Tranquilina, The Smokey Lonesome, and Old Californio Quartet at Music Garden L.A., 7-26-26

What is going on in Los Angeles? We're used to the heat, that's rarely a problem. But humidity? All of us came to this city partly to escape that sort of thing. Well, it was a hot, muggy afternoon in Highland Park yesterday, the kind of day when you sweat even when you're just seated in the shade, which I was, and which I did. But the music was so cool that everything was okay. Three great southern California bands played yesterday: Tranquilina, The Smokey Lonesome, and Old Californio Quartet. The start time was pushed back a half hour to 3:30, to see if perhaps some relief might come during that time, if the light breeze might be more welcoming. And it was. 

Tranquilina 

Tranquilina took the stage at 3:32 p.m., the band celebrating the release of the album Fleeting Moments, which just came out. The fact that all these moments are fleeting is precisely why I try to get to as many concerts as I can. Let's fill our lives with joy, for it will all be over far too soon. The band opened the set with the album's opening track, "I Know My Luck," establishing a pretty sound. The song had a totally delightful, sweet 1960s vibe, which I loved, especially in the "ba ba ba" vocal part. After that song, Gloria told the crowd, "I'd like to introduce you to our newest member, Stu Olsen." It's interesting that Stu Olsen is now in Tranquilina, for Tranquilina has been acting as his backing band at his recent shows. So now there are two different bands that are made up of all the same members. They followed "I Know My Luck" with "Shambles," which also follows it on the album. Sophia switched to mandolin for this song, delivering some lovely work, and helping to create this song's great vibe. Sophia then switched to lap steel for the album's title track, the band still following the CD's track order. Tom used mallets for just the opening moments, then switched to brushes. The band delivered a really nice rendition, which featured some beautiful work on lap steel. Sophia then went back to electric guitar for "Apologize In Advance." Everything was feeling right. That song was followed by "Into The Clouds," Tom again using mallets for the initial moment before switching to brushes. This song had a particularly cool vibe. Then "In Drastic Need" had a pleasant sound from the start. Something about the sound of this song feels like summer, and it featured some particularly good drumming. "That's the second time we've played that one," Gloria said afterward. She then mentioned that this show was Stu's debut as a member of the band, that they had only one rehearsal together. Well, we certainly wouldn't have guessed that. In introducing "Finally Made It To Nashville," Gloria mentioned that Stu hadn't played the song before. Sophia added that Stu is so good, she just assumed he could read her mind. Stu is that good. And the song was one of the set's highlights. And Stu delivered an especially strong lead on guitar on "My Black Cloud 9." The set concluded with "LAX," a rocking number with a delicious groove and energy. What a great bass line! This was a lot of fun. The set ended at 4:14p.m.

The Smokey Lonesome

Twenty minutes later The Smokey Lonesome was ready to go. The heat was still a heavy presence, and I'm guessing the several beers I drank didn't do me much good in that regard. But the duo opened the set with "Frontera," and at that point the heat was coming from the two people on stage. There was just the slightest of pauses after "Frontera" before they went into "Koa Box," keeping the energy high, keeping things moving at a fast pace, as if to outrun the heat. And speaking of that, they next played "AC Breakdown," a perfect song for the day. There was hardly a pause before that song too. I was enjoying the playful vibes, and it seemed now the band was directly confronting the heat. Then Natalie took lead vocal duties on "Ninety-Nine And A Half," even delivering a great rock and roll scream at one point. She then told the crowd, "This one I think you know when to chime in," and from the response in the crowd it was clear most people knew precisely what song was coming, and so of course when to chime in as well. The song, "Cannabis," is always fun, and folks shouted out, "California" at the right time. And when Dave sang the last line, "If that's what you like," I bet everyone there was thinking, "Oh, yes." That was followed by "Heartbroken Heartbreaker" and then a high-energy cover of "Silver Threads And Golden Needles." As Dave switched guitars, Natalie thanked everyone for coming out, adding, "I know the heat is not fun." No, it wasn't fun. But what was fun was the duo's next song, "The Smokey Lonesome," one of my favorites. Their harmonies were particularly good on that song. They followed that with "Paulito's Old Lady" and then "Desert Run," which was also great fun. They wrapped up their set with a delightful cover of Eddie Rabbitt's "Drivin' My Life Away," ensuring the song would be stuck in my head for at least a day or two.

Old Californio Quartet

Closing out the show was Old Californio Quartet, an offshoot of Old Californio made up of Rich Dembowski on guitar and lead vocals, Justin Smith on drums and backing vocals, Bob Roach on bass and backing vocals, and Dan Wistrom on pedal steel (and unmiked backing vocals). This configuration had performed as Old Californio down at DiPiazza's in May. It was still hot, but the humidity lifted as the band started, so everything felt great. Old Californio Quartet kicked off the set with "Millard Canyon Run." In introducing the song, Rich said it was about one of his favorite hiking trails, which was closed because of the fire. It's a song of the weekend, and it felt like a perfect song for the day. It featured a nice lead by Dan on pedal steel, and some good work by Rich on harmonica. That was followed by "Mother Road," always a fun one at their shows. Dan delivered some great work on pedal steel, and the song also featured some delicious stuff on bass. The line that includes "Old Californio" received some cheers from those in the crowd. The band then gave us an excellent cover of Arlo Guthrie's "Coming Into Los Angeles," jamming a bit at the beginning of it. The song featured some great drumming, which was part of what made it a highlight of the set for me. That was followed by another cover, Fred Neil's "That's The Bag I'm In," the band delivering a very cool rendition. Rich strapped on the harmonica again for "City Lines," a perfect song for that location, with the lyrics "Don't need to leave the city lines/To leave the city life behind." This venue is like a little oasis. Rich also delivered some nice work on harmonica on "Wild Horses," the Rolling Stones song. Another highlight of the show was "Lean Into It," an energetic number that featured a great jam. They finished the set with their phenomenal rendition of "Ring Of Fire." The show ended at 6:18 p.m., just as it was starting to cool.

Music Garden L.A. is located at 5133 York Blvd. in Highland Park.

Lisa Rich: "I Still Rise" (2026) CD Review

Jazz vocalist Lisa Rich's new album I Still Rise has a title with a positive bent, an optimistic bent, even a defiant one. In these days when everything seems to have gone wrong, when this country lacks leadership and compassion, when there is rampant injustice, even violence, at the hands of the government, it is no surprise that we are exhausted from the news, which we can't even fully trust anyway. It sometimes feels difficult to even get up. But we do. We get up and we use our voices, expressing anger and ache, love and hope. I find that it is in music that this spirit is most prevalent. Certainly we hear it in the music of Lisa Rich's new album. The album features the jazz vocalist's special treatment of some beloved material, including songs by Bill Evans, Paul Desmond and Wayne Shorter, as well as an excellent original composition. Lisa Rich is joined by Marc Copland on piano, Drew Gress on bass, and Dave Ballou on trumpet.

The album opens with a delicious rendition of "No Moon At All," which interestingly begins with a short bass solo, setting a cool atmosphere and tone, preparing us for Lisa's entry on vocals. Her approach is several shades of cool too. I love this rendition, which is just vocals and bass. Drew Gress delivers some excellent work on bass, particularly in the middle. There is a certain joy to Lisa Rich's delivery, which we need. "What a perfect night for love." Oh, yes. This music makes it the perfect night. What a wonderful start to the album. That song is followed by "Two Lonely People." This one starts with piano, a gentle and pretty touch to Marc Copland's playing. Lisa Rich delivers a captivating vocal performance, grabbing us with the first words she sings: "The two lonely people/Sit silently staring/Their eyes looking coldly ahead." And soon Drew Gress comes in on bass. The line "The world was their moon once" connects the song to the first track. "But then time came and broke them/Reality woke them/The world's not so pretty, it seems/For love that once mattered/Is old now and battered." Here Lisa Rich is a good companion in the night. This track also features a nice instrumental section in the second half.

"Beginner" begins with some scat, Lisa's voice at first supported just by bass. There is a playful vibe to this, her voice like an instrument. And as the piano comes in, she continues the scat. This leads straight into "How Can We Sing About Freedom?" which is an original number by Lisa Rich. Here is a taste of the lyrics: "How you gonna sing about freedom/When the world's closing in/Candles on the table/But there's no peace within/The markets crash/The people clash/And the truth is wearing thin/How can we pass over to a place we've never been." There is some anger behind her delivery, but more important is the power and the spirit in her delivery. This song also gives the album its title in the lines "Well, I can't walk, but I still rise/In the song I sing/This voice is what I've got/So I can let my freedom ring." In the second half, there is a bass solo. This is one of my favorite tracks. "I lift my glass, sing my song/Not 'cause things are better/But because silence feels so wrong." That's followed by "Estate," which she sings in Italian. She delivers a beautiful vocal performance, full of passion and ache. This track also contains a wonderful lead on piano. It's a song of memory and longing, which we feel in every note.

Time Out was the first jazz album I ever got, and that began my great fondness for Dave Brubeck. On this album, Lisa Rich gives us a good rendition of "Take Five." I sometimes forget that Iola Brubeck had written lyrics to the song, which Carmen McRae recorded with David Brubeck in the 1960s. Lisa delivers some delightful scat in this rendition, and that is part of what causes this recording to stand out. There is also a strong lead on piano, as well as a cool lead on bass. Lisa Rich then delivers an excellent rendition of "Quiet Now," giving us a gorgeous and moving vocal performance. There is weight to the advice she gives: "Live for just this moment/Yesterday's gone, try to let it be." She makes this song her own. It doesn't feel like she is reciting familiar lines, but discovering, or creating them, living within the song. It is a remarkable performance. And then check out that piano lead in the second half, which is at moments exciting, at others touching and tender.

Wayne Shorter's "Footprints" was given a set of lyrics by Kitty Margolis and re-titled "Ancient Footprints." Lisa Rich's rendition of "Ancient Footprints" includes some vocal work before she begins to deliver those lyrics, and in that early moment Dave Ballou's trumpet moves in concert with her voice, which is interesting. Throughout the track, Dave Ballou delivers some really nice work on trumpet, including a wonderful lead in the first half. This track also contains excellent leads on both piano and bass. "Eons of changes, illusions of some progress."  That line in particular stands out for me, for I've come to the conclusion that we as a species have not really made any progress (except in scientific knowledge, of course). At the end, Lisa's voice and the trumpet work together again, though this time with somewhat different parts. Then "Like Someone In Love" begins with a short bass solo before Lisa comes in on vocals. And she gives a great performance here. Listen to the way she delivers the lines "Sometimes the things I do astound me/Mostly whenever you're around me" for example. The piano then comes in, almost tentatively at first. At one point, Lisa moves seamlessly from lyrics to scat, so that the first part of the scat feels like words. It is only gradually that we realize she is not singing any proper words. A third of the way through the track, Dave Ballou enters on trumpet, delivering some delightful work. This track also contains a delicious lead on bass, helping to make it another of the disc's highlights.

Lisa Rich delivers another tremendous vocal performance on "Never Let Me Go," one that is so moving, so honest, so intimate, with supportive touches on trumpet. "You wouldn't hurt me, would you?/You'd never leave me, would you?" This is yet another of the album's highlights.  The trumpet lead in the second half begins in a tender place and becomes almost playful at moments, ready to engage in a little dance. The album then concludes with "It's Over Now (Well You Needn't)," which has a fun, lively vibe. It features delightful scat from Lisa Rich, as well as some wonderful work on both piano and bass, and a superb lead on trumpet. This song, and thus the album, ends with the words "It's over now," the music gently letting go.

CD Track List

1. No Moon At All
2. The Two Lonely People
3. Beginner/How Can We Sing About Freedom?
4. Estate
5. Take Five
6. Quiet Now
7. Ancient Footprints
8. Like Someone In Love
9. Never Let Me Go
10. It's Over Now (Well You Needn't)

I Still Rise was released on June 26, 2026 on Tritone Records.

The Glimmer Stars, Tailpipe, Analog Saint, and The Livingstones at Maui Sugar Mill Saloon, 7-24-26

The Glimmer Stars

Four excellent bands took the stage last night at Maui Sugar Mill Saloon, delivering delicious, energetic sets to an appreciative audience. The Glimmer Stars were up first, starting just after eight o' clock. Steven Soto called out, "Tarzana," and Mini Mendez introduced the band, "Good evening, we're The Glimmer Stars." There were cheers and shouts from the audience, and the band launched into the first song of the night, "Better Day." And it immediately became a better day. Isn't it great how music can do that? That song is on the band's new album, Someday's A Long Time. That song led straight into another song from that album, "I Need It Now." There was a great energy to this delicious power pop number. And I especially loved when all three band members shouted the title line, Richie Mendez pounding the drums, the song taking on a terrific punk vibe. There was barely a pause before the band then played "If I Only Could," leading us on a march into a cooler world. "Friday night in Tarzana," Steven then said. "Thanks for making it out tonight." It might sound strange to those who have not yet been to Maui Sugar Mill Saloon, but Tarzana is a fantastic place to be on a Friday night (or any night, for that matter). Mini Mendez offered cheers to the crowd for being there, and Steven added, "Cheers to air conditioning." The heatwave here shows no signs of breaking, and it seems like this is our new reality. Cheers to air conditioning, indeed! "It's going to be a good night of rock and roll," Mini Mendez said, and the band went into "Pictures Of You," which has a Cheap Trick reference, and which then led straight into "Alley Cat." I love the way the guitar responded to the line, "You're such an alley cat," and how the guitar rocked at the end. Mini Mendez can deliver a rock and roll scream, a rock and roll snarl, and do it with a smile. "Would You" and "Nice" followed, the latter featuring some especially strong stuff on guitar. Mini mentioned the band's new album, and Steven pointed out the Glimmer Stars buttons that he'd placed on the tables for everyone (mine is now attached to my Station 19 backpack, right next to the Jed's Dead button). The band then played "Maybe," one of my personal favorites from the new album. It is so catchy. Mini thanked Nubs for the great sound, and for pointing out that he plays three notes, not two, as he'd claimed earlier in the set (in that playfully self-deprecating way). The trio then delivered a fun rendition of "Paulina," which led straight into "I Want You" to wrap up the set, a song featuring some kick-ass drumming and finding Mini attacking that bass.

Tailpipe

Tailpipe was up next. As Steven had shouted out "Tarzana" at the beginning of the Glimmer Stars' set, Kevin Keller called out the Schlitz sign on the stage. And as Mini Mendez had announced, "Good evening, we're The Glimmer Stars," Jeff Bossin announced, "Good evening, we're Tailpipe." However, this band actually has a song titled "Good Evening, We're Tailpipe," and it was that playful number that opened their set. A short number that showed the band's sense of humor and made them immediately likeable. That was followed by "I Want It All," a song with fantastic energy, and then "Beg, Borrow And Steal," which had great power, particularly in that steady beat. After that song, Nubs told the guitarist to turn up, which shocked and delighted the band. Jeff responded by saying that we are indeed living in unprecedented times. "Rock And Roll After All" had two false starts, but Jeff promised, "Third time's a charm, everybody." And he was right. The song was a lot of fun. "I hope that was worth the wait," he joked afterward. Yup! And that is something I loved about the night, that there was a loose, fun, friendly atmosphere, just the sort of thing that often leads to those special and memorable shows. "Smoke 'Em If You Got 'Em" featured some cool work on bass, and "The End" followed. "It's not the end of the set, but the song is called 'The End,'" Kevin clarified. Kevin introduced "It's Not Alright," saying he wrote the song twenty-five years ago, but that this was the first time it was being played. He'd been going through old demos, and thought this song would be a perfect Tailpipe song. No argument from anyone in the audience. That was followed by a fairly new song titled "Crash And Burn" and then "Outside Lookin' In," which featured a nice lead on guitar and Tim Jimenez switching to mallets for the song's final moments. By the way, both Jeff and Kevin were sporting Glimmer Stars buttons. That was followed by "The Boss," which led straight into "Suspicious Minds." As the trio started that final number, Kevin said the band is going to do a different cover at every show and never repeat it. It was a rocking rendition, and the set ended at 9:42 p.m.

Analog Saint

Analog Saint, the only band of the night that wasn't a trio, was up next. This band got right to the music, not offering any sort of introduction, and opening with "New World," a song that rocked but also was catchy. That was followed by "Argentina," which featured some fantastic drumming. There was a surprising, mellow moment in the middle, and then, bam, they were back into the power. Then "Feeling Like You're Done" featured some very cool bass work, and then some wild stuff on guitar. One of my personal favorites was "Saturdays," which began with a delicious beat and contained some good, catchy vocal work. It was a highlight of the set. "It would be better if we played it tomorrow night," the band acknowledged afterward. That was followed by "She's A Weapon" and then "Stacey," the latter another catchy number. Then in "Outta Control, they sang, "You're getting that funny feeling/Like everything's outta control." I think we've all experienced that feeling lately, and the song clearly connected with folks in the audience. "I like it," someone shouted out at the end. "We are so glad you approve, sir," the band responded. The set also included "Nails," "Big Muff" (which is as fun as its title suggests), and "Werewolf," which just fucking rocked. They wrapped things up with "In The Moment," a high-energy number featuring some delicious drumming.

The Livingstones

The final band of the night was The Livingstones, led by Mike Livingston of The Mau Maus, with John Grant on bass and Boomer Bearman (who is also in The Oddity) on drums. These guys opened with "Lizard Brain," some good solid rock, the vocals having the right amount of attitude. They followed that with "Mad Cruel Woman," which featured some great stuff on guitar, coming from that special place where all the best rock and roll originates, the beat driving everything forward. Then "Migraine Cafeteria" contained some really good work on bass. Just as I was digging that bass line, the bass cut out. It was fixed just before the end of the song. Mike then mentioned how he was in The Maus Maus, and that the next song "is a Mau Maus song." That song was "Family Jewels," which was very cool and featured delicious stuff on guitar. "This is another song," Mike said in introducing "Queen Of The Tweekers." "It's not about my wife. She wanted me to mention that." Again, the night had a wonderful, loose vibe, and featured some good humor. That song contained a great groove, with some excellent drumming from Boomer, and a fantastic lead on guitar. This was one of my personal favorites of the set. It was followed by "Middle Class Crazy" and then "Meltdown," the latter a seriously fun instrumental number going into surf territory. This one also contained some excellent stuff on guitar, Mike bending notes, riding the crest of a wave. It was another highlight. "Car Bomb," which followed it, was also a highlight. A totally delicious number. The bass cut out again, but was fixed quickly. That was followed by "Yee Mee Loo," a song about a bar that used to be in Chinatown. They wrapped the night up with great pounding renditions of Vince Taylor's "Brand New Cadillac" and Chris Spedding's "Hurt By Love." The show came to a close just before midnight.

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

Fernando Perdomo: "Clouds 7" (2026) CD Review

Fernando Perdomo is now on the second half of his second year-long musical project, Clouds, and continuing to make music that transports us, taking us to unexpected places, both within ourselves and outside of ourselves, music that is soothing yet also stimulating. On each of these albums, he plays all the instruments. He also composes all the material, and produces each release. He did everything on Clouds 7, the latest entry in the series, except take the photo on the cover. That photo, which was taken by Keith Kaufman, has a pleasant, relaxed spirit, and it reflects the music of the album.

The album opens with "Droplets," and yes, right away we get the sense of steady droplets, falling slowly enough that we can watch them individually, can experience them, finding ourselves reflected in their movement. There is something soothing here, and something uplifting. When we can focus on one moment, one act, one movement, the world begins to make some sense. And here we are without distraction, the music offering a sort of meditative vibe. In the second half, there is a subtle change in emotion, as we shift, or slip, into slightly more somber territory, if only momentarily. Perhaps memories intrude at that moment. Yet it's all right, even as things slow and reach their conclusion, the piece having a hopeful and soothing final moment. That's followed by "The Happy Day." There is a happiness expressed, and so experienced, here. It is a gentle, soft joy, at least at the start. Then it finds a certain rhythm, and explores it with some excitement, before then taking another breath and falling back into a more tranquil space and mood. There is no need to rush anything here. The day is ours, as the sunlight plays upon our faces.

There is something wonderfully youthful to "Swell Season," like we are taking our first steps and seeing what the reaction is, what the result is to our movement, what the result of our own existence is in a strange world, and finding that creating a pattern can be a joyous thing. We humans naturally look for patterns, but what a thing it is to find that we can create them too. Before the end, the pace increases, as if we are excited to find where this pattern might lead, where it might take us, eager perhaps to complete the pattern. That is followed by "Tranquility." As its title promises, this piece has a relaxing effect. This track creates a gentle beauty, a place where we can slow our pace, let go of tension, momentarily let go of obligations, and just breathe and smile. Here even memories don't overtake us, at least not at first. Rather, there is a sweet absence of relations, of associations. Until we near the end, and then memories begin to play before us, hazy hints of the past rising to be contemplated.

As "Texture" begins, a thick light breaks over the horizon. The trees' branches feel the weight of it, bending, and we reach up to touch it ourselves, finding a certain perch closer to the sky, to the source. There is a blues element here, and it is like we offer up a song or offer up our own blues, and are met with a certain tension before the piece relaxes at the end. Then, with "The Ether," it is a wonder to find the light now comes from the blues, a celestial blues that spreads itself across the heavens, and then focuses on us as individuals. Gentle fingers play upon our small piece of reality, and mold it into something pretty. The motion of "Up" is upward, as the title suggests, starting from below and rushing up. And then again. And then again. Yet it is no chore, no work of Sisyphus. In fact, we take pleasure in it, even in the repetition. There is something comforting in that. And we turn to face a place of light, a place of beauty. With "Daffodil," we experience a gentle movement in a warm breeze. There is something soothing about that movement, a letting go. Isn't that what we want these days? To let go, at least for a moment? To find ourselves untethered to the world's stress and hardships.

As with "Up," there is a repeated upward movement to "Patterns" too, at the beginning, done without hesitation, without concern of it being the wrong motion or direction. Rather, it is done with joy of the pattern, and soon increases in pace. Then when a certainly lightness of spirit is achieved, we find ourselves on a different plateau, and so the pattern changes. After all, we have a different perspective now. Have we achieved a certain wisdom? Or would it be foolish to think that just because we are in a different place that we've attained anything special" For before the end we are repeating the initial pattern, though for a briefer time now. There is a pattern to "At Heaven's Door" too. We humans are conditioned to seek and find patterns, and so we do. In the sky, and in our motion through the heavens. We see them even in places where they might not exist. Partway through this track, a pulse from the distance finds us, and changes the way we view our surroundings, touching us in the darkness, where we feel alone. But that sense of loneliness soon begins to disappear, or perhaps to not matter as much.

CD Track List

1. Droplets
2. The Happy Day
3. Swell Season
4. Tranquility
5. Texture
6. The Ether
7. Up
8. Daffodil
9. Patterns
10. At Heaven's Door

Clouds 7 was released on July 1, 2026.

Peter Parcek: "Most Of The Time" (2026) CD Review

Who doesn't have the blues these days? Peter Parcek is here to help, because it is with blues music that we can most assuredly combat the blues in the world around us. Peter Parcek released his first album, Evolution, back in 2000, that album containing a mix of original material and covers. He has continued to mix original songs and covers on subsequent releases, including The Mathematics Of Love, Mississippi Suitcase, and his new album, Most Of The Time. Joining him on this one are Marc Hickox on bass, Tom West on organ, and Tim Carman on drums and percussion, along with several guests on various tracks. The album was produced by Peter Parcek and Patrick DiCenso.

The disc gets off to a great start with "Twistified," an original rocking blues number, with a sound that at times is in the same ballpark as Cream, and contains some cool stuff on guitar. It touches upon that perennial blues subject, losing a woman, when he sings, "My woman quit me/Went off with a younger man." But this song is particularly about aging. "Don't go gray/And don't never grow old." And it features horns. Mark Earley is on the horns, and did the horn arrangement. That instrumental section in the middle is fun, and it features some excellent stuff on guitar. Duke Robillard joins Peter Parcek on guitar on this one. That's followed by another original composition, "How Many Times," this one beginning by establishing a good groove. And, yeah, here another woman is doing her man wrong. "How many times/You gonna treat me like you do/Took all my money/All my love too," Peter sings. This one also contains some strong guitar work, and it too features horns. We are into some serious blues, some delicious blues.

The first cover of the album is Bob Dylan's "Most Of The Time," a song from his 1989 album Oh Mercy. It's a wonderful song, and Peter Parcek does an excellent job with it. "Most of the time/I keep both feet on the ground/I can follow the path/I can read the signs." And this line strikes us: "I don't even notice she's gone." And right after that line, Danielle Miraglia joins him on the line "Most of the time," like the woman who's gone is still present, and also keeping him honest, which is fantastic. Adding to the appeal of this version is Kevin Barry on lap steel and acoustic guitar, delivering some wonderful work. "Most of the time/I'm strong enough not to hate." I like how Peter and the band stretch out on this one a bit, not in a rush, turning in a version that is eight minutes long. That's followed by another cover, "I Don't Worry About A Thing" (here titled "I Don't Worry 'Bout A Thing"), this one written by Mose Allison. This version has a cool, mean, heavy vibe. The song is from the early 1960s, but the lyrics speak to us right now: "I don't worry about a thing/Because nothing's gonna be all right/The world is one big trouble spot/Some have plenty, and some have not." I love Peter Parcek's approach to this song. A slow strong pulse that becomes our own. This track also contains some nice stuff on keys, and, yeah, it features some delicious work on guitar.

"Just Play Rhythm, Baby" is an original song, and with a title like that, you just know it's going to have a good, fun groove. And it does, helping to shake our blues away. This instrumental track also features the horns, as well as a nice lead on keys. Then Peter Parcek's rendition of "Mississippi Phone Booth" begins with the beat, and then kind of eases in, with a soulful vibe. This song was written by John Hiatt. It is followed by another cover, "Stranger Blues," this one also speaking to us now, with lines like "I'm a stranger here/I just moved in your town/And because I'm a stranger/Everybody doggin' me around" and then "Sometimes I wonder why they treat a stranger so." These days it can be dangerous, even deadly, to be a stranger in certain parts of this country (the U.S. government is now the enemy, the villain, something it's still difficult to accept). This track contains some beautiful, passionate guitar work.

"Poor Boy" is a delicious, slow blues number that features some excellent stuff on harmonica, as well as some really good drumming. That's Marco Anthero Silva on harmonica. This one was written by Peter Parcek and David Herwaldt, and it features Duke Robillard on guitar, delivering some great work. "I'm a poor boy/In a world full of lies," Peter tells us, and sounds so weary from it, just like many of us feel. "Just a poor boy/In a world gone wrong/Strange things are happening/I can't last here long." This is one of my personal favorites. That's followed by "When I'm Dead & Gone," which has a great rhythm. Marco Giovino is on drums and percussion for this one. There is a kind of urgency to this song, to that rhythm, and so we take these lines as being urgent too: "Yeah, here's my picture/Put it in a frame/So when I'm dead and gone/You can see me just the same." And that is interesting. Is death lurking right around the corner? Perhaps. That delicious rhythm continues, even as that great guitar work takes over. Luther Dickinson joins Peter Parcek on guitar for this one. And there is some really strong work on harmonica too. That's Mickey Raphael on harmonica. I love the great raw power to this song. This one ends up being another of my favorites.

"Cold In Hand" also begins with a good beat, one with a New Orleans flavor, and it features some interesting guitar work, the track feeling like a blues party with a lot to say, and saying it all without any words whatsoever. This is the album's second instrumental track, and an energetic one at that, the guitar crackling. That's followed by "Three Feet In Back Of My Head," a blues song that surprisingly describes an out-of-body experience early on, and then urges us "Don't look back." That makes me think of Orpheus and Eurydice, but this song mentions a different myth, that of Lot and his wife (did she ever get a name?). Yeah, it's an unusual song, playing at the edge of darkness. It contains some good stuff on keys, and then in the second half there is a fantastic instrumental section, creating its own compelling landscape and taking us there, perhaps leaving us there. This is another of the album's gems.

The final four tracks are all covers, beginning with a good rendition of Fred McDowell's "61 Highway." I love that first section, with vocals and guitar. And when the others come in, there is a strong pulse. "And if you see my baby, tell her she's all right with me," Peter sings, and that guitar tells her, tells all of us, that things are all right, that we're all right. That's followed by a very cool rendition of Bill Withers' "Grandma's Hands." I especially love the drumbeat that was chosen for this version, and the bass line. Peter delivers a soulful, passionate vocal performance. He and the band stretch out on this one a bit, and the track contains a nice lead on keys and then a wonderfully expressive guitar lead in the second half. Then we're treated to a haunting, hypnotic and compelling instrumental rendition of "Lord Help The Poor & Needy," a song writen by Jessie Mae Hemphill. Helping Peter Parcek create the great atmosphere of this song is Daniel Kellar on violin. And the guitar says what needs to be said. The disc concludes with "Swooshy," a fun instrumental number that features the horns, as well as some excellent guitar work. Duke Robillard again joins Peter Parcek on guitar. This track will have you feeling good before too long, perhaps even dancing. Why not?

CD Track List

1. Twistified
2. How Many Times
3. Most Of The Time
4. I Don't Worry 'Bout A Thing
5. Just Play Rhythm, Baby
6. Mississippi Phone Booth
7. Stranger Blues
8. Poor Boy
9. When I'm Dead & Gone
10. Cold In Hand
11. Three Feet In Back Of My Head
12. 61 Highway
13. Grandma's Hands
14. Lord Help The Poor & Needy
15. Swooshy

Most Of The Time is scheduled to be released on August 14, 2026.