Ruby James: "Call It Rock & Roll" (2026) CD Review

I recently read that MTV got rid of the rock category for its Video Music Awards. Now while some of us might be surprised to find that MTV still exists at all (wasn't there some announcement last year that it was ending?), this move does show the lack of respect the music industry has these days for rock and roll. What the hell happened? Why are rock bands largely absent from the Billboard Hot 100 chart? Have kids gone soft in the head? While the decaying remnants of MTV might have no interest in rock, and the charts are filled with rather dull songs, there are artists who are still tapping into the rock and roll spirit, artists that can rock when they wish. And if the world hadn't ceased making sense, these artists would be dominating the charts. Ruby James has titled her new release Call It Rock & Roll, and I see no reason not to follow her wishes. Here she digs into spirit of rock, with its roots in blues and country. The disc contains mostly original material, along with a couple of covers. Joining Ruby James on this disc are Kyle Crusham on guitar, bass, keyboards, and Mellotron; David Jimenez on guitar; Harmoni Kelley on bass; Jan Flemming on keyboards; Jimmy Paxson on drums and percussion; and Darin Murphy on drums and percussion. There are also some special guests, including Eddie Spaghetti and Rosie Flores, on certain tracks.

Ruby James kicks off the disc with "Voodoo Queen," and in the track's opening moments, there is a kind of twisted and delicious laugh, letting us know she is up to no good. And that means nothing but good for music fans. The song has a great energy, particularly in her vocal delivery, and some interesting touches. Perhaps what's most important is that there is a sense of fun here. Remember fun? Ruby James wrote this one with Adam Mackintosh. It's followed by "Gasoline," which begins with a strong, fast pulse. "I'm standing naked at the gates of hell/I'm just as useless as a girl can be/You came to play a game and cast your spell/I've come to crown the king to rescue me." But before you get the wrong idea, she sings, "You never met a girl so hard and mean/You're just as useless as a boy can be." She delivers a great vocal performance, toying at the edges of darkness and danger, just as rock should do. It's a kick-ass number. "Your dirty blood is rushing through my veins/I want to show you what your pain can mean."

"I should have seen it in your eyes," Ruby sings, or taunts, at the beginning of "Novocaine." Something about the way she sings, we can hear a certain amount of attitude in her voice, and of course there is something exciting in such a voice, something sexy. And here she again mentions a spell, and there is a sort of haunted vibe heard here: "What is it going to take to break me from this spell?/I tried to numb the pain, a shot of novocaine." This is a very cool song, written by Ruby James and Kyle Crusham. Then "Honeydripper" has a slow, steady pulse at the beginning, emerging from the haze. It might feel heavy, it might feel dark, but there is also a pop thing to this one. And when the guitars have their say, the song gets into heavier rock, and that's when this one shines. "I'm coming for you, baby, and I'm coming at you hot." There is some nice percussion here. This song was written by Ruby James, Kate Vargas, and Bruce Butkovich. The great Rosie Flores adds some guitar work to this track, and Courtney Santana provides backing vocal work.

The first of the two covers on this disc is Ruby Janes' own special rendition of The Supersuckers' "Pretty Fucked Up," here titled "Punk Rock Love Song (Pretty Fucked Up)." Supersuckers' Edward Daly (known as Eddie Spaghetti) joins her on it, playing bass and acoustic guitar, and providing some lead vocal work. And Supersuckers' Chris Von Streicher is on drums for this one. This rendition sets itself apart immediately, beginning softly on piano. That's Ruby James on piano on this track. In this opening section, there is a crackling sound effect as if we're listening to an old record, an effect I would rather do without. But what's especially striking is Ruby James' vocals. Her performance is soulful, moving. "I probably won't die, but it sure feels that way/I used to be strong, I used to be tough/I used to be pretty, but now I'm just pretty fucked up." So, yeah, we get the story from the girl's perspective. Then Eddie comes in, "Now I know people change, and sometimes that's good/And some people don't, but maybe they should." And the song becomes one of those great rock ballads. It's an interesting, unexpected take on the song. Ah, we're all "pretty fucked up now."

The disc's other cover is "Bumble Bee," a song from the early 1960s, one that has been covered by a lot of artists. Rosie Flores joins Ruby James on lead guitar on this one, delivering some excellent stuff. "You know you hurt me once before/You'll never hurt me anymore." Oh, we have no doubt of that. This is a seriously cool and fun rendition. And, hey, a song with the phrase "an evil bumble bee" can't be taken too seriously, right? And that's what we're missing from a lot of music these days, that sense of fun. Ruby puts her own spin on it, but keeps some classic rock and roll elements here. I love this rendition. It's another of the disc's highlights. Ruby James then wraps things up with an original number titled "Boogiedown Town," which she wrote with James Hall. Phrases like "got a zeppelin in my pocket" put us in in the proper mood. And on the chorus, there is a bit of 1970s flavor. "I got this fire on my heels/And these hips that don't lie/I got a love that keeps 'em thirsty/And a beat that won't die." That steady beat keeps us in line. And Rosie Flores adds some guitar to this track as well, and Courtney Santana again adds some excellent backing vocal work. A delicious conclusion to a really good disc.

CD Track List

1. Voodoo Queen
2. Gasoline
3. Novocaine
4. Honeydripper
5. Punk Rock Love Song (Pretty Fucked Up)
6. Bumble Bee
7. Boogiedown Town

Call It Rock & Roll was released on August 7, 2026 on Mule Kick Records.

Pulsars Play Echo Park Rising, 8-30-26

Pulsars

Echo Park Rising is finally back to its two-day format after several years of being just a one-day event. Yesterday, the second day, Pulsars played the festival, delivering a fantastic afternoon set at the Dada stage. It was another brutally hot day in Los Angeles (the word had gone around that the heat wave was breaking, but clearly the sun ignored that memo). At one point during the set, I turned to the guy next to me and said, "My elbows are sweating." It was that kind of heat. And immediately next to the area where the audience stood, someone had a grill going, which, if it did not actually add to the heat, at least seemed to do so. But none of that mattered, because the music was so damn good.

Beatrix

Beatrix (the stage named used by Arielle Kasnetz) opened the show just after 2 o' clock, performing as a duo with Ryan Lerman, both of them on electric guitar. Beatrix opened her set with "Class Reunion," and I was struck by her appealing and compelling vocal performance, drawing us in closer before then raising the energy. "It's hot as fuck right now, so thank you for being here," she said after her first song. Fortunately, there was some shade on the stage. Ryan delivered a nice guitar lead on "Firefly." And then "Somebody Else" featured an especially pretty and touching vocal performance. "By Mistake" contained another beautiful vocal performance. She wrapped up the set with "Dead Dog" and "Crushing."

Right at 3 o' clock, a playful recorded introduction to the show came through the speakers, making it clear this was going to be something different, something fun, getting the audience prepared. The short "Wisconsin" led straight into "Tunnel Song," and it was so great to hear the power in Dave Trumfio's voice, this rendition having tremendous energy. There was also a delicious pulse. This was fun, and some folks figured the heat be damned, and started dancing. It was an excellent start to the set. "Yes, Echo Park Rising," Dave shouted afterward. And then he asked, "Can I have a little more vocal please?" Then the Pulsars gave us "Suffocation," with a great steady pounding on the drums at the beginning. This was a gem from pop heaven, a song that most certainly should have been a hit. Dave again asked for a little more vocal in his monitor, and this time apparently got it. And the duo played "Owed To A Devil," followed by "Worker Robot Droid." "Do you ever smell the flowers that grow? No, you don't." Ah, I bet the same can be said for some humans. Dave playfully introduced the next song: "Yet another song about technology. Called 'Technology.'" A song with a good dance beat, with lots of hi-hat. "Technology will take control/Will take control technology/Technology will never die." As you might guess, the crowd especially responded to that song. "Thanks," Dave said, and then added, "Holy shit, it's hot." He mentioned that they just did a show in San Francisco, and some of the Silicon Valley folks were there and told him to watch out, that technology really is taking over. The advice Dave offered to the audience in Echo Park: make friends with the robots.

"Tales From Tomorrow," that song title, feels like a good description of this band's music. Although I suppose now we're living in tomorrow, which is a bit frightening. "Tales From Tomorrow" was followed by "Silicon Teens" (actually, first by "Machine Talk," which functioned as an introduction to "Silicon Teens"), a totally delightful number. "Clearly I am not a robot," Dave said afterward. The duo then played "Chicago Swingers," with Dave commenting that they were doing some deep cuts. He added that they might all be deep cuts for some of the folks there. I glanced around, and it was hard to tell whether these songs were familiar or unfamiliar to people in the audience. What seemed clear was that either way, the folks were digging what they were hearing. Next up was "Cast Iron Dog," which Dave introduced as "the first song I ever wrote for the Pulsars." "Everybody hydrating?" he asked the crowd after that song. You know it's an especially hot day when the band checks to make sure the audience is drinking enough water. And once it was clear that people were drinking water (or drinking something, anyway), Dave introduced the next song, "This is another song about robots." The song, "My Pet Robot," was another pop gem, another true delight. This whole set was a lot of fun. "Dear" followed, and then both parts of "Lucky Day." I especially loved when the second part began, with that great beat. Pulsars wrapped up the set with "Submission Song," the first lines delivered a cappella. "Put me on your latex bed/I won't breathe or pretend I'm dead." A totally delicious ending to an excellent set. I hope these guys will play more often. If you get a chance to see them, I highly recommend seizing that opportunity. You will not be disappointed.

This stage was located behind Dada, 1606 Sunset Boulevard.

Fernando Perdomo: "Clouds 8" (2026) CD Review

Fernando Perdomo is continuing his second year-long project, Clouds, with the latest volume, Clouds 8 (though the ninth entry in the series is ready to go, and will be released in two days). And in case you're wondering, yes, this outstanding musician and songwriter is planning another year-long project for 2027, and that one will be a bit different from Waves and Clouds. Clouds 8, as was the case with previous entries in the series, contains all original material composed and performed by Fernando Perdomo. He also produced the album. The album cover photo was taken by Liza Kane, and it has a cheerful and relaxed vibe, which reflects the album's music. Though there is that warning sign near the bottom left corner to keep an eye on the speed.

The album opens with "Desert Dream," the guitar transporting us gently to a realm of beauty, a place of relaxation and perhaps contemplation, where the thoughts come easily, in spurts between breaths. And when we feel completely settled in this place, it seems that memory shifts and we recognize our surroundings, feel they have something to impart to us, perhaps something from our own pasts, something we may have forgotten. But we are also free to simply close our eyes and let the music play over us. Then "Memories Of You" feels like a door to the past, to a past we wish to revisit, even if there are sad elements. Or perhaps that sadness simply comes from knowing that it is the past and not the present. But that's the magic of this music, for the past becomes present. The memories become almost tactile.

"Relaxed" opens upon a soothing landscape, a soft light playing upon the surface. And the places the light touches become our focus. Then the light begins to dance on the flowers, on our skin, soon seizing hold of whatever worries we've brought with us, pulling them from us and letting them disappear in the ether. There is more of an intensity to "The Wicked Wind," to the guitar work. There is a potent energy that cannot be denied, but perhaps needs to be appeased, a message that demands to be heard. That is not to say there is no beauty here, for there is, particularly in the second half of the track. Then the opening section of "Waltz For Mother Earth" is testing the atmosphere, taking short steps forward. And once we are certain of our footing, the music becomes a glorious dance, like the voice of the land welcoming us as part of it, something we don't experience as much these days. There is a bright energy, an excitement, and also still moments to pause, to breathe. The music seems to provide a reminder that life will continue, the world will continue, that it is all much greater than our current concerns.

With "Spirit Of Love" comes a gentle echo from the skies, from all around us, and perhaps coming from us too. How wonderful to feel a part of the universe, to add what we can to this incredible celestial experiment. A joy is heard here, is felt here. A joy that cannot be contained or restrained. We send our own messages outward, trusting that they'll be received and knowing it doesn't matter if they are or aren't. It's the sending that counts. How wonderful it is to be alive, and to be able to share this experience with someone. This is one of my personal favorite tracks. It is followed by "The Core." Now the message has weight, has warmth. Each thought like a short dance in our minds. Then there is an opening, an accepting of something greater being received and being welcomed. This music takes us to some lovely places, and doesn't hold back, but moves forward with certaintly and delight.

There is a more somber vibe to "Intensity In The Cosmos," this piece touching upon a darker place. It becomes forceful, yet also lets go at moments, relaxing its grip. We find ourselves in more unsettling surroundings. Perhaps it's that we realize a lack of control on our part. We are so tiny in this whirlwind of activity, of energy, of intention. This track contains exciting guitar work. It is followed by "Beautiful California." A title like that reminds us of how fortunate we are to live in this place. And the music here does too, opening with a sudden bright force, and then finding bluesy areas at the edges. Even then there is a magic that we witness, that we feel. This really is a wonderful place. The energy begins to pick up, like a fiery joy rushing toward us, or with us up some mountain side. This is another of the disc's highlights.

There is something soothing to "Evening Of Pleasure," like a warm summer breeze as the sun goes down and the possibilities of night begin to open before us. There is an unexpected excitement here too, before we are soothed again. The album then concludes with "Cloudia." Most of the albums in the Waves and Clouds series have had ten tracks, with a few exceptions along the way. With this eleventh track, this album is among that number. The track's title makes me smile, as I take as it as a play on the name Claudia. There is something youthful and feminine here. A young woman at play, perhaps. However, something serious lingers at the edges, the future almost visible. And then it is as if we are present in two times, in the past looking forward and in the future looking back, until it all comes together, Fernando delivering some wonderful guitar work.

CD Track List

1. Desert Dream
2. Memories Of You
3. Relaxed
4. The Wicked Wind
5. Waltz For Mother Earth
6. Spirit Of Love
7. The Core
8. Intensity In The Cosmos
9. Beautiful California
10. Evening Of Pleasure
11. Cloudia

Clouds 8 was released on August 1, 2026.

Alan Arena: "Cape Cod Girl" (2026) CD Single Review

"It's ninety degrees on the Cape Cod beach," Alan Arena sings at the beginning of his new single, "Cape Cod Girl," and I'm hooked at that moment. It's been in the nineties here in Los Angeles for a while now, and that kind of heat makes you want to be at the beach. It also makes you want to slip back to your youth when the heat didn't matter all that much, and the beach meant a certain kind of freedom, and promises of a certain kind of action. I grew up in Massachusetts, and every summer my parents would take my brother and me to Cape Cod for a week. The hope was always meeting a Cape Cod girl, and it usually seemed to happen too. There was that kind of magic then, wasn't there? And girls were everywhere. This song has that kind of vibe, that kind of youthful enthusiasm and energy.

Alan Arena is a blues artist based in Massachusetts. Last year he released Deceived, an album featuring a lot of original material, and followed it with a holiday single, "Gritty Holiday Ditty," a song that mentions Chuck Berry. And on this new single, "Cape Cod Girl," there is a fun rock and roll thing happening, with some delicious stuff on keys and saxophone. The musicians backing him include Brooks Milgate on piano and organ, Gordon Beadle on saxophone, Mike Welch on guitar, Brad Hallen on bass, Marty Richards on drums, and Joe Russo on backing vocals. "When she gets up from her blanket, everybody looks/With just a little smile, everybody's hooked/Ain't nothing gonna matter in this whole wide world/When you fall in love with a Cape Cod girl." And of course the girl doesn't care about all the attention she attracts. She just wants to enjoy the beach, the day. That sounds about right, eh? This track also features some really nice guitar work. The song feels like summer, like all the best things about summer. It's good that folks are still writing numbers like this. "She wants to live today like it's all she's got."

CD Track List

1. Cape Cod Girl

Cape Cod Girl was released on June 12, 2026. Alan Arena is working on his next full-length release, which is due out in early 2027.

Dave Rudolf: "Roll With The Punches" (2026) CD Review

Dave Rudolf has done it again, chosen an album title that speaks directly to what we're experiencing in these frustrating and ugly times, to what we must do to get through them. Roll With The Punches. There is something positive in that title, for it suggests we are able to deal with the seemingly endless series of difficulties and troubles coming our way. Of course, it is music that helps us roll with these punches, isn't it?  This album follows last October's We'll Find Our Own Way, and it features most of the same musicians who played on that album, including Felton Offard on guitar, Jack Whittle on guitar, Gary Victorine on pedal steel, Thomas Linsk on keyboards and organ, Jim Widlowski on drums, Wally Hustin on bass, and Michael Hesiak on saxophone, with Marsha Lynne Smith on backing vocals. Dave Rudolf plays acoustic guitar and electric guitar, and wrote all the songs. Once again, he proves himself completely at home in several different musical styles and realms.

Roll With The Punches opens with its title track. With that delicious work on keys and saxophone in the song's opening moments, we are immediately thrust into some great rock and roll territory. And like any good rock and roll, there is a blues base here, heard in the song's first line "I lost my job because the business was slow." Soon he lets us know the job was causing him distress, and he sings, "So I packed up my things and said Adios/And jumped in the car and headed to the coast/You gotta roll with the punches." Leaving the blues behind. He makes it sound like a celebration. And shouldn't life be a celebration? After all, what are the odds that we'd be here at all? There is a wonderful lead on keys in the middle. This track also contains some good stuff on guitar. "I was always aware that life wasn't fair," Dave sings. Indeed. If there was a sense of fairness to this existence, Dolly Parton would still be alive, and that rapist occupying the White House would be rotting in a hole. "I live by the motto 'Buyer beware.'" Then Dave Rudolf takes us into more soulful territory with "Lend A Hand." This one too features some good work on keys, and also a heartfelt vocal performance right from its first lines, "There are those who are hungry/Far too many in need." The song is a positive and hopeful number about doing what we can. It contains some really good backing vocal work too, giving the song a gospel-like bent, and a good bass line. The guitar leads the way to a better world at the end.

Some really nice work on guitar helps to create an appealing rhythm at the beginning of "Unrequited." Check out these lyrics: "Lost in her visions of stories she's read/No one can live up to the hero in her head/Her impossible standards, the perfection she seeks/Have doomed her to failure, and her future is bleak." Then Dave Rudolf goes into reggae territory with "The King In His Castle," another track with a strong bass line. This one also features some delicious percussion. "For the king in his castle, in his marble hall/Is a small, little man who believes he is tall/Thinks he is smart, but he's a court fool." And with phrases like "throne of gold" and "they tell him he's strong," it's clear just who is the subject of this song. I especially love the drumming on this track. "I've been traveling down this lonesome road/Searching for someone," Dave sings at the beginning of "She's Somewhere," a pretty number. "I still have hope I will find that place/Where my love she waits patiently there." I was pretty far into my life before I finally met my love. This song is for all those who are still looking, still waiting, still hoping. It urges people to not be discouraged, to not quit looking. There is a really good vibe to this song. May each of us find that special someone.

A while ago, someone told me that whenever I'm in need of a laugh, all I had to do was conduct an online search for "Florida Man" and any randomly chosen date, and I'd be sure to read a ridiculous story. I've done it several times, and it has never failed. Dave Rudolf's song "Florida Man" seems to come from such stories, such headlines. "It might be their genes, might be the gin/It might be the heat that does those boys in," Dave sings. Maybe, but something is terribly wrong with that state and the people there. Nothing wrong with this song, however. It's a fun song, with a cool groove. "Bless his heart, he's doing the best he can." Ah, we all know what people really mean by "bless his heart." "Only in Florida logic don't stand/We build our castles out of rusty beer cans/We got bugs and hurricanes and swampy lowlands/It's a crazy stew that makes a Florida man." That's followed by "Forever Is Not Long Enough," a song that sounds like a romantic island vacation, with a nice bossa nova vibe, and features some excellent work on guitar. "The tide keeps time with love that grows/The world slows down just for a while."

Dave Rudolf gets funky with "Infectious," a fun number with a certain 1970s thing happening, along with a 1980s dance element. "Feeling the bass," he sings at one point, and, yes, the bass is present in our chests. The saxophone also plays a prominent part in this song's appeal. "We're left with no choice, we have to move our feet." Indeed. Ed Tossing plays keys on this one. That's followed by "You Make Things Better," Dave Rudolf changing gears again and moving more into country territory. Here are the first lines: "When the road gets rough, and the nights are long/And I'm weary of the trials and the things that go wrong/You lift me up with a simple smile/And my joy comes back to make it all seem worthwhile." Yes, exactly. That's all it takes, a smile from my girlfriend. This sweet country number contains some wonderful work on pedal steel, and it features a passionate vocal performance. This is one of my personal favorites. "You make things better for me/In these troubled times, when the world gets you down/We all need a helping hand."

"No One Should Feel This Way" is an older song, one that Dave recorded earlier and is revisiting here. This track has a heavier, more serious tone than many of the tracks. "When I wake up, it's hard to leave the bed," Dave sings here. I think many folks find it difficult to get out of bed these days. The bed holds more appeal than the world outside. "Where's the promise about American dream/If you work hard, you'll have wealth and esteem/That ship has sailed." Yes, that seems to be the case. We still hold onto hope, but working hard is not enough anymore. It just isn't. It's enough to squeak by, but not to thrive, not to get ahead. "It's not that I haven't tried, I work until my hands bleed/But down here in the deep, deep mud, we're all drowning in man's greed." Then "Simpler Times" has a pretty sound, in part thanks to the work on pedal steel. "Take me back to a simpler time," Dave sings. There is certainly something appealing in that idea. In this song, it is about returning to an earlier time in a relationship before their lives became complicated, but the line that especially stands out to me is this: "Before our dreams ran away and hid."

"The Devil Drives That Soul" is a cool song, with a dark thread running through it, with great lines like "The choir sings of mercy, but they choke on their refrain" and "And the saints are selling secrets while the rich have no regrets." Yeah, the song is of this time. And it contains a strong vocal performance. The song's rhythm helps us through, encourages us to dance into oblivion. "This world was born in chaos, and it runs on hidden fears." And there is no help coming from above. The track contains some good stuff on bass and on guitar, and is another of the disc's highlights. It's followed by "Not What I Had Planned," which has a much gentler approach. Here is a taste of the lyrics: "Sometimes the things that you have lost/Turn out to have too high a cost/And it takes a while to understand/It's better than you had planned." I do not believe that things happen for a reason, but sometimes things turn out better when they don't go the way you'd hoped or planned. "It might not be the world that you had hoped/But you must learn the best way to cope." The album concludes with "The Long Road To Your Heart," a song with a soulful sound, featuring nice touches on saxophone. There is an appealing 1960s vibe. I love that the final song contains the phrase "where the journey starts."

CD Track List

1. Roll With The Punches
2. Lend A Hand
3. Unrequited
4. The King In His Castle
5. She's Somewhere
6. Florida Man
7. Forever Is Not Long Enough
8. Infectious
9. You Make Things Better
10. No One Should Feel This Way
11. Simpler Times
12. The Devil Drives That Soul
13. Not What I Had Planned
14. The Long Road To Your Heart

Roll With The Punches was released on March 25, 2026.

Deep Valley Roots Music Series Continues At Maui Sugar Mill Saloon, 8-26-26

While most of us are busy trying to come to terms with a world without Dolly Parton, a world without Tim Curry, great music continues. Last night at the Maui Sugar Mill Saloon, Karman Jeanne hosted her Deep Valley Roots music series, the night including performances by Buddy Greenbloom & Friends, Zachary Ross, Karman Jeanne And The Fish, Ted Russell Kamp, and RJ Chesney. Quite a lineup, right? And, yes, there were a couple of tributes to Dolly Parton over the course of the night.

Buddy Greenbloom & Friends

The night started with a set by Buddy Greenbloom & Friends, who opened with "Rodeo Grounds," delivering some wonderful old-time sounds. There was an especially nice lead on fiddle by Andrew Frankel. That was followed by "Whiskey And Tears" and then a cover of Merle Haggard's "Mama Tried," Buddy Greenbloom giving us a good rendition. Andrew Frankel provided another wonderful fiddle lead on "(Better Off) I Remember Those Times." "I remember when the world was mine/I could play in the street and not get a fine." Afterward, Buddy told the crowd, "That was my first single I recorded," adding that it was recorded here in Los Angeles. And he mentioned his vinyl release. His record release party is tonight, at Desert 5 Spot in Hollywood. His set also included "Wild Woman Of The West," a cover of Faron Young's "Alone With You" and "Gothic Cowboy."

Zachary Ross

Zachary Ross was up next, performing solo. This was a treat. I'd seen him play with Ted Russell Kamp, with Amilia K. Spicer, with others (and of course you know him as a member of Rose's Pawn Shop), but never solo, playing his own material. "It's been a long time since I've been playing my own stuff," he mentioned at the start of his set. He introduced the first song as a "story that takes place in the middle of nowhere, Kansas." Interestingly, there was a subtle shift from the first song's introduction into the body of the song, as that first number was delivered as spoken word. He followed that with a murder ballad, which he described as really being about missing his wife when she's on tour. "But I disguised it as a murder ballad," he said. The whole set was excellent, captivating, but for me the highlight was the song about a friend who had died. It was a compelling song, one that was also about regrets. Even the song's introduction was heartbreaking. At the end of it, he mentioned that he'd never performed the song in public before. That was followed by a breakup song, the first of two, in which he sang, "Why don't you let me let you down easy." The second breakup song was from the woman's perspective, and it featured some great guitar work. That was followed by "Kiss Your Blues Away," a cool song with a strong vocal performance, and featuring some more good stuff on guitar. Ted Russell Kamp joined him on bass for the final song of the set, a cover of "Rainy Night In Georgia," Zachary again delivering excellent work on guitar.

Karman Jeanne And The Fish

Karman Jeanne And The Fish took the stage just after 9:30 p.m., joined by Ally Corbett on fiddle. This was the first time Ally had performed with the duo, but no one would have guessed that had Karman not revealed it, for she sounded right at home with them. They opened with "Free Rocks For Sale," which featured some nice work on fiddle and some especially good vocals. That was followed by a beautiful rendition of "Strange Time," the violin sounding perfect, and Karman playing a couple of percussion instruments. A highlight of the set. Ally then left the stage, and the duo performed "Tell Me Tomorrow," the song featuring some nice harmonies. The line "Only gravity could make us stay" grabs me every time. For anyone outside of Los Angeles, we've been experiencing a heat wave for more than a month. It's not really a wave at this point, though that word is still being used by certain people. In introducing "Come October," Karman asked the crowd who else was looking forward to the cooler weather, when folks can wear sweaters. It seems like a dream at this point. After "Come October," Ted Russell Kamp joined the duo for the rest of the set, starting with "Talking About You" and then a fun rendition of The Everly Brothers' "Gone, Gone, Gone," on which he delivered some nice stuff on bass. Ally Corbett rejoined the group on violin for "Empty Bed," a song featuring a particularly good vocal performance. "I never said I was an angel/And I meant the words I said." This was another of the set's highlights. Ally left the stage again, and the duo wrapped up the set with "What If I Said" and a wonderful rendition of "Take."

Ted Russell Kamp

"We lost one of the greats," Ted Russell Kamp said as he began his set. I was surprised we had gone that far into the night before someone mentioned Dolly Parton. He kicked off the set with a passionate rendition of her "Old Flames Can't Hold A Candle To You." Her light is going to be missed, no question about it, but it felt good hearing a song of hers. Ted played it solo on acoustic guitar. He followed that with a delicious rendition of his own "Hobo Nickel," and then "This Old Guitar," that one featuring an especially strong vocal performance. He then switched from guitar to bass for "Hangin' On Blues," a song from his 2024 album California Son. And when he sang "Trying to make sense of it all," he spoke for all of us. Is there any sense to be made of the world today? Well, that delicious work on bass made plenty of sense to us. He then dedicated "Only A Broken Heart" to "all of my musical friends here." That one too was performed solo on bass. Zachary Ross joined him on acoustic guitar for "Right Down To The Wire," and everything was feeling just right. He stayed for the rest of the set, and Ally Corbett joined Ted also for a really nice rendition of "Path Of Least Resistance." Zachary delivered a good lead on guitar, which was followed by some sweet work on violin. Ted sang just a bit of "Islands In The Stream," which was a big hit for Dolly Parton and Kenny Rogers in 1983, before he delivered a cool rendition of "Eye On The Horizon." He wrapped up the set with "The Good Part," a fun number. For this one, not only did Zachary Ross and Ally Corbett join him, but also Karman Jeanne on backing vocals. "The best is yet to come," Ted sang, and we felt some of that optimism. There was some magic there, to be sure, and the song became a delicious jam.

RJ Chesney

RJ Chesney closed out the night, joined on his set by Zachary Ross on acoustic guitar and Ted Russell Kamp on bass. His short set focused on music from his upcoming release, A Southern Man, and specifically on songs he wrote with Zachary Ross. He kicked the set off with the album's lead track, "Unforgiving Heart," Zachary delivering a nice lead on guitar. After that song, RJ Chesney mentioned the new album coming out in September, and gave us a really good rendition of "Afraid Of The Ball." In introducing "My Heart Is My Home," RJ Chesney mentioned it was based on a poem written before he became a singer/songwriter. And what a beautiful rendition! It was a highlight of the night. That was followed by an excellent rendition of the album's title track, "A Southern Man." Ally Corbett joined him on violin partway through, adding to the song's great appeal. And she stayed for the final song of the set, the final song of the night, Dolly Parton's "Coat Of Many Colors." RJ said that it was the type of song that made him want to become a songwriter. It was a perfect way to wrap up a great night of music. The show ended just after midnight.

Maui Sugar Mill Saloon is located at 18389 Ventura Blvd. in Tarzana, California. The Deep Valley Roots music series is held there on the fourth Wednesday of every month.

The Lucky Ones: "Prodigals And Vagabonds" (2026) CD Review

I got turned on to The Lucky Ones a few years ago when they had a song on the Hank Williams Uncovered tribute double album. On that release, they covered "I'm A Long Gone Daddy," delivering a really fun rendition. A year later, the band was also featured on Uncovering Dylan Volume 4, where they turned in a wonderful rendition of "Just Like Tom Thumb's Blues." The band's contributions to both releases were highlights of those albums. The band's new EP, Prodigals And Vagabonds, gives us a chance to enjoy some of the band's original material. All tracks on this disc were written by Mike Meehan, who also plays bass and guitar, and provides vocals. The band also features Shawn Barron on vocals and acoustic guitar; Josie Bello on accordion and synthesizer; Andrew Friedman on pedal steel guitar; Rich Lanahan on vocals, electric guitar, mandolin and lap steel; and Mike Leuci on drums, acoustic guitar and electric guitar. The album was recorded by Bill Herman. It was mixed by Bill Herman and Mike Leuci. 

The EP opens with "Roadshow," which begins as a pleasant-sounding folk number, with some really nice work on both acoustic guitar and mandolin. Then after the first line, "Roadshow, save my soul," it kicks in, becoming a seriously wonderful country number, featuring excellent work on steel guitar. There is always something appealing about a line like "Fill it up with fuel and keep on moving," though paying for gas these days is less appealing than it used to be. There is a great vibe to this song. If you're a fan of, say, Uncle Tupelo, you're going to love this. And, guess what, this song even mentions Anodyne and No Depression, which surprised and delighted me the first time I listened to this album. And at the end when he again sings the first line, "Roadshow, save my soul," we get the sense that this music itself can help us with that very thing. That's followed by "Absalom," a song that seems to be inspired by William Faulkner's Absalom, Absalom! as well as the biblical storm of Absalom. "I was raised with a troubled mind/Seeking vengeance as it comes/Wayward heart and battle-torn." The song contains a good, steady beat. And while at first, it might seem this song has a laid-back vibe, with its wonderful work on steel guitar, there is actually an interesting intensity to this song. "Comes a day you lay your burden down." Faulkner isn't the only literary source for this song, as it also contains a reference to William Shakespeare's The Second Part Of King Henry The Fourth, quoting King Henry's famous line "Uneasy lies the head that wears a crown" from Act III Scene i. I loved the song even before that, but quoting Shakespeare made me fall deeper in love with it. This is a personal favorite of mine.

There is an uplifting beauty to the instrumental section that opens "All Things Great And Small." I love the accordion work here. This is the track that gives the EP its title. Its first lines are "Prodigals and vagabonds/On the road to Avalon/Answering the call." And the use of Avalon puts us in mind of mythology and magic. Then we find ourselves with musicians on the road. "Soundchecks, endless tours/Lost highway troubadours" and "Accordion, an old tip jar/All things great and small." So perhaps that Avalon was not part of the King Arthur legend after all, but the old Avalon Ballroom or some other venue. Or both. Either way, this music is a piece of paradise. There is a biblical reference here too, in the line "Pride before the fall" (an abbreviated version of "Pride goes before destruction/And a haughty spirit before a fall"). Then "Mercy Of The Storm" establishes a good, solid beat, and features some excellent guitar work that sets the tone. Jesse Meehan plays rhythm guitar on this one. This track also contains a particularly good vocal performance. "Grace in the wilderness/Mercy of the storm." There is some nice backing vocal work as well. This song has a sense of undeterred forward motion, in part because of its rhythm. "Music on the hill/Last fair deal gone down." And that old folk and blues line is repeated, being the final line of the song. The EP concludes with "Counting Every Mile," a track with an especially soulful vocal performance. We hear a need in his voice, in his delivery. "Like a bird on broken wing/Singing his refrain." The guitar work in the middle has a 1960s vibe, which is appealing. This track also contains some nice stuff on accordion. "Fare thee well, my friend/On the other side."

CD Track List

1. Roadshow
2. Absalom
3. All Things Great And Small
4. Mercy Of The Storm
5. Counting Every Mile

Prodigals And Vagabonds was released on CD on July 10, 2026 on Paradiddle Records, though apparently it was released digitally earlier.