Fernando Perdomo: "Clouds 3" (2026) CD Review

Fernando Perdomo is continuing his year-long Clouds project with Clouds 3. This volume, like the other instalments in this series, contains all original material composed and played by Fernando Perdomo. That's right, he wrote all the tracks and plays all the instruments. He also produced the album. And this, as you perhaps already know, follows last year's Waves project, which also featured an album of new material every month. Last year he looked at the oceans and sometimes took us down into their depths, exploring all sorts of interesting areas. This year he looks up at into the skies, finding plenty of inspiration there, and plenty of new places to take us. By the way, that great photo on the album's cover is by Mindy Hertzon.

Clouds 3 opens with a pretty, somewhat soothing number titled "Midwestern Emo Sky," a track offering a place for some contemplation, with a theme on guitar that we can soon internalize. The sound becomes our own, the rhythm and motion of our own thoughts. Changes in the sky are noticed, incorporated, but perhaps aren't as fast as we might notice in real time. This music allows us to slow things down, to take in more of what is visible, and contemplate more of what is within too. Then something interesting happens early on in "Dusk Storm" that grabs us: after a short opening section, there is a breath, a pause, one that is longer than you might expect, and then the music returns. This reminds us of those summer storms when we were kids enjoying the show. There would be some lightning, and then a pause, during which we'd desperately, eagerly search the sky for the next strike. And just when we'd basically given up on the whole thing, there it was. There is that sense here. What's also interesting is that Fernando Perdomo doesn't push or exaggerate the drama of a moment like that. Instead, there is a kind of relaxed pace and vibe to this track. The universe is in no rush to appease us. A storm takes its own time, and in that time we are able to inject our own meaning to what we see, what we hear.

With "The Relayer," there is a rumbling in the sky, and the movement of something big passing overheard, something that disturbs the air. There is no sense of danger, but rather wonder, in being part of this whole crazy universe, most of which we don't understand, and realizing it is perfectly fine to not have the answers. Things pass. Look up occasionally. There is a darker, deeper rumbling toward the end. And then a streak of light, and it's over. That's followed by "Angel Rays," which kind of eases in, taking short steps. Not far into this track, the sky seems to open and a fantastic light breaks through, pouring down upon us in gentle, warm waves. There is the sense of something guiding the light, something happy to share it, welcoming us to a larger world. And if we let go of everything else for a moment, we can walk within this magic, really experience it. As we sense it coming to a close, the real world remains changed for us.

As "Glow" begins, a soft beauty surrounds us, a warmth. It feels like memories and hopes for the future are all wrapped up in one moment, or like we've stepped out of time completely, so that those memories and hopes are indistinguishable, each as real or as unreal as the other. And that sort of thing, whether they are real, ceases to matter. We are urged to just enjoy this moment, whatever it is, real or otherwise. For it is all so brief. And as the music fades, it is like this whole life does too. That is followed by "Day Dream." On the CD case, it is listed as "Day Dream," two words, while online I see that it is listed as one word, "Daydream." There is a different sense to it as two words, isn't there? There is more emphasis on the word dream, and that seems fitting, for as this track begins, it is like we enter a sort of dream state. More than just a casual daydream. This is a dream, with colors and sounds and streaks of light playing about us. And it begins to build, in size and intensity, before then letting go and finding a beginning again. We seek patterns, don't we, even in dreams, where no significance or meaning likely exists.

The next track has a much different title on the CD case, where it is listed as "Warm," than online, where I've seen it listed as "Warped." Both titles could work. There is a warmth, but there is also a repeated movement upward that makes me think of a spaceship attaining warp speed. This one too has a pause in the middle, which is surprising, a pause just long enough to make us think the track might be over, before returning to its pattern. It is like a little dance, which is then offered to the heavens and accepted, sucked up into the skies, thoughts disappearing into the ether. And the same thought occurs again. There is an unusual feel to this piece, and it ends with a final rush upward. Do we all move with that motion? By the way, Fernando Perdomo does have another song titled "Warm," the title track from his 2014 album, that one with vocals. "Atmos Cosmos" has the sense of a pattern at the beginning as well, yet now the motion seems to be moving down to us, yet still fading as it reaches its goal. Is darkness to be our destination regardless of which direction we move? There is something beautiful here, even at the edge of eternity, the edge of oblivion. Strangely, we find we can relax here. In fact, perhaps we can do nothing but relax here, even as certain thoughts rush at us, certain questions, certain objections. But they too soon disappear.

There is a very different feel as "Amber Dawn" starts, a steady rhythm, a lower tone. It feels like something is being prepared. And it continues, even as light plays above and across it. It is like two different elements are coming together. In the middle of the track that rhythm suddenly ceases, a change occurs. Then after a breath, that rhythm returns, a steady pulse. There is a moment a little later when it seems to grow in intensity before then letting go. And soon there is a sweet, gentle ending. Will it be that way for us? The album concludes with "Icicles." I love how the sound hovers, kind of sweeping over us, a hum that echoes and remains, while the guitar offers drops of water upon our skin, cold but refreshing. Partway through, there is a surpring spiritual turn, and the hum is lifted up in offering. Soon blue lights play across a solid sky, and from there something larger answers, coming down to meet us, and everything becomes one. What a wonderful way to wrap things up.

CD Track List

1. Midwestern Emo Sky
2. Dusk Storm
3. The Relayer
4. Angel Rays
5. Glow
6. Day Dream
7. Warm
8. Atmos Cosmos
9. Amber Dawn
10. Icicles

Clouds 3 was released on March 1, 2026. 

Fernando Perdomo Unveils New Projects At Kulak's Woodshed, 3-29-26

Perdomo Kravitz

Fernando Perdomo has two new projects (projects which overlap), and last night at Kulak's Woodshed performed material from both. These, of course, are in addition to his Clouds project (which is an album of new material every month this year), his rock opera (which apparently is finished), Broken Sound, his work with Marshall Crenshaw, his new David Bowie tribute, and all the artists he's producing. This man is a force. And a joyful force at that. For these projects he's teamed up with Andy Kravitz, a drummer and producer who's also fairly busy. You've certainly heard his work, with Todd Rundgren (both he and Fernando sported Todd Rundgren shirts last night), David Bromberg, Juliana Hatfield, Imogen Heap and many others. Well, last night Perdomo Kravitz (the first of the two new projects) kicked off the show with "Canyon Trilogy," which is made up of "Meet Me Down On Love Street," "Harmonics And True Love," and "I'm Free." Then Kaitlin Wolfberg joined them on violin for "The First Day Of Fall" and "I'm No Fun." Lots of great new songs! Vocalist Broadway B then performed a few of his own original songs solo on piano. After that, we were treated to the full band performance of Perdomo Kravitz, including "Free From The Me" and "Goodbye Sun". Fernando then playfully asked those of us in the audience to close our eyes for ten seconds. When we opened them, the band was now The SOUL (standing for Sound Of Unstoppable Love), with Broadway B on vocals, along with Fernando Perdomo, Andy Kravitz, Kaitlin Wolfberg, Michael Collins, and Keith Hosmer. One of my favorite songs of the night was "I Want A Girl With A Record Collection," a song with a delightful reference to Record Store Day (which is coming up in a few weeks). "Who I Really Am" was also outstanding. I am looking forward to the release of these new albums. This show should be available to watch online on the Kulak's Woodshed YouTube channel, so be sure to look for it. In the meantime, here are a few photos:

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

Johnette Downing, Nathan Williams & The Zydeco Cha Chas: "My Little Snap Bean: Zydeco For Children" (2026) CD Review

We can all use a little joyful music to pick us up, no matter our age. And what is more joyful than zydeco? Johnette Downing, Nathan Williams & The Zydeco Cha Chas present My Little Snap Bean: Zydeco For Children. Yes, it's a children's album. But also yes, you can absolutely enjoy this music regardless of how many times you've been around the sun. The album features original material, written or co-written by Johnette Downing, along with some traditional numbers adapted by Johnette Downing. The group is made up of Johnette Downing on vocals and ukulele, Nathan Williams on vocals and accordion, Dennis Paul Williams on electric guitar and backing vocals, Allen Williams on bass and backing vocals, D'Juan Francis on rubboard and backing vocals, Keith Sonnier on drums and backing vocals, Scott Billington on harmonica and backing vocals.

The album opens with "My Parrain Is The Loup Garou," which is also the title of a book that Johnette Downing wrote, a Cajun tale that was published in 2023. This song is a fun number, as you might have guessed from its title. Hey, we all have interesting characters in our families, I suppose. But if your godfather is a werewolf, I would be careful at family gatherings, although, as happens here, you'll probably have some grand adventures. The energy on this track is popping. I love that last section, when there is a cool change. This track ends with a howl. Why not? The loup garou should have his say, right That's followed by "Going To The La La." "Yeah, we're going to the la la, going to have some fun/Put on your dancing shoes, and lace 'em up real tight." Oh yes, it's another fun number. Well, most zydeco is fun, so what do you expect? This one was written by Johnette Downing, Scott Billington and Nathan Williams. It features some great stuff on accordion, plus some delicious work on harmonica. "We're going to the la la, it's a happy place." Well, then that's where we all need to go. Enough of this misery, let's enjoy ourselves.

"Juré" begins with a beat, including some clapping, and you immediately want to join. So go right ahead. This song features some seriously good drumming throughout. I'm also digging that harmonica. Clearly we are in that happy place, because everything sounds cheerful, everything sounds good. Apparently, this is an older song, here presented with some different lyrics. There is also a very cool lead on guitar in the second half. This one ends as it began. It's followed by "My Aunt Came Back From Louisiane." It is a delightful number, though I have to say it still rubs me the wrong way when people pronounce "aunt" like "ant." I mean, do they pronounce "haunt" like "hant" and "gaunt" like "gant" and "flaunt" like "flant"? No! So cut that "ant" nonsense out! By the way, this song is also a title to a children's book written by Johnette Downing. This song is one to get everyone dancing.

"The Fifolet" is also the title of a children's book by Johnette Downing. Kids are going to learn a few new words listening to this album (unless, of course, they've already read the books). A fifolet is a sort of will-o'-the-wisp type thing found in the swamps of Louisiana. This track has an appropriately haunted type of vibe, and features a wonderful vocal performance. "It will tease and coax you and draw you near/But all the Cajuns know that you'd better beware." This is one of my personal favorites. There is a seriously cool sound and atmosphere to this song, and the accordion seems to want to dance with that light. Why not? Then "Hitch Up My Pony" is so ridiculously cheerful that I find myself laughing almost immediately, a surprised kind of joy taking me over as soon as the vocals come in. This song has a beat that might have you dancing, and it also contains some really nice work on accordion. "Kick up the music, gonna start up the dancing/And everything's gonna be just fine." I don't doubt it. That bass line makes it certain.

"Ready Or Not" is a song about a game of hide and seek. Having heard this song, now I think whenever the game is played, instead of calling out "Ready or not, here I come," you should sing that line as is done here. Come on, you know the game will be all the more fun if you do it. I love the way Johnette Downing delivers the line here. And if you can coerce some accordion player to accompany your game, all the better. That's followed by "Pass It On," one of those songs that kids love singing. It's easy to slip in a new lyric whenever one is needed. You can keep these songs going forever if you want. But here I don't care all that much about the lyrics. It's the music that makes me happy, that good, prominent work on accordion and that great guitar work underneath it. In fact, it's the guitar work that I love most about this particular track. "It makes you warm and fuzzy, pass it on."

"Eh La Bas" is a traditional New Orleans number, here with a new adaptation by Johnette Downing. And, yes, everything is delicious about this track. I am particularly fond of the beat. And the vocal performances are delightful. Plus, the lead on accordion has a great energy. And to top it off, there is a cha cha cha ending. That's followed by "Loop De Loop," a variation on the "Hokey Pokey" theme, but, of course, much cooler because it has that zydeco feel and includes a good lead on accordion. Okay, I know you are all shaking a little while listening. You can't help it, it's okay. I can't help but love the section that is just vocals and percussion. I was probably programmed in my youth to love that because it was in so, so many songs at that time.

The pace increases on "Give Me That Zydeco." Just try to stay still while this song is playing. If you need a song to tire out the kids (or yourself), here it is. It contains some fantastic stuff on harmonica, calling us all to celebrate. This track is so much fun, and is another of the disc's highlights. The band then wraps up the album with its title track, "My Little Snap Bean." This is another traditional number, with some additional lyrics by Johnette Downing. It's all about the beat. So, yes, be prepared to dance, to shake. "If you'll do me the honor/I'd like to dance with you."

CD Track List

1. My Parrain Is The Loup Garou
2. Going To The La La
3. Juré
4. My Aunt Came Back From Louisiane
5. The Fifolet
6. Hitch Up My Pony
7. Ready Or Not
8. Pass It On
9. Eh La Bas
10. Loop De Loop
11. Give Me That Zydeco
12. My Little Snap Bean

My Little Snap Bean: Zydeco For Children is scheduled to be released on April 10, 2026 on Wiggle Worm Records.

Lights Out Levine, The Smokey Lonesome, and The Williamsons at Music Garden L.A., 3-28-26

Music Garden L.A. has quickly become a favorite spot to catch live music. It's a totally relaxed, friendly outdoor venue in Highland Park, not out to sell you overpriced drinks or anything. In fact, there is no alcohol for sale there. For that, you have to go next door, which is fine. This place is truly all about the music. And though the vibe is laid-back, that doesn't necessarily mean the music will be, as was demonstrated yesterday afternoon, especially when Lights Out Levine took the stage.

The Williamsons

The show began just before 3 p.m. with The Williamsons. This is the duo of Mike and Jessica, and it was their first performance as The Williamsons, and so a special occasion right from the start. And there was a good crowd present for the show, more people than I'd seen the previous times I'd been there. They opened with a good cover of Johnny Cash's "Crystal Chandeliers And Burgundy." Mike was on lead vocals and guitar; Jessica was on banjo and backing vocals. They followed that with a fun cover of "Leaving Louisiana In The Broad Daylight." "It gets real hot down in Louisiana," Mike sang, and it was real hot in Highland Park yesterday too, even a bit muggy, which is odd for L.A. But this was where we wanted to be, and there was some shade provided by the umbrellas. Even more fun was the duo's rendition of "I Could Drive You Crazy," a song written by Sierra Ferrell. A line that stood out to me was "And they'll pull you over like a small town cop," reminding me of the cops in my home town. They then treated us to a sweet rendition of Tom T. Hall's "That's How I Got To Memphis." I've been hearing this song a lot lately, and that's a good thing. The duo then took us from Memphis to Dallas, covering Jimmie Dale Gilmore's wonderful "Dallas." Before that song, Jessica mentioned how just ten months ago her friend lent her a banjo, and since then, one thing led to another, and here we were enjoying their first gig. Dave Porter and Natalie Fratino of The Smokey Lonesome joined them on their rendition of Hank Williams' "Jambalaya," Dave on electric guitar and Natalie on backing vocals and shaker. It's always fun to hear this one. 

Jon Levy and Mini Mendez

Mike stayed on the stage, and while Jessica left, Mini Mendez (of The Glimmer Stars) and Jon Levy (of Hollywood Sinkhole) joined him, and the three launched into a cover of The Ramones' "I Wanna Be Your Boyfriend," all three providing vocals. Mini Mendez was sporting a Cruzados T-shirt. They followed that with a Glimmer Stars song, "Paulina," with Mini Mendez on lead vocals. This was a totally sweet, beautiful rendition. Mini Mendez then left the stage, and Mike Williamson and Jon Levy continued with "Western Skies," a really good song from Mike's 2022 self-titled album. It featured some nice guitar work from Jon. Jon then told the audience, "That was Mike at his most sensitive." They followed that with "Good Times," another song from that same album. "The good times come and go." Yes, indeed, so we have to enjoy those times as much as possible. Jon Levy then sang lead on a new song. In introducing it, he told the audience the song would hit folks differently depending on whether they were born in Los Angeles or not. "California, wrap me in your arms/Came here for a dream, and never want to leave." He then sang, "It feels so right until it feels so wrong." Yeah, I think all of us from elsewhere completely understand where he's coming from. They followed that with another Jon Levy song, "Life Was Going Great 'Til I Met You." As you might guess from the title, this was a fun one, with a sort of pop vibe to it. Jon then teased, "Did I tell you Mike has a really sensitive side?" Jessica, now in the audience, called out, "I didn't know about it," which got deserved laughs. Jon told her she was about to find out, and Mike sang lead on a song that featured the line, "But Jessica says it will be all right." They wrapped things up with "Around The Block," the lead track from that 2022 Mike Williamson song, saying it was in honor of Adam Levine.

The Smokey Lonesome

The Smokey Lonesome then took the stage, getting straight into the music, opening with "Frontera," the lead track from the Desert Run disc. It's a song I always enjoy hearing, and it certainly had the right energy yesterday. Again, there is a laid-back vibe to the venue, which is very much appreciated, but the music had a great, fiery spirit. After that song, Natalie asked about the sound, joking that the "guitar's too loud, I'm sure." But no, it wasn't. Everything was just right. They followed "Frontera" with "Koa Box," keeping the energy high. I've mentioned this before, but I keep a list of bands that have a song sharing the band's name (it's a much longer list than you might expect). The Smokey Lonesome is on that list. "We are The Smokey Lonesome; this song is called 'The Smokey Lonesome,'" Dave said, introducing the song that secured them a spot on that list. You're probably now thinking of a few bands yourselves. Here, let me help: Bad Company, Beastie Boys, Broken Sound, Bullied By Strings, Kool And The Gang, Motorhead, Night Ranger, They Might Be Giants (just a few). Anyway, "The Smokey Lonesome" is actually one of my favorite Smokey Lonesome songs, a very cool tune. Dave switched guitars for that one, and the next one, "Desert Run," which came on with a delightful force. There is a moment in that song when Dave sings, "Where are we going?" and Natalie sings, "Don't know." I don't think anyone knows, but that doesn't stop us. Right? There was a fun, wild energy to this song yesterday, totally unrestrained. Natalie then sang lead on "Ways To Be Wicked." There was not a lot of stage banter. At one point, Dave said, "Pretty warm out here today," then immediately jokingly asked if that was enough talk. Natalie agreed it was. Their set also included "Heartbroken Heartbreaker," "Jasmine," and Tammy Wynette's "Your Good Girl's Gonna Go Bad." Natalie sang lead on the Tammy Wynette number, delivering a totally fun rendition. Dave joked about the time, saying they were already getting near the end of their set, that somehow these four-minute songs were turning out to be two-and-a-half-minute-songs. Well, it was that kind of energy, the kind that is then perfect for "Cannabis," a song about how weed is legal in California, a fan favorite. They wrapped things up with a couple of covers, Dwight Yoakam's "Guitars, Cadillacs" and Johnny Cash's "Folsom Prison Blues." "All's well that ends well," Dave said before starting that last number. 

Lights Out Levine

Lights Out Levine then took the stage at 4:51 p.m. For this show, the band was the duo of Adam Levine on guitar and Justin Kunkel on bass. "Happy Saturday, everyone," Adam said, also noting that he had family in the audience. The two of them rocked the space, deliving a delicious set. "You could never have predicted/That's I'd become so addicted," Adam sang in their opening number. A bit of tuning, and then onto the next song, which also came on strong with a great punk rock energy and featuring some fantastic work on bass. There was a bit more tuning after that song, and Adam asked the crowd, "So where are we going afterward, Maui Sugar Mill Saloon?" And, indeed, a large segement of the audience was planning on making its way over to Tarzana for that show, the bill there including The Glimmer Stars and Pat Todd & The Rankoutsiders. I had hoped to make it there myself, but ended up missing that show. But I was getting a good dose of solid rock music right then. "This is weird, no tequila," Adam commented, then kicked into "I Like It With The Lights Out." "So we can start this party right." There was something of a back yard party feel to the day. "We're going to do some new stuff, guys, some shit you haven't heard yet," Adam then told the receptive crowd. That next song was a perfect Los Angeles song, with lines about memories on the cutting room floor. "You didn't make the cut!" he shouted at one point. Isn't there someone you have in mind now, someone you'd like to say that to? "I've got creative control." Again, perfect. "You're right where you belong, on the cutting room floor." Lights Out Levine then did something interesting, choosing to play Mike Williamson's "Around The Block," dedicating it to the Williamsons. Mike had dedicated the song earlier to Adam, and Adam returned the favor. "Come and see me when you're feeling blue." That's exactly what I try to do, go see some great music when I'm feeling down about the world. "Technical difficulties, folks," Adam shouted out while tuning. "We'll be right back." The duo then ripped into "Pervert Queen," one of my personal favorites. "Oh man, she was doing dirty things that were out of this world." A line that made me laugh out loud was "I was desperately in need of a safe word." Justin's great bass work bridged that and the next song, which had a darker vibe. Then Adam sang a song to his son, who was not only in the audience but also stepped onto the stage to say that everyone he heard today was amazing. It was another special moment. "You're the best thing that ever happened to me," Adam sang. And if you worry the song is in danger of becoming overly sentimental, Adam adds some delicious humor to it, singing, "Grownups don't know shit/They only act as if they do." Dave Porter called out from the audience, "Are you going to do that 'Fantasy' song?" Adam replied, "Oh, you want to hear that?" And so we got to hear "Fantasy." "Reality simply ain't the truth," Adam sang. Lights Out Levine then wrapped up the show with "Run From The Moon." "We're ending it with the song we usually start with," Adam told the crowd, and he was howling before the end. What a great afternoon!

Fight On! True Blues Vol. 2 (2026) CD Review

I feel like it's safe to assume that everyone has the blues these days. And the best way to fight the blues is with some good blues music. Three of the best artists working in that realm today share some excellent recordings on the new compilation, Fight On! True Blues Vol. 2. Corey Harris, Alvin Youngblood Hart, and Guy Davis deliver some blues to help us deal with the troubled world around us. The tracks they provide here are delicious solo performances, some of classic blues numbers, some of original material, all with a wonderfully raw and honest sound.

The album opens with Corey Harris performing "We Are Almost Down To The Shore (Fight On)," a traditional number. This performance has a great, timeless feel, and features some good guitar work. Corey recorded this and his other tracks in Virginia, where he is currently based. This song provides the album with its title, and it has a sudden ending. Alvin Youngblood Hart then gives us "Screamin' And Hollerin' The Blues," a song written by Charley Patton. He delivers a really good rendition, with a strong sense of play, which is perfect. Just listen to the way he sings "If I ever get back home, I won't be around here no more/No, I won't be around" and "No use to screamin' and cryin'/Oh, sugar, you know it ain't no use." One thing I love about these recordings is that they feel like live performances, musicians in the moment, and so it is like we are sharing those moments with them. Alvin Youngblood Hart's tracks were recorded in Mississippi.

Guy Davis performs an original number, "See Me When You Can," a song he included on his 1996 album Call Down The Thunder. There he is backed by a band. Here he performs the song solo, and the track has a great, raw, immediate sound. When he first sings, "Oh, do me a favor/Come on by and see me when you can," we can hear the need in his delivery. "Well, my body's failing, and I can't get around/The next time I leave here, they might carry me down." Oh man, we can feel this as he sings it. So good. Guy Davis recorded his tracks in New York. Corey Harris then gives us an original number, a playful and totally delightful song titled "What's That I Smell." Check out these lines: "I was up on the hill top in a big white house/Had to burn it down 'cause a man ain't a mouse/Ask me why I do it, I say, well, why not?/I start a revolution and I don't want to stop/Open up the window and tell me what's that I smell." He does a bit of sniffing during the guitar instrumental part in the middle, and also concludes the song with some sniffing. This song is wonderful.

"If The Blues Was Money" is an original number from Alvin Youngblood Hart. It was included on his 1996 album Big Mama's Door, where it was listed as "If Blues Was Money." Though it's an original songs, some of its lines will be familiar to you from a song like "I Know You Rider": "Lay down in the evening, just can't take my rest/My mind get to rambling like the wild horses in the west." Interestingly, that earlier version was also performed solo. This new recording is excellent, featuring some great stuff on guitar. "If the blues were money, babe, I'd sure be a millionaire/But it's all I can do just to keep out the electric chair." That's followed by "Deep Sea Diver," an original song from Guy Davis. It has some wonderfully unsubtle double meanings in lines like "I'm a deep sea diver, and I know how to go below/When I leave a little girl, she beg me, daddy, please don't go." The song is told from the perspective of a traveling man referred to as Handsome Jack. It is a delight.

Corey Harris' last number is a cover of "I Belong To The Band," a song from Rev. Gary Davis, the man responsible for "Death Don't Have No Mercy." Corey Harris delivers an excellent rendition, with a good, loose vibe and a fantastic vocal performance. It feels like he's playing on our porch. What could be better? Alvin Youngblood Hart follows that with "Highway 61," a traditional number, mostly associated with Mississippi Fred McDowell and often titled "61 Highway." Alvin Youngblood Hart gives us a passionate rendition, and halfway through it we are treated to some rousing work on harmonica. The album concludes with Guy Davis performing "Everything I Got Is Done In Pawn," an original number, though largely inspired by Elizabeth Cotten's "Shake Sugaree," which has the line "Everything I got is done in pawn" as well as these lines that begin this song: "Well, I pawned my watch, and I pawned my chain/Pawned everything that was in my name." Guy Davis takes it to another level with lines like "Even pawned the old lady who used to live upstairs" and "Pawned so much I'll have to live outdoors." And the funniest moment is the line he leaves unsung. It's a cool way to wrap up this album of delicious blues.

CD Track List

1. We Are Almost Down To The Shore (Fight On) - Corey Harris
2. Screamin' And Hollerin' The Blues - Alvin Youngblood Hart
3. See Me When You Can - Guy Davis
4. What's That I Smell - Corey Harris
5. If The Blues Was Money - Alvin Youngblood Hart
6. Deep Sea Diver - Guy Davis
7. I Belong To The Band - Corey Harris
8. Highway 61 - Alvin Youngblood Hart
9. Everything I Got Is Done In Pawn - Guy Davis

Fight On! True Blues Vol. 2 is scheduled to be released on April 17, 2026 on Yellow Dog Records.

The Town And The City Festival Boasts A Fantastic Lineup

When I was growing up in Massachusetts, if you'd told me Lowell would host one of the coolest music and art festivals, I would have laughed. Anyone would have laughed. Lowell, back then, was a place largely to be avoided. The city has changed quite a bit in the last few decades, those changes for the better, and has become a really nice spot. Lowell is now celebrating its bicentennial. The Town And The City Festival, a music and art festival named after Jack Kerouac's book, will be held from April 30th through May 2nd, and feature performances by John Doe & David Lowery (that alone makes it worth going), Jon Langford & Friends (anything Jon Langford does is worth checking out, and everything he does he does with joy; The Mekons are one of the absolute best bands in the world), Steve Wynn (in addition to his great solo work, he's known for The Dream Syndicate and The Baseball Project, two excellent bands), and Kris Delmhorst (a phenomenal singer/songwriter, but of course you already know that), along with many other talented musicians and singers. In addition to the music and art, there will be comedy, along with a book reading by Chris Wrenn (the book is Fenway Punk: How A Boston Indie Label Scored Big On Baseball's Biggerst Rivalry, a book I need to get a copy of). Tickets and three-day passes are available now on The Town And The City Festival website.

Lois Blaisch & Friends, The Sallys, and Jed's Dead at Maui Sugar Mill Saloon, 3-25-26

Lois Blaisch

We all know Tiffany from those Sci-Fi channel movies (and, yes, I know they switched it to Syfy, but that's just stupid) like Mega Piranha and Mega Python Vs. Gatoroid (I keep reading that as Gatorade), but when she first came on the scene, it was through singing the songs of other artists. She had hits with covers of The Beatles' "I Saw Her Standing There" (which she switched to "I Saw Him Standing There") and Tommy James And The Shondells' "I Think We're Alone Now," as well as the song "Could've Been," which was written by Lois Blaisch. I could not stand her renditions of "I Saw Her Standing There" and "I Think We're Alone Now," but "Could've Been" was something different, something special, and on that song Tiffany's vocal work was quite good. It's actually a beautiful song, later covered by Sarah Geronimo. And the woman who wrote it, Lois Blaisch, has her own band. That band performed last night at the Maui Sugar Mill Saloon as part of a bill that also included The Sallys and Jed's Dead. 

Jed's Dead

Jed's Dead was up first, and the room was quite crowded, especially for a Wednesday night (Moses had his hands full behind the bar). Apparently this band doesn't play all that often, which was likely part of the draw. Sandra Macat, of The Macat Persico Band, was hosting the night, part of the Open Road Americana series, and this, as it turned out, was her last time hosting the series. She introduced the band a few minutes before the scheduled 8:30 p.m. start time, and the group opened with "A Girl From Texas." It's a wonderful song, and I especially loved the line about his regret, "And I didn't have a chance to break your heart." Fantastic! The group delivered its own special kind of country rock, with even some pop elements thrown in, as on "Grace," a fun and seriously catchy number (which was written for Amilia K. Spicer). And check out these lines from "Trouble Girl": "Smoke my weed and drink my wine/But don't try to tell me that you love me." These guys did mostly original material, but also delivered a good rendition of "Looking At The World Through A Windshield," the Del Reeves song, featuring a nice lead on electric guitar. "Small Gods" featured some good work on harmonica. They wrapped up the set with a couple of totally fun numbers. The first of those, "Party Wrecker," had a delicious bass line and included these lines: "I didn't mean to wreck your party/But you shouldn't have broke my heart." "That song's based on a true story," we were told afterward. With a little clarification: "Not my true story." It was based on an episode of Cops.

The Sallys

The Sallys were up next, with David Serby filling in for Mike Brady on bass. The band started promptly at 9:30 p.m., kicking the set off with "Back On The Road Again," a song I love. "I learned when I was just a boy/People would lie right in your face for no good reason." Nubs made a quick sound adjustment, and Dan Janisch called out, "Let's hear it for Nubs," before then starting "Here She Comes." "How's that feel?" Dan asked at the end of that one. So good! In fact, so good that sometimes it's easy to miss just how good this band's lyrics are. Dan said he was dedicating the show to Mike getting better (Mike was in the audience). "Wild Fun" was certainly fun, with a great punk flavor and some delicious rock and roll guitar work. As you might expect, there was a sense of humor to the set. "To the lighting guy, this is where the mood lighting happens," Dan told the non-existent crew member. Then, after waiting for a moment, during which nothing happened, he said, "Okay, perfect." But, you know, it was perfect. And the trio played "Everybody's Got Somebody They Used To Love," a pretty song. Dan warned Sandra Macat that she'd be needed shortly, then noticed the containers of cupcakes on her table. "What's that?" He joked that the band needed to take a break immediately. The cupcakes were in celebration of Lois Blaisch's birthday, which was the previous day. After a totally cool cover of "Little Black Egg," Sandra joined The Sallys on vocals for a beautiful version of "Cannot Settle Down." The crowd, recognizing the tune immediately, applauded the moment the song started. That was followed by a rocking rendition of "Like You Best." The trio got dirty and mean with "Damnation," the final song of the set. What a great vocal performance! Just before the end, Dan signaled for the audience to be quiet, saying "Let's listen to what they're talking about." For a moment, we all listened to the conversation of the two people at the pool table, who didn't seem to notice, and then The Sallys finished the song. It was such a fun set.

Lois Blaisch & Friends

Sandra introduced Lois Blaisch & Friends and wished Lois a happy birthday. She also mentioned that Karman (of Karman Jeanne & The Fish) would be taking over the music series. Karman, by the way, was one of the Friends of Lois Blaisch & Friends, providing some wonderful backing vocal work for much of the set. In the very first song of the set, Lois Blaisch sang that things were going to be all right, reminding us that everyone needs a little tenderness. It was a perfect song to start things, a perfect song for our strange times. Lois then asked if anyone in the audience had a sweet tooth, and said that she brought cupcakes for everyone. By this point, the containers of cupcakes had been moved to the table off to the side of the stage. "Pour Your Sweet Love Down On Me," a song she wrote with Jim Messina, featured some really nice harmonies, plus some good stuff on drums too. "All right, we're going to get country for a little bit here." Ed Tree (who was on electric guitar) jokingly asked, "Which country?" And Lois replied, "This country." The song, "Feels Like Love (And It Feels Alright)" was a fun country number. Ed Tree then delivered some excellent stuff on guitar on "Hurricane," a song that addresses the climate change crisis. Lois introduced a new song, "I Wanna Be Your Old Lady," saying, "I wrote myself a yodeling song." And indeed, she yodeled on the word "Lady." And, yes, it was delightful. Karman had stepped away before this song and didn't sing on it or the next three songs. The first of those three songs was "Could've Been," the song that was a big hit for Tiffany. She said in the song's introduction that Tiffany's recording helped her get out of debt. After a false start, Lois delivered a moving rendition.

Lois then switched to electric guitar for the rest of the set, beginning with "Back In Time," a good bluesy number. Lois said the guitar was a Valentine's Day gift to herself. She followed "Back In Time" with "Gourmet Love," a cool, totally enjoyable tune. Both "Back In Time" and "Gourmet Love" come from Lois Blaisch's most recent album, last year's Magic. And the band next played that album's title track, with Karman rejoining the group on backing vocals. Lois then asked, "Do we have any home owners here tonight?" The question was met with silence, which actually surprised me. I know that most of us cannot afford a home in this city, but I figured at least a couple of people in a crowd that size might have managed it. Nope. The song, "Home Owner's Blues," was a fun blues tune. She then returned to the new album for "The Electric Man," a song inspired by some electricians who came to install recessed lighting in her home. That was followed by "Rollercoaster," a rocking number from Magic, this one finding Karman on tambourine as well as backing vocals. "Thank you for helping to celebrate my birthday," Lois told the crowd. And the band led everyone in singing "Happy Birthday To You" before going into the final song of the night, "Weather Man," the audience echoing "weather man." The show ended at 11:44 p.m. Another great night at this venue.

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