Trabants: "Mirage" (2026) Vinyl Review

Trabants is a Portland-based (though originally Boston-based, and then Los Angeles-based) band led by Eric Penna, delivering some delicious surf and psychedelic garage instrumental music. Isn't it fantastic to know that musicians are still making music like this? The group has been around for more than a decade, releasing cool albums like Highwire Surfing, Cinematic, Freakout and Nel Cuore Di Una Terra Selvaggia. The band's new record, Mirage, contains all original material written by Eric Penna. The group has gone through several personnel changes over the years, and for this album is made up of Eric Penna on guitar, percussion, bass, organ, and vibraphone; Dave Berkham on bass; Glenn Brigman on organ, electric harpsichord and tabla; and Anthony Brisson on drums. There are also guests on a few tracks. The band's name, by the way, comes from an East German car that was manufactured for several decades until the early 1990s, the word coming from the German word for "companion." Well, this music can certainly function as a good and fun companion in a time that seems generally diametrically opposed to fun. In a time when many people take things much too seriously, this music is like great gulps of fresh air. 

Side A

The album opens with "Track Zero." Here the machinery is getting in gear, preparing to launch. One pass, two, three, four, building energy with each circuit. And then it's over, a minute or so after it began.  But don't worry, because things really start moving, start shaking with "Hot Brew." This track contains a strong rhythm, and a guitar with the right amount of fuzz, skirting psychedelic territory. The other guitar part is eager to lead us in a dance. And why not? It shouldn't be long before the music has you on your feet anyway. Then we get into a 1960s surf world with "Mirage," which features some cool guitar work throughout the track. I love when this kind of music has some sort of exotic, foreign element or flavor, as it does at times here. It's music that could transport you, just as those waves could take you for a ride. And we know we're in good hands. It'll be a fun ride, sure, but we know we'll arrive safely. Pete Curry plays drums on this track.

"Purple Panther" is the track that initally got me excited about this record, and I imagine it will have the same effect on lots of folks. The band put out a music video for it several weeks ago, so check it out when you have a chance. It's clear from the song's opening moments that it's going to be a cool track, the way it kind of sneaks in. It very soon grabs hold, and contains some excellent work on guitar, a delicious rhythm, and some wonderful stuff on keys. This track also features guest Ron Dziubla on saxophone, delivering some great, raw, mean stuff, getting down and dirty at moments. What more could you want? If Quentin Tarantino hears this track, he'll certainly put it in a movie. I wish this track were longer. It comes in at a little under three minutes. It's followed by "Soul Garage A Go Go," which has a strong groove that immediately will make you think of certain soul hits of the 1960s (particularly The Four Tops' "I Can't Help Myself"). There is a good steady pounding, demanding that you cut loose. And we are treated to some excellent stuff by Bryan Murphy on trumpet, that instrument calling all the forces of nature to join us on the dance flow. This track contains a psychedelic ending.

"Mata Hari" has an especially cool vibe. It is another track that feels like it would be at home in a movie, that it should be part of a soundtrack, or score. There is something dramatic, something cinematic about it. It should be the theme music to a cool, but somewhat shady character, maybe a chick that the secret agent meets in a foreign land, like on the ski slopes or something. And watch out! She knows a little something, and has an undeniable allure. It's the sort of danger we'd willingly embrace. The music itself is seductive. Eric Penna plays vibraphone on this track, part of the track's cool vibe. The first side of the record then ends with "Midnight Bells," which also could be in a film, one of those 1960s numbers where a bunch of teenagers are dancing while lights melt upon their beautiful faces rather than a character's theme. There is a good energy to this one, and the track features some excellent guitar work, particularly toward the end.

Side B

Trabants open the record's second side in somewhat more serious territory with "Five Alarm." The music still is fun and has a great beat, but it feels like there is a darker energy at play, something lurking in the corners, in the shadows, adding a certain urgency. Perhaps that element can be ignored, if you just wish to dance. But one thing that can't be ignored is that great guitar lead, as it coils around your neck and slides into your ears. That's followed by "August Nights," the bass leading us into a delicious dance, a party where the psychedelics are in the punch, but things haven't gotten too weird yet. Everyone is still largely of this earth, moving to a beat all can hear, all can feel, swaying with a certain joy. But you are aware that this is the launching pad, and colors begin to play on the walls and ceiling. This is one of my favorite tracks.

"Fuzz 4 Daze" has a catchy guitar part. This track keeps everything moving, everyone dancing with its steady rhythm. Pete Curry plays both drums and bass on this track. I personally dislike numbers used in place of words in song titles (2 for "To," 4 instead of "For"), but the track is fun. And yeah, there is the right amount of fuzz here. The guitar pushes us onward. The band then takes us back into surf territory with "Hollywood Surf," a song with a delightful beat. It feels like a dance on the beach, where the whole world becomes that spot, and nothing exists beyond the horizon. It's so much fun dancing barefoot in the sand, as this music clearly demonstrates. Doesn't life feel good? I think we need life to become a dance again. Things have been too serious, too ugly for far too long.

There is a wonderful psychedelic vibe to "The Emerald Apricot," and yet it is still a fun song to dance to, the rhythm keeping us somewhat grounded, while the guitar pushes at the boundaries of reality in a playful way. There seems to be a dance within the song, as the different parts urge each other on, as the two guitar parts do in the second half. This track also features some great drumming, and is another of the record's highlights. The album concludes with "Mantra Part II." In 2024, Trabants released a single titled "Mantra" (and actually there is a note on the back of this record jacket that urges listeners to "play the two songs from our last 45" - "Mantra" and "Surfers On Acid" - between "Track Zero" and "Hot Brew"), and this follow-up takes us on a trip, with its strong eastern influence. There is some wonderful percussion on this track. This music makes me feel good. While it's nice to dance to, this track also has something soothing about it. And there is an interesting ending, as if suddenly we move backwards through our recent experiences, a strange winding backward, or winding down of the record's opening track. So I think we're left with no other choice but to play the record again.

Record Track List

Side A

1. Track Zero
2. Hot Brew
3. Mirage
4. Purple Panther
5. Soul Garage A Go Go
6. Mata Hari
7. Midnight Bells

Side B

1. Five Alarm
2. August Nights
3. Fuzz 4 Daze
4. Hollywood Surf
5. The Emerald Apricot
6. Mantra Pt. II

Mirage is scheduled to be released on June 12, 2026, and is going to be available on CD as well as vinyl. You can order it through Bandcamp.

Hannah Gill: "I Like The Sunrise" (2026) CD Review

From the first time I heard Hannah Gill's voice, I was a fan. And that was before I heard her Halloween-themed albums. Once I got my hands on Spooky Jazz Vol. 2 and last year's Spooky Jazz Vol. 3 (I still need to get a physical copy of the first volume), I loved her even more. Who wouldn't? If you've heard those albums, you're crazy about her too. Now on her new album, I Like The Sunrise, she celebrates the music of Duke Ellington. Rather than doing big band renditions of his material, as is often done, she chooses a more intimate approach. Joining her on this release are Luis Salcedo on guitar, Phil Ambuel on bass, Adam Ray on drums, and Ricky Alexander on saxophone. The album was produced by Scott Asen. It was recorded and mixed by Alex Conroy.

Hannah Gill opens the album with "So Far, So Good," the only track not written or co-written by Duke Ellington. It was written by Jack Lawrence, Jimmy Mundy and Eddie White. Duke Ellington recorded it in 1940, with Ivie Anderson on vocals. Hannah Gill's rendition features a delicious, catchy bass line and a wonderful lead on guitar. And Ricky Alexander delivers a warm lead on saxophone. All of that is fantastic, but the main draw is Hannah Gill's vocal performance. So confident, so timeless, so welcoming, so damn good. "Take a peek at the future/What do you see?" Well, with this music playing, the future I see looks excellent. Then Hannah takes us into blues territory with a stellar rendition of "I Ain't Got Nothin' But The Blues." This one begins with some nice work on guitar, the playing being kind of quiet, drawing us closer. When Hannah comes in, we know right where we stand, and that is with her. We can all relate to lines like "Ain't got no winnings to lose/Ain't got a dream that is working/I ain't got nothing but the blues." Yet there is a great deal of charm even in those lines, making us feel better about our own blues. After Hannah sings "When trumpets flare," Ricky Alexander comes in. Not a trumpet, but a saxophone works just as well. This track also contains an interesting, totally cool lead on guitar. The music then swells as Ricky begins his lead in the second half. This song was written by Duke Ellington and Don George.

A delightful bass line sets "Love You Madly" in motion. Hannah's voice should lift even the most dour of spirits. There is something so pleasant about the vibe of this track, so catchy. And don't we all need to hear someone tell us, "I love you, love you madly"? And shouldn't you be feeling that way about someone, telling someone? There is a gentle swing to the music here, and this track contains solid leads on both saxophone and guitar. "Love you madly, right or wrong/Sounds like a lyric of a song." That's followed by "I'm Just A Lucky So-And-So," Hannah delivering a sexy, gorgeous and warm vocal performance, moving with a slow kind of strut. "The birds in every tree/Are so neighborly/They sing wherever I go." Oh, I have no doubt about that. There is some kind of magic surrounding her, this performance makes that clear. Even when things are in a more relaxed, bluesy groove. Ricky Alexander gets a chance to stretch out a bit on his sax lead, which is wonderful, allowing things to build beautifully. This track is one of my personal favorites. "If you should ask me the amount/In my bank account/I'd have to confess that I'm slippin'/But that don't worry me." When I'm listening to this music, the same situation ceases to worry me too.

"I Didn't Know About You" begins with some pretty work on guitar. Soon, Hannah comes in, delivering an especially beautiful vocal performance, this track having a deliciously intimate quality. "Just taking my fun where it could be found/And what else could I do?" Ah yes, what else can any of us do? What striking is that her performance has great beauty, but also feels completely natural, like she's telling us a personal story. Luis Salcedo gets time to demonstrate his talent on guitar. And at the beginning of "I Got It Bad (And That Ain't Good)," Hannah's voice is again supported by guitar. Here she opens up. There is a vulnerable quality heard in her voice, a longing. "When he's gone, I'm cloudy with showers/An emotion like the ocean, it's either sink or swim/When a woman loves a man as I love him." I believe every syllable. Everything has that ring of truth. And then the bass and drums come in, as if to gently cradle her.

Hannah Gill is so adept at expressing a timeless passion, as she does on "Azalea." I love the way she delivers a line like "I've yet to get that same strange feeling," the nuances that make it all so real, so wonderful. The guitar work in the middle of this track seems to contain a brief nod to the beginning of "Someone To Watch Over Me." It's a wonderful guitar lead, and this is a beautiful rendition. Things then gently swing again with "Do Nothing Till You Hear From Me." There is a joy to this track, particularly to her vocal performance, and a playful quality that I adore. "True, I've been seen with someone new/But does that mean that I'm untrue." She is in control in this rendition. And I don't think the other man has any choice but to believe her. Ricky Alexander's saxophone backs her up, and you can't argue with a saxophone. But it is that guitar lead that I especially love. And when the guitar and saxophone work together, everything is right with the world.

"I Like The Sunrise," the album's title track, begins like a storm approaching, thunder brought on by the percussion, a captivating opening. Then light suddenly streaks in, and Hannah sings the song's first lines, "I like the sunrise/Because it brings a new day." Hers is a gentle performance, with an easygoing sense. From that interesting storm at the beginning, we seem to awaken into a dream. Yet there are remnants of that storm playing at the edges occasionally. This is such an interesting rendition, another of the disc's highlights. It's followed by "Take Love Easy." Here Hannah sings, "Never let your feelings show," yet we feel that every word, every syllable is full of feeling, full of emotion, full of truth. I love that, and I love her approach. This track features some wonderful bass work, including a lead halfway through. Hannah Gill wraps up the album with "Azure," which begins with guitar and then some whistling, which takes us to another time, another place, and does so with ease. "Drifting, dreaming," Hannah sings. And that's just how the song feels. We are happy to drift with her, and with the guitar that supports her. Here she delivers another remarkable vocal performance. There is more whistling at the end, leading us off into the distance.

CD Track List

1. So Far, So Good
2. I Ain't Got Nothin' But The Blues
3. Love You Madly
4. I'm Just A Lucky So-And-So
5. I Didn't Know About You
6. I Got It Bad (And That Ain't Good)
7. Azalea
8. Do Nothing Till You Hear From Me
9. I Like The Sunrise
10. Take Love Easy
11. Azure

I Like The Sunrise is scheduled to be released on June 19, 2026 on Turtle Bay Records.

Brief Notes On New Jazz Releases

I hope everyone is hanging in there. Music is probably the thing that will keep us together, pull us through these dark and depressing times. Here are notes on a few jazz albums you might want to check out.

Ricky Alexander: "Ragology" - Clarinet player Ricky Alexander takes us on a delightful trip to the early days of jazz, focusing on great ragtime gems, yet with a fresh approach that gives the music an immediacy rather feeling like a history lesson. Ricky is joined by Jerron Paxton on banjo and vocals, Conal Fowkes on piano, Rob Adkins on bass, and Kevin Dorn on drums. The album opens with "Wildcat Blues," and my mood is lifted within the first five seconds. There is some delicious work on piano, but it is Ricky Alexander's playful, cheerful work on clarinet that especially stands out and makes things swing. This music makes life sound better. "Slidin'" follows, and here we get a cool lead on bass in the first half of the track, a nice surprise. I also love the percussion, with some unexpected touches. They take things in a different direction then with "Dizzy Fingers," the piano at the start reminding me of certain sing-alongs when I was very young. And then we get into the heart of the number, with some wonderful stuff from Ricky on clarinet, that instrument like a character who has decided to lead a peculiar dance. And what choice have we but to join in? That's followed by "The Buffalo Rag," and here I'm especially drawn to the work on banjo. There is even an excellent lead on that instrument. But perhaps the song that has the strongest effect on me is "Nola," which straight away takes me to a magical, innocent and joyous place, the way, say, something on The Muppet Show might do. It is like a sweet dance, the banjo again playing an important role. "You And A Canoe" takes us into more contemplative, reflective territory, with a different vibe to the bass, with gorgeous, deep tones. "Blackstick" is a cool, fun number featuring excellent stuff on clarinet, as well as a strong lead on piano. Oh yes, everything sounds right. I'm ready to follow this music wherever it might go. The banjo is then at the center of "Ragtime Oriole," Jerron Paxton delivering some great work. Then things are hopping and swinging with Ricky Alexander's rendition of "Little Bits," another of the disc's highlights. Again, this music seems to have the power, the ability to make life better, to push it in a better direction. The joy continues with "Shreveport Stomp," the music itself seeming to dance. Ricky Alexander wraps things up with "Sweetheart O' Mine," this track featuring vocals. "Like the roses need sunshine/I need you, sweetheart o' mine." Indeed! And we need this music. This album was released on February 20, 2026.

Jun Iida: "Bellflower" - Jun Iida is a trumpet player and composer who released his first album in 2023. His new album features mostly original compositions. He is joined by Chris McCarthy on piano and electric piano, Masami Kuroki on guitar, Giulio Xavier Cetto on bass, Jongkuk Kim on drums, Takafumi Nikaido on congas, and Zelda Harris on vocals. The album opens with "Rivers And Bridges," which has a certain energy to its motion and yet also soothes us, just like a river. And there is a joy to Jun's trumpet work, an eagerness to see where things will take us. The energy increases, and this track features some excellent work on bass and drums, as well as nice leads on guitar and piano. The music carries us along, sometimes over rapids, but never with any worry. This is a totally enjoyable ride. The bass then gets "Hotaru Nights" going, and soon there is a delicious groove, a youthful, fun vibe. Something about this track makes me smile every time I listen to it. Certainly part of it is that playful and cool guitar work. And Jun Iida's trumpet lead lifts us up, urges us to play ourselves. The album's sole cover is Nujabes' "The Final View," this version perhaps just a bit mellower than the original, but with some fantastic work on drums. A cool tune, no question, and when it begins to fade out, it feels too soon. Then "Next Time" sends me into memories, things I might have done differently, and into the near future as well, wondering if I'll make the same mistakes. "Marco The Phoenix" begins with some interesting work on bass, and soon takes us into a magical dance. It features some excellent drumming, and presents a positive world. "Will They Remember?" features spoken word vocals by Zelda Harris. "If you haven't already, please remove all restraints/Allow for the flow of tears and the rush of fears/And in the event that the capacity to hold it all together comes to a complete stop/Remembrance will always be here." I know we struggle here, but there are places on this planet right now where I'm shocked anyone is able to hold it together. Jun Iida delivers some fantastic work. "Chasing Peace" has a relaxed, mellow vibe, and features some beautiful work on trumpet, as well as a lovely lead on bass and some warm work on piano. Jun Iida wraps the album up with its title track, his trumpet work conveying a sense of longing that is timeless. This album is scheduled to be released on June 19, 2026.

Carolyn Lee Jones: "Eklektika" - On her new album, jazz vocalist Carolyn Lee Jones touches upon different musical styles. You'll notice at the bottom of the CD cover it says "Jazz Retro Pop Bossa Nova," which should give you an idea of what she's up to here. The songs chosen for this album are mostly covers, along with one original composition. Joining her are Brad Williams on piano and keyboards, and Andrew Griffith on drums, along with several other musicians on various tracks. She opens the album with a smooth, sweet rendition of "Skylark," with something of a Latin feel to the rhythm and a really nice vocal performance. Just listen to the way she sings "And in your lonely flight/Haven't you hear the music in the night." Ah, yes, we have. This track features a good guitar lead by Roger Boykin, some wonderful stuff by Brad Williams on keys, and a cool bass line from Young Heo. That's followed by a touching rendition of "Detour Ahead," featuring some beautiful vocal work and a lovely lead on piano. "Wake up/Slow down." Willie Winkle is on bass for this one, and for "Take Me Where The Moon Lives," which has a joyful vibe. A song that you might have you snapping your fingers, and even gently swinging. Mario Cruz adds some wonderful work on saxophone. And at the center is Carolyn Lee Jones' vibrant performance. "Loving is the answer to all of life's mysteries/So take me where the moon lives/Darling, hold me please." That's followed by "That's What Being In Love Is All About," which was written by Roger Boykin, who plays guitar on this track. "My life is full of bliss/Every time we kiss." Ah, yes. There is a soothing vibe to this song. "When you're feeling blue/I will comfort you." This music does the trick. And then we're treated to a wonderful rendition of "Embraceable You." As I've said before, you can never go wrong with Gershwin. And here Carolyn's gorgeous, captivating vocal performance is supported by just piano. Peter Rioux is on piano for this one, delivering some excellent work. This is one of my favorite tracks. Peter Rioux also plays piano on "Out Of Nowhere," this version having a kind of snappy, breezy vibe. James Driscoll is on bass, and Shelley Carrol is on saxophone, coming in partway through and adding another delightful layer. But perhaps my favorite part of this track is that section where Carolyn is supported by just bass. That's followed by "Tell Me All About It," Carolyn revisiting this song. It has a bossa nova vibe, and features Todd Parsnow on guitar, Jonathan Fisher on bass, Shelley Carrol on saxophone, and Jorge Ginorio on percussion. Then we get the original composition, "Morning In Crown Heights," which Carolyn Lee Jones wrote with George Gagliardi (who died in late 2024). The opening lines made me laugh aloud: "We're here together, it's Sunday morning/And though it's Brooklyn, it's paradise." I love that. Anywhere can be paradise if I'm with that special someone, perhaps even Brooklyn. Especially if there is some delightful piano work accompanying us. Shelley Carrol adds some really nice work on saxophone. On "Heart's Desire," Carolyn's vocals are supported by just Brad Willians on piano. It is another beautiful performance, one of reflection and wisdom. This album is scheduled to be released on June 15, 2026.

Jennifer Madsen: "Girl Talk" - Vocalist Jennifer Madsen delivers delicious renditions of beloved standards and pop numbers, backed by a big band that includes Brent Edstrom on piano and keyboards, Clipper Anderson on bass, Mark Ivester on drums, Ronnie Strauss on percussion, Corey Christiansen on guitar, Austie Robinson on trumpet, Tom Young on trumpet, Daniel Burt on trombone, Joe Chisholm on trombone, David Halliday on saxophone, Randal Clark on saxophone, and Candido Abeyta on baritone saxophone, along with special guests on certain tracks. Jennifer Madsen opens this album with a cool rendition of "Besame Mucho," with some playful elements at the beginning to help set the tone. She delivers a tremendous performance here, one that is gorgeous, fun and powerful. David Halliday delivers a good, though brief solo on saxophone. The group gives us a totally enjoyable rendition of "Girl Talk" that struts in like it owns the place. And why not? The band sets the tone before Jennifer's entry on vocals. "It's just a game/We call it Girl Talk." There is a wonderful playful quality to her delivery at times, such as when she sings, "Oh my gosh, he's so cute/I went out with him twice and it was crazy." The track also contains a nod to "My Favorite Things." And I love the ending, with that delicious bass work. "You Turn Me On, Baby" is a delight, a cool gem that features some wonderful work on piano and bass, along with some great stuff from special guest Sean Jones on trumpet. And how adorable is Jennifer Madsen at the end as she sings, "You've got me spinning around"? Then life becomes an intriguing dance in her rendition of "You And The Night And The Music." "Listen, listen to the music," she sings seductively, and she has us. The whole band has us. "There's Gotta Be Something Better Than This" is a lively, exciting number featuring some excellent work from guest Sean Jones on trumpet. That's followed by a really nice rendition of "Misty," Jennifer's voice supported just by Brent Edstrom on piano. And then we get a surprisingly funky rendition of "My Funny Valentine" that features a nice lead on guitar. That's followed by a seriously cool rendition of "Any Place I Hang My Hat Is Home" that features one hell of a good vocal performance, as well as some excellent work on piano and by guest Brian Woodbury on trombone. Brian Woodbury also adds some great stuff on "Comin' Home Baby," another cool track. Jeff Coffin joins the group on saxophone on a fun rendition of "Spinning Wheel." The album concludes with "The Look Of Love," with guest Ryan Keberle providing some strong work on trombone. This album is scheduled to be released on June 26, 2026.

Leigh Pilzer: "Keep Holding On" - Saxophone player and composer Leigh Pilzer's new album features original material delivered largely in a trio setting. Leigh Pilzer is on baritone saxophone, Paul Bratcher is on organ, and Greg Holloway is on drums. They are joined by trumpet and trombone players on some of the tracks. The album gets off to a great start with "Swinging At The Station," created in tribute to Takoma Station Tavern. We get an excellent drum solo within the track's first minute, so of course I'm completely in love with this piece. Paul Bratcher delivers a strong lead on organ, and Leigh Pilzer keeps everything moving in just the right way with her delicious saxophone lead. That's followed by "Js And Ks," a total delight that begins on organ. There is a light, playful aspect to this track that is appreciated. Jen Krupa joins the trio on trombone, and a large part of the track's appeal is the interaction between saxophone and trombone. As you might be aware, the two musicians are both members of the Diva Jazz Orchestra. Jen's lead is also a joy to listen to. Then "Musing Music" has its own playful aspect, its own charm, just as its title might lead to believe. I especially love the conversation between saxophone and organ in the second half. Kenny Rittenhouse joins the trio on trumpet for "What's Up, Puppy," a piece that feels like a wonderful stroll down a city street, swinging a walking stick or umbrella and beaming at everyone you see, and even at the buildings. Life feels right, this music tells us. That's followed by "Keep Holding On," the album's title track, and this one also has a cheerful bent to it, particularly to the rhythm. Life is so damn short, and there is a lot of awful stuff these days demanding our attention, our little time. This song offers encouragement and a friendly hand. The need might be greater now, but this tune has what feels like a timeless appeal. The mood changes with "When It's Gone," which addresses loss and explores the different moods and reactions that follow. But do not fear, it is not a depressing track. This track features guest Ally Hany Albrecht on trumpet, delivering some wonderful work, and includes some fantastic drumming. "Zingamomma" is as fun as its title suggests, and also has a good deal of soul. It was composed by Paul Bratcher, and features some delicious work from all three musicians, feeling like a good jam, with that kind of energy. There is a delightful sense of play to "East Coast Andy," the saxophone sometimes feeling like it's describing a character, and sometimes feeling like the character itself. This track also contains an excellent lead on organ. Joe Jackson joins the group on trombone on "Sideburns," a tune with a classic vibe, taking us to another time, or rather, dancing us to that time. The album concludes with "G's Bop," composed by Greg Holloway, who gets it going with a brief drum solo. This is a lively number, and it features Kenny Rittenhouse returning on trumpet. And there is some fantastic drumming in the second half. This album is scheduled to be released on June 19, 2026.

Di'anno: Iron Maiden's Lost Singer Blu-ray Review

Iron Maiden, the heavy metal band named after a torture device, was formed in the mid-1970s, and has an interesting history, with a lot of personnel changes in the early years. Paul Di'anno joined the band in 1978, and was the lead singer of Iron Maiden for the band's first two albums. If you're my age, you remember those albums well, and it might have been the artwork that drew you to those records. The first album featured an undead character, a sort of punk zombie staring right out at you. And that character, though going through many changes since then, has been a staple of the band's albums and live performances. But the artwork wouldn't have been enough to hold people's attention long. Clearly the music held great appeal. And Paul Di'anno (whose real name was Paul Andrews) was the voice of the band at that time, the voice that folks connected to. But before the band's third album, 1982's The Number Of The Beast, Paul had left the band, replaced by Bruce Dickinson. And then what?

Di'anno: Iron Maiden's Lost Singer is a documentary film that picks up Paul Di'anno's story long after his departure from Iron Maiden, at a time when he is struggling with health troubles and financial woes, and literally trying to get back on his feet. That is his goal, to get out of the wheelchair and be able to walk again. The movie opens with footage from a few of those reaction videos that some people find appealing these days, folks listening to early Iron Maiden music, but fortunately there is only a little of that. There is also some footage of fans talking about the band's early albums, and one says, of Paul, "I have no idea what he's doing now, or what he's done since." And, sadly, he speaks for many of us. But it is that footage that leads us to Paul Di'anno, who enters in his wheelchair and talks about his bad knee and how he's unable to walk at all. We see him meeting with an orthopedic surgeon, who tries to get him to straighten his legs, something Paul cannot do. Paul is candid and endearing, saying he refuses to spend his life in a wheelchair. But he is not getting the care he needs in his home in the U.K.

The film really takes us on two journeys simultaneously. There is the journey through Paul Di'anno's music, of his time with Iron Maiden, how he joined the band, and what he has done musically since then, and what he hopes to do. And there is the medical journey, his journey into ill health and his long road back to a better state. The two journeys are, of course, intertwined. And it is the fans that help him along both. Paul Di'anno is an interesting character. He is so likeable despite also being unpleasant and antagonistic at times. Part of it is his sense of humor, which is on display early in the film during a Q&A at a pub. And part of it is seeing just how rough the road is for him. We can't help but feel for the guy, and connect to his spirit. By the way, you do not have to be an Iron Maiden fan to appreciate this documentary. But for Iron Maiden fans, there is some great footage of the band playing in 1980, with a punk energy, as well as footage of Paul performing with The Iron Maidens, an all-girl tribute band. And the film contains interviews with several members of the band, including Doug Sampson (drummer 1978-1979), Bob Sawyer (guitarist 1977), Terry Wapram (guitarist 1977-1978), Dennis Stratton (guitarist 1979-1980), and Blaze Bayley (singer 1994-1999). About touring, Bob Sawyer says, "It was like being on a school trip, only ten years later and with worse behavior." There are also interviews with members of Iron Maiden's crew, as well as with other musicians including James Hetfield (of Metallica), Gary Holt (of Exodus and Slayer), and David Ellefson (of Megadeth).

The film cuts between the music footage and the medical footage. Because Paul was not getting the care he needed in his own country, fans urged him to travel to Croatia. And this documentary travels with him. "I'm fucking scared," he tells an EMT at the beginning of this trip. And we believe him. There are interviews with some of the medical professionals who help him, including nurses who begin to see some improvement in his condition. We see it too, some strength returning to his left leg. "I'm taking care of me for the first time ever," Paul says, eager to return to the stage. He is someone who clearly lived for the moment now having to think about the future, and having to work to make it happen. Some of the most uplifting footage in the film is of the first show he is able to do, after seven years, where he seriously rocks and sounds great. Other folks remark on how he sounds better than ever. And after that, he is invited to an Iron Maiden show, leading to the first time he'd seen Steve Harris in forty years. Perhaps the most moving moment of the film is when he learns that Iron Maiden is going to help with his medical bills. Paul says how he had been feeling alone. "Then I found out I'm fucking nowhere near alone. I've got the Beast army. Never felt so much love in all my life."

The film does include information about Paul's departure from Iron Maiden. And, yes, for Maiden fans, Paul does briefly discuss the decapitated head cover for that rare edition of Maiden Japan. There is also information on his post-Maiden bands, including Battlezone and Killers. All of that is interesting, no question, but what is most striking is the personal struggle with his health. One other thing I should mention is that the documentary crew is allowed into the operating room to film a procedure on his leg, and some of that footage is rather difficult to watch. But don't let that scare you from seeing the film.

Special Features

The Blu-ray contains two deleted scenes. The first is about the group Warhorse, which Paul worked with in Croatia, and includes interviews with Paul and the other two main musicians. This scene is approximately two and a half minutes. The second scene takes us inside the home and office of Stjepan Juras, the fan who helped Paul throughout his medical process. He shows the T-shirts and signed Warhorse CDs that were being sold to raise money to fund Paul's treatment. The bonus material also includes a photo gallery slideshow and the documentary's trailer.

Di'anno: Iron Maiden's Lost Singer is scheduled to be released on Blu-ray on June 9, 2026 through Cleopatra Entertainment.

Robert Bidney and Fernando Perdomo at Kulak's Woodshed, 5-31-26 Concert Review

I've mentioned this before, but Los Angeles has a lot of cool, intimate, unusual venues. Surprising venues. Certainly counted among their number is Kulak's Woodshed, a spot in North Hollywood with its own special charm. It's the only venue that I know of that includes not just chairs and couches, but a bed for patrons to relax on during a show. I've always chosen a chair myself, but there it is, for those so inclined. And for a small venue, it includes, in addition to a bed, a grand piano. And the decor? Well, there are all sorts of things there to give the place a relaxed, welcoming vibe. Pillows, records, plush toys, bookshelves stuffed with books. The shows there are filmed and broadcast online.

Fernando Perdomo

Last night was a good double bill, two singer/songwriters from Florida (one of whom still lives there, the other now residing in Los Angeles). Fernando Perdomo opened the night, this time performing a solo set. As you are likely aware, he is in the middle of a year-long project titled Clouds, releasing an album of new material every month. But in addition to that, he has two other albums out now: Goodbye Sun from Perdomo Kravitz and the ten-year anniversary edition of Voyeurs. His set focused on material from those two albums. After Paul Kulak delivered an introduction about the venue, Fernando kicked off the set with the title track from Goodbye Sun. This is a song that he also played at his March 29th show at Kulak's Woodshed, that time with a full band. So it had quite a different vibe last night, Fernando being so adept at creating an interesting atmosphere with his music. "My Own Devices" followed, and it too had a vibe that gently carried us. That song is also on Goodbye Sun. The next song, "Absolute Silence," was included on his 45's The Best, a compilation that was released last year. It's an excellent song. One line that especially stood out to me was "If dreams are all we have, sleeping is all I'll do."

After that song, Fernando Perdomo revealed that a lot of his songs were written on Ruby Friedman's couch, including the next one, "I'm No Fun," a song from the Perdomo Kravitz album. "I'm no fun without you." This song had a sweet vibe, particularly during the "doo doo doo" vocal part. That was followed by "The First Day Of Fall" and "Darkness Descends." "Darkness Descends" began with some pretty guitar work. In introducing that song, Fernando joked how he had decided to do the most mellow set he's ever done. But it certainly worked in the space. Kulak's Woodshed is a good listening room, a spot where folks in the audience can focus on the lyrics. And besides, if it got too mellow, there was always the bed. Kulak's Woodshed is located on Laurel Canyon Blvd., and Fernando mentioned that "Canyon Trilogy," a track on Goodbye Sun that is made up of three songs, was inspired by this street, by the magic of this street. And he pointed out that the magic is not limited to just the section in the hills to the south of where we were, that area celebrated in Echo In The Canyon (a documentary that Fernando Perdomo is a part of).

Fernando Perdomo then moved to music from Voyeurs, mentioning a bit about the unusual way the album was created, with people able, and even encouraged, to offer their input, their suggestions during the process. From this album, he first played "Feels," delivering an especially good vocal performance.  He followed that with "In A World Without You," first mentioning that a cover of it was recorded and slated to be on the final album by Terry Draper, who died a year ago. You probably know Terry from his work in the band Klaatu (as a side note, there are also bands called Barada and Nikto). Fernando Perdomo wrapped up the set with "Home," which he introduced as "Home Is Wherever You Are." Interestingly, he also said he started writing the song when he was in high school, and finished it more than a decade later. I've said it before, but one of these days I am going to make a mix CD of songs titled "Home." There are a lot of them, and I've never heard a bad one. Something about the concept of home brings out the best in songwriters. Fernando delivered a beautiful rendition of "Home." "Home, home is wherever you are/Home can be out in the stars/Home can be Venus or Mars." The set ended at 8:56 p.m.

Robert Bidney

Robert Bidney then took the stage, mentioning that Fernando Perdomo had produced three of his albums. He opened his set with a song that I immediately connected to, "Too Young To Be Old." Lines like "I struggle with aches" and "And my memory fades/Driving me insane" stood out for me. And I'm sure I'm not the only one who hears himself in those lines. Those of us in the middle, those of us who feel these things should not yet be happening to us. He sings, "Too old to be young, too young to be old." There was a good energy to this song, the energy of someone who is definitely too young to be old. He followed that with "We Can Do Better," playing harmonica on that one. It's a good song, but I'm no longer sure we can do better. The divisions are no longer about matters of policy. The divisions are between intelligence and stupidity, compassion and bigotry, democracy and fascism. "We were unified/Now we're all taking sides." I do appreciate the hopeful, optimistic bent of the song, and I wish I shared it. Interestingly, the first line of the next song was "The world is a mess." Indeed. And in the song Robert asks, "What can I do?" This one, titled "I'm Alive," is also positive, and its optimism I do share, for this one is more about a personal way of looking at life. "You see, I've got a love in my life," he sings. And that makes all the difference, doesn't it?

When introducing "What In The World," Robert mentioned that he wrote it a decade ago, and at the time thought it would have a short shelf life. But it is still valid and relevant today. Can you believe it's been a full decade since that rapist in the White House was first elected? He should be rotting in a prison cell, but he's back in the White House, thanks to millions of racists and morons (again, I don't think it's possible to reconnect with those people). "Tell me, what in the world do you think you're really doing?" He followed that with "Are You Gonna Tell Your Children," the main question posited here being "Are you gonna tell your children that the world is okay?" I imagine it must be incredibly difficult to raise children these days. What do you tell them? One of my favorite songs of the set was "Pill For Poverty," which he said he wrote during a tough time. In this song, he says that they have a pill for just about everything, and then sings, "I need a pill for poverty." I need that pill too. What a great, passionate vocal performance! That was followed by "There's Life After Loss." In introducing that one, he said the song comes from three true stories, with just one thing in common.

Robert Bidney moved to the piano for "Thank You Leon," a song about Leon Russell, who was a major influence on him. He then delivered an excellent rendition of Leon Russell's "A Song For You," also on piano. That was followed by "From The First," a song he wrote with Wendy Sager, and another highlight of the set. "She doesn't notice the changes in him/And he doesn't see them in her." "Their Memory Survives" was inspired by the front page of The New York Times during the pandemic when the page was filled with short obituaries. The song contains the line "We could have done so much better," a telling variation of the title line from "We Can Do Better." "It's too late for them." He followed that with "91 Years Of Springtimes," a song written for his mother's funeral, revised from the song "70 Years Of Springtimes," which he'd written for her birthday celebration. He then went back to guitar for the final two songs of his set, "Rush Of Hope" and "It's All About The Love," the latter with verses delivered as a sort of rap. The show ended at 10:05 p.m.

Kulak's Woodshed is located at 5230 1/2 Laurel Canyon Blvd. in North Hollywood, California.

Mark Winkler: "Love Comes First" (2026) CD Review

Mark Winkler is a vocalist and composer who has an uncanny knack for knowing precisely what we need at any given moment and then giving it to us. In 2024, the year when the nation decided to elect a convicted felon and rapist to the highest office in the land, he had put out an album titled The Rules Don't Apply. That was in January of that year, long before any of us had an inkling what sort of hell the nation was going to embrace. We were still optimistic then, silly us. Then last year, when we knew precisely what sort of hell the country had chosen, he released an album titled Hold On. It was the message we needed. Now, when many of us have completely given up on politics and the justice system and the media and the whole game, he gives us an album titled Love Comes First. And isn't that exactly right? Isn't that what we're feeling? This is the time when we turn to those people in our lives that mean something to us. Life is too short to let the rest of the nonsense take center stage any longer. Love comes first. The album contains a mix of original material and covers, and Mark has some talented and accomplished musicians backing him.

The album opens with an original composition, "Snappin' On The 2 And 4," something to dissipate our fears, something to make us feel good. And, yes, there is some finger snapping right at the start. Join in; it will make you feel better, even if you're someone who struggles to find the beat. Mark Winkler wrote the lyrics, and Greg Gordon Smith composed the music. The song has a cool vibe (the finger snaps ensure that, don't they), and there is a playful element, heard in lines like "And when I clap on one and three/I see the way you look at me/I'm out of step, but I adore/The way you're snappin' two and four." Greg Gordon Smith delivers some wonderful work on piano, and Grant Geissman provides a really nice lead on guitar toward the end. This track also features Gabe Davis on bass and Kevin Winard on drums. It's followed by the album's title track. "Love comes first/With no introduction/Unrehearsed/When you walked into my lonely life/And changed my universe/With your smile." Ah yes! I hope everyone gets to experience that, and if you're able to do so with a cool Latin vibe, all the better. This is also an original composition, the lyrics by Mark Winkler, the music by Dori Amarilio. Dori Amarilio delivers some delicious guitar work on this track. This track also features Scott Mayo on both saxophone and flute, and Mike Stever on fluegelhorn, adding some wonderful flavor. Rique Patoja is on piano, Nando Raio is on bass, and Jimmy Branly is on drums. "Problems disappear/And the clouds all clear/When love is near."

"Fame Adjacent" is one that Mark wrote with Jamieson Trotter, who plays piano on it and sets the song in motion. The song is about being a musician who is doing fairly well, though is not quite a big star, as is suggested by its playful title. "And maybe that's not so bad after all," Mark sings. And while it's about the life of a musician, other folks can certainly relate to its theme, the idea of appreciating what we have in life, of recognizing when a dream has shifted somewhat in order to come true. "The money could be better/I wouldn't mind that/But something's kinda nice about this/Fame adjacent." Ann Patterson is on saxophone, that instrument helping set a great tone. "Who can say my dream is absurd?" Following that line, we are treated to a wonderful lead on sax, followed by some really nice work by Jamieson Trotter on piano. And the song ends up being a sweet number directed at friends and fans. That's followed by the first of the album's covers, "More Than You Know," a standard that was written for the Broadway musical Great Day. Greg Gordon Smith begins this one on piano, and Mark delivers passionate vocal work: "Even though your friends forsake you/Even though you don't succeed/Wouldn't I be glad to take you/Give you the break you need." Soon this version takes on a good rhythm. Chris Wabich is on drums, and Gabe Davis is on bass. Mark's vocal performance contains a good deal of love. We hear it, we feel it. "Loving may be all you can give/But, baby, I can't live without it."

I've said it before, but you can never go wrong with Gershwin. On earlier albums, Mark Winkler covered "Nice Work If You Can Get It" and "They Can't Take That Away From Me." On this album, he gives us a wonderful rendition of "Embraceable You," his voice at first supported just by piano, his voice and that instrument somehow shutting out the rest of the world, all the noise, for us. The focus is on the couple of the song, the music seeming to come from them. Sometimes an attraction can be so strong that it manifests in music. That's the feeling we get here. "I love all the many charms about you/Above all, I want my arms about you." Nolan Shaheed comes in halfway through to deliver a wonderful lead on trumpet, one that seems to celebrate love. In fact, it feels that love is driving the instrument forward. So good. And what a vocal performance! It's one of the album's best, and most charming, performances. And then we get "Why Are People So Stupid?" Yes, I admit it, when I glanced at the track list, this was the song I was most excited to hear. Its title is a question I've been asking for a decade or so. I think cell phones are part of the trouble. No one uses his or her brain anymore. No need to remember anything when you can look it up. No need to understand how to read a map when the phone will tell you when to make a turn. But it's also a fact that our nation does not prioritize education. And why would it? The fascists (previously known as Republicans) understand that educated people don't vote for them, so they want people as stupid and as ignorant as possible. So here we are. This song is not really political in nature, however. The lyrics begin as a list of common things that are part of our current situation, and I appreciate these lines: "Those damn scooters everywhere I go/Cell phones ringing at the picture show" and "Crazy people buying guns/Young girls living like Kardashians" and "Fatter foods and thinner books/Corporations run by crooks." This song also features some great stuff by Bob Sheppard on saxophone. Jon Mayer is on piano, Kevin Axt is on bass, and Mark Ferber is on drums. "Tell me why, oh why are people so stupid/Tell me why, oh why we never learn." The fear is that we have not yet reached the bottom (though you'd assume we have if you took a look at the supporters of the rapist in the White House).

"I guess I'm just old-fashioned/I love the things of old/Black and white movies and dancing slow/Big bands on the radio/Those things are timeless/Like walks in the rain," Mark Winkler sings at the beginning of "Nobody Else But You." And, then, you know what? This becomes a sweet love song, not a nostalgia trip, turning its attention to that special someone of the present. "Nobody makes me happy/Nobody makes me smile/And nobody's face can make my heart race but you." It ends up being another of the disc's highlights. "I must have been smart/To let you carry my heart away." There is some pretty work on piano that also works to carry us away. Steve Rawlins is on piano on this track. Jay Leach is on guitar, John Hatton is on bass, and Kevin Winard is on drums. Then Mark Winkler gives us a few covers, beginning with "Everything But You," written by Duke Ellington, Harry James, and Don George. This is a very cool rendition, with an arrangement by Josh Nelson, who plays piano on it. As always, he delivers some excellent work on keys. Larry Koonse provides some delicious stuff on guitar. I'm also digging that work by Gabe Davis on bass. Tom Culver joins Mark on vocals, and I love the great rapport there. They sound wonderful together. This is another of the disc's highlights, even before Ricky Woodard comes in on saxophone. And then, of course, it gets even better.

"Mona Lisa" begins with piano supporting Mark's voice, and has a kind of mysterious feel, which works well as the song directly addresses the painting, a painting that itself has many questions surrounding it. Greg Gordon Smith is on piano here. Partway through, Gabe Davis comes in on bass. And then check out that great bass work on "Just In Time." That's Gabe Davis again, and his work is delightful. This one also features delicious stuff by Chris Wabich on drums. This is a wonderful rendition, yet another of the disc's highlights. The arrangement is by Greg Gordon Smith. "Now I know just where I'm going/No more doubt or fear/I found my way/Because love came just in time/I found you just in time." The album concludes with "Do You Ever Wonder?" which features lyrics by Mark Winkler and Shelley Nyman, and music by Chris Gordon. It's a beautiful, contemplative number. "Do you ever wonder/If we started over/Would we be so quick to say goodbye." Mark delivers a truly special vocal performance. This track also contains some nice work by Grant Geissman on guitar.

CD Track List

1. Snappin' On The 2 And 4
2. Love Comes First
3. Fame Adjacent
4. More Than You Know
5. Embraceable You
6. Why Are People So Stupid?
7. Nobody Else But You
8. Everything But You
9. Mona Lisa
10. Just In Time
11. Do You Ever Wonder?

Loves Comes First was released on May 1, 2026 on Cafe Pacific Records.

The Firkins, I See Hawks In L.A., and Old Californio at Highpoint Brewing Company, 5-29-26 Concert Review

Stellar bands and excellent beer led a lot of folks to make the trek out to San Dimas yesterday, undaunted by the Friday evening traffic. The lineup featured three of southern California's most wonderful bands: Old Californio, I See Hawks In L.A., and The Firkins. That lineup promised not only some of the best music one could hear anywhere, but a fun, loose time. Plus, the venue, Highpoint Brewing Company, has a relaxed, friendly vibe, and some seriously great beer on tap. I got there more than two hours before the show was scheduled to start in order to avoid the worst of the traffic (still took me an hour and forty minutes, versus the thirty-five minutes on the way home), and to enjoy a few beers so as to reach a pleasant state of inebriation, a receptive state in preparation for a fantastic evening.

Old Californio

Old Californio was up first, because keyboardist Jon Niemann had another gig to get to afterward. Gloria Delgado (of The Firkins) introduced the band at 7 o'clock, and Old Californio launched into "Chilao Flats." "Just looking for the good life," Rich Dembowski sang at the beginning of that song, and I couldn't help but think perhaps everyone in the room had found it. What's better than enjoying some excellent music surrounded by good people? What's better than that connection, not just to the music but to each other? Good vibes filled the room. Sure, they emanated from the stage, from the band, but also from the people in the audience as they reacted to the music. The song became a good jam, with some really nice work from Jon on keys and from Woody Aplanalp on guitar. And in the very first song of the set, of the night, there were those desired moments when it's easy to become immersed in the music. Woody's lead on guitar received deserved applause from the crowd. Before the song, the band had remarked that the first song would essentially be the soundcheck. Well, everything sounded perfect, and Justin Smith added the chimes to the end of the song. That song was followed by "Mother Road," which had a delicious energy, Jon rocking the keys. "Okay, Woodrow, break my heart," Rich told Woody, and Woody delivered another strong lead on electric guitar. After that, Rich said to consider his heart broken. He introduced both Woody and Jon, leading someone in the audience to call out, "Who's the bass player?" Rich replied, "He hasn't earned it yet. We'll get to him." Then, after an excellent rendition of "City Lines," Rich told the crowd, "Mr. Jason Chesney on bass."

Rich mentioned how The Firkins are the perfect pub band, which is true. But more on that in a bit. Rich strapped on his harmonica for the band's cover of "Willin'." It was a sweet rendition, featuring some great stuff from Woody. Afterward, someone playfully called out a request for "Dixie Chicken." But, no, the Little Feat portion of the show was at an end. Instead, they delivered an especially good rendition of "Destining Again," featuring some delightful stuff from Justin on drums. "Can't go back, because nothing lives in the past." It was after that song that Rich introduced Justin. That was followed by a cover of "Ring Of Fire." I don't think anyone does this song better than Old Californio. Rich's vocal approach is a large part of what makes their version so damn good. But the song also featured some great stuff on keys. And then Woody really dug in, his lead on guitar being the center of a terrific jam.  After that song, Rich announced they were going to do two more songs, then the band huddled to discuss what those two songs might be. The first was "Kansas City Southern," which was crackling with energy and featured a totally delicious bass line from Jason. That rhythm was able to shoot the train, with all of us aboard, out into the stratosphere. They wrapped up the set with "Lean Into It," featuring another great groove, some absolutely fantastic stuff on bass. This one too became a delicious jam. The set ended just before 8 o'clock.

I See Hawks In L.A.

Fifteen minutes later Gloria introduced I See Hawks In L.A., and Rob Waller wished her a happy birthday (her birthday is Monday). The band began the set with "Live And Never Learn," which felt like the perfect opener, in part because of the lines "Well, I try so hard to do what's right/That won't get me through Friday night." It was, after all, Friday night. Afterward Rob remarked, "How about that Old Californio? Oh my god!" Bands will often give a nice, respectful nod to the other groups on the bill, but this was not a small act of kindness on Rob's part. This was an honest reaction to what he'd experienced during Old Californio's set. Which is what we all experienced, and so yet another way that the group and audience connected. Dan Wistrom switched from pedal steel to electric guitar for "White Cross," which followed "Live And Never Learn," and he delivered a nice lead during the song. In introducing "Poour Me," Rob said, "Well, this place seems like a good drinking place." Indeed. On the lines "But Friday afternoon/I like to sing a couple tunes," he added, "just like this one" after the word "afternoon." Folks in the audience liked to sing as well, and several people were singing along to this song. There are a lot of fun lines in this song, and I was happy to find I wasn't the only one singing along with the line "Wednesday I ate a bad burrito." This was an especially fun rendition. "Keep on pouring," Rob said at the end. Oh yes, there was still plenty of drinking time left. That was followed by a cover of Clarence Carter's "I Stayed Away Too Long."

Then we got a special treat. The band played "Drysdale, Sutton And Koufax," a song these guys hadn't performed in like twelve years. Interestingly, Paul Marshall stepped aside for this one, and Rich Dembowski joined the band on bass and backing vocals. The line "It's time for Dodgers baseball" got a big cheer from the audience. Before the end of the song, Paul Marshall was back on stage, adding some nice backing vocal work. This was certainly a highlight of the set, and it was followed by another highlight, "Talking To The Dog," with Paul on lead vocals. It's a song that makes me laugh every time I hear it, and I hope it will end up on an album one of these days. Victoria Jacobs then sang lead on "Skipping Stones," a fun number that featured a delicious rhythm and some good work by Dan on electric guitar. That was followed by "Global Pandemic," a new song I first heard earlier this month. Like "Skipping Stones," it's a fun one to dance to, and there is a special, kind of freeing and almost defiant, joy to be had in dancing around to a song about the pandemic. One of the crowd favorites last night was "California Country," the audience completely into it, singing along. That was followed by "Humboldt" to wrap up the set. The song began with a good jam, and grew from there, becoming another of the set's highlights, Victoria Jacobs hitting those chimes at just the right moment. After that, it was natural for the audience to want more, and the band played "Good And Foolish Times," this time with the extended ending. The set ended at 9:15 p.m.

The Firkins

The Firkins were ready to go at 9:37, opening with "I Like Beer." Earlier, Rich had mentioned how The Firkins are the perfect pub band. Obviously, starting a set with a song titled "I Like Beer" kind of proves that. But even the band's name is related to beer. A firkin is a specific cask for beer or ale, containing nine imperial gallons. And all of this band's original material is related in some way to beer. So, yes, the perfect pub band. Plus, these guys are a lot of fun. It was a bit strange seeing Gloria holding a glass of water instead of a glass a beer (and I thought of that bit from Absolutely Fabulous, where Edina explains water: "It's a mixer, Patsy, we have it with whiskey"). Gloria then grabbed her bass and the band played "Adventures At Bootleggers." Oh yes, now the band was rocking, and so it made total sense to follow that with "Straight Out Of The Barrel," which was a lot of fun. The fun continued with "My Dad's Drinking Gene," a cool song with a rockabilly edge, Sophia Delgado delivering some really nice work on lap steel. Sophia then switched back to electric guitar for "Hamilton's Tavern," that guitar providing some delicious rock and roll energy. This song also featured a cool bass line and a fun beat. Gloria gave a shout-out to both Old Californio and I See Hawks In L.A., coming from the heart, before starting another delicious, rocking number. A lot of the crowd was dancing, especially on a song like "The Ticker."

"Is Dan still here?" Gloria asked the crowd. "He went to get a beer," someone shouted in response. And that was perfect. If someone wasn't in front of the stage, he or she was in the front room getting another beer. The bartenders, by the way, were totally nice. Gloria dedicated "Pliny The Younger" to Dan Wistrom, this song featuring some really nice work on lap steel. Then "San Diego" had a great punk energy, with Sophia back on electric guitar. That was followed by "There Stands The Glass," with acoustic guitarist Danny Ruiz on lead vocals, and then "Victory At Sea," a song that has become popular in Ukraine. Another highlight was "Mr. Odd," which included some excellent guitar work from Sophia. They followed that with a cover of The Byrds' "One Hundred Years From Now," a song from Sweetheart Of The Rodeo. "I Came Here For The Beer" was great fun, as always. And then there was some talk of "Stop Driving Like An Asshole," a Hawks song that The Firkins have covered. It's a song that gets in my head every time I am on the road, even if I'm going only a short distance. Well, the crowd offered some encouragement, and The Firkins decided to do it. Not only that, but Rob Waller and Paul Marshall joined them on vocals, another special treat of the evening. Gloria decided to end the show there, but the crowd wanted more, and so The Firkins concluded the night with "A Few Rounds," a fast-paced number with a totally delicious, powerful rock energy. It was an excellent way to finish off a night of fantastic music. The show ended at 10:37 p.m.

Set Lists

Old Californio

1. Chileo Flats
2. Mother Road
3. City Lines
4. Willin'
5. Destining Again
6. Ring Of Fire
7. Kansas City Southern
8. Lean Into It

I See Hawks In L.A.

1. Live And Never Learn
2. White Cross
3. Poour Me
4. I Stayed Away Too Long
5. Drysdale, Sutton And Koufax
6. Talking To The Dog
7. Skipping Stones
8. Global Pandemic
9. California Country
10. Humboldt
11. Good And Foolish Times (encore)

The Firkins

1. I Like Beer
2. Adventures At Bootleggers
3. Straight Out Of The Barrel
4. My Dad's Drinking Gene
5. Hamilton's Tavern
6. For Hops
7. The Ticker
8. Pliny The Younger
9. San Diego
10. There Stands The Glass
11. Victory At Sea
12. Mr. Odd
13. One Hundred Years From Now
14. I Came Here For The Beer
15. Stop Driving Like An Asshole
16. A Few Rounds (encore)

Highpoint Brewing Company is located at 402 W. Arrow Hwy. in San Dimas, California.