Grateful Dead: "Dave's Picks Bonus Disc 2026" (2026) CD Review

Thanks to my mom, I have a subscription to the Dave's Picks series of Grateful Dead concert releases. Four times a year, a new Grateful Dead show arrives in my mail box (or somewhere in the general vicinity of my mail box, as happened with the new volume), and once a year that show is accompanied by a bonus disc. This year the bonus disc arrived with Dave's Picks Volume 58, a three-disc set that contains the complete show the Dead played on December 18, 1973, and a couple of songs from the December 12, 1973 show too. The Dave's Picks Bonus Disc 2026 contains more songs from that December 12th show at The Omni in Atlanta, Georgia, songs from both the first set and second set.

The disc opens with "Sugaree," which was the second song of the first set, following "Promised Land." Interestingly, some setlists online don't include the first four songs of the show, perhaps basing their list on incomplete audience tapes. Anyway, this is a sweet rendition of "Sugaree," featuring a vocal performance from Jerry Garcia that is wonderfully gentle at the beginning. This song grows in power at the right moments, a song of hills and valleys, and of beauty. The disc then skips to the middle of the first set for "Peggy-O," this being only the second time the band played this song. The first was two days earlier. And again, Jerry's voice is so gentle, so sweet as the song begins. And the track features some really nice work by Keith Godchaux on keys. There is something about this rendition that just feels so good. Then we go to the final song of the first set, a glorious, epic "Playing In The Band." It begins with that wonderful energy, like something opening, like a bright light breaking over us, and then gets into the action of the main theme of the song. But of course the real action is after that, when the band begins to explore other spaces, when the music takes us away from the ground, away from stage, almost like the music somehow separates from the instruments, taking on its own life and choosing its own direction. There is a moment, approximately six minutes thirty-eight seconds in, when the sound shifts to a lesser source. There were a few of those moments on the discs of Volume 58 too. It lasts nearly a minute, and then we are back to the clearer, crisper sound. By that point, it is like the entire universe is dancing, everything the music encounters becoming immersed in the groove, in the energy, in the drive outward. Bill Kreutzman's drumming is so good, and Jerry's guitar reaches to delicious heights, and sometimes turns inward too. What I love is that this version is able to get out there into those exciting places while still maintaining, more or less, a wonderful rhythm that we can hold onto. And then, somewhere around the nineteen-minute mark, the song's main theme is re-established. I always love when the song kicks back into that theme with full force. It's like a welcome back to the earth, but now with whatever knowledge and experience we've gathered along the way, and so our approach to the song is different. There is often more joy. We are not quite the same people we were when this started.

We then skip the first couple of songs of the second set and go right to "China Cat Sunflower," and so we head straight back into interesting territory. After all, there was never any question about what this song was about. Here the structure remains even more intact, while still giving us a chance to open up to different realms. The jam here moves forward with a joyful, delicious force, certain of itself, of its destination. And soon we are into "I Know You Rider," which begins in perhaps a somewhat mellow place, yet with a good amount of heart, and then rises to a great peak on Jerry's "I wish I was a headlight on a northbound train." The disc skips a couple of songs, and moves to "Weather Report Suite," the full song, including the pretty, meditative "Prelude" and a really nice rendition of "Part 1," even if Bob Weir seems to momentarily lose his place. This song feels like it can take care of us, can see us through. "We'll see summer by and by." And then we're into the "Let It Grow" part, the only section that I ever got to see the Dead perform. There is a wonderful power to this piece, and we get a strong rendition here. "And listen to the thunder shout, I am! I am!" What an excellent jam, showing again how 1973 was the best year for the band, as far as live performances are concerned. The band then goes into "Wharf Rat," another of my personal favorites. And this is a striking rendition. Listen to the ache and determination in Jerry's voice as he sings, "But I'll get back on my feet someday." The song at key moments feels like a combination of magic and perseverance. And it gently lets us go at the end.

CD Track List

1. Sugaree
2. Peggy-O
3. Playing In The Band
4. China Cat Sunflower >
5. I Know You Rider
6. Weather Report Suite
7. Wharf Rat

Dave's Picks Bonus Disc 2026 was released in early May, 2026.

Grateful Dead: "Dave's Picks Volume 58" (2026) CD Review

Nothing raises my spirits more than a new Grateful Dead concert recording arriving in the mail. After worrying that the new Dave's Picks volume got lost on its way to me, I discovered it had been delivered to the wrong spot, and today got a chance to enjoy it. And enjoy it, I did. After all, Dave's Picks Volume 58 contains music from 1973, which I still consider the absolute best year for Grateful Dead live performances. This three-disc set contains the complete show the band performed on December 18, 1973 at Curtis Hixon Hall in Tampa, Florida, the penultimate show of the year (the final show had been released as Dick's Picks Volume One). It also contains a couple of songs from the December 12th show in Atlanta. There is a slight re-ordering of songs, with the night's encore placed toward the end of the second disc, just before the Atlanta tracks.

Disc 1

The first disc contains most of the first set. Yup, it's a nice long first set, too much to fit on a single disc. After a moment of tuning, the band opens the show with "Tennessee Jed." This is one of those songs that just always seems to hit the right spot. There is a kind of gentle vibe to this one as it begins, and it soon grows from there, featuring some nice work by Keith Godchaux on keys and some passionate vocal work from Jerry Garcia. It's a good rendition. There is some more tuning afterward, and then Bob Weir leads the band into "Me And My Uncle," with Bob adding "That's me" after the line "I'm as honest as a Denver man can be." There is some stage banter after that song, Bob saying, "As you can see, one of our fellows here is diligently nailing Billy down to the floor." The band then delivers a fun rendition of "Don't Ease Me In" that bounces along, keeping the audience's feet from remaining on the floor for too long. Does Jerry forget which verse he's starting, just for a second? Well, no matter. This rendition has a sudden ending. And the band then eases into "Looks Like Rain," and we can hear some folks cheer as they recognize it. Seems fairly early in the show for "Looks Like Rain," but Bob gives a really good vocal performance here. Check out, for example, the way he delivers these lines: "But it's all right, because I love you/That's not going to change anyway/Run me around/Make me hurt again and again." There are some sweet, pretty moments here too, particularly some of the stuff that Jerry is doing on guitar. And I love Phil Lesh's work on bass, keeping things from getting too light. This is an excellent "Looks Like Rain." "Whole world's turning grey, and it looks like rain."

That rhythm at the beginning of "They Love Each Other" is so catchy, one to get us dancing, and it's allowed to go on a bit before Jerry comes in on vocals. I love early versions of this song, with its bouncy groove, Bill Kreutzman dancing behind the drum kit, and with those extra lines. This is a lot of fun. And then it's suddenly over, and Bob leads the band into "Me And Bobby McGee," delivering another good, moving vocal performance. Everything sounds so good, so crisp, so sweet, and this song ends up another highlight of the first set. Bob then announces they're going to take a moment to fix the piano. The band soon starts "Brown-Eyed Women," another song that always hits its mark. And this version contains some particularly good guitar work. "And the old man never was the same again." A nice gentle ending, too. "Beat It On Down The Line" is next, with like fourteen or fifteen beats to start it. Does the number of beats determine how good a given rendition will be? I bet someone's done a study of it. Anyway, this is a fun, strong version of the song, with some energetic playing. 

Jerry begins "Peggy-O" on guitar, emerging beautifully and sweetly from a bit of tuning, and this is a gorgeous, striking rendition, another of the set's highlights. Everything comes together perfectly here. It's interesting, because, depending on your mood, it's a version you can dance, or least sway to, because of Billy's drumming, or you can close your eyes and drift into a gentle dream of a time gone by. Then the moment "El Paso" begins, some folks cheer. This song too takes us into its particular world, its own story, though this one with undeniable energy. Hearing it, and knowing how things turn out, I find myself still wanting a different outcome for the main character of the song. But of course the end is inevitable, and everything is moving toward that conclusion, even as Jerry's guitar takes us for some delightful twirls. Some odd stuff on piano between songs, like demanding something or other. And Jerry leads the band into "Deal." Maybe it has just a bit of a relaxed vibe early on, but the guitar starts calling down its own energy, creating its own heat, and then everything has to follow that, doesn't it? Jerry starts pushing things vocally too. "Deal" is followed by "Jack Straw," which has a pretty opening, and features some wonderful work on guitar, the music feeling like one final, glorious chance at something grand, if only we can make it happen. I love when the music transports us like that, creating an entire world and placing us at the center of it. This song does it perfectly.

Disc 2

The second disc contains the final two songs of the first set, along with the first chuck of the second set, the encore, and two songs from the December 12th show. The disc opens with "China Cat Sunflower," and you can bet the crowd reacts as soon as it starts, knowing where this song can take folks. And there certainly is a bit of magic here, especially in the guitar, that instrument helping to open the door between this world and another, the band urging everyone to dance straight through. And that's the way we want to enter other worlds, isn't it? There is a joyful energy to the jam, causing even the light to dance. The segue into "I Know You Rider" is seamless, and that song has such a good feel to it. It's great as the energy builds. For a moment approximately halfway through, it sounds like the sound shifts to an audience recording. Still, this is a really good rendition of "Rider." And that's how the first set ends.

This disc then presents the first section of the second set. There is a bit of joking at the beginning. "It's a terrible feeling to step on a flower," Bob says. "If you're going to throw flowers, throw 'em at Bill." After some tuning, the band starts the second set with "Promised Land," shifting things right into gear and getting things immediately in motion. That leads straight into "Bertha," to keep that energy high, keep everything dancing forward, Jerry delivering a strong vocal performance, with some power at the right moments, as well as a wonderful lead on guitar in the second half.  The band then goes straight into "Greatest Story Ever Told," choosing another high-energy song. There is some interesting stuff on guitar in the second half, with a different feel, even as the rhythm continues to rumble beneath it, and then things start to seriously rock. After a brief pause, letting folks cool off, the band goes into "Row Jimmy," slowing things down and taking us into a prettier area, Jerry's voice soothing us. There is some beautiful guitar work here, and I just want to stay in the world of this song a little longer, let it rock us to and fro. This is an excellent version of "Row Jimmy." The disc then moves to the show's encore. "It's gonna be a couple minutes," Bob tells the crowd, "Because a couple of our fellows are backstage taking care of business." Soon the guys deliver a nice rendition of "Uncle John's Band," featuring a delicious jam that takes us quickly toward the outer reaches of the atmosphere. "He's come to take his children home." Didn't we always feel at home at a Dead show?

The final two songs on this disc are from deep in the second set of the December 12th show. (By the way, this year's bonus disc, which arrived with Volume 58, contains more selections from that show.) The band eases into one of my favorites, "Eyes Of The World," a song that always makes me feel good, always gets me moving. The jamming here is wonderful, flying and flowing so naturally in the brightest sunlight early on, and then taking us into more interesting territory in that final jam, teasing darkness before stepping back into the light. And this is 1973, so the jam has the extra section that would later be dropped (and sort of turned into "Stronger Than Dirt"). That song then drops us into "Morning Dew." I love the combination of grief and anger in Jerry's voice on certain lines, which seems exactly right. This is a powerful rendition, even in its quietest, most delicate moments.

Disc 3

The third disc contains the bulk of the second set. "We're going to figure out what we're going to play next," Phil told the crowd. And then when the band eased into "Weather Report Suite," he said, "This is the quiet part, folks." I always loved hearing the band do "Let It Grow," and these early, full versions of "Weather Report" are a treat to listen to. And, yes, as Phil said, it begins softly, in pretty territory with "Prelude." And there is an undeniable beauty to "Part 1." "Like a song that's born to soar the sky." And then the power grows during "Let It Grow." Maybe because it has the chance to grow from the softer, earlier sections of this song, but this "Let It Grow" has an incredible intensity and is just a great rendition. The jam is particularly good. There is a moment toward the end of the track when it seems to switch to an audience recording. Certainly, there is shift of some kind, and it lasts a little longer than the one on the second disc. Usually when something like that happens, Dave Lemieux includes a caveat, but I didn't see one in this volume (maybe I missed it). But no matter, because then we are into "Dark Star," a song that promises an intriguing and often exciting journey. And this version doesn't wait at all before beginning its exploration, dancing in a garden where lights spring up and twist around in response to our attention. And once enjoying a taste of life, they continue to grow and spiral above us, pushing open new doors we didn't realize were even there. And we follow them upward and outward, and we then we are floating on our own, in unfamiliar territory, no clear way back (and who wishes to go back anyway?), and so the only thing to do is look ahead, accept whatever is coming, look the Weird straight in the eyes, with a smile. It seems to work, and a different reality begins bubbling up around us, little beings dancing and popping up into sight and then disappearing again. And then we are back into the song's main theme, and soon Jerry delivers the first verse. That's like eleven minutes in. "Shall we go, you and I, while we can?" And then we are almost immediately placed in a darker, less certain realm, one where atoms are less inclined to stick together. Reality flows into large blue, curious masses, which can't help but overwhelm us, whatever their inclination might be. Other, smaller creatures cry out into the void, waiting for answers. Expecting them? And the answers, when they do come, fly by in unexpected forms and so are largely unintelligible. A beauty tries to emerge, and the band never gets to the second verse.

A short, but good drum solo from Bill Kreutzmann is what does come out of "Dark Star," and it in turn leads to "Eyes Of The World," effectively lifting us out of whatever strange world we'd found ourselves in. This song calls everyone back together, and reminds us of a shared reality, one of our own making. And I love how when Jerry's guitar is flying, so is Phil's bass, though not at the same height. "And the seeds that were silent all burst into bloom and decay." And the jam after the final verse is particularly good, the band cooking, leading to that cool extra "Stronger Than Dirt"-type section. I wish they had kept that in, so that I could have seen the band do it in the 1980s and 1990s. This is an absolutely stellar "Eyes," with an unusual conclusion, leading into "Wharf Rat." Normally you'd think that might be something of an extreme shift, from "Eyes" into "Wharf Rat," but the jam led us here in such a way as to make it feel completely natural, even inevitable. We were ready for it then, ready to be taken into the particular story of this song, to be able to approach it with the right frame of mind. And this is an excellent "Wharf Rat," Jerry delivering a phenomenal vocal performance, pulling us right in at key moments, making us feel like we're privy to confession. And is there another shift in sound sources? Weird. This one is brief, but still jarring. And it's a shame it comes in such a great "Wharf Rat." Keith delivers some nice work on keys. As this song eases out, "Sugar Magnolia" comes alive, always a good choice to wrap up a set. This version features a good jam, building in energy as it goes. Wow, there is something of an extended pause before "Sunshine Daydream." What a great show! The Dead could do no wrong in 1973.

CD Track List

Disc 1

1. Tennessee Jed
2. Me And My Uncle
3. Don't Ease Me In
4. Looks Like Rain
5. They Love Each Other
6. Me And Bobby McGee
7. Brown-Eyed Women
8. Beat It On Down The Line
9. Peggy-O
10. El Paso
11. Deal
12. Jack Straw

Disc 2

1. China Cat Sunflower >
2. I Know You Rider
3. Promised Land >
4. Bertha >
5. Greatest Story Ever Told
6. Row Jimmy
7. Uncle John's Band
8. Eyes Of The World >
9. Morning Dew

Disc 3

1. Weather Report Suite >
2. Dark Star >
3. Drums >
4. Eyes Of The World >
5. Wharf Rat >
6. Sugar Magnolia 

Dave's Picks Volume 58 was released in early May, 2026. I got my copy on May 7th. This release is limited to 25,000 copies (mine is number 17002).

Mike Green: "Hang The Moon, Part One" (2026) Vinyl Review

Los Angeles-based musician and songwriter Mike Green released his first full-length album, Restart, in 2019, and has now followed it with Hang The Moon, Part One. This album features original material, all the songs written or co-written by Mike Green. Songs with excellent lyrics, songs of substance, of meaning. Though if you just want to enjoy a good rhythm, these tracks will satisfy you too. They are in a sort of alternative pop realm, mixing in elements of rock. Mike Green plays guitar and synthesizer on these tracks, and is joined by Eli Marcus on bass, Cam Tyler on drums, and Leddie Garcia on percussion, along several other guests on various tracks. By the way, though it's a single record, there is a gatefold, something I always appreciate and find almost comforting, perhaps because it reminds me of my childhood, when I'd have an album jacket open on my lap while listening. And, from what I gather, there will be a Part Two, more tracks having been recorded at the same sessions that yielded this record.

Side A

Early in the album's first track, "Dig," Mike Green sings, "Maybe I can keep these dark thoughts/Subservient to my heart." What great lines! The first time I put this record on, it was those lines that alerted me that these songs should be paid particular attention to. And interestingly, there is a dark element to the pop sound. This track also contains a good, interesting rhythm, especially to the verses, where it feels more prominent. These are uncertain times, and the music here seems to reflect that, reflect our own personal uncertainty. "I keep shoveling the earth until/I have a grave to fill/And I'll dig." There is a powerful instrumental section toward the end, featuring some really good stuff on guitar. Then there is something of a 1980s sound from the start of "Bug." Here is a taste of the lyrics: "How do I know/If the pain's intentional/How do I know/If it isn't visible/How do I know/We kill to believe it/Even if we don't see it." Again, the lyrics grab us, even if the song misuses the word "comprise" (it should be "composed of"). I like the rhythm of the vocal line during the verses. The track also becomes exciting during that instrumental section, building up as if preparing to explode or attack, and taking us to some higher level in the process. It's a fantastic moment.

"Coyote" uses something from reggae in its beat, and here too the vocal line has its own delicious rhythm. And even with the reggae element to the song's beat, it is the rhythm of the vocals that is especially catchy. In addition, this song features a horn section, helping to make it one of the record's highlights. Michael Stever is on trumpet, Nick Lane is on trombone, Evan Mackey is on trombone, and Andrew Neu is on saxophone. Also, Shea Marshall joins the band on organ, and Whitney Tai provides some nice backing vocal work. "The risk is wild/The pain's okay/To go back now/Is to dig our graves." It is interesting that this is the second song to mention graves. Then "Afterglow" is a more moody piece, more contemplative. And even before Mike sings the word "memory" we are immersed in memories, in feelings of longing. "Let me go easily/You're tangled in my memory/Before I give up your ghost/I'll revel in your afterglow/I'll carry on/Without you in my life." There is something beautiful about this song.

Side B

The second side opens with "I Can't Help It," this one written by Mike Green and Luis Narino. Mike delivers a soulful vocal performance here, at the beginning supported by some finger snaps. "When am I gonna get it right/This feeling is so strong/Whenever you and I collide/There will never be/Enough days or time/To satiate my thirst for you." Yeah, it's a love song, but one that acknowledges the "misery" as well as the "ecstasy" of the relationship. And the love is for someone from the past. Seeing that person re-ignites that fire. And when this song slowly fades out, we wonder if that fire, that passion, is slowly fading too, as it likely did once before. The excellent lead guitar work on this track was done by Luis Narino. And Bryan Parks is on vocoder. Then in "Best I Can," Mike Green sings, "I wish I could/Cast away the rage I've left/To be with you again/But again/I've been slippin'." And with lines like that, we can't help but connect this song to the previous song, at least thematically. I love the bass work to this one, especially that lead in the second half, and I love the beat. I also love when Mike's voice becomes more passionate near the end, as he repeats, "The best I can." This is a song that really grew on me.

As "Sun Goes Down" begins, with that steady beat, we feel this track will be more in the rock vein. And yes, there is some of that sound, some of that energy to this song, with a rhythm that gets you moving. Plus, it makes use of some of those subjects that are often in rock songs: the night, drinking. "You get the next drink 'cause/It's another night gone by/Yeah, celebrate another night to come/I got a picture of it in my mind/I'll see you when the sun goes down." This is a fun one and it contains some good stuff on guitar. It was written by Mike Green and Jonah Smith. Shea Marshall is on organ. That's followed by "Get Away," which contains some delicious percussion. Derek Abrams joins the band on percussion on this track. There is also some interesting whispering of certain lyrics, in response to the first part of a given line. And then soon Mike Green sings, "In my mind, in my mind," and we think that's where the whispering came from, a different part of his mind, even as later he sings, "Your voice/A whisper/On a cliff of my design." This is an intriguing song, a sort of conversation with the self, where a decision must be reached. This song, written by Mike Green and Jacob Johnston, is another of the album's highlights.

Record Track List

Side A

1. Dig
2. Bug
3. Coyote
4. Afterglow

Side B

1. I Can't Help It
2. Best I Can
3. Sun Goes Down
4. Get Away

Hang The Moon, Part One was released on April 17, 2026.

The Glimmer Stars: "Someday's A Long Time" (2026) CD Review

The great Los Angeles music scene is really made up of several different scenes which sometimes overlap. One of the bands at the heart of one of those scenes, and having a delightful tendency to overlap with others, is The Glimmer Stars. The band has been delivering fun and energetic power pop and garage rock for like two decades. The kind of music that in better times would be on the charts, where of course it deserves to be. But on or off those charts, The Glimmer Stars seem to be gleefully dedicated to rocking our socks off and making us smile. The band is made up of the sort of musicians who are so in love with music that they will regularly show up at gigs where they're not even on the bill, supporting their fellow rockers and enjoying the action along with everyone else in the audience. In short, they are the real deal. And they show us exactly what they're about on their new album, Someday's A Long Time. First, just a few words about that title. There is something about the word "someday" that always grabs me. "Someday Never Comes" is my all-time favorite CCR song; "Someday" is one of my favorite songs by The Loomers; and there is a line from Steve Owen's song "Longing To Be" that hits me every time I hear it: "It's a different kind of cursing, but someday is the dirtiest word." The message is clear. Seize the moment. Life is what you're doing now. And isn't that precisely what rock is all about?

The album kicks off with "I Don't Wanna Let Go Tonight," which has a delicious classic rock sound to the guitar at the beginning, helping to set the tone, and to set our expectations, not just for this song but for the album. Basically, it tells us this going to be a fun disc. Paula Tiberius (of Richard Duguay's band) joins the trio on vocals (as she sometimes does at the band's concerts). "Hey, little gypsy, won't you let me take your hand/I got a broken heart, lady, you can understand." Every once in a while lead vocalist Mini Mendez reminds me of Bon Scott, and there are moments of this song where he does. Perhaps that's part of the great appeal for me, since High Voltage was one of the first albums I ever got when I was a child. That's followed by "I Can't Take The Heartache," which has a steady beat that feels empowering. It's like we're all marching away from heartache to a day of our own making, you know? "Well, every rainbow has its end/It's never just circumstance/You'll never get that chance/Because I can't take the heartache anymore." There is something catchy about this song, part of it in the vocal line, part in that steady rhythm. By the way, all the songs on this album are originals, written by Mini Mendez, who, in addition to the lead vocals, plays bass. Steven Soto is on guitar and vocals, and Richie Mendez is on drums and vocals.

"And I just want to run away/There's too much here to pay/I don't want to stay," Mini Mendez sings at the beginning of "Run Away." This song features a particularly good vocal line, and I especially love the way a single word drives the next line. There is a great need heard in that first word, as well as an energy, and that's what grabs us. And then in the second half of this track, there is a good lead on guitar. I wish that lead went on a little longer, actually, but these songs are all fairly short, between two and a half and three and a half minutes, just like those wonderful old rock and roll songs and punk songs. Then we get "I Need It Now," one of the album's best songs. This is one the band has been playing in concert lately, and it's a whole lot of fun, with a great beat. It's a song I loved from the first time I saw them play it, an immediate highlight of any set. "I'm gonna play a new song/So grab your tambourine/I'm gonna tell you, baby/I need it now/Na-na na-na now." And the chorus especially rocks, the chorus being just the line "I need it now," delivered it with power and joy. This is everything you want from a power pop number, from a rock song. And when you think it couldn't possibly get any better, we are treated to some delicious work on guitar toward the end.

"It's The Only Dream I Keep Around" has a sweeter, prettier sound, though still with a strong beat (don't you worry). "If I ever needed someone/The way I needed you/And you know I do." There is a hint of a 1960s influence in the sound, particularly the sound of the guitar. "And when I'm feeling down, I know you know the way/Know the way." I like how the repeated "Know the way" is emphasized, each word given its own moment. This is a song I like more each time I hear it. Paula Tiberius returns on vocals for "Autumn Girl." Here Mini Mendez sings, "And you can be yourself now/You can be/My autumn girl." I love that insistent beat in that moment, part of the song's appeal. And there is certain joy heard in Mini's delivery, particularly on lines like "Love is for the brave ones/When the angels sing/And if I had my one chance/I'd marry you in spring." There is a bit of a Willie Nile energy here, especially in his vocal performance.

I love the moment when "Love, Madeline" kicks in. "When the storms start to come/And you know where you belong/And the words I could quote/Were written in your note." So damn delicious! There is a delightful energy to the vocal approach, which helps to drive the song, both forward and into our hearts. Seriously, this is a wonderful song, one of the album's best. "So I run back to the scene/Far away, just like a dream/You treated me just like the rest/Put on your act and be your best." That's followed by "Snow In Hell." The first lines, "Take me to your leader/I'd like to meet her," make me think of what could have been, what should have been, in this country. This is another strong rock song, featuring some really good stuff on guitar, as well as a driving beat. "I want to know, I want to know/Will you tell me so/So, tell me now/Yes, tell me now/Will it snow in hell?" If you are a fan of AC/DC, as I am, you are going to fucking love this song.

"Maybe" is a catchy number, like a pop song that comes from a rock home, if you know what I mean. "Like the moon affects the tide/I only want you by my side/I want you to know, I want you to know/Maybe, maybe/And I'm still falling down/Maybe, maybe/And I still want you around." I love that passionate vocal performance. Shouldn't this song be a hit? It certainly feels like it to me. "And if the world should fade away/I'm in love with you today." Steven Wesley Guiles joins the band on vocals for the album's final track, "Better Day." Here are the song's opening lines: "I took the California blues just as far as I could take it/It's a different beat, but baby we could make it/And I know I think I do/And you know that it's always been you/And I'm coming here to stay." Yes, a positive, hopeful number (and a good rock number) to wrap things up.

CD Track List

1. I Don't Wanna Let You Go Tonight
2. I Can't Take The Heartache
3. Run Away
4. I Need It Now
5. It's The Only Dream I Keep Around
6. Autumn Girl
7. Love, Madeline
8. Snow In Hell
9. Maybe
10. Better Day

Someday's A Long Time was released today, May 8, 2026, through Rum Bar Records. The Glimmer Stars have upcoming gigs in Tuscon and Las Vegas, so if you live in those cities, keep an eye out for this band.

Chad Watson's California Country Night Celebrates The Spirit Of David Allan Coe, 5-6-26

After catching Lois Blaisch's set at Bar 10 last night, I made my way over to the Maui Sugar Mill Saloon, where Chad Watson's tribute to the music of David Allan Coe (who died on April 29th) was already in progress. It was part of his California Country Night music series. I think it was just after 10 p.m. when I arrived. It turned out that some of the David Allan Coe music of the show had been played in the first hour or so, before I got there. But I still caught a lot of great music, some covers as well as some original material from several artists who joined the stage with Chad Watson and his band.

Julia Hatfield and Chad Watson

When I got there, Julia Hatfield was on stage, performing solo, and I was immediately struck by her voice. Later Chad Watson said she reminded him a little of Dolly Parton, and that made total sense. Soon Chad and his band (Bill Horn on guitar, Owen Goldman on drums, Steven Sadd on saxophone) joined her for a good rendition of "Folsom Prison Blues," and then a fun cover of "I Feel Lucky." She wrapped up her set with an original number, "Broken Preacher," which she performed solo. In her introduction, she mentioned she wrote it as a duet, and joked about singing the guy's part with a deeper voice. "You broken preacher, me broken choir."

Chad Watson

Brian Francis Baudoin

Brian Francis Baudoin then took the stage. As he was setting up, Nubs teased him, "Where's your hat?" Brian replied, "Yeah, I forgot my hat...and my boots." Ah, but a country outlaw doesn't need such accoutrement, right? He began his set with "Which Way Is South" and "Basin Trucker Blues," both performed solo. The band joined him for covers of "Amarillo By Morning," "Much Too Young (To Feel This Damn Old)" and "Mammas, Don't Let Your Babies Grow Up To Be Cowboys." Lorin Hart then played a few songs with the band, including "Who Stole Paradise" and a nice cover of Bob Dylan's "I'll Be Your Baby Tonight." Next to take the stage was a trio led by Josef Scott (I believe that's what he said his name was), and they did a few covers. There was a delightful, loose energy to the whole show.

Steven Sadd

Bill Horn

Lorin Hart

Brant Vogel

It was when Brant Vogel took the stage that I got to hear some David Allan Coe songs. He started his set, backed by Chad Watson and the band, with "You Never Even Called Me By My Name," which wasn't actually written by David Allan Coe, but was included on his 1975 record Once Upon A Rhyme. And it is that version that is probably still the most well-known recording of the song. When asked about his latest project, Brant joked, "My latest project is trying to find my way home." He then played "Whiskey Bent And Hell Bound," a Hank Williams Jr. song. After that, he returned to David Allan Coe for fun renditions of "Longhaired Redneck" and "Panheads Forever." Ah, now we were into the great stuff. Somewhere in there I called out a request for "Whips And Things," but Brant didn't play it (it was, admittedly, a long shot). Also somewhere in there, Lois Blaisch, Karman Jeanne and Bob McNabb arrived. Sticking with outlaw country, though moving away from David Allan Coe, Brant next played "Good Hearted Woman," written by Waylon Jennings and Willie Nelson. That was followed by "All My Rowdy Friends (Have Settled Down)." Brant and Chad did one song as a duo (that song featured a cool lead on bass), and then the band returned for a Waylon Jennings number, which led straight into "Feelin' Alright" in tribute to Dave Mason, who the world also lost recently. And that led into just a little bit of "Walk On The Wild Side."

Owen Goldman

Lois Blaisch

Lois Blaisch then joined the band for a couple of songs, another treat of this special night. The first was a wonderful cover of "Blue Bayou," with Styxxx Marshall on drums. That was followed by a cover of Hank Williams' "I Can't Help It," which was great. Julia Hatfield then returned to the stage, as did drummer Owen Goldman. Jimmy Mack was then on guitar. Julia chose Patsy Cline's "She's Got You" and Willie Nelson's "Whiskey River," and delivered strong renditions of both. Bill was back on guitar for the night's final number, Little Feat's "Willin'," with Karman Jeanne on lead vocals, Chad Watson on bass, and Vincent Fossett on drums. Lois Blaisch joined them on backing vocals partway through the song. What a night! The show ended just after 1 a.m.

Karman Jeanne and Chad Watson

Here are some more photos from the show:

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

Lois Blaisch, Karman Jeanne & The Fish, and Emily Magnet at Bar 10, 5-6-26

Lois Blaisch

Truck Stop Mixtape Open Mic Party is a regular music series held at Bar 10 in Tarzana, a mix of an open mic night and a show with scheduled performers. Last night those who were scheduled to play included Emily Magnet, Karman Jeanne & The Fish, Lois Blaisch, and Carleen, each doing relatively short sets. For the first hour or so, it was an open mic, and anyone could sign up (I think you had to purchase one drink in order to play). 

Emily Magnet

The first of the scheduled performers, Emily Magnet, took the stage a little after 8 o' clock. "Take me away, take me away," she sang in her first song, and we could hear the need in her voice, the desire. We recognized it, for it is our desire too, isn't it? Especially these days when a madness has taken hold of the country, and a stupid sort of madness at that. She had a lovely voice, and her set also included a song titled "The Depths," which was beautiful. 

Karman Jeanne & The Fish

Karman Jeanne & The Fish were up next, and this time it was just the duo, without any guests performing with them. While Fish tuned his guitar, Karman mentioned that they're currently in the process of recording, so keep an ear out for a fresh track sometime in the near future. They opened their set with "Free Rocks For Sale," a sweet number about when Karman was a child. That was followed by "Tell Me Tomorrow," which featured some really nice harmonies. In her introduction to that song, Karman said it was about not telling someone it's over until the next day. It is not a political song, but the line "Promises made, mostly broken" made me think of politicians. "What If I Said" was a highlight, the duo delivering a beautiful rendition. "What if I said/Things are going to get better/What if I said/They already are." They wrapped up the set with "Strange Time" and "Take."

Lois Blaisch

Karman Jeanne was then back moments later to provide backing vocals for Lois Blaisch, who was also backed by Bob McNabb on bass. Yes, it was a trio this time (the last time I saw Lois perform, there was a full band). While work was underway to get the bass amp functioning, Lois mentioned this was the second time she'd played at this venue. She then opened the set with "Magic." "Words can never say how much you mean to me." I especially loved those moments when she hit those great raw places with her voice, like Kim Carnes territory. That song also featured some sweet backing vocal work and cool stuff on bass. It was followed by "Hurricane," which she introduced by saying it was inspired by a series of hurricanes and the effects of global warming. "This ain't no vacation." There was a good power to this one. "It's time to get together, fix things while we can." "Weather Man" followed, and when the three of them sang the title line, it was adorable. "I Wanna Be Your Old Lady" was a lot of fun, a country number that featured Lois yodeling on the words "old lady." She was going to follow that with something else in the country vein, when someone shouted out a request for "Could've Been." "I was going to spare you my sad song," Lois said. Though she hadn't planned on playing that one, she ended up delivering a gorgeous rendition. Though the Tiffany version is actually quite good, this song is more powerful, more meaningful, more heartrending when sung by someone older. That was followed by "Feel Like Love (And It Feels Alright)" and then "Gonna Be Alright." "We all need a little tenderness/When the world gets crazy with too much stress." Indeed! She wrapped up the set with "Pour Your Sweet Love Down On Me."

There was more music after that, with Carleen playing next, and then, apparently, the open mic resuming, but I headed over to Maui Sugar Mill Saloon, where a night in celebration of David Allan Coe's music was already in progress. Both Lois Blaisch and Karman Jeanne would also make their way over there and perform before the night was over.

Brief Notes On New Jazz Releases

Politics and politicians have completely failed us. Recent rule changes have ruined baseball. It's not enjoyable to go to the movies anymore. But we still have music. Here are notes on a few new jazz albums you might want to check out.

Tom Lippincott: "Ode To The Possible" - I was first drawn to this album because of its title, which I love. Tom Lippincott is a guitarist and composer, and this new album contains all original material, including several short, improvised pieces. It begins with "Preface/Overture 25," which opens into a magic glade, and soon begins to people it with interesting characters and to create a certain mood. There is a sense of curiosity, and the track features some good drumming by Lucas Apostoleris. David Fernandez's saxophone is a large part of the track's mood, its atmosphere. Some excellent drumming then begins "Bell Tower," helping to create a feeling of excitement. And I love the way the guitar and saxophone work together early on. There is a cool lead on sax, with some excellent work by Marty Quinn on bass beneath it. The guitar then spirals up from below in a surprising and fantastic way, and that's when things really get interesting. That section in the middle is outstanding, and then we're treated to a drum solo, helping to make this one of my favorites. "Interlude 1," the first of the short pieces, is a wild force rushing down upon us from the heavens. Then in "An Inhabitant Of Carcosa," there is a wonderful section where the bass leads, and Tom adds some cool work on guitar. That is the point where that track really takes off, and after that, both the guitar and saxophone both pull us along on great, related journeys. What a ride! The next "Interlude" is somewhat darker in atmosphere, a piece of both contemplation and exploration. "Sisters And Brothers" eases in with some pretty guitar work, and has a warmth that seems to come partly from memory, from reflection, and partly from the hope of a better world, of better relations. You might find yourself close to tears at moments, as you think of the difference between how things are and how they could be. "Interlude 3" is a nice saxophone solo, and "Interlude 4" is an unusual percussion solo. What grabs me about "Stella By Searchlight" is its interesting rhythm. This album is full of excellent drumming, and this track in particular stands out because of the drum work. "Zakir" is another track that stands out, in part because it features the beautiful vocal work of Camila Meza. The voice plays an important part in both transporting us and soothing us. "Trail Of Tears," once it really gets going, features some delightful and exciting work on guitar, while that rhythm keeps everything moving forward at a great pace, then actually has a gentle ending. "Interlude 8" is some cool bass work, and it leads to "Lynchian," another of the album's highlights, a playful number takes us to interesting places, just as a David Lynch film is likely to do. And it includes a good drum solo toward the end. The album concludes with "Epilogue," a short, somewhat quirky piece that takes us to a different realm. This album was released on February 27, 2026.

Jaana Narsipur: "The Re-Collection" - Vocalist Jaana Narsipur offers jazz renditions of pop songs from the latter half of the 1980s, songs she loved at the time and still loves. While some of these tracks are songs I didn't care much for when they were first released (as far as 1980s popular music goes, the first half of the decade is so much stronger), her approach creates a fresh appeal. And it's clear how much she is enjoying these songs, and that adds to the album's charm. She opens with "Breakout," a song that Swing Out Sister released as a single in 1986. The presence of a brass section is part of what makes this rendition much more appealing than the original recording. Wayne Tucker is on trumpet, Sean Nowell is on tenor saxophone, and Alex Jeun is on trombone, and they all deliver excellent, lively work here. There is also some wonderful work by Nicki Adams on piano. Jaana's vocal performance is the driving force of the song, and there is a delightful joy to her delivery. "You've got to find a way/Say what you want to say/Break out." That's followed by Peter Gabriel's "In Your Eyes." This is a song I did love when it first came out. Jaana Narsipur's rendition has a different opening, which pulls us in, and features an interesting, compelling rhythm. The percussion by Joe Abba plays a strong part here, as does Marco Panascia's work on bass. There is also an excellent lead on piano. Certainly a highlight of the album. Then her rendition of Basia's "Time And Tide" opens with some cool and beautiful vocal work, which immediately grabs us. This track features an especially good vocal performance. Plus, it has a delicious bass line. Wayne Tucker returns on trumpet for "Holding Back The Years," and it is that instrument in particular that makes the opening so good. And from the way Jaana delivers that very first line, "I'll keep holding on," it is clear she has something to say with this song, that the words have personal meaning. This version is far superior to the original Simply Red recording, and is another of the album's standouts. A string section (Meg Okura on violin, Hannah Selin on viola, and Laura Masferrer on cello) joins Jaana Narsipur for "Behind Closed Doors" and "Love And Anger," delivering some beautiful work. While most of these tracks come from the latter half of the 1980s, there are two songs from 1984: Eurythmics' "Here Comes The Rain Again" and Joe Jackson's "You Can't Get What You Want (Till You Know What You Want)." "Here Comes The Rain Again" is one of the album's best tracks, right from its intriguing, haunting opening, and featuring some excellent drumming. Meg Okura adds some fantastic work on violin. And "You Can't Get What You Want" features the return of the brass section. The album concludes with Sting's "Sister Moon," which contains another stellar vocal performance and some nice, sexy work by Sean Nowell on saxophone. This album was released on April 24, 2026.

Chris Rottmayer: "Playing Favorites" - Pianist Chris Rottmayer and vocalist Kelsey Wallner join forces to deliver wonderful renditions of some classic numbers, along with a couple of original numbers on this album. Clark Sommers is on bass, and Matt Endres is on drums. The album opens with a snappy rendition of "Everything Happens To Me," which features not only an excellent lead on piano, but a cool bass solo before Kelsey returns on vocals. There is a good deal of charm to this rendition. It's followed by "One Note Samba," which features a light and delightful vocal performance, one that could lead us on a dance in the clouds. There is a totally enjoyable section in the middle, with Clark and Matt shining on bass and drums respectively. The arrangements for these first two tracks are by Kelsey Wallner. Matt gets "Voyage" started on drums, this one moving at a great pace, everything sounding just right, Chris dancing on those keys and pushing everything forward with a determined spirit. This track does not have vocals. They slow things down then with a touching rendition of "Velho Piano," featuring a softly captivating vocal performance. That's followed by "On The Street Where You Live," a cheerful number. "People stop and stare, they don't bother me/For there's nowhere else on Earth that I would rather be." Oh yes! Just being close to that special person can make all the difference. And Chris' piano lead expresses so well that wonderful feeling. There is also something uplifting in the group's rendition of "Firm Roots," something encouraging, and the track contains some excellent drumming. Then "Sail Away" features some beautiful, gentle work on piano. This is a piece that feels like it could carry us away from our problems, away from stress, and contains a thoughtful lead on bass. The energy increases in the second half, and it feels like we've reached some wonderful destination. That's followed by two original compositions by Kelsey Wallner - "I'm Too Sweet" and "Love Ain't Free." "I'm Too Sweet" is delicious from its opening, where she tells us, "It's a hard world to live in/When you're as soft as a jelly bean/Tell me where it is written/I should be pretty but mean." This a seriously cool number, featuring an excellent vocal performance, one that is playful and sexy and nuanced, and even includes some scat toward the end. Chris Rottmayer's work on piano holds just as much appeal. "Love Ain't Free" has more of a late-night vibe. "So if you love the sky/But pour your heart out to the sea/Know that life is one long goodbye/Go on and say which one will live in memory." This one too features some absolutely wonderful work on piano. The band stretches out a bit on "Love Dance," that track more than ten minutes long. The album concludes with "Never Will I Marry," which has an intriguing, unusual opening before getting into more familiar territory, and features some good stuff on drums. This album was released on October 17, 2025.

Loren Schoenberg And His Jazz Orchestra: "So Many Memories" - This is a particularly exciting release. It uses charts by composer Eddie Sauter, made for (but not recorded by) Red Norvo and Mildred Bailey. So the arrangements are close to a century old, but have not been recorded before this album. The album was recorded at Juilliard with mostly young musicians, and recorded in a fashion similar to that of records of the 1930s and 1940s, the idea being to remain as faithful to the time as possible. This album, by the way, features an extensive liner notes booklet written by Will Friedwald. The album opens with "Azure," which creates an interesting mood and makes particularly cool use of xylophone early on. Warren Wolf is on xylophone. I also love that work by Summer Camargo on trumpet. That's followed by "Nice Work If You Can Get It," featuring Kate Kortum on vocals. As I've said many times, you can never go wrong with Gershwin, and this arrangement is a total delight, the song swinging. And Kate's vocal performance totally measures up to some of the best vocalists from the era. This is absolutely wonderful. Kate Kortum delivers another outstanding performance on "You Go To My Head," casting a spell over all of us who listen. I also love the work by Loren Schoenberg on piano and James Zito on guitar. Then check out the xylophone work at the beginning of "I Know That You Know," supported by some delicious stuff on guitar. And that's just the beginning. This track contains all sort of wonderful playing, including by both Andre Perlman and Nick Mesler on trombone, and some exciting work on trumpet toward the end. It's a fun number from start to finish. Then Kate's voice carries us away again on "Music, Maestro, Please," a track that also features a superb lead on xylophone, as well as some vibrant work by Joe Boga on trumpet. There is also some wonderful work on trumpet on "Two Sleepy People," a track that also contains a cool lead on guitar toward the end. In "I See Your Face Before Me," Kate sings, "In a world of glitter and glow/In a world of tinsel and show/The unreal from the real thing is hard to know," lines that stand out in these days when reality has become dubious. As with the other tracks, she turns in an excellent vocal performance. That's followed by "You Couldn't Be Cuter," which is another of this album's delights, featuring wonderful work on piano. "Roses In December" is another gem, an instrumental piece that features fun stuff on trombone. And then we're treated to a really nice arrangement of "Exactly Like You." Ah, this music makes me feel so good. And while Kate delivers what might be the best vocal performance on "You're Laughing At Me," I have to disagree with the lines, "You've got a sense of humor/And humor is death to romance." If that were true, I would have had no romance at all. The album concludes with an excellent rendition of "After You've Gone," a number that I love, featuring some wonderful work on clarinet. This album was released on November 7, 2025. 

Terry Waldo & The Gotham City Band: "Treasury Volume 3" - It's been a year since Treasury Volume 2 was released, and now we have what is the final volume in this series of discs exploring and celebrating the early days of jazz. It contains a good liner notes booklet written by trumpet player Colin Hancock. The album gets off to a delightful start with "Minnie The Mermaid," music to help you shake all cares away. "Oh, what a time I had with Minnie the Mermaid/Down at the bottom of the sea/Down among the bubbles/I lost all my troubles." You too will lose your troubles. And is that a little Popeye musical cue? There is a delicious humor to the music. I love the clarinet work by Ricky Alexander. And Jim Fryer does a great job on both vocals and trombone. And Terry Waldo delivers some absolutely wonderful work on piano. The fun continues with King Oliver's "Canal Street Blues," featuring the excellent work of both Mike Davis and Colin Hancock on trumpet. And I love the way Terry Waldo's work on piano seems to be dancing. This music really comes to life. Mike Davis takes the vocal duties on "Alice Blue Gown," another little gem. Sure, we all know that the times of this music were not without their share of serious troubles, but listening to this album transports us to just the best of those times. Everything is full of cheer, full of joy. Jerron Paxton delivers a really good vocal performance on "Take Me Back," this one with a strong folk vein running through it, a track that becomes a celebration by the end. That's followed by Jelly Roll Morton's "Frog-I-More Rag," another total delight, one to cause a skeleton to dance right out of its skin. How can you do anything but love those trumpets? And surely that piano lead will have you moving all over the room, feeling light as a feather. Then in "Mabel's Dream," we are treated to a wonderful lead by Arnt Arntzen on banjo. "Kansas City Stomp" has a good amount of swing to it, and features a strong lead by Mike Davis on trumpet. The band slows things down with "Lousiana Fairy Tale," which has a sweetly dreamlike vibe and features Jay Lepley on vocals. Ah yes, take us away from our reality into this enchanting realm, where we can dance toward an eternal sunset. The energy returns on "Buddy's Habits," another fun number featuring some delicious work on banjo. Terry Waldo begins "Memphis Blues" with some delicious work on piano, and features another good vocal performance from Jim Fryer. The album wraps up with "Black Bottom Stomp," another delight, with a great rhythm and some excellent leads. Makes me hope Terry Waldo changes his mind and releases a fourth volume. This album is scheduled to be released on June 5, 2026.