Matthew Muñeses/Riza Printup: "Pag-Ibig Ko Vol. 1" (2025) CD Review

In 2022, saxophone player and composer Matthew Muñeses released Noli Me Tángere, an album of music inspired by the work of José Rizal, a Filipino writer of the nineteenth century. Now he is continuing his exploration of Filipino music on Pag-Ibig Ko Vol. 1, this time with harpist Riza Printup, who also has Filipino roots. This album focuses on kundiman, Filipino love songs. Two of the pieces from Noli Me Tángere are revisited here, but with different arrangements, and a much different feel, as that earlier album featured a quintet. 

The album's opening track, a cover of the classic Filipino love song "Dahil Sa Iyo," begins with some gentle, pretty work on harp. There is a hint of melancholy, evoking the sort of memory or image that can lead to smiles or tears. Sometimes we just look at that person who has our heart and feel we could burst into tears for the sheer wonder of it all, and the pain of it. Matthew Muñeses' work seems to describe, or capture, the moment perfectly, and maybe says what, at times, we are unable to. The way love can open up something within us, and seemingly outside of us too, showing us the entire world in a better light. Put this album on and hold your loved one close. It is so sad to think it will end one day, that death will separate us forever. There is a delicate beauty to "Nahan" as well, and a warmth, as it begins. It feels like a love that is spoken softly, for that special person is right there. And even if the world around is dark, dismal, disjointed, there is a safe spot here in a lover's arms. Love is what it's all about, after all. Most of the rest is nonsense, to be endured, or ignored if possible. The music seems to suggest, or urge us to relax and let go of the world, at least for a time.

"Kundiman Ni Rizal" is one of the pieces that Matthew Muñeses included on Noli Me Tángere. There is a more somber aspect to this one. There is beauty here, of course, but also a sense of obligation and, perhaps because of that obligation, of loss. There is something familiar about the theme. And though there is an intimacy at play, there is something larger at work here, something outside of any couple, forces that affect them. I hear goodbyes within the framework, hoping they are not permanent separations. That is followed by "Minamahal Kita." In this gorgeous expression of love, there is joy, contentment. It is a magical land where love is both of the moment and eternal. May we all live within its realm, a place where fairy tale and reality combine, and be lifted up and embraced by it. Then there is a wonderfully romantic air to "Maalaala Mo Kaya," created mainly by the saxophone early in the track. This is a slow dance that becomes the entire world. How can anything exist outside of such a moment? Though there is always some element of an uncertain future that wants to sneak in and remind us that all of this is fleeting, that it is all so brief. And perhaps that is why music like this speaks to us so strongly. We can play the song over and over, and in doing so extend that moment, and keep the world at bay.

There is something somber in "Nasaan Ka, Irog," a darkness that hovers over us, threatens to consume the beauty, the passion. Yet, partway through, the joy rises up to gently confront this threat, this menace, and we get the feeling that perhaps love will triumph after all. That's followed by "Canto De Maria Clara," the other piece that Matthew Muñeses included on the earlier album and revisits here. There is something perhaps uncertain as this one begins. We are unsure of our path, unsure of the outcome, but something from within guides us, and we trust it, our steps steady. The individual voice, here presented by the saxophone, has power, has beauty, has determination. And the harp encourages magic, makes us believe. What is more magical, more transformative than love? There is a slight pause approximately five and a half minutes in, as if we might have reached the conclusion, but the harp then firmly takes us into that magical realm, makes it real. The album concludes with "Sampaguita," which has a relaxed, tender and pretty sound. It offers both solace and encouragement. It is a beautiful world, after all, the music reminds us. Even within its brevity is beauty.

CD Track List

1. Dahil Sa Iyo
2. Nahan
3. Kundiman Ni Rizal
4. Minamahal Kita
5. Maalaala Mo Kaya
6. Nasaan Ka, Irog?
7. Canto De Maria Clara
8. Sampaguita

Pag-Ibig Ko Vol. 1 is scheduled to be released on April 4, 2025.

Mark Muleman Massey: "Been A Long, Long Time" (2024) CD Review

Mark Muleman Massey is one hell of a good blues singer and songwriter. He was born in Mississippi, and started performing in the northern part of that state in the early 1990s. His latest album, Been A Long, Long Time, which was released in the fall, contains mostly original material written by Massey, Ed Hill and Billy Lawson. Mark Massey plays guitar on these tracks, as does Billy Lawson (Lawson also produced the album). They are joined by Jim Whitehead on keys, Travis Wammack on guitar, Kelvin Holly on guitar, Bob N. Weaver on bass, Roger Starr on drums, and Robert Fossen on harmonica, along with The Webster Street Horns. The Avalon Sisters provide backing vocals.

The album opens with its title track. "It's been a long, long time," Mark Massey repeats at the beginning of the track, and we know he could take that in so many directions. Perhaps you have a few ideas yourself where he might go. And he then sings, "It's been long time coming since I felt this good." And we are relieved, for we are right with him. We want to feel good, are ready for it, are eager for it, and this music is helping in that regard. "Welcome to the neighborhood," he tells us, and it is like this very album is the neighborhood, this first track telling us he's glad we're here. And so are we. For who in this country doesn't have the blues these days? Most of the good stuff is being dismantled by fascists, but we still have the music. This track features some great work on harmonica. That's followed by "Baby's Gone." "Yeah, I've never lost a love like this before, and, fellas, I truly hope you don't feel the pain that I am feeling tonight," Mark tells us in a brief spoken word introduction. And then he delivers a great, soulful vocal performance. "What a crazy world I've been living in now/I must go on, though I don't know how." Of course, any line about this world being crazy speaks pretty strongly to us now. This is a beautiful, moving song, with a classic blues and soul vibe. There is a bit of a Van Morrison feel. "My baby's gone, gone, gone/She's gone for good/I'd tell her I'm sorry on my knees/If I could." I can't imagine how I could face this crazy world if my baby were gone. This is one of my personal favorite tracks.

Mark Massey then picks up the energy with "Can't Tell Me Nothing About The Blues," in which he sings, "I was born in Mississippi/Nearly died there twice/Once at my birth/And the other was shooting dice." Those lines feel true, feel autobiographical. And when he says that we can't tell him about the blues, he means it. We hear it in his voice, in his delivery. That is a voice that knows the blues. He also sings about how he "Spent some time in Parchman," which is true. Apparently when he was nineteen, he went to Parchman Prison, and it was there that he really got into the blues, becoming a member of the Parchman Prison Band. This track contains some good stuff on guitar. It's followed by "Give Me Your Love." There is a wonderful classic sound to this one, and another soulful performance. "Fall in these arms/That have missed you so much." Oh yes! He really knows how to deliver these slower numbers. This is fantastic. "Bring down the wall/That I helped you build." It's never too late, right?

The album's first cover is a country number, Hank Williams' "Hey Good Looking," here delivered with a kind of funky blues vibe, which works surprisingly quite well. This track actually had me on my feet, dancing around, the first time I listened to this disc. I imagine the band must get the crowd moving when they play this one in concert. "Hey Good Looking" is followed by another cover, this one a Tom T. Hall song, "That's How I Got To Memphis."  It's another interesting choice to cover, for, again, it's not a blues number, but a country song. Here it is delivered with a good soulful energy. "If you love somebody enough/You go where your heart wants to go/That's how I got to Memphis." I know that feeling. If my sweetheart decides to move out of Los Angeles, I'll be going too. To Boston, to Sicily, even to Memphis, wherever I find she's going.

Mark Massey goes back to original material with "She's Married To The Streets," delivering a delicious mix of blues and soul. "You can't compete/She's married to the streets/She'll make promises that she can't keep/She's married to the streets." He conjures a vivid image of this woman in our minds. I see her stepping through the smoke of twilight and disappearing down an alley. Then we get the album's final cover, "I'm Sorry About That," which was written by Bobby Womack and recorded by Wilson Pickett. Mark Massey delivers an excellent vocal performance, one of passion and regret. His apology is sincere. And this track features the horn section. Here he sings, "They said to be sorry/Is a sure sign of weakness," something that a large number of people in this country sadly now believe, having been misled by a fragile sociopath with narcissistic personality disorder. So I love the little laugh Mark gives at the end of that line, letting us know just how ridiculous, how foolish, that notion is. Oh, if only other people could learn that.

The horns are present on "My Used To Be" too, an original number about not wanting to run into an old flame. That means him not being able to go to any of their old places. So not only is she gone, but she's taken his city with her. "No more strolling down by the park/I don't want to see her in another man's arms." He declares he'd take her back, but by then we already know that. "You see, my used to be, she used to be everything to me." Ah, it is clear she still is. This song serves as a warning, as a lesson to the rest of us. Hold onto that love, friends. That's followed by "Going Back To Memphis." Yes, earlier in the album Mark Massey sang about how he got to Memphis; now he tells us he's going back there. This is a fun number featuring some very cool work on harmonica, as well as some delicious stuff on keys. "I'm going back to Memphis/Where the women know how to rock and roll." The album concludes with "Your Good Stuff," a playful number that has a good funky edge and also includes the horn section. "I ain't gonna miss you/Go on and leave/Take your good stuff with you."

CD Track List

1. Been A Long, Long Time
2. Baby's Gone
3. Can't Tell Me Nothing About The Blues
4. Give Me Your Love
5. Hey Good Looking
6. That's How I Got To Memphis
7. She's Married To The Streets
8. I'm Sorry About That
9. My Used To Be
10. Going Back To Memphis
11. Your Good Stuff

Been A Long, Long Time was released on October 31, 2024.

WDR Big Band: "Bluegrass" (2025) CD Review

While the blending of musical genres might be common these days, musicians are still finding exciting and new combinations of sounds and styles, and in the process offering surprises and fresh looks at material. Such is the case with the album Bluegrass by WDR Big Band, directed by Bob Mintzer. That's right, it's a wonderful combination of bluegrass and big band sounds, featuring violinist Darol Anger and mandolin player and guitarist Mike Marshall, both known for their work with David Grisman (as well as with many other artists). They also both, by the way, provide thoughts on the project in the disc's liner notes. The WDR Big Band is made up of Wim Both on trumpet, Ruud Breuls on trumpet, Andy Haderer on trumpet, Martin Reuthner on trumpet, Ludwig Nuss on trombone, Tim Hepburn on trombone, Andy Hunter on trombone, Mattis Cederberg on trombone, Johan Hörlén on saxophone, Karolina Strassmayer on saxophone, Jeremy Powell on saxophone, Paul Heller on saxophone, Jens Neufang on saxophone, John Goldsby on bass, Dominik Raab on drums, and Billy Test on piano. The band is led by Bob Mintzer, who plays saxophone and electric wind instrument. The album features material written by Marshall and Anger, along with one piece composed by Mintzer and a couple of traditional numbers.

The album's opening track, "Slip And Slide," begins with a classic burst of big band energy. Then Mike Marshall makes his presence known, and the adventure begins. He delivers some really nice work on mandolin here. He also wrote this one, and it was included (in a very different setting) on the Darol Anger & Mike Marshall album Woodshop. This track also features a wonderful, warm lead on saxophone by Karolina Strassmayer. It really builds in energy in that section. Darol Anger delivers some beautiful stuff as well. But it is Mike Marshall at the heart of this one, moving it forward in bright colors. The combination of big band and bluegrass elements is compelling and unusual without feeling at all forced or disjointed.

The band then tackles some traditional music, combining "Elzic's Farwell" and "Yew Piney Mountain." This one is fun from the start, with a delicious bluegrass vibe delivered with the power of a big band. Smiles all around, I imagine; certainly on the faces of those who are listening. "Ezlic's Farewell" is a piece that Mike Marshall recorded for Third Journey, an album he did with Caterina Lichtenberg. And "Yew Piney Mountain" was included on the Mike Marshall And Darol Anger With Väsen album. On this track, we are treated to excellent leads by Johan Hörlén on saxophone and Ruud Breuls on trumpet. There is a good deal of joy in that groove by Dominik Raab on drums and John Goldsby on bass. And I love when Darol Anger's violin takes charge in the second half. There is a fantastic energy here at moments, so be prepared for your body to demand you dance. This is an outstanding track. It is followed with another traditional piece, "Down In The Willow Garden," which opens in softer, gentler territory, with promises of something blooming within, the violin offering something soothing, like taking us back to a home perhaps more of our imagination than memory, but one we all wish for, where we are all welcome. I also love that work on piano supporting Darol's lead. This track also features a great lead by Bob Mintzer on tenor saxophone, like sunlight dancing upon that home and its surrounding land. There are some cool moments too, perhaps as evening comes and this place becomes a jazz club. That saxophone work is so good, and I'm digging that supporting bass line. The track then ends gently. This is a song that Mike Marshall and Darol Anger previously included on The Duo Live At Home And On The Range.

"Green Lawn" was written by Bob Mintzer, his sole composition on this album. As he mentions in his portion of the liner notes, this track represents his "virgin foray into the bluegrass realm." The big band elements are still emphasized here, though there is plenty of room for Mike Marshall to deliver some great work on mandolin. Then, a couple of minutes in, it takes on a good dance rhythm. There is so much joy here. Darol Anger has a chance to exchange licks, and thoughts, with Mike Marshall in the second half of the track, and there are great swells of energy from the band. We then get the first of two tracks composed by Darol Anger, "Emy In The Woods," which Marshall and Anger had previously recorded for Da Capo. It has a kind of playful opening, and Darol delivers some really good work almost immediately, introducing the tune's theme. This is a totally enjoyable number. And check out Andy Hunter's lead on trombone, taking that theme into somewhat different territory. Bob Mintzer provides some delightful work on EWI. And toward the end, Mike Marshall delivers an excellent lead on guitar. Throughout the various leads, the music here never strays too far from its center. That is followed by the second composition by Darol Anger, "Replace It All," which begins with a cool percussion section, then comes alive with great bursts from the brass section. There is a good energy to this track, and the beat is an important element here. The violin lead has an appealing edge to it, getting loose. That is when this track takes on the feel of a delicious jam, soon featuring some wonderful work by Jeremy Powell on tenor saxophone. This is one of my personal favorites, in part because of that jam.

The album's last three tracks are all written by Mike Marshall. The first of the three, "In The Lion's Den," has some strong work on mandolin from its start. There is a pleasant vibe to this track, one that leaves you feeling good and kind of relaxed, even as the music builds in power at moments. Paul Heller delivers a strong lead on tenor saxophone. Then "Dexter" begins in firm bluegrass territory, with the big band adding some great touches early on before then pulling things more into its world. At that point, we are treated to a wonderful lead by Billy Test on piano, with a fairly strong groove beneath it. Bob Mintzer takes over on saxophone, driving things forwards with a good deal of both power and joy, taking us along on the ride. The band jams on the groove for a bit, leading to some great stuff on violin. This is another piece that was previously included on Da Capo. The album concludes with "Borealis," which begins beautifully with Mike Marshall on guitar and grows from there. This is one of those pieces of music that remind you how extraordinary it is to be alive at all and to appreciate the many wonders and beauties around us, and even our own motion. What a perfect way to wrap up the album. Now turn off your cell phone or laptop and go outside.

CD Track List

1. Slide And Slide
2. Elzic's Farewell/Yew Piney Mountain
3. Down In The Willow Garden
4. Green Lawn
5. Emy In The Woods
6. Replace It All
7. In The Lion's Den
8. Dexter
9. Borealis

Bluegrass was released on February 28, 2025.

Rev. Peyton's Big Damn Band at The Wilbur, 3-27-25 Concert Review

photo by Tim Doherty

Rev. Peyton's Big Damn Band is on tour, celebrating the release of Honeysuckle, the excellent new album which came out just about a month ago. On this tour, they've been supporting Gaelic Storm, the ol' darlings of Santa Monica who once upon a time had a regular gig at O'Brien's Pub. Both bands are known for their fun, energetic performances, and they delivered an outstanding show at The Wilbur in Boston last night.

Though Rev. Peyton's Big Damn Band was scheduled to open the night, the crowd was first treated to a special performance by Boston Police Gaelic Column, all pipes and percussion, a wonderful surprise. At one point, they did "Rattlin' Bog" straight into "I'll Tell Me Ma." Their set was just sixteen minutes, and two minutes later, Rev. Peyton's Big Damn Band was taking the stage. Drummer Jacob Powell took his spot behind the kit, and immediately established a beat, announcing the celebration had begun, that these special spiritual services were now about to launch us all into another space. Reverend Peyton and Breezy Peyton took their positions, and, bam, a hole burst open, and a raw power erupted, coming forth through the opening, the three musicians acting as emissaries sent here by some otherworldly force to rock us. They started the set with "My Old Man Boogie," Reverend Peyton's guitar a glittery gold in the lights, Breezy's boots also shining, a sparkling silver. And the headlights of the car pictured on the backdrop behind the drum kit were shining in time with the beat, that car aimed at the audience, ready to run us down should we prove unworthy. This opening number featured some great stuff on guitar.

"We are so happy to be here," Reverend Peyton said after that first song, also mentioning that they were getting near the end of the tour. He then got out his harmonica, and tested it. "It's working pretty good," he determined. Indeed! The band then began "Poor Until Payday," some good swampy blues with a serious power. It was a fun number featuring some totally delicious work on harmonica. But, truly, everything is fun when these guys are on the stage. "Well, I'm starting to get warmed up," Reverend Peyton told the crowd, and then introduced the band while switching guitars. "On bass, my thumb," he said, mentioning that there were no tricks up there, no hidden laptop computers adding to the sound. No, everything there was real, was honest, was true. And he made that guitar sound like two or three guitars playing simultaneously, including bass guitar. The song they were playing then was "Pot Roast And Kisses," and, yes, it was clear they were warmed up, the heat pouring off the stage. I love that song. After that one, Reverend Peyton had everyone in the audience stand, and quickly got them involved in the next song, "Clap Your Hands." teaching them when to clap on the first verse. It was on the 1, 2, 3 and 4, not on the 5, 6, 7, and 8, though he said he appreciated their enthusiasm. The bass player (his thumb) got that song started. During the number, he switched to a guitar that looked like an actual axe. Hey, it was on the third verse that the audience was supposed to scream, and that axe seemed to promise some incentive to take those screams further.

photo by Tim Doherty

Breezy and Jacob left the stage, so that Reverend Peyton could perform "Honeysuckle" solo. That's the title track (and also opening track) from the new album. What a great, raw performance. "Trouble, trouble, but it's all mine." The band then followed that with another song from the new album, "Like A Treasure," which is one of my personal favorites. "I want to stay in this moment forever," Rev. Peyton sings in that one, and the desire to remain in the moment must have been felt by many (if not all) in the crowd. These are the moments we live for, these great concert performances where the energy and joy are felt by everyone in the room. Reverend Peyton got out his resonator guitar for "Something For Nothing," and there was an adjustment to the drum kit, leading Breezy to joke that she had told Jacob that whenever he's bad she'd take one drum away. When the hi-hat was returned, Breezy said, "He gets one back when he gets it right." The band then wrapped up the set with a fantastic rendition of "Rattle Can," that featured some great drumming from Jacob. Breezy beat that Big Damn Band drum near the edge of the stage and set her washboard aflame during that incredible jam. What a way to finish a set! The set concluded at 8:53 p.m., but that wasn't the last we heard from Rev. Peyton's Big Damn Band. 

photo by Tim Doherty

After an incredibly fun set by Gaelic Storm that included a whole lot of interaction with the audience, just like the old days, Rev. Peyton's Big Damn Band joined that band for the night's encore, which began with a cover of John Denver's "Take Me Home, Country Roads." The audience sang along (this is one of those songs that everyone loves), and at the end, the band sang "Massachusetts" in place of "West Virginia," which, of course, received a cheer from the crowd. Rev. Peyton then led the bands in a rendition of "Freeborn Man," a song written by Mark Lindsay and Keith Allison, and recorded by Paul Revere & The Raiders for Alias Pink Puzz. It is a song that Rev. Peyton covers on his new album, and last night he delivered some great, mean work on harmonica. The encore concluded with an energetic "I'll Tell Me Ma," always a crowd-pleaser. Clearly the two bands were having great fun performing together, and that encore was a special treat. The show ended at 10:55 p.m.

Set List

1. My Old Man Boogie
2. Poor Until Payday
3. Pot Roast And Kisses
4. Clap Your Hands
5. Honeysuckle
6. Like A Treasure
7. Something For Nothing
8. Rattle Can

Gaelic Storm Encore

1. Take Me Home, Country Roads
2. Freeborn Man
3. I'll Tell Me Ma

The Wilbur is located at 246 Tremont St. in Boston, Massachusetts.

Christopher Lockett: “A Town We Painted Blue” (2024) CD Review

At the recent Bill Morrissey tribute concert, host Mike Berman asked Christopher Lockett to run sound for his set, joking that since Christopher is a filmmaker he’ll be able to handle the soundboard with ease. Christopher playfully reminded him that video and audio are two different things, but of course he did a great job on sound for Mike’s set, because in addition to being a filmmaker he is a talented musician and songwriter, with a great ear as well as a great voice. And on that day he used that great voice to deliver one of Bill Morrissey’s most beloved songs, “Birches.” Christopher released his self-titled debut album in 2009, and followed it in 2012 with Road Songs For The Restless, then in 2018 with Between The Dark And The Light, and in 2022 with At The Station. Between The Dark And The Light and At The Station were produced by Fernando Perdomo, who also produced Christopher Lockett’s latest album, A Town We Painted Blue. Fernando Perdomo not only produced it, but also plays lead guitar, drums, bass, keyboards and mandolin on these tracks. Christopher Lockett plays rhythm guitar, harmonica and Appalachian dulcimer, and is also joined by the incredible Scarlet Rivera on violin, Bob “Boo” Bernstein on pedal steel, Craig “Fergheart” Ferguson on mandolin and dobro, and Kitten Kuroi on backing vocals. Most of the songs on this album were written by Christopher Lockett.

Scarlet Rivera makes her presence felt and appreciated from the beginning of the first track, “A Town We Painted Blue,” the album’s title track, delivering some wonderful work. I love the title, by the way, a play on the idea of painting the town red. And that phrase is also used in the song’s first lines: “We painted the town red/The last time I came through/Now we both sit alone/In a town we painted blue.” And Christopher’s voice seems to speak for all of us. It has that sort of quality, both friendly and commanding, a voice of experience. “It’s up to the poets to revive the gods.” We get the sense he could do that if he so desired. Scarlet Rivera delivers a brief, but gorgeous lead in the track’s second half. Then “Santa Ana Winds Are Good For Cryin’” has more of a country feel, with prominent pedal steel work. This song has that wonderful southern California vibe that I love. This album came out several months before the recent fires, and this song’s title carries a different connotation now, for the Santa Ana winds brought cause for tears rather than the ability to dry them quickly. But I love that idea of standing in the winds, using them to hide one’s despair. This track features some really nice backing vocal work. Kitten Kuroi has worked with many artists over the years, and is probably best known for her work with Elvis Costello.

“No Wildwood Flower” features some great stuff on guitar right from its opening moments, which fits well with the song’s opening lines and its theme. “He picked up his papa’s guitar/Hoping there were still some songs left inside.” There is a wonderful feel to this song, in part because of that guitar work, but also because of the way it urges us “Find yourself a dancer and waltz through your days.” Life is so brief, so fill the days with music, with dancing, with that special someone. That’s where the joy of life is. Then “Death Ain’t Nothin’/No Mercy” comes as a surprise, with its strong pulse and its powerful bluesy force. This is the album’s sole cover, a combination of “Death Ain’t Nothing But A Thief And A Robber” and “Death Don’t Have No Mercy,” delivered as a duet with Kitten Kuroi. It’s a fantastic, passionate and striking rendition. The track list on the CD case has the order wrong, listing “Dulcimer De Leche” as coming before “Death Ain’t Nothing/No Mercy,” but actually it follows that song. As you might guess from the title, this one features dulcimer. This instrumental track also features a nice bass line and some cool percussion. It has an uplifting, cheerful vibe.

“Aren’t you ever tempted to just close your eyes and slip away?” Christopher Lockett asks in “May Your Guitar Be Louder.” It’s a line that stands out to me, and I think we all feel like that from time to time. But here he also offers these lines: “May your guitar be louder/Than your demons tonight.” Oh yes! That’s just the sort of message we need to hear. On this track, guest Trevi Fligg joins Christopher on backing vocals, delivering some really good work. “Every choice you’ve made has brought you here/You know you’re the only one to blame/And a bad decision feels better/Than waiting on a grace that never came.” That’s followed by “Six Mile Saturday Night,” which features some sweet work on mandolin. “You never know where it’s gonna lead/But you gotta start somewhere/Might as well be on the dance floor/With the music in the air.” The song then takes the story forward several years, and there are now children. Yes, it started with magic, and somewhere along the way real life took over, but that’s not necessarily a bad thing. It’s life, right? And there is humor here, in lines like “The children were getting older/So of course they were too/It’s the chorus before the bridge/It’s just what you do.”

Scarlet Rivera delivers some beautiful work on violin on “Lamp Posts.” One of the song’s early lines that stands out is this: “A woman at the bar is louder than the band.” I’m sure anyone who has attended a decent number of concerts has encountered that woman, and probably at more than one bar. There is humor here also, which I appreciate: “My parents were right to send me to church/Everything worked out fine/The preacher bored the hell right out of me/Every single time.” Interestingly, the drumming here has the feel of a march, giving us the idea of inevitability, of some sort of steady progress. This song really speaks to me, in part because of this line: “My little hometown’s not so little anymore.” When I was growing up, my town had approximately 2,500 people; now there are 8,000. “I still carry this place with me wherever the wind blows.” That’s followed by “Suitcase Full Of Kisses,” a sweet number, a love song. “Gotta hold onto the love you’ve got when this ol’ world turns bad.” That is something to keep in mind, especially these days when so much has turned bad, so much has turned ugly in this country. This is a delightful song.

On the CD case, “Down By The Riverslide” is listed as the next track, but actually it’s “Force Multiplier,” a fun instrumental track that features some great stuff on harmonica. It has this delicious loose vibe, and it comes to an ending all too soon. Then we get “Down By The Riverslide,” the title a nice play on “Down By The Riverside.” This song has a good bluesy vibe, also containing some cool stuff on harmonica. The album concludes with “Long And Troubled Road,” which has a somber vibe, and is for all of us who feel we should be doing better, both personally and collectively. “Traded your sweat for money/Until it cost you your health/Maybe you’ve traveled on this road yourself.”

CD Track List

1. A Town We Painted Blue
2. Santa Ana Winds Are Good For Cryin’
3. No Wildwood Flower
4. Death Ain’t Nothin’/No Mercy
5. Dulcimer De Leche
6. May Your Guitar Be Louder
7. Six Mile Saturday Night
8. Lamp Posts
9. Suitcase Full Of Kisses
10. Force Multiplier
11. Down By The Riverslide
12. Long And Troubled Road

A Town We Painted Blue was released on September 28, 2024 on Gritbiscuit Records.

The Tasty Kings with Blondie Chaplin: “Native Tongue” (2023/2025) CD Review

You likely know, or at least have heard, vocalist and guitarist Blondie Chaplin. He was a member of The Flames in the 1960s, and then The Beach Boys in the early 1970s. He also recorded with The Rolling Stones and The Band, as well as several other artists, and released a few solo albums. The guy has quite a music career. He joined The Tasty Kings for Native Tongue, which was released digitally in 2023, and has now gotten a proper CD release. Why it didn’t get a wide release initially is something I can’t fathom. It features excellent songs performed by accomplished musicians. The Tasty Kings were founded by guitarist Andrew Morse, who wrote the material on this album. The band has had several different members over the course of its history, and now includes Darryl Jones, who also plays bass in The Rolling Stones, and Charlie Sexton, who is known for his work with Bob Dylan and is also a member of Elvis Costello’s band. So, you know, this is a band you might want to pay attention to. This album also features the talents of Charley Drayton on drums (you know him from his work with Keith Richards), Kevin Trainor on guitar, Tony Garnier on bass, George Reiff on bass, Stephen Barber on piano and keyboards, Ian McLagan (of Small Faces) on keyboards (those tracks must have been recorded a while ago, as McLagan died in 2014), and Jose Galeano on percussion. Juliana Sheffield, Sally Allen and Teresa Gattison provide backing vocals.

The album opens with “Done & Dusted.” There is a bit of a Rolling Stones vibe to this song, it taking place in that great meeting place of country, blues and rock. Blondie Chaplin delivers a good lead vocal performance. “Done and dusted/I’m just waitin’ to be/Done and dusted/Nothing left of me.” Andrew Morse wrote this one at the beginning of the pandemic, when everything was shut down and people were afraid to go out. It was a strange experience, to be sure, walking about in a usually-crowded area, and finding no one, the restaurants and everything closed. I remember driving at rush hour here in Los Angeles, and never having to hit my brakes. “Done and dusted/In the city that sleeps.” That’s followed by “Maybe I’m A Queen,” a stirring song, in which Blondie Chaplin sings, “Maybe I believe/Maybe I don’t/Maybe I’ll succeed/Maybe I won’t.” The repetition of the word “maybe” works so well, particularly as there are no certainties anymore. There is a sort of introspective bent to it, but then it turns outward, as it comes to address another person: “Tell me, my love, my love/When we were enough.” The song seems to encompass, or embrace, all possibilities, and so all people. It’s a beautiful and sad song, and Blondie Chaplin gives a passionate and beautiful vocal performance. Milo Deering plays dobro on this track, delivering some wonderful work. This is one of my personal favorites.

Listening to “Birthday Girl” the first time, I couldn’t help but think of my niece, who had turned nineteen just two days earlier. How the time flies. “The years go by, that’s how it goes.” Indeed. There is a nice vibe about this song. “You’re the birthday girl/And the whole wide world loves you.” This is one of the tracks to feature Ian McLagan on keyboards. Then there is a more somber, but dreamlike quality to “South America” as it begins. And the first line hits us hard: “The Statue of Liberty has gone dark.” Yup, that is just about right. It’s a big line, isn’t it? It is interestingly followed by a somewhat more mundane and usual concern: “And there’s nowhere to park.” Certainly, that’s a common frustration, at least for those of us who live in cities. These lines make me think of that whiny sociopath currently occupying the White House: “And his big day was ruined/By the small size/Of his crowd.” But this song is not about that; rather it is a look back at a relationship that fell apart. There is a sad beauty to its sound, to its delivery. “And if just one more time/I could put my lips/On South America/I’d remember for a while/And die with a smile.” I love the guitar work on this track, particularly that lead in the second half.

“Oceans Unfaithful” certainly has a Rolling Stones flavor, and its opening lines grab us: “The sky is right/The wind is wrong/The ocean’s unfaithful/But it won’t take long.” That idea, that image, of an unfaithful ocean is particularly wonderful. “Take my hand/Aces and eights/And lay your head/On the dinner plate/The world is stuck/In black and white/To live my life/In paradise.” That’s followed by “George Floyd.” There have been several songs written about George Floyd. His murder by the police sparked outrage in anyone with a pulse. It was yet one more bit of evidence that this country hasn’t really made any progress at all. If you need further proof of that, just look at who is in the White House now, and think of all the eager little fascists who put him back there. This is a strong and moving song. Here is a taste of the lyrics: “Well, two sets of rules/One black and one white/That’s the best we can do/As you beg for your life/A few on the ground/Tried to shut down/What they saw/But the men of the law/The men of the law/Oh, the men of the law.” This song does not end on an optimistic note, but rather an honest one: “But the river of evil/That runs through the hearts/Of the men/Will do it again/Again and again/And again.”

“Flyboy” is a song touching on Greek mythology, particularly the story of Daedalus and his son Icarus. It has something of a sweet country flavor, and contains what is possibly the album’s best vocal performance. It is powerful and passionate, just fantastic, reminding me a bit of some of Richard Thompson’s work. And that performance is the main reason this track is another of the disc’s highlights. Here is a taste of the lyrics: “He considers the grace/And the shape of a bird/And tries to imagine/Escaping this earth/Slipping the bonds/Of the surly unkind/To go somewhere new/For the rest of his life.” The Tasty Kings then turn to a reggae groove for “Steady Reggie,” a song about a moving company. This one features John Mills joining the group on saxophone and Joel Diamond joining on keyboards, and also contains a lot of good stuff on guitar.

“Kiss Me” has a sweet folk sound, featuring some pretty guitar work. After we’ve gotten comfortable in this wonderful music and atmosphere, Blondie sings the first line, “Maybe you should kiss me.” And there is so much joy in the room that a kiss sounds like exactly the right thing. Though, after a brief pause, he follows that line with this one: “Maybe you should dismiss me.” This is another of my personal favorites. It even contains a Shakespeare reference: “If all the world’s a stage/Maybe we should turn the page.” That reference is to Jacques’ famous speech from As You Like It, which begins “All the world’s a stage/And all the men and women merely players.” A kiss plays a part in “Girl Next Door” too: “But I remember/I kissed her once before/That girl next door.” This is another of the tracks to feature Ian McLagan on keyboards, and there is some really nice guitar work too. It’s a perfect conclusion to an excellent album.

CD Track List

1. Done & Dusted
2. Maybe I’m A Queen
3. Birthday Girl
4. South America
5. Oceans Unfaithful
6. George Floyd
7. Flyboy
8. Steady Reggie
9. Kiss Me
10. Girl Next Door

Native Tongue was released on CD in late January 2025.

Fernando Perdomo: “Waves 2” (2025) CD Review

This year started with a great new release from the always-busy songwriter and musician and producer Fernando Perdomo. Titled Waves, it featured all original instrumental material in the progressive rock world. It was also the first in a projected series of twelve albums, a new one coming out each month this year. That is something that would be a daunting task for most artists, but not for Fernando Perdomo, who will undoubtedly find the time to produce several other albums as well during this time. The second volume in the series, Waves 2, was released on February 1st. As on the first volume, this one features all original material, with Fernando Perdomo playing all the instruments. He also produced the album.

“Brothers Of The Ocean,” the album’s first track, begins with a short vocal section that has a hint of a Beach Boys flavor, and then kicks in with a powerful burst of color and energy, dropping us right into the action. We sense great streaks of light across wide open spaces, and there is a sort of rock opera overture vibe at moments. Halfway through this track, there is a momentary change, taking shorter, slower steps in an interesting dance, before going back into the main theme of the piece. There seems to be a large, bright force at work here, with a world of possibilities opening before us. This track fades out, and is followed by “Journey On A River.” As this one opens, there is the sound of water flowing, and then the track quickly takes on a good rock energy, the drums leading us in. There is some great stuff on both bass and guitar, and I especially appreciate how the guitar lifts us up. And as the title suggests, there is a strong sense of motion, of a journey, one taken with some haste, as well as some cheer. There is an overall positive feel to this track, and that is part of what makes it so appealing.

There is a gentler, more introspective feel to “Queenstown” as it begins. A relaxing, soothing atmosphere is created, over which the guitar is able to ponder, to remember, and to pull us along into those memories, and in doing so makes them our own. This is a pretty track. Interestingly, there is a moment when it seems ready to come to its natural, gentle conclusion, but then suddenly bursts open into another section, the guitar now calling more energy to the telling of its story. The music does relax again, and this time the ending is real. Then there is something magical about the way “Sea To Sea” opens. It settles into a rather soothing space, presenting an opportunity for us to ease back, close our eyes, and let our thoughts take us to a more appealing time, perhaps one of memory, perhaps one of our own creation. All motions here are friendly, loving, and there is no conversation, and so no chance of misunderstanding or argument. It’s wonderful. It is followed by “Black Mountain, Blue Sky.” As this one begins, it seems to promise a magical landscape too, and then suddenly kicks in with a stronger, more grounded sound, the song having a strong pulse. Here we are not alone, the music working to gather people in. It begins to slow toward the end, to unwind. A stranger door unexpectedly opens in front of us as the track reaches its conclusion, and we glimpse once again that magical landscape.

“Everything Under The Sun” has a lighter, more fun sense about it, and I find myself smiling throughout this track. It takes us up the mountainside, with a good deal of joy, and lets us slide back down, or dance back down, if we wish. There is some really good guitar work on this track. This one fades out all too soon. Then “Calm For Now” has a more meditative air, with a somewhat darker, heavier atmosphere. The guitar is the light piercing it, becoming familiar, something we grab hold of and let take us where it will. This track also features some wonderful stuff on bass. That is followed by “This Appearing Act.” There is a 1960s feel to this track, particularly in the guitar work, which drives the music forward. In the second half, there is an unexpected moment where things seem to shut down, to melt in the machinery, then just as quickly find their footing again and continue. One note: on the CD case, the titles of those two tracks, “This Appearing Act” and “Calm For Now,” are reversed.

“Alone By The Ocean” has something of a Pink Floyd vibe as it begins. Sometimes being alone at the ocean can be incredibly soothing, peaceful, and sometimes we find ourselves moving through the possibilities and choices of our lives, and there might be something lamented, which the guitar seems to express here. There is a lot going on in this piece, a lot of energy, and perhaps decisions are reached regarding the direction of our lives. The track gains power in the second half, as it drives forward, and some interesting electronic effects give it another layer. Then “Sunset In Queenstown” takes us to a much prettier place, and features some absolutely wonderful guitar work. This track reflects on the day with some satisfaction and joy, and also looks out toward the horizon, toward tomorrow, and somehow we know it’s going to be okay. It’s a beautiful conclusion to the album.

CD Track List

1. Brothers Of The Ocean
2. Journey On A River
3. Queenstown
4. Sea To Sea
5. Black Mountain, Blue Sky
6. Everything Under The Sun
7. Calm For Now
8. This Appearing Act
9. Alone By The Sea (3 AM)
10. Sunset In Queenstown

Waves 2 was released on February 1, 2025. By the way, for those in the Los Angeles area, I just learned that Fernando Perdomo is going to take part in Busk-Aid L.A., a benefit for wildfires relief that is going to be held on March 30th in Echo Park. That promises to be an excellent day of music.