Joey Stuckey: "King Of Strings" (2026) CD Review

Respected singer, guitarist, songwriter and producer Joey Stuckey died from a heart attack on October 17th, at the age of 53, while on tour in Madison, Wisconsin. The next week, his new EP, King Of Strings, was released. The EP was recorded in just one day in June at Les Paul Studio in Los Angeles, and Joey Stuckey was the first artist to record there. The EP features Dusty Wakeman on bass, and David Raven on drums.

The disc opens with "Temple In The Wind," a song with a strong energy, particularly to Joey's vocal work, and some catchy guitar work. It was released as the EP's first single. "You are my heart/You're my temple in the wind," Joey sings here. We all need that sort of sanctuary, a place where we feel safe. And if it can be in the arms of a special person, all the better. Yes, it's a love song. There is a cool lead on guitar in the second half. And, as won't come as any surprise, this track features good work by both Dusty Wakeman and David Raven. There is a false ending, and then after the guitar leads us back into the song, Joey sings, "Making my way to a better place." Then "Born To Be Your Toy" has a harder blues rock sound, featuring some serious guitar work, a guitar that means business. And a powerful vocal performance. "You're made of stone, I'm made of mud/You're every curse ever known to man/I should be running as fast as I can." This is an older song, co-written by Charlie Hoskyns (of The Popes), who died in 2017, and a version of it was released as a single in 2020. "You win again/I was born to be your toy." Not a good relationship, obviously, but sometimes we can't help us ourselves and it feels strangely good to give in, to lose. "You have the power, I have none."

"King Of Strings," the EP's title track, is a song about Les Paul himself, though apparently there was an earlier version of this song written for Duane Allman. The song mentions, "'Smoke Rings' by Les Paul and Mary Ford/Hanging on every word." And soon, Joey sings, "King of strings/Master of melody/Crafter of tunes/Such sweet harmony/Taken too soon/From this reality/The king of strings." The lines "Taken too soon/From this reality" apply much more to Joey Stuckey than they do to Les Paul, who was 94 when he died (and they apply to Duane Allman, who was only 24). There are moments when Joey's vocal approach reminds me a bit of Van Morrison. The title track is followed by "Hertsmere Blues," a totally delicious blues number that opens with some wonderful guitar work. "Can't live without, baby/Without you, nothing is the same," he sings, with a great ache and passion in his voice. There is nearly a howl in his voice when he contemplates life without this woman's love. There is something primal here, which we completely understand. Who could stand a minute of this world without that special person?  "Now listen, I'm going to talk to you," he says nearly halfway through the track. But it is his guitar that does all the talking then, and so eloquently. I'm digging that guitar lead, delivered over a solid rhythm. Here he stretches out a bit, making this track stand out.

"Baby Don't" is a song with a classic rock and roll sound and flavor, as well as a playful sense, a sense of humor. "Baby, I want to believe you/But I don't/Every time you say you will/Baby, you just don't." You can hear the humor in his voice, in his performance. "All the lies you're telling/They are so innovative." And, yeah, there is some damned good work on guitar here too. The disc concludes with a cover of Cream's "Sunshine Of Your Love." Yup, a trio covering another trio. This was the song that turned me onto Cream when I was a kid, and I have a soft spot for it. Here the band gets heavy. Joey's guitar lead in the middle is what makes this rendition special.

CD Track List

1. Temple In The Wind
2. Born To Be Your Toy
3. King Of Strings
4. Hertsmere Blues
5. Baby Don't
6. Sunshine Of Your Love

King Of Strings was released on October 23, 2026 on Senate Records.

Richie Lawrence: "Moving At The Speed Of Trees" (2025) CD Review

What makes the Los Angeles music scene so special? Well, it's the work of people like Richie Lawrence, a musician who is able to play with a variety of artists, always adding just the right element, the sort of thing you might not realize was missing until you heard him play it. A member of Rotondi and The Underthings, and playing with artists like Ray Bonneville and I See Hawks In L.A.,  Richie Lawrence is one of those incredibly talented musicians who is at home in whatever musical realm he finds himself. In addition to playing with a variety of artists, he has a solo career, releasing worthy albums like Melancholy Waltz, Water, and Rue Sanxay. His most recent solo album, Moving At The Speed Of Trees, released last year, features mostly original material, written or co-written by Richie Lawrence. The album's title, of course, reminds me of Ellis Paul's "The Speed Of Trees," which has the line "Your love makes me move at the speed of trees." There is a lot of love in this city for Richie Lawrence. Just check out the musicians who join him on this album. Folks like Rick Shea, Tony Gilkyson, Rob Waller, Paul Marshall, Victoria Jacobs, Shawn Nourse, Katie Thomas, Stefanie Naifeh, Simeon Pillich, Dave Zirbel and Giorgi Khokhobashvili. That is quite a bit of talent assembled for this disc. The album is dedicated to Paul Lacques, who was going to co-produce it with Richie. Richie Lawrence revisits a couple of songs that he wrote with Paul Lacques, songs previously recorded by Rotondi and Goin' South Band.

It is a treat to get to hear Richie Lawrence sing lead, as he does on the album's opening track, " On The Boat." Check out these lyrics: "As I leave my only home, I think of you and me/Your broken heart, love torn apart, a child upon the way/I'd rather seal my heart than steal another day/Take what's mine and stow myself away." This line also stands out: "We shared a type of loneliness that strangers sometimes do." He gives us a touching, tender vocal performance. Richie delivers some nice work on piano too. Shawn Nourse (who used to be a member of I See Hawks In L.A., and is known for his work with Dwight Yoakam) plays drums on this one, and Simeon Pillich (of The Underthings) is on acoustic bass. Then Katie Thomas takes over lead vocal duties on "Isla," her vocal approach having a wonderful, dreamy quality. On this track, Richie plays both piano and accordion. He delivers an excellent lead on piano in the middle, as well as some wonderful work on accordion. Shawn Nourse and Simeon Pillich play on this track as well. "You're not alone/Go find her now/Where did you leave her/Down by the river/Girl of your dreams." This song was written by Richie Lawrence and Katie Thomas.

Giorgi Khokhobashvili plays violin on "Life Long Lived," that instrument playing a prominent role right from the beginning. And on this song, which is about a woman turning one hundred, Katie Thomas joins her voice with Richie's. "One hundred years/Industrial to digital/Cars to Mars/Wars never ending." In just a few words, they've perfectly described humanity's "progress." The only time I am optimistic about humanity is when I'm listening to good music. Things change, but humanity remains the same. That violin lead in the second half has much to say about this life, this world. That is some wonderful work by Giorgi Knokhobashvili. Then some really nice work by Dave Zirbel on pedal steel helps set the tone at the beginning of "Oh Me Oh My" (you might know Dave Zirbel from his work with Phil Lesh & Friends). This song was written by Richie Lawrence and Rob Waller, and it is Rob who sings lead on it. You know him from I See Hawks In L.A. (and if you don't, please do yourself a favor, and dig into that band's work). This is a song about a couple, and actually about a specific couple, Richie and Katie. This one line tells us so much: "He overheard her laughing, she was drawn to his mournful sound." And speaking of the Hawks, Paul Marshall plays bass on this track, and provides some backing vocal work. There is something delightful about this song, particularly its chorus. "She came to paint his music, he found her in a song." Isn't that an interesting line? How do we find each other? Is it in our own worlds that we find that special someone?

"Big Fun" is a total delight, a fun and playful number. We know it right away because of Richie's work on piano in that opening section. Rick Shea delivers some excellent work on electric guitar, Paul Marshall gives us a wonderful bass line, and Victoria Jacobs keeps things hopping on drums. Katie and Richie blend their voices again on this song. "Do you ever wonder, this cloud I'm under/Can't you hear the thunder in my brain/I've got some real dreams, some clear blue sky dreams/I want to make my dreams come true." Ah, yes, dreams to push the storms away. And then they ask, "Why can't I feel good/Not quite as good as I could/Why can't I feel real good with you?" This is one of my personal favorites. It's followed by another of the album's highlights, "Leaving You," one of the songs co-written by Paul Lacques (with Richie Lawrence and Robin Ginsburg). It was recorded by Rotondi, and included on that band's great Preaching + Confessing album. It was also one of the songs played at the special celebration of Paul's life and music held at McCabe's back in April 2024. Katie Thomas does a tremendous job singing lead on it, and Victoria Jacobs provides beautiful harmony vocals. Rick Shea delivers some delicious work on mandolin, that work really helping to create the delightful vibe of the track. There is also some excellent work on accordion. "Oo-wee-oo heaven so blue as I/Oo-wee-oo leaving you/Heaven so blue somewhere above the clouds/I will love you way up above the clouds." 

The sound turns darker, more somber with "The Poetry Of Lust," the vibe established with that compelling work on piano that begins the track. Tony Gilkyson plays electric guitar on this one. The song soon it becomes a strange dance just as the vocals come in. "No words spoken as eyes connect/Enveloped by your rhythmic scent/An instant recognition/Falling to submission/I should go." Stefanie Naifeh (of The Underthings) joins Richie Lawrence on vocals on this track. This one becomes a great, dark jam, featuring fantastic guitar work. Then "InFable" has a snappy groove and features some nice work on both piano and bass. Here Richie turns in one of the album's best vocal performances. "Can't you hear the sound of greed/Seeds breed bloody money." There is a great, jazzy vibe. I'm totally digging this track, especially Richie's work on piano, even before that delicious lead in the second half. This track also boasts some cool work on drums. This song's final line provides the album with its title.

The album's sole cover is "Lone Freighter's Wail," a song written by Ray Bonneville, included on his 2014 album Easy Gone. Dave Zirbel plays pedal steel on this track, delivering some excellent work. Katie sings lead on this one, with Richie and Katie singing together on the chorus. This is a beautiful rendition, and it ends with some pretty work on piano. It's followed by "The Wonderful Waltz," the album's other song co-written by Paul Lacques. This song was originally included on the Goin' South Band album Home In My Heart, and is another of the songs that was played at that celebration of Paul Lacques' life and music at McCabe's in April 2024. Richie Lawrence delivers a sweet, beautiful rendition, his voice blending so nicely with Katie's. Victoria Jacobs plays drums on this track, and Paul Marshall is on bass. "The day will come for which there is no tomorrow/And everyone's dreams will return to the scene of that evening/Home from the fields with the sun and the moon in the weary sky/Later that evening we'd all do a wonderful waltz/The wonderful waltz."

"Emily Dickinson" is a pretty piano instrumental, the only instrumental track on the album. There is a welcoming vibe to it as it begins, and then it seems to take us into collective memory, where things aren't always easy, and where there is still a sense of loneliness. The album then concludes with "I Believe In You." This song is also a solo performance by Richie Lawrence, this one finding him on vocals as well as piano. He delivers a moving, passionate performance, making this track stand out. "And spirit soars through love/And love is never bound by pain/Only time will tell your fate in this/A world adverse to truth."

CD Track List

1. On The Boat
2. Isla
3. Life Long Lived
4. Oh Me Oh My
5. Big Fun
6. Leaving You
7. The Poetry Of Lust
8. InFable
9. Lone Freighter's Wail
10. The Wonderful Waltz
11. Emily Dickinson
12. I Believe In You

Moving At The Speed Of Trees was released on March 21, 2025.

Mike Berman: "In The Woods" (2026) CD Review

Last year singer and songwriter Mike Berman put out two excellent discs - a full-length album titled Ghosts, and an EP titled In La Ciudad. Both were produced by Ed Tree. Now he has a new full-length album coming out. Titled In The Woods, it too was produced by Ed Tree, who plays several instruments on it, including bass, electric guitar, slide guitar, harmonium, Mellotron and synthesizer. Mike Berman plays acoustic guitar, 12-string electric guitar, harmonica, piano and synthesizer. Also joining Mike on this one are Elissa Barron on backing vocals, Conor Sisk on drums, Scott Babcock on drums, Marty Axelrod on piano and organ, Steve Nelson on upright bass, Mark Indictor on violin, and Richard Dodd on cello. The songs are mostly originals, written or co-written by Mike Berman, along with one really good cover.

The strings make their presence appreciated right from the beginning of the album's first track, "Honey That Was Me." This is the song that gives the album its title, with the lines "It was me in the woods keeping watch through the night/It was me softly calling in the moon's sacred light/And all those things you love and fear, hiding in the trees/All that time it wasn't what you thought, honey, that was me." There is a sweet beauty to this song, and a comforting vibe. Yet simultaneously, under that, there is something perhaps disturbing in the lyrics, in someone being watched without knowing, and with a phrase like "a hunter looking for his game" with its hints of danger and violence. The song could be taken as a strange sort of confession from a person who fancies himself a guardian angel, and perhaps is. Mike Berman's voice is one we naturally trust, and that is perhaps why the song can be unsettling. Don't they say it's the person you'd least expect? The strings are present from the beginning of "Hospital For The Brokenhearted" too, some wonderful work on cello. This track features nice work on guitar too, and a gentle vocal approach. A voice that is soothing, yet with an ache. It's like an ache that he tries to heal with the song itself. "In the garden the sun is shining/On the wounded ones wandering through/So come on down to the hospital/Maybe I'll see you." I also love these lines: "Doctors stare with tired eyes/Their hearts have all been broken too." Ah, can the broken heal the broken? Maybe only they can. This song is welcoming, welcoming all of us. Mike Berman's voice is perfect for that. This song was released as a single in September.

"Hold Back The Sea" was also released as a single, this one in August. There is a stronger energy to this one, with some excellent work on electric guitar and a steady drum beat. "Because there's no holding back the sea/The works we build are washed away, we can't stop the waves, you and me/No matter how we dig, the walls we raise, the lines we rig, it's all futility/There's nothing that will hold back the sea." Now those are some lines we can relate to, lines we can appreciate, lines that seem to perfectly capture our feelings of this time, and Mike's delivery has more power. I love that those lines work both literally and figuratively. This is a compelling number. And isn't there something oddly comforting in the knowledge that nature will win in the end? I love Elissa Barron's backing vocals near the end. Then some pretty guitar work opens "Coop The Hawk," accompanied by some moving work on strings. This song, about a hawk here in the city (which of course makes me think of the band I See Hawks In L.A.), has a wonderful folk vibe. "The noise and rumble from the freeway nearby/Sometimes seems to grind at me/Still Coop flies high in the breeze blowing by/And I'm standing by his favorite tree." Adding to the delightful, sweet vibe of this song is a little whistling following those lines. There is something appealing in watching a bird soaring above us in the city. And, if the world stops for just a moment, we can feel ourselves up there with the bird. This song has that feeling, reaching up with our hearts.

The jangly guitar work at the beginning of "Get Me 'Cross The River" sets a certain tone, creates a certain flavor, touching upon another time. "My wallet can't afford the ocean" is a line that stands out to me, making me think of those days when I decided not to go to the beach because parking costs too much. And speaking of parking, here are other lines that catch my ear: "Stockton in spring is not too bad/If there's a place for me to park." But my absolute favorite lines from this song are these: "Your heart's a mystery/And the clues are hide to find/Would you explain this plot to me/Say you want me/And I'll turn this van around." This song was written by Debora Ewing, Mike Berman and Elissa Barron. It's followed by "A Willing Mind." I love the opening lines: "With a willing mind/And a tender heart/A man is doomed/Right from the start." And the lines are delivered with a gentle honesty that makes us know he has such a heart and is one who is doomed himself. Ah, we recognize our own, don't we? That's what this music seems to tell us, reaching out to us from a similar place. And it features not only a tender and beautiful vocal performance, but some wonderful guitar work. "I have no choice/But to fall apart."

Mike Berman then gets into the blues with "Farthest Thing From The Blues," a song I remember enjoying at one of his shows last year. It even opens with that classic blues phrase, "I woke up this morning." Here he tells us, "Well, all around me looks like everything is going down/Stock market tumbling and my friends are all leaving town/But with all going round, I'm still making a happy sound." Oh yes, we can appreciate lines of resilience. And then the song kicks in, and begins to have a jump to its rhythm. And guess what? It's because of a woman. And isn't that the truth? With all that insanity and garbage in this world, the look or touch from the right woman can make everything all right. "So much bad going round, I want to share some happy news." Yes, yes, yes! And the happy news is that woman, and we know just what he means. And Elissa Barron providing backing vocals helps make this song shine. She delivers some great work. The song also features a delicious lead on electric guitar. That's followed by the album's sole cover, Bruce Cockburn's "All The Ways I Want You," a song from his 1994 album Dart To The Heart. Mike's rendition features some pretty work on harmonica at the beginning and at key moments throughout the song. This is a really nice rendition.

"Tell The Bees" is a surprisingly moving song, one that will get you thinking, contemplating our place in this world. "We got it all wrong/We had the chance but now it's gone/Nothing left to say or do/Nothing to fix, nothing to prove." The line about how the bee keeper is gone, and the effect that has on the hive, might have you wondering if we are to look after the animals, or if we are in dominion over them, like one silly book seems to suggest. And in a larger context, it makes me wonder about the fate of humanity as a whole. When we are gone, animals will still be here. This track features perhaps the album's best vocal work, along with some beautiful work on strings. It's followed by "Out Beyond The Break," and this one too contemplates a future. "I'm thinking about time/The way the future leaves the past behind/Never looking back/Always seeking on." This track contains some pretty backing vocal work and lovely work on strings. It was written by Michael Eck and Mike Berman. The album then concludes with "Tell It To The River," written by Michael Berman and Elissa Barron. It's a touching number, featuring more beautiful work on strings. "The sadness of your smile/Barely serves as a disguise/Resting like a stone/On your tender heart/Until you let it go/Nothing good can start." 

CD Track List

1. Honey That Was Me
2. Hospital For The Brokenhearted
3. Hold Back The Sea
4. Coop The Hawk
5. Get Me' Cross The River
6. A Willing Mind
7. Farthest Thing From The Blues
8. All The Ways I Want You
9. Tell The Bees
10. Out Beyond The Break
11. Tell It To The River

In The Woods was released on CD on October 30, 2026 on Tanager Way Records. There is also a limited edition blue vinyl release available.

The Raz Band, Dedzmuzik, Low Era, and The Howling Faith at Maui Sugar Mill Saloon, 10-29-26

Last night's lineup at Maui Sugar Mill Saloon included only one band I was already familiar with, that being The Raz Band, whose 2015 album Madison Park I had reviewed. The others were new to me, and one of them - Low Era - was new to basically everybody, as that band hasn't yet released any albums or EPs or even singles. But what a treat to get turned onto some new music. I was especially taken by Dedzmuzik, with its fantastic grooves.

The Raz Band

The Raz Band kicked off the night just after eight o' clock, opening the show with "Coming At You," a wonderful, energetic rock song with a great beat. The band performed as a trio, guitarist and vocalist Joey Molland (whom you certainly know from Badfinger) having died last year. Jim Manzo asked the folks in the audience if they were happy, leading into the song "Happy," which was written by Joey Molland. Jim sang lead on it and delivered a good bass line. "I could be happy somewhere." This song mentions an "hour of darkness," something I think we're all experiencing these days. Music will light the path out of it. Michael Raz Rescigno mentioned that Joey had sung lead on the next song, joking that he needs to be careful to do a good job so as not to upset Joey's ghost. That song was "Breadline Love," which featured a really good lead on guitar, with a classic rock and roll flavor.

Jim mentioned that the band has a new album out, titled Copy This, before launching into a rocking rendition of The Turtles' "She'd Rather Be With Me," featuring drummer Jeff Hutchinson on lead vocals. They ended the song, then playfully continued it. That was followed by a cover of "Spirit In The Sky," Michael's sister joining the band on backing vocals. This song is also on the new album, and was the first single released from it. Michael's sister, by the way, was sporting a T-shirt that read, "The Raz Band Rocks!" After that song, Moses approached the stage to get the band's drink orders, as someone in the crowd wished to buy a round for them, which was cool. Even cooler was the next song, "The Boy," the first Raz Band song, which featured some really good drumming and a strong bass line. The song had the kind of sound that makes you feel the world is all right. You know? Certainly we need these songs now. That was followed by "Naked On The Floor," which had a powerful beat. The band wrapped things up with a couple of fun covers - Badfinger's, "No Matter What" and Tommy Roe's "Dizzy." A forty minute set that flew by. I hope I can see them do a longer set next time.

Dedzmuzik

Dedzmuzik was up next, this band also a trio. They began with an instrumental introduction that had a cool, psychedelic vibe, setting a mood, taking us to some different territory. Then as the vocals of "Absent Eyes" began, the music took a turn toward progressive rock. There was some excellent work on bass, while the guitar reached toward those ethereal spaces. "Why'd you have to go and be that way?" "The Door" then began with some delicious drumming. "Find another way out of this hole." At a certain point, the bass line could break through brick, through concrete, a furious pulse. That was followed by a peppier number. The set also included "Icarus," a seriously cool song that began with a great rhythm. "All of your dreams have effectively turned into nightmares." The guitar seemed to issue a warning to us at the end. That was followed by "La Lluvia Cae," with another totally delicious rhythm, and even a drum solo, which I loved. It seemed from the reaction it got that everyone in the room felt the same way. 

In introducing "Journey," Gee Landazuri said the song didn't have any lyrics, so he wanted those of us in the audience to make up a story and tell him about it later. And that story involved a red velvet dress that walked by, shouting of truth, then disappearing. Dark clouds soon formed in her absence, with one sharp fingernail ripping into the atmosphere, that finger then pointed directly at our hopes and ambitions, while laughter rumbled in the clouds. The laughter became our own, and as we shouted into the heavens, the beast receded. "In The Shadows" was introduced as a song about grief, written in a dark place. It featured another great, interesting beat, with some surprises. And holy moly, that bass! "What am I to do?" The set then concluded with "Little Box," its wonderful guitar part transporting us. The song contained little teases of other songs, and the band jammed. Moses called for an encore, and the bartender was not to be denied. The band delivered a cover of "Californication." The line "Buy me a star on the boulevard" stood out to me, as earlier in the day I had attended the unveiling of the star for The B-52s. Dedzmuzik is a band I'm going to be paying attention to.

Low Era

Originally the night's lineup included Olaguay, but that band was unable to be there, and Low Era (is the name a play on a pitcher's Low ERA?) stepped in. Another trio, and apparently friends of Dedzmuzik, who got them onto the bill. These guys went right into the music, sans introduction, sans banter, kicking off their set with "Another Wasted Day." This song had a good groove, and at a certain point became harder before returning to that groovier section. This is a new band, and after that first song they mentioned that they are working on their debut EP. But for now, there is no music available on CD, or even digitally. They followed "Another Wasted Day" with "Back Of The Line," a rocking number. "Out Of Focus" featured some really good work on bass, particularly toward the end. "Demise" came on strong, and contained an excellent guitar lead. "Cracking Up" featured some excellent drumming. The band wrapped up the set with a great, solid rock song, with a good, pounding beat, with something of a Who influence heard.  Their set ended just before eleven o' clock. People called for an encore, and the band started to oblige, but Lawrence Mann (the night's host) cut it short because of the time.

The Howling Faith

The Howling Faith closed out the night. The only group on the bill to not be a trio, these guys are the duo of Laura Ishida on lead vocals and bass, and Danny Rodarte on guitar and vocals (though apparently they do sometimes perform with a drummer). During their soundcheck, there was some feedback, leading to someone in the audience howling, which Laura was quick to joke about, saying, "That's why we're called The Howling Faith." This band with its first song of the set quickly established a very cool vibe, the guitar taking us to another place. I'm always excited when music can transport me. Laura mentioned that that song will be released next week "in its full glory," that what we heard was its stripped down version. "Out Of Time" followed. "Out of her mind, she's out of time." "World Of Hurt" was like a dark, dreamy surf, and was one of my personal favorites. "Why did I love you/Knowing how it would end." Another highlight was "It's Too Late," a new song that featured some really nice stuff on bass. That was followed by "Days And Days." "Do you think about me the way I think about you?" she asked in this one. And a certain power enters her voice as she repeated, "Oh, I want you." The set ended right at midnight.

Maui Sugar Mill Saloon is located at 18389 Ventura Blvd. 

The B-52s Get A Star On Hollywood Boulevard

The B-52s (with Ron Frierson)

I've lived in Los Angeles for nearly three decades and had never been to see the unveiling of a star on the Hollywood Walk of Fame. Until today. The B-52s, the most fun band in the entire galaxy, perhaps the universe (even those on Planet Claire and Wild Planet know it to be true), were honored with a star (aren't you a bit surprised that they didn't already have one?). Hell, this band should get an entire constellation, but for now one star will suffice. Fred Schneider, Kate Pierson, Cindy Wilson and Keith Strickland were all on hand for the celebration, and were joined by members of The Go-Go's, as well as by Fred Armisen. 

Jane Wiedlin

Members of The Go-Go's showed up a little early, which got the crowd excited. Jane Wiedlin was sporting her purple hair, forever the cool punk. How could you not love her? How could you not love that band? And from the cheers and shouts from the crowd, it was clear that everyone there certainly did. The Go-Go's soon disappeared, going to whatever green room had been set up for them. The B-52s, through their social media sites, had encouraged folks to dress up for the occasion, and many people did. One guy near me was wearing a Rock Lobster hat. (That lobster might have begun its existence as a regular ol' plastic lobster, but once it was attached to a captain's hat and brought to this event, it was forevermore a Rock Lobster.) Others were in bright clothes, and even brighter wigs.  The event took place just outside of Amoeba, which seemed perfect. I still prefer Amoeba's old location, but The B-52s star being here now actually makes Amoeba's location fitting, rather than Amoeba being there making the location of the star fitting. Right? It was also fitting that this took place just before Halloween, the best and most fun holiday of the year, the day when things are supposed to get more than a little weird. 

Richard Blade

Richard Blade, who acted as Master of Ceremonies, welcomed the crowd approximately ten minutes early, mentioning the perfect weather (before the coming rain of the weekend). And when his pages blew off the podium, he joked about reading them in a different order. Then right at 11:30 a.m., Ron Frierson, the President of the Hollywood Chamber of Commerce, said, "Welcome to the Love Shack," which delighted the audience. He introduced Richard Blade, who had received his own star a couple of years ago. Richard mentioned that in his speech. "And I was like, What about these guys?" he said, referring to The B-52s. He listed some of the band's accomplishments and charity work, and said that if you put a needle down on that first B-52s record, "you went to a different planet." True. Though I like to think that it rather made this planet something better, something more interesting, and, again, something more fun. Richard also joked about the band's farewell tour that began in 2022 and "continues to this day."

Kate arrives

The Go-Go's

Three members of The Go-Go's (Jane Wiedlin, Charlotte Caffey and Gina Schock) took the stage, each speaking about the band and its influence. Charlotte said, "If rock and roll was a family, The B-52s would be The Go-Go's' favorite cousins. "Thank you for making the world a better, whackier place," Jane said. And Fred Armisen, whom I once got to see play percussion for Jon Langford and Sally Timms, spoke of his love for the band and about how seeing The B-52s changed the course of his life. Richard Blade took the stage again to deliver a personal note about his love for the band, relating an anecdote about when he first played the band on the radio, amid the music of Toto, Journey and Christopher Cross. That song was "Dance This Mess Around." And he mentioned that whenever he's acting as DJ at a private event, he has certain songs he knows will pull people onto the dance floor. A couple whose wedding he did was in the audience, and he brought the microphone out so the husband could announce that the final song at his wedding reception was "Rock Lobster."

Fred Armisen

Richard Blade with married couple

Ron Frierson introduced The B-52s, and each member took a few moments to speak to the crowd. Kate Pierson thanked the band's collaborators and the musicians who have joined them. Keith Strickland thanked friends and fans for their support, and quoted Maurice White's "Shining Star": "You're a shining star/No matter who you are/Shining bright to see/What you can truly be." Fred Schneider joked about having no marketable skills, and received a giant cheer when he said, "We're still going." He mentioned they'll be playing a show at the Hollywood Bowl next year. And Cindy Wilson teared up when talking about Ricky Wilson. Ron Frierson then declared today to be B-52s Day in Hollywood, and the star was unveiled. The B-52s certainly deserve their spot on the Hollywood Walk Of Fame. Theirs is the 2,861st star presented. Now let's see about getting this band another three or four stars for their deserved constellation.

Kate Pierson

Keith Strickland

Fred Schneider

Cindy Wilson

You can find the star at 6212 Hollywood Blvd. in Los Angeles.

Fernando And The Wolf: "Revealed" (2026) CD Single Review

Fernando Perdomo has begun a new project, this one with incredibly talented violinist Kaitlin Wolfberg. Playfully named Fernando And The Wolf, this duo had its first show on October 1st, and that same day released the single "Revealed." And though this is a new project, Fernando and Kaitlin have been playing together in various other projects for years. Kaitlin played on Fernando's 2018 album Zebra Crossing, and this year's Starmen: A Tribute To David Bowie album from Fasby Barnes & Fernando Perdomo. Kaitlin also played on the Perdomo Kravitz album Goodbye Sun, released in May of this year. Both Fernando and Kaitlin play on Jennifer Kaiser's new album, Guided By The Light. Those are just a few examples.

"Revealed" is a song that was written by Fernando Perdomo and originally included on his 2020 release The Leo August Album. On that album, Fernando Perdomo played all the instruments. On this new rendition, he plays guitar, piano, bass and drums, and provides lead vocals. Kaitlin Wolfberg plays violin, and provides backing vocals. From its opening moments, it has a gentle, pretty vibe. "Life is a mystery/You don't know what it's gonna be/You're just going to have to wait and see/All will be revealed." There is something wonderfully soothing in the sound, particularly in his vocal performance. And another great layer is added when Kaitlin joins her voice to his. But it is her violin work that really makes this rendition something special, lifting things to a magical level. If you're familiar with this song from the earlier album, you're to gain a fresh appreciation for it with this new release. There is a strong beauty to this version, and we are left feeling hopeful and joyful. As much as I like the earlier recording, I prefer this new rendition. The disc contains a second version of the song. Titled "Revealed (Acoustic)," it features vocals, guitar, piano and violin. It has a more raw and immediate sound, and is probably closer to what the song sounds like at their concert performances. I haven't yet had a chance to catch a live performance by the duo. I was especially sad to miss the Kulak's Woodshed show on October 4th. But more concert dates should be added soon, giving us all the opportunity to see this magnificent duo.

CD Track List

1. Revealed
2. Revealed (Acoustic)

Revealed was released on October 1, 2026.

The Hollywood Stars: "Hey! L.A.!" (2026) CD Review

The Hollywood Stars recorded their first album in 1974, though insanely it wasn't released until 2013. They recorded another album in 1976 that wasn't put out until 2019, which is also crazy. So the first album people actually got to hear was a self-titled record that came out in 1977. But that initial album had a song titled "King Of The Night Time World," and the band revisits that song on the new album, "Hey! L.A.!," the album in part a kind of love letter to the great city of Los Angeles, where the band formed fifty-three years ago. The band is currently made up of Scott Phares on lead vocals, Terry Rae on drums and percussion, Michael Rummans on bass and backing vocals, Jeff Jourard on guitar, and George Keller on guitar. The album features original material.

The album kicks off with its title track, getting things off to a fantastic start. The drums get things rolling, setting a fairly fast pace. This song celebrating Los Angeles deals directly with the fires that destroyed entire communities, and especially hurt the music community. But this is a kick-ass punk number about the resiliency of the city. Here are the opening lines: "1/6 was bad, 1/7 was worse/A New Year's spark then scorched the earth/A dragon's breath blew across the west/So much heat, there was nothing left." And then Scott sings, "Santa Ana winds used to be my friend/A little bit of warmth after summer's end/But this time 'round it was just too much/Much too dry and too much brush." It's interesting, because in a way this song has us reliving the horror and fear of that time, while in a more important way it has us letting go of it. Because hey, we're still here. And besides, it is a fucking great song with an excellent bass line and a totally delicious rock and roll guitar part. And I'm sure it's a bit cathartic for Scott Phares, who lost his Malibu home in the fires. The song provides a valuable and exciting release for all of us in this extraordinary city. It's followed by "So Long And So Far Away," a song that looks back to those wonderful carefree days of youth when we thought, "This will last forever." The band then admits, "But that was so long/So long, so long and so far away." Sometimes it seems like yesterday, sometimes it seems like lifetimes ago. Weird how memory works, and doesn't work, and weird how music can make the deep past a part of the present. This track contains some really nice guitar work, including a catchy hook.

The main line of "I'm Not Broken" is "You can't fix me, 'cause I'm not broken," a line I imagine will resonate with, well, probably everyone. It's a line I bet people will sing. And check out these lines: "I'm not just some project of yours/Your mental medicine's supposed to cure/With side effects I must endure." I don't understand what makes a song a hit anymore, but if things made sense, this song would be a hit. It was written by Scott Phares and Michael Rummans. Then "The Bottom" comes on like one of those great rock songs of the 1970s, with a strong energy, prominent guitars, a driving beat, and some excellent vocal work. "Dreaming while awake, and waking while I dream/Everything's a blur, I just wanna scream." This is so damn good. I want this music to just take over. 

"This Moment" begins in a mellower place, with some pretty work on guitar. This song features special guest Loren Molinare (of The Dogs) playing guitar. Adding to this track's special sound and vibe, Michael Rummans plays cello on this one. The cello arrangement is by Steve Bartek. "Say goodbye to empty dreams/Say hello to your life." It's a love song, a wedding song, written by Scott Phares. Then "Will The Lights Go On Again?" come on with a steady pounding pulse on the drums. There is a glam rock vibe, particularly to the vocal work. "Now, maybe we'll survive/Will the lights go on again?" And these lines are ones we can latch onto in these strange, dark times: "Who'll be in control/Just the brave and bold/It's the world's darkest hour/And we are the power." This song, particular its title line, also reminds me of driving through Altadena weeks after the fires when the traffic lights were still not functioning. It is a song of perseverance. It is followed by "27," which is a song of survival too, and of those who didn't make it past that peculiar age of death, 27. This song refers to Brian Jones, Jimi Hendrix, Jim Morrison, Janis Joplin. But its main line is "I surived 27," delivered like an anthem, with a wild and powerful sort of joy.

"Bright Lights" is a song about revisiting a favorite bar, and how the lights there are welcoming. "Everyone I know may be out of town/But the faces here still seem familiar." And you know it feels good when a bartender recognizes you and knows just what you want. The only place I have like that these days is Maui Sugar Mill Saloon, one of my favorite places to see a band. The music of this song itself has that welcoming vibe. "The music blasts from a tiny stage/Everybody in the band is half my age/Playing songs that all of us know/That fill my head with a pleasant glow." Then "When I Find You" has a darker, more somber vibe from the start. It's a slower, thoughtful number. "What am I gonna do, what am I gonna do?/When I, when I find you, when I find you." It contains some interesting guitar work, moving toward a psychedelic realm at certain moments. This one was written by Terry Rae and Robert Blessus. The album then concludes with "King Of The Night Time World," which, as I mentioned, was a song recorded for what should have been the band's first record. It was also recorded by Kiss, but don't let that fact keep you from listening to this song. The song rocks just the way you want it to, with that 1970s rock sound, and features some excellent guitar work. "It's so mad pretending you're content far from the music and the gorgeous clothes."

CD Track List

1. Hey! L.A.!
2. So Long And So Far Away
3. I'm Not Broken
4. The Bottom
5. This Moment
6. Will The Lights Go On Again?
7. 27
8. Bright Lights
9. When I Find You
10. King Of The Night Time World

Hey! L.A.! was released on July 24, 2026.