Grateful Dead: "Dave's Picks Volume 60" (2026) CD Review

Four times a year, a new Grateful Dead Dave's Picks volume is released, featuring a concert recording. For Volume 60, the final 2026 entry in the series, two complete shows have been chosen. Those are the two shows the Dead performed at the Hamptom Coliseum in April of 1984. This set includes four discs, rather than the usual three. And the only re-ordering of tracks necessary was placing the encores at the end of the first set, something we used to do on our cassettes back in the day anyway.

Disc 1

The first disc contains the complete first set from the April 13th show, along with that night's encore. The band opens the night with "Keep Your Day Job," a song that a lot of fans did not care for. I always took the song in the spirit in which it was offered. I mean, come on, you can basically hear Jerry Garcia smiling as he sings it. It's a fun number, not meant to be taken all that seriously. And the energy is high. Things are hopping right out of the gate here, Bill Kreutzmann and Mickey Hart keeping things moving on drums. Bob Weir then leads the band into bluesier territory with "New Minglewood Blues," and he means business here. When he sings about being "a wanted man in Texas," we believe him. "A couple shots of whiskey, Virginia fillies all start looking good." Folks in the audience of course appreciate that. And Brent Mydland delivers a strong lead on keys. "And it's T right here in Norfolk, or wherever we are," Bob sings near the end. Ha, did he forget where they were? No worries. After a short bit of tuning, the band delivers a version of "Dire Wolf" that has a lot of pep. A fun rendition, the band cooking, and Jerry's vocals having a strong energy. They keep the energy high with "Beat It On Down The Line," this version having a ten-beat intro, and featuring some delicious work by Phil Lesh on bass. At this point, the set is speeding along.

Jerry then changes directions a bit, leading the band into "West L.A. Fadeaway." I love early versions of this song. Yeah, the band had been playing it already for a couple of years at this point, but this recording still predates the studio recording by a few years. And it has such a cool vibe, the way Jerry approaches it, and the band is digging into its groove, its overall feel. This is one of the best versions I've heard, even if there are brief moments where things seem to drop out. The crowd seems to be enthusiastic about it too. They kind of ease into "It's All Over Now," picking their way until suddenly everything starts to click. The vocal delivery has a great earnestness about it. Plus, the jam includes some great stuff on guitar. And check out what Phil is doing on bass. Then Brent's vocal riffing, a sort of scat, takes this rendition to another spectacular level, leading into his delicious lead. That's the moment it begins to dawn on us just how good this rendition is. And the jam continues from there. So good!

An unusual, interesting introduction to "Bird Song" prepares us for a special rendition. There are so many excellent versions of this song, but this one has certain elements that set it apart from many of the other outstanding renditions. Part of it is what Brent is doing, adding a strange element that works. And then the vocals on "Don't cry now/Don't you cry/Don't you cry anymore" are so heartfelt, so honest, and so comforting, that we feel even more connected than usual. And the jam takes us to some beautiful places, lifting us up and working to push away our troubles, to remind us of the magic of existence. Everything is working perfectly. Who would have guessed that a 1984 "Bird Song" would be among the best versions? Then "Hell In A Bucket" is counted off. The song was about a year old at this point, and the band drives into it with a good, rocking force. This version features some excellent stuff on guitar, and Bob's vocals have an undeniable power. "At least I'm enjoying the ride." And this is before the band added those silly sound effects to this song. You remember the motorcycle noise? I much prefer something like this version before that nonsense was added. The band follows that with "Don't Ease Me In" to close out the first set. Always a fun set closer, one to get everyone dancing with abandon, with joy, bopping and twirling and bouncing. The energy is crackling. The first disc concludes with the encore, "U.S. Blues." And here too the band is delivering an especially energetic rendition, not holding anything back. Holy moly!

Disc 2

The second disc contains the complete second set from the April 13th show. The band kicks it off with "Scarlet Begonias." What better way is there? You can feel the joy, the excitement in the room, as well as hear it. "I knew right away she was not like other girls, other girls." And this band was not like other bands. There is a moment when Jerry seems to lose his voice, but that doesn't slow things down, not one bit. And when his voice strains, the guitar rises to delicious heights, taking us along with it. This is a rocking rendition, with a glorious power. The jam is great fun as well, things popping and hopping, the drummers completely on, delivering some wonderful stuff. The song is always a fun one to dance to, and this version is particularly good in that regard. To no one's surprise, but to everyone's delight, "Scarlet" moves into "Fire On The Mountain." I love Jerry's guitar work during the transition. This transition is different from many I've heard, and better than many. It seems Jerry forgets the lyrics early on, and just sort of mumbles a couple of words, which sounds so odd. But it doesn't detract from the overall enjoyment of this rendition, especially when the guitar work is so good, feeling like fire itself, like flames licking at the skies, and when the rhythm is so compelling. And there is the odd echo of "fire" and "mountain" toward the end, which takes on its own life, like a beast about to attack.

"Estimated Prophet" is next, another favorite. "Don't worry about me, no." And when they sing just the word "California," it carries with it almost magical properties. There is something bright within that word, like a celebration, calling us, beckoning us. Like we'll all be that fire on the mountain before long, or contributing to it. The jam carries us forward and upward, like a great, foaming river that rolls uphill, defying gravity and anything else referred to as a law. And on this song too we get an echo on some of Bob's vocals. And Bob uses that to great effect, building until it is suddenly gone, and we're into another jam. Ah, don't worry about any of us. And the band is in no hurry, but is certain to arrive at the destination it aims for, or, somehow failing that, create a destination of wherever the music takes them. And it takes them into some interesting places, though not so far out that they lose that thread connecting them to the main body of the song and to that spot on Earth that is celebrated. And while we might expect it to lead to "Eyes Of The World," as it did so many times, instead it leads into the drum solo. Here we have a different sort of celebration, a tribal thing, a timeless thing, though at moments moving at a surprisingly quick pace before taking us into the heart of the mountain, with its alluring and dangerous pulse. And once there, we're introduced to a whole other realm, with its own sounds, its own pulse, its own people. That takes us into "Space," a realm at times frightening, though still inviting. An invitation to Weirdness coming from the highest levels, an invitation none of us would think of refusing. A gargantuan mouth opens in the dark space between stars, eager to swallow comets and wayward travelers. Passing that safely, perhaps due to bells warding off certain monsters, while welcoming others, we move into a sort of celestial funhouse, a hall of mirrors that grotesquely reflects not only our outer images but inner desires, elongating them, forcing us to face them. But only briefly.

"The Wheel" is kind of pretty as it emerges from "Space." Always a favorite choice to take us back from the darker realms and return us to a place resembling our earth. There is a gentleness as it begins, giving us a moment to calm before it bursts into the lyrics. Like it tries to be comforting even as we are told "If the thunder don't get you, then the lightning will." But there is a great joy in letting go, isn't there? And we feel that joy here. And we feel embraced, even as the river rushes us along. And there is further, unexpected beauty toward the end of this song. And then a mighty strange segue into "Truckin'" which I can't help but love. And then we are in familiar territory, and thrilled to be there, because this is the space of great fun, the space where we are all brought together, where we can all reflect on "What a long strange trip it's been." While dancing our asses off, of course. So a passing sort of reflection, fleeting thoughts. It's not a particularly long "Truckin'" but it packs a solid force. Just as the jam might begin, the band moves into "Goin' Down The Road Feeling Bad." Ah, feeling bad feels so good here. And, hey, we're still on the road, the band at the wheel. And wherever they are taking us, the ride sure is fun. That leads straight into a good rendition of "Around And Around," and then on into an energetic "Good Lovin'" to close out the second set. Wow, this is a high-energy set from beginning to end, without a slower song in that post-"Space" section. And to think the encore was "U.S. Blues," not even a slow number then to mellow folks out a bit before they made their exit.

Disc 3

The third disc contains the complete first set from the April 14th show, along with the encore. This one kicks off with "Feel Like A Stranger," one of my favorite choices to begin a show. "You know it's gonna get stranger, so let's get on with the show." And the crowd is feeling it. This song is one that lets you know the night is full of possibilities, that the band and audience are on a journey together. "It's gonna be a long, long, crazy, crazy night." The vocal play in the middle is particularly good here. During the jam, Jerry's guitar is testing certain areas, exploring, alerting the universe of this night's experiment, and the band's intentions. It's wonderful when we begin exploring so early in the show. This jam helps make this rendition strong. It sounds like someone wants "Sugaree," but after a moment, Jerry chooses "They Love Each Other." The band delivers a sweet rendition, even if there are moments when Jerry struggles vocally. Brent delivers some nice stuff on keys during the jam in the middle, and then Jerry's guitar begins to soar. The crowd is appreciative. After a moment, the band eases into "C.C. Rider," which has an easygoing vibe and groove. The echo effect on Bob's vocals is present, maybe used a bit too much. The jam does begin to take on some energy, gain a fiery edge, the guitars tearing through certain barriers we didn't even know were there.

There are hints and teases of "Brown-Eyed Women" before the band is able to get it going, and once it does, this song works in all the ways you want it to. It is moving and thoughtful, with a good vocal performance from Jerry, and has power when it's needed. Then "My Brother Esau" has an interesting, hesitant beginning. This is a song that would end up on In The Dark (though initially only on the cassette version), that album still a few years away, but at this point had already been played live for a year. This version features Brent adding a certain flavor on keys. The final section of the song is particularly good here. The band follows that with "Tennessee Jed," one of those songs guaranteed to make you feel good, this version containing some playful touches by Brent on keys, and with a great, earnest vocal performance from Jerry. I feel like we'd really better head back to Tennessee, that he's not kidding. And the line "Drink all day, gonna rock all night" receives a big cheer, of course. It's not the best version I've heard, but it has a ton of heart, and shines in part because of that. And it finds some interesting places, interesting variations of its theme in the second half, offering some surprises and energetic guitar work.

The band then wraps up the first set with "Let It Grow." As it begins, it seems to already have reached a certain intensity, a certain destination, and so is exciting right from the start. Bob delivers an excellent vocal performance, and Jerry's guitar is dancing around like firefly. And the song begins to take on a momentum, Bill and Mickey delivering some fantastic work on drums. There is an intensity, to be sure, to this rendition, but also a joy at moments, heard in certain musical passages. The intensity and the passion seem to increase as the band enters the jam in the middle. It's not that the band is eager to explore strange distant territories, but to blast its way through those territies to some even more fascinating and enthralling place. And check out Jerry's guitar. It seems to be dancing on its own accord, demanding access to all doors, and getting it. This jam just gets better and better, more and more exciting. And then there is that breath, as we seem to be coming down from the peak. Until, bam, we are back into the action, listening to the thunder both without and within shout. The third disc concludes with the encore from the April 14th show, which was "It's All Over Now, Baby Blue." This time the band decides to end the night with a slower number, and these guys deliver a beautiful and powerful version, Jerry delivering some captivating work. 

Disc 4

The fourth disc contains the complete second set from the April 14th show. The set opens with "Touch Of Grey," which has an unusual vibe at the start, a different flavor. I love the way they start it. The crowd seems to also. I don't recall ever hearing the song begin that way, but it gives the song a different kind of energy. Jerry forgets the words, leading to some humorous mumbling in one verse. This is a fun version, quite a bit different from other versions. The band was still a few years away from releasing a studio version of the song, and Jerry doesn't seem to have quite gotten the lyrics down at this point. But no matter, "We will get by/We will survive." "Touch Of Grey" is followed by "Playing In The Band," Phil's bass at the center of the action. There is a good deal of energy here, the song feeling like a force itself, so it's interesting that has soon the band enters the jam section, the guys begin to explore softer territories, and different places, the drummers keeping us somewhat connected to the earth as we push through unfamiliar lands, populated by creatures that speak to us from three different directions at once. The bass helps us navigate our way through potentially dangerous territory, and then we're into "Terrapin Station," having never been able to return to the main body of "Playing." My girlfriend never got to see the Grateful Dead, but I did take her to one Dead & Company show, and "Terrapin" was her favorite song of the night. It's one of those magical songs that provide access to so many places. Here Jerry's voice is straining at moments, but that only gives the song more poignancy at those times. And in the middle of this rendition, a door seems to open for us, and through it we can peek at the great answers. Everything slows, becomes more immediate. And the guitar calls out, and then everything shifts. "Inspiration." And perhaps we're the ones who had to climb to get there, but get there we do. And then we are back in "Playing In The Band," but only for a moment.

What emerges from that is "Don't Need Love," with Brent on lead vocals. "I don't need love anymore," he tells us, but how could we believe that line from such a passionate voice? This was only the second time the band played this song, and it does have a bit of the tentative thing about it. It leads straight into "Drums," which begins at a rapid pace. A quick pulse. They are able to use the percussion, the sound, to create holes, tunnels, in the fabric of the universe, access points to distant places. And suddenly we find ourselves in one of those places, its inhabitants communicating with us, then engaging us in a dance. The crowd cheers as it joins. We are led on a dance, on a journey where each step is a dance step. This is a phenomenal "Drums." Things get heavier, with more of a tribal vibe. But if any voice dominates the ceremony, it comes rising up from below, as if breathed from the rocks themselves. And what a stunning, powerful ending! A great rumbling then leads into "Space," and now the voices reach from above as well as below. But even where we stand proves to be less than solid, and our footing is tenuous at best. There is a playfulness to these voices, like the young playing at being old. Or is it the other way around? Before we know it, we are in the realm of the weird, where each of the elements has its say. An excellent "Space" to follow such a good "Drums."

With a breath, the band begins "Morning Dew," a song that comes from that most haunted part of ourselves, the part that surveys disaster without solution. And there is a cry heard in Jerry's voice as he tells us, "Thought I heard a baby cry this morning/Thought I heard a baby cry today/Thought I heard a baby cry this morning." And hear the mix of despair and anger as he asks, "Where have all the people gone today?" This band has access to those darker places, but is able to pull us back from them, or rather take us through them. But here there are moments when we're not so sure. Everything is so heightened, and it's all taking place on the very edge, it feels we could tumble into the deepest of holes and never be heard from again. But there is Jerry's voice to let us know we are okay. "I guess it doesn't matter anyway." And things become gentle, almost delicate, like we are careful with what little is left. Careful with each other. This is an extrordinary "Morning Dew." It sounds like they are going to go into "One More Saturday Night," but then change their minds and begin "Throwing Stones" instead. "The future's here, we are it, we are on our own." Oh yes, this is a really good version. And then they do go into "One More Saturday Night." April 14, 1984 was, after all, a Saturday.

CD Track List

Disc 1

1. Keep Your Day Job
2. New Minglewood Blues
3. Dire Wolf
4. Beat It On Down The Line
5. West L.A. Fadeaway
6. It's All Over Now
7. Bird Song
8. Hell In A Bucket >
9. Don't Ease Me In
10. U.S. Blues

Disc 2

1. Scarlet Begonias >
2. Fire On The Mountain
3. Estimated Prophet >
4. Drums >
5. Space >
6. The Wheel >
7. Truckin' >
8. Goin' Down The Road Feeling Bad >
9. Around And Around >
10. Good Lovin'

Disc 3

1. Feel Like A Stranger
2. They Love Each Other
3. C.C. Rider
4. Brown-Eyed Women
5. My Brother Esau
6. Tennessee Jed
7. Let It Grow
8. It's All Over Now, Baby Blue

Disc 4

1. Touch Of Grey
2. Playing In The Band >
3. Terrapin Station >
4. Don't Need Love >
5. Drums >
6. Space >
7. Morning Dew >
8. Throwing Stones >
9. One More Saturday Night

Dave's Picks Volume 60 was released in early November, 2026. My copy arrived on November 3rd. This release is limited to 25,000 copies. Mine is number 1586.

Jon Shain: "Odds...And Even So" (2026) CD Review

Jon Shain is known for his work in the groups Flyin' Mice and Wake in the 1990s, as well as for his solo material, focusing on folk and blues. On his new album, Odds...And Even So, he presents some excellent original material. He plays acoustic guitar, electric guitar, resonator slide guitar, mandolin, and bass on these tracks. And though this is a solo album rather than a duo album, Jon Shain is joined by FJ Ventre, who plays bass, keyboards and percussion, and provides some backing vocal work. The two of them also produced the album, and FJ Ventre engineered and mixed it. Several guest musicians play on various tracks.

The disc's first track, "Morning Song," begins with some warm, pretty guitar work. It feels welcoming, like an old friend reaching out to calm us, to aid us. Check out these opening lines: "Oh, the diamonds grown up in the night/In the morning cool and bright/Try to hold them, they just melt away/Like a dream held to the light." And then he encourages us, "Dance to the morning song." And, yes, it feels like a new day, a time filled with possibilities. "I'm waiting for you/I'm waiting for you, dear." After those lines, some percussion is added. It is as if more elements are waking, joining the dance. And just before the end, there is some psychedelic guitar work, which is surprising and interesting. Even as it comes in, the music begins to fade. That's followed by "It's A Long Life," a title that stood out to me when I first glanced at the CD case, mainly because lately I've been thinking about how short life is. There is a moment in Magnolia, when Jason Robards' character says, "Life ain't short, it's long," a perspective that intrigued me even then. Anyway, the first lines of this song are "It's a long life, then a short life/As the years go whipping by/Barely time to say hello before we say goodbye." When we meet that special someone, it feels like we have great, long life ahead of us. Until we don't. And there is no real promise of anything afterward. This is probably it, friends. So enjoy that time. It is gone in an instant. "Don't question the man upstairs, I'm told he has it all well planned/But it's still dark here at the seaside where the water meets the sand." Wes Collins provides backing vocal work on this one, Dave Mattacks is on drums, and Doug Hammer adds some really nice work on piano.

And speaking of how brief our time is, Jon Shain in the next song, "Harlequin Moon," sings, "Evening falls/And falls again/Stars come out and laugh about/The plans of men." The stars seem eternal compared to our paltry lifespans, but even the stars will eventually die out. So sometimes it comes down to just one night, when we focus on the present. "Harlequin moon/Stay out with me tonight." Maybe that's all we have. This track features some wonderful guitar work, and this track has a pleasant vibe. It is followed by "Butterfly Wings," a song of connecting to someone who is at a distance. "Call on me every little once in a while/You used to call me every night." This song features a particularly good vocal performance, and has something of a 1970s flavor. And as he sings about reaching out, Lizzy Ross joins him on vocals, so we get the sense of both people reaching out to each other, something that makes us feel better. "Butterfly wings/Butterfly wings/So fragile, so fleeting/Still the wings keep beating." Dave Mattacks plays drums on this track.

Dave Mattacks also plays drums on "No Hay Luz," and Rodrigo Dorfman sings lead on this one. The lyrics to this song are delivered in Spanish, and there is a Latin feel to the music. "No hay luz/No hay paz/No hay descanso," Rodrigo sings at the beginning. But then he tells us, "Todo esta bien/Todo es normal." Ah, what are we to believe? That is followed by "Virginia (The Lighthouse Keeper's Song)," the title of which makes me think of Virginia Woolf's To The Lighthouse. This song is one of longing and love. "I never did get over you, Virginia/All these many years we've spent apart." It is told from the perspective of a man who has retreated to the tower of a lighthouse. It is a song of searching, but searching only from one place, which is interesting. "Though sometimes I still dream about a life/Where nothing fell apart." Oh man, those lines cut right into us. But don't worry, because some pretty work on mandolin follows those lines, helping to cheer us a bit.

"Balsam Mountain Rag" has a light, playful vibe right from the start, that guitar work taking us back many decades, and delighting us in the process. And soon the addition of clarinet makes that feeling even stronger. That's Dennis Lichtman on clarinet. "She'd been living there about a hundred years/I guess she missed the train/Back in 1925, back when she was still alive/She picked a tune and started to croon." Adding to the delightful vibe of this track, Jon Shain uses the word "haint." I can think of only three other songs that employ that particular word: Jumpin' Gene Simmons' "Haunted House," Charlie Musselwhite's "Ghosts In Memphis," and Young Fresh Fellows' "Three Gasonading Saints" (good company, don't you think?). There is a wonderful lead on clarinet in the second half. Jon follows that with "Thank God The Liquor Stores Don't Close On Christmas Eve," which is my favorite title of the album. With that title, I thought it might be a humorous number. And while there is a certain humor to that line, this song has a more somber vibe than I'd expected, and a lonesome sound at the start. "I'm not headed home/For the holidays/I can't help but wishing, though/I could somehow get away." Kaitlin Grady adds some gorgeous work on cello, helping make this track stand out.

"Song For Lynn" is a pretty guitar instrumental, the album's sole instrumental track. It has a thoughtful, rather touching sense about it. Jon Shain then gets more into a blues area with "Shelter." The song opens with these lines: "AC breaks in summer/The furnace goes in fall/You can't afford your coffee/And your lover doesn't call." Yes, it's clear we are in blues territory just from those lyrics. And he mentions how the list of troubles goes on and on. I think many of us can relate. "Nothing holds together/Things just fall apart." The album then ends with "There's No Saying No To Nora," a playful number, one that will have you smiling before long. "Oh, there's no saying no to Nora/She's one hardheaded senora/No sense in getting mad/Her will is ironclad/No, there's no saying no to Nora."

CD Track List

1. Morning Song
2. It's A Long Life
3. Harlequin Moon
4. Butterfly Wings
5. No Hay Luz
6. Virginia (The Lighthouse Keeper's Song)
7. Balsam Mountain Rag
8. Thank God The Liquor Stores Don't Close On Christmas Eve
9. Song For Lynn
10. Shelter
11. There's No Saying No To Nora

Odds...And Even So was released on September 1, 2026 on Flyin' Records.

Fernando Perdomo: "Clouds 10" (2026) CD Review

Fernando Perdomo is nearing the end of his second year-long musical project, Clouds. Following last year's Waves, this series features a new album of original material from Fernando Perdomo every month. He not only composes all the tracks, but plays all the instruments (there was an exception on the ninth volume), and produces each release. The music of the Clouds series is often soothing, and always takes the listener on wonderful journeys. I am drawn to music that can transport me in some way, and the music of this series does that. Clouds 10, released in October, is dedicated to Christina Burbano-Jeffrey, a violinist (you know her from her work in Lobate Scarp) and music teacher who died in a car crash caused by a reckless driver going the wrong way, in early September. 

The album eases in with "Day Just Begun," which feels like a meditation on a mountaintop, like communicating with the rising sun. It feels not just like a greeting, like a welcoming, but also like bidding goodbye to the dark, even as certain tendrils of night still have a tenuous hold on us. It has a gentle, pretty conclusion. That's followed by "Watching The Sky Unfold," a title I love, by the way. This track has the feel of being caught up in the drama of the sky. It has a somewhat tentative beginning, like a few gentle streaks of color. And then as it moves it into the main body, the pattern of the music reflects the patterns found above. It seems a solitary business, with hints of darkness. Interestingly, there is a shift in the second half, as something new seems to open before us. Or perhaps we ourselves have changed our perspective on what we're seeing, and our relationship to it. It is prettier, more soothing. 

The pattern in "We Are Sunshine," the rhythm of the guitar, quickly makes itself at home in our minds. Our rhythms happily adjust to it, or adopt it. And once that happens, the guitar then begins to rise, finding a joyous freedom. The guitar then combines the rhythm and the freedom to create a nice dance above this world, one that also takes place within us. "Look At You, Look At Me" follows. After its opening moments, a rather gentle entry, there is a delightful excitement here, like rays rushing down upon us, gathering us in their energy and taking us with them into a deeper place. And once there, the light is able to penetrate in places, splashing upon our faces, and soon wrapping around us and gently lowering us to the ground.

"Free Fall (Into My Arms)" is next, though on Bandcamp, it bears a different title, that being "Summer Swelter." This one announces itself gently, but insistently, and then plays on that initial motif. An electricity runs through it. There is a heat felt, our movement slowed perhaps because of it. It is followed by "The Bubble Machine." Though, interestingly, online this one is called "Free Fall Into Your Arms," a variation of the CD title of the previous track. It moves at a somewhat easygoing pace at first. And then after the briefest of breaths, it begins to take on more urgency, more intensity. And that grows, as comets whiz by us, getting terribly close, and we realize we have no control. Just hold on. This is an exciting track. And before it concludes, it relaxes its hold, returning to the feel of its opening. 

With "Rhythm," we find ourselves lost in thought as we look up at the sky, alone, the universe undeniably present, and so bright that we feel we could touch it if we simply raised our hands. And we do, causing ripples in the air. Testing it again and again, to find yes, it is real. And then it is over. That's followed by "I'll Never Forget You." The album, as I mentioned, is dedicated to Christina Burbano-Jeffrey, and this song in particular is for her. It comes in slowly, like a memory that isn't sure it wants to intrude. For then what will our state be? But then it has us anyway, and its beauty can lead to awe or tears, or both. How lucky we are to get to know someone at all, but then how painful to have that person snatched away. And yet this song exists in memory, where we all, for varying times, exist beyond ourselves.

Memory can be a lonesome place, even when filled with loved ones. That is the feeling I get as "Pleased" begins. And yet it is also pleasant. There is something appealing in it, something that draws us in. And then, when are in, we are enveloped, and there is a warm feeling. And we witness a beauty, little wisps of life that could be eternal, but fade. The album then concludes with "Nil." This piece introduces a certain rhythm at the start, and that rhythm is something we latch onto. There is the sense that it might take us beyond our lifespan, beyond whatever it was we were going to experience, if we are able to make its pulse our own. If we look around, what we perceive mainly is darkness. It is a lonely pulse in the void, taking us farther and farther out. Then it seems to end, to let us go. Do we have a breath left? Perhaps not, but we feel okay about it. But then something new begins to rain upon us. A new light. A new source of information. And it quickly grows in intensity. Interestingly, it too seems to leave us, but only to make way for a deeper, darker pulse. By now we've gone through so many changes, it is unclear just who we are anymore, and just what this reality is, but there is no way back now, and we continue until the end. What a journey this track takes us on.

CD Track List

1. Day Just Begun
2. Watching The Sky Unfold
3. We Are Sunshine
4. Look At You, Look At Me
5. Free Fall (Into My Arms)
6. The Bubble Machine
7. Rhythm
8. I'll Never Forget You (For Christina)
9. Pleased
10. Nil

Clouds 10 was released on October 1, 2026. 

J. Edmond: "Dear Therapist...What's Eating J. Edmond?" (2026) CD Review

I think we've all gone a bit mad, a bit sideways, in recent years. Even stepping back and avoiding the news isn't enough to keep the darker thoughts at bay (though it does help). There are still social media, cell phones, QR codes, and the fact that everyone has forgotten how to drive, all of which keep us from finding that calm, soothing place that we yearn for, all of which also make introspection difficult. Might therapy help? J. Edmond's new, playfully titled album, Dear Therapist...What's Eating J. Edmond, features all original material, songs that address our mental health and the things that affect it for better or worse. J. Edmond provides the vocals and plays guitar on all tracks. The album was produced by Fernando Perdomo, who plays guitar, bass, drums and Mellotron. J. Edmond is also joined by A. Michael Collins on drums, bass and backing vocals; Paul Chastain on bass and vocals; Denny Henry on keyboards; and Tommy Hayes on saxophone.

The album kicks off with "What Are You Afraid Of?" which has a somewhat dark vibe, existing at a place on, or near, the edge. There is a sense of urgency, a sense of need, which we hear in the vocals, and also in the music, like we are being pulled toward something beyond our control. In the middle there is a breath, as he repeats, "What are you afraid of? What are you afraid of? What are you afraid of?" He screams the line that third time. The guitars at times also scream. It is a kind of wild ride. Haven't we all felt like screaming in recent years? That's followed by "Dear Therapist," the album's title track. There is a more playful sense to this one, though even at the beginning, there is the feeling of being zapped, a dose of electricity to our brains, or just to our ears? Or just zapped like an insect by a light? I don't know, but I know we're in for something fun here, as J. Edmond takes a look at modern dating rituals. "We met for coffee on a Thursday again/It was weird, you know, I've been here since ten/Dating apps, they don't work, so I'll play pretend/Swipe left and just forget it then." There is a kind of punk vocal delivery, somewhere between Buzzcocks and Bowie. "Dear therapist, I wanna, I wanna say it was bad/But last night was the best night I ever had." 

"Are you dreaming?" J. Edmond asks at the beginning of "Dreams (Ode To Slim)." A valid question these days, right? This song has a heavy, full rock sound. "I've been dreaming for too long/I'm screaming/Well, I miss your voice/I miss your head." Here too we are on the edge, placed in a wild realm, surrounded by sound, the guitars demanding our attention. Some fantastic stuff on guitar. This track contains some voice samples from Brandon "Slim" Polin near the end. Then "Talk (I Suppose I Need To Take A Break)" begins with a good beat, and soon adds a catchy guitar part that has something of a 1960s influence. "Now listen to this kind of symphony inside of my head/It's hard to let it go, the voices tell me I'm dead." And I love how he adds, almost as an afterthought, the word "please" after certain lines. "I need a break/With no fear/Please." This is one of my personal favorites. 

For a while, when I'd ask someone how he or she was doing, the response would come, always dripping with sarcasm, "Living the dream." I used to hear it all the time, though only in Los Angeles. And even though it was delivered sarcastically, we are sort of living the dream in this city, right? Even if it wasn't what we expected. What I love here is that there is in fact a dreamy vibe to the guitar work of "Living The Dream," right from the beginning. A different version of this song was released on the We Found Your Things, Stranger EP, released digitally in March. That version featured just vocals and guitar. This one has quite a different vibe, with electric guitar, bass, drums. "It's hard sometimes, living the dream/Well, she screams/It's hard sometimes/And I know there's hell to pay." That's followed by "Listen In Now." There is a cool growl in J. Edmond's voice at moments, while other times there is a smoother aspect to his delivery. It's an intriguing vocal performance. This track also contains a good bass line. "Listen in now/To a sad song created in a cell." 

"Some Way" has a gentler, sweeter vibe as it starts, the way it eases in with some pretty work on guitar. "All this isolation around/But we're all related/Get your head in/Where are you hiding." There is a positive bent to this one. "We'll all pay our dues/By the end of the day/But we'll figure it out/Some way, some way." Music is what makes me hopeful. This is one of the tracks that A. Michael Collins plays drums on, and he delivers some really nice work. And Danny Henry adds some good work on keys. This song was included on J. Edmond's 2025 EP Isolated Dew. "Search Lights" is another track that A. Michael Collins drums on, and this one he also co-wrote with J. Edmond (and he plays bass on it). It comes on with a strong force, and features Tommy Hayes on saxophone. I especially love that lead in the second half. There is a 1980s flavor to this one, and an energy. "Nothing to lose/Stay the course/It's time to defuse." This song was also included on J. Edmond's Isolated Dew. 

"See There" is the last of the tracks to feature Michael Collins on drums. "Sometimes I want to feel it out/Sometimes I want to pack it in." And then J. Edmond raises his voice, a call with a need to be heard. "Someone tell me what will I see there." There are some cool touches on guitar, but it is J. Edmond's vocal performance that is what makes this track so captivating. "See There" is followed by "Tie Back Beginnings." There is something catchy about this one as it begins, and it features some excellent bass work. Again, we hear a great need in his voice. "Someone tell me where I'm to be." The album concludes with "Never A Chance," which contains some wonderful guitar work and strong vocals. "You, you've forgotten how to breathe."

CD Track List

1. What Are You Afraid Of?
2. Dear Therapist
3. Dreams (Ode To Slim)
4. Talk (I Suppose I Need To Take A Break)
5. Living The Dream
6. Listen In Now
7. Some Way
8. Search Lights
9. See There
10. Tie Back Beginnings
11. Never A Chance

Dear Therapist...What's Eating J. Edmond? was released on October 23, 2026.

The Mike Williamson Band, The Furys and The Glimmer Stars at Maui Sugar Mill Saloon, 11-7-26

The Furys

The Maui Sugar Mill Saloon has become one of my favorite venues for music. It has the vibe of a neighborhood bar, the sort of place where you get to know, or at least recognize, most of the folks who show up. But it's like a neighborhood bar if everyone in the neighborhood was a talented musician, for musicians who play there make up a good portion of the audience even when they're not playing. And the sound is good. Sure, it gets a little loud whenever Pat Todd is on the bill, but it's the kind of place where you can understand the lyrics, where the vocals are not drowned out by the guitars. And that's important for people like me, people who love music. And this venue is home to a lot of great music. Last night The Furys returned to the Maui Sugar Mill Saloon to rock the crowd with some delicious, high-energy music, aided in that endeavor by The Mike Williamson Band and The Glimmer Stars. An excellent lineup, though I suppose by now we've come to expect such great bills at this place.

The Mike Williamson Band

The Mike Williamson Band was up first, taking the stage just after nine o'clock. "Hey, we're The Mike Williamson Band," Mike announced. And that was all the introduction that was needed, before drummer Tim Jimenez got things rolling, the band kicking off the set with "Mascara,"  a seriously fun rock and roll song. It's a song that was released a few years ago by The Paper Hearts (Mike was sporting a Paper Hearts shirt under his jacket last night). That was followed by "Bloodshot Eyes," which featured some fantastic drumming. Mike thanked the crowd for coming out, and before starting "Around The Block," gave a shout-out to The Glimmer Stars. As the song began, Mini Mendez jokingly called out, "Is this a cover?" The song was written by Mike Williamson and included on his 2022 self-titled album, but has been performed often by Lights Out Levine. And on at least one occasion, Mini Mendez and Jon Levy performed it with Mike Williamson. Anyway, it's a totally delicious rock song, and last night it was particularly fun. "Heart Turned Black" followed, with some really good work on guitar and a tremendous energy. This song has a great driving force.

"Here For The Summer" had that wonderful summer thing happening, that fleeting sense of wonder that reminds us of our youth. And, if you're like me, that feeling is completely tied to music anyway. Then "Trail Of Our Dead" had a more serious vibe. I loved those moments when Tim was keeping time on the floor tom. That was followed by "Pale Flower," and if "Jessica says it will be all right," then you know it will be all right. "Western Skies" is a song that was included on the 2022 album, and as it began last night, it received cheers from several folks in the audience who recognized it from the first notes. Rick Johnson delivered some very cool work on bass. "I need to hear your voice again." That was followed by "Sundown," Mike mentioning in the song's introduction that it's one he plays with The Paper Hearts sometimes. This was another song to feature some excellent drumming, the beat being the heart of this number. The song rocked with the joy of early rock and roll. "Back To You" was introduced as "a newer one." Again, the music was fun, just the sort of thing we need. Mike switched guitars for the final number of the set, "Missouri To The Golden State," a good, solid rock song with some great stuff on guitar to wrap up the set.

The Furys

The Furys didn't bother with any introduction whatsoever, just went straight into the music, straight into the heart of things with "ICUCMECU," with a beat that could cut through any nonsense that gets in the way. The band was rocking right from the start, and the song included some excellent guitar work from John DiMambro and Cliff Roman. And then the energy of "Wicked White" was just exactly right, music so good that the entire world seemed okay, no matter the messages received. That was followed by "Hey Girl, Goodbye," which featured some really nice stuff by Dave Lewty on bass, plus some great drumming by Paolo Dell'Olio. And what a vocal performance from Jeff Wolfe! "Ghosts Of Princes In Towers" began with a delicious, solid beat. And, again, the music had such a great feel about it, the kind of sound that seems to play throughout your entire body. "Without You" came on fast and fierce, with a pop-punk joy and energy. And has Jeff's voice ever been better? I don't know, but he was sounding fantastic last night. Everything was working for this band. They were at the top of their game. 

Jeff introduced "New Wave Girl" as being a song about his wife, and playfully encouraged folks to see him after the show if they wanted to hear the whole story. I don't know if anyone took him up on it, but I know everyone was enjoying the song. There was a wonderful vibe to it. Music is what makes this whole existence seem right, you know? That was followed by "Waiting For Surrender," which had a strong bass line, the bass being at the heart of that song. Then "Tightrope Walking" came on with an undeniable power, while "Sweet Connection" had a delicious pop joy to its sound. The guys wrapped up the set with "Say Goodbye To The Black Sheep," a song from early in the band's career. It was released as a single in 1978. The song's power and great appeal seem to have only grown stronger over the years, this one delivered with a sort of furious joy, if that makes sense. It was a phenomenal set. If you missed it, you have another chance to catch the band soon. The next show is December 12th at Redwood Bar and Grill, on a bill that also includes Drool Brothers and Neverland Ranch Davidians.

The Glimmer Stars

The final set last night was by The Glimmer Stars, guitarist Steven Soto greeting the crowd playfully, "Tarzana, get it on." Mini Mendez, sporting a Furys T-shirt, added, "Good evening, and thank you for sticking around." As did the other two bands, these guys opened with a bang, with a great rock song. In their case it was "Better Day," and they seemed to be rocking even harder than usual on it. "I took the California blues just as far as I could take it." Ah yes, but each time, these guys take it a little farther. That song led straight into "I Need It Now," and this one too seemed to have more power than usual. The band was clearly determined to rock the room, to end this great night with an energy that was fitting with everything that had come before. They were on fire as they ripped into "Pictures Of You." Jeff, by the way, from the audience called to Mini, "Nice shirt." The band then delivered perhaps the best version of "If I Only Could" that I've heard. It was a lot of fun, featuring some great drumming by Richie Mendez. Then "Dreaming Where You Are" featured some cool stuff on guitar.

Steven introduced the band, then mentioned that there's a video out for the next song. Mini joked, "And I'm still learning the song." The song, "Autumn Girl," was another fun one. It was followed by "Maybe," one of my personal favorites, a song from the band's newest album, Someday's A Long Time. They then gave us a seriously fun rendition of "Alley Cat," followed by "One Glorious Moment," which come on with a glorious force. And when Mini Mendez introduced "Paulina" as being about a girl, a lot of folks in the audience shouted back, "They're all about a girl." The song had a delicious punk energy, and led straight into "I Want You" to close out the set. That one too featured some excellent drumming. The audience wanted more, and the band had ripped through the set with such speed that there was plenty of time for an encore, as Nubs at the soundboard pointed out. And so The Glimmer Stars gave us a really good cover of the Tommy James And The Shondells hit "I Think We're Alone Now." "Thanks for putting up with that one," they joked at the end. The show ended at 11:38 p.m.

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

Carla Olson: "For Pete's Sake" (2026) CD Review

Pete Brown is known for co-writing several of Cream's best songs, including "Sunshine Of Your Love," "White Room," "SWLABR," "Politician" and "I Feel Free." And he was known as a poet before collaborating with Jack Bruce. Carla Olson, who has collaborated with Gene Clark and Mick Taylor (among many others) began writing with him in 2019, and she actually details some of their process in the liner notes of her new album, For Pete's Sake, an album featuring lyrics by Pete Brown. He would send her a set of lyrics, and she would send back a demo, and they'd proceed from there. Things then got weird when the pandemic changed the world and particularly the music scene. Carla Olson was fairly busy soon after that initial round, working on Americana Railroad and Ladies Sing Lightfoot. And then in 2023, the year that Carla Olson produced Robert Waller's See The Big Man Cry, Pete Brown died. As Carla mentions in the liner notes, she was determined to get proper recordings of all these songs. And those recordings make up For Pete's Sake. Joining her on this album are Joe Read on guitar, bass and organ; Todd Wolfe on guitar and dobro; Mikal Reid on guitar, bass, harpsichord, organ and percussion; and Ben Lecourt on drums and vibes. Tom Jr. Morgan provides the horns and also plays piano. There are also special guests on various tracks. And the album features a second version of "With My Black Cat By My Side," this one coming from Pete Brown's own The Shadow Club album, and featuring Carla Olson on backing vocals.

The album opens with "Education," which, as Carla Olson mentions in the liner notes, was the first set of lyrics that Pete Brown sent her. It has a groovy, bluesy rock vibe, and features the horns. "I sure didn't know a whole lot 'til the time we collided" is certainly a good first line for an album that is a collaborative effort. There is a full, vibrant sound. Rick Hemmert plays drums on this one. And I love the guitar work, particularly at the end. "You were my education/So much information." The album's second track, "Careless Dancing," was also the second set of lyrics that Pete Brown sent Carla Olson. There's a cool, kind of jazzy vibe to this one. It has me right from its first lines: "One night we danced/Right over a cliff." I love how the first line makes us believe things are going in one direction, and how that changes completely with the second line, a nice surprise early on that grabs us. This one also features some strong guitar work. Jake Carmona is on percussion.

"With My Black Cat By My Side" is the song that Pete Brown included on his own album. There are two versions of the song included on this disc, the first being the Carla Olson recording. It has a wonderful, welcoming feel. "Sometimes I don't do so well/But I always keep on tryin'/Even when the world is hell/I can barely stop the slide." Those opening lines are ones I bet we can all relate to, and Carla gives a tremendous vocal performance here. Skip Edwards joins her on organ and piano on this track, delivering some great work. This track also features some good drumming. "I always want to believe/The future promised paradise/But there's no tricks left up my sleeve/Down here hoping for a ride." Then "Read Me My Rights" comes on strong. "All my good words had become bad lies/My loves were turning into hates." There is a great energy and power to this song, especially to Carla's vocals. This track also contains some really nice stuff on keys, and an excellent bass line. "I was living down among the wrecks."

A more easygoing groove is established with "Racing Against The Sand," and Carla's voice seems to speak for all of us as she begins, "Searching for something, I'm not sure/Something clean and something pure/Been around the world so many times." This track builds in power as she sings, "It's a race against skies/That are falling down." This one features the horns, and it is ultimately a positive number, lifting us up together. It is one of my favorites. "I'm still in the band/Hear me scream and shout." And I love what Carla does vocally on "You Heard Me." Just listen to the way she delivers a line like "This is no way to drive a train." Can't you feel her attitude coursing through your own blood? This is a fantastic track, in large part because of her vocal work. And check out these lines: "There's avenues that we hoped to explore/Before yesterday became the law/And they closed the door." There is some good work on guitar too. Victor Bisette (who plays on my favorite Los Lobos album, Kiko) plays drums on this one. It is another of the album's highlights.

There is a gentler vibe to "Don't Leave Your Love Behind" as it starts. There is a beauty to this one, even as it grows in power. "You've been lost to me for so long/All those hard roads you have traveled on/Fighting through all that wilderness/Times you won, and times that led to less."  I love the guitar lead toward the end. That's followed by "Lost And Found In Lockdown." This one features lyrics written by Carla Olson, with music by Joe Read. It's a song about the time of the pandemic, the time when they were working on the songs of this album. I know I've said this before, but I hope someone writes a comprehensive book about the music that came out of the pandemic. "Lost and found in lockdown/Thankful for my friends/All of us in the sinking boat/Kindred spirits 'til the end." This one has its own special beauty.

Carla Olson then changes gears with "Nine Lives," which has a wonderfully raw and intimate feel, a slower number, delivered on vocals and guitar, though at first with no lyrics, but rather some humming. Then in the second half, Carla sings, "Black cat, black cat," and we realize it's a riff on "With My Black Cat By My Side." It's like we're privy to her working out that song. So if you count this track as another take on "With My Black Cat By My Side," then there are three versions of the song included here. The album concludes with the other version of "With My Black Cat By My Side," this one from Pete Brown's album, with him on lead vocals. In addition to Carla Olson on backing vocals, Pete Brown is supported by John Donaldson on keyboards, Clem Clempson (of Humble Pie) on guitar, Malcolm Bruce on bass, Richard Bailey (who has played with Jeff Beck and Steve Winwood) on drums, Graeme Flowers on trumpet, Alan Barnes on saxophone and Greg Heath on saxophone. Chantelle Duncan, Helen Hardy and Jackie Rawe also provide backing vocal work. I'm glad this track is included here, though it is making me realize I need to get myself a copy of The Shadow Club.

CD Track List

1. Education
2. Careless Dancing
3. With My Black Cat By My Side
4. Read Me My Rights
5. Racing Against The Sand
6. You Heard Me
7. Don't Leave Your Love Behind
8. Lost And Found In Lockdown
9. Nine Lives
10. With My Black Cat By My Side

For Pete's Sake is scheduled to be released on November 13, 2026 on Sunset Blvd. Records.

Mike Bloomfield: "Dark Road Blues: Santa Cruz 1981" (2026) CD Review

Mike Bloomfield is known for his work in The Paul Butterfield Blues Band and Electric Flag in the 1960s, and for playing on Bob Dylan's Highway 61 Revisited album, as well as for his subsequent solo career. In 2012, he was inducted into the Blues Hall of Fame (the same year that Lazy Lester and Furry Lewis got in), and in 2015 he was also inducted into the Rock And Roll Hall of Fame (as a member of The Paul Butterfield Blues Band). He died in February of 1981, at the age of 37, apparently from an overdose. His final recorded concert performance was just two weeks earlier, at The Catalyst in Santa Cruz, California (there were a couple more shows after this one, but no known recordings of those shows exist). That concert, held on January 31st, has now been released on CD as Dark Road Blues: Santa Cruz 1981. This show was a solo performance, with Mike Bloomfield playing both acoustic guitar and piano.

The album opens with a cover of "Dark Road Blues," with Mike Bloomfield playfully singing "I got loaded last night/Then I pissed on the floor/Brushed it up with my toothbrush/Don't brush my teeth much anymore" at the beginning. Then he gets into the main body of the song. He delivers this one on piano. There is a wonderfully loose feel to this song, and I love when his voice falls nearly into a growl at certain key points. "I ain't going down the dark road by myself." Mike Bloomfield is known for his guitar work, but here he shows his skills on piano. And he delivers some seriously cool stuff on piano on "Mean Mistreater Mama," easing into it with that wonderful piano introduction, and coming in on vocals after a minute or so. He gives us a delicious performance, both vocally and on the keys. "Do you remember, mama/I knocked upon your door/You had the nerve to tell me, baby/You didn't want me no more/Do you remember." Those lines are a key moment of the song, Mike's delivery heartfelt and moving. Soon after that, he moves into a piano solo. This is one of my personal favorite tracks.

With "I Don't Know," it is clear Mike is now he's having fun. "Sometimes I wish my true love was gone/She said, You shouldn't say that/I said, What shall I say this time, baby." He gives a tremendous performance. It must have been something to see him in concert. Chris Morris, in the liner notes for this release, writes, "In early '81, it appeared that Mike Bloomfield was again on the ascendant." Indeed! And it makes me wonder what he could have done over the next several years if he'd had that time. After "I Don't Know," Mike announces he's going to do one more song on the piano. That song is a very cool rendition of "Nobody Knows You When You're Down And Out," and here too he gets into the vibe on piano before starting the vocals. This is an especially remarkable vocal performance. Just listen to the way he delivers the lines, "When did I begin to fall so low/I didn't have no money/And no place to go." We can feel every syllable. This is coming from the heart, coming from experience. What a performance! There is a bit of popping right near the end, but it might be from him bumping into the microphone. At any rate, this track is a highlight of the album.

Mike Bloomfield then switches to guitar for the rest of the set, beginning with a delicious rendition of "Kansas City Blues," which has a great classic blues feel. He's grooving within this number, and the results are wonderful. He then covers Jimmie Rodgers' "T.B. Blues." The guitar work at the beginning is interesting, for he seems to be trying various different things before settling into a nice, slow groove. "I think my baby is trying to make a fool of me." Mike doesn't quite do the yodeling thing that Jimmie Rodgers did, but does something approaching it, which actually has a pretty sound. There is a bit of popping toward the end of this track. That's followed by "Country Mechanic," a song written by Nick Gravenites, a fellow member of Electric Flag (and who also played in Big Brother And The Holding Company after Janis Joplin had left). This is a particularly playful number, with lines like "Gonna mess around with your engine" and "All I want is to get my dipstick/I will fool around, baby, in your oil." This is such a cool set. According to the liner notes, this was the opening set of the show, Mike Bloomfield supporting Sir Douglas Quintet. What an opening set!

Mike then tackles the traditional folk number "Frankie & Johnny," delivering wonderful guitar work that receives some cheers from the audience. This track is a delight, in large part because of his guitar work, but also because of his vocal delivery. He gets softer as he repeats "She said bye, bye-bye," and it seems like maybe he's doing his own fade-out at one point. But really he's just drawing us all in closer. That's followed by a medley of "Fool For A Cigarette" and "Feelin' Good." Ry Cooder had played that combination on his 1974 record Paradise And Lunch. It begins with some cool guitar work. He sings, "Lord, I'm a fool for a glass of wine/And when I finish drinking/That's when I begin stinking," and then, "If I was a wino/I tell you just what I'd do/I would put my bottle away/Baby, just to feel good with you." He wraps up the set with Robert Johnson's "Come On In My Kitchen," introducing it as "one of my favorite slow blueses." His rendition is so damn cool. Someone in the audience reacts, letting loose a wild cheer, which makes Mike laugh. But he doesn't miss a step. This is an excellent rendition to conclude the disc.

CD Track List

1. Dark Road Blues
2. Mean Mistreater Mama
3. I Don't Know
4. Nobody Knows You When You're Down And Out
5. Kansas City Blues
6. T.B. Blues
7. Country Mechanic
8. Frankie & Johnny
9. Fool For A Cigarette/Feelin' Good
10. Come On In My Kitchen

Dark Road Blues: Santa Cruz 1981 was released on CD on October 9, 2026 through Liberation Hall. There was also a special vinyl edition released.