Celebrating The Legacy And Spirit Of The Palomino In Film And Music, 6-17-26

The Palomino closed just a few years before I moved to Los Angeles, so I never had the opportunity enjoy a concert there. It was located at 6907 Lankershim Blvd. in North Hollywood, not far from where I currently live, that building now a banquet hall. For several decades it was the Los Angeles venue to go for great country music, a place that hosted artists like Buck Owens, Johnny Cash, Willie Nelson, Patsy Cline, Merle Haggard, Marty Robbins, Linda Ronstadt, and Emmylou Harris, and was where Ronnie Mack held his Barn Dance. Those of us who never were able to attend a show there still got a taste of the place in films like Every Which Way But Loose and Hooper. And now, finally, we can see a lot more of it in The Palomino, the new documentary written by KP Hawthorn and directed by Adrienne Isom.

KP Hawthorn and Adrienne Isom

Some of my favorite singers and musicians gathered at the Grammy Museum last night for a special screening of the documentary (which is not quite in its final form, as some licensing of rights is still in progress). I'm usually oblivious to buzz regarding films, but I've been hearing about this project for several years, from many different sources, mostly from musicians that I respect, who have been eager to see this movie. There was an excitement and a joy in the room even before the film started, as folks who hadn't seen each other in years were able to catch up a bit. Adrienne Isom and KP Hawthorn introduced the film, joking about how the Palomino ghost was responsible for moving some letters around in the credits. I had heard some stories about The Palomino (it would be difficult to live in this city and completely avoid such tales), which is part of why I was excited to see the film. But, holy moly, the story the documentary reveals is even wilder and more interesting than I'd expected or imagined. We've all heard about some of the famous people who showed up to play there (Bob Dylan and George Harrison being among their number), but equally engaging was the family story at the center of the drama, something I had known nothing about. The filmmakers were able to interview members of the Thomas family, including Janet Thomas, who provides some hilarious anecdotes about growing up at the venue, tending bar at the age of six (and, yes, there are photos). And through them we get an even greater appreciation for what Tommy Thomas did with the place, and through them we experience the heartbreak over what happened after Tommy's death.

But of course it's the music that drives the documentary. Some fantastic musicians appear in the film to help tell the venue's story, as well as their own stories and the story of the southern California country music scene. Because, while the Palomino is the focus, the film does go beyond that to celebrate that great southern California sound, at times in comparison to what was happening in Nashville. Those interviewed include James Intveld, Rosie Flores, Dave Alvin, John Jorgenson, Tony Booth, Emmylou Harris, Albert Lee, Ronee Blakley, Jim Lauderdale, Joe Ely, Chip Kinman, Ryan Hedgecock, Ronnie Mack, Lucinda Williams, Chris Shiflett, and Dave Stuckey. There is some much-deserved praise for the venue's great house band, and also information on the talent show, where folks could get up and play a song. Both James Intveld and Rosie Flores performed in those contests. And there is plenty of footage of folks playing at that club, including some excellent shots of Jerry Lee Lewis rocking the piano. The place looks like heaven to me. Los Angeles still has, as far as I've been able to tell, the best music community in the entire country, and the history is phenomenal. I imagine that music fans in other parts of the country upon seeing this film are going to want to move here. Even though The Palomino is gone, the sort of spirit that we see in this film still exists here. And who wouldn't want to be a part of that?

Following the film, there was a Q&A with KP Hawthorn, Adrienne Isom, Tony Booth, Rosie Flores, James Intveld, and John Jorgenson, moderated by Scott P. Bomar. The musicians shared some of their memories of the days at The Palomino, with Tony Booth talking about the house band, and Rosie Flores mentioning that after winning the talent night contest several times she was given a proper gig at the venue. She also mentioned the supportive atmosphere of the club and among musicians. That's something that still seems present in this city. James Intveld mentioned that the club was also a great place to find musicians if you needed someone for a gig you had booked elsewhere. He also told the story of taking Bruce Springsteen to The Palomino. After the Q&A, James and Rosie grabbed their guitars and delivered a wonderful rendition of "Crying Over You," which was written by James and was a hit for Rosie in 1987. "See you all at the Redwood," James then told the crowd. 

James Intveld and Rosie Flores

James Intveld

The Redwood Bar & Grill was renamed The Palomino for the occasion, with Palomino signs on the stage, including one listing upcoming performers Jerry Lee Lewis and Flying Burrito Brothers. So for folks like me, people who never had the opportunity to visit The Palomino, this was the chance to enjoy a little of the magic of that place. More than a little, actually. As at The Palomino, there was a great house band, which included Marty Rifkin on steel guitar, Bob Gothar on electric guitar, Kip Dabbs on drums and Lorne Rall on upright bass, with James Intveld leading the group. At 10:17 p.m., James asked the packed house, "Are you ready to party?" It was kind of a deliberately humorous question, because, as James was well aware, the party vibe had begun even before the film started. But, yeah, things were about to be taken to another level, and the crowd responded enthusiastically. James led things off, appropriately, with "Let's Get Started." He followed that with "A Woman's Touch," a song of his that Rob Waller covered on See The Big Man Cry (and Marty Rifkin played pedal steel on that rendition too). That was followed by "Pretty World." Marty and Bob delivered some nice leads on these songs, but the leads were all fairly short.

Tony Booth

The first guest of the night to join the band was Tony Booth, who delivered a fun rendition of "Workin' At The Car Wash Blues," playing James' acoustic guitar, while James moved to electric bass. Tony followed that with "The Other Woman," and toward the end of that song a woman threw her bra at him, but then wanted it back when he joked he was going to keep it. Very silly, but keeping with the great spirit of the night. "The Bottle Let Me Down" followed, and when Tony was looking like he might be done, James encouraged him to sing "The Key's In The Mailbox," which was the title track to Tony's 1972 record. And of course it was great to hear him sing it. Ronee Blakley then joined the band on vocals, James inviting her up to sing her Nashville songs. Her performance in the Robert Altman movie might be what she is most known for, but what I especially love her for is her work with Leonard Cohen on Death Of A Ladies' Man. She first delivered an excellent rendition of "Bluebird." Afterward, she asked James Intveld, "Was I singing too loud?" "No," he told her. With a great, delicious power? Absolutely. With too much volume? No, definitely not. She then sang "My Idaho Home," delivering another wonderful performance, and closed our her portion of the show with a good cover of "Your Cheatin' Heart." Before bringing up the next guest, James Intveld gave us a nice version of "They Call Me A Playboy."

Tony Booth and the bra

Ronee Blakley

Rosie Flores

Then Rosie Flores joined the band. "What a night!" she exclaimed. Indeed! She kicked her portion of the set off with a delightful rendition of "Honky Tonk Moon." After the line "I don't want to go home," at one point she added, "Do you? No." Certainly not. There was still a whole lot of great music ahead. She followed that with "God May Forgive You (But I Won't)," a song she included on her first album, and one she introduced as being "a song that James and I used to do back in the Palomino days." And speaking of Palomino days, Rosie next played "Palomino Days," dedicating it to Adrienne and KP. It should come as no suprise that this song was a highlight of the night, an important part of the celebration. "Would you like to hear some blues?" Rosie then asked the crowd. She gave us a cool version of her "Drive Drive Drive," a song from her Simple Case Of The Blues album. Marty delivered an excellent lead on pedal steel, and the song became a good jam. Chip Kinman and Jeff Ross then joined the group on vocals and electric guitar respectively, delivering a great rendition of "White Lightning," the crowd singing the title line.

Rosie Flores and James Intveld

Chip Kinman with Palomino T-shirt

Mustangs Of The West

Up next were Mustangs Of The West, who opened their part of the show appropriately with "Down At The Palomino," which of course was another highlight. The song was written by John Beland, and in introducing it, Suzanna said they wanted to write an extra verse about Ronnie Mack and the Barn Dance, and they got John Beland's blessing. By the way, the song mentions Tony Booth in its lyrics, as well as Bob Dylan and John Fogerty. It was kind of wild to see Tony Booth play and later in the same show hear him mentioned in John Beland's lyrics. The Mustangs got the audience clapping along, and the song became a good jam. They followed that with a pretty rendition of "Evangeline," featuring some nice stuff on both fiddle and pedal steel. Alice Wallace was up next. "Happy Palomino night, everybody," she greeted the crowd. She then delivered a wonderful rendition of Linda Ronstadt's "Long Long Time," playing James Intveld's acoustic guitar. What a beautiful vocal performance! KP Hawthorn joined her for a fun version of "Silver Threads And Golden Needles," the two sounding great together. They even danced together during an instrumental break. Sure, the ending of the song was a little awkward, but that just added to the charm. 

Alice Wallace

Ronnie Mack

Ronnie Mack and Dave Stuckey then joined the group. "The documentary got into it in pretty fine detail," Dave said. "But Ronnie Mack, he carried the torch for so long at the Barn Dance." A sweet moment. And everyone in the room was very excited to see Ronnie Mack. He sang lead on "It's Only Make Believe," with both he and Dave playing acoustic guitar. This was another highlight. They followed that with an energetic rendition of "One After 909." Ronnie Mack left the stage, and Dave Stuckey remained to sing lead on a hopping rendition of "Miss Molly." James took over lead vocals on the second verse. Things got even more fun with their take on "Mohair Sam." James then led the band into "Shotgun Boogie," another fun number. Adrienne Isom then took over on upright bass, for "Right Or Wrong," the Bob Wills tune, with Dave Stuckey on lead vocals. After that song, Dave left the stage, and Chris Isom took over on electric guitar for a cool rendition of "Six Days On The Road," with Adrienne Isom again on upright bass, and KP Hawthorn joining on backing vocals. James Intveld was on lead vocals. "Give it up to Chris, the loudest guitar player up here so far tonight," James said afterward. That was followed by "Mama Tried," with James again on lead vocals, and Bob back on electric guitar and backing vocals. John Surge then joined the band on lead vocals and guitar for a totally fun rendition of "Honky Tonky Song," Bob delivering a good lead on guitar. This was yet another highlight of a fantastic night. James Intveld had one more song up his sleeve, and brought the night to a close with a delicious cover of Chuck Berry's "Promised Land." The show ended just before one in the morning.

Dave Stuckey

KP Hawthorn and Chris Isom

John Surge

What a night! Keep an eye out for future screenings of The Palomino. This is a movie that music fans (and isn't that everyone?) are not going to want to miss. 

Fernando Perdomo: "Clouds 6" (2026) CD Review

Fernando Perdomo's second year-long project continues with Clouds 6. There was a pattern that he started with his Waves series last year, with each album containing ten new original compositions. He broke that pattern earlier this year with Clouds 2, and does so again here, this album containing twelve tracks instead of the usual ten. Also unusual is that five tracks are all part of a sequence titled "Orange Sunset." However, as with all the other entries in the series, Clouds 6 finds Fernando Perdomo playing all the instruments. The cover photo this time around was taken by Mike Savoia.

This album eases in with "Glory," which has a soothing vibe, feeling like it is tapping into something eternal. There is no rush, no haste. Rather, there is a calming presence in the center. And as light plays upon the edges, upon the surface, there is an energy that reacts to it. A little later something seems to rise from below, so though it is eternal, it is not unchanging. It is still in motion, even if there is no urgency to that motion. That leads straight into "Vista Point," which has this force that manifests as a humming at the center, something we can rely on, while we touch upon the variations we see. Soon it is those very differences that take precedence, that become the landscape, pinnacles to reach, shifting from shadow into light.

We are in more familiar territory with "Dusty Air," and so we feel at ease, relaxed, as if walking through a landscape of memories, a landscape that allows for contemplation. Light doesn't penetrate as much here, and doesn't need to, for everything is clear in our minds. We can recall the path, even with eyes closed, even if reality wavers a bit, like each step creates ripples in the land and air. That final step lifts us to an unexpected and uncertain plateau, but we're happy to be there. Then there is a bright, sharp feeling to the opening of "Sundrops." The music soon settles into a prettier space, that sharp aspect still present, but cushioned by softer, gentler surroundings. It feels like there is wisdom there, that there is something to be learned, to be experienced, or to be remembered. Hints are repeated to us, and just as we do begin to remember, to feel comforted and comfortable, certain elements fall away, and only one or two voices remain. They slow, and then, finally, let us know that we are okay.

As "Gnosis" begins, a magical light plays down upon us, penetrating not only the darkness but rock, while we are in a subterranean dwelling, one with silver pools. There is an echo, something tapping. We are curious. If we move forward or backward, it doesn't matter, because what we need to know, what we need to experience, is all around us. This is a wonderful, interesting piece. It's followed by "The Stream Of Life." Here a gentle, steady voice welcomes us first, and then another voice comes in, this one brighter, perhaps more powerful, though it does not drown out the softer rhythm that was already there. And in fact, it soon begins to settle upon it, ride it, in effect, as if finding its own place on the great continuum, its voice now singing. There is an undeniable beauty here in that guitar work. This is another of my favorite tracks.

Then begins the five-part sequence, "Orange Sunset." Interestingly, it takes us back to the place of "Gnosis," as lights, as thoughts, trickle down around us, as our own footsteps echo and join those of whatever else may be traveling this path. With the second part, deeper colors now play upon the landscape, upon our thoughts. Dark reds and purples. Something is in motion, tossing reflections against various surfaces and watching them play, knowing they are but reflections and can't stray too far. A hand reaches into the deepest pool, disturbing the water, watching it rush about it, in on itself. In "Orange Sunset Pt. 3," a new power makes itself known, striking across our vision, flashing in straight lines in various places, one above another, leaving color behind, until everything is crackling with yellows and oranges. And upon that newly primed canvas, various creatures can add their thoughts, and they do so with excitement. "Orange Sunset Pt. 4" begins in a darker place, one that tastes of eternity itself, its fingers wrapping around the corners and striking ancient bells, if only to summon itself, to raise itself from something that is not quite slumber to slip into a different reality.

The final section, or part, of this piece, "Orange Sunset Pt. 5," moves more tentatively, lightly touching upon the surfaces, until it is certain of its goal, of its destination. Then with more confidence, more speed, it continues its pattern, its movement. Until that movement, that light, becomes somewhat muted, as a rising hum joins its space, and then all slips into that darkness. That leads to the album's final track, "The Darkest Night." And into this space reaches those last strains of light, playing against, or upon, an old, deep heart. Then there is a change, as if the world slips into slumber, and a vision steps out of the dream, though its form is too hazy, too undefined for us to be certain of its reality, of its meaning. It's difficult to hold onto the vision, and as we let go, something new announces itself before the end.

CD Track List

1. Glory
2. Vista Point
3. Dusty Air
4. Sundrops
5. Gnosis
6. The Stream Of Life
7. Orange Sunset Pt. 1
8. Orange Sunset Pt. 2
9. Orange Sunset Pt. 3
10. Orange Sunset Pt. 4
11. Orange Sunset Pt. 5
12. The Darkest Night

Clouds 6 was released on June 1, 2026.

Kaatwalk: "A Week In June" (2026) CD Review

Kaatwalk is the name used by Kaat Campbell, a singer and songwriter based in Minnesota. She began releasing singles in 2022, and now is releasing an EP titled A Week In June, which features four original compositions. She plays acoustic guitar, piano and synthesizer on this EP, and is joined by Marvin Gohman on mandolin, violin and banjo; John Wright on upright bass and electric guitar; Jeremy Harvey on drums and percussion; Greg Byers on cello; and Cierra Hill on cello and viola.

The EP opens with its title track, "A Week In June." "I'm so sick of seeing skinny jeans at the Good Will by my house/I want a silky dress covered in strawberries/And maybe a purse with a painted-on horse," Kaat sings. And with those opening lines, she creates a character that is endearing, someone we connect to immediately. The song has a hopeful tone, a tone that says the world could be a better place. But we're caught between what could be and what is, as she reminds us with the lines "And I shouldn't be out/Taxes drained my account this year." Oh yes, I can certainly relate to that. Federal taxes have screwed us again, haven't they? This song is about being a singer/songwriter, and she reveals, "Each verse is a story that happened this week." This song features sweet work on mandolin that helps create the light atmosphere, and some wonderful percussion. I think it would be difficult to keep from falling in love with this song and with this artist. "The doctor prescribed me these painkiller pills/And I cried for a day and I couldn't take a shit." And when she sings "These silly little times that just keep me smiling," we find that we too are smiling. And isn't that remarkable in these insane times? "And I just can't stop smiling." That's followed by "Home." I've said it before, but I've never come across a bad song titled "Home." Something about the concept of home seems to bring out the best in songwriters. Kaatwalk's "Home" is a beautiful, touching song, with some gentle work on acoustic guitar. "Miss the old days and feeling young." And when she sings, "I want to come home," we feel it too. Going home always is so appealing in songs. I love Kaat's honest, and even vulnerable, delivery. "And life gets so hard to navigate." This track features some gorgeous work on strings. Marvin Gohman plays violin, and Cierra Hill plays both cello and viola.

"Open Your Eyes" then has a cool, strong energy, and features some good work on banjo. The song addresses what has been consuming many of us for what seems like far too long. "Maybe we didn't vote the same/Maybe we don't agree/And why can't you find love in your heart/And admit when the government is killing people in the street/And how long will it take for you to open your eyes/And how long will it take for you to open your eyes/How long?" I no longer have any faith that these people will open their eyes. They've gone too far, too long, and no one can admit to making a mistake anymore. But of course it goes far beyond simply making a mistake. His supporters didn't just vote for all this; they wanted it, they revel in it. If those folks want to return to humanity, they're going to have to do some work before they'll be welcomed back. This song becomes even more compelling when it slows down halfway through, Kaat delivering a passionate, moving vocal performance. The EP concludes with "Thank You For Being You," Kaat's voice supported by her own work on piano, and also on synthesizer. "Somedays when I wake up/My head's not screwed on straight/Some days when I get up/I don't wanna be awake." Again, she delivers opening lines that we can all relate to. And those lines are delivered simply, honestly. Here too there is a vulnerable quality to her voice that is endearing. There is power too, as the song progresses. And a great deal of love. "We all need a friend/We all need a friend/So I thank you for being you." Life is so short, and this is probably all we get. Take a moment to thank those who are important to you.

CD Track List

1. A Week In June
2. Home
3. Open Your Eyes
4. Thank You For Being You

A Week In June is scheduled to be released on June 26, 2026. And for those in Minnesota, the release party is June 24th at Aster Cafe in Minneapolis. I am looking forward to hearing whatever Kaatwalk does next.

The Sensational Country Blues Wonders!: "Music Sounds Better When You're Stoned" (2026) CD Review

I know I'm not alone in focusing on some of the bigger questions facing us, not alone in taking a look at the larger picture, particularly when the more immediate picture is currently so ugly. In the liner notes to the new The Sensational Country Blues Wonders! album, Music Sounds Better When You're Stoned, Gary Van Miert writes, "The songs on this release are about time, weed, the universe, and mortality." The big issues. And Gary is able to address them with humor, something that sometimes seems in short supply these days. He delivers the music with a sense of play. The album, which follows 2024's If I Stop Moving, I'll Fall From The Sky, contains all original material, written by Gary Van Miert. Gary alo produced the album. 

Music Sounds Better When You're Stoned opens with its title track. Soon after it begins there is a bright, colorful explosion of sound, and a good groove emerges. "Set plants on fire and breathe/You will surely feel relieved/Go ahead and do as you're told/Because music sounds better when you're stoned." Oh yes, certainly some music sounds better when you're high. But maybe not all music. We used to take LSD and try different music, different artists, to see how they'd sound, how they'd work. The Grateful Dead were obviously the best choice, but David Bowie and Talking Heads sounded great too. However, Patsy Cline did not work, not at all (and I like Patsy Cline). Of course, that was acid, not pot, so further study will be required. Let me get on that. "Listening to music when you're high/Is something that you ought to try/An undertaking I endorse/A rolling stoner gathers no moss." That's followed by "Come Out And Play." That's a song title for the post-pandemic world, right? "The leaves are turning/My heart is yearning/I'm hoping soon that you'll be mine." Yes, this one has a sweeter vibe. I love that it includes the word "pining," which is just not used often enough. "Our love is shining/And I am pining/I'm hoping soon that you'll be mine." And I love how near the end he adds a bit of urgency, singing, "Come out and play/Please don't delay/Soon we'll decay/It's gonna be a perfect day." There is humor there, which is appreciated, but the brevity of life is something that's been on my mind a lot lately. It will all be over much too soon.

A delicious psychedelic sound is established in the opening moments of "A Mad Tea Party." As you might guess from its title, this is a fun one, addressing this crazy life, this crazy world through the lens of Lewis Carroll's work. Doesn't it make perfect sense to react madly to it? "Everyone is mad, you see/Sitting there and drinking tea." This song is a delight, one of my personal favorites. "Crazier by far/All the best people are." There is some really nice work on guitar in the second half. Then there is a magical, sweet feel to the opening moments of "Across The Milky Way," setting a wonderful tone, inviting us to a dance. "Milky white stars, dust and gas/A window to the distant past/Ancient starlight fills our gaze/As we peer into the haze." We're all on a journey through space, aren't we? And we're all together (whether we want to be or not). "Our cosmic neighborhood/Where earth is just a tiny speck/That somehow has endured." We've seen that photo where Earth is just a pale blue dot in the distance. It should give people pause, put things into perspective. But some folks still think they're in the center of the universe, that a deity created them in its image and put them here for a purpose. This is such a great song, another of my personal favorites.

"Changing Of The Guard" has more of a rock vibe. A psychedelic rock vibe, to be clear. Gary sings, "The river of time keeps flowing on/The people you know will soon be gone." He lets that sink in, then repeats, "They will be gone." Because some people refuse to hear that message. This one has a more serious, more somber tone. It might seem to have a less hopeful, less optimistic bent, as in lines like "The world's on fire/Not a thing we can do/Not a thing we can do," but it's really just about how things go. There isn't anything inherently positive or negative about that. "Time marches by in the blink of an eye/While we sit and wonder why." This is yet another highlight for me. Then "My Doppelgänger" has a lighter, more playful vibe. "When you meet someone who looks just like you/Well, it's quite a shock, just what can you do?" "Dopplegänger" is another word I don't often hear in songs. Anyway, this one has a bit of a New Orleans thing happening, and features some good stuff on keys. "Harsh Toke" begins with a cough, and features some nice work on guitar. This song offers a sympathetic note, "It happens to a lot of folks." Don't let it stop you.

Gary Van Miert engages us in another magical dance with "Stoners Circus." All of life seems to be a circus of one sort or another, but this song describes one with great appeal. "The acrobats are smoking big blunts/Before they perform their dangerous stunts/The crowd that has gathered is just as wasted." It's a fun track. That's followed by "Time Isn't Real," a song that encourages us to destroy our clocks. "I've come to learn that time isn't real/Melt your clocks like Dali/Saving them is utter folly/Smash them all to pieces/And your happiness increases." Oh, there is no question about that. This track features some excellent guitar work in the second half. This song ends with the sound of a clock ticking, and the ringing of a distant bell. The album concludes with "Star Child," which has a great vibe. "May you safely pass through outer space/With the universe in your embrace." We all identify ourselves with the star child. And why not? Here we are, in outer space on a relatively insignificant little planet. This song is hopeful, joyful. "Star child, oh, the things that you'll see."

CD Track List

1. Music Sounds Better When You're Stoned
2. Come Out And Play
3. A Mad Tea Party
4. Across The Milky Way
5. Changing Of The Guard
6. My Dopplegänger
7. Harsh Toke
8. Stoners Circus
9. Time Isn't Real
10. Star Child

Music Sounds Better When You're Stoned is scheduled to be released on June 19, 2026.

Barnes & Barnes: Zabagabee DVD Review

In 1987, the compilation Zabagabee: The Best Of Barnes & Barnes was released. That same year saw the release of a videocassette titled Zabagabee, featuring the duo's music videos along with some delightful and humorous testimony on the greatness of Barnes & Barnes. Both are now being reissued, with Zabagabee getting its first DVD release, providing the perfect opportunity to rediscover the great duo that gave the world "Fish Heads," the most requested song on the Dr. Demento Show. You've heard the song. Have you seen the video? If you were watching MTV in its early days, you probably have. There was a time when music videos were exciting, fun and inventive. The videos by Barnes & Barnes are among the best examples of that.

The DVD opens with footage of the duo, and they are so young. A bit of voiceover narration tells us: "Barnes & Barnes. The name itself conjures up images of mystery. Have they always been with us? Have they never been with us?" The tone is serious, perhaps even haunting. And the voice (which I've just learned is Miguel Ferrer) goes on to tell us that this program will attempt to unravel some of that mystery. So right away we know this isn't an ordinary collection of music videos. But of course, no one ever expected the ordinary from Barnes & Barnes. Jose Ferrer (yes, the Academy Award-winning actor of Cyrano de Bergerac) appears on screen, announcing, "I'm here to pay tribute to the supreme artistry of Art and Artie Barnes," and then tells a tale of seeing Barnes & Barnes in a Shakespeare play in the West End of London, which inspired him to become an actor himself. What's particularly lovely is how seriously Jose Ferrer delivers these lines. Jerry Siegel (the comic book writer) says that Barnes & Barnes forced him to create Superman. You see what they're doing here, right? That awful Forrest Gump movie, in addition to ripping off Being There, completely ripped off Barnes & Barnes by placing that character at key historical moments with key players. Don't ever watch Forrest Gump again. Watch Zabagabee instead. It's much better, much funnier, has better performances, and even better music.

And speaking of music, the first music video presented here is that of "Fish Heads." And it's the full video, with the sequence before the music starts. This video, by the way, was directed by Bill Paxton (yes, of True Lies and Twister) and Rocky Schenck, and both Bill Paxton and Dr. Demento are in it. The video is hilarious, and after it, Dr. Demento appears to tell us about his fond memories of Barnes & Barnes, saying their greatest hour was their acoustic set at Woodstock. The picture quality, by the way, is not always perfect. Nor should it be. Something would seem wrong if it had been completely cleaned up, if it didn't have that videocassette quality to the images at times. That quality works especially well with the interviews. Larry "Wild Man" Fischer, Woody Herman, Rosemary Clooney, Shirley Jones, Mark Hamill and Shaun Cassidy are among those providing information on Barnes & Barnes. Shirley Jones is hilarious, saying, "They used to shave my uncle." Mark Hamill, who always seems up for some humor, says, "I don't remember who I met first, whether it was Barnes or Barnes." And Shaun Cassidy admits he kept Barnes & Barnes locked in his closet for eleven years. (I wonder if his Under Wraps and Room Service album titles were his way of hinting at what was going on.)

The next music video is for "Love Tap," which stars Bill Paxton and is a total delight. The music videos are playful and creative. The video for "Soak It Up" contains some wild and amusing imagery, at moments poking fun at what others were doing in music videos at the time. Bill Paxton and Annerose Bücklers star in it. And just the fact that they made a video for "Ah A" at all is funny. It's a wonderfully strange choice. Rae Dawn Chong (from The Squeeze and Commando) is in the video, and she also offers her own testimony regarding the duo before it. Devo's "Booji Boy" character offers some information on waxing a carrot, and "Weird Al" Yankovic mentions that his father told him how Barnes & Barnes flew missions during World War II. One of the most delightful appearances on this DVD is by Jonathan Harris (Bill Mumy's co-star on Lost In Space), who says, "Haven't got a clue who they are, you understand. But I've been asked to say a few words, so I shall say a few words." It is a joy just to listen to this guy talk. Gerry Beckley and Dewey Bunnell (of the band America) play a bit of "Fish Heads" on acoustic guitars, Dewey commenting, "They don't write 'em like that anymore." And Stephen Stills reveals, "We were going to call it Crosby, Stills, Nash, Young, Barnes & Barnes," and gives the reason why Neil Young quit the band.

We are also treated to videos for "Party In My Pants," "Pizza Face" and "When You Die." One of the many things I love about the duo's music videos is the animation, particularly in "Party In My Pants." I also love the pizza face baby. And as far as folks you likely know who pop up in these videos, Teri Hatcher is in "Party In My Pants," and both Miguel Ferrer and Flea (of Red Hot Chili Peppers) are in "Pizza Face." I just wish Barnes & Barnes had done a video for "Cemetery Girls." Then everything would be complete.

Zabagabee is scheduled to be released on DVD on July 24, 2026 through Liberation Hall.

Barnes & Barnes: "Zabagabee: The Best Of Barnes & Barnes" (1987/2026) CD Review

When I was growing up in Massachusetts, the Dr. Demento Show was on the radio on Sunday evenings, a program of novelty songs and parodies. Interestingly, it was followed by Dr. Ruth. It was a while before I discovered that Dr. Ruth was not a comedy program, because to me that radio station was providing a solid evening of comedy gold. I ended up purchasing a couple of the Dr. Demento compilations on cassette (I couldn't find the Dr. Ruth cassettes). The first of those cassettes that I purchased contained the song "Fish Heads." This one was unlike any of the other songs, and I loved it. It was by a duo called Barnes & Barnes. At the time, I knew nothing about them, not even that Bill Mumy was one half of the duo (along with Robert Haimer). Zabagabee: The Best Of Barnes & Barnes was originally released in 1987 on Rhino. It is now getting a deserved re-issue through Liberation Hall. It is likely you've heard "Fish Heads," and that is a song that should be in your music collection, but this disc contains songs that I think are even better, songs that perhaps you haven't heard.

The album opens with "Fish Heads." When I was a kid I took drum lessons at Kurlan Music in Worcester, Massachusetts, and one day I brought the Dr. Demento cassette in so that my drum teacher could hear this song. That's how much I loved it. He loved it too, because of the line "They don't play drums." Anyway, it's a ridiculous song, and it still makes me laugh. "I took a fish head out to see a movie/Didn't have to pay to get it in." Then "Blithering" has more of a 1980s pop sound. Seriously, as it begins, it sounds like a 1980s hit song. And if people had more of a sense of humor, it would have been a hit. Oh, those damn Reagan years. By the way, early in this song the lyrics contain a reference to Rod Serling. For those who might not know, before he starred in Lost In Space, Bill Mumy was in a few episodes of The Twilight Zone. "Walt Disney do the Humpty Dumpty/Rod Serling paradise/Somewhere in a government building/The future pays the price."

"Soak It Up" has a fun new wave sound. "My baby's love never come unwound/My baby's love come a tricklin' down." Could that line be a play on Reagans' "trickle-down" economics? This song was originally included on an EP released in 1983, and by that time people were criticizing Reagan's horrible economic policies. And, hey, it could also be a golden shower joke. I assume it's both. "I'm gonna soak it up/I'm a sponge for her love." Yeah, we need more love songs like this one. It's followed by another love song, "Ah A." This one is so simple, so delightful, so silly that it has me laughing aloud every time I listen to it. Then we get "Boogie Woogie Amputee," a song from the duo's Voobaha album (which also contains "Fish Heads"). This one has a good rock and roll vibe, with some cool stuff on keys. "We're gonna hop, swing and jump/I shake my hips, she shakes her stump." And that line "Oh Suzie, you sure ain't got two left feet" is hilarious.

"Life Is Safer When You're Sleeping" is an odd song. Well, I suppose that should come as no surprise, and probably could be said of every track on this disc. Anyway, this one has a more serious, somber sound, with a dreamy atmosphere. But of course we can't let that make us take it more seriously. Or can we? It's followed by "Unfinished Business," which is a delight, with an electronic 1980s sound and some playful touches. "Our lips met/You never know how long you've got/But I never kissed her/You'll hope it's working when it's not." This track also contains some nice stuff on guitar. Then "Pussy Whipped" is a fun, cool song with more of a rock sound, with a kind of country rock flavor. It was written with David Jolliffe and Miguel Ferrer (yes, from Crossing Jordan). "I love my wife/She tells me so." Those are great opening lines. "I used to go out drinking/Running with the boys/I used to stay up late at night/And make a lot of noise/Now I don't do nothing that she don't want me to." This is so damn good, one of my personal favorite tracks. "But if the woman leaves me I'll have to whip it alone."

Barnes & Barnes give us a cover of "What's New Pussycat," the song written by Burt Bacharach and Hal David. As you might guess, their version is a bit different from the Tom Jones version, and I love it. It's a bit mad, like a twisted carnival ride, like a love song taking place on a twisted carnival ride. This is a total delight. Do I like it more than the original? You bet I do! "Pussycat, pussycat, you're delicious/And if my wishes can all come true/I'll soon be kissing your sweet little pussycat lips." Oh my, is that a threat? This is probably the best rendition of this song ever recorded. It's followed by "Party In My Pants." Is there something juvenile about a song titled "Party In My Pants"? Of course there is. But so what? It's fun. "There's a party in my pants/And I want you all to come," they sing at the beginning. And there is some spoken word in the middle, a goofy bit of dialogue between a man and a woman. "I'm on my way to a party, you want to come?" the man asks. "Sure, where is it?" the woman responds. "It's in my pants." As if you didn't know.

There is a strangely sweet vibe to "Don't You Wanna Go To The Moon." "Martians in the mud are playing/I don't know a word they're saying." Well, no worries, as it's a love song. "Don't you wanna go to the moon with me soon/Everything will be all right." That's followed by "Pizza Face," another of my personal favorites. As soon as they start singing, I'm laughing. This is totally goofy and totally wonderful. Part of it is that it seems to take place in a mad scientist's laboratory or something. You know, someone is taking things seriously, while of course it's just fun. "Made a mess on my vest/What a waste." This song should be played at dance clubs. What a great surprise that would be. Then "Love Tap" is about an interesting relationship. "She said it was a love tap/But I felt the pain." Oh yes! "She scratched at my face/Put my nose out of place." I love how this song about a violent relationship has such a mellow vibe. At the end, they ask, "What will become of this love?"

"I Don't Remember Tomorrow" has a great title, and also a catchy rhythm to the vocal line, particularly on the song's title line. I also dig that instrumental section in the second half. That's followed by "Cemetery Girls," a song I'm thrilled to hear. I first heard this song done by The Peak Show. With Holland Greco on lead vocals, they did it as "Cemetery Boys." And I either didn't know, or somehow forgot, that this song was a cover. Crazy. I've loved this song for more than two decades, and it's probably my favorite Halloween-themed or horror-themed song. So of course I was ready to love this original version. And it's fantastic. Like the Peak Show's rendition, this one contains sound bites, and one of them is from an episode of The Twilight Zone, with Bill Mumy himself saying, "You're a bad man, you're a very bad man!" And then, a little later, "I had a real good time." If you haven't heard this song, I highly recommend checking it out. And if you haven't seen that episode of The Twilight Zone, you should check that out too. And keeping with the theme of death, that song is followed by "When You Die," which has lines like "When you die/You stop drinking beer." This song is unexpectedly beautiful and touching, while also being funny. And it's another favorite of mine. "When you die/You stop eating cheese/When you die/You're not hard to please." 

CD Track List

1. Fish Heads
2. Blithering
3. Soak It Up
4. Ah A
5. Boogie Woogie Amputee
6. Life Is Safer When You're Sleeping
7. Unfinished Business
8. Pussy Whipped
9. What's New Pussycat?
10. Party In My Pants
11. Don't You Wanna Go To The Moon
12. Pizza Face 
13. Love Tap
14. I Don't Remember Tomorrow
15. Cemetery Girls
16. When You Die

Zabagabee: The Best Of Barnes & Barnes is scheduled to be released on July 24, 2026 through Liberation Hall.

Kim McClay: "Worth It" (2026) CD Review

Kim McClay is a singer and songwriter based in New York City. She released her first album, My Sanity, in 2021. Since then, she's put out a couple of singles, and now has a new EP on the way. Titled Worth It, it contains all original material, songs of power and honesty, songs that connect to the listeners, and perhaps connect listeners to each other, in these unsettling times. The songs were written by Kim McClay and Dustin Beardsley, who also co-produced the EP. Dustin plays guitar and synthesizer. Also backing Kim on this release are Trevor Brown on bass and synthesizer, and Jim Bloom on drums and percussion, along with a couple of guests on the final track.

The EP opens with "Velveteen Girls," which was released as a single. The guitar work at the beginning announces this song means business. Check out the opening lines: "A pretty face, pretty girl/Is that all I am to you/I know it's well-intended/I don't care how you intended it." The drums come in, providing the song a steady pulse. "'Give us a smile'/'Show off your legs'/I'm not here for you/Now I'm on the defensive/And it's not because I'm sensitive." There is a delicious power here, a rock energy. The song's title reminds us of The Velveteen Rabbit, raising a question of reality, of what it means to be or become real. And surprisingly, there is a sort of spoken word section in the second half, and in that section she directly addresses that question, as well as aging. Margery Williams, author of The Velveteen Rabbit, is given a songwriting credit here. Then a softer, gentler sound is established at the beginning of "Firefly," but that's not to say there is anything meek about this song. There is a steady rhythm on acoustic guitar that suggests a sense of urgency, and some really nice touches on electric guitar. "Deceptively and cunningly/She lures you in and how/Her devil's grin is beggin' for your skin." This track kicks in partway through, the drums taking on more force. "Leaves 'em guessing/Makes 'em question what's right/Answer loud as you can/Tonight." The line "Answer loud as you can" is repeated at the end, growing in power, before the word "Tonight" is delivered simply and more softly. While that line "Answer loud as you can" is empowering, encouraging, it is that one word "Tonight" that makes it all immediate. Now.

Near the beginning of "Worth It," Kim McClay sings, "I'll trade you my wide-open heart/If you promise me that you'll stay." I love the way she delivers that word "stay," giving it more emphasis, a brighter energy. She then asks, "Can you promise me that you'll stay?" The song develops a strong rhythm, a catchy rhythm, one that gets us involved. Another phrase that stands out to me is "dancing through chaos." That feels like the best thing to do these days. "We live in a dangerous time/Nothing prepares you for that." Then "So Close" eases in, with a soothing, intimate vibe at the start. "Everything's fleeting/This city, your feelings/But I seem to be stuck on you/It keeps me reeling/My pulse is still screaming/To beat intertwined next to you." Yes, it's a love song. A sort of love song, anyway. I appreciate a love song that begins with the line "Everything's fleeting." A line that is true, regardless of the subject, right? I love how her voice takes on a different quality for the lines "But we were so close/So close to the real thing," a more ethereal quality. More hopeful too, with that energy. Maybe it is the next one that will be the real thing. This song features some nice work on bass, and a wonderful lead on electric guitar. It was released as a single. Kim McClay wraps up the album with another song that addresses love, "Something Like Love," which features a beautiful vocal performance. "You came out of nowhere/Your eyes soft as day," she sings at the beginning, and then adds, "I know you from somewhere." I love the way this song builds. It's a song that grabs us and then rushes us up to great heights at certain moments, and brings us in for more intimate breaths. Helen Newby is on cello, and Lucy is on violin, the strings adding to the track's beauty and power. And after the track seems to be concluding, we are treated to something of an extended ending with the strings.

CD Track List

1. Velveteen Girls
2. Firefly
3. Worth It
4. So Close
5. Something Like Love

Worth It is scheduled to be released on June 26, 2026.