Barnes & Barnes: Zabagabee DVD Review

In 1987, the compilation Zabagabee: The Best Of Barnes & Barnes was released. That same year saw the release of a videocassette titled Zabagabee, featuring the duo's music videos along with some delightful and humorous testimony on the greatness of Barnes & Barnes. Both are now being reissued, with Zabagabee getting its first DVD release, providing the perfect opportunity to rediscover the great duo that gave the world "Fish Heads," the most requested song on the Dr. Demento Show. You've heard the song. Have you seen the video? If you were watching MTV in its early days, you probably have. There was a time when music videos were exciting, fun and inventive. The videos by Barnes & Barnes are among the best examples of that.

The DVD opens with footage of the duo, and they are so young. A bit of voiceover narration tells us: "Barnes & Barnes. The name itself conjures up images of mystery. Have they always been with us? Have they never been with us?" The tone is serious, perhaps even haunting. And the voice (which I've just learned is Miguel Ferrer) goes on to tell us that this program will attempt to unravel some of that mystery. So right away we know this isn't an ordinary collection of music videos. But of course, no one ever expected the ordinary from Barnes & Barnes. Jose Ferrer (yes, the Academy Award-winning actor of Cyrano de Bergerac) appears on screen, announcing, "I'm here to pay tribute to the supreme artistry of Art and Artie Barnes," and then tells a tale of seeing Barnes & Barnes in a Shakespeare play in the West End of London, which inspired him to become an actor himself. What's particularly lovely is how seriously Jose Ferrer delivers these lines. Jerry Siegel (the comic book writer) says that Barnes & Barnes forced him to create Superman. You see what they're doing here, right? That awful Forrest Gump movie, in addition to ripping off Being There, completely ripped off Barnes & Barnes by placing that character at key historical moments with key players. Don't ever watch Forrest Gump again. Watch Zabagabee instead. It's much better, much funnier, has better performances, and even better music.

And speaking of music, the first music video presented here is that of "Fish Heads." And it's the full video, with the sequence before the music starts. This video, by the way, was directed by Bill Paxton (yes, of True Lies and Twister) and Rocky Schenck, and both Bill Paxton and Dr. Demento are in it. The video is hilarious, and after it, Dr. Demento appears to tell us about his fond memories of Barnes & Barnes, saying their greatest hour was their acoustic set at Woodstock. The picture quality, by the way, is not always perfect. Nor should it be. Something would seem wrong if it had been completely cleaned up, if it didn't have that videocassette quality to the images at times. That quality works especially well with the interviews. Larry "Wild Man" Fischer, Woody Herman, Rosemary Clooney, Shirley Jones, Mark Hamill and Shaun Cassidy are among those providing information on Barnes & Barnes. Shirley Jones is hilarious, saying, "They used to shave my uncle." Mark Hamill, who always seems up for some humor, says, "I don't remember who I met first, whether it was Barnes or Barnes." And Shaun Cassidy admits he kept Barnes & Barnes locked in his closet for eleven years. (I wonder if his Under Wraps and Room Service album titles were his way of hinting at what was going on.)

The next music video is for "Love Tap," which stars Bill Paxton and is a total delight. The music videos are playful and creative. The video for "Soak It Up" contains some wild and amusing imagery, at moments poking fun at what others were doing in music videos at the time. Bill Paxton and Annerose Bücklers star in it. And just the fact that they made a video for "Ah A" at all is funny. It's a wonderfully strange choice. Rae Dawn Chong (from The Squeeze and Commando) is in the video, and she also offers her own testimony regarding the duo before it. Devo's "Booji Boy" character offers some information on waxing a carrot, and "Weird Al" Yankovic mentions that his father told him how Barnes & Barnes flew missions during World War II. One of the most delightful appearances on this DVD is by Jonathan Harris (Bill Mumy's co-star on Lost In Space), who says, "Haven't got a clue who they are, you understand. But I've been asked to say a few words, so I shall say a few words." It is a joy just to listen to this guy talk. Gerry Beckley and Dewey Bunnell (of the band America) play a bit of "Fish Heads" on acoustic guitars, Dewey commenting, "They don't write 'em like that anymore." And Stephen Stills reveals, "We were going to call it Crosby, Stills, Nash, Young, Barnes & Barnes," and gives the reason why Neil Young quit the band.

We are also treated to videos for "Party In My Pants," "Pizza Face" and "When You Die." One of the many things I love about the duo's music videos is the animation, particularly in "Party In My Pants." I also love the pizza face baby. And as far as folks you likely know who pop up in these videos, Teri Hatcher is in "Party In My Pants," and both Miguel Ferrer and Flea (of Red Hot Chili Peppers) are in "Pizza Face." I just wish Barnes & Barnes had done a video for "Cemetery Girls." Then everything would be complete.

Zabagabee is scheduled to be released on DVD on July 24, 2026 through Liberation Hall.

Barnes & Barnes: "Zabagabee: The Best Of Barnes & Barnes" (1987/2026) CD Review

When I was growing up in Massachusetts, the Dr. Demento Show was on the radio on Sunday evenings, a program of novelty songs and parodies. Interestingly, it was followed by Dr. Ruth. It was a while before I discovered that Dr. Ruth was not a comedy program, because to me that radio station was providing a solid evening of comedy gold. I ended up purchasing a couple of the Dr. Demento compilations on cassette (I couldn't find the Dr. Ruth cassettes). The first of those cassettes that I purchased contained the song "Fish Heads." This one was unlike any of the other songs, and I loved it. It was by a duo called Barnes & Barnes. At the time, I knew nothing about them, not even that Bill Mumy was one half of the duo (along with Robert Haimer). Zabagabee: The Best Of Barnes & Barnes was originally released in 1987 on Rhino. It is now getting a deserved re-issue through Liberation Hall. It is likely you've heard "Fish Heads," and that is a song that should be in your music collection, but this disc contains songs that I think are even better, songs that perhaps you haven't heard.

The album opens with "Fish Heads." When I was a kid I took drum lessons at Kurlan Music in Worcester, Massachusetts, and one day I brought the Dr. Demento cassette in so that my drum teacher could hear this song. That's how much I loved it. He loved it too, because of the line "They don't play drums." Anyway, it's a ridiculous song, and it still makes me laugh. "I took a fish head out to see a movie/Didn't have to pay to get it in." Then "Blithering" has more of a 1980s pop sound. Seriously, as it begins, it sounds like a 1980s hit song. And if people had more of a sense of humor, it would have been a hit. Oh, those damn Reagan years. By the way, early in this song the lyrics contain a reference to Rod Serling. For those who might not know, before he starred in Lost In Space, Bill Mumy was in a few episodes of The Twilight Zone. "Walt Disney do the Humpty Dumpty/Rod Serling paradise/Somewhere in a government building/The future pays the price."

"Soak It Up" has a fun new wave sound. "My baby's love never come unwound/My baby's love come a tricklin' down." Could that line be a play on Reagans' "trickle-down" economics? This song was originally included on an EP released in 1983, and by that time people were criticizing Reagan's horrible economic policies. And, hey, it could also be a golden shower joke. I assume it's both. "I'm gonna soak it up/I'm a sponge for her love." Yeah, we need more love songs like this one. It's followed by another love song, "Ah A." This one is so simple, so delightful, so silly that it has me laughing aloud every time I listen to it. Then we get "Boogie Woogie Amputee," a song from the duo's Voobaha album (which also contains "Fish Heads"). This one has a good rock and roll vibe, with some cool stuff on keys. "We're gonna hop, swing and jump/I shake my hips, she shakes her stump." And that line "Oh Suzie, you sure ain't got two left feet" is hilarious.

"Life Is Safer When You're Sleeping" is an odd song. Well, I suppose that should come as no surprise, and probably could be said of every track on this disc. Anyway, this one has a more serious, somber sound, with a dreamy atmosphere. But of course we can't let that make us take it more seriously. Or can we? It's followed by "Unfinished Business," which is a delight, with an electronic 1980s sound and some playful touches. "Our lips met/You never know how long you've got/But I never kissed her/You'll hope it's working when it's not." This track also contains some nice stuff on guitar. Then "Pussy Whipped" is a fun, cool song with more of a rock sound, with a kind of country rock flavor. It was written with David Jolliffe and Miguel Ferrer (yes, from Crossing Jordan). "I love my wife/She tells me so." Those are great opening lines. "I used to go out drinking/Running with the boys/I used to stay up late at night/And make a lot of noise/Now I don't do nothing that she don't want me to." This is so damn good, one of my personal favorite tracks. "But if the woman leaves me I'll have to whip it alone."

Barnes & Barnes give us a cover of "What's New Pussycat," the song written by Burt Bacharach and Hal David. As you might guess, their version is a bit different from the Tom Jones version, and I love it. It's a bit mad, like a twisted carnival ride, like a love song taking place on a twisted carnival ride. This is a total delight. Do I like it more than the original? You bet I do! "Pussycat, pussycat, you're delicious/And if my wishes can all come true/I'll soon be kissing your sweet little pussycat lips." Oh my, is that a threat? This is probably the best rendition of this song ever recorded. It's followed by "Party In My Pants." Is there something juvenile about a song titled "Party In My Pants"? Of course there is. But so what? It's fun. "There's a party in my pants/And I want you all to come," they sing at the beginning. And there is some spoken word in the middle, a goofy bit of dialogue between a man and a woman. "I'm on my way to a party, you want to come?" the man asks. "Sure, where is it?" the woman responds. "It's in my pants." As if you didn't know.

There is a strangely sweet vibe to "Don't You Wanna Go To The Moon." "Martians in the mud are playing/I don't know a word they're saying." Well, no worries, as it's a love song. "Don't you wanna go to the moon with me soon/Everything will be all right." That's followed by "Pizza Face," another of my personal favorites. As soon as they start singing, I'm laughing. This is totally goofy and totally wonderful. Part of it is that it seems to take place in a mad scientist's laboratory or something. You know, someone is taking things seriously, while of course it's just fun. "Made a mess on my vest/What a waste." This song should be played at dance clubs. What a great surprise that would be. Then "Love Tap" is about an interesting relationship. "She said it was a love tap/But I felt the pain." Oh yes! "She scratched at my face/Put my nose out of place." I love how this song about a violent relationship has such a mellow vibe. At the end, they ask, "What will become of this love?"

"I Don't Remember Tomorrow" has a great title, and also a catchy rhythm to the vocal line, particularly on the song's title line. I also dig that instrumental section in the second half. That's followed by "Cemetery Girls," a song I'm thrilled to hear. I first heard this song done by The Peak Show. With Holland Greco on lead vocals, they did it as "Cemetery Boys." And I either didn't know, or somehow forgot, that this song was a cover. Crazy. I've loved this song for more than two decades, and it's probably my favorite Halloween-themed or horror-themed song. So of course I was ready to love this original version. And it's fantastic. Like the Peak Show's rendition, this one contains sound bites, and one of them is from an episode of The Twilight Zone, with Bill Mumy himself saying, "You're a bad man, you're a very bad man!" And then, a little later, "I had a real good time." If you haven't heard this song, I highly recommend checking it out. And if you haven't seen that episode of The Twilight Zone, you should check that out too. And keeping with the theme of death, that song is followed by "When You Die," which has lines like "When you die/You stop drinking beer." This song is unexpectedly beautiful and touching, while also being funny. And it's another favorite of mine. "When you die/You stop eating cheese/When you die/You're not hard to please." 

CD Track List

1. Fish Heads
2. Blithering
3. Soak It Up
4. Ah A
5. Boogie Woogie Amputee
6. Life Is Safer When You're Sleeping
7. Unfinished Business
8. Pussy Whipped
9. What's New Pussycat?
10. Party In My Pants
11. Don't You Wanna Go To The Moon
12. Pizza Face 
13. Love Tap
14. I Don't Remember Tomorrow
15. Cemetery Girls
16. When You Die

Zabagabee: The Best Of Barnes & Barnes is scheduled to be released on July 24, 2026 through Liberation Hall.

Kim McClay: "Worth It" (2026) CD Review

Kim McClay is a singer and songwriter based in New York City. She released her first album, My Sanity, in 2021. Since then, she's put out a couple of singles, and now has a new EP on the way. Titled Worth It, it contains all original material, songs of power and honesty, songs that connect to the listeners, and perhaps connect listeners to each other, in these unsettling times. The songs were written by Kim McClay and Dustin Beardsley, who also co-produced the EP. Dustin plays guitar and synthesizer. Also backing Kim on this release are Trevor Brown on bass and synthesizer, and Jim Bloom on drums and percussion, along with a couple of guests on the final track.

The EP opens with "Velveteen Girls," which was released as a single. The guitar work at the beginning announces this song means business. Check out the opening lines: "A pretty face, pretty girl/Is that all I am to you/I know it's well-intended/I don't care how you intended it." The drums come in, providing the song a steady pulse. "'Give us a smile'/'Show off your legs'/I'm not here for you/Now I'm on the defensive/And it's not because I'm sensitive." There is a delicious power here, a rock energy. The song's title reminds us of The Velveteen Rabbit, raising a question of reality, of what it means to be or become real. And surprisingly, there is a sort of spoken word section in the second half, and in that section she directly addresses that question, as well as aging. Margery Williams, author of The Velveteen Rabbit, is given a songwriting credit here. Then a softer, gentler sound is established at the beginning of "Firefly," but that's not to say there is anything meek about this song. There is a steady rhythm on acoustic guitar that suggests a sense of urgency, and some really nice touches on electric guitar. "Deceptively and cunningly/She lures you in and how/Her devil's grin is beggin' for your skin." This track kicks in partway through, the drums taking on more force. "Leaves 'em guessing/Makes 'em question what's right/Answer loud as you can/Tonight." The line "Answer loud as you can" is repeated at the end, growing in power, before the word "Tonight" is delivered simply and more softly. While that line "Answer loud as you can" is empowering, encouraging, it is that one word "Tonight" that makes it all immediate. Now.

Near the beginning of "Worth It," Kim McClay sings, "I'll trade you my wide-open heart/If you promise me that you'll stay." I love the way she delivers that word "stay," giving it more emphasis, a brighter energy. She then asks, "Can you promise me that you'll stay?" The song develops a strong rhythm, a catchy rhythm, one that gets us involved. Another phrase that stands out to me is "dancing through chaos." That feels like the best thing to do these days. "We live in a dangerous time/Nothing prepares you for that." Then "So Close" eases in, with a soothing, intimate vibe at the start. "Everything's fleeting/This city, your feelings/But I seem to be stuck on you/It keeps me reeling/My pulse is still screaming/To beat intertwined next to you." Yes, it's a love song. A sort of love song, anyway. I appreciate a love song that begins with the line "Everything's fleeting." A line that is true, regardless of the subject, right? I love how her voice takes on a different quality for the lines "But we were so close/So close to the real thing," a more ethereal quality. More hopeful too, with that energy. Maybe it is the next one that will be the real thing. This song features some nice work on bass, and a wonderful lead on electric guitar. It was released as a single. Kim McClay wraps up the album with another song that addresses love, "Something Like Love," which features a beautiful vocal performance. "You came out of nowhere/Your eyes soft as day," she sings at the beginning, and then adds, "I know you from somewhere." I love the way this song builds. It's a song that grabs us and then rushes us up to great heights at certain moments, and brings us in for more intimate breaths. Helen Newby is on cello, and Lucy is on violin, the strings adding to the track's beauty and power. And after the track seems to be concluding, we are treated to something of an extended ending with the strings.

CD Track List

1. Velveteen Girls
2. Firefly
3. Worth It
4. So Close
5. Something Like Love

Worth It is scheduled to be released on June 26, 2026.

Paula Boggs Band: "Sumatra" (2026) CD Review

Paula Boggs is a singer and songwriter who had a somewhat unusual career before forming the Paula Boggs Band, a career that included a stint in the armed forces, work as an attorney, and an executive position at Starbucks. Not the typical career trajectory leading to fronting a band, but Paula Boggs is not the typical singer. And like she has not felt tied to one job, or one type of job, she is not tied to any single musical genre, her music deftly blending elements of soul, jazz, folk, country, blues and rock. Her new album, Sumatra, contains mostly original material, along with a couple of traditional numbers. The band is made up of Darren Loucas on acoustic guitar, electric guitar, dobro, banjo, mandolin, baritone guitar, lap steel, ukulele, harmonica and backing vocals; Paul Matthew Moore on piano, percussion and backing vocals; David Salonen on upright bass, fiddle, acoustic guitar and backing vocals; Daniel Walker on piano, synthesizer, Mellotron, electric piano and accordion; Jacob Evans on drums and percussion; and Tor Dietrichson on percussion. There are also some special guests on certain tracks.

The album opens with its title track, "Sumatra," which has an unexpected spiritual bent at the start, voices chanting. These are members of the Evensong Choir of Saint Mark's Episcopal Cathedral in Seattle. The guitar soon comes in and the music then begins to build, taking over. As the volume and power of the instruments rise, the chanting voices are overtaken. And once they are gone completely, Paula Boggs comes in on vocals. An interesting way to begin things, this puts us in a rather somber mood, which works for the song. Soon she raises her voice for the lines, "Wafting autumn inspires me to find places to dream, stream, scream revolution/Babies are caged/Are we enraged?" By then, we are completely captivated by the music, by the passionate vocal work. This track features some wonderful percussion. Toward the end, the music itself feels like a chant, a mantra, even before those voices from the beginning return. Paula Boggs Band goes a different direction with "Bard Of Vietnam," the fiddle setting a different tone. It begins as a solid storytelling folk song, with bluegrass elements, and then touches upon death. "When you're young, death's the last thing on your mind/But the older you get, the more friends leave you behind." And check out these lyrics: "My mama lives next door/I see her weathered skin/They say we look alike/Some say we're twins/Her eyes tell a story/I read between the lines."

"Route 66" is an original song, not a cover of the well-known Bobby Troup song. It begins with some gentle, thoughtful guitar work, which sets the tone. Here are the first lines: "Sixty-six candles adorn this cake/Sixty-six reminders of wins and mistakes/I'm not sure how I got to this place/But I'm happy to be here now." Yes, it's a song about aging, a birthday providing an opportunity to take an honest look at one's life. Soon she sings, "Reminding me time heals almost everything." It's true, but we get so little time for that healing to take place. This is something that's been on my mind a lot lately. We must make the most of the time we have. Another line that stands out to me is "History only teaches what we want to learn." What worries me is that these days people don't want to learn anything at all. "Route 66" is followed by "Still Grateful," which has a pretty sound, in part because of the fiddle, and features some nice backing vocals. It's a song of being momentarily physically separated from that special someone, but still having that person with us in a meaningful way. And it contains a passionate vocal performance, one that is full of love. It isn't until the second half that we learn this love song is about "Just a girl loving a girl," openly and gratefully. I think humanity has made very little progress, but this is one area where some progress seems to have been made.

One of my personal favorites on this album is "Note To Quinn." I am totally taken with the sound of this one from its cool opening, the combination of the banjo and electric guitar, those two different sounds creating an interesting atmosphere and vibe, and preparing us for a song that sort of takes place in two times. And Paula's vocal approach is different for this one, leaning more toward spoken word. I love the way she delivers the line "You might not recognize/America," with that pause before the word "America." And I love how the electric guitar responds. This song addresses someone long gone, taken too soon, updating the person on the state of things, both in this country and in her personal life. "You'd like my gal/Wish you knew her/Wish you'd met/Wish you knew/We tied the knot. For real/For real. For real." Arietta Ward provides backing vocals on this track. That's followed by "Traces Of You." Some passionate work on harmonica establishes the atmosphere of this one. And then the cello comes in, gorgeous, moving. That's Josh Neumann on cello. This track had me almost in tears. It's a song that Paula Boggs has recorded before, first including it on her A Buddha State Of Mind album, and then on Electrokitty Sessions. This version is quite different, an instrumental rendition, feeling like a lament, perhaps for the person addressed in "Note To Quinn." Paula Boggs plays acoustic guitar on this track. Daniel Walker is on accordion. The harmonica returns at the end. This ended up being another of my favorite tracks.

"Wasting Young Man" is a song with its own special power, a song with vivid characters. "Depression is his widow's weed/He longs for a woman who his will never be." This track contains one of the album's best, most interesting vocal performances. There is also some great work on fiddle, and some really nice stuff on piano. The whole atmosphere of this song is effective and exciting. Paula Boggs Band then gets more into blues territory with "Airline Boogie." I love the Gershwin reference early on ("Rhapsody In Blue" is one of my favorite pieces of music). Flying ceased to be enjoyable a couple of decades ago, but it has become more stressful in the last year or so, since the convicted felon and his fellow morons took over the government. There is more anxiety associated with air travel than ever before. The current fascist government has made everything dangerous through incompetence and greed and indifference and stupidity. "Anxiety climbs the higher we go/Can't even see the ground no more."

All of the tracks so far were written by Paula Boggs. The final two tracks, however, are traditional numbers. The first is "The Snow It Melts The Soonest," here with an arrangement by Paula Boggs. This wonderful rendition features some pretty work by James Falzone on penny whistle. The second is "Ain't Gonna Let Nobody Turn Me Round," Paula Boggs Band delivering a delightful, empowering rendition, a fantastic mix of jazz and gospel elements. Valerie June and the Blind Boys Of Alabama join Paula on vocals for this one. "Ain't gonna let no hatred turn me round." James Falzone delivers excellent work on this track too, this time on clarinet. "Ain't gonna let injustice turn me round." Hatred and injustice are part of the official government platform these days. But the people need to keep on, despite what those bastards do. This song is an absolutely wonderful way to wrap things up.

CD Track List

1. Sumatra
2. Bard Of Vietnam
3. Route 66
4. Still Grateful
5. Note To Quinn
6. Traces Of You
7. Wasting Young Man
8. Airline Boogie
9. The Snow It Melts The Soonest
10. Ain't Gonna Let Nobody Turn Me Round

Sumatra was released on March 27, 2026.

Perdomo Kravitz: "Goodbye Sun" (2026) CD Review

In addition to the Clouds series (a new album every month), a rock opera, the Broken Sound project (a duo with Michael Collins), a David Bowie tribute, his work with Marshall Crenshaw, and the albums he produces for other artists, Fernando Perdomo has another new project: Perdomo Kravitz, a duo with drummer and producer Andy Kravitz. I know that sounds like a lot for one musician to be doing, but you have to keep in mind that through a special deal he worked out with the universe, Fernando Perdomo's days are made up of thirty-four hours, rather than the measly twenty-four the rest of us have. He and Andy Kravitz gave the audience at Kulak's Woodshed a taste of this new music at a special show back in March. Those songs got folks excited about the project and about the album, Goodbye Sun, which is now out. It contains all original material. On this album, Fernando Perdomo plays guitar, bass and keyboards, and provides the vocals; Andy Kravitz is on drums, percussion and keyboards. They are joined by Kaitlin Wolfberg on strings. The album was produced by Fernando Perdomo and Andy Kravitz, and was mixed and mastered by Andy Kravitz.

The album opens with "Free From The Me," which has a sweet, gentle southern California sound and vibe that is incredibly appealing, and features some really nice vocal work, A vocal performance that is soothing, one we want to connect with right away. "Now it's time, time for change/I'm not ashamed." This is one of the songs that Fernando Perdomo and Andy Kravitz played at that show in March. There is a bit of a Beatles influence heard in some of the guitar work in the second half. And we realize that the energy of the song has been increasing, the song now having an uplifting effect. "A brand new song, a brand new day." Then the opening line of "Starlight," "I picked a fight with the world again," is one that grabs me. And soon Fernando sings, "But I know, I know I'm better off home with you." Oh yes, that is something we know instinctually, and yet it's so easy to find ourselves in those battles. What's important is that special someone. Fernando sings, "You are the starlight." This song has an interesting change in the middle, where things shift momentarily, and then those opening lines are repeated, now with a stronger energy. This song also has a delicious rhythm.

"Sometimes, I" has a cool, catchy sound, and features some good lyrics. "There's no need for explanations/When the fighting's through/Sometimes I lose my patience/Frankly, I've got better things to do." There is an interesting power to this song, and it ends with the line, "I've lost my patience with you." Then there is a more somber, thoughtful sound on guitar at the beginning of "Goodbye Sun," the album's title track, which they played at that concert in March. I love Kaitlin Wolfberg's work on strings. It's a captivating number, in part because of her work, partly because of the way Fernando delivers the lyrics. "The moon will take your place/Your beautiful face/Lit by the sunset." There is something urgent here, a longing, a need. We feel it in his delivery.

Of all the new material I heard at that concert in March (keeping in mind they did not play the full album), "I'm No Fun" was the song I loved the most. This was the one I was thinking about on my way home. It begins like a fairy tale, that instrumental intro, which has a playful and sweet character, and features more wonderful work from Kaitlin Wolfberg. And the vocal line has a rhythm that grabs us. "Since you're gone, I/Am a lot like/Someone that I/Don't want to be." I love this song. It was a favorite that first time I heard it, and it's a favorite now. Everything works beautifully here. Halfway through, the drums make a great impact, punctuating the action and giving everything a bit more weight. "Since you're gone, I/Don't have a life/I just sit in my dark little room/I'm no fun." I highly recommend checking out this song (and the whole album, of course). It's followed by "My Own Devices," which has a magical quality at the beginning, establishing an interesting tone. Guest Paulo Oveira joins the duo on flute, and that instrument helps in creating the special atmosphere and vibe of the song. The strings are also part of the magic. The percussion to this one is wonderful. Fernando Perdomo recently performed a solo version of this song in concert, and it had quite a different feel in that context. It was still really good, and worked to carry us gently along, which I loved, but the impact of this band version is greater, I think. Part of it is that percussion, which has such an interesting effect, sometimes a deep pulse that seems to come from within us as well as without. "I need healing like I've never needed before." That lovely guitar work could contribute to the healing we all need. As this track ends, it seems to be stepping into another room, another realm.

"Canyon Trilogy," as its title suggests, is three pieces. Those are "Meet Me Down On Love Street," "Harmonics And True Love" and "I'm Free." At a concert a week or so ago, Fernando Perdomo mentioned that this trio of songs was inspired by Laurel Canyon Blvd. (the "Canyon" of its title), a major street in the valley that runs south into the Hollywood hills. So it makes perfect sense that there would be something of that southern California sound here. There is also a dreamy aspect to the music that is appealing, particularly in the first section. "Let's go and explore." And there is some beautiful guitar work. The sound builds then for the second section. "You sparkle when you're smiling." Everything feels so good. And as the track moves into "I'm Free," the vibe becomes even more pleasant. This track is something special. It's followed by "Travel Day." A good groove is quickly established, and that groove is at the center of this one. "Leave our troubles at the door/And set our sights for the brand new shore." Doesn't that sound just right? And I love that guitar part toward the end. This song slowly fades out.

"The First Day Of Fall" contains one of the album's most wonderful vocal performances. And I love that vocal section in the second half, with the different layers. This track also features some pretty work on strings, helping to transport us. That's followed by "Darkness Descends," which has an interesting atmosphere. It's somewhat dreamy, but with a kind of pop edge. "Darkness descends on the valley/Shadows engulf all the palm trees/Headlights turn on on Ventura/The night is ours, the night is ours." This song mentions places here in the San Fernando Valley. I wonder just which bar he refers to in the line "Let's go to that bar down on Woodman." There is a bar just off Woodman on Burbank Blvd. that I used to go to all the time and still go occasionally. When I first moved to Los Angeles, I was struck by all the places that I knew from songs. How could I drive west on Ventura Blvd. without thinking of that Tom Petty song, for example? Or when I'd see the sign for Victory Blvd., I could not help but shout, "We love it!" This song mentions a park I've been to a few times. The album then concludes with "Travel Day Redux," a short track. As "Travel Day" had faded out, this one fades in, and then it is all about the beat (which began "Travel Day") before it suddenly ends.

CD Track List

1. Free From The Me
2. Starlight
3. Sometimes, I
4. Goodbye Sun
5. I'm No Fun
6. My Own Devices
7. Canyon Trilogy
8. Travel Day
9. The First Day Of Fall
10. Darkness Descends
11. Travel Day Redux

Goodbye Sun was released on May 15, 2026.

Trabants: "Mirage" (2026) Vinyl Review

Trabants is a Portland-based (though originally Boston-based, and then Los Angeles-based) band led by Eric Penna, delivering some delicious surf and psychedelic garage instrumental music. Isn't it fantastic to know that musicians are still making music like this? The group has been around for more than a decade, releasing cool albums like Highwire Surfing, Cinematic, Freakout and Nel Cuore Di Una Terra Selvaggia. The band's new record, Mirage, contains all original material written by Eric Penna. The group has gone through several personnel changes over the years, and for this album is made up of Eric Penna on guitar, percussion, bass, organ, and vibraphone; Dave Berkham on bass; Glenn Brigman on organ, electric harpsichord and tabla; and Anthony Brisson on drums. There are also guests on a few tracks. The band's name, by the way, comes from an East German car that was manufactured for several decades until the early 1990s, the word coming from the German word for "companion." Well, this music can certainly function as a good and fun companion in a time that seems generally diametrically opposed to fun. In a time when many people take things much too seriously, this music is like great gulps of fresh air. 

Side A

The album opens with "Track Zero." Here the machinery is getting in gear, preparing to launch. One pass, two, three, four, building energy with each circuit. And then it's over, a minute or so after it began.  But don't worry, because things really start moving, start shaking with "Hot Brew." This track contains a strong rhythm, and a guitar with the right amount of fuzz, skirting psychedelic territory. The other guitar part is eager to lead us in a dance. And why not? It shouldn't be long before the music has you on your feet anyway. Then we get into a 1960s surf world with "Mirage," which features some cool guitar work throughout the track. I love when this kind of music has some sort of exotic, foreign element or flavor, as it does at times here. It's music that could transport you, just as those waves could take you for a ride. And we know we're in good hands. It'll be a fun ride, sure, but we know we'll arrive safely. Pete Curry plays drums on this track.

"Purple Panther" is the track that initally got me excited about this record, and I imagine it will have the same effect on lots of folks. The band put out a music video for it several weeks ago, so check it out when you have a chance. It's clear from the song's opening moments that it's going to be a cool track, the way it kind of sneaks in. It very soon grabs hold, and contains some excellent work on guitar, a delicious rhythm, and some wonderful stuff on keys. This track also features guest Ron Dziubla on saxophone, delivering some great, raw, mean stuff, getting down and dirty at moments. What more could you want? If Quentin Tarantino hears this track, he'll certainly put it in a movie. I wish this track were longer. It comes in at a little under three minutes. It's followed by "Soul Garage A Go Go," which has a strong groove that immediately will make you think of certain soul hits of the 1960s (particularly The Four Tops' "I Can't Help Myself"). There is a good steady pounding, demanding that you cut loose. And we are treated to some excellent stuff by Bryan Murphy on trumpet, that instrument calling all the forces of nature to join us on the dance flow. This track contains a psychedelic ending.

"Mata Hari" has an especially cool vibe. It is another track that feels like it would be at home in a movie, that it should be part of a soundtrack, or score. There is something dramatic, something cinematic about it. It should be the theme music to a cool, but somewhat shady character, maybe a chick that the secret agent meets in a foreign land, like on the ski slopes or something. And watch out! She knows a little something, and has an undeniable allure. It's the sort of danger we'd willingly embrace. The music itself is seductive. Eric Penna plays vibraphone on this track, part of the track's cool vibe. The first side of the record then ends with "Midnight Bells," which also could be in a film, one of those 1960s numbers where a bunch of teenagers are dancing while lights melt upon their beautiful faces rather than a character's theme. There is a good energy to this one, and the track features some excellent guitar work, particularly toward the end.

Side B

Trabants open the record's second side in somewhat more serious territory with "Five Alarm." The music still is fun and has a great beat, but it feels like there is a darker energy at play, something lurking in the corners, in the shadows, adding a certain urgency. Perhaps that element can be ignored, if you just wish to dance. But one thing that can't be ignored is that great guitar lead, as it coils around your neck and slides into your ears. That's followed by "August Nights," the bass leading us into a delicious dance, a party where the psychedelics are in the punch, but things haven't gotten too weird yet. Everyone is still largely of this earth, moving to a beat all can hear, all can feel, swaying with a certain joy. But you are aware that this is the launching pad, and colors begin to play on the walls and ceiling. This is one of my favorite tracks.

"Fuzz 4 Daze" has a catchy guitar part. This track keeps everything moving, everyone dancing with its steady rhythm. Pete Curry plays both drums and bass on this track. I personally dislike numbers used in place of words in song titles (2 for "To," 4 instead of "For"), but the track is fun. And yeah, there is the right amount of fuzz here. The guitar pushes us onward. The band then takes us back into surf territory with "Hollywood Surf," a song with a delightful beat. It feels like a dance on the beach, where the whole world becomes that spot, and nothing exists beyond the horizon. It's so much fun dancing barefoot in the sand, as this music clearly demonstrates. Doesn't life feel good? I think we need life to become a dance again. Things have been too serious, too ugly for far too long.

There is a wonderful psychedelic vibe to "The Emerald Apricot," and yet it is still a fun song to dance to, the rhythm keeping us somewhat grounded, while the guitar pushes at the boundaries of reality in a playful way. There seems to be a dance within the song, as the different parts urge each other on, as the two guitar parts do in the second half. This track also features some great drumming, and is another of the record's highlights. The album concludes with "Mantra Part II." In 2024, Trabants released a single titled "Mantra" (and actually there is a note on the back of this record jacket that urges listeners to "play the two songs from our last 45" - "Mantra" and "Surfers On Acid" - between "Track Zero" and "Hot Brew"), and this follow-up takes us on a trip, with its strong eastern influence. There is some wonderful percussion on this track. This music makes me feel good. While it's nice to dance to, this track also has something soothing about it. And there is an interesting ending, as if suddenly we move backwards through our recent experiences, a strange winding backward, or winding down of the record's opening track. So I think we're left with no other choice but to play the record again.

Record Track List

Side A

1. Track Zero
2. Hot Brew
3. Mirage
4. Purple Panther
5. Soul Garage A Go Go
6. Mata Hari
7. Midnight Bells

Side B

1. Five Alarm
2. August Nights
3. Fuzz 4 Daze
4. Hollywood Surf
5. The Emerald Apricot
6. Mantra Pt. II

Mirage is scheduled to be released on June 12, 2026, and is going to be available on CD as well as vinyl. You can order it through Bandcamp.

Hannah Gill: "I Like The Sunrise" (2026) CD Review

From the first time I heard Hannah Gill's voice, I was a fan. And that was before I heard her Halloween-themed albums. Once I got my hands on Spooky Jazz Vol. 2 and last year's Spooky Jazz Vol. 3 (I still need to get a physical copy of the first volume), I loved her even more. Who wouldn't? If you've heard those albums, you're crazy about her too. Now on her new album, I Like The Sunrise, she celebrates the music of Duke Ellington. Rather than doing big band renditions of his material, as is often done, she chooses a more intimate approach. Joining her on this release are Luis Salcedo on guitar, Phil Ambuel on bass, Adam Ray on drums, and Ricky Alexander on saxophone. The album was produced by Scott Asen. It was recorded and mixed by Alex Conroy.

Hannah Gill opens the album with "So Far, So Good," the only track not written or co-written by Duke Ellington. It was written by Jack Lawrence, Jimmy Mundy and Eddie White. Duke Ellington recorded it in 1940, with Ivie Anderson on vocals. Hannah Gill's rendition features a delicious, catchy bass line and a wonderful lead on guitar. And Ricky Alexander delivers a warm lead on saxophone. All of that is fantastic, but the main draw is Hannah Gill's vocal performance. So confident, so timeless, so welcoming, so damn good. "Take a peek at the future/What do you see?" Well, with this music playing, the future I see looks excellent. Then Hannah takes us into blues territory with a stellar rendition of "I Ain't Got Nothin' But The Blues." This one begins with some nice work on guitar, the playing being kind of quiet, drawing us closer. When Hannah comes in, we know right where we stand, and that is with her. We can all relate to lines like "Ain't got no winnings to lose/Ain't got a dream that is working/I ain't got nothing but the blues." Yet there is a great deal of charm even in those lines, making us feel better about our own blues. After Hannah sings "When trumpets flare," Ricky Alexander comes in. Not a trumpet, but a saxophone works just as well. This track also contains an interesting, totally cool lead on guitar. The music then swells as Ricky begins his lead in the second half. This song was written by Duke Ellington and Don George.

A delightful bass line sets "Love You Madly" in motion. Hannah's voice should lift even the most dour of spirits. There is something so pleasant about the vibe of this track, so catchy. And don't we all need to hear someone tell us, "I love you, love you madly"? And shouldn't you be feeling that way about someone, telling someone? There is a gentle swing to the music here, and this track contains solid leads on both saxophone and guitar. "Love you madly, right or wrong/Sounds like a lyric of a song." That's followed by "I'm Just A Lucky So-And-So," Hannah delivering a sexy, gorgeous and warm vocal performance, moving with a slow kind of strut. "The birds in every tree/Are so neighborly/They sing wherever I go." Oh, I have no doubt about that. There is some kind of magic surrounding her, this performance makes that clear. Even when things are in a more relaxed, bluesy groove. Ricky Alexander gets a chance to stretch out a bit on his sax lead, which is wonderful, allowing things to build beautifully. This track is one of my personal favorites. "If you should ask me the amount/In my bank account/I'd have to confess that I'm slippin'/But that don't worry me." When I'm listening to this music, the same situation ceases to worry me too.

"I Didn't Know About You" begins with some pretty work on guitar. Soon, Hannah comes in, delivering an especially beautiful vocal performance, this track having a deliciously intimate quality. "Just taking my fun where it could be found/And what else could I do?" Ah yes, what else can any of us do? What striking is that her performance has great beauty, but also feels completely natural, like she's telling us a personal story. Luis Salcedo gets time to demonstrate his talent on guitar. And at the beginning of "I Got It Bad (And That Ain't Good)," Hannah's voice is again supported by guitar. Here she opens up. There is a vulnerable quality heard in her voice, a longing. "When he's gone, I'm cloudy with showers/An emotion like the ocean, it's either sink or swim/When a woman loves a man as I love him." I believe every syllable. Everything has that ring of truth. And then the bass and drums come in, as if to gently cradle her.

Hannah Gill is so adept at expressing a timeless passion, as she does on "Azalea." I love the way she delivers a line like "I've yet to get that same strange feeling," the nuances that make it all so real, so wonderful. The guitar work in the middle of this track seems to contain a brief nod to the beginning of "Someone To Watch Over Me." It's a wonderful guitar lead, and this is a beautiful rendition. Things then gently swing again with "Do Nothing Till You Hear From Me." There is a joy to this track, particularly to her vocal performance, and a playful quality that I adore. "True, I've been seen with someone new/But does that mean that I'm untrue." She is in control in this rendition. And I don't think the other man has any choice but to believe her. Ricky Alexander's saxophone backs her up, and you can't argue with a saxophone. But it is that guitar lead that I especially love. And when the guitar and saxophone work together, everything is right with the world.

"I Like The Sunrise," the album's title track, begins like a storm approaching, thunder brought on by the percussion, a captivating opening. Then light suddenly streaks in, and Hannah sings the song's first lines, "I like the sunrise/Because it brings a new day." Hers is a gentle performance, with an easygoing sense. From that interesting storm at the beginning, we seem to awaken into a dream. Yet there are remnants of that storm playing at the edges occasionally. This is such an interesting rendition, another of the disc's highlights. It's followed by "Take Love Easy." Here Hannah sings, "Never let your feelings show," yet we feel that every word, every syllable is full of feeling, full of emotion, full of truth. I love that, and I love her approach. This track features some wonderful bass work, including a lead halfway through. Hannah Gill wraps up the album with "Azure," which begins with guitar and then some whistling, which takes us to another time, another place, and does so with ease. "Drifting, dreaming," Hannah sings. And that's just how the song feels. We are happy to drift with her, and with the guitar that supports her. Here she delivers another remarkable vocal performance. There is more whistling at the end, leading us off into the distance.

CD Track List

1. So Far, So Good
2. I Ain't Got Nothin' But The Blues
3. Love You Madly
4. I'm Just A Lucky So-And-So
5. I Didn't Know About You
6. I Got It Bad (And That Ain't Good)
7. Azalea
8. Do Nothing Till You Hear From Me
9. I Like The Sunrise
10. Take Love Easy
11. Azure

I Like The Sunrise is scheduled to be released on June 19, 2026 on Turtle Bay Records.