The Grownup Noise: "No Straight Line In The Universe" (2026) CD Review

I am so happy that The Grownup Noise has a new album out. It feels like much more time has passed than actually did, and maybe that's because of all that has happened in the world since 2020, when Lonely Days was released. There is a great ache that seems present in the air, wherever we go, whatever we do. And what seemed a clear path is now twisted, obstructed, overgrown. Back then it looked like there was a straight line that could be traveled, but now we know better. The band's new album is titled No Straight Line In The Universe, a nice reminder that it's impossible to move in a straight line. Everything is curved. And one curved line has led the original members of The Grownup Noise back to each other. Paul Hansen, Adam Sankowski, Katie Franich and Kyle Crane, along with Aine Fujioka and Todd Marston all play on this disc. That's right, this new album features the original band back together, and that is a treat, to be sure. And while that signals a return of sorts, it doesn't mean the band isn't moving forward, for there is certainly some new ground explored here. This new album features all original music in the folk pop realm, with one song featuring a set of lyrics from outside the band. The album was produced by Dan Cardinal and The Grownup Noise. This is a group that deserves a much wider audience than it has. Maybe this album will be the one to make things right.

The first track, "We Become Roses," has a beautiful opening, vocals and cello. "Don't be alarmed/We become roses," Paul Hansen sings. "I know that feeling when it comes around." And then the beat takes over, grounding us and helping to take us on the ride. "I know we've been here before/It doesn't bother me, let's just go/I'll drive." And we all pile into the car driven by this band. It's a beautiful and human ride. This track features some lovely vocal work, and there are some playful aspects to the lyrics, particularly when the song becomes one side of a conversation about ordinary and intimate choices: "You can change it after this, I just want one more song from this album/I promise you can pick the music, I'll listen to anything you want." I love the guitar work during the instrumental section in the second half. There is something uplifting and comforting in its sound. "And if we're all just dust/We'll pack a lunch, enjoy the weather and sing." This song will remind you of the beauty of living. "I know that feeling when it comes around."

"I don't need anything all," they tell us at the beginning of "See You In The Hall." This track has a cool bass line, which plays a prominent role, both in the direction of the song, and in its appeal. There is also some wonderful work on drums. The song is addressed to a special someone. "I always thought that we would walk down the aisle of/More than a convenience store." There is a sweet, thoughtful feel to the vocals. There is often a mix of joy and longing to the sound of this band's music, a band that can make us smile and also feel we're at the edge of tears without knowing exactly why. That's followed by "Anxiety," a song that makes particularly good use of backing vocals, as a sort of conversation. "My ship is sinking/Let go and swim, you can swim to me/Okay, where will we go/There is a place, trust me, you will know." Aine sings on this one (and also on "See You In The Hall"). This one also features a good bass line and a wonderful rhythm. "I know the hours move slow, but we're running out of time/We can't step into this without stepping out of bliss." The songwriting talent of this band is clear, but it's also the way these guys are able to then deliver the song that sets this band apart. This track features some gorgeous work on strings that lifts us. This band has its own special magic.

As "Get Lost" begins, it has something of a progressive feel, in that opening moment. It then kicks in and takes on a catchy element. "You've really got to feel it/To know just what I mean/And see just what I see." This song has a good rhythm and some interesting changes, and also features Aine on backing vocals. "It's not so easy/Hiding from the meaning." And at the end Paul repeats, "Get lost again." And it sounds so appealing. That's followed by "Change Your Mind," which has a somewhat easygoing vibe. "I'm going to change your mind," Paul sings at the beginning. I'm no longer certain we can change other people's minds, but I remain hopeful. "Try a thousand times, and then randomly it all comes out right." Ah, we hope for that, but I think we still have to try. Don't we? This song is pretty, particularly the vocal line. And having said all it needs to say, it's over in less than two minutes.

Then in "Where's K," Paul sings, "We were oh so hungry/For this life that we heard of/Far back when we were young." There is a jazzy element to this song. There is something playful here too, as heard in lines like "You were the favorite/Yeah, I'll just say it" and "You spoke every language/Of desire and good attire." That humor adds to the song's sense of reality, and gives the sadness and worry more of a punch when he sings, "I just want to know you're alive." Interestingly this song contains the line, "I'll show you yours if you show me mine," a variation of the line "Will you show me yours, because I want to show you mine," which is in "Anxiety." And the line "Now we're all grownup now" is a nice nod to the fact that all The Grownup Noise members are now performing again. Katie sings lead on "Day Moon." "I miss our conversations about nothing," she sings at the beginning. And I love the little pause before "about nothing," for the meaning of the first few words has just enough time to settle into our brains before the meaning is changed slightly by those two words. And it is then that the song really grabs us. "Day moon/Where you hiding out these days/I gotta tell you/Everything that's happened since/I was a dumb kid." These lines also stand out: "Humans can be so boring/Saying all the same things." This song has a pretty pop sound.

"Plaything" is the only song that wasn't written by Paul Hansen. The lyrics are by Blanch Marie Kinney, Paul's great-grandmother (whose image is on the cover of the album). "When we parted, it was only last summer, love/We solemnly vowed we'd be true/I've returned with my heart still yours, love/Where, oh where, are you?" The lyrics tell a story that is sad, yet hopeful, not wanting to believe that the rumors of another woman are true. There is something catchy about the guitar part, and there are some gorgeous changes, as when he asks, "Was I only a plaything for you?" This track features Todd on keys. Then "Back To Me" comes on with a bright burst, and has something of a rock vibe. This one features Adam on vocals. "You tell that story all the time/It's like a fine wine/But I'm not sure that's how it went/It's been a long time." I sometimes wonder if stories I've told over and over are even accurate. Whether they are or not, they've become the truth of the story by now. "But there's no pictures of this time." Oh yes, remember when we didn't document every single thing we did? I love that soon after that line, we get the line "It's possible we didn't exist." This is a wonderful song. "I miss those days when all our friends were up to nothing."

There is a bit of a jazzy vibe at the beginning of "Rabbit Hole." "Going down the rabbit hole/Is it any wonder/I might not find my way home." This is the song that provides the album with its title in the lines, "'Cause there ain't one straight line in the universe/You don't have to tell me twice/I love the night." This is a fantastic song, one that sort of quietly grabs you and then doesn't let go. "And now here we are today/But no one can stay." After a moment, Paul adds, "But we can dream." Oh yes. I love this song more each time I hear it. There is some cool work on cello, some wonderful touches by Todd on keys, and a kind of wild lead on guitar just before the end. The album concludes with "Us Fools." which is delightful from the start, in part because of the rhythm, and also in part because of the lyrics. "I don't know if life is in the ground/I'm a little late to the party, I know/But I still want it/I still want it." That thought eventually leads to "But I still love you/I still love you." And that's what it's all about, isn't it? "The beauty is sweeter for us fools."

CD Track List

1. We Become Roses
2. See You In The Hall
3. Anxiety
4. Get Lost
5. Change Your Mind
6. Where's K?
7. Day Moon
8. Plaything
9. Back To Me
10. Rabbit Hole
11. Us Fools

No Straight Line In The Universe was released on February 6, 2026.

Old Californio Headlines Excellent Night At Backyard Party, 2-7-26

Old Californio playing "Kansas City Southern"

Backyard Party is not in anyone's back yard, at least not that I could see. It is a sort of warehouse space located in Pasadena. It's small, to be sure, and without a bar or anything, but it's all about the music. That's always been the main drive for me to visit any venue. And it has an important mission in addition to delivering excellent shows. Run by Brandon Jay, who lost his home in the Eaton fire last year, this venue is part of the Altadena Musicians project, which gets instruments to those musicians who are in need. That Altadena fire had a devastating impact on the music community of Los Angeles, with many musicians losing everything. Instruments that have been donated, but not yet given to those in need, are stored in a special room at this venue. And last night between sets Brandon said that Altadena Musicians will also be donating records to those who lost their collections in the fire. People who lost their homes will be able to come and pick out records to replace some of what was destroyed. It's a great cause. If you have an instrument or records to donate, you can reach out to Altadena Musicians through their website. 

Evan Ziegenmeyer

Last night's concert was an all-ages show, and it began with Evan Ziegenmeyer performing a solo acoustic set. I could tell he had a really good voice even during his brief soundcheck, and he delivered a wonderful set, opening with an original number titled "Moonlight Dance," which featured some excellent guitar work. After that song, he talked a bit about the fire, and about going back to his home and seeing just the chimney remaining, describing a strange and unexpected peace coming over him. He played mostly original material, ending the set with a song about Altadena, in which he sang, "Altadena, Altadena, where the city meets the sky." Dead Lawn was up next, a trio that opened with a song titled "New Ways To Let You Down," a fun rock song with some pop elements. Singer and guitarist Nate revealed that he was playing a guitar given to him by Altadena Musicians. The band has an album coming out, saying it will fit nicely on our record shelves between the Dead Kennedys and the Dead Milkmen, and the set focused on material from it. From what I heard, this is going to be an album to check out.

Dead Lawn

"Lazy Old San Gabriels"

Before Old Californio's set began, Brandon led the crowd in singing "Happy Birthday" to Gwendolyn. It's cool that both of Old Californio's gigs in the last week or so were in celebration of a birthday. The band eased into its set, starting things with "California Goodness," such a sweet opener, a song from Westering Again. By the way, Bob Roach was on bass and backing vocals for this show, filling in for Jason Chesney. They followed "California Goodness" with another song from Westering Again, "Lazy Old San Gabriels." I love Woody's guitar part, which feels like the heart of the song to me and has a catchy thing about it. And there is that great moment when the energy of the song suddenly increases. There was then a bit of jockeying of positions so that Woody could have a vocal microphone for their beautiful cover of "Because," which featured good leads on both keys and guitar. Rich thanked the crowd for sticking around for the late set, explaining that 9 o' clock is late now. And the band went into "Unknown Engineer," a song that became a great jam, with a fun lead by Jon on keys followed by a vibrant burst by Woody on guitar.

"Harmony"

"Allon Camerado" is one of my favorites to see Old Californio perform, in part because of that fantastic moment when the band really begins to rock. There is a great force to this song, and there is a joy in being overwhelmed by it. They followed that with another solid rocker, "Mother Road," with Jon rocking the keys even before that delicious lead. The whole band \was cooking, and it was after that song that Rich introduced Bob on bass. "City Lines" is another phenomenal song from Westering Again (five of the nine songs the band played came from that album). "Let's get hard to find," Rich sings in this one, a line that becomes more and more appealing in these strange and unsettling times. I also love the way this one builds in power. But if I were forced to pick one highlight of the show, it would be "Harmony." The band gave us a spectacular rendition last night, with Woody delivering some wild, exciting work on guitar, and Justin driving things forward with his fantastic work on drums. They then wrapped things up with a fun cover of "Kansas City Southern." The show ended at 10:07 p.m.

Set List

1. California Goodness
2. Lazy Old San Gabriels
3. Because
4. Unknown Engineer
5. Allon Camerado
6. Mother Road
7. City Lines
8. Harmony
9. Kansas City Southern

Here are a few more photos from the night:

Brandon presents a guitar to be donated

Dead Lawn

"Happy Birthday To You"

"California Goodness"

"California Goodness"

"California Goodness"

"Lazy Old San Gabriels"

"Lazy Old San Gabriels"

"Lazy Old San Gabriels"

"Because"

"Because"

"Unknown Engineer"

"Allon Camerado"

"City Lines"

"Kansas City Southern"

Backyard Party is located at 1260 Lincoln Ave. in Pasadena, California.

Grateful Dead: "Dave's Picks Volume 57" (2026) CD Review

Hurrah, the first Dave's Picks set of the year has arrived, and it's a good one (are there ever any bad ones?). My copy arrived on February 1st (yes, a Sunday, which is odd), and it includes the show from February 1st, 1978, which was held at the Uptown Theatre in Chicago. It was a fairly short show, at least by Grateful Dead standards, and so a big chunk of the previous night's concert is also included, that show also from the Uptown Theatre. And there is some absolutely fantastic playing here. This is 1970s Dead, after all!

Disc 1

The first disc includes the entire first set, as well as the first song of the second set, the encore (which reminds me of the tapes we used to trade, for often the encore would be placed at the end of the first set cassette) and the final song of the first set from the January 31st show. After a brief bit of tuning, "Jack Straw" is counted off, always a good choice to set the night in motion. This version begins with a sweet, smooth sound, and builds from there. Everything is sounding so clear here. We can picture the eagles filling the sky so easily, picking up the vibe of the music below, for everything seems affected by the Grateful Dead when the band is on. Everything sounds right. And it isn't long before Jerry Garcia's guitar is leading us to some fantastic heights, right up there next to those eagles, and then past them. And that's when the power of this song is at its zenith, before then relaxing again toward the end. After a moment, the band eases into "Friend Of The Devil," which has a pretty vibe. "And if he catches up with me, I'll spend my life in jail." Jerry's voice, his delivery is so moving, and Keith Godchaux delivers some nice work on keys. This is a wonderful rendition, a gentle dance through the night. From what we can hear, it's clear the crowd there appreciates the beauty of this version.

Bob Weir then takes things in another direction with "Mama Tried." Yup, it's Country Bob time. And maybe the sheriff did catch up with Jerry after all. Just listen to him as he joins in on the "I turned twenty-one in prison, doing life without parole" line, the energy to his voice. That leads straight into "Me And My Uncle," itself having a good energy. At this show, Bob ends it with the line, "And I left him lying there by the side of the road." On the first couple of notes to "Ramble On Rose," the crowd reacts. There is almost a false start to this song, and then the song is underway. This is another that makes us feel all is right with the world. "Ramble on baby, settle down easy." It's a song that takes us in its arms and carries us through the fires, upon the shifting earth, and tells us just how it is. "The grass ain't greener, the wine ain't sweeter/Either side of the hill." And we can cope. That's something the Grateful Dead's music gives us. 

Bob mentions some problems with the monitors, and promises to get everything "just exactly perfect." I love the playful banter, and I love that Bob then leads the band into one of my favorite songs, "Cassidy," a song where everything comes together in an extraordinary way. This is a rendition with both beauty and power, and is a good one to dance to. "Let your life proceed by its own design." And that guitar is ready to drive a spike right through the heavens to create a path that we can all travel upon. Wow. Then we get "Sunrise," a haunting and gorgeous song from Terrapin Station, one the Dead played only thirty times, and one that features Donna Jean Godchaux on lead vocals. She wrote this song. I love hearing the crowd cheer as it begins, because there were some fans who did not appreciate her contributions to the band. Jerry then chooses "Sugaree," always one to get the crowd feeling good. And this version has a really good vocal performance from Jerry. This rendition builds a staircase to a better place and pulls us up it during that jam. This jam could drive right through any barrier. And that's how the first set ends. Only fifty minutes or so, but what a great fifty minutes!

But the first disc isn't over. Next is the second set opener, "Samson And Delilah," which has a good energy, and features some delicious drumming by Bill Kreutzmann and Mickey Hart. And Bob is tearing into those vocals at times, which is bloody great. There is a wild energy to the jam, which seems to be driving the band forward. That's followed by the show's encore, which is a cover of Chuck Berry's "Around And Around," with Bob adding some playful stuttering in the verses. They pick up the pace, delivering a great rock and roll jam, before then bringing it down, bringing it in close, almost a whisper, so that they can burst up to that high level again to wrap it up. And the first disc still isn't done. We get the final song from the first set of the January 31, 1978 show, an excellent version of "Let It Grow." There is an incredible amount of power behind this one, and there is some playing that will shake the lightning from those clouds. The drums are dancing, a boogie within the thunder. Incredible. I hope this year's Dave's Picks bonus disc contains the rest of this set if it's even half as good as this "Let It Grow." 

Disc 2

The second disc contains the rest of the second set, picking up with a sweet rendition of "It Must Have Been The Roses." We can feel the passion. And the band lets that song rest with the crowd for a moment, before Bob counts in "Estimated Prophet." This song features some fantastic work by Phil Lesh on bass. And it aims to lift us to some possibly real, possibly mythical spot, "Way up in the middle of the air." The air itself seems to part, and a fresh light comes through. And then the groove carries us through, carries us across, dancing, smiling, ready, relaxed, the air smoothing the edges. It takes these wonderful, bright steps at the end, toward some great new dawn. And soon we find ourselves moving into "He's Gone," a really nice transition. The song begins in a mellow place, soothing us, mellow even in the "Steal your face" line. This is a gentle, touching rendition. Jerry's voice then raises on "Smile, smile, smile." Ah, what else can we do? What else should we do? "Going where the wind don't blow so strange." And the second time around, the "Steal your face" line has more energy. The vocal jam, as usual, is one of my favorite parts, and this time it's beautiful, almost like meditation at first, and is given time to grow and breathe.

The music eases into the "Drums" segment, which has its own sort of meditative aspect early on, with blues and greens and purples bubbling up before something more insistent behind it emerges. Then there is a march of alien figures coming in through the ceiling, through the walls, coming together in a circle, dizzy and delighted on some sort of otherworldly medication. A new beat begins to take form, and it leads to a cool jam. I love how Phil kind of determines the direction then, the song soon becoming a really nice jam, with a positive vibe, skirting the darker territory and creating a great place to dance. Things change subtly, then, bam, we are into "The Other One," a monster that changes each time it is summoned, each time it is encountered, so that it must be approached differently. This time, it is from above, with forces spread wide, approaching simultaneously and driving into the thing with confidence. And then Bob delivers the first verse. The jam provides darker waves to ride upon, not to tame, leading us to stranger territory. Exploring from below, exploring its interior, its intricate construction, caught in the synapses and muscle. Bells are rung to summon reinforcements. But who rung it? It doesn't matter, for all become one, and there is a release of sorts.

The band eases into "Wharf Rat," and we're taken to a specific place where these two forgotten men find themselves. The story that is told grows and pulses and suddenly becomes our story too. "I'll get up and fly away." The jam will help us get off the ground. And the band suddenly shifts to "Sugar Magnolia," a rousing number to get everyone dancing. For we've come through okay, intact, stronger, more joyful, and so the song is a sort of celebration to wrap up the second set. And the "Sunshine Daydream" section tells us just where we are, where we've been heading all along. And it's glorious to be here.

Disc 3

The third disc contains almost all of the second set from January 31, 1978. The only thing that's missing is "Samson And Delilah" (yes, they played that song at both shows). The band opens the set with "Scarlet Begonias," and the moment it begins we can sense the audience is happy, but perhaps that's just because we are. "I knew without asking she was into the blues." There is a magic to this song, in the way it pushes aside all troubles, and a joy penetrates our skin, light coursing through our veins. And Donna's voice is like a sweet breeze against our faces. And Jerry's guitar causes ripples that spread out and come back to meet the next note. A circle is drawn in the brown earth, but nothing is contained within; things can dance in and out again as they please. Pieces like raindrops dance at the edge, existing in two places at a time. There is such a cool, natural transition into "Fire On The Mountain." And this is a fantastic "Fire On The Mountain," the vocals sounding just right. A dance you want to go on forever. 

The band goes into "Terrapin Station," and now we're in for a whole other kind of ride, a journey to those generally unexplored nooks and corners of existence, and "things we've never seen will seem familiar." Flowers burst through articial surfaces, their colors pushing back the greys and the neons. An electric wire rounds everyone up, but then a different wind is what takes us up, and to a land we call Terrapin, a land that is in motion. "A rare and different tune," indeed! "Terrapin" goes directly into "Playing In The Band," and at the start we are solid footing, a land we recognize, can be sure of. The song has a strong puse, a pulse that can shift mountains. Then the band begins to reach out into those darker areas, those mutating spaces. If you look away and then look back, they've become unrecognizable. But that's all right. We see where the smaller pieces fit, entropy in reverse, repearing the broken spaces in between galaxies. And once that's done, creatures enter what is now a dance floor. And we found ourselves in an odder realm, with perhaps sinister elements. But that opens, and we are into "Drums." And soon it becomes clear there is a mass here, a heaviness whose presence is felt by any nearby entity. And then as small elements get nervous, it speaks a single gentle word. Then there is a shaking, a rolling, a rush of many feet. The jam moves with a twisted urgency in any direction, and we step in all directions at once, scratching at the edge of the universe, and soon hearing a response fom the other side.

There are hints ahead, and suddenly everything becomes much more human, much closer, as the band goes into "Black Peter." This rendition features a beautiful vocal performance from Jerry, the song gently rocking us. Ah, cradle or deathbed? This song can take us either direction. This is a tremendous rendition of "Black Peter," and there is then an interesting transition into "Truckin'" to get everything in motion again. Onward. And also to reflect, "What a long strange trip it's been." A great joy bursts forward from there. The jam seems like it could go in a couple of directions, and then surprises us by going into "Good Lovin'," a solid, fun rock number, a party.

CD Track List

Disc 1

1. Jack Straw
2. Friend Of The Devil
3. Mama Tried >
4. Me And My Uncle
5. Ramble On Rose
6. Cassidy
7. Sunrise
8. Sugaree
9. Samson And Delilah
10. Around And Around
11. Let It Grow\

Disc 2

1. It Must Have Been The Roses
2. Estimated Prophet >
3. He's Gone >
4. Drums >
5. Jam >
6. The Other One >
7. Wharf Rat >
8. Sugar Magnolia

Disc 3

1. Scarlet Begonias >
2. Fire On The Mountain
3. Terrapin Station >
4. Playing In The Band >
5. Drums >
6. Space >
7. Black Peter >
8. Truckin' >
9. Good Lovin'

Dave's Picks Volume 57 was released at the end of January, 2026. My copy, as I mentioned, arrived on February 1st. This release is limited to 25,000 copies. Mine is number 16262.

Brad Schrader: "Late Nights" (2025) CD Review

Brad Schrader is a singer based in New York who focuses on the great standards, songs that are widely beloved, songs that continue to move us and speak to us. His new album, Late Nights, creates the wonderful and timeless atmosphere of a cocktail club. Of course, while listening, you might have to mix your own drinks. And then let the music transport you to what might feel like another place and time, but which is really a different, and better, way of looking at our own place and time. Make the most of what we have by listening to great music. Backing the vocalist on this release are Jerry Vezza on piano, Alex Claffy on bass, Andrew Van Tassel on saxophone, and Khary Abdul-Shahid on drums.

Brad Schrader opens the album with "Time After Time," which begins with some gentle and pretty work on piano to ease us into the realm of this music. Soon the other musicians come in, and the song takes on a nice rhythm. "Time after time/I tell myself that I'm so lucky to be loving you/So lucky to be the one you run to see." Oh yes! How lucky I feel to be telling myself the same thing. And when he sings "The passing years will show," we can hear those years in his voice. It's a wonderful moment where we get this sudden glimpse of an entire relationship. And during those excellent leads on piano and saxophone, we can see a couple dancing through the years, and even outside the years. We feel the joy and magic of such a relationship. May everyone get the chance to know and experience just what this song describes. Toward the end of the track we're treated to a delightful bass solo. "Time After Time" was written by Sammy Cahn and Jule Styne. It's followed by "I Wish I Knew," written by Harry Warren and Mack Gordon. "Do I mistake this for a real romance/I wish I knew, but only you can answer/Am I a fool to hope and wish and pray so/Don't lead me on, if you don't care just say so." This track features some really nice work on piano, and then we get a bass solo fairly early on. It is after the bass solo that the saxophone comes in. This is an interesting song, for it has a romantic vibe, but it's a hopefully romantic thing, for he's not sure whether he's in a romance or not. "What shall I do? I wish I knew." And the saxophone adds its own voice to that wish near the end.

Then Brad delivers an excellent and surprising rendition of "It's All Right With Me," a Cole Porter song, the first of two Cole Porter songs included on this disc. This version begins on drums, setting things moving at a good clip, and Brad's voice comes in, supported by just drums for the first few lines. This rendition cooks, and has some delicious changes in the rhythm too. And I love how Brad's voice takes on a certain attitude on the lines "It's the wrong dame with the wrong chips/Though your lips are lovely, they're the wrong lips." The bass and drums keep things moving, and even during the piano lead it is that rhythm that I'm focused on, particularly the bass. And then, holy moly, check out that drum work in the section that is just bass and drums. Fantastic. "It's all right with me, yeah," indeed! That's followed by "It Never Entered My Mind," a Rodgers and Hart number from Higher And Higher. There is a kind of quiet intensity to the music. "Once I laughed when I heard you saying/That I'd be playing solitaire/Uneasy in my easy chair/It never entered my mind." I love the way he delivers the line "You have what I lack myself." There is love heard in his delivery of the word "have," which is wonderful. In the track's second half, there is a gentle piano solo.

Brad Schrader turns to bossa nova with a cover of Antonio Carlos Jobim's "Quiet Nights Of Quiet Stars (Corcovado)." "This is where I want to be/Here with you, and you with me/Until the final flicker of life's ember." Yes, the right person can completely change our perspective on the world, on life. Brad delivers the song in English and Portuguese. That's followed by "You Do Something To Me," the second Cole Porter song of the album. This one begins on bass, and, like "It's All Right With Me," it moves at a fast pace. And yet his delivery has a dreamy quality on certain lines, creating an interesting tone and spirit. And he gets playful the second time he delivers the voodoo line, which works so well. This track also features a wonderful lead on saxophone. Late Nights then concludes with "Skylark," which also begins on bass. When Brad comes in, his vocals are at first supported by just bass. This track contains one of the disc's best vocal performances. "And in your lonely flight/Haven't you heard the music in the night/Wonderful music/Faint as a will-o'-the-wisp, crazy as a loon/And sad as a gypsy serenading the moon." This is an excellent rendition, feeling both fresh and timeless. Halfway through the track we get a beautiful lead on saxophone.

CD Track List

1. Time After Time
2. I Wish I Knew
3. It's All Right With Me
4. It Never Entered My Mind
5. Quiet Nights (Corcovado)
6. You Do Something To Me
7. Skylark

Late Nights was released on November 20, 2025. 

Monkey House: "Crashbox" (2025) CD Review

My two favorite writers are William Shakespeare and Kurt Vonnegut. One of the first Vonnegut books I read in my teens was Welcome To The Monkey House, which is a book of short stories, a book that immediately deepened my love of his writing. I wonder what Vonnegut would have to say about our current dystopian society. Anyway, it is from that book that the band Monkey House gets its name, and the band's first album, released in 1992, was titled Welcome To The Club, so the full title of Vonnegut's short story collection was on the album cover. The band, led by Don Breithaupt, has released several more albums since then. The latest, last year's Crashbox, features all original material written, arranged and conducted by Don Breithaupt. The album features the work of Don Breithaupt on piano, electric piano, organ, synthesizer and vocals; Justin Abedin on guitar; Mark Kelso on drums and percussion; Pat Kibride on bass; William Sperandei on trumpet; Willian Carn on trombone; Vern Dorge on alto saxophone; John Johnson on tenor saxophone; Selena Evangeline on backing vocals; and Michael Dunston on backing vocals and tambourine. There are also several other musicians on various tracks.

The album opens with "Return Of The Mayfly," which begins with some great stuff from the brass section, and then quickly becomes a sort of disco jazz number. Tony Carlucci plays trumpet on this track. "Everybody has to deal with sorrow/Everybody has to clear their mind/He would rather think about tomorrow/Than the nightmare he left behind." There is something smooth about the vocal work, particularly the backing vocal work, and the track features a totally delicious groove. That instrumental section in the middle is what really stands out for me, with some fun stuff on keys. The drumming here is excellent, and there is a cool bass line. As the song begins to fade out, the song's opening line is repeated in the background. A good beat is established at the beginning of "Someplace On Madison," and the city seems to be built on that rhythm, to move to it. The city is New York, and the song takes us to different spots there, making the city feel pretty cool, pretty relaxed (which was not always my experience there). I love the horns in that first section. Michael Leonhart delivers a wonderful lead on trumpet.

There is more of an intense vibe to "Crashbox" at the start. The album's title track has an intriguing title. Apparently a crash box is a part of a car that helps protect you in a collision, but when I was doing theatre, it had a different definition. It was a box of junk that we could shake or drop for certain sound effects. The song is about how the newsfeed that we are all subjected to these days pulls us into a hole. "Got a thirst for information/Got a hunger for the truth." Interestingly, information and truth are often two different things these days. There is so much information out there, and so little truth. It's a dark and depressing world out there. Politics will not save us. Music might. Anyway, this song is one of the album's highlights, featuring some really good vocal work. In the second half, Don Breithaupt suddenly asks, "What's the worst that could happen?" That's a question many of us are afraid to ask, for it seems the answer will come to pass. "In the age of escalation/You want a sword and not a pen." This track develops into a good jam. When it starts to fade out, I'm disappointed. I want it to go on a bit longer. Then "Disappear In Plain Sight" begins on keys, and has a much gentler sound and feel. It was written by Don Breithaupt and Marc Jordan, and Marc sings on it. It becomes a sort of love song, the chorus reminding m a bit of some of Chicago's music. It might be mainly the way he delivers the word "sight" that first time in these lines: "Let's disappear in plain sight/Let's fade away in the downtown lights/You can pretend I'm somebody cool/Let's disappear in plain sight." This track contains some really good stuff on guitar.

"What's Left Of This World" has a totally delicious and cheerful groove, part of what gets me immediately digging this track. Peter Cardinali plays bass on this one. "Found a little spot they forgot to pave/Everybody here got a plan to save/What's left of this world." Ah, I hope there's a plan. It's difficult to keep from getting a little cynical these days. Where I find hope is in music. This is another of my favorite tracks. There is crowd noise at the beginning and again at end. And then the very end has the sound of a door closing. Is that the end of this world? "Sundaying" also has a good, positive groove and vibe, and features some really nice work on saxophone. "It's been a long, long week/So let the moment speak/Slow it down, hang around." I also really like the backing vocal work. This is a song to leave you with a pleasant feeling, a song about relaxing. "Smoke 'Em If You Got 'Em" soon too develops a good groove. This song is about taking a look around and realizing things are getting worse. We seem to be at the edge of oblivion. "I'm ordering the last best round/Welcome to the bottom." There is a dark edge to this song, which feels right. And there is a lonesome climax to this track, which also feels right.

There is then a sort of intimate feel to "Bring The Stars Down" as it begins, to the piano work. And then strings are added to this one. That's Drew Jurecka on violin and viola, and Lydia Muchinsky on cello. I love what they provide this track. This song also contains one of the album's best vocal performances. "There are four thousand spaces/Where you used to be/Now I know how many it takes/To break me/I've been thinking or drinking or both." I find this song especially affecting me. It is followed by "You Just Don't Know It Yet." Here are the song's opening lines: "You say you're waiting/'Til the time is right/Maybe this time next year/Can't see your future/For the blinding light/Of your fear." Often we ourselves are our greatest obstacle. Life is short, and we're not promised anything. I appreciate how this song is encouraging. And Selena Evangeline adds some beautiful vocal work, especially toward the end. Then "Chasing The Muse" features some good work from the horns. "Beauty takes its time/It ain't always right to make it rhyme."

Interestingly, in "Friday Night Jam" Don sings, "Won't you bring the stars down/To the Friday night jam," reminding us of the earlier track "Bring The Stars Down." But now the line has a different sense. This is a song that celebrates those musicians at their local small venues covering the old songs, never quite making it but still doing it, still playing. It contains some nice nods and references to other songs. The album then concludes with "Feeling You Breathe," a pretty song that is another of the disc's highlights. "But tonight/I'm feeling you breathe/Right next to me/And the world is still turning/Life may be brief/But right now/I'm feeling you breathe." Yes, life is so short, and one day things will end for everyone, but those moments with that special someone still matter. This brief existence is all about love, about friends and family, and about music. Drew Jurecka and Lydia Muchinsky return on strings, delivering some wonderful work. This track also features some beautiful guitar work.

CD Track List

1. Return Of The Mayfly
2. Someplace On Madison
3. Crashbox
4. Disappear In Plain Sight
5. What's Left Of This World
6. Sundaying
7. Smoke 'Em If You Got 'Em
8. Bring The Stars Down
9. You Just Don't Know It Yet
10. Chasing The Muse
11. Friday Night Jam
12. Feeling You Breathe

Crashbox was released on June 6, 2025.

A Venue To Avoid: The Barkley Restaurant & Bar in South Pasadena, California

I try to keep this music blog positive. I only write about artists and albums that I think are worth listening to. I'm not out to knock any artists. And I'm not out to knock music venues either. I'm thankful for any place that books bands these days, for live music is the very thing that keeps me going. But I have to make an exception, and warn people about The Barkley Restaurant & Bar, which is located at 1400 Huntington Dr. in South Pasadena, California. This place rips off its patrons and is run by a violent would-be thug who thinks rather highly of himself and his little bar. I went there on Saturday to see Old Californio, one of my favorite bands. I was going to mention this incident in my review of that show, but, again, decided to keep that review positive. After all, the band put on one hell of a phenomenal show, and of course had absolutely nothing to do with the incident at the end of the night. So I decided to keep this separate. Here is what happened.

I got to the show early, as I always do, and ordered a beer. This place has nothing on tap, which is odd, and the bottle selection was not very good. But I decided to try the IPA. It was $6, which seemed not unreasonable to me. The IPA wasn't great, but good enough. I finished it, and then I was focused on the music. When the band decided to do a third set, I went to the bar and ordered another IPA. This time it was a different bartender and when she placed the bottle on the counter she said "Eleven dollars." I thought I misheard her, but she repeated the price. I'm sure I looked confused, and I told her that I had paid six dollars for that same beer earlier. She informed me that the price goes up once the music starts. So I asked, "Oh, does the band get half the bar tab?" Because if that was the case, I was happy to pay the eleven. As I said, this band is great, and they'd already delivered two fantastic sets. But the woman didn't answer me. Instead, she took the bottle away and put it below the counter, and then walked away from me. Odd behavior. But, whatever, that was the end of that. And I put the money I was going to spend on beer in the band's tip jar (or hat, as I recall).

That was at 11:45 p.m. I know, because I sent my friend Jon a text message at 11:48, which read: "I had a beer. Nothing on tap, just bottles. Six dollars. Okay. So I just went to get another one before 3rd set. Eleven dollars. I was like what? I asked if the band got half of it, and instead of answering she just put it away."

The third set was incredible. A whole lot of energy. It ended at 1:11 a.m. Approximately ten minutes after that, I had gathered my stuff and was stepping away from the booth, when a man I had never met before got right in my face and demanded I pay for a bottle of beer that he had in his hand. He also poked my chest with his finger, trying to intimidate me, I suppose. But I was in too good a mood to take that bait. I told him, no, that I was about to leave and was not going to drink another beer. Plus, assuming it was the same beer, it had been sitting out for an hour and a half. So he wanted me to purchase a warm beer for a ridiculous price. I explained what happened, how I had expected the price to be the same it was earlier, and made it clear that there was no way I was ever going to pay eleven dollars for a bottle of beer. He got belligerent and told me I owed him $11. I said, absolutely not. At that point, two people that I had only met that night (other Old Californio fans) offered to pay for the beer (because there are still good people in this country). I said, "Please don't do that." After all, it wouldn't be right. So then the guy told me to get out of his bar, which is what I'd been doing before he started this nonsense. So I started to walk out, and as I paused to say goodbye to the band he pushed me toward the door, which is completely unreasonable and also criminal. Had I been in a worse mood, I might have called the police. But, again, that concert was so good, that not even this piece of shit was going to ruin my mood. His pushing me was witnessed by several people, some of whom followed me outside to check to make sure I was okay. Because, again, there are good people in this world.

By the way, the question that the bartender refused to answer, the one about the band getting half the tab.... Well, the answer is No, the band got nothing of the bar tab. So these people tell customers that the ridiculously high price is because of the music, and then totally stiff the band. I'm sure most people assumed the band was getting a portion of the tab. But this venue just uses the band to rip people off. I highly recommend avoiding this place. And in the days since this happened, I've heard from other people who had similar experiences. So this was not a matter of me catching this prick on a bad night. So, again, I highly recommend avoiding this place. If there is a band performing there that you feel you absolutely must see, just don't order any drinks. Don't give the club any money. Whatever money you'd spend on drinks, give it to the band. The musicians are the ones that deserve it, not this greedy, dishonest, violent prick.

Photos of Mecolodiacs and Garretson & Gorodetsky at Maui Sugar Mill Saloon, 1-30-26

Friday night I caught a phenomenal set by Double Naught 3 at Maui Sugar Mill Saloon. (I posted a review on my blog the next day.) But that was only the first of three great bands that night. The other two –  Mecolodiacs and Garretson & Gorodetsky – were groups I had not seen before, but which I hope to see again at some point. Both delivered powerful, fun and impressive sets. The two groups, as you'll see in the photos, shared a couple of members as well.

Mecolodiacs delivered a funky, jazzy set that featured some fantastic drumming and kick-ass bass lines, as well as wild stuff on saxophone and cool work on guitar. 

Garretson & Gorodetsky delivered a riveting set. And I imagine everyone reading this will appreciate "Fresh Hell," which was the song these guys closed with.