Arielle Silver and Karman Jeanne & The Fish at Maui Sugar Mill Saloon, 5-27-26

Arielle Silver

Last night was the second concert in Karman Jeanne's new music series, "Deep Valley Roots," which is held on the fourth Wednesday of every month at Maui Sugar Mill Saloon. It was a night celebrating singer/songwriters, with a nod to Bob Dylan, who celebrated his eighty-fifth birthday on Sunday. Joining Karman Jeanne & The Fish was Arielle Silver, an extraordinary singer and songwriter based here in Los Angeles. And this time she was part of a trio, called Arielle Silver & The Friday Night Book Club, and that group, made up of Arielle Silver on vocals and acoustic guitar, Darby Orr on bass, and Wendy Kline on violin, kicked off the night at 8:30. It was the first time I'd seen Arielle Silver in a trio setting, and apparently only the second time this group has performed (the first being a month ago at Kulak's Woodshed). It was also the first time Arielle Silver had ever played at Maui Sugar Mill Saloon, or even been there. She opened her set with "Asteroids And Chaos," one of my personal favorites. It was on the line "You say this could be our big chance" that the violin work began to grow, which seemed just exactly right. Certain lines and phrases always seem to stand out, such as "hold each other through the panic" and "love will save us." Those are lines that likely stand out to most people in these strange times. If you've not yet heard this song, I highly recommend picking up a copy of her 2023 album Watershed.

Arielle Silver And The Friday Night Book Club

Also from that same album came "Rickie Lee," the violin playing a prominent role from the right start of the song. And there was a good violin lead a little later. This song also featured an excellent vocal performance. It was followed by an especially pretty rendition of "Riverdock At Sunset" (also from Watershed). "There's a difference between keeping something safe/And helping it to grow." Those wonderful lines, I'm sure, speak to all parents. Arielle Silver played a few new songs last night, the first of which was "Asking For A Friend," the meaning different from Ben Vaughn's song of the same name. Here it is in the vein of seeking a friend. "I don't need to kiss you or fix you," she sings. And, "I'm not going to damage my marriage." It was a really good song. And it was followed by "Even Now," another new song, this one "a song about finding hope in dark times, or creating hope," as Arielle said in its introduction. This song is easily among her very best, up there with "Asteroids And Chaos," and it featured a gorgeous and moving vocal performance. The final of the three new ones was "Only Lonely One," and even though it was new to the audience, the crowd was soon singing along. It looks like her next album is going to be something great. By the way, before "Only Lonely One," she played "What Really Matters," a song from her A Thousand Tiny Torches album, featuring a wonderful bass line. "Only Lonely One" was followed by "Worth Waiting For," a beautiful love song in which she sings, "You are everything worth waiting for." Wendy delivered some excellent violin work, even before that pretty lead. The trio wrapped up the set with "Headlights," a delightful, cheerful-sounding number to leave folks feeling good.

Karman Jeanne And The Fish

Karman Jeanne And The Fish then took the stage, and this time were not just a duo. Joining them were two of Los Angeles' outstanding musicians, Ed Tree on electric guitar and Ted Russell Kamp on bass. They opened the set with "Strange Time." With more of a full band, the song took on a stronger country vibe, which was wonderful. There was a nice instrumental section, during which Karman was on tambourine. A great start to the set. Karman then introduced Ted and Ed, mentioning how Ed Tree is recording the duo. Yes, in addition to being a musician and songwriter, Ed Tree is a producer and has his own studio, The Treehouse. And from the beginning of "Free Rocks For Sale," Ed delivered some cool work on electric guitar. Karman then told the crowd that Jonathan Sheldon, who played fiddle with them at last month's premiere of the "Deep Valley Roots" music series, had been in a bad car accident and suffered a cracked skull, the reason for his absence last night. I hope we'll be seeing him back on stage soon.

"Tell Me Tomorrow" was one of the set's highlights for me, with its wonderful harmonies and some great stuff from Ed on guitar, in addition to the strong lyrics. "Only gravity could make us stay." That was followed by "Buckets Of Rain," the first Bob Dylan cover of the night, to celebrate his turning eighty-five. The song was included on Dylan's fantastic Blood On The Tracks album, and these guys delivered a good rendition. That was followed by "Talkin' 'Bout You," which Fish dedicated to his significant other. There was such a good feel to that song, Fish taking the first verse and Karman taking the second. There was a playful vibe to the set. When Karman requested another glass of hot water, Ed Tree teased a bit of "Smoke On The Water" before starting "Can't Let Go," a song written by Randy Weeks and recorded by Lucinda Williams. There was a delicious, crackling energy to this song. Ted was on backing vocals as well as bass. Following that song, Ed teased a bit of "Paint It Black." The band then delivered a really good rendition of "Take," which was clearly another of the set's highlights even before Karman blew everyone away with that incredible vocal work at the end. They wrapped up the set with a cover of The Band's "The Weight," with Fish on lead vocals.

Ted Russell Kamp with Ed Tree

But the show was not over. In fact, there was another hour and a half of music to go. Ted Russell Kamp returned to the stage for a short set. He opened with "This Old Guitar," a song from his Walkin' Shoes album, released in 2019. It's a song he wrote with Ed Tree, who joined him on electric guitar for it. Ted played acoustic guitar on that one, then switched to bass for his second and final song, "Another Love Song." This song was included on Night Owl and The Low And Lonesome Sound. Karman Jeanne joined him on backing vocals on this one, and the two delivered a sweet rendition. Robert Morgan Fisher was up next, joined by Ed Tree on electric guitar. The two delivered a couple of excellent Bob Dylan covers. The first was a great, moody rendition of "Blind Willie McTell," which became powerful, captivating as it progressed. The second was a really good rendition of "It's Alright, Ma (I'm Only Bleeding)." "This song could have been written last week," Robert said in introducing that one. After the line "On anyone that lives in a vault," he added, "Or under a ballroom."

Ted Russell Kamp with Karman Jeanne

Robert Morgan Fisher

Joseph Eid

Joseph Eid was up next. "I'll start with something old, then do something new," he told the crowd, then opened with "Watch It Fall," the title track to his 2017 release. It's a song that spoke to me, and the line "I always seem to run into him when I've been drinking" made me laugh. He followed that with a new song, the line "But a lifetime ain't enough" standing out to me, and then ended his set with Bob Dylan's "Don't Think Twice, It's All Right." Lorin Hart then opened her set with a cover of Dylan's "Moonlight," delivering a sweet rendition. She followed that with an original number, "Might As Well Be Magic," an excellent song, and concluded with another original composition, "Dreams Of The Earth." Daniel Corey was the final performer of the night. His first song featured some really nice guitar work, which received applause from the crowd. He followed that with "Nearsighted," first saying, "This is a song about disappointment and failure." He sang, "Don't you speak to me/Don't be so absurd." Near the end, he added some whistling, and someone in the audience responded with whistling of his own. He wrapped up the set, and the night, with "Lift Me Up." The show ended at 11:47 p.m.

Lorin Hart

Daniel Corey

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

Brand New Heartache: "A New Alchemy" (2026) CD Review

Brand New Heartache is the duo of Matthew and Eleese Meschery, a husband-and-wife team based in Nashville (and previously based in Oakland). Named after the song originally recorded by The Everly Brothers, and later covered by Gram Parsons and Emmylou Harris, Brand New Heartache is now releasing its first full-length album, A New Alchemy. The album features both Matthew and Eleese on vocals, with plenty of good harmonies. Supporting them are James DePrato on guitar and bass, and Jebin Bruni on keyboards, along with several other musicians on various tracks, including KP Hawthorn, who provides backing vocal work. The album was produced and mixed by Michael Patterson.

The album opens with its title track, "New Alchemy," which has a nice, bright pop energy at its start, fitting for the excitement of new love. "Call it science, call it art." Eleese and Matthew sing the lyrics together, which is perfect. Isn't life at its best when you experience it as a duet? "There's something I can't quite explain/About the way you make me feel/It's the sacred and profane/It's what's true and still surreal/Is it all in my mind, all in my mind, all in my mind." I love how the sound of this track captures that delicious feeling of beginning to fall in love. This song contains a nice section where the focus is fully on their vocals, their voices supported by a steady pulse on drums. Michael Urbano plays drums on this track. A different version of this song was released several years ago. Then "Montreal" has more of a folk vibe at the start, their voices supported by guitar, giving the track a more intimate sound and feeling. "Out here amongst the stars/People spilling from the bars/And it's so cold we can see our breath." I love how the word "breath" has just a bit more breathy delivery, a lighter delivery. This is a beautiful song, and though it takes place in Baltimore, it reminds of a certain night in Boston, one winter day when I met the love of my life. And everything opened up while also simultaneously narrowing the focus to just the two of us. And feeling like we're in another place, like the world is different. "But our dreams shine brighter than the moon/And we won't let this world defeat us/So let 'em know we're coming soon." Kyle Caprista plays drums on this one.

Eleese sings lead at the beginning of "Next Best Thing." Here are the opening lines: "Am I who you wanted, or just what you need/To help you forget someone who haunts your dreams/We have a connection, one I think could last/But not if your heart is still somewhere in the past." Ah, no one wants to be just the next thing. In song, it's all about true love. And in life, it should be too, right? Halfway through the track, Matthew takes over on lead vocals, so we hear from both people in the relationship. And together they ask, "How can we know for sure?" I love the way this song builds. It has a wonderful sound, a sort of pop magic, featuring some nice work on keys. Both James DePrato and Jebin Bruni are on keys for this one. Jim Bogios is on drums. Then KP Hawthorn (of The HawtThorns) joins them on acoustic guitar on "Precious Days." Matthew sings lead at the beginning of this one, and Eleese joins him on the lines, "Time is not on our side/Now we're both on the other side of twenty-nine/And, baby, won't you take my hand/These are precious days that we're wasting." As I get older, I am more and more aware of any time that is wasted, and time spent away from that special person often feels like time wasted. This song also contains some delightful work by Jebin Bruni on keys and a really good beat. Michael Urbano is on drums. These lines also stand out to me, perhaps because I'm here in L.A. while my love is on the east coast: "There's a place high above Los Angeles/Where people walk their dogs and lovers go to kiss/I went there by myself, though I'm not sure what for/Oh, but when I got there, it just made me want you more/Made me want you more." I love this song. It has such a great, positive feel to it, and ends with them singing, "Oh, these are precious days." Perfect.

"I want to fall right into your open arms tonight/Like a fool who's finally found their paradise," Matthew sings at the beginning of "Wedding Rice." Soon Eleese joins him, and together they sound so sweet, so pretty. And she takes a turn singing those opening lines. There is an optimistic and gentle vibe to this song, and their voices are full of love, which can't help but make us feel it too. The opening lines are sung again toward the end, this time Matthew taking the first line and Eleese taking the second. Etienne Franc is on upright bass, and Jim Bogios is on drums. That's followed by "Company We Keep." Some rather playful and yet sweet "doo doo doo" vocal work at the beginning helps set the cheerful tone. Also, the presence of banjo helps in that direction. James DePrato plays banjo. "Blame it on the new company we're keeping/Blame it on the one who's been keeping us from sleeping/You can see it in our eyes/That learning curve is steep/And you can blame it on the new company we're keeping." Yes, it's a song about a baby. "Who are these people that we've become?" Ted Pecchio is on bass, and Darren King is on drums. There is more of that "doo doo doo" vocal work near the end. And you know everything is just fine, regardless of a lack of sleep and not getting out to the bars.

It is interesting how as the album continues, we can't help but think it follows the course of a single relationship from the beginning to the arrival of a child, and now into problems with "Hold Fast." Eleese begins this one on vocals: "I never thought that I would see the day/Ten years on since we first met/To think we might just throw it all the way/With incriminations and epithets." When Matthew comes in, they both sing, "Do you think we can hold on, make it through the night/Do you think we can stop pretending one of us is going to win the fight." The vocal work is particularly beautiful on the song's title line, especially the way Eleese reaches some higher, lighter places. And it is that very vocal work that gives us hope that they can hold fast, and hope for the rest of us too. Kyle Caprista plays drums on this track. Then "Raise The Shade" is a fun one, with a good, positive energy. Sarah Aili joins them on backing vocals. "Let's make a deal and only play love songs/The ones that make you feel and rock it like Chaka Khan/Because it's been far too long that we've been feeling blue." Those are interesting lines, when all the songs on this album are love songs, in as much as they're all about love, about a relationship. This track features a good lead on electric guitar. Matthew Szlachetka plays guitar on this track. Jimmy Wallace is on keyboards, and Darren King is on drums. "Watch the sunlight make the room glow." This music itself seems to have that ability, that power. There is a glow to this music.

"Moving Song" features a really nice rhythm. Darren King is again on drums. Both KP Hawthorn and Sarah Aili provide backing vocal work here. "And I don't care where I reside/I got my baby by my side." I've been thinking about this a lot lately. Can we be happy wherever we are, just so long as we are together? I love the optimistic, positive bent of this song, the excitement that is in their voices as they sing, "It's a trip when you're crossing the state line/Moving fast because we're running, running out of time." And that's something else I can't help but think of: time, and how it moves much too quickly, and there's just too little of it. Matthew then begins "Eurydice": "I'm tired of being worried/And I'm worried that I'm tired all the time/I'm always in a hurry/But somehow I'm still so far behind." Those opening lines certainly speak strongly to me. Eleese soon joins him. "And you can have my heart/But you have to take me too." This is an excellent song. I love how it takes on a good energy. It feels true, it feels important. By the way, the first time I listened to this disc, I had just seen a production of Antigone, so when I looked at the track list I was thinking of that Eurydice, the wife of Cleon. But this song is related to that other famous Eurydice, the wife of Orpheus. You know, the tale where he is allowed to rescue her from underworld, as long as he doesn't look back at her. "Don't look back for me, because I don't want to be/I don't want to be your Eurydice/It's an act of faith, it's a test of trust/And in those times when I can't keep up/I promise that I'll always be right behind you."

"Younger Us" has a sweet folk vibe, and features some nice harmonies. "After all these years, it's still hard to know/If we're hanging on or letting go." This is a song that asks, "What would the younger us say?" I imagine there are many folks who understand that question. Matthew Szlachetka is on guitar, Mitchell Cardenas is on bass, Jimmy Wallace is on keys, and Darren King is on drums. The album concludes with "Someone Else." "If I didn't love you, then I would be someone else." That's a strong opening line. I think we all get it. How can we imagine not loving our significant others? We would have to be someone else. This track features some wonderful work on strings by Alisa Rose. Nat Gleason is on both keys and electric guitar. This song touches on the fear of forgetting in old age. To forget that person you love is terrifying. That would be the worst aspect of suffering from Alzheimer's. Life is so short as it is, and to have your life taken away before you die is a horrible fate. "I can see the reflection in your eyes of who I am and who I'm supposed to be." This is a remarkable album. I'm looking forward to hearing more from these guys.

CD Track List

1. New Alchemy
2. Montreal
3. Next Best Thing
4. Precious Days
5. Wedding Rice
6. Company We Keep
7. Hold Fast
8. Raise The Shade
9. Moving Song
10. Euydice
11. Younger Us
12. Someone Else

A New Alchemy is scheduled to be released on July 24, 2026 on Mule Kick Records.

Fernando Perdomo: "Clouds 5" (2026) CD Review

Fernando Perdomo is continuing his year-long Clouds project with Clouds 5. For those who aren't yet familiar with this project, Fernando Perdomo is releasing an album of new material on the first of every month. Not only does he write all the tracks, but plays all the instruments and produces the albums. And this is the second such project he's undertaken, the first being last year's Waves. The photo on the cover Clouds 5 grabbed me because it's unlike any of the photos from the other volumes so far, as well as unlike any of the Waves covers from last year's series. It's the first dark sky to be depicted. And as I was looking at the album cover, I wondered if the image, taken by Sheila DeChant, would reflect the music.

Well, the answer is Yes. The first track, titled "The Dark Mass," has a contemplative vibe, along with a sense of loneliness, particularly early on as the music seems to speak out into the darkness without receiving a reply. What's interesting is that it is not long before we realize we are being soothed in our solitude, that a sort of peace is found there. Like a single light hitting us in our own singularity. And then, just as we've begun to feel that sense, the music turns slightly, just enought to set us at unease before its conclusion, which is also interesting. That is followed by "Overcast," and here the guitar seems to be testing the waters, testing the air, seeing if a small action might have unusual repercussions, create ripples in the sky. The guitar work is pretty, and this idea of sending beauty up and out is appealing. After all, it seems what we as a species are putting out there these days is anything but beautiful. Perhaps the cosmos would respond if we tried a different tactic. And even if we can't get in touch with anything out there, this music helps us reach inward as well. 

There is perhaps a slight hesitation at the very beginning of "The Baron," but it might be more from weariness and caution, for now we sense the presence of someone of experience, someone unlikely driven to rash or impulsive action. The solo guitar work here is soon captivating, creating an intriguing character. There is a beauty here too, a beauty that comes from wisdom, that rises from taking in one's surroundings and really seeing them. This is one of my personal favorite tracks, and it seems to lift us as it reaches its conclusion. Then a gentle hand is present in "Honey," offering a soothing, friendly reminder that we are okay, that there is nothing that demands our attention right now. A sweet light drips down upon us. The music grows in intensity at one point, only to then release us again into a pretty place, with stars twinkling around us, and we're safe.

With "Bangor Sun," we immediately find ourselves in an unusual place, a space of both light and dark, a place of rhythm and breath, with a pulse that is like a current running beneath us. Sometimes it feels like a swim through darkness. Spots open within the darkness, light coming in through them, and maybe something also rushes out through those openings, those gaps. Reality changes around us, even if we are somehow able to remain still. Perhaps we are carried on that current, and we feel it like a gentle dance. This is another of the album's highlights for me. Then "Anything Can Happen" feels like a continuation of "Bangor Sun." We feel light, untethered, drifting, with every direction open to us. And beauty lies in all directions. This is a short track, just under a minute long.

The very first moment of "Move With Life" is gentle; then almost immediately the music begins to increase its pace, its intensity, as if it needs an answer, aware that time is short. Sometimes, being aware of that, we rush forward, whether that's the right direction or not. And almost as quickly, the music seems to realize a pause, a breath is warranted, is probably beneficial. Take a look around, and then we see the urgency is no more. What a great feeling that is. Floating free. And then, having taken that breath, having looked around, a specific direction is chosen. Or perhaps it is that something from that direction demands our attention, and for a moment we are caught up in its action, its urgency becoming our own. But we'd learned something and so are able to take a step back, to assess, to see the pattern, to choose whether to let it drive us or not. There is some wonderful, expressive guitar work throughout this track. It is another of the album's highlights, and it leaves us feeling good, like we can face whatever might come our way.

With "Big Sigh," I love how the music feels like a smile growing, almost without us realizing it, and the smile might very well be our own. Isn't it wonderful how music can do that? Then there is a joy to "NeeNee," like a dance that takes place in some inner spot. It is like a bright mantra, and a deeper response. It's an interesting piece. It is followed by "The End Of An Astounding Day," which eases in, perhaps a voice of reflection. Then, remembering something exciting, it becomes excited again, before then relaxing, taking pieces of joy, pieces of beauty from the experience and holding them again to view before letting them go. They fly up and around, lingering as dancing lights before disappearing into the night. And then, after a breath, it is time for us too to let go.

CD Track List

1. The Dark Mass
2. Overcast
3. The Baron
4. Honey
5. Bangor Sun
6. Anything Can Happen
7. Move With Life
8. Big Sigh
9. NeeNee
10. The End Of An Astounding Day

Clouds 5 was released on May 1, 2026.

Ellis Paul at McCabe's, 5-24-26 Concert Review

Ellis Paul

Last night marked the end of an era of sorts, as Ellis Paul played his final full show with the guitar affectionately known as Guinness. Yes, after fifteen years, a lot of shows, a lot of travel, and some bumps along the way (some damage caused by United Airlines), the guitar is retiring. It will soon be, at least for a time, hanging in the Folk Music Hall of Fame in Boston, where it has certainly earned a place. And Ellis Paul explained to the audience at McCabe's last night just why it was fitting that this guitar's final full show should take place at that particular venue. For, while not purchased there, the story of this guitar did begin there. More on that in a bit.

There was no opener for this show, and right at 8 o'clock, Ellis Paul took the stage. The man who introduced him mentioned something about the guitar, and so the audience was of course curious. "This is the last gig I'm ever going to do with this guitar," Ellis told them. "This is like Michael Jordan's last basketball game, like Pavarotti's last concert," he joked. And he opened the show with "3,000 Miles," which felt especially fitting, this guitar having traveled many more miles than that in its fifteen years. The audience, knowing the song, sang along. Afterward Ellis remarked that everyone sounded good. He then strapped on his harmonica for a sweet, pretty rendition of "Rose Tattoo," one that featured some excellent work on that harmonica. "If I ever lost you/I would be lost too." Seemingly simple, yet powerful and meaningful lines, ones that strike right to the heart of things. And, hey, we all need someone to say, "Hey, I've got your back." Just before the end of that song, Ellis gently teased the crowd, "You're so damn quiet, you're so very quiet, I can't believe how quiet." He told them he was going to fade the song out like in the 1970s. "Some of you remember," he said, then, looking at the audience, amended it to, "all of you remember the '70s."

Ellis Paul then told the story of Guinness, how the story of that guitar began with the story of another guitar, a guitar he spotted at McCabe's one day before a show. It was a guitar he fell in love with, but which cost $7,000. A guitar he felt he couldn't afford, but which would not leave his thoughts. And so the next time he was in town, he had decided it would be his. But when he went to the case at McCabe's, the guitar was no longer there. It had been sold. To Neil Young. He promised himself he'd never let another guitar break his heart. But it wasn't long before he was at a venue in Oklahoma, a place apparently similar to McCabe's (I haven't been there), and there he met the guitar that would later be named Guinness. The price tag on that guitar was $10,000. He wasn't going to do it, not until he got word that Neil Young was going to be stopping by the place. If you're familiar with Ellis Paul's music, you know he's a great storyteller within his songs. But he's also a great storyteller, period. Let me explain it this way: the story received applause last night. And I think people there appreciated the part that McCabe's played in this story.

When Ellis announced his next song, "Kick Out The Lights," there were cheers from some folks. It was clear they were ready to sing along, or shout along, as the case may be. This song has always had an audience participation element, though it has changed in recent years. It used to be that the men would sing "Kick out the lights," and the women would sing "Johnny Cash, Johnny Cash, Johnny Cash." Now Ellis sings the "Kick out the lights" line by himself (along with, perhaps, a few of us who were too well trained to completely let it go), and everyone - men and women and anyone in between - shouts out "Johnny Cash, Johnny Cash, Johnny Cash." It's always a fun song, a crowd-pleaser, and last night it featured some very cool stuff on guitar toward the end. That was followed by "This Is Where All Good Trees Go," a song that he only plays at McCabe's. It was a song he improvised one night here many years ago, and then, unlike most improvised numbers, it was one he actually remembered the next time he visited southern California. And so it found a regular spot in his McCabe's set lists. He played it unmiked and in the audience. Before the song, Ellis told the story of Elizabeth Cotten playing the first show at McCabe's, a story I'd learned only a couple of hours earlier. For those who are curious, there is a new book on the history of McCabes titled Live At McCabe's Guitar Shop: Santa Monica's Legendary Music Venue (I need to pick up a copy when I have a few extra dollars).

Ellis stayed in the audience for the next couple of songs. The first of those was "What Could A Horse Do," a song written about a veteran suffering from PTSD. The line "It went dark, it went dark, it went dark" was especially captivating, gripping, the way he delivered it, just a whisper by its last word. Ellis then mentioned that he feels the world is a mess right now and so he's decided to end every song on a ninth chord, and explored a bit the effects of the sound of those chords. The other song he played within the audience was "Gold In California," a song about Big Sur. When he was introducing it, a guy shouted out that he was married there. "I love it like it's my home town/But I wasn't born here." The audience sang along on the words "in California." Ellis then returned to the stage for "Holy," which he played on the upright piano. If forced to pick what I think are Ellis Paul's best songs (and no one is forcing me to do that), it would be "Maria's Beautiful Mess" and "Holy." They are certainly not just among his best songs, but among the best songs by anyone anywhere. "Holy" often has me in tears. It's beautiful and hopeful, and it works a certain magic on us, because it plays on what we know of the outcome with the hope of the character. If you haven't yet heard this song, I highly recommend purchasing a copy of his 55 album. Not only is this song on it, but also "Gold In California" and "When Angels Fall" (the latter a powerful song addressing school shootings).

"Alice's Champagne Palace" was next, a song about a place in Homer, Alaska. Once upon a time this song too mentioned Los Angeles, but "L.A." has since been dropped from the line "If you're from New York, L.A., Dallas." But it's still a great song. It was followed by another of my personal favorites, "You'll Never Be This Young Again," a song that reminds us to go after our dreams, no matter what our age, no matter where we are in our lives. It's not too late, friends. And even if you don't need to hear that message, it's still an absolutely wonderful song. Ellis had still more to say about McCabe's: "If I could play this place every week, I would, and I would take my payment in guitars." Okay, let's arrange that. I would love to be able to see him on a weekly basis, like I was able to do back in the late 1980s and very early 1990s. He followed "You'll Never Be This Young Again" with "I Ain't No Jesus." "The only miracle I've seen is I can call you mine." Ah, yes! He then concluded the set with a cover of John Prine's "Angel From Montgomery," performed unmiked in the audience, the audience singing along. A really nice moment. The show ended at 9:30 p.m. Interestingly, rather than calling out for an encore (it was clear there wasn't going to be one, as Ellis had to get to Lares for mango margaritas before 10), some folks asked for the explanation of why Guinness was being retired. And so Ellis explained about the cracks, the damage to the guitar, and how it sometimes goes out of tune. Well, everything sounded great at this show. Guinness went out in style.

Set List

1. 3,000 Miles
2. Rose Tattoo
3. Kick Out The Lights
4. This Is Where All Good Trees Go
5. What Could A Horse Do
6. Gold In California
7. Holy
8. Alice's Champagne Palace
9. You'll Never Be This Young Again
10. I Ain't No Jesus
11. Angel From Montgomery

McCabe's is located at 3101 Pico Blvd. in Santa Monica, California.

The Oddity, The Smokey Lonesome, and Mini Mendez & Tom Dunne at Music Garden L.A., 5-23-26

It was beautiful day in Los Angeles yesterday, a perfect day to catch an outdoor concert. And fortunately for us, there was a damn good lineup at Music Garden L.A. in Highland Park, a lineup that included Mini Mendez & Tom Dunne, The Smokey Lonesome, and The Oddity. How's that for a Saturday afternoon in the sunshine? Can you beat this city?

Mini Mendez & Tom Dunne

Mini Mendez and Tom Dunne kicked off the show at 4 o'clock. The previous day, Mini Mendez had described the show online as "a set of our sappy love songs played with semi-correct chords." He loves to sell himself short, but that description does capture the delightfully loose and playful vibe of the set. Mini was on vocals and guitar, and Tom was on drums and backing vocals. They opened the set with "Friday Night I'm Wearing Blue," a song that was released as a single in 2018, Tom using brushes on his snare. It's a wonderful song, and it's over before you know it. Sappy? Not at all. "Too loud?" they asked afterward. Also, not at all. In fact, someone mentioned that Mini Mendez's guitar should be turned up. On the next song, he sang, "I would fall in love with you," and then whispered, "Again," which was striking. As he repeated the word "Again," it grew in power. They then played just a bit of The Bay City Rollers' "Saturday Night," because it was that kind of a fun gig. And, I suppose, because it was Saturday night. Well, Saturday afternoon. And don't The Glimmer Stars have a song about The Bay City Rollers? The set also included a sweet rendition of "Paulina," with some nice harmonies on "Her name, her name, her name." Mini Mendez then began belting out that line. "That chick broke my heart," he said afterward, adding that he has many songs with women's names. Indeed! Later in the set he played a song titled "Cynthia." They're all about a girl, as he said. The line "And I'll try to be real cool, but I'm not fooling anyone" made me laugh aloud. Then from "You Dropped The Bomb," a line that stood out to me was "Dressed up in sweet despair." What a great line! That was to be the end of their set, but folks called out for more. "We don't have any more," they said. What they ended up doing was "Nice," a Glimmer Stars song, with Mini Mendez adding "Highland Park" to one of the lines. That led straight into a bit of Big Star's "In The Street," with Tom providing some finger snaps, to wrap things up.

The Smokey Lonesome

The Smokey Lonesome was up next, with guitarist Dave Porter sporting a Tranquilina T-shirt (Tom was in the audience at that point, and so were Gloria and Sophia Delgado). The Smokey Lonesome kicked off the set with "Koa Box," and immediately the energy we've come to associate with this duo was crackling. I love it when Natalie Fratino attacks that standup bass. Natalie then sang lead on a cover of "Ophelia." I always dig the guitar work that Dave adds to that song. That was followed by "Frontera," the lead track from the band's 2024 EP Desert Run, a fun one every time they perform it, and then "Heartbroken Heartbreaker" and "Jasmine." After a brief mention of the merchandise table, they went into "Ways To Be Wicked," and if the energy was high before, the duo was really rocking things now. Natalie then told the audience they were going to need a little help on the next song, asking the crowd to call out "California" at the appropriate moment. No need to explain just when that moment is, for the song - "Cannabis" - is one of their most popular songs, and everyone in the crowd seemed to know when to join them in shouting "California!" "Cannabis is legal, oh, in California." I sometimes forget that cannabis is still illegal in other parts of this country. While switching guitars, Dave told the crowd, "You know, it's Gabriel Johns' birthday week." The duo then played "The Smokey Lonesome," one of my personal favorites. It's a song to sing around the campfire, if you've just managed to escape the law and you're burning some evidence in that campfire. So good! It was followed by a kick-ass version of "Desert Run" and then a cover of "Silver Threads And Golden Needles" to close out the set. But the audience demanded more from these guys as well, and they played a request for "Paulito's Old Lady," a fun, wild number with a punk energy.

The Oddity

The Oddity closed out the afternoon. For this show, the group was the duo of Gabriel Johns on vocals and guitar and Boomer Bearman on drums (Michael Gavigan was unable to make it). You probably know Gabriel Johns from his work in Slamdinistas. "We are The Oddity, minus one," he announced before kicking off the set with "My Turn To Die," which has the lines "I'm not wasting my time/Waiting for my turn to die." It was a great choice of openers. "I write a lot of songs about death," Gabriel said afterward, adding that tomorrow is promised to no one. Indeed. That's something that's been on my mind a lot lately, and very few things irritate me more than someone wasting my time. That was followed by "Whose Life," which asks the question, "Whose life is it anyway?" And then we were treated to a cover of "Mixed Up, Shook Up Girl." There was a positive, even empowering, sense to this music, and Gabriel introduced "Difference" by saying that he believes we can all make a difference somehow, somewhere. That song was one of the set's highlights, and it was followed by another highlight, "I Don't Want To See You," which had a jazzy vibe and good rhythm. "See if you recognize this," Gabriel said before Boom Bearman began the next song on drums. The song was a cover of "Pocketful Of Rainbows," which Elvis Presley recorded for the movie G.I. Blues. That was followed by a new song, "Speak Free," a very cool number that ended up being another of my personal favorites. Then "I Get Sad" featured a delicios beat, and was yet another of the set's gems. There was also some excellent drumming in "Truth," and then a great energy to "We're Coming Home." That song led straight into "Girl With The Big Surprise" to wrap up the set. But once again, the crowd wanted more. The Oddity chose to do a cover of "Wild Horses," with Mini Mendez joining Gabriel on vocals. What a great afternoon of music!

Music Garden L.A. is located at 5133 York Blvd. in Highland Park, California.

Red Rockers: It's In Our Blood Blu-ray Review

Red Rockers are perhaps still best known for the song "China." That song was released in 1983, and was a mainstream hit. But before that, the band had released a great punk album titled Condition Red. In October of 2023, Condition Red was re-issued on vinyl (on clear red vinyl, no less), with a few bonus tracks. To celebrate that special vinyl release, the band reunited for a show at Tipitina's in New Orleans. That show was filmed, and is now being released on Blu-ray. The show is also being released on both CD and vinyl (and apparently this too is on red vinyl), though those formats are missing four songs that are on the Blu-ray. Interestingly, the Blu-ray feature does not include the full concert. The band played several covers at the end of the set, including "Helter Skelter" and "Cherry Bomb." Those songs, while not included in the main feature, are included in the special features. So the one song missing from the disc is the first version of "Guns Of Revolution," a song that was actually played twice at the show, once near the beginning of the set (it is the lead track of the album), and then in the encore. There are some other special features, and the Blu-ray also includes a liner notes insert written by Audrey Faine. By the way, the performance features three of the four band members who played on the original record: John Thomas Griffth on lead vocals and guitar, James Singletary on lead guitar and backing vocals, and Darren Hill on bass and backing vocals. Drummer Patrick Butler Jones had died, and this show features Bryan Barberot on drums.

There is an odd introduction, including children reciting the Pledge of Allegiance, which apparently was part of the show, and the band kicks off the set with a cover of "I'm So Bored With The U.S.A.," which was always one of my favorite Clash songs, and is a good way to announce that this is a punk show. The film starts with a wide shot, then begins to zoom in on the band. And soon we are treated to a few different angles. I appreciate that the editor didn't go crazy with an abundance of quick cuts among the different cameras. At the show, the band next played "Guns Of Revolution," but that is skipped here, and we get the second song off of Condition Red, "Teenage Underground." "I don't care what's right or wrong/I got everything I need." It's a fun song. And true to the band's name, these guys are rocking. We can see some folks in the audience getting totally into it, dancing. 

"This is a song about friends," they announce, and go into "Peer Pressure," a song with an undeniable power behind it. This is great, and makes me wish I could see this band in concert. I know they reunited for another show at this same venue in 2025, but it would be great if they did a tour. "Peer Pressure" is followed by "Nothing To Lose," one of the songs not included on the CD or vinyl. This song comes from the band's debut EP, Guns Of Revolution, released in 1980. It's cool that the band slipped this one into the set list. John thanks the crowd for coming out, and talks a bit about the beginning of the band. They then return to the Condition Red material, which is played largely in order. "Can you hear the people/Now listen, New Orleans," John sings in "Can You Hear." This song contains a cool section with bass and drums, and also features some good stuff from James on guitar. Then "Know What I Think" begins on drums. When the rest of the band comes in, the rhythm changes and the energy increases. This is the song that contains the line, "You die a rocker, you die red."

After a brief bit of tuning, the band goes into "United We Stand," which begins with a sort of chant of "United we stand, divided we fall." This one hits hard. Have we as a nation ever been more divided? I'm not sure, but it feels close to impossible to unite again. I don't think anyone even wants to. The crowd joins in on the "United we stand, divided we fall" line. The song ends with the more positive, optimistic half of the line, "United we stand." This song, by the way, was not on the original release of the record, but was included as a bonus track on the 2023 vinyl edition. The band dedicates "Dead Heroes" to veterans. "Who are not losers," they stress, referring to something that the criminal in the White House said of veterans. Keep in mind also that this show was held on Armistice Day, marking the end of World War I, later renamed Veterans Day in this country (though not in other countries). The introduction is not included on the CD.

On the original record, "Grow Up" followed "Can You Hear." Apart from the additional songs sprinkled throughout the set, "Grow Up" is the only song played out of the original album order. This is another hard-hitting, fast-paced number. "Hey, we're all grown up now," James says afterward. The band then moves to the band's 1983 album for the hit "China," but delivers more of a punk version of the hit song, which is cool, leaving me wondering if this is how the song was originally envisioned. This is one of the songs not included on the CD or vinyl versions. Then we return to Condition Red for a cover of "Folsom Prison Blues," which follows "Dead Heroes" on the record. Interestingly, though it's on the original album, it is one of the tracks not included on the CD and vinyl releases of It's In Our Blood. I love this band's punk rendition. As on the record, they sing the line "But I killed some bitch in Reno just to watch her die."

Next up is the Condition Red title track. Before they start it, John holds up a copy of what he calls "the fortieth anniversary release of the album that we're playing tonight." Darren corrects him, "Forty-two years, John." John then opens the copy of the record to show the red vinyl. "That's about as red as it gets, ladies and gentlemen." He mentions that Patrick died a year and a half earlier, which confused me because I had read that his death occurred in early 2023. Anyway, they dedicate the song to him, and John introduces the new drummer. This is an excellent song, and this version leads straight into a cover of The Who's "My Generation." That's followed by "Hold On," a heavy number, in which they sing, "I don't know if I can hold on."

"Missing In Action" is a song that was not on the original release of Condition Red, but was included on the 2023 re-issue. "And now I'm missing in action/I'm not where I want to be." Another song that is especially fitting for the date the concert was held. The band then goes back to the original release with "White Law," the album's penultimate track, a song about racism and violence. That's followed by "Voice Of America," another song that was not on the original record, but was included on the 2023 re-issue. It was first released as the flip side to the "China" single. "The rich are getting richer, but that's not helping you." Indeed. Then we get the final song of the original album, "Live Or Die." "Sometimes you know you're in trouble/Sometimes you've got to get away." Oh yes, I think we all want to get away these days. That's followed by a cover of "Almost Ready," which is not listed on the Blu-ray case. It's a punk song by The Normals, released as a single in 1978. Before the song, John mentions how the band The Normals gave them their first gig. They deliver a really good, fun rendition. This song is not included on the CD.

The concert concludes with "Guns Of Revolution," which as I mentioned is actually the first song of the record. At this show it was played right after "I'm So Bored With The U.S.A" and then again in the encore. The first version is not included on the Blu-ray or CD. John reminds the crowd that this was the single that started the whole thing. After that song, the Blu-ray includes some early footage of the band, beginning with a shot of Patrick Butler Jones. On the screen it says: "Dedicated To Patrick Butler Jones, 1959-2023." So I guess when John said he died a year and a half ago, he was just wrong. It was more like nine months ago. Time can be tricky like that. If you watch the credits, you'll see that this release is "In Memory of Ross Humphrey," and then: "And The United States Of America 7/4/1776 - 11/5/2024," which is exactly right. That was the day the convicted felon and rapist was re-elected. The image on screen is a U.S. flag in flames. That is followed by a still from the end of Planet Of The Apes, with the Statue of Liberty reaching out of the sand. This makes me love this band even more. The feature concludes with a few fans talking about the band outside the venue.

Special Features

As I mentioned earlier, the other songs the band played at the show, the covers, are included in the bonus material. And these songs feature guest vocalists. First is The Pretenders' "The Wait," with Karen "Kiki" Anklam (from Glamarama) joining the band on vocals. They give us a good, energetic rendition. That's followed by "Helter Skelter," with Jonathan Pretus on vocals. As you'd guess, these guys give us a strong, heavy rendition. Then Brad Orgeron (from Contenders) joins the band on vocals for a cover of "New Rose" by The Damned. The final of these covers is The Runaways' "Cherry Bomb," with Stephie Morgan (from Stephie And The White Sox) on vocals. This is a song I love, and Stephie is having a good time with it.

There is also a short behind-the-scenes bit for the band's "China" video from 1983, something I don't recall ever seeing before. It's wonderful that this is included. That bicyclist in one shot has trouble, which is funny, and after a take he's told to walk the bike. The special features also include a 1981 live performance of the band at Spit in Boston. The energy is fantastic. I wish I'd been old enough to attend this show. There is some great footage, both of the band and the crowd, and the sound is shockingly good. Songs include "Know What I Think," "Desperate Times," "Voice Of America," "Teenage Underground," "Peer Pressure," "Can You Hear" (in introducing that one, they mention the album on 415 Records), "White Law," "Hold On," "Shakin' All Over," "Folsom Prison Blues" and several others. This is approximately thirty-eight minutes. The final bit of bonus material is titled "Jim Reilly Joins Red Rockers," and it includes interviews with Darren Hill, John Thomas Griffith and James Singletary, all talking about how Jim Reilly (from Stiff Little Fingers) joined the band on drums. This is approximately two and a half minutes.

Blu-ray Song List

1. I'm So Bored With The U.S.A.
2. Teenage Underground
3. Peer Pressure
4. Nothing To Lose
5. Can You Hear
6. Know What I Think
7. United We Stand
8. Dead Heroes
9. Grow Up
10. China
11. Folsom Prison Blues
12. Condition Red/My Generation
13. Hold On
14. Missing In Action
15. White Law
16. Voice Of America
17. Live Or Die
    
18. Almost Ready
19. Guns Of Revolution

Red Rockers: It's In Our Blood was released on Blu-ray today, May 22, 2026, through Liberation Hall.

Soul To Soul Blu-ray Review

In 1971, several groups and artists traveled from the United States to Ghana to put on a special concert. It was a meeting of cultures, and a celebration. A documentary was made of that trip. Directed by Denis Sanders, the film was released in theaters later in 1971, and on DVD in 2004, with Roberta Flack's part sadly excised at her request. And now the film has gotten a Blu-ray release. It's a shame that the Roberta Flack footage couldn't be reinstated. I wonder who is in charge of her estate. But at any rate, it's a wonderful film, featuring some incredible performances by Wilson Pickett, Ike & Tina Turner, The Staple Singers, Les McCann & Eddie Harris, Santana, and Voices Of East Harlem. It's not a simple concert film, but a documentary on the whole trip, the film giving us a chance to experience it with the muscians.

It opens with some great concert footage of Ike & Tina Turner performing a song called "Soul To Soul," written for the occasion. Tina Turner is completely captivating. From there, the film takes us onto the plane traveling to Ghana, the co-pilot providing the musicians (and us) with some information on the country. Some interviews with the musicians are conducted on the plane, with the artists getting a chance to explain what they're doing and why, and why they're excited. It's wonderful that these interviews are in and of the moment, rather than conducted afterward with the musicians looking back and trying to recall precisely what they were feeling at the time. The footage of their arrival at the airport is also interesting, the way they are welcomed, reminding us a bit of that footage of The Beatles arriving in the United States. It seems the folks there are particularly excited about Wilson Pickett. The film goes with the musicians as they eat, as they shop, as they themselves are entertained by local performers. Some of that footage is among the best of the documentary. Just check out how much Tina Turner is enjoying a local performance. There is delightful footage of the musicians interacting with the local populace. And later we are treated to more glimpses of life in Ghana, including a visit to a slave castle. We've all seen footage of people carrying great bundles of various objects on their heads, but what is striking about that footage here is the wide variety of things people transport that way, including a sewing machine and a plate of several dozen large, unsheathed knives (the latter making me nervous).

In addition to the U.S. musicians, there are local musicians taking part in the concert, and the film includes some footage of them as well. One of the first groups of musicians we see is a group of drummers. There is a lot of excellent drumming in this film, something I especially appreciate. And it comes from both the United States musicians and the local musicians. Rhythm is an important part of this film, of this experience. And speaking of great drumming, one of the film's highlights is, unsurprisingly, Santana's performance of "Jungle Strut." It's always a joy to watch this band, especially footage from this period of the early 1970s. Just watching Carlos Santana's expressions while he plays is a joy. The band goes straight into "Black Magic Woman," which features more delicious drumming. Les McCann and Eddie Harris deliver a good rendition of "The Price You Gotta Pay To Be Free," featuring some nice work on saxophone. The Staple Singers deliver a passionate rendition of "When Will We Paid," in which they ask, "Will we ever have peace and harmony?" And then they pick up the pace with a gospel number. Another highlight for me is the Ike & Tina Turner footage. Tina gets the crowd involved during "Ooh Poo Pah Doo" and then a phenomenal "River Deep, Mountain High." She digs into the blues for a fantastic rendition of "I Smell Trouble," one of the best moments of the film. The part when she interacts with Ike's guitar is absolutely wonderful. And Wilson Pickett's "Land Of 1000 Dances" is a whole lot of fun.

Special Features

The disc contains four separate commentary tracks, all of them moderated by Rob Bowman, who, by the way, also wrote the thorough liner notes booklet. The liner notes get into the problems with the contracts and how Roberta Flack was originally in the film. "The master tapes of the complete festival seem to have been lost," Rob writes. That's a shame because I would love to see, or at least hear, the entire fourteen-hour concert. Anyway, the first commentary track is with Mavis Staples. About the Ike & Tina Turner "Soul To Soul" song, she says, "They may have wrote it on the plane on the way there." She also talks about the plane being overloaded. She mentions how the pilot announced, "Smoke whatever you want to." She says her father's grandfather was a slave. She also talks about the songs they performed. "We felt good about our set," she says. And she reminds us, "Music is healing for the soul." The second commentary track features Les McCann and Kevin Griffin. Kevin talks about being dropped off with Ike and Tina Turner at the other end of a field in pitch darkness, and talks about being a pastor now. Lee says the outfit he's wearing on stage is something he picked up in Africa. Les also talks about Amoah Azangeo, and about how he did not know what that man was singing. The third commentary track is with producer Tom Mosk and David Peck (who worked on the re-release). Tom provides some of the background of the project, how Ghana was chosen as the location, and talks about first wanting to film a James Brown concert in Nigeria. The final commentary track is with Ike Turner, Michael Shrieve, Obo Addy, Kevin Griffin and Les McCann. The track starts with Ike Turner, who talks about the choreography of the performance. Then Michael Shrieve comes in, revealing how he forgot his passport, and how Mavis Staples was his favorite person on the whole trip. He says her voice is an inspiration to him. Later he talks about redoing the drum part on "Jungle Strut," which is particularly interesting. Obo Addy, a Ghanaian drummer, comes in when we see the musicians being welcomed at the airport. Later, Kevin talks about that moment on the plane when he's asked about African music. Considering how many different people take part in this track, it's strange that there are long moments without any commentary.

The special features also include an outtake of Ike & Tina Turner performing "I've Been Loving You Too Long." Check out the way Tina handles that microphone. Oh yes! It's a powerful performance, and is nearly six minutes long. Also included is the 2025 trailer for the film.

Soul To Soul was released on Blu-ray on February 20, 2026 through Liberation Hall.