Hello George (2026) Book Review

Hello George is a wonderful new novella by Jon Fried, one half of the musical duo known as The Cucumbers. The book is closely tied to The Cucumbers' new album, As You Heard Me. Though the songs came first, the music is the soundtrack to the book. Each can be enjoyed separately, but certainly you can get even more enjoyment from the book if you are familiar with the songs on the CD (and more enjoyment from the CD if you've read the book). The book tells the story of Barry, a music publisher who is sent an unusual four-song demo tape that he falls in love with. One of the songs on it becomes a hit for country music star George Krott. Yet he knows nothing about the songwriter, Daisy Steinberg, and is determined to track her down and learn all he can about this delightful voice.

It's a book for those of us who fall in love with CDs and records (as we once did with cassettes), who fall in love with a voice on a tape. And if you're the type of person who reads about music, you're exactly the kind of person this book is for. The type of person who wants to know more about music, about a song, about a singer. You might fall in love with this book the way you fall in love with a singer, with a song, with an album. The cassette pictured on the book's cover is also the one featured on the CD cover, and it is the demo tape sent to Barry (which is the music that makes up the first four tracks of the CD).

The story is told from Barry's perspective, so his excitement about these songs becomes our excitement, his journey becomes our own. And even if you are not familiar with the music on the new Cucumbers CD, your head will certainly be filled with some music that you do know. Music fans will be able to relate to many passages in this book, and have an opinion, one way or the other, on something like this: "For many, if not most, the songs that matter are the old songs, the ones that imprint in the raw mud of adolescence and remain stuck in the remnant of that pain and pleasure center. For me, there are always new ones. It comes with the dayjob. Even if I don't love them, or love them despite myself, they take over, they do the job of pushing other songs aside – especially helpful when your marriage is fading out and you're stuck on some old breakup ballad" (p. 19). The old songs certainly do matter, and often they're the ones that get stuck in my head, but for me, it's the new songs that are exciting, that take me to different places, that open up unexpected vistas before me. I assume that's the case for most people who read music blogs, that they're the people who want to hear an artist's new material, who want to hear new artists, new music. Here is another passage music fans will especially relate to: "When you play songs for people, they sound different, as if you're listening through their ears, or what you imagine their ears are hearing. A song you've loved can seem stupid, trite, annoying. This one sounded lighter than air, as if might float up into the sky and just disappear, its sweetness a fading aftertaste" (p. 21). I love turning a friend onto a song, especially when I hear something even more special in the song that I imagine that person is picking up on. But, yeah, every once in a while, I realize that person is not digging it, and the song sounds somehow weaker. That never ruins a song for me, however. I just have to give it a few days, then come at it with my own ears again.

And for music critics (a label I've never applied to myself), there is a great bit of dialogue, where Daisy asks Barry, "Are you a music writer?" Barry replies, "You mean a critic? Nah, too harsh." Daisy then tells him, "You seem like someone who would find something good to say about everything." This is Barry's reply: "If by that you mean that's why I say good things about your work, no. I can be hideously judgmental. I just wouldn't want to say it in public. I picture the poor musicians reading it, suffering from my oh-so-great opinion" (p. 16). Perhaps that's part of why I only review music I love on this blog. Mostly it's an attempt to be positive in an increasingly negative world, to let folks know about some of the excellent music that's out there to help them through the day, but I think there is a bit of not wanting to hurt people's feelings as well. Daisy calls that "sweet," while Barry says it's "cowardly." Maybe it is a bit of both. Certainly there is a lot of shitty music out there. But why focus on that? And this book feels quite positive. Sure, there is a troubled marriage in there, and the country star has a continuing problem with alcohol, but this story is about the love of music. It is a love story of two kinds, really, and it leaves us with a good feeling. 

Hello George was published on February 14, 2026, the same day that As You Heard Me was released.

The Cucumbers: "As You Heard Me" (2026) CD Review

The Cucumbers are a band that I fell in love with when I was in college. I remember going to a CD store at the edge of campus to order their Where We Sleep Tonight album, since all the store's copies had already sold and it was a disc I absolutely had to have in my collection. There was nothing else quite like it (there still isn't). They released a few more albums over the next decade, and then there was a long gap in the band's output, at least as far as new studio recordings were concerned, until 2023's Old Shoes, which was one of my favorite albums of that year. Now the duo of Deena Shoshkes and Jon Fried have a new album out, As You Heard Me. But it's not just a new album. Those who are familiar with The Cucumbers will not be surprised to find them trying something different. The new album is the soundtrack to a novella written by Jon Fried, titled Hello George. The book itself is about music, about, in part, a mysterious songwriter named Daisy Steinberg (yes, the name in blue ink on the cassette in the picture on the disc's cover), and about a music publisher who becomes obsessed with her demo. But, as Deena Shoshkes tells me, it was the music that came first. And so it is the music I'll turn to first.

The album kicks off with "Crop Circle," the first song on the demo tape mentioned in the book. The full title in the book is "There's A Crop Circle On My Daddy's Land," a song fated to become a country hit for another character in the book. Will it also be a hit for The Cucumbers? If there were any justice in the Land of Music, the answer would be a resounding Yes. But, who knows? The song is adorable, fun, a story of young love. "There's a crop circle on my daddy's land/Everybody thinks was made my aliens/Though it's nothing that Billy Joe and I had planned." Here Deena takes the part of Daisy Steinberg. That's followed by "Waiting," which is, as described in the novella, more in the singer/songwriter vein, delivered on acoustic guitar. But, you know, it's The Cucumbers, so it's not going to be as simple as that. There is a beauty to this song, and also there is a bit of a punk edge to it at certain moments. Check out these lyrics: "Autumn will take everything/When the times comes/I don't want to look it up/Or be on guard/I don't want to pull a Tarot card." By the way, in the book this song is referred to as "Impressions Of Chrysanthemums." The book is told from the perspective of a music publisher, who says, about this song, "After a hundred listens I still have no idea what it's about" (p. 5). It's an interesting, strange way for them to comment on their own songs. But don't you love songs that give you a certain something to which you then add your own feelings and experiences?

"Cut It Loose" begins with a good groove, a song more in the pop realm. It is totally delicious. I especially love that bass line. But it isn't just that groove that is so appealing. Deena's vocal performance is adorable, endearing, delightful. "You know what, you know what to do/Cut it loose, cut it loose, cut it loose." This song is ridiculously catchy, and includes finger snaps. When she sings, "let's get this party underway," it feels like the party has already started. There is certain allure in her delivery of that line. The final track of the demo of the story, "Unattainable," is a strange, short piece delivered as spoken word, with interesting pauses, her voice backed by some unusual work on piano. "Reaching for the unattainable/Falling for the unexplainable/Facing the unnameable." It has a sudden ending.

The CD's next four tracks are all songs mentioned in the book, but not as part of the original demo. The first of those, "You Are The Sweetest Dream," has a folk-pop sound. The song feels like a summer afternoon, when thoughts move at their own pace, in their own direction, perhaps to the past, perhaps to an altered version of the present. "Sometimes dreams slip away/And they don't come back." I find those lines so sad, though they're not delivered with any sort of heavy melancholy. In fact, there is positive vibe to this song, her voice even kind of comforting. And the song's guitar hook has a wonderful feel to it, something new but familiar. "You are the sweetest dream/I ever had." One thing I have long loved about this band is its playful quality, and "Delete" in particular demonstrates their humor, in a sort of punk-pop context, an empowering number. "And now there's no word that's as sweet/As delete." Oh yes, there are people and things I would like to delete from my life, or, really, from the world. How do I delete Trump and all his moronic followers? I wish I could do it with my little finger (or middle finger). I love this song. "Weeks and weeks and months of lies/You know he really made a fool of me/Now I'm cleaning my hard drive." At the end, she whispers the final word, "Delete." And he's gone. We know it.

"Only You" is a sweet number, a love song, with a delightful rhythm that will take you back. "You've seen me at your worst and you never complain/It feels so sweet and pure when your hands run down my face/You're my other half, baby/That's why I believe/I want only you to love only me." Then "Statue Of Liberty" has an electronic beat. There is an odd feel to this one, the sound reminding me of a cassette that had been played perhaps too many times, with something sort of warping the sound. But there is something catchy here too, no question about it. "Meet me at the Statue of Liberty/Meet me at the Statue of Liberty/That's where we're gonna kiss/That's where we're gonna kiss/That's where we're gonna kiss." By the way, apparently this album is also available on cassette, which is totally fitting. This song is the final song on the first side of the cassette, that side being labeled "As You Heard Me," which is also the album's title.

"Reeling Feeling" is the first song on the second side of the tape. This side is labeled "More Songs for Barry," Barry being the name of the music publisher in the book. The songs on this side are not mentioned in the book, but, I would guess, are songs that come soon after the events related in its story. This song has a fun groove, with some really nice work on keys at the start, setting the mood, establishing the vibe. And, yes, it's super catchy, particularly the way Deena delivers these lines: "There's a feeling that I'm feeling/And it's got me reeling over you." And also that rhythm. There is more great stuff on keys in the middle, dancing joyously. Ah yes, life is good. That's followed by "Counting," which has a seriously cool vibe, partly established by the work on keys. This track also features some good work on guitar, which has something of a haunted feel at times. And Deena's vocal performance has a certain sexy quality. "If the fog would lift, we could see the stars," she sings at the beginning, which is interesting, for in "Reeling Feeling" she sings, "And all I see are stars above." In the song's chorus, she sings, "I'm counting on you/I'm counting on you/I'm counting on you to count on me." This is one of my personal favorite tracks.

In "Reeling Feeling," Deena sings, "And all I sing are songs of love." Interestingly, that seems to be the case for the music in this second half of the disc. "One Valentine's Day" is a love song with a sweet sound and vibe. "Brought me down to his place the very first chance/Played me his favorite songs and we just danced." Lovely! If I were to play someone my favorite songs, you can be sure some Cucumbers numbers would be included. Things turn a little sad at the end, but she is determined to hold on to the good feelings of the relationship. I think we all need to hold onto whatever good feelings we have in these strange times. That is followed by "River Of Time," a beautiful and moving song, featuring some outstanding vocal work. Check out these lines: "You skipped a rock across its water/We touched and you went on to the other side/I know you're still dreaming/Of all there was/Once you float in heaven/There's no forgetting love." Deena's voice is supported by some seemingly simple work on guitar that is completely effective. This one might have you in tears. It is another of my personal favorites.

"Hello Rainbow" is another unusual and delightful song, which I suppose is not such an unusual thing for The Cucumbers. The echo of "Hello" is ridiculously, improbably adorable, and will help you to fall in love with this track. It's an interesting song that at first just seems kind of cute, but then begins to reveal more is happening. "Won't you rescue me from my sweet gloom/A little hope would probably do." That's followed by "You Won't Even Miss Me." That's how it's listed on the CD case (really, the cassette case pictured on the back of the CD case), though elsewhere it is listed as "You Won't Even Miss Me When I'm Gone." "You have so many girlfriends/Just take me off your list." Those opening lines actually made me laugh out loud the first time I listened to this song. But there is a certain sadness to this song, as she sings the title line. "Love can make you feel/Like the you you were meant to be/And once you made me believe/That you loved me just for me." And suddenly it's over, like she's now gone.

"I'm The Girl" also has a short title on the case, and a longer title elsewhere, the longer title being "I'm The Girl I Warned Your Mama About" (I always squeezed the entire song title onto those relative short lines on the cassette's paper insert, but I remember other people shortening some song titles, especially on Grateful Dead bootleg tapes). It's a sweet-sounding and catchy pop song, told from an unusual perspective, at least the way I hear it. To my ears, the song's narrator is older than her beau, old enough to be friends with the boy's mother. And then this strange woman somewhat perversely enjoys telling her beau, "I'm the girl I warned your mama about/I'm the one I said you're better off without." But she sounds so sweet, I can see how anyone would fall for her charms. This track includes some finger snaps. This wonderful, delightful album concludes with "Forever And Ever," another sweet love song. "All I want to do/Is share my life with you/And help to make your hopes and dreams come true." How great it is to feel that way, and to find someone else feels that way about you. This album leaves us feeling good. Yes, The Cucumbers have done it again.

CD Track List

1. Crop Circle
2. Waiting
3. Cut It Loose
4. Unattainable
5. You Are The Sweetest Dream
6. Delete
7. Only You
8. Statue Of Liberty
9. Reeling Feeling
10. Counting
11. One Valentine's Day
12. River Of Time
13. Hello Rainbow
14. You Won't Even Miss Me
15. I'm The Girl
16. Forever And Ever

As You Heard Me was released on February 14, 2026, which makes total sense.

Cruzados Headline A Great Night Of Rock At Maui Sugar Mill Saloon, 3-14-26

Cruzados

Cruzados is a band that started in the mid-1980s. Posters for the band's current shows indicate it's the group's fortieth anniversary. That's not exactly true, however. The band is both older and younger than that. Cruzados' first album came out in 1985, more than forty years ago, and the band was obviously around even before that, while the current lineup is only six years old, the common piece being bassist and songwriter Tony Marsico. So, really, it's a different band now. The 1980s Cruzados was really good, no question (you probably remember a few of their songs), but this current incarnation of Cruzados is even better. And last night these guys showed just how great they are, delivering an excellent set at Maui Sugar Mill Saloon, on an outstanding bill that also included Mark Knight & The Unsung Heroes and The Blessings. A night of solid rock music.

Mark Knight & The Unsung Heroes

Mark Knight & The Unsung Heroes were up first. A Los Angeles-based band that's been around since 2013. And Mark Knight and drummer Tigg Ketler have actually been playing together for more than thirty years, both having been founding members of Bang Tango in the late 1980s. So there is a history there that can be drawn on, a solid foundation. Just before nine the band members began gathering on stage so that right at 9 p.m. they were ready to go. They opened with "Rusty Bones," the lead track from the group's 2021 album Days Of Dreamers, a great rock number with something of a reggae flavor to one section. Mark then told the crowd he was glad to be at the Maui Sugar Mill Saloon, "our favorite little bar in the valley." The band then played "Truth Always Rises," a song from the most recent release, last year's Sixth Time's The Charm. It's a good, fun song. Remember fun rock music? Then "Hey Mama" was a delicious bluesy swampy rock number, this one featuring a great bass line from Damian Valentine. That was followed by "11:11," another song from the most recent album, which featured a cool moment near the end when both guitars acted as lead guitars. Mark then introduced guitarist Dan Fitzgerald, who was sitting in with the band, saying he basically learned all the songs the previous night.

"Just Go" featured some nice fills on drums and a totally delicious lead by Mark on guitar. It was his guitar work that made that song stand out. That was followed by "Lies." In introducing that one, Mark said a lot of lying has been going on lately, "especially in this country." Indeed. It seems that a significant chunk of the population enjoys being lied to, for millions of people re-elected a known pathological liar (just one of his many faults - in fact, I challenge the entire population to come up with one characteristic of the man that could not be labeled a fault). Anyway, that song contained some good, solid drumming. Mark introduced "Might Be Lonely" as "a little rocker," and it certainly was a rocker, and a catchy one at that. That song featured a cool sort of spoken word section, and just became more and more enjoyable as it went on, ending up being one of my favorites of the set. The band wrapped up the set with another cool number, "Dinner Time," which featured the two guitarists trading licks during the jam, and also included a bit of The Doors' "Roadhouse Blues."

Cruzados

There was an excitement in the air as Cruzados were setting up and tuning. A good crowd had turned out for the show, which was no surprise. Several musicians were in the audience, including Mini Mendez (of Glimmer Stars) and Pat Todd (of Pat Todd And The Rankoutsiders). Tony Marsico asked the crowd, "Anyone want to introduce us?" Of course, someone took him up on that offer, and did a good job, and the band was immediately off into the first song of the set, "On The Tilt A Whirl," which is the lead track from She's Automatic, the band's 2021 album. There was a terrific energy from the start. That was followed by "Rising Sun," a song that, as Tony said in his introduction, is from all the way back in 1983. They delivered a totally fun rendition, featuring a particularly good section where the bass was the lead, leading us in the audience to places of great fun, great joy. And they rocked out on that song. They followed that with "Queen Of The Quake," a song from the band's 2023 release, Land Of The Endless Sun (which somehow I don't yet own a copy of). So much fun. "Wiggle that body down to the ground." I loved watching Loren Molinare seeming to pull notes from his guitar, like ripping them out of the instrument.

They then announced they were going to do some songs that were featured in various movies, starting with "Don't Throw Stones" from the Patrick Swayze movie Road House. The song is featured in the opening scene of the movie, and the band is visible on the stage. How was that song not included on the movie's soundtrack? It's the opening song, for fuck's sake, the song that sets the tone. Anyway, that was followed by "Back To The House That Love Built," a song that was featured in Desperado, the Antonio Banderas film. On the soundtrack to the album, it is by Tito & Tarantula, but was also included on the 2009 Cruzados compilation, Greatest Hits. The band then returned to She's Automatic for "Long Black Car," a delicious rocking number. Toward the end, a drum stick was tossed into the pool table area. It's good to make sure those folks are paying attention. Tony then introduced the band, and they delivered the title track from She's Automatic, a song with a great beat from Rob Klonel on drums. I was particularly happy to hear that one.

"We wrote this song back in 1982," Tony told the crowd in introducing "After Dark," another song that ended up in a movie, this time From Dusk Till Dawn, where it is also by Tito & Tarantula. The band invited a woman from the audience to come up to play the Salma Hayek role. You might recall that Salma does a dance with a big snake. And once the volunteer from the audience was on the stage last night, Tony retrieved a plastic crate that was labeled, "Beware of Snakes." But that prop was quickly dispensed with, and the band launched into that very cool tune. The woman from the audience remained on, or near, the stage, dancing. That was followed by another tune from a movie. This time the movie was Repo Man, and the song was "Reel Ten," an instrumental piece by The Plugz, the band that led to Cruzados. Vocalist Ron Young left the stage for this one, another seriously cool number. Tony commented afterward that it had been decades since they'd last played it. The band then did a couple of songs from those first two records in the 1980s, "Bed Of Lies" straight into "Motorcycle Girl." Both those songs were hits for the band, and I love how it was Rob's work on drums that connected the two songs. The audience wanted more, and the encore was "Johnny Pay To Play," which had a great rock and roll sound, a song inspired by Chuck Berry's "Johnny B. Goode." It was fantastic. The Cruzados' set ended at 11:02 p.m.

The Blessings

And the show was not over. Twenty minutes later The Blessings were on stage. The shortest of introductions, "Hey, guys, we're The Blessings," and the band got right into the first song, "Steer You Wrong," which featured some great stuff by Mike Gavigan on guitar as well as some cool work by Jeremy White on harmonica. "More Trouble Than Fun" followed, that song being one of my personal favorites. "I'm not your clown/The circus just left town." This one too featured some nice work on harmonica. Then "Hangin' On" contained this line, "Leave this city behind before they drag you to hell," which stood out to me. Jeremy, the band's lead vocalist, strapped on his guitar for "Whole Lotta Soul," but almost immediately broke a string and carried on without the guitar. "I promise it'll be all right," he sang, and it was. There still was a whole lot of excellent guitar work by Mike Gavigan. "You'll need a whole lotta soul/To keep the hard times behind you." That was followed by "Is There Anything You Wouldn't Do" and then "Back Home." On "Back Home," there was some cool stuff on harmonica right from the start. This was another of my favorites, featuring some good drumming. And "Uptown Too Long" included a bit of cowbell. Both Terry on drums and Phil on bass had celebrated their birthdays the day before, and Jeremy wished them a happy birthday. Jeremy was going to play guitar on "Tomahawk Inn" (the string had been replaced by Nick Alexander during "Back Home"), but after some trouble tuning it, decided to make do without the guitar and instead delivered some great work on harmonica. That was a particularly fun song. The set ended with "Drink In Her Hand," with Mike at one point holding a note on his guitar for a delightfully long time. It was a really good set, though fairly short, ending a minute before midnight. 

Set Lists

Mark Knight & The Unsung Heroes 

1. Rusty Bones
2. Truth Always Rises
3. Hey Mama
4. 11:11
5. Just Go
6. Lies
7. Might Be Lonely
8. Dinner Time >
9. Roadhouse Blues >
10. Dinner Time

Cruzados

1. On The Tilt A Whirl
2. Rising Sun
3. Queen Of The Quake
4. Don't Throw Stones
5. Back To The House That Love Built
6. Long Black Car
7. She's Automatic
8. After Dark
9. Reel Ten
10. Bed Of Lies >
11. Motorcycle Girl
12. Johnny Pay To Play (encore)

The Blessings

1. Steer You Wrong
2. More Trouble Than Fun
3. Hangin' On
4. Whole Lotta Soul
5. Is There Anything You Wouldn't Do
6. Back Home
7. Uptown Too Long
8. Tomahawk Inn
9. Drink In Her Hand

Here are some more photos from the night:

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

Art Pepper: "Everything Happens To Me: 1959 - Live At The Cellar" (2026) CD Boxed Set Review

There have been quite a few fantastic Art Pepper releases in recent years, and so it comes as a delightful surprise that there is still more great music from this incredible musician being unearthed. And Everything Happens To Me: 1959 - Live At The Cellar isn't just one new excellent CD of music. It's a boxed set containing four discs of previously unreleased live recordings from 1959. Holy moly! These recordings are of several performances at The Cellar in Vancouver, British Columbia during his ten-night engagement in September of 1959. Art Pepper is on alto saxophone, and he is joined by Chris Gage on piano, Tony Clitheroe on bass, and George Ursan on drums. The recordings have been mastered and restored from the original analog reels by Michael Graves at Osiris Studio in Los Angeles. The release was produced by Laurie Pepper and Cheryl Pawelski. This boxed set contains a liner notes booklet written by Kirk Silsbee (misprinted as "Krik Silsbee"). As indicated in the liner notes, the concerts presented in this set were important in Art Pepper's career, leading to him recommitting himself to jazz after a period when he was busy with other things (though looking at his discography, it seems he couldn't have taken much of a break). This set contains four hours of excellent music.

Disc One

The first disc opens with "When You're Smiling," written by Larry Shay, Mark Fisher and Joe Goodwin. It's not a complete recording, and is indicated as such on the CD case. When the recording begins, the tune is already in progress. There are a few other tracks that are likewise incomplete in this set, but I am glad they are included here anyway. If you're like me, you want every bit of the music that can be included. This track contains just the last minute of the performance of the tune, and yet it still contains some great stuff from Art Pepper, and from Chris Gage on piano. None of the other incomplete tracks are that short. Art Pepper then introduces "Cherokee": "I'd like to give you one of the most popular jazz tunes around today." And when he announces the tune, we hear a single person clapping in response, so I guess maybe it wasn't so popular in Vancouver. Or this crowd just wasn't all that excited about it. I have to imagine after hearing this rendition, that crowd was a little more excited about the tune. It features some great stuff by Art Pepper almost immediately, and a delicious rhythm moving at a fast pace. It's loose and Art's playing has an appealing energy. The crowd applauds at the end of his lead. Chris Gage's lead on piano keeps things popping, and there are some playful moments that I love. It's so easy to get caught up in the motion of this tune, which was composed by Ray Noble. One thing I do wish the liner notes contained was the exact show that each song comes from.

"Now I'd like to answer a couple of requests for a very pretty tune, 'Over The Rainbow'," Art tells the crowd, and then he begins this one solo. This is a touching, beautiful rendition, the other musicians softly supporting Art's saxophone. This song, by the way, was ranked number one on the Songs of the Century list, and every time I hear a version like this I feel that those who made the list got it right. The second half features a nice lead on piano. And then as Art comes back in, the tune takes on a bit more energy, getting a little wild for a moment, his sax having something different to say. Things then relax again before the end. There is a loose atmosphere in the club. As we hear Art Pepper introducing "All The Things You Are," we can also hear the crowd noise, folks talking and whatnot. Just another night out for some folks? I wonder if later on they realized how lucky they were to be present for this performance. Anyway, Art reaches some exciting places during his lead, though largely working within the flow of the rhythm. In the second half, we are treated to a cool bass solo, as well as a very short drum solo just before the end.

"Indiana (Back Home In Indiana)" moves at a good clip right out of the gate. It features some absolutely delightful work by Art Pepper, who creates cool little moments to dip into the lower realms while everything pushes forward. It feels like he might have more to say, is only pausing for a breath perhaps, when Chris Gage jumps in with a strong lead on piano, dancing and rattling, as the bass rumbles beneath. This is so good, feeling like a shout, Onward! And check out that drumming toward the end. Delicious! That's followed by "Lover Man." There is no introduction to this song. They get right into it, into the great, gritty blues of it. This track contains some heartfelt, passionate playing by Art Pepper that is guaranteed to move you. The need, the longing, the ache - it's all so clear. And the hope. This, for me, is one of the highlights of the first disc, and it would be even if it ended after Art's first lead. Chris then takes over on piano, keeping with the rhythm, with that delicious bluesy vibe, living within the structure, and that works so well. Then Art takes a second lead, and by then we are just completely wrapped up in the feel of this song. I appreciate how the band stretches out on this one a bit, this track more than eleven minutes long. There is a bass lead toward the end that tells us just how things are.

Things get a little lighter, a little more fun with "Yardbird Suite," which soon starts to swing. This is a tune that will have you tapping your toes and following that bass line. The saxophone work here feels welcoming, with a good deal of cheer. Things feel right with the world. It's so good how music can give us that impression. This track also features a cool lead on piano, the bass still driving the piece forward. When the bass leads, it's not so much that instrument stepping forward, but everyone else stepping back, for the bass has been a prominent power the whole way through. There are short drum solos toward the end. This track is also more than eleven minutes, but certainly doesn't feel like it. The first disc concludes with "Sweet Georgia Brown," which, as we learn from Art's introduction, is the song chosen to close out that particular set too. This song is always fun. It's an inherently fun number. And these guys deliver a good rendition. Art is cutting loose here, having a good time, and the piano lead is totally delicious, with some surprising moments. The track just gets more fun as it goes, particularly toward the end, with those cool bursts on drums. As with the disc's opening track, this closing track is incomplete. However, it's certainly a large chunk of the number, as it's more than eight minutes long.

Disc Two

"We'd like to open this set with a tune entitled 'What Is This Thing Called Love?'," Art tells the crowd. And yes, it's the Cole Porter song, which was also included on the 2015 release Live At Fat Tuesday's, that recording from a 1981 concert. Art's sax sets this one in motion. His lead has a loose, cheerful vibe, with some great punctuation by George Ursan on drums. This track is something to raise our spirits, particularly Art's work on sax, which receives applause. Chris then gets the opportunity to drive things forward with his lead, which includes some wonderful, interesting touches throughout. That goes straight into a bass lead, which is good, but doesn't explore any new areas. However, I am definitely digging the drum solo in the second half. There is an interesting change toward the end, and the tune then eases out. That's followed by this boxed set's second version of "Yardbird Suite," which features some nice work on drums almost from the start. And again, things are swinging and feeling good, maybe with a somewhat more easygoing vibe this time. The sax expresses a certain amount of joy in that first lead. The piano lead has a light energy, engaging in a sort of dance. This time, when it seems like the bass is taking its lead spot, Art adds some soft touches on saxophone, which is wonderful. And there is some more delicious drumming toward the end.

Art Pepper introduces the band, and the introductions are presented as a separate track. When introducing George Ursan on drums, he says, "This is the first time we've ever blown together, and it's really a ball playing with him." That's cool. He also asks him if he pronounced his name correctly. When he introduces the pianist, he says it's Al Neil, not Chris Gage. Al's name is not included in the list of musicians on the last page of the liner notes booklet. I'm not quite sure what to make of that. Did Al just sit in for one set during this run of shows? If so, which tracks does he appear on? "What's New?" follows, this track featuring some beautiful, tender work on saxophone, delivered with a gorgeous warmth. Art Pepper still finds moments to see where the music will carry him, or where he can carry the song, and soon he is getting loose. His lead receives deserved applause. This track also features some beautiful work on piano, though that lead feels like it is over a little soon as the bass takes over. Toward the end, there is a loose feel, as each musician contributes short leads, which is wonderful. This is one of the tracks that is indicated as incomplete, but it feels like we have most of it. It seems to be reaching its conclusion when it fades out.

There is no introduction for "Holiday Flight." Art Pepper begins it on saxophone, and then a brief bass solo takes us into the body of the song. Then things are moving. There is one strange moment of hesitation early on, but no matter. This is a fun track and it features some excellent work on saxophone. It has the vibe of a party, and Chris Gage's piano lead keeps that mood, keeps things rocking and grooving. This is a wonderful track, one of my personal favorites. Art then asks about the sound, if it's loud enough for those in the back, expressing genuine concern, not just a matter of the usual stage banter. The group then keeps the good vibes alive with "Stompin' At The Savoy," another fun number. Things are moving with a good energy. I just love hearing Art Pepper play. And there is a delightful joy to the piano lead. This song has such an enjoyable groove, and I am a little sad, even a bit jolted, when this track comes to an end.

"I'd like to pick up the tempo a little bit, and try something to try to get us warmed up a little bit," Art announces. And, yes, the tempo is certainly picked up with "Allen's Alley." There is an appealing energy to this tune, and Art Pepper pushes through to another level at moments. The rhythm will have you rocking, even if you remain seated. And when Chris takes over, he keeps the energy high. This track contains some very cool stuff on piano, taking things in some unexpected and delightful directions. I also love the section with just bass and drums, like a dash forward that is a dance. This is a track that just gets better and better as it goes. The second disc concludes with "These Foolish Things (Remind Me Of You)." In the introduction, Art Pepper says, "I'd like to continue now with a little tune, a pretty song, a ballad," so this one must not have concluded a set. Anyway, there is some warm work on saxophone at the beginning, making me want to take my girlfriend in my arms and sway with her through the night. Then the energy picks up, the pace increases, and so the dance changes. This is one of the incomplete tracks, ending after a little more than six minutes, during Chris Gage's lead on piano. 

Disc Three

The third disc opens with this set's second version of "Holiday Flight." There is no introduction, it just gets right into the music, with Art Pepper immediately delivering some delightful work on saxophone, some joyful playing, while the rest of the musicians maintain a good groove. Chris keeps that great vibe during his piano lead, delivering some absolutely wonderful work, with a playful sense to his approach. And that leads to my favorite section of the track, when Art and Chris trade licks, clearly having a great time, with George soon getting into the action on drums. This is another of this set's highlights. It is followed by "Tangerine," which is also presented without introduction, and also has a cheerful vibe and a wonderful groove. Art's initial lead is quite a bit shorter for this number, and soon Chris takes over on piano. Don't be surpised if you find yourself snapping your fingers along to this one. When Art returns, his saxophone expresses some excitement, as if caught up in the moment, which is delightful. This track also contains some nice work from Tony on bass.

Next is an exciting, fast-paced rendition of "The Way You Look Tonight," kicked into action with some excellent drumming and soon flying along, as if driven to an ecstatic frenzy by this woman's beauty, by their good fortune to be with her. There are some interesting moments too, as when the other musicians drop out for a moment and Art Pepper has a brief solo that acts like a bridge. The band is cooking here, and it is a joy to get caught up in the action, in the motion, for any worries we might have just can't keep up. Things then slow down for "Everything Happens To Me," this set's title track, which has that marvelous air of melancholy. Ah, you know that feeling when nothing seems to go right. But the music is always right, isn't it? And Art Pepper's saxophone has plenty to say. Even if things are going wrong, that instrument seems to declare it will persevere, and even finds moments of joy in the middle. There is some beautiful, uplifting work on piano in the second half.

"Bernie's Tune" starts on drums, and, as you might guess, is another fast-paced gem, featuring some joyful playing by Art Pepper, who seems determined to energize the world. His playing shouts, Yes! Yes! Yes! Chris keeps everything in motion during his lead on piano, and when Art returns, the track begins to fade out. It's not indicated as an incomplete track on the box, but it certainly seems to be. That's followed by "I Surrender Dear," which contains a false start, and then some funny stage banter. "As you know, we've never rehearsed or anything," Art tells the crowd. "So if we should goof at any time, please bear with us. It's just, it's just one of those things. We'll get it. We'll get it. I kind of goofed the intro that time, but I'll get it right this time." And of course he does get it right, and it's a wonderful rendition, featuring some particularly good stuff on saxophone. I love that section with the sax and bass engaged in some nice back-and-forth action, followed by the sax and drums similarly engaged, toward the end.

We are treated to a second rendition of "Over The Rainbow." As with the first version, Art Pepper begins this one with a brief solo, before moving into the main body of the song. It is Chris Gage's lead that stands out here, with some fantastic playing and touches of magic. The pace suddenly picks up near the end of this track, though just briefly, before relaxing again. That's followed by a second rendition of "Allen's Alley," which features some exciting work on saxophone. I love that moment early on when the sax solos, punctuated by the drums. And I love the conversation between sax and piano in the second half. This one moves at a fairly fast pace, the band cooking, and features some excellent drumming. On the back of the box, as well as on the back of the individual CD sleeve, this track is listed as the final one on the disc. But there is actually a ninth track on this disc. It is "Brown Gold," an Art Pepper composition, which is listed as the first track on the fourth disc. This one begins on saxophone, and has a catchy theme and a great feel about it. It's a fun number to close out the third disc. It is one of the incomplete tracks, fading out after nearly eight minutes.

Disc Four

This set's final disc opens with "Holiday Flight," the third version contained in this collection. Art Pepper gets it going with a very brief saxophone solo, and soon the band is immersed in a delightful groove. There is an undeniably cool vibe to this track, and I am especially fond of Chris Gage's piano lead. This one is over all too soon, though it is complete. It is followed by "Strike Up The Band." I've said it many times, but you can never go wrong with Gershwin, and I think Art Pepper and his band once again prove the truth of that. They deliver a wonderful rendition, the saxophone ready to lead us into a more joyous version of the world. Why can't things be fun? these instruments seem to be asking. And who has an answer? These musicians provide us with the right energy to make whatever changes are necessary to create that better existence, and then proceed as if it already exists. And maybe that's the best way. I love that moment when the drums take over, demanding to be heard. And then guess what? Art Pepper gives us a second Gershwin number, "Somebody Loves Me," so now I have to proceed as if all is right with the world, for it certainly seems that way. There is a wonderful vibe about this track, and it seems that before this song ends, everyone will figure out just who it is that loves him or her. The track gives folks plenty of time, more than eleven minutes.

"There Will Never Be Another You," written by Mack Gordon and Harry Warren, is divided into two parts on this disc. The first begins with a brief intro on saxophone, and quickly gets into the main body of the song. There is a light, delightful mood here. Ah yes, a celebration of that special someone. Other people will exist, surely, but that one special someone can never be replaced. And we hear that in this music. This track fades out while the song is in progress, and then the second part begins, but it seems that we've lost a little something in between, though neither track is listed as incomplete. Anyway, that little interruption is soon forgotten, as the music once again quickly takes hold. This second part contains some delicious work on drums.

This disc contains a third version of "Allen's Alley," which begins with some drumming to set things in motion. This version is popping, the saxophone dancing above that great rhythm, everything loose and right. It all feels so alive, we can sense the music breathing, pulsing, and it certainly doesn't slow down when Chris takes over on piano. The music makes life feel like one giant dance that we all can, and should, take part in. Doesn't that sax sound so inviting? And the bass solo gives us the sense that this is ongoing, eternal. The band teases the ending a bit before actually finishing the tune. Art Pepper announces that was the end of the first set. "Our warmup set. We'll be back shortly to really start playing for you." That wasn't playing? Holy moly! The disc then concludes with "Walkin'," which has a cool vibe from the start. I suppose that shouldn't be any surprise, given the material. What is a surprise is that the track is listed as incomplete, though it's nearly fifteen minutes long, longer than the Miles Davis recording on his 1957 Walkin' record. Anyway, this track contains some excellent work on saxophone, as well as a strong lead on piano. We are also treated to a good, long lead on bass. But, yes, this one fades out. I can't imagine there was too much more, but what we get is so damn good.

CD Track List

Disc One

1. When You're Smiling
2. Cherokee
3. Over The Rainbow
4. All The Things You Are
5. Indiana (Back Home In Indiana)
6. Lover Man
7. Yardbird Suite
8. Sweet Georgia Brown

Disc Two

1. What Is This Thing Called Love?
2. Yardbird Suite
3. Band Intros
4. What's New?
5. Holiday Flight
6. Stompin' At The Savoy
7. Allen's Alley
8. These Foolish Things (Remind Me Of You)

Disc Three

1. Holiday Flight
2. Tangerine
3. The Way You Look Tonight
4. Everything Happens To Me
5. Bernie's Tune
6. I Surrender Dear
7. Over The Rainbow
8. Allen's Alley
9. Brown Gold

Disc Four

1. Holiday Flight
2. Strike Up The Band
3. Somebody Loves Me
4. There Will Never Be Another You (Part 1)
5. There Will Never Be Another You (Part 2)
6. Allen's Alley
7. Walkin'

Everything Happens To Me: 1959 - Live At The Cellar was released on February 20, 2026 through Omnivore Recordings.

Mark Christian Miller: "Strange Meadowlark" (2026) CD Review

Mark Christian Miller is a talented and respected jazz vocalist based in Los Angeles. His new album, Strange Meadowlark, which follows his 2022 release Music In The Air, contains material from beloved composers, including Johnny Mercer and Irving Berlin. There is something about Mark Christian Miller's voice that makes listeners feel they know him immediately. Something friendly, something warm, something knowledgable, something familiar. Putting on a new album by him for the first time is almost like revisiting a favorite record; it has a similar effect. Joining the vocalist on this new album are Chris Dawson on piano, Chuck Berghofer on bass, Joe LaBarbera on drums, and Robert Kyle on saxophone and flute. Josh Nelson joins him on one track. The album was produced by Mark Christian Miller, who also did the album's cover artwork.

The album opens with a delicious rendition of "Mr. Kicks," a song composed by Oscar Brown, Jr. After a brief instrumental section, Mark comes in on vocals, and the song's first line makes it a nice choice to kick off an album. "Permit me to introduce myself/The name is Mr. Kicks/I dwell in a dark dominion/Down by the river Styx/The devil has sent me here because/I'm full of wicked tricks/And I'm such a popular fellow/Among all you lunatics." Ah, not only does he take on a cool character with this number, but also gives the listening audience a character as well. We are all lunatics. It is like we are involved in some Faustian fun. Mark Christian Miller delivers a wonderful vocal performance. Smooth, just like this character, right? There is also some really nice drumming here. The arrangement is by Robert Kyle, who delivers a totally cool lead on tenor saxophone. Mark Christian Miller gives us some scat in the middle and again toward the end of the track. And now that he's cast this spell on us, he changes directions with "You Make Me Feel So Young," this one featuring Robert Kyle on flute, that instrument helping to set the tone at the beginning. "You make me feel so young/You make me feel like spring has sprung/And every time I see you grin/I'm such a happy individual." There is a brief pause after that line, with a nice little bit on drums that makes me think he is so happy that he finds himself doing a little dance. Robert Kyle did the arrangement for this one as well. As I get older, this song has a different impact on me, a different meaning, and I love Mark Christian Miller's approach. He engages in some light, cheerful scat, which feels so natural, like he can't help but vocalize how he's feeling, even when there aren't words. Perfect for this song, don't you agree?

The album's title track, "Strange Meadowlark," feels cheerful and whimsical at the beginning, a clear kind of love heard in Mark's delivery. "Can't you sleep, meadowlark/Is there nothing left but whistling in the dark." Soon hints of melancholy and yearning enter the sound, heard in his voice, but also in the piano work. Yet he still looks up, "Far from all the noisy crowds," and there is hope in that. The song segues seamlessly and gently into "Skylark." Mark Christian Miller delivers a beautiful vocal performance. "Wonderful music," he sings, as he delivers the very thing. The arrangement is by Chris Dawson and Mark Christian Miller. Then "Hello Love" features some warm, wonderful work on saxophone, with a late-night vibe, at the beginning, setting the mood. "Hello love/Awfully glad you found me," Mark sings, and we can hear the truth of those words, the need, in his delivery. Aren't we all glad that our loves found us? Where would any of us be without that special person? Where would any of us be without love? "Hello, love/Now at last you hear me." This is a gorgeous, touching rendition, with some beautiful saxophone work supporting Mark's moving vocal performance. It also features some tender work on piano, adding to that great late-night vibe. The arrangement by Chris Dawson and Mark Christian Miller.

The piano sets the mood in "Dream," and at the beginning Mark's voice is supported just by piano. I love the way his holding the note on the word "and" leads into the main body of the song and the entrance of the other players. And when he sings, "Dream when you're feeling blue/Dream, that's the thing to do," it is like he is answering our need for advice in these tough and depressing times. Who isn't reaching out for some understanding, some comfort now? Mark is here for us. "Dream, and they might come true." Ah yes, there are no promises, but keep dreaming anyway. And while we do, the saxophone is there to guide us, to encourage us. After some pretty work on piano, this track includes a nice lead on bass. "Things never are as bad as they seem," Mark Christian Miller sings. Let's hope he's right. Listening to this music, I trust he is. As he repeats the word "dream" at the end, there is a sort of magic to the word, perhaps the dream being encouraged to become reality, or, more likely, reality entering the dream. There is a more playful bent to the piano work at the beginning of "I've Got My Love To Keep Me Warm." And Mark's vocal approach is different too. Immediately our spirits are lifted. "But I can weather the storm/What do I care how much it may storm/I've got my love to keep me warm." That's what we need to get us through these tough times. Whatever storms may rage outside, meteorologically speaking, or politically, or whatever, life is really about love, about being with that special someone. So hang in there, friends. I love the piano lead in the middle of this track. This one also features a cool lead on bass that conveys a good amount of cheer itself. "Off with my overcoat/Off with my glove/I need no overcoat/I'm burning with love." May we all feel that.

Josh Nelson joins Mark Christian Miller on piano on "Early In The Morning." He also did the arrangement for this track. This one contains a sweet, tender instrumental opening. Robert Kyle is on flute. Mark soon sets the scene: "Early in the morning/Of a lovely summer day/As they lowered the bright awning/At the outdoor cafe." We can feel the warmth of the day in his voice, and in the gentle playing. We can feel the ease. There is no need to rush. Why can't life be a sweet dream? It is a simple scene, which seems to take on more power as the lines are repeated. And at the end, we learn this is all memory, and so it makes sense that he focuses on those few details, and remains there as long as he wishes. It makes me wonder just what is happening now that makes escaping to this past so appealing, so necessary. Probably each of us listening has a different answer. I love that the instruments are like characters in this song.

"Though the days are long," Mark sings at the very beginning of "I'll See You In My Dreams," and I think how sometimes the days are so long, and yet life is so short. "Soon my eyes will close/Soon I'll find repose/And in dreams you're always near to me." Yes, dreams play a key role again, obvious from the title. It is after that line that the song takes off, the rhythm moving things forward, rushing toward those dreams with a certain joy. This track contains some delightful, beautiful work on saxophone. And the piano lead keeps things hopping. Also, on this track, we are treated to a drum solo, so I'm happy. And a bass lead follows. What more could you want? The album then concludes with "Sometimes." On this track, Mark Christian Miller plays piano. And he did the arrangement. There is a warmth to his playing that matches his vocal work. When he comes in on vocals, there is a brief moment where he hums, which is lovely. "Sometimes, not often enough, we reflect upon the good things/And those thoughts always center around those we love." I know most of us did a lot of reflecting during the pandemic, and that hasn't really changed since then. This is a short and sweet number, a lovely conclusion to an excellent album.

CD Track List

1. Mr. Kicks
2. You Make Me Feel So Young
3. Strange Meadowlark/Skylark
4. Hello Love
5. Dream
6. I've Got My Love To Keep Me Warm
7. Early In The Morning
8. I'll See You In My Dreams
9. Sometimes

Strange Meadowlark was released on February 6, 2026.

Sandy Rogers and Willy Tea Taylor Perform at Unurban, 3-9-26

A special show was held at Unurban in Santa Monica last night. Sandy Rogers delivered a rare solo performance, and Willy Tea Taylor joined her on the bill, delivering some excellent original songs. You're probably aware that Sandy Rogers covered a Willy Tea Taylor song on her newest album, Tingling Blue. The two go way back together, as they both mentioned during their respective sets. Willy Tea Taylor was in town for a show at the Hotel Cafe two nights earlier (I had been under the impression that that venue had already shut down in preparation for its move, but it looks like it will remain open through May), and this show was announced around that time.

"I'm going to be doing some songs I haven't done in a long time," Sandy Rogers told the crowd when she took the stage at 7:43 p.m. She opened the show with "Wonderin," the title track from her 2016 album, and, yes, one I had not seen her perform before. It was so good, so gloriously raw and true, in this solo context, with a great vitality. After that song, she switched music stands, selecting a taller one to better see the lyrics to these older songs. And she followed "Wonderin'" with a song she has been performing recently, "Trailer Up On A Hill," now getting loose, dancing with the song. Everything was feeling good, feeling right. In introducing "Good Dog," another song from Wonderin, Sandy mentioned how she first met Willy Tea Taylor back in Oakdale when he was twenty years old. She also mentioned that Willy too has a "Good Dog" song. "Good Dog" featured a wonderful vocal performance. "The refrigerator works, can't ask for more." The song included some whistling near the end.

"Tingling Blue," the title track of her newest album, is one that always makes me feel good, and Sandy delivered a particularly wonderful version last night. "There's something about whispering in my ear/There's something about holding me a little tighter." Oh yes! She followed that with another song off the Tingling Blue album, "You Found Me," which was written by Willy Tea Taylor. This song featured perhaps the best vocal performance of the set. Obviously the vocals were the main focus last night, which was part of what made the night so special. I'm absolutely nuts about her voice. "Lots of trips into town/Lots of booze I'm trying to drown/Got my friends to keep me up from down/But no one to put my arms around." She wrapped up the first set with "Fool For Love," a song written for the Robert Altman film of that name (a movie written by, and starring, Sandy's brother Sam Shepard, who also wrote the play it was based on), but actually used in Quentin Tarantino's film Reservoir Dogs.

There wasn't really a set break, just a few moments as Willy Tea Taylor took his place on stage. "I've got some jams for you," he told the crowd, and opened the set with "Wrong Way To Run," which immediately featured some beautiful tenor guitar work. "I ain't perfect, you can tell by my songs," he sings. Hey, I don't know about perfection, but I do know his songs are excellent. He followed that with a new one, "My Mother, My Brother And Me," a beautiful and touching song written for his mother. Even his humming was quite moving. "I wonder if there's a cure for these kind of blues." That was in turn followed by "Here's To You, Sam," a sad and wonderful song (by the way, on his Damn Good Dog disc, the song is titled "For Sam"). This song's lyrics mention the Wim Wenders movie Paris, Texas, which was written by Sam Shepard. Willy then introduced "Chickamauga" as a love song, one set in the Civil War. The line about the letters especially stood out to me: "I'd read 'em every day and I could sing them in the dark."

"The Tank's Half Full" is a song about van life, and also was inspired by his grandfather. "If there's a hallelujah left somewhere in this van/I hope it takes the wheel tonight and gets us all home again." Willy Tea Taylor has this seemingly effortless way of captivating an audience. A voice, a guitar; nothing more is needed. I remember when Ellis Paul was interviewed early in his career - this would have been 1989 or early 1990 on WUMB, if I recall correctly - he said there was nothing more powerful than a man with a guitar or a woman with a guitar. I think both artists proved the truth of that statement last night. Willy followed "The Tank's Half Full" with "You Found Me." This is the song that Sandy Rogers had covered on Tingling Blue. She played it during her first set, but had wanted to hear Willy's version. Willy mentioned that the song was about a border collie, something that surprised Sandy. It was great hearing both artists play this song last night, for their versions had different approaches, different vibes. "Knuckleball Prime" followed. Willy introduced it by saying it's about hitting one's prime in his late thirties or early forties, as knuckleball pitchers seem to do. That song included some nice whistling. He wrapped up the set with "Bakersfield," a song about his grandmother. "She was a crazy woman, and I loved her very much," he told the audience. This was a fun number, and the line "Don't bury me in Bakersfield" drew a big laugh. "But eternity in Bakersfield, I wouldn't wish that on anyone."

Sandy Rogers returned to the stage for another short set. She opened it with "Let's Ride," her voice so cool, so commanding as the song started. There was then a false start as she retrieved her glasses, mentioning she has to have cataract surgery. And as she started the song again, her voice carried that same great vibe, that same wonderful sound. This was a totally delicious rendition. It was followed by a tender, beautiful rendition of "One Of Those Kind." Then "Lonesome Man" was another of the night's highlights, the way it was tender at the start and grew in power. What a voice she has. That was followed by "Raggedy Ann," a song I don't recall seeing her perform before. "This is a very personal one," she said in her introduction. "The rocking chair my grandpa made/Is filled with my rag dolls." She then wrapped up the set with a great version of "Why Wyoming," and I felt like we were all out there on the land, in the wonderful wide open.

Sandy asked Willy to do a few more songs, and a moment later he was back on stage. He opened up this final set with "Lullaby," a song about going off to the city. "There's pretty girls on every corner/On every corner, got somewhere to be/Ain't got no time, ain't got no smiles/Got no smiles for a country boy like me." It featured some really nice guitar work. He followed that with "The Nurse," a sweet number about a nurse who was a Rolling Stones fan. He wrapped up the evening with a John Prine song, "Long Monday." I had forgotten that it was Monday. This great music made the calendar meaningless for me. The show ended at 9:36 p.m. 

Sandy Rogers Set I

1. Wonderin'
2. Trailer Up On A Hill
3. Good Dog
4. Tingling Blue
5. You Found Me
6. Fool For Love

Willy Tea Taylor Set I

1. Wrong Way To Run
2. My Mother, My Brother And Me
3. Here's To You, Sam
4. Chickamauga
5. The Tank's Half Full
6. You Found Me
7. Knuckleball Prime
8. Bakersfield

Sandy Rogers Set II

1. Let's Ride
2. One Of Those Kind
3. Lonesome Man
4. Raggedy Ann
5. Why Wyoming

Willy Tea Taylor Set II

1. Lullaby
2. The Nurse
3. Long Monday

Unurban is located at 3301 Pico Blvd. in Santa Monica, California.

Charming Disaster at Permanent Records Roadhouse, 3-5-26 Concert Review

Charming Disaster

Los Angeles has more than its fair share of cool little music venues. One of the coolest is Permanent Records Roadhouse, where last night we were treated to excellent sets by both Artichoke and Charming Disaster. It is a record store, a live music venue and a bar. So, yeah, nearly everything that makes me happy is located in this space. I could probably just live there if they'd allow it. Maybe they would. I didn't ask. I did get there early enough to check out their patio vinyl selection. There were fewer boxes than usual, but that was fine because it meant I had time to go through each box and not worry that I was missing something. Did I find any records worth buying, you ask? Did I! I got the soundtrack to Wild In The Streets and an unopened copy of the self-titled debut Cruzados record from 1985. Only a dollar each. Life is good, despite all the efforts of the monsters in the White House and Congress to ruin our party.

And life is especially good when there are some fantastic bands playing. Artichoke started the night off, taking the stage at 6:40 p.m., the band members all dressed in green. Their very first song contained a reference to Kurt Vonnegut, so of course I fell madly in love with them immediately. Shawn Nourse was sitting in on drums for this set, which was great. Lead singer and guitarist Timothy Sellers stepped off the stage and into the audience at one point during that first song, and then again during the second song, that time going all the way to the opposite wall. "You know, I love not being tethered to my guitar," he said once he was back on stage. There was a delicious pop punk (or punk pop?) flavor to their music, and also a sense of humor. That second song, "Cool People," is on the band's latest album, which is available on vinyl. And the band's next song ended with a Camper Van Beethoven reference. My favorite song of the set was "Skull With 3 Eyes," another song from the band's newest album, a self-titled release. That song had a particularly delicious rhythm, and some great lyrics, with lines like "I had a dream that lasted all my life" and "I found me an answer, but the problem disappeared" standing out. And when Timothy sang the line about loving the 1980s sound but not the drums, Shawn stopped playing for a moment. The Charming Disaster duo made an appearance during one of Artichoke's songs, carrying paintings back and forth in front of the stage. And for the following song, a guy in the audience did the same thing with a sign that read, "No Kings: An American Tradition Since 1776," that sign receiving appropriate cheers from the audience. Timothy then announced that the next song was one we might know. "Is it 'Trash Day'?" a woman called out. "It is 'Trash Day,'" Timothy confirmed. A song about trash day in Highland Park, and another delight. The band has quite a few songs about Highland Park. The set ended with one of the band's many songs about scientists, "Galileo Galilei." "Well, there may be a center, but it's not Earth," the band sings in this one, something certain religious people still haven't grasped. The set ended at 7:24 p.m.

"Gang Of Two"

Charming Disaster was on the stage and ready to go less than ten minutes later. While the Artichoke guys were all in green, the Charming Disaster duo was dressed all in pink. Ellia Bisker announced that they'd come all the way from New York to bring us songs inspired by the dark, and that the set would be determined by a deck of oracle cards, each card representing a song in the duo's repertoire. Not only would we be treated to a delicious set of music, but, after a fashion, our fortunes would be told. Jeff Morris stepped out into the audience to get a volunteer to select the first card, and thus the first song. What was drawn was the Misadventure Card, signifying "Gang Of Two," a song from the band's newest album, The Double, and perhaps a perfect opening number. At one point during the song, Ellia blew up a balloon and briefly played it before letting it fly off. "So that's the current situation," she said after the song, and announced that the second card is "what crosses us." Interestingly, the Artichoke Card was drawn, and when Jeff announced that, the crowd cheered. There was a larger cheer toward the end of the song when Ellia and Jeff held a note for an impressively long time. Ellia played kazoo on that one.

"Showgirl"

The next card was, as Ellia explained, "what crowns us." Jeff announced the card selected was The Captive/Captor Card, and the duo began "Stockholm Syndrome." The next card drawn was the Showgirl Card, for the song "Showgirl," which they mentioned was a true story. The song featured more kazoo toward the end, and was a total fucking delight, one of my favorite songs of the set. Ah yes, we all get carried away at one time or another, and I suppose if we get carried away enough, someone will come and really carry us away. "Grifters" followed, with the lines "Those fish'll be begging for the hook/Reeled in by our seductive serenade." Certainly by that point, everyone in the audience was hooked. Charming Disaster invites an audience into its own realm, its own game, making willing participants of us all. And someone in the audience did me the kind favor of choosing the Lighthouse Card, for the song "Haunted Lighthouse," one of my favorites from the latest album, and the one I would have requested last night had it been that sort of a gig. While the card was being drawn, Ellia mentioned that the card would signify the immediate future, saying playfully, "It's coming up so immediately that this information will not help you." Perhaps so, but the music most certainly helped me.

"Time Machine"

It was after "Haunted Lighthouse" that Ellia explained the type of reading that was being done, the Celtic Cross, and that while the cross was now complete, the final four cards would make up the staff. The duo offered plugs for the various goodies on the merchandise table, including not only CDs and records and T-shirts but also card decks. Then they opened up for a brief question and answer session. The first question someone shouted out: "What's your favorite color?" Ellia answered pink, while Jeff chose black. Another person asked for their favorite dinosaur, and both answered "Triceratops" simultaneouly. Back to the music, the next card selected was the Monsters Cards. "Monsters" is the lead track from the duo's Super Natural History album, released in 2023, and it is a song I love. They delivered a particularly good rendition last night. "We are grotesque and powerful." "Blacksnake" was up next, that song containing a Macbeth reference, which I appreciated. And the woman behind me was especially excited when the next card was drawn, the Manta Ray Card. "Manta Rays," if you haven't yet heard it, is a completely fun song from Super Natural History. It's a song that makes me laugh every time I listen to that album, and it made me laugh last night too. Ellia explained that the final card was the conclusion card, the card that would tie everything together. What was picked was the Time Machine Card. "Time Machine," a song from the latest album, seemed the perfect choice to conclude the evening, with lines like "It's not too late/To change the past/The future, it won't last" and "This moment's all we've got." That and the "Artichoke" card made me wonder briefly if there was a bit of the magician's method of getting a volunteer to select the desired card at play there. But no matter either way. It was a fantastic performance, ending at 8:34. This was the first stop on the band's west coast tour. Those folks in Fresno, Albany (California, that is), Eugene, Portland, Seattle and Vashon should keep an eye out for this band over the next ten days. Check the duo's website for more information.

Charming Disaster Set List

1. Gang Of Two 
2. Artichoke
3. Stockholm Syndrome
4. Showgirl
5. Grifters
6. Haunted Lighthouse
7. Monsters
8. Blacksnake
9. Manta Rays
10. Time Machine

Here are some more photos:

the records I purchased before the show

Permanent Records Roadhouse is located at 1906 Cypress Ave. in Los Angeles, California.