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

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

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

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

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

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

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

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

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

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

Old Californio Delivers A Fantastic Show In South Pasadena, 1-31-26

Old Californio playing "Chilao Flats"

Last night Old Californio put on a magnificent show at a small club in South Pasadena, delivering three sets and playing until after one in the morning. The show was to a celebrate a fiftieth birthday, and the crowd was certainly in the mood to have a good time. I met the man who was celebrating, and it turned out he was a Grateful Dead fan (he had on a cool dancing bears shirt). It also turned out he's the mayor of Alhambra. And a big fan of Old Californio. If you haven't yet seen or heard Old Californio, I highly recommend checking out this band. These musicians are all incredibly talented, and they also write some damn fine lyrics. Besides that, they can jam on a song, take it to interesting places, make it breathe, give it a life that feels like a great story. They don't play nearly often enough, so when you get the chance to see them, take it. These are strange times, and music is more and more looking to me like the only, or at least best, remaining evidence of humanity. Of what humanity can, and should, be. Seeing a great band, and experiencing it with an audience that appreciates it in a similar way, connects us to something bigger than ourselves, connects us to each other in a meaningful, if fleeting, way. And we still need that, to feel connected to each other. We are social creatures, after all.

"Chilao Flats"

Old Californio took the stage just after 9 p.m., easing into the show with "Chilao Flats," a nice mellow jam with some good stuff on both guitar and keys. By the second song, the power was beginning to build. And on "Lyre Of Orpheus," Woody Aplanalp was rocking the guitar, and Jon Neimann was delivering some delicious stuff on keys. For their rendition of The Beatles' "Because," Rich Dembowski got out his harmonica and delivered some good work. The main appeal of that song, though, was the band's great harmonies. Jason Chesney then asked, "Anyone ready for a boogie?" And, yes, folks certainly were. It was a celebration, after all. And the band delivered a rendition of "Mother Road" that had a fantastic energy, the keyboard dancing. Woody's guitar lead had a fiery drive. And Rich took a turn leading on guitar too, and everything felt just right. This is what it's all about, isn't it? "Unknown Engineer" followed, and then a fantastic version of "City Lines" that was a highlight of the first set. They then concluded the set with a rocking cover of The Who's "Squeezebox," featuring lots of great stuff from Woody on guitar. The set ended right at 10 o' clock.

"Ring Of Fire"

A half hour later, the band was back, opening the second set with a cover of "Kansas City Southern," which became a great jam. And then their version of "Ring Of Fire" began with a delicious funky jam before any of the lyics were delivered. I love what this band does with this song, and last night Woody was going wild on guitar. The jam got into some bluesy territory at one point. Wherever they went with the song, that was the place to be. After that one, Rich started to strap on the harmonica again, then changed his mind, and they began their cover of Little Feat's "Willin'." But Rich did end up playing harmonica on this song, just holding it. They gave the song a nice, gentle ending. Of course there was nothing gentle about "Allon Camerado," which featured some excellent drumming by Justin Smith. This is another song that became a great jam last night with a ton of energy. That was followed by "Midnight Moonlight," always a fun one to dance to. And of course those of us in the audience who are Grateful Dead fans were especially happy to hear it, for it's one of the songs that Jerry Garcia turned many of us onto. A kind of sweet rendition of "The Cuckoo" followed. Yeah, this set featured quite a few covers. "Warmth Of The Sun," a song from Westering Again, came on strong, and at one point took on a sort of Bo Diddley beat. After that song, Rich told the crowd they were going to do one more, but then play a late set for anyone who wants to hang out. That was the moment we learned there would be a third set. They wrapped up the second set with a fun cover of "Lonesome, On'ry And Mean." This set ended at 11:28 p.m.

A celebratory shot

Just after midnight, the band began the third set. A lot of folks had decided to hang out for this late-night set. And why not? This is one of the best bands going these days, and everything was clicking, cooking. They started things off this time with a cover of "Hard To Handle." It was a good, hoppin' rendition, with some playful aspects too. Woody's lead on guitar received some deserved cheers. That was followed by "Jewels And The Dross," and the jam got good and loose. Then there was a great deal of joy in "Destining Again," a song that had me feeling good about the world. Shots were distributed to those members of the band that wanted a drink, and there was a toast to the birthday boy (isn't it odd how we still say "birthday boy" or "birthday girl" even if the person in question is fifty?) before the band started "Keep On Rollin'," that song having a sweet sound. That was followed by "Comes Undone" and then "Lean Into It," the latter featuring a good jam on that delicious rhythm. The few people who were not able to stick around for this set certainly missed something fun and special. The band delivered a fantastic rendition of Neil Young's "Everybody Knows This Is Nowwhere," before wrapping up the set with an absolutely delightful "Styrofoam." At some point during "Everybody Knows This Is Nowhere," someone moved a light close to the stage, or perhaps turned on a stage light that was already there, giving the stage a different glow. The set ended at one in the morning, but the crowd was pretty insistent on an encore. "In general, we don't do overtime," Rich joked. The encore was a ten-minute version of "Lie To Me," with a great beat, and with every band member getting a chance to shine as Rich introduced them. What a show!

Set List

Set I

1. Chilao Flats
2. ? (I neglected to write down the title of this one)
3. Lyre Of Orpheus
4. Because
5. Mother Road
6. Unknown Engineer
7. City Lines
8. Squeeze Box

Set II

1. Kansas City Southern
2. Ring Of Fire
3. Willin'
4. Allon Camerado
5. Midnight Moonlight
6. The Cuckoo
7. Warmth Of The Sun
8. Lonesome, On'ry And Mean

Set III

1. Hard To Handle
2. Jewels And The Dross
3. Destining Again
4. Keep On Rollin'
5. Come Undone
6. Lean Into It
7. Everybody Knows This Is Nowhere
8. Styrofoam

Encore

1. Lie To Me

Here are some more photos:

"Chilao Flats"

"Chilao Flats"

"Lyre Of Orpheus"

"Lyre Of Orpheus"

"Kansas City Southern"

"Willin'"

"Willin'"

"Hard To Handle"

birthday celebration

"Everybody Knows This Is Nowhere"

"Styrofoam"

"Styrofoam"

"Lie To Me"

"Lie To Me"

Double Naught 3 at Maui Sugar Mill Saloon, 1-30-26 Concert Review

Double Naught 3 playing "Danger High"

The Maui Sugar Mill Saloon is sort of becoming another home for me at this point. The vibe is good, with crowds that are both relaxed and enthusiastic. And it certainly doesn't hurt that the bartender is from Massachusetts. But of course the real draw is the music. This place books great bands. That's what it's all about. And last night's bill featured a set by Double Naught 3, the group joined by the wonderful Kaitlin Wolfberg on violin, as they were the last time they played this venue.

"The Indian"

These guys were the first of three bands on the bill, taking the stage at nine o'clock, and opening their set with "The Indian," a song from the Western Violence album. In this song, they created a great atmosphere that began to overwhelm us, overtake the room, all over a good, steady beat. I've said this before, but I love music that is able to transport me in some way, and this very first number of the night did that. And at some point it felt like a new day was dawning. You know? The band followed that with another song from Western Violence, "San Paku Pass," a song that Joe Berardi started on drums. And, yeah, this song has a delicious groove and a cool vibe. And last night I especially loved the interactions between Marcus Watkins' guitar and Kaitlin's violin, which was beautiful.

"Danger High"

The moment the band started "Danger High," I could hear people around me getting excited. It's always a fun one, always a crowd favorite, and one the audience can participate in, at least in its final moment. The violin had a wonderful, otherworldly vibe. And the audience called out "Danger high" at the end. That was followed by "Jan-Michael Vincent Rehab.com," another fun number that featured some great drumming. And then for "Deutsch Boy," Joe had a cymbal placed on top of the snare drum, and another on top of the floor tom at the beginnning for a specific sound. But the violin now felt like the heart of the piece, with Kaitlin delivering some excellent work. Of course this song also featured some great stuff on guitar. I always love the humorous touches these guys include in their music. It's one of their many appealing attributes.

"Helicopter"

Marc Doten introduced the band before "The Mooche," a song from Comb In Blue Water, one that featured him delivering some especially cool work on bass. That song led straight into "Macedonia 6-5000," featuring fantastic work on guitar, and that in turn led straight into "Helicopter," a song from Danger High, one that featured more excellent work on bass. This tune was a whole lot of fun last night. They then wrapped up the set with "I Rose In A Field," another song from Comb In Blue Water. Joe had a different cymbal on his snare for this one, for a very cool effect. Everything was working perfectly, and the music built into a great jam. It was an outstanding set, ending at 9:51 p.m.

Set List

1. The Indian
2. San Paku Pass
3. Danger High
4. Jan-Michael Vincent Rehab.com
5. Deutsch Bag
6. The Mooche >
7. Macedonia 6-500 >
8. Helicopter
9. I Rose In A Field

Here are a few more photos:

"The Indian"

"The Indian"

"The Indian"

"The Indian"

"San Paku Pass"

"San Paku Pass"

"Jan-Michael Vincent Rehab.com"

"The Mooche"

"Macedonia 6-5000"

"I Rose In A Field"

That'll Flat Git It! Vol. 50: Rockabilly & Rock 'N' Roll From The Vaults of Columbia & Epic Records (2025) CD Review

Let's escape this crazy and infuriating time together and visit a period when there were no problems whatsoever, the 1950s. Just kidding, of course. That was the era of McCarthy and segregation and the Korean War and the Cold War. But the music! Things were happening in the realm of music, no question. And this compilation, That'll Flat Git It! Vol. 50: Rockabilly & Rock 'N' Roll From The Vaults Of Columbia & Epic Records, contains some of the great stuff from those days. There are artists you most certainly know, such as Johnny Cash and Lefty Frizzell and Carl Perkins and Marty Robbins, and some you may not know. Some gems you may have forgotten, or just never had the chance to hear before. The disc contains a really nice liner notes booklet, written by Bill Dahl, with plenty of information on the artists and songs, as well as photos. So here is a great chance to get familiar with some excellent music from the 1950s (and a couple of songs from the early 1960s).

This compilation kicks off with a delicious instrumental number by Link Wray And The Wraymen. Titled "Raw-Hide," it features some very cool guitar work as well as a great bass line. In spirit and sound, it is in the surf realm, and there is some incredible energy behind it. It's just a fantastic tune, a hit in 1959, and a perfect way to set things in motion here. That's followed by one of those two songs from the 1960s, "Do Do Do" by Commonwealth Jones. This song certainly rocks, and also has a playfulness. As mentioned in the liner notes, the singer sounds so young, but was apparently twenty-one (which is still pretty damn young from my perspective these days). "I want you to understand/The business at hand/Of making love and do the hootchie-coo, coo coo coo coo-coo chie-coo." It's a good vocal performance, and I especially love the way he plays with some of the words, like "hootchie-coo."

Lee Emerson's "What A Night" also features some wonderful vocal play, as when he stretches out an "Ooh," before singing, "What a night." "She put her lips so close to mine/My heart started beating way out of time/She shut off the motor and cut off the lights/Oooooooh, what a night." And I love how the instruments drop out for that "Ooooooh," and we automatically imagine just what is going on during that "Oooooh." Is there any question? This track also contains some excellent guitar work. That's followed by "Lend Me Your Comb," a cheerful number by Bernie Nee. His delivery of "We got to go home" will certainly remind you of "Wake Up, Little Susie." Both songs were originally released in 1957. This version of "Lend Me Your Comb" comes from 1958. Then we get the first of three songs by Johnny Horton, "The Wild One," which fades in. This song taps into that certain 1950s segment of the population, the motorcycle enthusiasts who cannot be tamed. "I am the wild one, I'll never settle down," he tells us.

"Stinky Pass The Hat Around," by "Little" Jimmy Dickens, has a strong country vibe, and is delightful. I'm especially digging the work on fiddle. "So we winked and flirted while we played/And pretended we were big boys too/I mean, we were ready to hand the girls a line." The compilation's liner notes mention how "Little" Jimmy Dickens was at one time called "The World's Smallest Cowboy Entertainer," giving that line about pretending to be big boys another meaning. "Let Me Love You" is another fun country number, this one by The Maddox Brothers & Rose. "Now we're pretty young, and I hate to waste it/I love you so much, I can taste it/Please, pretty please, let me love you." And that last line features some nice backing vocal work. This track also has a good rhythm and some excellent stuff on guitar in the middle. "Let me take you to the hitchin' post" is a wonderfully playful line.

"Cattin' Around" is the first of two recordings from Charlie Adams on this disc. It's a fun number about being caught cheating. He seems to be taking it lightly as he sings, "Well, I'm a married man, I got a loving wife/But my cattin' around nearly cost my life." There is some really nice piano work. "Well, she picked up my bottle and she hit me over the head/It took thirty-three stitches, and I thought I was dead." And he's still pretty jocular about it. Good for him, and good for her. Things then slow down a bit with "Case Of The Blues," some good country blues, with a bit of yodeling to the delivery. It's a song about having broken up with his girl. But guess what, that's not what caused his case of blues. It's what cured it. "Well, now that I've gone and set you free/I ain't got no misery." Still, he doesn't sound all that happy, does he?

The Johnny Cash number included on this disc is "What Do I Care," which was on his first single for Columbia, a recording from 1958. Man, that voice of his is unmistakable and so damn cool. "What do I care just as long as you were mine a little while/When the road was long and weary, you gave me a few good miles." It's a song that has its priorities right. Just having kissed and loved the right woman makes everything else seem not that important. "What Do I Care" is followed by "Baby I'm Ready," another fun one, a song that moves and grooves. "If you're waiting on me, baby, I'm ready/Tonight's my night to dine and dance/Tonight's my night for big romance." Yes, this song urges us all to enjoy ourselves. And why not? Aren't you ready? Certainly after listening to this music you will be. I'm digging that drumming. This song is by The Tunesmiths, and was released in 1955. Larry Hart's "A Looka - A Looka" is also shaking and moving, featuring an insistent beat and some great stuff on guitar, especially that lead in the middle. The backing vocals play a prominent part in this song, and in its appeal. "No more crying the blues at night/I found someone who treats me right/No more pacing round and round/Worrying about a girl who will put me down."

This compilation gives us "From An Angel To A Devil" from the great Lefty Frizzell. "I thought you was the cutest thing alive/But you changed from an angel to a devil right before my eyes." And that change is marked by two hits on the bell, like some like of alert or warning. This track features some good work on piano and guitar, but it is that voice that makes this track stand out. That's followed by "There's A Change In Me," by Bill Phillips. It's a song about how the right woman can make a guy want to change. And while he might be staying home more now, that guitar is still rocking. That's followed by Carl Perkins' "Pointed Toe Shoes." Yes, that's right, another Carl Perkins song about shoes. "Pointed toes are coming back again." It's kind of silly, but that's part of its charm. I think he could sing about any damn thing he wanted, and the song would end up being cool. And I suppose the line "I won't have to worry about you stepping on my blue" is a direct reference to his big shoe hit.

Bobby Lord's "Party Pooper" is a silly and wonderful number. "Look at that knocked out crazy moon above/What a night for love/Hey, what's your hurry?" It's a song about enjoying the moment. "You're super duper," he sings at one point. I can't recall the last time I heard that phrase (might have been around the same time I last heard "party pooper"), but I love hearing it now. This one even has a goofy ending. And "Crazy Alligator" has a wonderfully silly and goofy opening. "Operator, operator, give me the humane society," Dick Glasser says in a deliberately over-the-top character voice. And then the song kicks in, and is delivered from the perspective of the crazy alligator of the song's title. "They made a crazy gator out of me."

"The Rockaway Rock" is the first of two songs by The Collins Kids, the rockabilly sibling duo of Lorrie and Larry. I don't recall hearing this before, but it's fun. And that great deep voice certainly does not belong to Larry, who was not yet twelve years old at the time of this recording. But Lorrie's voice is excellent. She was not quite fourteen at the time of the recording. Kids, indeed. That's followed by the first of two Johnny Bond songs, "The Little Rock Roll," a fun song with some rocking on the piano. "Now the longest train I ever took/It rocked and reeled and shaked and shook/It took me from my honey child/Because she simply drives me wild." There is some good work on harmonica in the second half. And the lyrics suddenly turn surprisingly dark and violent at the end.

There are many good early rock and roll songs with girls' names in their titles. "Patty Baby" by Rick Tucker & The Picks is one I remember hearing while growing up, and hearing family members referring to it, because the woman's name is my mom's name. "Well, she looked at me with those big brown eyes/And said, 'Boy just don't be late.'" There is a nice guitar lead in the middle. That's followed by "Ain't That Lovin' You Babe," the disc's second song by Link Wray And The Wraymen, this one with vocals. It's a delicious, raw bluesy rock number, like what the Rolling Stones did in their very early days. It's one of the coolest tracks of the compilation, in large part because of the vocal performance. Check out the way he delivers these lines: "You can bury my body way down deep/But my spirit will rise to you." This is the other track from the 1960s (1960, to be precise). And then we get the second Johnny Horton track, "Lover's Rock," another cool tune. "Well, everybody's rocking and there's very little talking/Just a-hugging and a-kissing going on." I love the guitar work to this track. "It's a short way up, but it's a long way down." Oh yes!

"Hook, Line And Sinker" is a country swinging number by Gordon Terry. "Well, I used to be as happy as a single guy could be/Until I met the gal who made a fool out of me/She give me a smile and a come-hither look/Before I knew what I was doing she had me on her hook." Sounds all right, until he sings, "And when I took her home I didn't know right then/That I had myself a headache that would never end." It's a playful number that functions as some sort of warning. That's followed by "Baby I'm A-Waitin'," a fun country song with some good stuff on fiddle. And the piano seems to be dancing, which I love. Seriously, this music is so much fun, especially something like Dick Lory's "Wild-Blooded Woman," particularly his vocal delivery. "She's so wild, but she can be so warm and tender." Listen to the way he sings the line, "I'll surrender." Isn't that exactly how we feel when a woman takes hold of our heart? Like it's out of our control, and we love it.

The compilation's second Charlie Adams song is "Sugar Diet,"a song about living on that sweet stuff a woman can provide. Sometimes it feels we could live on just that, doesn't it? What other sustenance is required? I'm digging that bass line, which keeps things hopping. That's followed by "Lay It On The Line," the second Johnny Bond song, a catchy number from 1957. "One time you tell me your love for me is true/And there is nothing for me you wouldn't do/Before the dawn comes, you're out and gone/Leaving me wondering what's going on." That's followed by "Heartbeat," the second song from The Collins Kids, this one an original composition from 1957, and even better than the disc's first song from them. The main attraction here is Lorrie Collins' vocal performance. She is only a year older than on that other track, but seems to have grown quite a bit in that time. "Your smile so shy sends a shiver up my spine/Hear my heartbeat/I love you baby, I sure don't mean maybe." Is she really just fifteen here? Holy moly.

Marty Robbins is someone I got turned onto because of "El Paso," the same as most people, I suppose. But it was the Grateful Dead's version that did it for me. That was enough for me to get interested in him as a songwriter and singer. This disc has an interesting Marty Robbins track. It's "Long Tall Sally." That's right, it's Marty Robbins covering Little Richard, something I hadn't heard before. It's kind of surprising, but also oh-so-good. The compilation concludes with its third Johnny Horton song, "Let's Take The Long Way Home." "Let's take the long way home from the dance/Maybe we will find romance/We'll cuddle up if we get the chance." I love the way he stresses the final word of each of those lines.  As I mentioned before, this music is so damn good. Now I just need to get the other forty-nine volumes and I can keep things rocking and swinging for a long, long while.

CD Track List

1. Raw-Hide  - Link Wray And The Wraymen
2. Do Do Do - Commonwealth Jones
3. What A Night - Lee Emerson
4. Lend Me Your Comb - Bernie Nee
5. The Wild One - Johnny Horton
6. Sticky Pass The Hat Around - "Little" Jimmy Dickens
7. Let Me Love You - The Maddox Brothers & Rose
8. Cattin' Around - Charlie Adams
9. Case Of The Blues - Mel Tillis
10. What Do I Care - Johnny Cash
11. Baby I'm Ready - The Tunesmiths
12. A Looka - A Looka - Larry Hart
13. From An Angel To A Devil - Lefty Frizzewll
14. There's A Change In Me - Bill Phillips
15. Pointed Toe Shoes - Carl Perkins
16. Party Pooper - Bobby Lord
17. Crazy Alligator - Dick Glasser
18. The Rockaway Rock - The Collins Kids
19. The Little Rock Roll - Johnny Bond
20. Patty Baby - Rick Tucker & The Picks
21. Ain't That Lovin' You Babe - Link Wray And The Wraymen
22. Lover's Rock - Johnny Horton
23. Hook, Line And Sinker - Gordon Terry
24. Baby I'm A-Waitin' - Carl Butler
25. Wild-Blooded Woman - Dick Lory
26. Sugar Diet - Charlie Adams
27. Lay It On The line - Johnny Bond
28. Heartbeat - The Collins Kids
29. Long Tall Sally - Marty Robbins
30. Let's Take The Long Way Home - Johnny Horton

That'll Flat Git It! Vol. 50: Rockabilly & Rock 'N' Roll From The Vaults Of Columbia & Epic Records was released on June 6, 2025 on Bear Family Records.

Paul Winter: "Horn Of Plenty" (2025) CD Review

Paul Winter is an accomplished, celebrated and influential saxophone player and composer. He released his first album, a self-titled record by the Paul Winter Sextet, in 1961, and the next year his band became the first jazz group to play inside the White House. He won his first Grammy for his 1993 album Spanish Angel, and has won several more in the years since then. His new album, Horn Of Plenty, came about initially through a request to create music for a Thanksgiving program in 2024. That radio program, titled "Horn Of Plenty," was put on through NPR. After the program aired, Paul Winter decided to create more music and expand it to an album. The resulting album is full of beautiful music that celebrates life on this little world of ours, and features the work of some outstanding musicians, including Paul Halley, Eugene Friesen, Jordan Rudess, Glen Velez and Mickey Hart.

The album opens with "Dolphin Morning," a beautiful piece with a cheerful, welcoming beginning. There is also a peaceful vibe to this music, a reminder of the glorious possibilities of life, of this planet. Perhaps we could step from this morning into a world that follows it, a better world. Paul Winter composed this track with Paul Halley, who plays piano and organ on it. Then we are in a different part of nature at the beginning of "The Well-Tempered Wood Thrush," and we hear the sounds of birds. The world is busy with life, and yet the sounds put us immediately at ease. Paul Winter soon adds his own voice to that of the birds; that is, the voice of his soprano saxophone. And it sounds just as natural, reminding us that we are a natural part of this planet, rather than apart from it, or presiding over it in some manner. This track also features some gorgeous work by Eugene Friesen on cello, the cello part inspired by Bach's "The Well-Tempered Clavier." Henrique Eisenmann is on fortepiano, Peter Slavov is on bass, and Rogerio Boccato is on drums. This track is so beautiful and warm, with a sense of joy. I think basically everyone in this country, probably the world, needs this now.

"Grand Canyon Sunrise" begins with some work on percussion. That's Glen Velez playing a bendir, a type of frame drum. Glen also co-wrote this piece with Paul Winter and Paul Halley. Paul Halley plays organ on this track. There is something spiritual about this music, in the sense that it touches upon something greater that is both within us and around us, and the music seems to communicate with it. And even in those moments of darkness, the steady work on the drum helps to pull us through. Soon the light grows, suddenly breaking across the landscape. A soothing sensation immediately follows, the soprano saxophone seeming to both speak for us and to us. Then Mickey Hart, of the Grateful Dead, joins Paul Winter on "Caravan At Dawn," playing the RAMU, which stands for Random Access Musical Universe, something Mickey had been building for a while. Mickey Hart released an album titled RAMU in 2017. Mickey also co-wrote this piece with Paul Winter, Arto Tuncboyaciyan and Jordan Rudess. Arto provides the vocals and plays percussion. Jordan is on keyboards. Also performing on this track is Vardan Grigoryan on zurna. As the track begins, there is a somewhat lonesome sense, or, rather, a solitary sense, in the morning, when voice meets light and the rest of the world has not yet risen. It is interesting how many of these early tracks take place at morning, a time of promise and hope and joy. Then the song takes on a beat, and it feels that all of the universe is now joining in a celebration, in a movement, perhaps matching that of the stars. This is fantastic. And what a vocal performance, which seems to speak on behalf of all of humanity. Life is fleeting, but this music touches upon something eternal as well.

We return to the ocean then for "Blues Cathedral," a piece written by Paul Winter and Paul Halley. This track uses a recording of a blue whale, sped up. There is a wonderfully meditative vibe to this one, and it feels like we're engaging in a great, slow dance with the world's largest animal. There is some gorgeous work by Paul Winter on soprano saxophone. That's followed by the album's first cover, a wonderful rendition of "Primavera," written by Carlos Lyra and Vinicius de Moraes. It begins with some sweet, tender guitar work by Oscar Castro-Neves. Paul's saxophone work here is incredibly pretty and gentle. Paul Halley adds some nice work on organ, helping to create the gorgeous atmosphere of this track.

Paul Winter goes in a different direction with "Land Of The Pipers," presenting some traditional Irish music. I suppose I have a natural affinity for this music, but it never fails to move me. Jerry O' Sullivan plays Uilleann pipes on this one, delivering some excellent work. Eugene Friesen is on cello, Zan McLeod is on guitar, Jim Beard is on keyboards, Dorothy Papadakos is on pipe organ, Eliot Wadopian is on bass, and Arto Tuncboyaciyan is on percussion. I love this music, particularly those uplifting and joyous moments, and Paul Winter adds his own special touches, taking the music in some glorious directions. That's followed by "Song To Roger." The Roger of the song's title is Dr. Roger Payne, the biologist and environmentalist who was responsible for documenting and recording humpback whale songs. Dr. Roger Payne died in 2023, and this piece is an elegy in his honor. It was composed by Henrique Eisenmann, who plays piano on it. Eugene Friesen is on cello. This is a moving and beautiful track. There is a moment when I imagine letting go, drifting away into the darkest depths of the ocean. But then the light finds us again. It always finds us again, doesn't it?

"Wolf Eyes" begins with the sound of a wolf in the night, offering its own sort of lonesome song. And Paul Winter's saxophone responds. This song too reminds us of our place within the natural realm. We do not hold dominion over the animals, over the planet. We haven't even been here all that long. There is something sad and pensive heard here, a sort of longing. Paul is joined by Eugene Friesen on cello, Warren Bernhardt on piano, Jeff Holmes on piano, Oscar Castro-Neves on guitar and synthesizer, and Dave Carpenter on bass. The wolf speaks again at the end. That's followed by "Garden Of The Earth," a traditional Russian song, and on it Paul Winter is joined by The Dmitri Pokrovsky Singers, whose great work is at the fore here. This track also features Eugene Friesen on cello, Paul Halley on piano, Russ Landau on bass, and Ted Moore on drums. Partway through, the vocalists drop out, and Paul Winter delivers a gorgeous lead on saxophone. When the singers return, they sing in English: "There's a garden of the earth/There's a home beneath the sun/In the beauty of this garden/We will hear a thousand songs."

"Triumph" is another beautiful and moving piece, this one composed by Paul Winter, Paul Halley and Davy Spillane. Paul Winter is on soprano saxophone, Paul Halley is on pipe organ, and Davy Spillane plays Uilleann pipes. I love how this music causes all distractions to fade away. All the noise, the busy aspects of whatever it is we normally call life, they seem rather pointless when faced with such beauty. This is what we should be focused on, this is what we should be coming together to do. As this piece grows, it encourages us, says it is possible. And then it soothes us. Davy Spillane also plays Uilleann pipes on "Harvest Faire," which has a very different vibe. There is a light, playful feel to this track, like a group dance outdoors in daylight. Eugene Friesen is on cello, Damish Draghici is on pan flute, Zan McLeod is on guitar, Paul Halley is on piano, Jordan Rudess is on keyboards, Eliot Wadopian is on bass, and Arto Tuncboyaciyan is on percussion. I love the cheer of this piece. And Davy Spillane's work on pipes is particularly wonderful. The album concludes with "Icarus," a song that's been in Paul Winter's repertoire now for several decades. It was written by Ralph Towner, and was the title track to a 1972 album by Paul Winter/Winter Consort. It was also included on Paul's 1978 album Common Ground. This version features Paul Winter on soprano saxophone, Jeff Boratko on bassoon, Eugene Friesen on cello, and Henrique Eisenmann on piano, with vocal work by Theresa Thomason. It is an uplifting and thoughtful piece, a perfect song to wrap things up. 

CD Track List

1. Dolphin Morning
2. The Well-Tempered Wood Thrush
3. Grand Canyon Sunrise
4. Caravan At Dawn
5. Blues Cathedral
6. Primavera (Spring)
7. Land Of The Pipers
8. Song To Roger
9. Wolf Eyes
10. Garden Of The Earth
11. Triumph
12. Harvest Faire
13. Icarus

Horn Of Plenty was released on November 21, 2025.