughout his medical process. He shows the T-shirts and signed Warhorse CDs that were being sold to raise money to fund Paul's treatment. The bonus material also includes a photo gallery slideshow and the documentary's trailer.

Di'anno: Iron Maiden's Lost Singer is scheduled to be released on Blu-ray on June 9, 2026 through Cleopatra Entertainment.

Robert Bidney and Fernando Perdomo at Kulak's Woodshed, 5-31-26 Concert Review

I've mentioned this before, but Los Angeles has a lot of cool, intimate, unusual venues. Surprising venues. Certainly counted among their number is Kulak's Woodshed, a spot in North Hollywood with its own special charm. It's the only venue that I know of that includes not just chairs and couches, but a bed for patrons to relax on during a show. I've always chosen a chair myself, but there it is, for those so inclined. And for a small venue, it includes, in addition to a bed, a grand piano. And the decor? Well, there are all sorts of things there to give the place a relaxed, welcoming vibe. Pillows, records, plush toys, bookshelves stuffed with books. The shows there are filmed and broadcast online.

Fernando Perdomo

Last night was a good double bill, two singer/songwriters from Florida (one of whom still lives there, the other now residing in Los Angeles). Fernando Perdomo opened the night, this time performing a solo set. As you are likely aware, he is in the middle of a year-long project titled Clouds, releasing an album of new material every month. But in addition to that, he has two other albums out now: Goodbye Sun from Perdomo Kravitz and the ten-year anniversary edition of Voyeurs. His set focused on material from those two albums. After Paul Kulak delivered an introduction about the venue, Fernando kicked off the set with the title track from Goodbye Sun. This is a song that he also played at his March 29th show at Kulak's Woodshed, that time with a full band. So it had quite a different vibe last night, Fernando being so adept at creating an interesting atmosphere with his music. "My Own Devices" followed, and it too had a vibe that gently carried us. That song is also on Goodbye Sun. The next song, "Absolute Silence," was included on his 45's The Best, a compilation that was released last year. It's an excellent song. One line that especially stood out to me was "If dreams are all we have, sleeping is all I'll do."

After that song, Fernando Perdomo revealed that a lot of his songs were written on Ruby Friedman's couch, including the next one, "I'm No Fun," a song from the Perdomo Kravitz album. "I'm no fun without you." This song had a sweet vibe, particularly during the "doo doo doo" vocal part. That was followed by "The First Day Of Fall" and "Darkness Descends." "Darkness Descends" began with some pretty guitar work. In introducing that song, Fernando joked how he had decided to do the most mellow set he's ever done. But it certainly worked in the space. Kulak's Woodshed is a good listening room, a spot where folks in the audience can focus on the lyrics. And besides, if it got too mellow, there was always the bed. Kulak's Woodshed is located on Laurel Canyon Blvd., and Fernando mentioned that "Canyon Trilogy," a track on Goodbye Sun that is made up of three songs, was inspired by this street, by the magic of this street. And he pointed out that the magic is not limited to just the section in the hills to the south of where we were, that area celebrated in Echo In The Canyon (a documentary that Fernando Perdomo is a part of).

Fernando Perdomo then moved to music from Voyeurs, mentioning a bit about the unusual way the album was created, with people able, and even encouraged, to offer their input, their suggestions during the process. From this album, he first played "Feels," delivering an especially good vocal performance.  He followed that with "In A World Without You," first mentioning that a cover of it was recorded and slated to be on the final album by Terry Draper, who died a year ago. You probably know Terry from his work in the band Klaatu (as a side note, there are also bands called Barada and Nikto). Fernando Perdomo wrapped up the set with "Home," which he introduced as "Home Is Wherever You Are." Interestingly, he also said he started writing the song when he was in high school, and finished it more than a decade later. I've said it before, but one of these days I am going to make a mix CD of songs titled "Home." There are a lot of them, and I've never heard a bad one. Something about the concept of home brings out the best in songwriters. Fernando delivered a beautiful rendition of "Home." "Home, home is wherever you are/Home can be out in the stars/Home can be Venus or Mars." The set ended at 8:56 p.m.

Robert Bidney

Robert Bidney then took the stage, mentioning that Fernando Perdomo had produced three of his albums. He opened his set with a song that I immediately connected to, "Too Young To Be Old." Lines like "I struggle with aches" and "And my memory fades/Driving me insane" stood out for me. And I'm sure I'm not the only one who hears himself in those lines. Those of us in the middle, those of us who feel these things should not yet be happening to us. He sings, "Too old to be young, too young to be old." There was a good energy to this song, the energy of someone who is definitely too young to be old. He followed that with "We Can Do Better," playing harmonica on that one. It's a good song, but I'm no longer sure we can do better. The divisions are no longer about matters of policy. The divisions are between intelligence and stupidity, compassion and bigotry, democracy and fascism. "We were unified/Now we're all taking sides." I do appreciate the hopeful, optimistic bent of the song, and I wish I shared it. Interestingly, the first line of the next song was "The world is a mess." Indeed. And in the song Robert asks, "What can I do?" This one, titled "I'm Alive," is also positive, and its optimism I do share, for this one is more about a personal way of looking at life. "You see, I've got a love in my life," he sings. And that makes all the difference, doesn't it?

When introducing "What In The World," Robert mentioned that he wrote it a decade ago, and at the time thought it would have a short shelf life. But it is still valid and relevant today. Can you believe it's been a full decade since that rapist in the White House was first elected? He should be rotting in a prison cell, but he's back in the White House, thanks to millions of racists and morons (again, I don't think it's possible to reconnect with those people). "Tell me, what in the world do you think you're really doing?" He followed that with "Are You Gonna Tell Your Children," the main question posited here being "Are you gonna tell your children that the world is okay?" I imagine it must be incredibly difficult to raise children these days. What do you tell them? One of my favorite songs of the set was "Pill For Poverty," which he said he wrote during a tough time. In this song, he says that they have a pill for just about everything, and then sings, "I need a pill for poverty." I need that pill too. What a great, passionate vocal performance! That was followed by "There's Life After Loss." In introducing that one, he said the song comes from three true stories, with just one thing in common.

Robert Bidney moved to the piano for "Thank You Leon," a song about Leon Russell, who was a major influence on him. He then delivered an excellent rendition of Leon Russell's "A Song For You," also on piano. That was followed by "From The First," a song he wrote with Wendy Sager, and another highlight of the set. "She doesn't notice the changes in him/And he doesn't see them in her." "Their Memory Survives" was inspired by the front page of The New York Times during the pandemic when the page was filled with short obituaries. The song contains the line "We could have done so much better," a telling variation of the title line from "We Can Do Better." "It's too late for them." He followed that with "91 Years Of Springtimes," a song written for his mother's funeral, revised from the song "70 Years Of Springtimes," which he'd written for her birthday celebration. He then went back to guitar for the final two songs of his set, "Rush Of Hope" and "It's All About The Love," the latter with verses delivered as a sort of rap. The show ended at 10:05 p.m.

Kulak's Woodshed is located at 5230 1/2 Laurel Canyon Blvd. in North Hollywood, California.

Mark Winkler: "Love Comes First" (2026) CD Review

Mark Winkler is a vocalist and composer who has an uncanny knack for knowing precisely what we need at any given moment and then giving it to us. In 2024, the year when the nation decided to elect a convicted felon and rapist to the highest office in the land, he had put out an album titled The Rules Don't Apply. That was in January of that year, long before any of us had an inkling what sort of hell the nation was going to embrace. We were still optimistic then, silly us. Then last year, when we knew precisely what sort of hell the country had chosen, he released an album titled Hold On. It was the message we needed. Now, when many of us have completely given up on politics and the justice system and the media and the whole game, he gives us an album titled Love Comes First. And isn't that exactly right? Isn't that what we're feeling? This is the time when we turn to those people in our lives that mean something to us. Life is too short to let the rest of the nonsense take center stage any longer. Love comes first. The album contains a mix of original material and covers, and Mark has some talented and accomplished musicians backing him.

The album opens with an original composition, "Snappin' On The 2 And 4," something to dissipate our fears, something to make us feel good. And, yes, there is some finger snapping right at the start. Join in; it will make you feel better, even if you're someone who struggles to find the beat. Mark Winkler wrote the lyrics, and Greg Gordon Smith composed the music. The song has a cool vibe (the finger snaps ensure that, don't they), and there is a playful element, heard in lines like "And when I clap on one and three/I see the way you look at me/I'm out of step, but I adore/The way you're snappin' two and four." Greg Gordon Smith delivers some wonderful work on piano, and Grant Geissman provides a really nice lead on guitar toward the end. This track also features Gabe Davis on bass and Kevin Winard on drums. It's followed by the album's title track. "Love comes first/With no introduction/Unrehearsed/When you walked into my lonely life/And changed my universe/With your smile." Ah yes! I hope everyone gets to experience that, and if you're able to do so with a cool Latin vibe, all the better. This is also an original composition, the lyrics by Mark Winkler, the music by Dori Amarilio. Dori Amarilio delivers some delicious guitar work on this track. This track also features Scott Mayo on both saxophone and flute, and Mike Stever on fluegelhorn, adding some wonderful flavor. Rique Patoja is on piano, Nando Raio is on bass, and Jimmy Branly is on drums. "Problems disappear/And the clouds all clear/When love is near."

"Fame Adjacent" is one that Mark wrote with Jamieson Trotter, who plays piano on it and sets the song in motion. The song is about being a musician who is doing fairly well, though is not quite a big star, as is suggested by its playful title. "And maybe that's not so bad after all," Mark sings. And while it's about the life of a musician, other folks can certainly relate to its theme, the idea of appreciating what we have in life, of recognizing when a dream has shifted somewhat in order to come true. "The money could be better/I wouldn't mind that/But something's kinda nice about this/Fame adjacent." Ann Patterson is on saxophone, that instrument helping set a great tone. "Who can say my dream is absurd?" Following that line, we are treated to a wonderful lead on sax, followed by some really nice work by Jamieson Trotter on piano. And the song ends up being a sweet number directed at friends and fans. That's followed by the first of the album's covers, "More Than You Know," a standard that was written for the Broadway musical Great Day. Greg Gordon Smith begins this one on piano, and Mark delivers passionate vocal work: "Even though your friends forsake you/Even though you don't succeed/Wouldn't I be glad to take you/Give you the break you need." Soon this version takes on a good rhythm. Chris Wabich is on drums, and Gabe Davis is on bass. Mark's vocal performance contains a good deal of love. We hear it, we feel it. "Loving may be all you can give/But, baby, I can't live without it."

I've said it before, but you can never go wrong with Gershwin. On earlier albums, Mark Winkler covered "Nice Work If You Can Get It" and "They Can't Take That Away From Me." On this album, he gives us a wonderful rendition of "Embraceable You," his voice at first supported just by piano, his voice and that instrument somehow shutting out the rest of the world, all the noise, for us. The focus is on the couple of the song, the music seeming to come from them. Sometimes an attraction can be so strong that it manifests in music. That's the feeling we get here. "I love all the many charms about you/Above all, I want my arms about you." Nolan Shaheed comes in halfway through to deliver a wonderful lead on trumpet, one that seems to celebrate love. In fact, it feels that love is driving the instrument forward. So good. And what a vocal performance! It's one of the album's best, and most charming, performances. And then we get "Why Are People So Stupid?" Yes, I admit it, when I glanced at the track list, this was the song I was most excited to hear. Its title is a question I've been asking for a decade or so. I think cell phones are part of the trouble. No one uses his or her brain anymore. No need to remember anything when you can look it up. No need to understand how to read a map when the phone will tell you when to make a turn. But it's also a fact that our nation does not prioritize education. And why would it? The fascists (previously known as Republicans) understand that educated people don't vote for them, so they want people as stupid and as ignorant as possible. So here we are. This song is not really political in nature, however. The lyrics begin as a list of common things that are part of our current situation, and I appreciate these lines: "Those damn scooters everywhere I go/Cell phones ringing at the picture show" and "Crazy people buying guns/Young girls living like Kardashians" and "Fatter foods and thinner books/Corporations run by crooks." This song also features some great stuff by Bob Sheppard on saxophone. Jon Mayer is on piano, Kevin Axt is on bass, and Mark Ferber is on drums. "Tell me why, oh why are people so stupid/Tell me why, oh why we never learn." The fear is that we have not yet reached the bottom (though you'd assume we have if you took a look at the supporters of the rapist in the White House).

"I guess I'm just old-fashioned/I love the things of old/Black and white movies and dancing slow/Big bands on the radio/Those things are timeless/Like walks in the rain," Mark Winkler sings at the beginning of "Nobody Else But You." And, then, you know what? This becomes a sweet love song, not a nostalgia trip, turning its attention to that special someone of the present. "Nobody makes me happy/Nobody makes me smile/And nobody's face can make my heart race but you." It ends up being another of the disc's highlights. "I must have been smart/To let you carry my heart away." There is some pretty work on piano that also works to carry us away. Steve Rawlins is on piano on this track. Jay Leach is on guitar, John Hatton is on bass, and Kevin Winard is on drums. Then Mark Winkler gives us a few covers, beginning with "Everything But You," written by Duke Ellington, Harry James, and Don George. This is a very cool rendition, with an arrangement by Josh Nelson, who plays piano on it. As always, he delivers some excellent work on keys. Larry Koonse provides some delicious stuff on guitar. I'm also digging that work by Gabe Davis on bass. Tom Culver joins Mark on vocals, and I love the great rapport there. They sound wonderful together. This is another of the disc's highlights, even before Ricky Woodard comes in on saxophone. And then, of course, it gets even better.

"Mona Lisa" begins with piano supporting Mark's voice, and has a kind of mysterious feel, which works well as the song directly addresses the painting, a painting that itself has many questions surrounding it. Greg Gordon Smith is on piano here. Partway through, Gabe Davis comes in on bass. And then check out that great bass work on "Just In Time." That's Gabe Davis again, and his work is delightful. This one also features delicious stuff by Chris Wabich on drums. This is a wonderful rendition, yet another of the disc's highlights. The arrangement is by Greg Gordon Smith. "Now I know just where I'm going/No more doubt or fear/I found my way/Because love came just in time/I found you just in time." The album concludes with "Do You Ever Wonder?" which features lyrics by Mark Winkler and Shelley Nyman, and music by Chris Gordon. It's a beautiful, contemplative number. "Do you ever wonder/If we started over/Would we be so quick to say goodbye." Mark delivers a truly special vocal performance. This track also contains some nice work by Grant Geissman on guitar.

CD Track List

1. Snappin' On The 2 And 4
2. Love Comes First
3. Fame Adjacent
4. More Than You Know
5. Embraceable You
6. Why Are People So Stupid?
7. Nobody Else But You
8. Everything But You
9. Mona Lisa
10. Just In Time
11. Do You Ever Wonder?

Loves Comes First was released on May 1, 2026 on Cafe Pacific Records.

The Firkins, I See Hawks In L.A., and Old Californio at Highpoint Brewing Company, 5-29-26 Concert Review

Stellar bands and excellent beer led a lot of folks to make the trek out to San Dimas yesterday, undaunted by the Friday evening traffic. The lineup featured three of southern California's most wonderful bands: Old Californio, I See Hawks In L.A., and The Firkins. That lineup promised not only some of the best music one could hear anywhere, but a fun, loose time. Plus, the venue, Highpoint Brewing Company, has a relaxed, friendly vibe, and some seriously great beer on tap. I got there more than two hours before the show was scheduled to start in order to avoid the worst of the traffic (still took me an hour and forty minutes, versus the thirty-five minutes on the way home), and to enjoy a few beers so as to reach a pleasant state of inebriation, a receptive state in preparation for a fantastic evening.

Old Californio

Old Californio was up first, because keyboardist Jon Niemann had another gig to get to afterward. Gloria Delgado (of The Firkins) introduced the band at 7 o'clock, and Old Californio launched into "Chilao Flats." "Just looking for the good life," Rich Dembowski sang at the beginning of that song, and I couldn't help but think perhaps everyone in the room had found it. What's better than enjoying some excellent music surrounded by good people? What's better than that connection, not just to the music but to each other? Good vibes filled the room. Sure, they emanated from the stage, from the band, but also from the people in the audience as they reacted to the music. The song became a good jam, with some really nice work from Jon on keys and from Woody Aplanalp on guitar. And in the very first song of the set, of the night, there were those desired moments when it's easy to become immersed in the music. Woody's lead on guitar received deserved applause from the crowd. Before the song, the band had remarked that the first song would essentially be the soundcheck. Well, everything sounded perfect, and Justin Smith added the chimes to the end of the song. That song was followed by "Mother Road," which had a delicious energy, Jon rocking the keys. "Okay, Woodrow, break my heart," Rich told Woody, and Woody delivered another strong lead on electric guitar. After that, Rich said to consider his heart broken. He introduced both Woody and Jon, leading someone in the audience to call out, "Who's the bass player?" Rich replied, "He hasn't earned it yet. We'll get to him." Then, after an excellent rendition of "City Lines," Rich told the crowd, "Mr. Jason Chesney on bass."

Rich mentioned how The Firkins are the perfect pub band, which is true. But more on that in a bit. Rich strapped on his harmonica for the band's cover of "Willin'." It was a sweet rendition, featuring some great stuff from Woody. Afterward, someone playfully called out a request for "Dixie Chicken." But, no, the Little Feat portion of the show was at an end. Instead, they delivered an especially good rendition of "Destining Again," featuring some delightful stuff from Justin on drums. "Can't go back, because nothing lives in the past." It was after that song that Rich introduced Justin. That was followed by a cover of "Ring Of Fire." I don't think anyone does this song better than Old Californio. Rich's vocal approach is a large part of what makes their version so damn good. But the song also featured some great stuff on keys. And then Woody really dug in, his lead on guitar being the center of a terrific jam.  After that song, Rich announced they were going to do two more songs, then the band huddled to discuss what those two songs might be. The first was "Kansas City Southern," which was crackling with energy and featured a totally delicious bass line from Jason. That rhythm was able to shoot the train, with all of us aboard, out into the stratosphere. They wrapped up the set with "Lean Into It," featuring another great groove, some absolutely fantastic stuff on bass. This one too became a delicious jam. The set ended just before 8 o'clock.

I See Hawks In L.A.

Fifteen minutes later Gloria introduced I See Hawks In L.A., and Rob Waller wished her a happy birthday (her birthday is Monday). The band began the set with "Live And Never Learn," which felt like the perfect opener, in part because of the lines "Well, I try so hard to do what's right/That won't get me through Friday night." It was, after all, Friday night. Afterward Rob remarked, "How about that Old Californio? Oh my god!" Bands will often give a nice, respectful nod to the other groups on the bill, but this was not a small act of kindness on Rob's part. This was an honest reaction to what he'd experienced during Old Californio's set. Which is what we all experienced, and so yet another way that the group and audience connected. Dan Wistrom switched from pedal steel to electric guitar for "White Cross," which followed "Live And Never Learn," and he delivered a nice lead during the song. In introducing "Poour Me," Rob said, "Well, this place seems like a good drinking place." Indeed. On the lines "But Friday afternoon/I like to sing a couple tunes," he added, "just like this one" after the word "afternoon." Folks in the audience liked to sing as well, and several people were singing along to this song. There are a lot of fun lines in this song, and I was happy to find I wasn't the only one singing along with the line "Wednesday I ate a bad burrito." This was an especially fun rendition. "Keep on pouring," Rob said at the end. Oh yes, there was still plenty of drinking time left. That was followed by a cover of Clarence Carter's "I Stayed Away Too Long."

Then we got a special treat. The band played "Drysdale, Sutton And Koufax," a song these guys hadn't performed in like twelve years. Interestingly, Paul Marshall stepped aside for this one, and Rich Dembowski joined the band on bass and backing vocals. The line "It's time for Dodgers baseball" got a big cheer from the audience. Before the end of the song, Paul Marshall was back on stage, adding some nice backing vocal work. This was certainly a highlight of the set, and it was followed by another highlight, "Talking To The Dog," with Paul on lead vocals. It's a song that makes me laugh every time I hear it, and I hope it will end up on an album one of these days. Victoria Jacobs then sang lead on "Skipping Stones," a fun number that featured a delicious rhythm and some good work by Dan on electric guitar. That was followed by "Global Pandemic," a new song I first heard earlier this month. Like "Skipping Stones," it's a fun one to dance to, and there is a special, kind of freeing and almost defiant, joy to be had in dancing around to a song about the pandemic. One of the crowd favorites last night was "California Country," the audience completely into it, singing along. That was followed by "Humboldt" to wrap up the set. The song began with a good jam, and grew from there, becoming another of the set's highlights, Victoria Jacobs hitting those chimes at just the right moment. After that, it was natural for the audience to want more, and the band played "Good And Foolish Times," this time with the extended ending. The set ended at 9:15 p.m.

The Firkins

The Firkins were ready to go at 9:37, opening with "I Like Beer." Earlier, Rich had mentioned how The Firkins are the perfect pub band. Obviously, starting a set with a song titled "I Like Beer" kind of proves that. But even the band's name is related to beer. A firkin is a specific cask for beer or ale, containing nine imperial gallons. And all of this band's original material is related in some way to beer. So, yes, the perfect pub band. Plus, these guys are a lot of fun. It was a bit strange seeing Gloria holding a glass of water instead of a glass a beer (and I thought of that bit from Absolutely Fabulous, where Edina explains water: "It's a mixer, Patsy, we have it with whiskey"). Gloria then grabbed her bass and the band played "Adventures At Bootleggers." Oh yes, now the band was rocking, and so it made total sense to follow that with "Straight Out Of The Barrel," which was a lot of fun. The fun continued with "My Dad's Drinking Gene," a cool song with a rockabilly edge, Sophia Delgado delivering some really nice work on lap steel. Sophia then switched back to electric guitar for "Hamilton's Tavern," that guitar providing some delicious rock and roll energy. This song also featured a cool bass line and a fun beat. Gloria gave a shout-out to both Old Californio and I See Hawks In L.A., coming from the heart, before starting another delicious, rocking number. A lot of the crowd was dancing, especially on a song like "The Ticker."

"Is Dan still here?" Gloria asked the crowd. "He went to get a beer," someone shouted in response. And that was perfect. If someone wasn't in front of the stage, he or she was in the front room getting another beer. The bartenders, by the way, were totally nice. Gloria dedicated "Pliny The Younger" to Dan Wistrom, this song featuring some really nice work on lap steel. Then "San Diego" had a great punk energy, with Sophia back on electric guitar. That was followed by "There Stands The Glass," with acoustic guitarist Danny Ruiz on lead vocals, and then "Victory At Sea," a song that has become popular in Ukraine. Another highlight was "Mr. Odd," which included some excellent guitar work from Sophia. They followed that with a cover of The Byrds' "One Hundred Years From Now," a song from Sweetheart Of The Rodeo. "I Came Here For The Beer" was great fun, as always. And then there was some talk of "Stop Driving Like An Asshole," a Hawks song that The Firkins have covered. It's a song that gets in my head every time I am on the road, even if I'm going only a short distance. Well, the crowd offered some encouragement, and The Firkins decided to do it. Not only that, but Rob Waller and Paul Marshall joined them on vocals, another special treat of the evening. Gloria decided to end the show there, but the crowd wanted more, and so The Firkins concluded the night with "A Few Rounds," a fast-paced number with a totally delicious, powerful rock energy. It was an excellent way to finish off a night of fantastic music. The show ended at 10:37 p.m.

Set Lists

Old Californio

1. Chileo Flats
2. Mother Road
3. City Lines
4. Willin'
5. Destining Again
6. Ring Of Fire
7. Kansas City Southern
8. Lean Into It

I See Hawks In L.A.

1. Live And Never Learn
2. White Cross
3. Poour Me
4. I Stayed Away Too Long
5. Drysdale, Sutton And Koufax
6. Talking To The Dog
7. Skipping Stones
8. Global Pandemic
9. California Country
10. Humboldt
11. Good And Foolish Times (encore)

The Firkins

1. I Like Beer
2. Adventures At Bootleggers
3. Straight Out Of The Barrel
4. My Dad's Drinking Gene
5. Hamilton's Tavern
6. For Hops
7. The Ticker
8. Pliny The Younger
9. San Diego
10. There Stands The Glass
11. Victory At Sea
12. Mr. Odd
13. One Hundred Years From Now
14. I Came Here For The Beer
15. Stop Driving Like An Asshole
16. A Few Rounds (encore)

Highpoint Brewing Company is located at 402 W. Arrow Hwy. in San Dimas, California.

Arielle Silver and Karman Jeanne & The Fish at Maui Sugar Mill Saloon, 5-27-26

Arielle Silver

Last night was the second concert in Karman Jeanne's new music series, "Deep Valley Roots," which is held on the fourth Wednesday of every month at Maui Sugar Mill Saloon. It was a night celebrating singer/songwriters, with a nod to Bob Dylan, who celebrated his eighty-fifth birthday on Sunday. Joining Karman Jeanne & The Fish was Arielle Silver, an extraordinary singer and songwriter based here in Los Angeles. And this time she was part of a trio, called Arielle Silver & The Friday Night Book Club, and that group, made up of Arielle Silver on vocals and acoustic guitar, Darby Orr on bass, and Wendy Kline on violin, kicked off the night at 8:30. It was the first time I'd seen Arielle Silver in a trio setting, and apparently only the second time this group has performed (the first being a month ago at Kulak's Woodshed). It was also the first time Arielle Silver had ever played at Maui Sugar Mill Saloon, or even been there. She opened her set with "Asteroids And Chaos," one of my personal favorites. It was on the line "You say this could be our big chance" that the violin work began to grow, which seemed just exactly right. Certain lines and phrases always seem to stand out, such as "hold each other through the panic" and "love will save us." Those are lines that likely stand out to most people in these strange times. If you've not yet heard this song, I highly recommend picking up a copy of her 2023 album Watershed.

Arielle Silver And The Friday Night Book Club

Also from that same album came "Rickie Lee," the violin playing a prominent role from the right start of the song. And there was a good violin lead a little later. This song also featured an excellent vocal performance. It was followed by an especially pretty rendition of "Riverdock At Sunset" (also from Watershed). "There's a difference between keeping something safe/And helping it to grow." Those wonderful lines, I'm sure, speak to all parents. Arielle Silver played a few new songs last night, the first of which was "Asking For A Friend," the meaning different from Ben Vaughn's song of the same name. Here it is in the vein of seeking a friend. "I don't need to kiss you or fix you," she sings. And, "I'm not going to damage my marriage." It was a really good song. And it was followed by "Even Now," another new song, this one "a song about finding hope in dark times, or creating hope," as Arielle said in its introduction. This song is easily among her very best, up there with "Asteroids And Chaos," and it featured a gorgeous and moving vocal performance. The final of the three new ones was "Only Lonely One," and even though it was new to the audience, the crowd was soon singing along. It looks like her next album is going to be something great. By the way, before "Only Lonely One," she played "What Really Matters," a song from her A Thousand Tiny Torches album, featuring a wonderful bass line. "Only Lonely One" was followed by "Worth Waiting For," a beautiful love song in which she sings, "You are everything worth waiting for." Wendy delivered some excellent violin work, even before that pretty lead. The trio wrapped up the set with "Headlights," a delightful, cheerful-sounding number to leave folks feeling good.

Karman Jeanne And The Fish

Karman Jeanne And The Fish then took the stage, and this time were not just a duo. Joining them were two of Los Angeles' outstanding musicians, Ed Tree on electric guitar and Ted Russell Kamp on bass. They opened the set with "Strange Time." With more of a full band, the song took on a stronger country vibe, which was wonderful. There was a nice instrumental section, during which Karman was on tambourine. A great start to the set. Karman then introduced Ted and Ed, mentioning how Ed Tree is recording the duo. Yes, in addition to being a musician and songwriter, Ed Tree is a producer and has his own studio, The Treehouse. And from the beginning of "Free Rocks For Sale," Ed delivered some cool work on electric guitar. Karman then told the crowd that Jonathan Sheldon, who played fiddle with them at last month's premiere of the "Deep Valley Roots" music series, had been in a bad car accident and suffered a cracked skull, the reason for his absence last night. I hope we'll be seeing him back on stage soon.

"Tell Me Tomorrow" was one of the set's highlights for me, with its wonderful harmonies and some great stuff from Ed on guitar, in addition to the strong lyrics. "Only gravity could make us stay." That was followed by "Buckets Of Rain," the first Bob Dylan cover of the night, to celebrate his turning eighty-five. The song was included on Dylan's fantastic Blood On The Tracks album, and these guys delivered a good rendition. That was followed by "Talkin' 'Bout You," which Fish dedicated to his significant other. There was such a good feel to that song, Fish taking the first verse and Karman taking the second. There was a playful vibe to the set. When Karman requested another glass of hot water, Ed Tree teased a bit of "Smoke On The Water" before starting "Can't Let Go," a song written by Randy Weeks and recorded by Lucinda Williams. There was a delicious, crackling energy to this song. Ted was on backing vocals as well as bass. Following that song, Ed teased a bit of "Paint It Black." The band then delivered a really good rendition of "Take," which was clearly another of the set's highlights even before Karman blew everyone away with that incredible vocal work at the end. They wrapped up the set with a cover of The Band's "The Weight," with Fish on lead vocals.

Ted Russell Kamp with Ed Tree

But the show was not over. In fact, there was another hour and a half of music to go. Ted Russell Kamp returned to the stage for a short set. He opened with "This Old Guitar," a song from his Walkin' Shoes album, released in 2019. It's a song he wrote with Ed Tree, who joined him on electric guitar for it. Ted played acoustic guitar on that one, then switched to bass for his second and final song, "Another Love Song." This song was included on Night Owl and The Low And Lonesome Sound. Karman Jeanne joined him on backing vocals on this one, and the two delivered a sweet rendition. Robert Morgan Fisher was up next, joined by Ed Tree on electric guitar. The two delivered a couple of excellent Bob Dylan covers. The first was a great, moody rendition of "Blind Willie McTell," which became powerful, captivating as it progressed. The second was a really good rendition of "It's Alright, Ma (I'm Only Bleeding)." "This song could have been written last week," Robert said in introducing that one. After the line "On anyone that lives in a vault," he added, "Or under a ballroom."

Ted Russell Kamp with Karman Jeanne

Robert Morgan Fisher

Joseph Eid

Joseph Eid was up next. "I'll start with something old, then do something new," he told the crowd, then opened with "Watch It Fall," the title track to his 2017 release. It's a song that spoke to me, and the line "I always seem to run into him when I've been drinking" made me laugh. He followed that with a new song, the line "But a lifetime ain't enough" standing out to me, and then ended his set with Bob Dylan's "Don't Think Twice, It's All Right." Lorin Hart then opened her set with a cover of Dylan's "Moonlight," delivering a sweet rendition. She followed that with an original number, "Might As Well Be Magic," an excellent song, and concluded with another original composition, "Dreams Of The Earth." Daniel Corey was the final performer of the night. His first song featured some really nice guitar work, which received applause from the crowd. He followed that with "Nearsighted," first saying, "This is a song about disappointment and failure." He sang, "Don't you speak to me/Don't be so absurd." Near the end, he added some whistling, and someone in the audience responded with whistling of his own. He wrapped up the set, and the night, with "Lift Me Up." The show ended at 11:47 p.m.

Lorin Hart

Daniel Corey

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

Brand New Heartache: "A New Alchemy" (2026) CD Review

Brand New Heartache is the duo of Matthew and Eleese Meschery, a husband-and-wife team based in Nashville (and previously based in Oakland). Named after the song originally recorded by The Everly Brothers, and later covered by Gram Parsons and Emmylou Harris, Brand New Heartache is now releasing its first full-length album, A New Alchemy. The album features both Matthew and Eleese on vocals, with plenty of good harmonies. Supporting them are James DePrato on guitar and bass, and Jebin Bruni on keyboards, along with several other musicians on various tracks, including KP Hawthorn, who provides backing vocal work. The album was produced and mixed by Michael Patterson.

The album opens with its title track, "New Alchemy," which has a nice, bright pop energy at its start, fitting for the excitement of new love. "Call it science, call it art." Eleese and Matthew sing the lyrics together, which is perfect. Isn't life at its best when you experience it as a duet? "There's something I can't quite explain/About the way you make me feel/It's the sacred and profane/It's what's true and still surreal/Is it all in my mind, all in my mind, all in my mind." I love how the sound of this track captures that delicious feeling of beginning to fall in love. This song contains a nice section where the focus is fully on their vocals, their voices supported by a steady pulse on drums. Michael Urbano plays drums on this track. A different version of this song was released several years ago. Then "Montreal" has more of a folk vibe at the start, their voices supported by guitar, giving the track a more intimate sound and feeling. "Out here amongst the stars/People spilling from the bars/And it's so cold we can see our breath." I love how the word "breath" has just a bit more breathy delivery, a lighter delivery. This is a beautiful song, and though it takes place in Baltimore, it reminds of a certain night in Boston, one winter day when I met the love of my life. And everything opened up while also simultaneously narrowing the focus to just the two of us. And feeling like we're in another place, like the world is different. "But our dreams shine brighter than the moon/And we won't let this world defeat us/So let 'em know we're coming soon." Kyle Caprista plays drums on this one.

Eleese sings lead at the beginning of "Next Best Thing." Here are the opening lines: "Am I who you wanted, or just what you need/To help you forget someone who haunts your dreams/We have a connection, one I think could last/But not if your heart is still somewhere in the past." Ah, no one wants to be just the next thing. In song, it's all about true love. And in life, it should be too, right? Halfway through the track, Matthew takes over on lead vocals, so we hear from both people in the relationship. And together they ask, "How can we know for sure?" I love the way this song builds. It has a wonderful sound, a sort of pop magic, featuring some nice work on keys. Both James DePrato and Jebin Bruni are on keys for this one. Jim Bogios is on drums. Then KP Hawthorn (of The HawtThorns) joins them on acoustic guitar on "Precious Days." Matthew sings lead at the beginning of this one, and Eleese joins him on the lines, "Time is not on our side/Now we're both on the other side of twenty-nine/And, baby, won't you take my hand/These are precious days that we're wasting." As I get older, I am more and more aware of any time that is wasted, and time spent away from that special person often feels like time wasted. This song also contains some delightful work by Jebin Bruni on keys and a really good beat. Michael Urbano is on drums. These lines also stand out to me, perhaps because I'm here in L.A. while my love is on the east coast: "There's a place high above Los Angeles/Where people walk their dogs and lovers go to kiss/I went there by myself, though I'm not sure what for/Oh, but when I got there, it just made me want you more/Made me want you more." I love this song. It has such a great, positive feel to it, and ends with them singing, "Oh, these are precious days." Perfect.

"I want to fall right into your open arms tonight/Like a fool who's finally found their paradise," Matthew sings at the beginning of "Wedding Rice." Soon Eleese joins him, and together they sound so sweet, so pretty. And she takes a turn singing those opening lines. There is an optimistic and gentle vibe to this song, and their voices are full of love, which can't help but make us feel it too. The opening lines are sung again toward the end, this time Matthew taking the first line and Eleese taking the second. Etienne Franc is on upright bass, and Jim Bogios is on drums. That's followed by "Company We Keep." Some rather playful and yet sweet "doo doo doo" vocal work at the beginning helps set the cheerful tone. Also, the presence of banjo helps in that direction. James DePrato plays banjo. "Blame it on the new company we're keeping/Blame it on the one who's been keeping us from sleeping/You can see it in our eyes/That learning curve is steep/And you can blame it on the new company we're keeping." Yes, it's a song about a baby. "Who are these people that we've become?" Ted Pecchio is on bass, and Darren King is on drums. There is more of that "doo doo doo" vocal work near the end. And you know everything is just fine, regardless of a lack of sleep and not getting out to the bars.

It is interesting how as the album continues, we can't help but think it follows the course of a single relationship from the beginning to the arrival of a child, and now into problems with "Hold Fast." Eleese begins this one on vocals: "I never thought that I would see the day/Ten years on since we first met/To think we might just throw it all the way/With incriminations and epithets." When Matthew comes in, they both sing, "Do you think we can hold on, make it through the night/Do you think we can stop pretending one of us is going to win the fight." The vocal work is particularly beautiful on the song's title line, especially the way Eleese reaches some higher, lighter places. And it is that very vocal work that gives us hope that they can hold fast, and hope for the rest of us too. Kyle Caprista plays drums on this track. Then "Raise The Shade" is a fun one, with a good, positive energy. Sarah Aili joins them on backing vocals. "Let's make a deal and only play love songs/The ones that make you feel and rock it like Chaka Khan/Because it's been far too long that we've been feeling blue." Those are interesting lines, when all the songs on this album are love songs, in as much as they're all about love, about a relationship. This track features a good lead on electric guitar. Matthew Szlachetka plays guitar on this track. Jimmy Wallace is on keyboards, and Darren King is on drums. "Watch the sunlight make the room glow." This music itself seems to have that ability, that power. There is a glow to this music.

"Moving Song" features a really nice rhythm. Darren King is again on drums. Both KP Hawthorn and Sarah Aili provide backing vocal work here. "And I don't care where I reside/I got my baby by my side." I've been thinking about this a lot lately. Can we be happy wherever we are, just so long as we are together? I love the optimistic, positive bent of this song, the excitement that is in their voices as they sing, "It's a trip when you're crossing the state line/Moving fast because we're running, running out of time." And that's something else I can't help but think of: time, and how it moves much too quickly, and there's just too little of it. Matthew then begins "Eurydice": "I'm tired of being worried/And I'm worried that I'm tired all the time/I'm always in a hurry/But somehow I'm still so far behind." Those opening lines certainly speak strongly to me. Eleese soon joins him. "And you can have my heart/But you have to take me too." This is an excellent song. I love how it takes on a good energy. It feels true, it feels important. By the way, the first time I listened to this disc, I had just seen a production of Antigone, so when I looked at the track list I was thinking of that Eurydice, the wife of Cleon. But this song is related to that other famous Eurydice, the wife of Orpheus. You know, the tale where he is allowed to rescue her from underworld, as long as he doesn't look back at her. "Don't look back for me, because I don't want to be/I don't want to be your Eurydice/It's an act of faith, it's a test of trust/And in those times when I can't keep up/I promise that I'll always be right behind you."

"Younger Us" has a sweet folk vibe, and features some nice harmonies. "After all these years, it's still hard to know/If we're hanging on or letting go." This is a song that asks, "What would the younger us say?" I imagine there are many folks who understand that question. Matthew Szlachetka is on guitar, Mitchell Cardenas is on bass, Jimmy Wallace is on keys, and Darren King is on drums. The album concludes with "Someone Else." "If I didn't love you, then I would be someone else." That's a strong opening line. I think we all get it. How can we imagine not loving our significant others? We would have to be someone else. This track features some wonderful work on strings by Alisa Rose. Nat Gleason is on both keys and electric guitar. This song touches on the fear of forgetting in old age. To forget that person you love is terrifying. That would be the worst aspect of suffering from Alzheimer's. Life is so short as it is, and to have your life taken away before you die is a horrible fate. "I can see the reflection in your eyes of who I am and who I'm supposed to be." This is a remarkable album. I'm looking forward to hearing more from these guys.

CD Track List

1. New Alchemy
2. Montreal
3. Next Best Thing
4. Precious Days
5. Wedding Rice
6. Company We Keep
7. Hold Fast
8. Raise The Shade
9. Moving Song
10. Euydice
11. Younger Us
12. Someone Else

A New Alchemy is scheduled to be released on July 24, 2026 on Mule Kick Records.

Fernando Perdomo: "Clouds 5" (2026) CD Review

Fernando Perdomo is continuing his year-long Clouds project with Clouds 5. For those who aren't yet familiar with this project, Fernando Perdomo is releasing an album of new material on the first of every month. Not only does he write all the tracks, but plays all the instruments and produces the albums. And this is the second such project he's undertaken, the first being last year's Waves. The photo on the cover Clouds 5 grabbed me because it's unlike any of the photos from the other volumes so far, as well as unlike any of the Waves covers from last year's series. It's the first dark sky to be depicted. And as I was looking at the album cover, I wondered if the image, taken by Sheila DeChant, would reflect the music.

Well, the answer is Yes. The first track, titled "The Dark Mass," has a contemplative vibe, along with a sense of loneliness, particularly early on as the music seems to speak out into the darkness without receiving a reply. What's interesting is that it is not long before we realize we are being soothed in our solitude, that a sort of peace is found there. Like a single light hitting us in our own singularity. And then, just as we've begun to feel that sense, the music turns slightly, just enought to set us at unease before its conclusion, which is also interesting. That is followed by "Overcast," and here the guitar seems to be testing the waters, testing the air, seeing if a small action might have unusual repercussions, create ripples in the sky. The guitar work is pretty, and this idea of sending beauty up and out is appealing. After all, it seems what we as a species are putting out there these days is anything but beautiful. Perhaps the cosmos would respond if we tried a different tactic. And even if we can't get in touch with anything out there, this music helps us reach inward as well. 

There is perhaps a slight hesitation at the very beginning of "The Baron," but it might be more from weariness and caution, for now we sense the presence of someone of experience, someone unlikely driven to rash or impulsive action. The solo guitar work here is soon captivating, creating an intriguing character. There is a beauty here too, a beauty that comes from wisdom, that rises from taking in one's surroundings and really seeing them. This is one of my personal favorite tracks, and it seems to lift us as it reaches its conclusion. Then a gentle hand is present in "Honey," offering a soothing, friendly reminder that we are okay, that there is nothing that demands our attention right now. A sweet light drips down upon us. The music grows in intensity at one point, only to then release us again into a pretty place, with stars twinkling around us, and we're safe.

With "Bangor Sun," we immediately find ourselves in an unusual place, a space of both light and dark, a place of rhythm and breath, with a pulse that is like a current running beneath us. Sometimes it feels like a swim through darkness. Spots open within the darkness, light coming in through them, and maybe something also rushes out through those openings, those gaps. Reality changes around us, even if we are somehow able to remain still. Perhaps we are carried on that current, and we feel it like a gentle dance. This is another of the album's highlights for me. Then "Anything Can Happen" feels like a continuation of "Bangor Sun." We feel light, untethered, drifting, with every direction open to us. And beauty lies in all directions. This is a short track, just under a minute long.

The very first moment of "Move With Life" is gentle; then almost immediately the music begins to increase its pace, its intensity, as if it needs an answer, aware that time is short. Sometimes, being aware of that, we rush forward, whether that's the right direction or not. And almost as quickly, the music seems to realize a pause, a breath is warranted, is probably beneficial. Take a look around, and then we see the urgency is no more. What a great feeling that is. Floating free. And then, having taken that breath, having looked around, a specific direction is chosen. Or perhaps it is that something from that direction demands our attention, and for a moment we are caught up in its action, its urgency becoming our own. But we'd learned something and so are able to take a step back, to assess, to see the pattern, to choose whether to let it drive us or not. There is some wonderful, expressive guitar work throughout this track. It is another of the album's highlights, and it leaves us feeling good, like we can face whatever might come our way.

With "Big Sigh," I love how the music feels like a smile growing, almost without us realizing it, and the smile might very well be our own. Isn't it wonderful how music can do that? Then there is a joy to "NeeNee," like a dance that takes place in some inner spot. It is like a bright mantra, and a deeper response. It's an interesting piece. It is followed by "The End Of An Astounding Day," which eases in, perhaps a voice of reflection. Then, remembering something exciting, it becomes excited again, before then relaxing, taking pieces of joy, pieces of beauty from the experience and holding them again to view before letting them go. They fly up and around, lingering as dancing lights before disappearing into the night. And then, after a breath, it is time for us too to let go.

CD Track List

1. The Dark Mass
2. Overcast
3. The Baron
4. Honey
5. Bangor Sun
6. Anything Can Happen
7. Move With Life
8. Big Sigh
9. NeeNee
10. The End Of An Astounding Day

Clouds 5 was released on May 1, 2026.