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.

Brief Notes On New Jazz Releases

I hope everyone is doing all right. This country is neck-deep in fascism, and seems to be in a rush toward complete oblivion. I'm doing my best to avoid the entire mess, but it's getting more and more difficult. Fortunately, there is still a lot of great music out there to help ease our troubled spirits. Here are notes on a few new jazz albums you might want to check out. It's interesting that some of these artists are also teachers.

Naseem Alatrash: "Bright Colors On A Dark Canvas" - Bright Colors On A Dark Canvas seems like a perfect and promising title for these dark and frustrating times. Naseem Alatrash is a talented cellist and composer, who is based in Boston and is a part-time faculty member at Tufts University. This album features all original material. It opens with "Prelude," and immediately the music transports us to another place and perhaps another time. There is a history here that we can feel, a shared sadness. This beautiful piece contemplates that and raises its voice in reaction. Then pianist Chase Morrin and percussionist George Lernis are featured on "Riwaya (Narrative)," which also includes the string orchestra, so there is a fuller sound that seems to celebrate a place. We are taken along its streets, invited to taste its foods, and get caught up in its spiritual passion. There are more somber spots too, which are not kept hidden from us. Yet as we navigate them, we find that these spots also contain a dance. There is beauty, joy, and fondness expressed here, and we feel welcome. The orchestra is conducted by Eugene Friesen. Things then become more intense in "Ramad (Ashes)," and we soon feel pursued. We are on the run before we even know why. There is not time for questions. There is some exciting and excellent work by Chase Morrin on piano, and in the second half we are immersed in a more chaotic environment. But the pursuit seems to continue from that place. There is a more lonesome feel to "Lifta" as it begins, as if weary from the earlier pusuit, and we are now taking stock of where we are, what is left of what is behind us. Yet there is beauty here, almost in defiance of a world grown cold. And it has a rather gentle ending. "Echoing In The Hollow" begins with some pretty, though perhaps tentative, work on piano. The cello is gorgeous, moving. There is sadness, but also hope. "Risala (Message) - Part I" quickly establishes a good rhythm, and there is the sense of a grander picture, a grander landscape, and some intrigue. And now the movement is more deliberate, more certain. This track features some excellent and powerful work on cello. It leads straight into "Risala (Message) - Part II," which soon moves quickly. This time it is not running away, but running toward some more desired future. Here we experience a different kind of excitement, more positive. I love the percussion. This album was released on February 27, 2026.

Wayne Alpern: "Alchemy" - You can always count on composer Wayne Alpern to deliver something interesting and wonderful. Alchemy is an album of original pieces composed for woodwinds. The group that performs the pieces, Imani Winds, is made up of Brandon Patrick George on flute, Tovin Spellman-Diaz on oboe, Kevin Newton on horn, Mark Dover on clarinet, and Monica Ellis on bassoon. The album opens with a playful number titled "Stomp," which has a delicious, comedic bent, reminding me of some of the great cartoons I watched when I was a child. So, yes, the kind of thing that should immediately raise your spirits and return you to a less stressful time. The fun continues with "Gigue," which has a delightful sense of mischief about it. You know that someone is up to no good, but you also know that no harm will result from it, so you can just enjoy the action. The characters are so clear, as is the action. The same is true for "Burlesca," though the characters and action are so different. This one takes us into more of a folk realm, a foreign town or community, where there is also humor, but here it comes from a collective space rather than individual behavior. "Impromptu" has a stronger presence, demanding attention at its start, before easing back at moments, and finding some truly pretty areas in the second half. "Masquerade" is a total delight, a playful number that swings and teases and promises that life can be lighter, even when some mystery is acknowledged. "Partita" becomes exciting toward the end, and then the music changes gears with "Elegy," which, as you'd expect, has a more somber vibe. Yet there is also something uplifting here, something that encourages people to maintain a certain amount of hope. And there is a dramatic sense to the second half. It's interesting that this album includes a piece title "Overture" in its second half, but it's a fun, lighthearted and adventurous number. One of my favorites is "Rag," which, as you likely gathered from the title, plays with some ragtime themes, which I've always found appealing. It's totally enjoyable, and includes a nod to Gershwin, which of course I appreciate. Another highlight is "Capriccio," which is like a lively dance of sprites and pixies and other playful spirits, yet a dance that has some function in mind, some goal. Like, by the end, you find they've built an entire little town. It builds to an exciting climax. This album was released on December 19, 2025.

Darren Litzie: "On My Own Time" - Darren Litzie is a pianist and composer who released his first album as leader in 2022. His new release, On My Own Time, features mostly original material. with Chris DeAngelis on bass, and John Riley on drums. It opens with its title track, which eases in with a short introduction on piano. Then it kicks in, taking on a fun rhythm that quickly has us feeling good. There is a Brazilian influence here, and some interesting changes. I especially like when Darren gets loose in the middle of the track. Both Chris and John then get chances to shine in the second half. That's followed by the album's first cover, "Moonlight In Vermont," this being a more somber rendition than most, a bit sadder in its contemplation. Darren delivers some beautiful work, and does find lighter moments. There is a gentle, thoughtful bass lead in the second half. Then "Just After Three" has the feel of a pleasant dance, when all of nature seems to be encouraging a lighthearted, joyous approach to life. This is one of my personal favorite tracks, everything coming together perfectly to create a better world. "Maybe We'll Try" urges a different type of dance, and the Brazilian influence is heard again on this one. Chris delivers an excellent, impressive lead on bass early in this track, things popping there. And it just gets more fun from there, with some delicious, lively work on piano, becoming another of this disc's highlights. The trio then gets bluesy with "If Only I Could Forget," and gets even cooler with "Busy Work," which features more excellent work on bass. When "Before Tomorrow" starts to take off, it too becomes another standout track. I love its loose feel combined with that attitude of really going for something. I find that's often when magic occurs. Plus, this track features some really good drumming. "A Short Walk From Here" has a light vibe, music that seems to push cares aside. The album's second cover is Thelonious Monk's "In Walked Bud," this version given a good, somewhat funky groove, with lots of wonderful touches throughout. The final cover is perhaps the most surprising choice, The Zombies' "Time Of The Season," a song I love. It begins with something of a mysterious air, starting to take form in the mist, and growing from there. It's an interesting approach that I ended up really digging. This album was released on February 6, 2026.

Pat Petrillo: "Contemporaneous" - Pat Petrillo is an accomplished drummer and composer. Contemporaneous features all original material, written or co-written by Pat, tracks that bring several different musical areas together in one great creative eruption. Joining him on this album are Scott Ambush on bass, Gary Grainger on bass, Blake Aaron on guitar, Oz Noy on guitar, Chieli Minucci on guitar, B.D. Lenz on guitar, Matt Rohde on keys, Mark Baron on keys, Chris Fischer on keys, Plinky Giglio on keys, Mike Cordone on trumpet, Steve Jankowski on trumpet, Lemar Guillary on trombone, Scott Mayo on tenor saxophone, Tom Timko on tenor saxophone, and Phillip Wack on alto saxophone. The album gets off to an energetic start with "Fused," which, as you might guess from its title, combines rock and jazz. There is some fantastic drumming here. There are also some surpisingly heavy moments mixed in. What an exciting and great start. That's followed by "Late Night Diner," which has a cool vibe and seems to celebrate the city life and atmosphere. It might be late night, but things are still happening, still hopping, and this track features some delicious stuff on sax. Then some wonderful work on bass sets "How's The Weather?" in motion, and it isn't long at all before we are treated to some excellent drumming. This is another lively number with a sense of excitement. Will Donato joins the group on both tenor sax and flute on "Summer In Philly," which has a more laid back and sexy vibe. It also includes some good work on both guitar and keys. Pat begins "On The Regular" with some great drumming, and soon we are immersed in a fantastic funky realm from which we have no interest in emerging. There is a lot of stuff happening here, all of it delicious, but it is the drumming that really makes this track stand out. The album's title track is an odd little number on which Pat Petrillo plays all the instruments. This track features spoken word vocals, but I'm not certain who is speaking. By the way, Pat Petrillo plays keys on several tracks. "Grizzle" then has a different feel, due in part to Rob Paparozzi's presence on harmonica. There is something of a New Orleans feel to this one. "Dirty Jerz" will get you on the dance floor, as will "Sunset Sound Studio 2," both having some 1970s vibes. "Weekend Vibe" will help turn any workday into a more relaxing and enjoyable time. And "Glide In My Stride" leaves us in a good mood. This album was released on July 11, 2025 (okay, so maybe it's not quite new, but in the larger scheme of things, it certainly is).

Erica von Kleist: "Picc Pocket" - Erica von Kleist plays several instruments, including saxophone and flute, and on her new album, the playfully titled Picc Pocket, she plays piccolo. She is joined by Yago Vazquez on piano, Noriko Ueda on bass, and Anton Kot on drums, along with John Ellis on tenor saxophone and Jennifer Krupa on trombone on certain tracks. The album features all original material. It opens with "We Know How To Picc 'Em," a totally fun number that begins on drums. Maybe you don't think of the piccolo as a cool instrument, but you likely will after listening to even a few moments of this track. It has a familiar vibe that you'll immediately enjoy, and features some fantastic work by Erica on piccolo. There is also a delicious lead on bass that is not cut short. It's a fun, lively and cool start. It's followed by "Let Me Picc Your Brain." And, yes, before you ask, all the song titles, like the album's title, contain plays on "pick" and "picc." There is a mellower feel to this one at the start, and yet soon we get some excellent drumming. It's kind of an intriguing track that, before you know it, develops its own delightful energy, and features a wonderful lead on piano. In the second half, there is a surprising and excellent section where Erica's piccolo is backed just by bass. "Bone 2 Picc" is a playful number featuring some absolutely wonderful work by Jennifer Krupa on trombone. The piccolo is then like a sprite dancing about. When the two instruments work together, is there anything more delightful? "Picc & Choose" has a sweeter vibe. There is a pleasant feel to this one, even as the bass and drums push things forward. "Picc Up Lines" is great fun from its opening on drums, this one featuring excellent stuff from John Ellis on saxophone. Everything moves along at a good clip, leaving all our troubles behind. And we are treated to a drum solo in the second half, so all is right with the world. The album concludes with "Picc A Peck," which is surprisingly bluesy, proving once again that the piccolo is cool. And here Erica gets loose over that good rhythm. This album is scheduled to be released on April 23, 2026. 

James Houlahan: "On A Wing" (2026) CD Review

James Houlahan is a talented songwriter based in Los Angeles, and originally from Boston. Each album he releases is something special. His new album, On A Wing, contains mostly original material, along with a few covers. It's his first new album in nearly three and a half years, following Beyond The Borders. As on that album and previous albums, he gets some help from Fernando Perdomo, who co-produced the album with him and plays keyboards. Danny Frankel again joins him on drums and percussion, and Esther Houlahan again joins him on vocals. This time he also has the great Feef Mooney joining him on backing vocals. And the incredibly accomplished Greg Cohen plays both electric and acoustic bass on this album. John Kruth plays a great variety of instruments, including mandolin, flute, Irish whistle, harmonica, mandocello, bulbul tarang, arghul, electric sitar, and autoharp. And Tim O' Gara plays jaw harp and provides vocal work. It's an impressive group of musicians performing on an excellent group of songs. The album's title, by the way, is interesting, for the phrase suggests a bird in flight, generally a beautiful and graceful thing, while also (because that phrase is usually "On the wing" rather than "On a wing") reminding us of the saying "On a wing and a prayer," which is hopeful but not optimistic. And I suppose that's how many of us feel these days.

The album opens with "These Changes." Sometimes I just want a song to make me feel better, feel better about the world, feel better about myself, just feel better. You know? This song does that even before the vocals come in. That guitar work at the beginning sets a beautiful, positive tone. And then when the vocals do come in, we find it's a love song, and not only that, but about starting a family. "Now these changes are coming/They turn two to three." And by the time James sings, "Our love is a light that sets us free," I am smiling, and the horrors of the world have slipped away. This track features some really nice work on flute. "Dressed up in the beauty of all that you are." Yes, yes, yes! Here is a song I think we can all appreciate, and it's over much too soon. It's followed by "Chariot Song." Here are the opening lines: "Chariot of the sun/Take me to that star/A road that goes through justice." Oh yes, I seem to recall something called justice. I'm pretty sure that no longer exists, but it's nice to hear the word again. This track features some good guitar work, and cool stuff on harmonica. "She'll take my hand and lead me/Out into the world at last." I also love the backing vocal work here. There is a kind of loose vibe here that is really appealing. The song returns to those first lines again before the end. But before that, the song's lyrics mention a bird: "I long to be the bird/Who's landed free from harm/Rescued from delusions/Of what we think we are." Bird imagery is encountered throughout the album.

And speaking of bird imagery, the first of three covers on the album is "The Cuckoo Bird." James Houlahan puts his own spin on this traditional number. That's apparent from the track's opening moments, with a great acoustic base and these bright lights flashing across the horizon. I've heard many versions of this song, but I don't think I've ever heard one quite like this. There are some cool, surprising touches that keep us totally engaged, including the use of a jaw harp. And James Houlahan adds some lyrics to it. I love this rendition. It does owe something to some of the great 1960s recordings I've heard; there is a psychedelic element to the song. Then there is some really nice percussion from the start of "All Night." The song does a superb job of establishing the mood, the atmosphere, before James comes in on vocals, the percussion being part of it. "All mixed up, feeling confused/Breaking down, untying my shoes." When a friend arrives with a bottle of gin, maybe things are going to be better. Interestingly, we are then given a part in the song, a character, as James sings, "We stayed up all night/Didn't talk about you." This is a particularly interesting vocal performance, a different approach that is captivating. And though this song employs the dreaded "self"/"shelf" rhyme, it kind of works here, since the bottle that ends up on the shelf has been established. There is some excellent guitar work in the middle, the flute seeming to dance with it briefly. The repetition of the lines "We stayed up all night/Didn't talk about you" have an interesting effect; because on one hand, there is something triumphant about it, like he is over whatever it is he feels he should be over; on the other hand, by repeating "Didn't talk about you" he is talking about that person. I love that vocal section at the end.

The album cover's artwork is by Hieronymous Bosch, the bottom left portion of "The Garden Of Earthly Delights." It features many birds, fitting with the album's title and some of the imagery in the songs. "That Bird & I" is the second song to have a bird in its title. "Before I slept, I took a walk/Through a dark silent canyon wood/There I heard a lone mocking bird/Who was singing a song that I understood." There are some deep tones that reverberate in our chests and echo in our minds, in places we don't often go. In some contrast to that, there is the lighter sound of the mandolin. "Songs of love and songs of pain/Songs of sweet and dark mystery/Our old tunes from voices past/They echo in a grand symphony." After a brief pause, he encourages us, "So let us sing on," and creatures from all around answer the call. What a wonderful effect. This is one of my personal favorite tracks. I love, love, love this song. It's about being a singer, but that includes all of us who, sometimes without apparent reason, find ourselves singing.

A pleasant and pleasing vibe is established right at the beginning of "I Believe In You." There is a nice groove, and I'm digging that beat. There is a joy from the start. "Someday I'm going to rise up singing," James then sings, conjuring Gershwin, and making me think briefly of Janis Joplin ("Summertime" is one of my favorite songs, actually), but also continuing the imagery of the previous song, likening a solitary singer to a bird. "Every sound plays a part," he sings here, which also makes us think of the previous song. We all have a part. "I believe in you/I believe in you." May we all have that special someone in our lives, that person who believes in us, that person we believe in. There is a bit of a Bob Dylan thing happening here, just at certain moments, like on the line "Coming through." This track makes great use of the flute, and I love when the flute and guitar work together. And again I am feeling good about the world, feeling good about being alive. "Maybe we can find a song/That we all can sing along." That's the trick, right? I believe in the power of music, where everything else fails (and everything else has failed, hasn't it?).

The second of the album's covers is Willy Mason's "Carry On," the title track of his 2012 album. James Houlahan delivers an excellent, touching rendition. "I just watch and wonder how we carry on" is one line in particular that stands out in this rendition. How do we? Life is so brief, death taking all of us into oblivion before too long. And before that inevitable end, there is pain. That's followed by "Hurriquake." This one creates an unusual vibe at the start, like a strange siren in nature, some sort of alarm. "I felt an earthquake/In a hurricane," James then sings, and the first time I heard those lines I found myself laughing. If you live in Los Angeles, you most certainly remember this. It wasn't all that long ago (summer of 2023) when we had a hurricane, and in the middle of it, there was an earthquake. Insane, right? The world was laughing at us, and so we had to laugh back. "A strange twist of fate/That you can't explain." This is a wonderful, unusual song, featuring some good percussion. I also love the psychedelic aspect of that instrumental section. "I think I'll sing along/In the pouring rain." Perfect.

"Lucinda" has a surprisingly cheerful, sweet vibe, considering it's about a love's gravesite. "The storm that blew through summer/Knocked down that old oak tree/Upset the grave of Lucinda/I've got no more tears to cry." When there are no more tears, are there smiles? Maybe. This music seems to say so. This is a wonderful folk song, one that could become a standard folk number in years to come. And speaking of folk songs, James Houlahan decides to wrap up this excellent new album with a cover of Richard Fariña's "Joy 'Round My Brain." This song also mentions birds, by the way: "Yeah, those hummingbirds, they were flying upside down." This song also puts politicians in the trees. And why not? This song is a great choice, actually, to end things, with both male and female vocals. We hear the joy of the song, in that vocal work, but also in all the instruments, even the percussion. Hell, there is even some laughter heard during the song. "I'm so happy I could die/I don't know the reason why."

CD Track List

1. These Changes
2. Chariot Song
3. The Cuckoo Bird
4. All Night
5. That Bird & I
6. I Believe In You
7. Carry On
8. Hurriquake
9. Lucinda
10. Joy 'Round My Brain

On A Wing was releaed on February 25, 2026.

Turn Turn Turn: "All Hat No Cattle" (2026) CD Review

Turn Turn Turn has a new album out, All Hat No Cattle. First of all, the album's title made me laugh out loud, especially living in the city as I do, where there are cowboy hats but no cows. When I was living in Oregon, I had a band, and the first song we wrote together was "Cowboy Hats," a short punk number that went "Cowboy hats/In the city/Look silly." I no longer think they look silly, but I do still find that funny. Of course, the title carries the meaning of talking a big game but not following through, but to me it also means assuming the trappings of a thing without being the thing. Anyway, this album features all original material, with all three band members contributing. Adam Levy is on vocals, acoustic guitar, electric guitar, bass, mandolin, banjo, keyboards and percussion; Barb Brynstad is on vocals and bass; Savannah Smith is on vocals and acoustic guitar. All Hat No Cattle follows the group's 2023 album New Rays From An Old Sun. It was produced by Adam Levy.

The album opens with "Antietam." Adam Levy, who wrote this one, begins it a cappella. "Please come in closer/I'll tell a story/Of how the strong are sometimes weak/We are here briefly." The song is about a battle during the Civil War. The others soon come in on vocals, and there are beautiful harmonies. "Well, our great country was torn asunder/Two years of bloodshed, a death toll large." Those lines strike us in these days when another civil war seems possible, when half the country has turned to fascism. The instruments come in after those lines. And in the second half, there is a wonderful, rousing instrumental section. This song ends with its last several lines delivered a cappella. Then "Last Drink" has a lighter, fun vibe. Here are the opening lines: "It's time to go home/The party is over/Just put on your coat/And take your things when you go." Until that fourth line, we might be thinking they were singing of an actual party. But on that line, things turn. What's interesting is that the sound makes us think of something lighter, like the end of a party, and that seems to inform how the guy of this song is taking it, for he sings, "When you leave don't let the door hit your rear end." There is nothing sad or despondent here, no regret or yearning. There is some nice work on guitar. It sounds like the guy of this song will be okay. "You helped me forget/But I'm thinking clear again."

"Cities" comes on with some energetic work on guitar, and takes on a rhythm like a delightful dance. "Cities are flesh and cities are smoke/Cities are noise and cities are bones." To me the most interesting line is "Blame the cities for the change we allow." Perhaps it is because of these strange times we find ourselves in, when no one accepts responsibility or blame for anything, but that line stands out. I love the guitar work in the second half of this track. Scott Wenum adds some wonderful work on percussion. That's followed by "Magnolia Tree," which was written by Savannah Smith. Check out these lyrics: "It's a worn-out story takes the air out of my lungs/I'll explain away my days when loneliness became my drug." Wow, those are good lines. This song has a sweet, pretty sound, with some gorgeous harmonies. It's a positive and encouraging number, one that looks to a bright future. Joe Savage joins the trio on dobro, delivering some excellent stuff.

"Trouble" is a fun, lively number, moving at a good clip, making us feel like we're on the run. Peter J. Sands delivers some delicious work on organ on this one, and Josh Kaplan is on drums, that rhythm driving everything forward. "Somehow I'm in trouble now/Well, it may not be a sin/But I found hell again/I'm in trouble, I'm in trouble now." And as in any good country tale, someone's going to die here. But there is a playful aspect to it, all the same. This one was written by Barb Brynstad and Adam Levy. That's followed by "Hand-Me-Down Sadness." My girlfriend had read that stress suffered by someone can be inherited by that person's children, and actually stay in the family for three generations. I was thinking of this when I read this song's title. Could sadness work that way as well? If so, some folks I know are really up against it. "All the years of hand-me-down sadness/From one generation to the next/You try to move beyond it, kick it to the curb/But it's got its claws in you like a hex." This song also mentions a party having to end. That idea is certainly in the air these days, isn't it? I think this country's party has ended. This song was written by Adam Levy.

"Serious," which was written by Adam and Barb, is about that time when a relationship suddenly proves itself to be more serious than intended. The line that grabbed me the first time I listened to this song is "I know this ain't my stop, but I want to get off." This is a fun track. Some of the vocal work kind of reminds me of the best of the late-1970s Fleetwood Mac output (you know, once the girls joined the band). Peter J. Sands plays piano on this track, delivering some delicious work, especially that brief lead in the middle. "Why can't we go back to being friends?" That can work, you know. It did once for me, anyway. I also love these lines: "Don't need astrology to sort it out/I just need a parachute and I'll jump out." Then "Manitowoc" begins with some really nice guitar work that grabs us immediately. There is a sweet vibe to this song that is incredibly appealing. "Waiting for the end to start/Fever dreams on these concrete shores." Joe Savage adds some excellent stuff on pedal steel, that work contributing greatly to this song's overall sound and effect.

There is some interesting percussion to "When Love Reigns," Josh Kaplan on drums and percussion. "I've been around a long time, baby/Fires die, and hearts rearrange/All is fair game when love reigns." And after those lines there is a little rock and roll thing happening, something we might here from Roy Orbison, which is wonderful. These lines surprised me: "Machines will beat us at our games/They'll try to learn the secrets, but some things can't be explained." They surprised me because of the atmosphere of this song, which feels like it comes out of some wonderful past. Adam Schmidt plays pedal steel, and Peter J. Sands is on organ. That's followed by "Hungry Ghosts." There is a glorious intensity to its opening instrumental section. Then it shifts as the vocals come in. There is something of a 1960s influence heard here, especially to some of the guitar work. "We're hungry ghosts singing our sad love songs/We go remote when the connection is too strong/You went out lookin' for what we had all along/And I'll breathe a little lighter when you're gone." And I love this line: "Before we got all tangled in each other's strings." This song features a good bass line, and also some nice work on pedal steel by Adam Schmidt. It has a strong ending. This song, written by Barb Brynstad and Adam Levy, ended up being one of my favorites.

The disc's final listed track is "Solid State," a delicious country number. "This world is run on greed, mountains of corn/Factory machines, palm oil and soy beans/We got lost somewhere between the vaccum tubes and the slot machines." We got lost, indeed. But everything feels in its right place when I hear some wonderful guitar work like this. And the way their voices blend, you'll want to add your own voice. Don't be shy. Life's too short for that. There is a delightfully loose vibe to this one. The song ends, but there is still more than a minute to go on the track. After a bit of silence, we get a very short hidden track (actually hidden song, same track), which is the title track. Who hides the title track? Actually, I'm only assuming that's the title, for here are some of the lyrics: "Cowgirls and boys with no saddle/From New York City to Seattle/Looking good is half the battle/All hat, no cattle." It's a nice, lo-fi gem.

CD Track List

1. Antietam
2. Last Drink
3. Cities
4. Magnolia Tree
5. Trouble
6. Hand-Me-Down Sadness
7. Serious
8. Manitowoc
9. When Love Reigns
10. Hungry Ghosts
11. Solid State

All Hat No Cattle was released on March 6, 2026.

Fasby Barnes & Fernando Perdomo: "Starmen: A Tribute To David Bowie" (2026) CD Review

Last year while Fernando Perdomo was working on his Waves series, an album of new material released every month, he somehow managed to find time to work on several other projects. And this year, while working on Clouds, a similar monthly release, it is clear he will not be limited to just that one feat. In February, he teamed up with vocalist Fasby Barnes to release Starmen: A Tribute To David Bowie. Fernando plays most of the instruments on this release, but gets help from Robbie Gennet and Kaitlin Wolfberg on certain tracks. By the way, you won't find any information on vocalist Fasby Barnes, because it's not the singer's real name. Whatever his real name might be, he delivers some excellent work here.

David Bowie created an incredible body of work. With so many great songs to choose from, where would one even start on a tribute album? Fernando Perdomo and Fasby Barnes pick "Ashes To Ashes," a song from Bowie's 1980 record Scary Monsters. It's a cool, fun, kind of quirky number, and one that speaks to us pretty strongly today. The message received, "I'm happy, hope you're happy too," is one that I can respond to, when listening to this music, with a "Sure thing." Even if everything has gone to hell, as it most certainly has. Just listen to these lyrics, which deal with addiction and whatnot. Anyway, Fasby Barnes and Fernando Perdomo deliver a strong rendition here. That's followed by "Golden Years," from Bowie's Station To Station album. It's a good song, though certainly not the most interesting track from that album. Fernando Perdomo and Fasby Barnes deliver a cool rendition, seeming to slow it down just a bit, which gives it a more thoughtful vibe. When Fasby sings, "Run for the shadows, run for the shadows, run for the shadows," I feel like maybe it's a good idea.

Fasby and Fernando then get into more interesting fare with "Life On Mars?" (here listed as "Life On Mars"). This is one of the tracks to feature Robbie Gennet on piano. Here's an interesting (and completey crazy) side note: like Fernando Perdomo, Robbie Gennet released an album of new material every month last year. What the hell? There are days when I feel productive if I've managed to get to the grocery store. Anyway, "Life On Mars?" is from the wonderful Hunky Dory album, and is the first of two songs from that record to be included here. The piano work is a big part of the song, and Robbie Gennet does a great job. This track also features some beautiful guitar work, as well as a great vocal performance. "It's the freakiest show." Ah yes, and we're all in the middle of it now, aren't we? We all need some means of escape. That's followed by the fantastic "Moonage Daydream," the first of three songs from The Rise And Fall Of Ziggy Stardust And The Spiders From Mars. So, yeah, there is life on Mars, after all. This has always been one of my favorite David Bowie songs, and Fasby and Fernando give us an excellent, energetic rendition. "Don't fake it, baby, lay the real thing down on me." That instrumental section in the middle is a total delight. By the way, another cover of this song you should check out is the one by Ann Magnuson.

"Oh You Pretty Things" is the second song from Hunky Dory to be included here, and also the second track to feature Robbie Gennet on piano. The piano starts this one, and plays a prominent part throughout the track. "All the nightmares came today/And it looks as though they're here to stay/What are we coming to/No room for me, no fun for you." Yet the song is is own sort of fun, isn't it? Particularly during the chorus. "Homo sapiens have outgrown their use." Looking around today, it's kind of difficult to argue with that sentiment. That's followed by a very cool, haunting rendition of "Space Oddity." That first section is kind of frightening, and the takeoff is powerful. These guys really dig into this one. "Now it's time to leave the capsule if you dare." Oh man, in this version, I'm not sure I would dare. This is wild. And Fernando Perdomo gets to spin his magic on guitar during that instrumental section in the middle. Fasby repeats "There's nothing I can do" near the end, a wonderful touch, and just before the music fades out, he repeats, "Planet Earth is blue." This is one of the album's best tracks, and I wish they let this one go for another three or four minutes. It feels like there is more happening there as it fades out.

They then treat us to the second of three songs from Ziggy Stardust, "Starman," which was used, sort of, as the title of this release. This one has a different feel from the start, using elements of disco. I like how these guys are getting a little looser with the material at this point, putting their own touches to it, their own spin to it. This is a fun rendition. But don't worry, it doesn't go too far afield. I'm especially digging that bass work. Then both Robbie Gennet and violinist Kaitlin Wolfberg join Fasby Barnes and Fernando Perdomo on "Young Americans." Obviously, the presence of violin instead of saxophone gives the song quite a different feel. I'm always happy to hear Kaitlin's work, and she does an excellent job here. This is a delightful rendition, with a bit of a barn dance vibe. There is something in its rhythm that makes you want to take a partner out onto the dance floor, you know? Well, you'll know when you hear it, and you should definitely hear it. Kaitlin gets another chance to shine in the middle. I love these musicians' approach to this song.

The third song chosen from the Ziggy Stardust album is "Ziggy Stardust." How could you not choose that one? Fernando Perdomo puts his own touch on that great opening. The energy to this rendition has this song sounding fresh and exciting, tearing a large hole in our reality and letting in all the delicious monsters. Fasby Barnes and Fernando Perdomo wrap up this tribute with a cool rendition of "Heroes." It's a positive number to keep our spirits up in these uncertain and ugly times. And it features a passionate, powerful vocal performance. "I, I will be king/And you, you will be queen/Though nothing will drive them away/We can beat them, if just for one day."

CD Track List

1. Ashes To Ashes
2. Golden Years
3. Life On Mars
4. Moonage Daydream
5. Oh You Pretty Things
6. Space Oddity
7. Starman
8. Young Americans
9. Ziggy Stardust
10. Heroes

Starmen: A Tribute To David Bowie was released on February 5, 2026.

Mark Knight & The Unsung Heroes: "Sixth Time's The Charm" (2025) CD Review

Recently, I had the pleasure of seeing Mark Knight & The Unsung Heroes at Maui Sugar Mill Saloon, on a night of great rock music that also included Cruzados and The Blessings. They were the first band on the bill that night, setting the tone and delivering some delicious and fun rock music, including a few songs from their most recent album, last year's Sixth Time's The Charm. The album features all original material, written by Mark Knight, with many of the songs having a somewhat different vibe from what we heard at that concert. These songs feel more intimate, more personal, with folk and country elements as well as rock. So, basically, the album is even better and more engaging than I expected (and my expectations were fairly high). The band is made up of Mark Knight on vocals and guitar, Tigg Ketler on drums, Damian Valentine on bass, and Charles Cicirello on guitar and backing vocals, with Adam Hamilton on drums, percussion, bass and piano. The album was produced by Mark Knight.

The album opens with "Best That We Can," which has a kind of sweet acoustic country sound at the start. Like I said, it's a bit different from what we heard at that rock show, but great, and the song features some really nice work on guitar. Check out these lyrics: "Repeated patterns/Important matters/They all get washed away/Denial sets in/And thoughts get scrambled/And time just slips away." There is a certain pain in his delivery, and that works to draw us in further. These lines also stand out: "Was I too hard on you/Was I not hard enough/Was it all just out of love?" I suppose we all question things we've done, and whether we could have done more, and we replay moments in our heads, and that has to be all the more poignant when you have children. Toward the end of the song, we suddenly get a good lead on electric guitar, raising the energy of the track, which feels right for that moment. But I also love the raw country rock vibe of this song.

"Been around the block a couple times/Up in the clouds and down in the dust," Mark sings in "Back Out On The Run," and we hear the experience in his voice. This is a song about being a traveling musician, with nights of "Empty tip jars and broken hearts." And then the song addresses a specific person, asking, "Would you stick around if I went back out on the run?/Would you stick around, or join me in the fun?" Ah, the road always calls, doesn't it? But maybe at a certain point you don't want to give up time with that special someone. As we get older, life gets shorter and shorter, and time spent away from that special someone becomes less and less attractive. But the desire persists. This track contains some excellent guitar work. "The dreams faded, so did the luck/And I don't really know any other way/It's just who I am, and these things I need to say." That's followed by "11:11," one of the songs the band performed at that recent show. Here it begins rather softly, with some nice work on guitar, and then soon kicks in to become a heavier rock number, with prominent guitar work. This track's steady rhythm reminds me of some of the rock music I grew up with. This song taps into those same places, you know? "Do you ever wonder why/The stars don't align." It is interesting how this song begins to build and to dig its way into our brains, and before we know it, the song has us. And then that guitar soars above us.

"Right My Wrongs" begins on acoustic guitar. I love how this album often combines a great rock voice with a sort of folk vibe. "Well, I'll wait while you sleep/And I promise I will be there when you wake." There is a wonderful rock energy to the delivery at certain moments. "No, it won't be long/If we could just hold on." And as we do hold on, the guitar sings for us, letting us know things will be okay. This is one of my personal favorite tracks. Then "Might Be Lonely" is more in that rock vein, and is another that Mark Knight & The Unsung Heroes played at that recent show. "Well, I wonder/Why am I feeling lonely/Every day's like a Monday/I'm waiting for the week to end." While we can relate to those lines, they also bother us, this idea of waiting for a week to end. We only get so much time here, and the thought of waiting for some of it to be over is troubling, but this thought only nags at us somewhere in the back of our minds. Mostly we're enjoying the guitars, particularly that lead in the middle. And when the pounding of the drum returns, steady, building, we think, hey, things are going to be all right. Maybe we can even seize that time back from whatever creatures were making it unenjoyable. Even as Mark sings, "Getting old's funny/Your circle of friends grows small."

"Someplace Better" contains some really pretty guitar work at the start. I love it, connecting with it immediately. The song soon kicks in, though remains largely in that folk realm. "Some days the colors are a deeper shade/All dark and grey/No shimmering rays." Mark Knight delivers a passionate vocal performance that is excellent. And don't we all think about going "someplace better than here"? Sometimes that thought is related to the actual physical space, and sometimes it is more about the emotional space we occupy or find ourselves in. These days it's probably both. "It's been one hell of a year/Headed out to Colorado/Maybe it'll do me good/A little cooler weather." Several friends have found better places outside of the country altogether, moving to Portugal, Spain, Australia and other lands. As far as I know, not one of them has regretted the move. This song is another of the disc's highlights. "For what it's worth, I will do my best," Mark sings, reminding us of the album's opening track.

"Triple 3S" opens with these lines: "Take a deep breath/Looks like it's June again/You say I'm dying/But you're the one hiding." This is an interesting song. I found myself oddly captivated by it. It's a song that had my thoughts racing in different directions, making me think of some troubled people that I've known, mixed with my own worries. "I've never been here before/Might need a lesson." It's a song you're going to want to pay attention to. Then "Truth Always Rises" is a solid rock number, coming at us at a fairly fast clip. And, yes, if you've picked up on the pattern, this is one of the songs the band played at the bar that night. It is a fun, delicious rock number. "Keep your head above water/And those thoughts out of your mind/Because in time, it's gonna shake loose/The truth always rises." These days, I'm not sure. The truth is there for all to see, but so many idiots refuse to believe it. Did you ever suspect that this country housed so many morons? Anyway, this song is yet another highlight of the album.

"Stranger Of The Night" begins kind of quietly on guitar, though its first line mentions a rock and roll show: "All dressed up for the rock and roll show." Again, I love when a powerful rock and roll voice is used in a more intimate setting, as on this song. Then halfway through, the song takes on a different energy, going into an instrumental section that features some really good stuff on guitar, that instrument addressing the skies, looking for answers there. "Where do we go from here?" Mark then asks. "A moment in time/A time in the moment/Then gone." That's followed by "The Angels Cast A Light," which has an electric sound, though moving at a slower pace. "Kiss me now, am I alive or dead/Wasn't this hard in my younger years/Turn back the clock, erase the fear." This one has a darker vibe. "Still I notice nothing's changed at all." The album concludes with "Yaamava." This track features some different musicians: Wayne Lothian is on bass, and Brian Forsythe provides the great guitar solo. The song is about an odd gig, and it has a great beat. "The wind is blowing/But the air is still as ice."

CD Track List

1. Best That We Can
2. Back Out On The Run
3. 11:11
4. Right My Wrongs
5. Might Be Lonely
6. Someplace Better
7. Triple 3S
8. Truth Always Rises
9. Stranger Of The Night
10. The Angels Cast A Light
11. Yaamava

Sixth Time's The Charm was released on July 15, 2025.

Paul Kaplan: "King Of Hearts" (1985/2026) CD Review

Singer and songwriter Paul Kaplan released his first album, Life On This Planet, in 1982. And then he decided to make his second album, King Of Hearts, a live album, an interesting choice, especially as how the album includes all different material from the first album. But, as he describes in the liner notes of the new CD edition, he wanted the sound of an audience singing along. And when you listen to the album, that makes complete sense. It was recorded on February 8, 1985 at Speakeasy in Greenwich Village. It features mostly original material written by Paul Kaplan, who plays guitar and harmonica, and provides lead vocals on these tracks. He is joined by Mark Dann on bass, Kenny Kosek on fiddle, Robin Greenstein on vocals and banjo, Ed Baker on piano and synthesizer, and Larry Cole on bagpipes.

The first track gets right into the music. There is no introduction or anything, no immediate indication that it is a live recording. Yet soon we hear folks singing along, so this must have been a song Paul had been playing out for a while, so that the audience would be familiar with it. The song, "I Will Keep You Warm," is exactly the kind of song we need in these rough days. "I will keep you warm/I'll keep the fire burning/Keep you dry in the storm/When winter is returning true to form/I will keep you warm." Robin Greenstein provides some excellent backing vocal work. And this track includes some really nice work on harmonica. "Let me take your cup and I will fill it/With as much as it can hold." Look out for each other, friends. Keep each other safe in these unsavory times. There is applause at the end of the track. "I Will Keep You Warm" is followed by "Blow, Winds, Blow," the title of this one making me think of King Lear on the heath ("Blow winds and crack your cheeks! Rage, blow!"). But this song has a decidely different vibe. The family of this song is certainly more functional than that of Lear. It's a sweet song full of love for a couple getting married, told from the perspective of their parents. I love the way the song urges them to experience life. "So blow, winds, blow/Flow, rivers, flow/Grow, children, grow." Kenny Kosek delivers some uplifting work on fiddle.

"I'm Feeling Blue" has a delightful, fun, light, jazzy vibe. "I'm not looking for someone else/I don't want to live by myself/But I'm feeling blue lately when I'm with you," Paul sings at the beginning. But we get the feeling, or at least the hope, that these guys will work it out, especially when he sings, "No one but you can make me sigh/No one but you can make me high." This track features a particularly wonderful vocal performance, and some excellent work on fiddle, those elements making this track one of my personal favorites. It is followed by the album's title track, "The King Of Hearts." Paul introduces this one, and it begins with some good work on guitar. There is some humor to this one, as he sings, "He's a royal pain in the neck," a wonderful nod to the fact that the king holds a sword just behind his head in the picture on the playing card. Will a pain in his own neck result? This song has a great classic folk feel, as it tells a timeless story. "I ran out into the road/But all that I could find/Was a golden band from her left hand/That she had left behind, that she had left behind."

While the title of "Blow, Winds, Blow" had me briefly thinking of King Lear, "Take Out The Garbage When You Go" actually does mention a Shakespeare play in its first lines: "You tell me that you're leaving/That our love has lost its glow/Though you were once my Juliet/And I your Romeo." Soon it becomes a delightful, humorous song, as he asks her to please take out the garbage when she goes. This is another song that benefits from an audience singing along. I wonder if he taught the audience the song in an introduction, which was then cut from the final recording, or if the folks already knew their part. This is one you might also find yourself singing along to before very long. Or at least laughing. There is audible laughter from the audience at certain points, as in reaction to the line "My house is filled with smells." And your laughter will likely join that on the recording. This track features some nice work on fiddle. Then "Orphans Of The Storm" has a more somber, serious sound. It's a song about this country, and though it was written many decades ago, it speaks to us right now. "America the beautiful/Certainly has changed/She wears a lot of makeup/But she'll never be the same." The chorus is delivered with a certain power, and it's easy to imagine, say, David Crosby singing it: "We are orphans of the storm/With no father and no mother/We are orphans of the storm/With no home to go to/We are orphans of the storm/With nobody but each other."

Paul Kaplan then gives us a drinking and dancing song, "Wedding In The Village." Amen to that. "Oh ho, won't you come and join the fun/A wedding in the village/A festival for everyone/Oo-wee, the sun keeps coming up/So let's all drink another round/From the loving cup." It's a song that sounds like a celebration, a song that makes us want to introduce ourselves to strangers, and think of everyone as a friend (it's hard to remember that feeling these days, but music is what can help). And I love the traditional folk dance at the end, this song coupled with "Rondeau From Gascony," a traditional song. It feels perfect. Lisa Roth joins the band on tambourine on this track. That's followed by another traditional number, "Heather On The Moor." Paul Kaplan is a perfect voice to deliver it, for he has the ability to tap into that timeless something. He has that quality in his voice. Not everyone does. He delivers a wonderful rendition, inviting us to step into another place outside of the now.

"I Had An Old Coat" feels like a traditional folk song. It has that kind of vibe. Part of it is the audience singing along, making us feel that the song has been around for a long time. And, actually, the story behind this song has apparently been around a long time, even if this specific song hasn't. Again, you'll likely find yourself singing along too. I certainly do each time I listen to this song. "And I sing every day of my life." This track includes some good work on fiddle. That's followed by a traditional number, "The Greenwood Lassie," an Irish song, usually presented as "Greenwood Laddie." This one has a different vibe, for Paul Kaplan plays the cuatro on it, immediately transporting us. The focus then is on his voice, on the lyrics, and he gives us a beautiful rendition. That is followed by "Money," a funny number that had me laughing out loud almost immediately. "Well, here's a tip for you: make money," he sings. Remember, this was the 1980s, that awful time of Reagan, a time of greed. The nation is still suffering because of that despicable person's time in office, and now we have an even worse person in the White House. There are a lot of laughs here. Part of the humor is the way he delivers it, and part of it is a line like "No matter how you get it, they call it legal tender," which is brilliant. And there is a reference to The Merchant Of Venice: "What buys flesh by the pound?" Paul delivers some good work on harmonica too. This song is delightful.

"Phil (For Phil Ochs)" is a pretty, tender song, opening with the line, "Phil, what went wrong? Why are you quiet now?" Phil Ochs was an excellent and influential songwriter who killed himself in 1976. He wrote about the events of his day, songs that were seen as protest songs. We could use his songwriting now, don't you agree? And in this song, Paul sings, "Phil, where's your song? I really need it now." I suppose we'll always need those songs. The album concludes with another somber number, "Just Another War." And, guess what, this country is now involved in another war, this time purely to distract a stupid population from the fact that the president raped children. Yeah, we're in seriously ugly territory now, the country hitting a shocking new low. And that, of course, is not the only war going on. Russia is still involved in its depraved activity, and Israel seems to have gone completely nuts in Gaza. As far as countries go, I've always appreciated Maude's take: "What sense in borders and nations and patriotism?" Here Paul sings, "Governments, flags/Borders all are fleeting/In an hour they disappear/But somehow the drums of war/Never stop their beating/Year after bloody year."

CD Track List

1. I Will Keep You Warm
2. Blow, Winds, Blow
3. I'm Feeling Blue
4. The King Of Hearts
5. Take Out The Garbage When You Go
6. Orphans Of The Storm
7. Wedding In The Village/Rondeau From Gascony
8. Heather On The Moor
9. I Had An Old Coat
10. The Greenwood Lassie
11. Money
12. Phil (For Phil Ochs)
13. Just Another War

This special reissue of King Of Hearts was released on February 1, 2026. This is the first time the album has been made available on CD.