Red 32: "Cryogenic Dreams" (2025) CD Review

The band Red 32 released its first album, a self-titled disc, in 2023. That album included a song titled "A Place To Call Home," in which they sang, "Our world's an oasis/In a vast oblivion/Whose truths are as yet unknown/Someday we'll be one/Of many alien cultures/Looking for a place to call home." And in the band's follow-up, Cryonic Dreams, the guys explore that idea of needing to find another world to call home after rendering this one uninhabitable. It's a subject that has been in the air for quite some time, but for a while felt somewhat comfortably distant, at least until the current group of morons and bastards took power. Now the issue feels pressing. And so the music of this album takes on a sense of urgency. It is music that we should pay attention to. The band is made up of Steve Bonino on bass and vocals, Anthony Romero on keys and spoken word vocals, Erick Confer on guitar, and Robert Schindler on synthesizers, with special guest drummer Jimmy Keegan joining them.

The album's opening track, "Continuum," drops us into an electronic world, a world of our own making, and yet foreign to us. How did this happen? How did we get here? "Why do you think we grew to walk on two legs?/ Why do you think we think therefore we are?/Why do you think we have the right to do whatever we want whenever?/What do we leave our children when we're gone?" The album begins by posing these questions, and so encourages thought, encourages reflection and deliberation. "How do we bear the weight of all the centuries of destruction?/Where do we get the strength to carry on?" And perhaps that question is key. The phrase "carry on" will be revisited later in the album. The world is a mess, and we are at fault. How do we carry on? This track includes a cool instrumental section that features some excellent drumming. This is a song for our times. And if we don't find some answers, this song will be for all times. "Why do we think that we deserve a future?" Then "Outer Limits" feels like a great science fiction opera early on. "In the outer limits of your mind/In a place beyond all space and time/There's a planet we may call our own." Will humanity get a second chance once this world is made uninhabitable? And will we have learned any lessons? My view of humanity has become understandably dim in the last decade, and I bet if we managed to get to another world, we'd fuck that one up too. But who knows? "Neither fake, nor real, but in between." The music is dark, but yet perhaps hopeful. We always retain that hope, don't we? And that's how we carry on.

"Puddle Of Tears" comes on heavy and strong, a song that travels back to us from a point of destruction, a point of despair. A song, a voice from that future. And yet it is a voice of now, for we can feel it in our chests, we can feel it all around us. It feels that only those on the fringe are going to heed the warning. Only the weird ones, those on the edge already. "So let us raise our glasses high/As we drink our puddle of tears/We only have ourselves to blame/That we no longer live here." And, yes, the feeling here is that if we get to another planet, we will be taking along our troubles, our misery, our foolishness. There is a power to this song. And I'm digging the bass line, and those ethereal cries over it. That's followed by "Face Of Sorrow." We have so many images of the end. They abound in films and literature. And so we have them at the ready as the music here begins, calling several to mind during that great insrumental section at the start. The song's first lines are delivered as spoken word, and they provide the album with its title: "Cryogenic dreams/Of children dying/Oh so young." And isn't that the most horrifying image? The death of innocence, the death of our future, the death of hope. This track contains a glorious, wailing guitar. There is more spoken word in the second half. "Knowing what we all know now/Would we have changed their fate?" And there is a haunting call, "Children, children."

"After The Disaster" begins with the line "The worse things got, the worse things got," delivered as spoken word over a desolate, broken landscape. There is a meaningful pause halfway through that line, giving the second part a more final and fatal sense. "Though it could have been prevented" is a line that is haunting because now is the time to prevent it. And we know there isn't a chance in hell that the imbeciles and shitheads in power could be capable of such action, or even want it. People now seem to revel in disaster, in pain, in the coming of their so-called "End Times." "You can hear echoes/Of every ghost." This is a compelling, intriguing track. It is followed by "Before The Rain," which also begins with spoken word. "Before the rain/You know how the world was/It's no mystery that we had our problems/But we always believed that we could handle them/I guess not." That "I guess not" is delivered with a grim humor, which we can relate to. This song looks back to a time before the end. And what is it they look back at? Human contact, passion, love. That's what it's all about, isn't it? It's what we have in common. This song creates a vivid landscape, and takes us on a journey along it. "We had dreams before the rain." It ends with some pretty work on keys.

"Our Resting Place" has us in motion from the start, and that motion itself gives us a certain hope. Doesn't it? We're still here. We're still capable of movement, capable of life, that rhythm tells us. There is a lighter feel to this one. "Our hearts were beating slow enough to carry on." Then there is something hesitant and curious at the beginning of "Hollow Heart," as if testing the waters. Soon the song kicks in, the vocals at the fore. And again, the voice poses questions: "How did you feel when you hurt other people?/How did you sleep knowing you'd let them down?" Questions to those in positions of power, those who could have done something, those who claim climate change is a hoax. "You, you are the reason/There are no seasons/Left for us." And yet this track is strangely beautiful. The band switches gears for the final track, "Finding A New Home," which begins as an energetic rock song. Will humanity prevail after all? Rock music seems to suggest it will, suggests a new beginning, suggests youth. And then suddenly after a minute or so, there is a change, a shift in style, as we hear spoken word delivered by the captain of a ship heading to a new world. "Apprehension mixed with fear and hope/Always hope to carry on." And then the rock vibe resumes. Will we build a better future? The music is encouraging. The music is hopeful.

CD Track List

1. Continuum
2. Outer Limits
3. Puddle Of Tears
4. Face Of Sorrow
5. After The Disaster
6. Before The Rain
7. Our Resting Place
8. Hollow Heart
9. Finding A New Home

Cryogenic Dreams was released on October 17, 2025 on Transglobal Records.

The Laurie Berkner Band: "A Laurie Berkner Halloween" (2024/2026) CD Review

Things are scary out there, no question. But the best holiday is just around the corner, and The Laurie Berkner Band's A Laurie Berkner Halloween is now available on CD to help get you and your children in the mood. It was previously available digitally. The songs are aimed at children, but most of them can be enjoyed by adults as well. The band is made up of Laurie Berkner on vocals and guitar, Susie Lampert on keyboard and piano, Bob Golden on drums and percussion, and Winston Roye on bass. There are also guests on various tracks, including some children who provide backing vocal work.

The album opens with "Halloween Train," which begins with a train whistle. Laurie sings, "All aboard, choo choo," backed by several children's voices. "Fly like a bat, come in from the rain/Let's get on the Halloween train." And, hey, it's not just bats and children on this train. A couple of black cats, a few spiders, and four ghosts make their way on. But no worries, the ghosts don't take up much space. That's followed by "What Am I Gonna Be (For Halloween)." That's the big question, isn't it? I bet I'm not the only one who puts off making the decision until it's too late to put together anything really spectacular. "Wait, I've got a great idea/I'll wear a suit all made of fur," Laurie sings. That is a great idea. That's what I'll do. This is a fun number. Laurie has children joining her on this one too. And there is a horn section, adding to the enjoyment. David Mann is on saxophone, and Trevor Neumann is on trumpet. Brady Rymer plays bass on these first two tracks.

"I Picked One Pumpkin" has a nice folk song sound. Laurie performs this one solo on guitar, and her vocals have a bright, friendly, and pretty sound. "I picked one pumpkin from the meadow/And the scarecrow waved at me/The crow said caw/And the moon shone bright/I picked one pumpkin from the meadow that night." On each verse she picks more pumpkins (the crow interestingly keeping track), until, you guessed it, there are no more pumpkins. But what you might not guess is that then the song turns into a strange dance number for pumpkins, with hand claps. "All those pumpkins came alive!" That's followed by "Peek-A-Boo Ghost," a totally delightful number. The kids are particularly cute here, giggling and singing. And the band adds some traditionally haunting sounds at certain moments. "It's okay, 'cause I know who/It's a peek-a-boo ghost playing peek-a-boo." The track ends with children's laughter.

"I'm the biggest monster that you've ever seen/My eyes are purple and my teeth are green/I'm big and I'm scary, you know what I mean," Laurie sings at the beginning of "Monster Boogie." And then this monster introduces her own dance, and encourages everyone to join in. Yes, it's another fun number, and it ends with a roar. Then "Which Witch" has a pleasant, kind of sweet vibe. "Which witch was which/I just couldn't tell/Hocus pocus, they must have cast a spell." Brady Rymer plays bass on this track, delivering some good work. This one contains some nice stuff on drums too, and ends with chimes (as it began). That's followed by "Trick Or Treat." The first line is "Today's my favorite holiday," and I'm totally on board. What other holiday even comes close? This is a ridiculously cheerful number about that wonderful tradition. Sometimes I still want to knock on strangers' doors and ask for candy, and not just on Halloween. I always loved that moment just before I was handed the candy, when the possibilities were exciting and seemingly endless. 

"Choc-o-lot In My Pock-o-lot" is one of the disc's highlights, in part because of the delicious, jazzy vibe. This one too features a horn section, including Andrew Maroco on trumpet, Joe Ruddick on baritone saxophone, and Kevin Sztam on trombone. This one also features some really nice work on keys. I've left a piece of chocolate in my pocket, and here in Los Angeles that is just not a good idea. It led to me later discovering a little packet of brown water in my pocket. Laurie is clearly having a great time here, this track featuring a playful and fun vocal approach. And the results are excellent. That's followed by the old traditional children's number "The Itsy Bitsy Spider," which Laurie performs solo on acoustic guitar. She adds little comments, such as "Oh no" after the line "And washed the spider out."

It's been ages since I've thought about hayrides, but I remember those being fun when I was a kid, and a different kind of fun when I was like thirteen. Laurie Berkner's "Hayride" song is, of course, about the more innocent hayride, and she is joined by children on vocals. And there are hand claps. "Bump bump bumpity bump." The pace picks up toward the end, and then slows down again. I love that this track ends with people shouting "Hello." That's followed by "Moon Moon Moon," which is all about the vocals. This track features some pretty vocal work. "Moon moon moon, I can see/Moon moon moon, you're taking care of me." Then "The Owls" has a gentle, sweet vibe. This is another song that includes counting as part of its progress. You know: first one owl, then two, then three. "Now all of the owls were resting in bed."

"What Falls In The Fall?" features Adam Bernstein on bass and Joe Ruddick on piano backing Laurie's vocals and guitar work. This song is about the season, about the leaves changing. It's a beautiful folk song, and it contains some really good work on bass. It's one of my personal favorites. "What falls in the fall?/Temperatures fall/Down, down, down, down, down/It's when the summer ends/You've got to hug your friends." That's followed by "Waiting For The Elevator - Halloween." This is a song that Laurie included on an earlier album, but this version features Halloween-related creatures entering at each of the various floors. The cat from the earlier version still is allowed on, which makes some sense, as well as the alligator, which makes less sense. And there is an adorable children's part to this song. Then we are treated to a Dance Remix version of "Monster Boogie." It has a pop sound, and the vocals have a different sound as well. It would be fun to hear this song at a club. I think someone should make that happen. The album then concludes with "Peek-A-Boo Ghost (Reprise)," a short track with just vocals and laughter. Are you ready for Halloween now?

CD Track List

1. Halloween Train
2. What Am I Gonna Be (For Halloween)
3. I Picked One Pumpkin
4. Peek-A-Boo Ghost
5. Monster Boogie
6. Which Witch
7. Trick Or Treat
8. Choc-o-lot In My Pock-o-lot
9. The Itsy Bitsy Spider
10. Hayride
11. Moon Moon Moon
12. The Owls
13. What Falls In The Fall?
14. Waiting For The Elevator - Halloween
15. Monster Boogie (Dance Remix)
16. Peek-A-Boo Ghost (Reprise)

A Laurie Berkner Halloween was released on CD on August 28, 2026 on Two Tomatoes Records.

Cindy Lawson: "Long Live The Resistance!" (2026) CD Review

The United States is in the hands of fascists, led by an old, obese child rapist and convicted felon. We are in ugly times, the Republicans having turned completely evil and the Democrats having become a bunch of cowardly and ineffectual losers. And this country's lawless Gestapo, called ICE, is running loose, attacking and murdering people. Perhaps nowhere was their horror felt more than in the city of Minneapolis early this year, when Renee Good and Alex Pretti, both U.S. citizens, were murdered by ICE thugs in two separate incidents. Cindy Lawson is based in Minneapolis, and her powerful new EP, Long Live The Resistance!, is in response to the government's unlawful siege of her city. She is on vocals and guitar, and is joined by Pony Hixon Smith on bass and vocals, Jerry Lefkowitz on guitar and vocals, and Mark Devaraj on drums and vocals. 

The disc opens with "The Reckoning," which begins with some guitar work and then quickly kicks in to become a hard-hitting rock song, delivered with plenty of anger and grit, aimed directly at the source: "And now your reckoning is nigh/Karma's a bitch, but so am I." Cindy describes the guy: "You're a tiny little shell of a man without a shred of decency." I suppose these days there are a lot of people that fit that description. And then: "I'd like to see you on your knees/Cry, cry, cry." What a cathartic image that would be. I think we'd all like to see that rapist in the White House on his knees, begging for his life. At the end, Cindy asks, "If you could get away with it, would you do it again?"

"Burn" also comes on strong, with a sense of urgency. Here are the opening lines: "You kill what you don't understand/Does it make you feel like more of a man/We're the daughters of the witches that you couldn't burn/You stupid git, you'll never learn." And then everyone joins Cindy on the line, "Don't believe the lies," each syllable given equal weight. Another line that stands out for me is "You long for a past that never existed." When the morons first started saying "Make America great again" (a slogan stolen from another asshole, Ronald Reagan), I wondered just when they believed America was great. What time period did they want to return to? But I think we have the answer now. They want to return to the time just before the Civil War, which is clear from their Confederate flags and their fear of science and their bigotry. A time when they could own slaves, a time when women had few rights. But they don't really want to return to that time; they want to go to their own romanticized idea of that time. This is a kick-ass, empowering number. Halfway through, there is a spoken word section, where Cindy Lawson quotes a passage from George Orwell's 1984, a novel that now seems like an instruction manual for the Republicans. And then Cindy directly addresses the criminal in the White House: "Rapist, con man, pedophile/You're front page news in the Epstein files/You Nazi scum will die in prison/Because Minnesota fights against fascism." Trump and his entire administration deserve to die in prison, though as long as they die soon, I don't particularly care where they do it.

"Eat The Rich" comes at us at a fast pace, a great punk number. I used to think it was kind of ridiculous to hate rich people, but now the rich are richer than ever before, greedier than ever before, and the gap between the rich and the rest of us is greater than ever before. The ultra-rich are a special class of assholes. Cindy Lawson takes a different approach to this one, singing at times from the perspective of a rich person: "I'm about to land my private plane/The working class is such a drag." I love the punk attitude on the title line. I'm guessing you'll be shouting along too: "Eat the rich, eat the rich, eat the rich." The EP then concludes with "Howard Zinn Died For Your Sins," a powerful number. "I know you're lying/Your lips are moving/I hear you talking/And it's all bullshit/How do you sleep/How do you sleep at night/How do you sleep." This track features some delicious work on bass. This one directly addresses the actions of this country's version of the Gestapo: "We were there/We saw it happen/In our town/You shot her down." I sometimes wonder when people will start hunting down members of ICE. When learning about the Nazis, we used to wonder why more people didn't kill Gestapo agents in Germany. Will the anger that decent folks feel, the anger expressed in this music, result in people taking action against ICE? ICE needs to be completely destroyed, and all its members tried for crimes against humanity, before this country can hope to regain even a small fraction of its former dignity and prestige. 

CD Track List

1. The Reckoning
2. Burn
3. Eat The Rich
4. Howard Zinn Died For Your Sins

Long Live The Resistance! is scheduled to be released on October 2, 2026 on Rum Bar Records.

Fernando Perdomo: "Cloud 9" (2026) CD Review

For the ninth volume of Fernando Perdomo's Clouds series, he's giving us something a little different. Before you even take the disc out of its case, you'll notice a change, and that's the title. Instead of Clouds 9, as you'd expect the title to be, in keeping with the titles of the previous eight entries in the series, it is Cloud 9. For how could he pass up the chance to call it that? And when you look at the back of the CD case, you'll see that the tracks (or most of them) were recorded live, also a departure from all the earlier volumes. You'll also see that one track has a co-writer, which has not been the case with any of the tracks from the other volumes. Up until now, all the material was written and performed by Fernando Perdomo solo. This one track was not only co-written by another artist, but is performed with him. This is also the first volume to contain fewer than ten tracks. So, quite a few differences.

On August 2nd of this year, Fernando Perdomo performed a special concert at Kulak's Woodshed in North Hollywood, recording the show for release as Cloud 9. At the time, I wondered how much of the show would end up on the CD, because the show was approximately two hours, and a good chunk of it featured guest guitarist Steve Caton joining him. Well, none of the Steve Caton material is included here (perhaps it will end up on a future release). Still, the album contains more than fifty minutes of music. It opens with its title track, immediately taking us to a beautiful place. I love music that is able to transport me in some way, and this track does so straight away. And once we are in this other land, Fernando begins to explore it, to fill it with color. It is welcoming, soothing. And then there is a delightful moment when his guitar dances upon that landscape, like a sprite. After that, the piece begins to build in power, and then lifts us to yet a different realm just before the end. Or before pausing, as the case may be. At the show, this seemed to be the end of the piece, and you can hear applause in that moment. But the next piece is included on this same track, all under the title "Cloud 9," which is interesting. And it is here that we get into stranger places, and are able to experience more details of this landscape. Like we are now closer to the source, and are able to get glimpses of the inner parts and their motion, immersing ourselves in the music, in the experience. As it swells and grows, it feels like it is all around us. The applause is cut from the end of the track, and from most of the rest of the tracks too. So though the album was recorded in front of an audience, we can, for the most part, forget about that while listening. The audience's presence does not intrude on our own personal experience of the music.

There is a hypnotic effect at the beginning of "Transporter," as the music takes hold. The different layers to the music help create that effect. We trust the music will take us safely into whatever territory lies ahead. And perhaps the movement is within us anyway. There is something soothing here, though it is a full sound, and a vibrant sound. In the second half, there is a different intensity, and it is then we feel there are others around us. We are not alone on this journey, even if we at one point felt it was an inward adventure. Streaks of bright sunlight break in. That's followed by "St. Peter's Gate." As it starts, ethereal voices like great fingers reach down, playing upon our reality, pressing against our atmosphere. Then something grows from beneath, from within. There are brief playful touches, like some other creature is nearby making tiny adjustments on our reality. Then we settle into a relaxing, welcoming place, where everything feels right. In the second half, there are little changes, like someone is again fiddling with our reality, an interesting effect. Then a more drastic change occurs, and we are removed from that gentle cradling we felt and brought to a place with sharper edges, before being soothed once again.

"What Is A Cloud" is the track that was co-written by Bradley Bobbs, who joins Fernando on vocals here, delivering the piece as spoken word. This is a great departure from the other tracks on these volumes, not just having someone join him, but containing lyrics. Fernando's playing still has a soothing aspect, but this track is a bit jarring at first because of the vocals and the way they are delivered. It is a sort of science lesson about clouds. There is some humor, and the track contains references to Winnie The Pooh, Superman and The Rocky Horror Picture Show. This is also a track when we become aware of the audience, as laughter is audible at times, and there is applause at the end. Fernando delivers some interesting, kind of trippy stuff on guitar. This track is the longest on the album, at more than twelve minutes. It ends with a reference to Joni Mitchell's "Both Sides Now."

"The Weather Station" begins with messages sent from the cosmos. Or perhaps sent out to them. Soon those messages begin to melt, to change, to warp, to slip out of our realm, though only for a short time. Then we are back where we were, but our grasp on reality is perhaps a bit more tenuous now, for we know that things can change at any moment. And soon they do. Electronic voices, electronic footsteps, like the universe is one great and vast machine, pulses riding its wires from one end to another. And we are small, lost somewhere within its intestines. This track takes us on the album's most interesting journey, and is one of my personal favorites. Then with "God," we are in a brighter place, but with heavier rumblings beneath. Sounds are coming at us from above and below, but there are still places to breathe, to take a look at our surroundings. A thunder rolls about, gathering energy. There is a sense of excitement, as we are taken to those deeper places, places previously hidden from our sight. There is no turning back now, as we push through another barrier and find ourselves in a wilder space, where the air is heavy enough and sharp enough to bruise us if we're not careful. This is another of the album's best tracks.

At the concert, that was the point when Steve Caton joined Fernando Perdomo on stage. The album could have ended there, and certainly no one would have objected. Those first six tracks add up to approximately forty-seven minutes of music, more than enough to qualify as a full-length album. But Fernando does something else unexpected. He adds two more short tracks, listed as bonus tracks on the CD case. These are studio recordings. The first is "Head In The Clouds," soon taking us to a rather pretty place, a place where we have no obligations, where we are free to float, to turn inward or outward as the mood strikes us. Then in the second half, as the track is nearing its conclusion, it seems to collect all its thoughts in a more focused way, pulling us all in. The album concludes with "Keith's Song," which has a different sound and vibe, delivered on acoustic guitar. There is a sweet beauty to this one, and it will likely leave you feeling good. This track is dedicated to the memory of Keith Boundy.

CD Track List

1. Cloud 9
2. Transporter
3. St. Peter's Gate
4. What Is A Cloud
5. The Weather Station
6. God
7. Head In The Clouds
8. Keith's Song

Cloud 9 was released on September 1, 2026.

Jeff Colella & Putter Smith: "Between Friends" (2026) CD Review

In 2014, pianist Jeff Colella and bass player Putter Smith released an album together titled Lotus Blossom, which featured covers of tunes by Billy Strayhorn, Miles Davis and Bill Evans, along with a couple of original compositions. Fans have had to wait more than a decade for the duo's follow-up, but it's here now. Titled Between Friends, this album contains a good mix of covers and original material. Interestingly, for some of the covers, they turn again to the work of Bill Evans and Billy Strayhorn. Both musicians are known for their talent in improvising, and so there is a lively sense to these tracks, for each musician is actively listening to the other, communicating as they go, letting each piece breathe and have a life of its own. So even the well-known numbers might take you to some unexpected places. The album was produced by Jeff Colella, Putter Smith and The American Jazz Institute.

The album opens with one of the original compositions, "For Us," written by Putter Smith. As it begins, it feels like a gentle and warm piece, with a possible romantic bent and atmosphere, with a cool, late-night vibe. And there is that, for sure. But there are surprises, especially in Putter Smith's bass lead. There is a wonderful freedom of movement in that lead. And as they come out of that section, there is a great energy and joy, a sense of fun, and that informs some of Jeff Colella's work in the second half. This track provides an excellent start to the album. It's followed by another original composition by Putter Smith, "Anam Cara, VR," a piece written in memory of his wife ("anam cara" means "soul friend," a wonderful concept). Putter begins this one with a bass solo, which feels right. And there are surprises here too. Am I crazy, or is there a brief nod to "Young At Heart" in that solo? The song takes on a warmer aspect when Jeff comes in on piano, delivering some beautiful work. And we find ourselves walking in someone else's memories, which of course become mixed with our own. It's marvelous how music is able to do that, how it is able to make those memories come alive. Who is that companion that this music conjures for you? If you close your eyes, you might feel that person's touch upon your skin. This is a beautiful track.

The first of the album's covers is "Laurie," written by Bill Evans, this song being the first of two Bill Evans compositions on the album (interestingly, both compositions were included on Bill Evans' 1980 record We Will Meet Again). Jeff Colella begins this one solo, with a gentle touch, and with hints of the great magic we experience in love. The piece takes on more energy at moments after Putter comes in, and these two extraordinary musicians take the piece in some unexpected and delightful places. That's followed by "Voyage," written by pianist Kenny Barron. Jeff Colella and Putter Smith approach this one in an interesting way, as if both are leading together rather than each taking a turn. The results are lively and exciting, and the track breathes and moves. It does feel like it's over a bit too soon. Then Jeff begins "Locomotive," performing solo for just the first moments before Putter joins him, the two handling the theme together. There is something darker to this one early on, as well as something beautiful. There is a strong focus here. I especially love Putter's lead on bass.

The mood then changes with the duo's cover of  Billy Strayhorn's "Isfahan." There is a refreshing lightness to their rendition, and a certain joy to the playing, particularly in the bass work. I love their approach. Because of that groove, things seem right with the world. The piece's beauty shines as well, and the track has a wonderful ending. That's followed by "Catastrophe Loops," an original composition by Putter Smith. These days catastrophe loops seem an almost logical rection to the uncertainty of things, when worst-case scenarios play out on a daily basis. Anyway, there is an intensity at times to this track, sometimes heard more in the piano work, sometimes more in the bass work, though it is never overwhelming. This is a fascinating piece, and it reaches a calm place at the end, as if we've emerged from the loop.

"A Prayer For The World" is an original composition by Jeff Colella, his only composition on this album. It is a contemplative number, which then grows in power partway through, as if reflection is not enough, and it now is demanding a response. It then returns to a softer tone. I am still hopeful that things will improve, but too many people don't want them to improve. Just think of all the people that willingly, eagerly, put a rapist and convicted felon back into the White House. There is a sadness heard at the end of this track, as it slows and lets go. Jeff then begins "The Glide," and soon Putter joins him on that initial theme. This track gets more interesting once the two musicians begin exploring areas outside that theme, while still keeping it in mind. Then when we return fully to that theme at the end, it means more to us. This is a wonderful rendition. The album concludes with its second Bill Evans composition, the title track to his We Will Meet Again album. They deliver a touching rendition. It's difficult saying goodbye to someone, especially when we consider the probability that there is nothing after this, that we likely will not meet him or her again. But who knows? And perhaps this song is more about meeting someone again in this life, or at least intending to, before death permanently separates us. We remain hopeful, don't we? There is some beautiful work here.

CD Track List

1. For Us
2. Anam Cara, VR
3. Laurie
4. Voyage
5. Locomotive
6. Isfahan
7. Catastrophe Loops
8. A Prayer For The World
9. The Glide
10. We Will Meet Again

Between Friends was released on August 21, 2026. 

Hootenanny at Maui Sugar Mill Saloon, 9-5-26: Photos

Feef Mooney

Last night a hootenanny was held at Maui Sugar Mill Saloon, featuring Feef Mooney, Bernie Barlow, Cameron Dye, Fernando Perdomo, Mason McNulty And The Burning Fields, Gabi Lima, Violet Rey, and Ursula Lari. This was Feef Mooney's first time ever playing at Maui Sugar Mill Saloon, and she kicked off the show promptly at eight o' clock, focusing on songs from her new album The Really Real. She played "Evolution," "The Really Real" and "The 25th Hour" from that album. I especially loved her guitar work on "The 25th Hour," with its 1960s flavor. She delivered a seriously good rendition, featuring a delicious bass line from Fernando Perdomo and some great stuff by Nick Vincent on drums. A highlight not just of her set, but of the night. After that song, she mentioned how she was new to the Maui Sugar Mill Saloon experience, but now understands why everyone likes the venue so much. She wrapped up the set with "Cleo September." Actually, she had intended to play at least one more song, but was told her time was up. The audience wanted more. It was a very short set so that the next artist could start promptly at 8:30. Later in the show, that sort of strict time was let go.

Bernie Barlow

Bernie Barlow was up next, her set focusing on songs from Walking Around This Town, which was released last year. She opened with "Brave," which features the line "You make me feel like everything's real/You make me feel alive." She also played "Which Way To Go," "Enough Time" (which she introduced by saying, "This next song is about how we don't have enough time on this Earth," something that has been on my mind a lot lately), "Stay Right There" (which featured some nice harmonies), and wrapped up the set with "Million Miles An Hour," a rocking number.

Cameron Dye

Cameron Dye kicked off his set with "Thick Skin," which had a really nice vibe and featured some good work on harmonica, plus some wonderful stuff by Lyn Bertles on violin. He followed that with "The Lie We Have In Common," a cool number with some good drumming (that was Nick Vincent again on drums), and then "Blown Away," the line "Tell yourself I told you so" making me smile. That song also featured some powerful work on violin. The set also included "Nasty Girl," "Right Outa My Mind" and an excellent rendition of The Rolling Stones' "Child Of The Moon," featuring some great stuff on bass.

Fernando Perdomo

Fernando Perdomo opened his set with a wonderful rendition of "Home," with Kaitlin Wolfberg joining him on violin. What a nice choice of opener. Then Michael Collins and Janet Thompson joined them on drums and bass respectively for the rest of the set. "Photographers In Love" had a false start because of a power issue, but was a good rendition nonetheless. "I'm No Fun" followed, that song having such a sweet and catchy sound. Then, after "Goodbye Sun," Fernando introduced the band and announced that he and Kaitlin are starting a duo project to be called Fernando & The Wolf. Fernando wrapped up the set with "Girl With A Record Collection," which was a lot of fun and featured some great stuff on drums.

Mason McNulty And The Burning Fields

Mason McNulty And The Burning Fields kicked off their set with "Dust," which featured some really nice guitar work. The band's set had a good energy, and included a song that he sings in the movie Billy The Kid: Blood And Legend, as well as a song titled "Sirens." 

Gabi Lima

Gabi Lima let the audience know she'd had a sore throat all week, but based on her performance I'm not sure anyone would have suspected that. Backed by Teresa Cowles on bass and Jason Berk on guitar, Gabi kicked off her set with "Sidecar," which was a lot of fun. She followed that with "Boy In Love," a delightful power pop gem. Gabi anounced she's working on a new album, and then played "Loose Cannon," which will be on it. She followed that with a cover of Steely Dan's "Dirty Work," with Teresa and Jason joining her on vocals for the chorus, and then "Sunny," the first song she recorded for the new album. She wrapped up the set with "Tinnitus," another totally fun one.

Violet Ray

Violet Rey opened her set with a traditional folk number, "The Cuckoo," a song she introduced as a Townes Van Zandt song (while Townes did record it, as "Coo Coo," it was written long before he was born). She delivered a really good rendition, and followed it with a strong original song, "Peeping Tom." She also covered The Rolling Stones' "Wild Horses," and played a few more original numbers, including "Transformer," "Asking For" and "Coyote." She mentioned that "Coyote" has two titles, as her mother calls it "Dangled Carrot."

Ursula Lari

Ursula Lari closed out the night. Her set included "En Mis Suenos" (a good original song), and covers of "In The Morning, Rain Or Shine" and "Corazon Espinado." Partway through "Corazon Espinado," Fernando Perdomo joined her on electric guitar, and that song ended up being another highlight of the night, a perfect way to wrap up the show.

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

Oil Capital Underground DVD Review

Every city has its music and its musicians. Every city has its music scene, some bigger and more robust than others. When one thinks of Tulsa, it is likely the so-called "Tulsa sound" that springs to mind. The documentary film Oil Capital Underground: The Genesis And Evolution Of Punk Rock In Tulsa - Late 70s To Mid 90s begins by listing on screen some of the famous musicians who hail from that city (some being born there, others spending at least part of their childhoods there), people such as Leon Russell, JJ Cale, Elvin Bishop, and Dwight Twilley. The focus of this film, however, is on the city's punk scene, something that many people might not be as knowledgeable about. It documents the punk scene from the late 1970s all the way through the mid-1990s, with interviews with many of the key players. Not just musicians, but those who owned and ran some of the important music venues that catered to the punk scene. It covers a lot of territory, and takes us deep into the scene, the subject handled with affection.

Interestingly, it begins with some thoughts on the reaction to the scene, particularly by the police. "You know, the police in a town like Tulsa, they're not going to let kids have too much fun for too long," says Dale Lawton. The Sex Pistols show in January of 1978 is said to be the start of Tulsa's punk scene, with The Ramones playing there soon afterward. Then the documentary gets into the Tulsa bands, such as The Automatic Fathers, New Mysterians, Los Reactors, Bridge Climbers, Food Chain, and (of course) None Of The Above (known affectionately as N.O.T.A.). It features interviews with musicians such as George Anthony, Jeff Klein, Anthony Lookout, Roger Scott, Bruce Hendrickson, Joe Danger, Sarah Wagner and Tex Montana. Bruce Hendrickson says that "it was kinda us against the world on a daily basis." And I love Sarah Wagner's anecdote about what inspired her to start a band, which was having someone tell her, "A woman's place is in the audience." There is some cool old footage of these bands, and we're treated to bits of several great songs. This documentary has added significantly to my records wish list. Seriously, I must have some recordings of  Los Reactors, Bridge Climbers and Food Chain in my record and CD collection.

The history of the punk scene is a history of different venues, and this documentary does a great job of giving those venues their due. Places like The Bleu Grotto, Cain's Ballroom, Crystal Pistol, and Club Nitro. Charlotte Tanner, owner of Crystal Pistol, talks about being asked by the country music fans why she was now booking punk bands, and says, "Well, they've got to play somewhere." And as the documentary moves into the late 1980s and 1990s, the venues change, and we learn of places like Annie's Diner, Vortez, Ikon, and 424 (the story of 424 is crazy). Khaled "K" Rahhal, owner of Club Nitro, is mentioned by many of the musicians, and is interviewed in the film. As you might guess, there are plenty of wild stories. The film gets into some of the later bands, such as Predestined Fate, Asylum, Crimes Against Humanity, Cenotaph, Concept Of Nonsense, Brother Inferior, Baby M, Bunnies Of Doom and Pitbulls On Crack. In general, I found the footage on the earlier groups a bit more interesting, and there seemed to be a bit too much time dedicated to later bands. Still, this documentary is certainly worth checking out. It's great to look back to a time when music was exciting and fresh. And there is a good chance you'll be turned onto some songs you'll want to add to your music collection.

Special Features

The DVD contains some bonus material, including a short reel of outtakes, featuring bits from interviews. There is also a photo gallery, which plays as a video. And there is a commentary track by the director of the film, Bryan Crain, who is a musician himself. He talks about the look of the film, about getting some of the old footage and still photos, and he provides more information about some of the venues. And though his own band The Outcasts is not featured in the film, Bryan Crain points out moments when he was able to put in a bit of his music in the background.

Oil Capital Underground: The Genesis And Evolution Of Punk Rock In Tulsa - Late 70s To Mid 90s was originally released in 2018, and is scheduled to be released on DVD on September 22, 2026 through MVD Visual.