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

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

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

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

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

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

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

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

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

Special Features

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

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

Blu-ray Song List

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

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

Soul To Soul Blu-ray Review

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

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

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

Special Features

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

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

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

Rick Shea & The Losin' End and I See Hawks In L.A. at Maui Sugar Mill Saloon, 5-20-26

Last night was the night of Rick Shea's monthly "Swingin' Doors" music series at the Maui Sugar Mill Saloon in Tarzana, and joining his band was I See Hawks In L.A., promising a special evening. For those who haven't yet been to one of the "Swingin' Doors" nights, the way it works is Rick Shea & The Losin' End do two sets, and in between those sets, the guest band performs a set. So that's three sets of great music. And there is no cover. 

Rick Shea & The Losin' End

Rick Shea & The Losin' End opened the first set with "A Week In Winnemucca," which is the lead track from Rick Shea's new album, Smoke Tree Road, and was a perfect choice to set the tone for the set, the song having such a good vibe. I'm not sure I ever noticed this before, but drummer Dale Daniel held a stick in his right hand (for the floor tom) and a brush in his left (for the snare) for this song. He switched to two sticks for "The Town Where I Live." In introducing that song, Rick mentioned being from San Bernardino. "It was a rough place," he said, and it's gotten a little rougher since then. That was followed by "Mexicali Train," which is about a train trip Rick Shea took a long time ago. The song is one of those that take us all on a trip, the song's rhythm being that of the train (Dale using brushes for this one). The song featured a really nice vocal performance, as well as some pretty guitar work from Tony Gilkyson during his lead. "Mariachi Hotel" also takes us straight into its world, a world populated by interesting characters. The great vibe of this song always hits the right spot, and Rick delivered a cool lead on guitar, with Tony adding his own delightful touches.

Jeff Turmes has a new album in the works, and last night marked the first time he played "I Heard You Were In Town" in concert with Rick Shea. The band has been playing another of Jeff's new songs, "Things I'm Not Gonna Think About," off and on since last summer, and it's clear from these two songs that this is going to be a good album. So keep an eye out for that one. "Guardian Angel," a song from Rick's new album, followed. In introducing the song, Rick thanked Paul duGre, who mixed and mastered the album, and who was in the audience. The band delivered a really nice rendition. "I took a lot of crazy chances/I was lucky that I pulled through." That was followed by "Hold On Jake," with a good energy to the performance. "Hold onto whiskey if it gets the job done." Tony was delivering some particularly wonderful stuff on guitar at the end. Tony then led the band in his "Papa Don't Sleep," an instrumental number that had its own delicious energy and was a whole lot of fun. Rick mentioned that Tony is working on a new album, and Tony said it will be out in the fall. So there's another album to keep an eye out for. The band wrapped up the set with a couple of Midnight songs: "Blues At Midnight" and "Midnight Shift."

I See Hawks In L.A.

I See Hawks In L.A. then took the stage. The configuration was a bit different from usual, with Rob Waller standing stage right, and Dan Wistrom in the center. The band opened with "Raised By Hippies," a fun way to kick off the set. Everything was feeling right, and the song featured a good lead by Dan on pedal steel, as well as some great harmonies, particularly at the end. Dan asked about turning off one of the stage lights, which wasn't possible. He's not the first person in his spot on stage to remark on that light. "I like the dim lights," Rob said, "thick smoke," and Dan finished the sentence with "and loud, loud music." There was certainly a playful vibe last night, something that is always appreciated. A really good rendition of "Hope Against Hope" followed, that song featuring an excellent vocal performance from Rob, some great stuff from Paul Marshall on bass, and a sweet lead on pedal steel. After that song, Rob's beer bottle fell onto his pedal. "I imagine I'm not the first person to spill a beer on this stage," Rob said as he retrieved the bottle. Nubs, the venue's sound guy, immediately confirmed this. Dan switched to electric guitar for the always-fun "Ohio." "I was hooked on my vanity project, but now I'm clean." Rob then announced there seemed to be no damage to the pedal caused by the beer, just as was the case with his brain. That was followed by an excellent rendition of "White Cross" that featured a particularly nice lead on electric guitar that drew applause from the crowd.

The band played a sweet rendition of Willie Nelson's "Me And Paul," featuring a good rhythm from Victoria Jacobs on drums. Rob led Paul into telling the story of meeting Willie Nelson, and about hanging out with him and smoking pot with him, jokingly ending it with the bit of advice that Willie gave him: "Paul, don't be a name-dropper." That was followed by one of my favorites, "Jug Of Misery," a song with some wonderful harmonies, a song that might have you close to tears if you let the music in that way. Rob then mentioned the world losing Clarence Carter. He said Clarence did a lot of dirty songs, but that the band was going to do a clean one. Someone in the audience expressed some disappointment at that. "Am I the only one here who didn't know who Clarence Carter was?" Dan asked. Paul quickly answered, "Yes." But a woman in the audience called out that she didn't know either. The song they chose to play was "I Stayed Away Too Long." Rob then introduced Paul Marshall, and someone in the audience shouted out, "Bass solo!" Paul immediately responded, "So low you can't hear it." The song he chose to do was "Talking To The Dog." The first time I saw him play that one was during a solo set, and the entire audience was laughing so hard that we missed some of the lines. It's hilarious.

Then it was Victoria's turn to pick a song, and she chose "Skipping Stones," another highlight of the set. A good deal of the fun is in the song's delicious rhythm. In the playful introduction to "I Fell In Love With The Grateful Dead," Paul said, "Despite what Willie Nelson told us, this is a song about the Grateful Dead." For those who might not know, Paul Marshall played on Grateful Dead keyboardist Brent Mydland's unreleased solo album (for Dead fans, that album contains an early pre-Dead version of "Tons Of Steel" you're going to want to hear). "I Fell In Love With The Grateful Dead" featured some great drumming. After it, Rob said, "That's all true." He then mentioned that this year marks the twenty-fifth anniversary of the release of the first I See Hawks In L.A. album, and to celebrate the occasion the band will be doing a special show at McCabe's (with Rick Shea and Tony Gilkyson opening). That show is scheduled for September 19th, though the album was released on September 11th. Yes, September 11th, 2001, and Rob joked about how that was perhaps not the most auspicious beginning for the band. From that album, last night they played "Beautiful Narcotic Place I Reside." It was great hearing this song again, and it featured some nice work on pedal steel. The band then wrapped up the set with "California Country." Now anyone who has been to Maui Sugar Mill Saloon loves Nubs. The main reason for that is he is a damn good sound man. But it's also for actions like what he did last night. As soon as the band finished, he marched over to the stage and told them they weren't done, and made it clear precisely what song they had to do, and then went back to his soundboard, confident that they would do it. And they did. The song Nubs chose was "Good And Foolish Times." It was a good rendition, though without the extended ending. A fun way to wrap up the set.

Rick Shea & The Losin' End

Fifteen minutes later, Rick Shea & The Losin' End were back on stage, opening the final set of the night with "Georgia Bride," a song from Rick's new album. The band delivered a cool rendition. If you haven't yet heard the new album, I highly recommend purchasing a copy (you can order it here). They followed that with a fun rendition of "Juanita (Why Are You So Mean)." You'd swear there was an accordion present at the beginning of the song, though there wasn't. Tony then sang lead on his "Man About Town," a very cool, slow number. Rick followed that with another seriously cool song, "El Diablo Manda," which he introduced as "Another new one that we have not done very much." It's one of my personal favorites from the album, and for part of it Dale played the drums with his hands. That was followed by "The Starkville Blues," Rick changing the lyric at one point to "I knew a girl in Maui Sugar Mill Saloon." Jeff Turmes then sang lead on his "Don't The Moon Look Real," dedicating it to Nubs, who had requested it. There are certain advantages to being the sound guy. The song had a delicious jazzy vibe, and featured some wonderful work on guitar. Tony Gilkyson sang lead on "Tear It Down," keeping the cool vibes going, the song developing into a good jam. The set concluded with "(You're Gonna Miss Me) When I'm Gone," which also became a great jam at the end. The show ended at 11:52 p.m. An excellent night of music.

Set List

Rick Shea & The Losin' End Set I

1. A Week In Winnemucca
2. The Town Where I Live
3. Mexicali Train
4. Mariachi Hotel
5. I Heard You Were In Town
6. Guardian Angel
7. Hold On Jake
8. Papa Don't Sleep
9. Blues At Midnight
10. Midnight Shift

I See Hawks In L.A.

1. Raised By Hippes
2. Hope Against Hope
3. Ohio
4. White Cross
5. Me And Paul
6. Jug Of Misery
7. I Stayed Away Too Long
8. Talking To The Dog
9. Skipping Stones
10. I Fell In Love With The Grateful Dead
11. Beautiful Narcotic Place I Reside
12. California Country
13. Good And Foolish Times (encore)

Rick Shea & The Losin' End Set II

1. Georgia Bride
2. Juanita (Why Are You So Mean)
3. Man About Town
4. El Diablo Manda
5. The Starkville Blues
6. Don't The Moon Look Real
7. Tear It Down
8. (You're Gonna Miss Me) When I'm Gone

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

Feef Mooney: "The Really Real" (2026) CD Review

What is real anymore? I bet a lot of us are routinely questioning reality, what with all the deliberate lies and misinformation being spouted everywhere, and with photographs being easily manipulated, and now with that awful artificial intelligence creeping into all areas of life. And so a phrase like "really real" isn't quite as comical as it once was. It's now beginning to make some sense. And that's the title of Feef Mooney's new album. The Really Real. Which seems perfect, for it is in music that I find humanity, compassion, and, yes, reality. And I find all of that in Feef's music. Her new album features all original material. Feef plays acoustic guitar and electric guitar on these tracks, and provides the vocals. She is joined by Fernando Perdomo on bass, organ, electric piano, electric guitar and drums; and Nick Vincent on drums and percussion. There are also a few guest musicians on certain tracks. The album was produced by Feef Mooney and Fernando Perdomo, and mastered by Matt Forger.

The album opens with "Waiting For Life," a title that speaks to me. Interestingly, the song begins with Feef delivering some "doo doo-doo doo-doo" vocals before giving us the first line. Check out these lines from that first stanza: "Forever making plans/Is she living by a list?/Is she getting her day done?/So much to accomplish." Admittedly, those lines stand out to me because I do have a list of things to accomplish each day. And, yes, it does sometimes feel like I'm waiting for life to happen, which is frustrating, even frightening, when coupled with the knowledge that life is so incredibly short, and might be over before it happens. I'm guessing I'm not alone in this, and this song will speak to many others. Feef's vocal delivery is gentle, one of empathy. This song contains references to The Beatles' "Eleanor Rigby" and "Nowhere Man": "Nobody wants to be Eleanor Rigby/In a land of nowhere men/Buried alive like a thistle in a sidewalk/Just planning for life to happen/Just waiting for life to happen." Then "Evolution" has more of a bluesy vibe at its start, heard particularly in the guitar work. And the track features a really good vocal performance from Feef Mooney. Sometimes her voice has a sort of whispered punk attitude, as on the lines "Every day is/Evolution." And I love when she dips into those deeper regions, as on the words "steady now" in the line "Hands so steady now make me want to be ready now." There is something kind of catchy about this song too. It's a cool song, encouraging us, or reminding us of the value of singing, living, even as things seem to be ending. And perhaps in doing so, we are becoming better in some way.

"Good Changes" has a lighter vibe as it begins, and I love the guitar work immediately. Interestingly, like the first track, this one mentions waiting early on: "I'll be all right/I'm just waiting for/Something about good changes." Here too Feef offers a wonderfully varied vocal performance that keeps us engaged. For example, after a brief instrumental section, she sings "I'm not looking for romance/I just want to jam," and she kind of belts out that first line, while delivering the second in a more straightforward, though somewhat playful way. This song features a good rhythm. It is followed by "In Love With Free." In this song, Free is a character, a person, as much as an idea. And a person with special abilities: "Now he can woo anything/He can fly to Paris in the dark/On a kite with a piece of string/He's got the power of the mermaids." Fuzzbee Morse plays flute on this track, that instrument adding to the magical side of the song, while the wonderful rhythm keeps us more grounded. I love the percussion. This track also features some nice work on electric guitar. There is something in this song's sound and vibe that reminds me of some of Joni Mitchell's work.

Near the beginning of "Underground," these lines grabbed me: "We circle time and question love/Analyze it, break it down/Mysteries avoid this." I tend to analyze things, except love, which I am thrilled to simply accept, both in the giving and receiving. Is it something that happens deep within? Or is it also on the surface, where it is more easily shared? I love how these songs can cause reflection, but also can be enjoyed even without it. This one, for example, has a good groove. Then "The 25th Hour" begins with some good, thoughtful work on guitar. When Feef comes in on vocals, her voice has an unusual character. The second line is "Or you won't pick up the phone," and it might be that her voice seems to be coming to us through a phone line, at least in those early moments. Then that sense is gone, and we are just captivated by this number. "Everybody wants to be somebody famous/Everything is open late/So much cleverness, imitation/So much fear, intimidation/So much poison, they call power." This song is so damn good, one of the album's best. There is a lot happening here, and it hits us in the gut as well as the head. "Big fish swallow the little fish/Is it choice or fate?" At one point she repeat the question, "Who do you trust?" A good question in these days of rampant dishonesty and manipulation of imagery.

On "The Really Real," the album's title track, Feef sings, "And oh my love, what good is fear/It will not bring you back, it's clear/Why is love such loss and letting go?/Embrace all we can never know." The music has a positive vibe, even as the lyrics ask some serious questions. "Oh my love, what good is grief/It burns so deep I can barely breathe." This track contains some nice work on electric guitar. There is a 1960s influence heard here, partly in the vocal line at times, which makes me think of some of the great female folk voices of that time. "Step inside, trust the ride." That's followed by "I'm Calling You Home." Check out the opening lines: "Since you've been gone/I crave sugar all day long/Doctor says it's wrong/But that's another story." I can't help but find humor in the line "But that's another story." The line "I miss you. I'm sorry" also stands out, for in my head the two feelings are connected, perhaps because of the way there is barely a pause between the words "you" and "I'm," like apologizing for missing the person. This track is yet another of the album's highlights, in part because of Feef's vocal performance, which is fantastic.

"My Crossroads" has a great groove that grabs us and delights us immediately. A bluesy sort of funk. This number will have you moving. It's fun, no question, but that doesn't mean its lyrics don't have their own force. Here is a taste of the lyrics: "The storm releases, the storm releases/All my pain. All my pain/And I seek to be empty/I seek your love/To go where I desire to be/Let's not give up." Then "Just Where You Are (No Country)" opens with these lines: "Sunshine, it isn't my friend/How I wish these Disney days would end/You smile and you are kind/When I want to say 'Never mind'/Wishing I could find/A way out of pretend." Yeah, Feef Mooney can craft some excellent lyrics. This track contains another of the album's best, most compelling vocal performances. And Kaitlin Wolfberg adds some wonderful string work, also helping to make this track stand out. "I miss you, my crazy weather/Trust my heart, I'm trying to keep it together/When it's up to you, you gotta make it better."

"The truth is, you can't trust your feelings now/You know you've got to get a grip somehow," Feef sings in "Godspeed The Plough," revisiting that idea of what can be trusted, something I assume most people are grappling with these days. Yet this song has a lighter, brighter feel, and a good beat, leaving us feeling hopeful and cheerful. The album concludes with "Blue State Of Mind." On this track, Adam Steinberg plays drums, Wendysue Rosloff plays autoharp and spoons, and Matt Lomeo is on harmonica. The track has a strong rhythm and features some great blues elements, especially Matt's work on harmonica. This country has a serious case of the blues, and I sincerely wish we could leave all the fascists (previously known as Republicans) behind. It is like we live in separate realities anyway. The problem for me is I no longer have any faith in the Democrats either. They could have put a stop to this if they'd had the gumption, and they didn't. The entire system is corrupt and broken. I am in a blue state of mind, but more of the blues than of any kind of optimistic fervor regarding a political party. We'll see. Either way, we have the music, and that, more than anything else, is what will lead us out of the mire.

CD Track List

1. Waiting For Life
2. Evolution
3. Good Changes
4. In Love With Free
5. Underground
6. The 25th Hour
7. The Really Real
8. I'm Calling You Home
9. My Crossroads
10. Just Where You Are (No Country)
11. Godspeed The Plough
12. Blue State Of Mind

The Really Real is scheduled to be released on July 10, 2026.

The Claudettes: "Garage Glamour" (2026) CD Review

If you're looking for some good news, here's it is: The Claudettes have a new album coming out, Garage Glamour (yeah, this band tends to have cool titles, perhaps the coolest being Dance Scandal At The Gymnasium! from 2018). Since the release of their last album, 2022's Go Out!, they've had a change in personnel, with Rachel Williams having joined the group on vocals in 2023 after the departure of Berit Ulseth. So Garage Glamour is the first album to feature Rachel's vocal work. The rest of the band remains the same, with Johnny Iguana on keyboards and vocals; Zach Verdoon on bass, guitar and vocals; and Michael Caskey on drums and percussion. They have a couple of guests joining them on certain tracks. The album features mostly original material, written by Johnny Iguana.

They get things started with "(You Are My) Whole World." Yes, a sweet number, a soulful number, a love song. And why not? We need these things, always, and especially now, when love seems to be in short supply. And we all need someone to be there for us. "My whole world would come crashing down around me/If you didn't hold it up for me/You are my whole world, and I'll hold up yours for you/Just as long as you want me to." It's not long before we get the chance to be impressed by Rachel Williams' vocal work. Those first lines are delivered with power, with passion. John Primer (yes, the Chicago blues icon) joins the group on vocals and guitar, adding to the strength of this opening number. "When every choice you make seems to backfire/When the voices in your head rage like hellfire/I'll do everything I can to inspire you again."

I mentioned how this band tends to give its albums interesting titles. Well, often the same goes for its songs. One of my favorite titles on this album is "Winter Came While You Were Gone." It's also one of the best songs. Check out these lyrics: "You say you love me so much, and you go on and on/But it's dark around here, before and after dawn." And again, Rachel delivers some excellent vocal work here, and there is just the right amount of attitude in her delivery of the song's title line. I love that, but I also love the way she varies her approach, taking on us on an emotional ride. There is a delightful power to this song, and a good dose of blues. Plus, it features some seriously cool work on keys. It's followed by "That Could Be Arranged." After a rather pretty introduction, the guitar suddenly seems to tear that apart and thrust us straight into mean and sexy territory, where Rachel holds court, like a goddess accepting the presence of a few mortals, ready to test them. "You say you want to get together with me? That could be arranged." Perhaps more surprising is that the song then returns to that pretty realm, and her vocal approach changes accordingly. I love how gently, how beautifully she delivers these lines: "You mindless man, so gullible/So blind to angles, imbecile/You'll find escape impossible/Because you're mine." We are brought back and forth, the band in total control. And, hell, who wants escape? I love that instrumental section in the middle of this track. And things get wilder from there. "Have I been taping all our calls? That would be deranged."

"Touch You Back" was released as a single. A good choice for that, because it's a fun one, with certain 1970s elements to its sound, to its vibe. It sounds like a hit, maybe from then, maybe from now, but a hit either way. I'm especially digging its funkier elements, particularly that bass line. And speaking of the 1970s, it contains a reference to Star Wars (which is also something that our current time holds in common with the 1970s): "The force with this one is strong." This track contains some excellent stuff on guitar. Ella Feingold joins the band on guitar for this one. I also like the more fanciful moments on keys. I appreciate that the lyrics include the word "obtuse" at one point, a word we don't often hear in songs, and it reminds me of a moment from WKRP In Cincinnati, another piece of pop culture from the late 1970s. That is followed by the album's sole cover, "Whirlpool," a song written by Marijohn Wilken and Fred Burch, and recorded by Wanda Jackson, who released it on a single in 1962. As Wanda did, Rachel delivers the first couple of lines a cappella. These guys do a really good job with this song. The track features some wonderful work on keys, as well as an excellent lead on guitar. But it is Rachel's vocal performance that drives this track. And those final moments, Rachel is just absolutely captivating.

Things then turn delightfully fun with "Mr. Pecker's Apoplexy" (another wonderful song titled, don't you agree?). As the song starts, Mr. Pecker's name is repeated, before Rachel comes in. And here she soon belts out the lyrics. This is one wild ride, keeping us on edge. "You say you won't accept the deal? You won't deny there's outside forces?/This is getting so surreal. You know, people get divorces." It's always great to hear this band driving into the stranger corners of reality, as it does here. This is certainly a highlight. And now that we're accustomed to the odder realms, we are totally ready for "No Matter How Much." The first line is "No matter how much magic potion I drink, you will not appear behind me," and so it's a song that takes magic potions for granted, or at least it seems to. Soon we learn just what that magic potion is. There is an interesting intensity to this track, mostly in the work on keys. Check out that delicious lead in the middle. That's one of my favorite moments of the whole album. It's just fantastic. And then the keyboard takes us momentarily into a fairy tale land before that intensity comes pounding back, as Rachel's vocals return. And then I just have to laugh out of pure joy at the repeated line "Shame on you, Kentucky," which concludes the song.

On "The Aftermath," Rachel's vocal work has a certain beauty, and so lines like "I was next in line after nobody, so I never did arrive/Are they still looking for me?" surprise us. Again, reality is something this band uses like clay, shaping it into whatever forms they desire. This is another wonderful song, ending with the question, "Are they still looking for me?" The band then goes in another direction with "Don't Give It Up To The Thieves," the lyrics delivered as a sort of rap, which surprises us at first, then feels right. "The thieves are coming for your innocence/They'll leave you with nothing but common sense/They're disgusted by all they have learned/Keep on trusting even if you get burned." Man, this band can do anything. The album concludes with a song titled "There Is No Other Side," which stood out to me the first time I glanced at the track list, two thoughts immediately occuring to me: a response to the fallacy that there are two sides to every story or every argument, and the idea that there is nothing after this life, that when we're dead, we're dead. And so it was a song I was particularly curious about. From its first line, "No Heaven. No Eden. No Hell. No grand Elysium. No Pandemonium," it's clear which direction this band is going. I love this. I wish people would recognize and acknowledge that this life is likely all we get. I have a feeling things would greatly improve here. This is it, friends. There is no other side. This is a short, beautiful song. And that's what this life is too.

CD Track List

1. (You Are My) Whole World
2. Winter Came While You Were Gone
3. That Could Be Arranged
4. Touch You Back
5. Whirlpool
6. Mr. Pecker's Apoplexy
7. No Matter How Much
8. The Aftermath
9. Don't Give It Up To The Thieves
10. There Is No Other Side

Garage Glamour is scheduled to be released on June 5, 2026 on Pravda Records (though some websites list the date as July 10th). The album release party is on June 6th, at North Street Cabaret in Madison, Wisconsin. Though, hold on, they also have a show on June 5th, that one at Gibson Community Music Hall in Appleton, Wisconsin, and I imagine that too would be an album release party.

JP Soars & Anne Harris: "Gypsy Blue Revue" (2026) CD Review

Both JP Soars and Anne Harris are accomplished musicians, each with an impressive list of credits. JP Soars has perhaps an unusual career, having played in several heavy metal bands early on, including Raped Ape and Divine Empire, before turning to the blues and forming JP Soars And The Red Hots. He's also released several solo albums. Anne Harris, in addition to her own solo work, has worked with Poi Dog Pondering, The Juleps, and Cracker, and has a number of other projects, including Halo Rider and Magnolias. There are several different musical styles in their backgrounds, and that certainly influences the music on Gypsy Blue Revue, which features mostly original material. JP Soars, who wrote most of the tracks, provides the vocals and plays electric guitar, acoustic guitar, Merlin stick dulcimer, two-string cigar box guitar, cavaquinho, dobro, lap steel guitar, cowbell, shekere and whistle. Anne Haris plays fiddle and mandolin. They are joined by Chris Peet on drums, Cleveland Frederick on bass and bongos, and Jeremey Staska on shaker and tambourine.

The album opens with "Jessie Mae," and right away we are chin-deep into some great blues, this song having a good, mean, raw vibe. JP Soars wrote the music, and Rev. Billy C. Wirtz wrote the lyrics to this one. "When she touched that guitar, the strings seemed to melt/There was nothing pretty about the cards she'd been dealt/She sang of places from long ago/And you knew she'd forgotten more than you'd ever know/Jessie Mae." Another line that stands out is "Even the devil called her ma'am," and following that line we're treated to a very cool lead on fiddle. Seems the perfect timing, doesn't it? Then "Go With The Flow" gets off to a great start with some delicious drumming that will perhaps put you in mind of certain classic big band jazz numbers. And when the guitar comes in, we realize we're in a couple of different musical worlds here. The guitar very quickly takes us into some delightful territory, with a catchy hook, while the drums maintain a great rhythm. There is a very strong bass line as well. This instrumental number is fantastic and is fun to dance to. In the second half, when you think this couldn't possibly get any better, Anne dips into "It Don't Mean A Thing (If It Ain't Got That Swing)" on fiddle.

The guitar sets "Viper" in motion, this song having that totally delicious gypsy vibe, and featuring a great vocal performance. "That girl's a viper, evil and mean/She's a snake in the grass, even though she looks like a queen." JP sings of trouble, and we can feel it, but it's the kind of trouble that draws us closer and closer. We can't help ourselves. There's a certain kind of darkness that holds tremendous allure, and we find ourselves immersed in it, willingly, happily. This track contains some wonderful guitar work. Is it an attempt to hypnotize that viper, to charm it? Perhaps. And maybe it works, But either way, it works on us. And the fiddle completely understands that, that instrument singing of our enthrallment, our captivity. This is a song that JP Soars has been playing for a while. A different version of this song was included on his 2014 album Full Moon Night In Memphis. Then "Paradise" takes us to a more cheerful section of that world, the fiddle being the driving force here, at least for a while. Then we are treated to some impressive guitar work. I love how this music transports us, out of our time, out of our normal space. This instrumental track is over far too soon.

JP Soars and Anne Harris get back into bluesy territory with "Goin' To South Carolina," the guitar leading the way, creating the path. "I'm headed down to South Carolina/I'm going to put my mind at ease/Well, I found a little place by the water/And the rent, it's kind of cheap/Think I might stick around for a while/See what the future brings." There is a laid-back, easygoing feel to this number, and the track features some pretty work on fiddle. This music itself will put your mind at ease. And, hey, don't we all need just that sort of thing these days? That's followed by "May Mountain Waltz," which immediately transports us to another place, somewhere in the great natural world, a world untarnished by pollution and greed. This one was composed by Anne Harris, who begins it with some absolutely wonderful solo fiddle work. This piece is like a fantastic breath of fresh air, and yes, it's a dance. So move the furniture out of the way, close your eyes, and let your body go where it will through the realm of this beautiful music.

"Old Silver Bridge" is a song in the folk realm, and is a soothing number. The music, and even the lyrics, help us to relax, help cheer us. "The sun is shining, ain't a cloud in the sky/As I look up to the heavens, everything is all right/It don't even matter that the fish ain't biting/Because I know everything is gonna be just fine." This is a song that lifts our spirits, that lifts our faces to the sky. Much of that is accomplished through Anne's work on fiddle. This is another wonderful song, and I love that it is not rushed, that it is given the time to stretch out. It is followed by the album's only cover, "Minor Blues," written by the incomparable Django Reinhardt. This one also has us feeling good, has us swaying, tapping our toes to the rhythm, and enjoying our excursion to this other realm. Who would want to return from this place? I love this music. Halfway through the track, the pace increases, and then dancing is the thing to do. The music then seems to joyfully shout, "Yes! Yes! Yes!" Or perhaps that's just our response to it. There is even a cool lead on bass toward the end, and then a drum solo. Oh yes, everything is all right with the world.

The CD concludes with a glorious, epic number titled "Cigar Box Jam." After a cool introduction, this one takes us to some familiar territory, with nods to other songs, including The Beatles' "Norwegian Wood (This Bird Has Flown)" and what sounds to me like the end of Santana's "Black Magic Woman." If this song were on vinyl, it would take an entire side of the record (it's almost exactly the length of "Alice's Restaurant"). By the way, there is a vinyl release of this album (on beautiful blue vinyl), but this track is not included on it. Apparently, "Cigar Box Jam" is the piece that JP Soars likes to close a set with, and that's reason enough to make me want to see him in concert. There's a lot of great drumming on this track, which makes it a favorite of mine. And it's a tremendous jam. What a wild way to close the album.

CD Review

1. Jessie Mae
2. Go With The Flow
3. Viper
4. Paradise
5. Goin' To South Carolina
6. May Mountain Waltz
7. Old Silver Bridge
8. Minor Blues
9. Cigar Box Jam

Gypsy Blue Revue is scheduled to be released on May 29, 2026 on Forty Below Records.

Lester Winchester McKendree: "They Got It All" (2026) CD Review

They Got It All is the debut full-length album from Lester Winchester McKendree, the trio of Jimmy Lester on drums, Mark W. Winchester on bass and vocals, and Kevin McKendree on keyboards. All three are accomplished, talented musicians whom you've likely heard. You probably know Jimmy Lester from his work in Los Straitjackets and with Billy Joe Shaver, and you know Mark W. Winchester from The Planet Rockers and Brian Setzer Orchestra, and you know Kevin McKendree from his work with Delbert McClinton and Tinsley Ellis. These three musicians have known each other for a long time, and have played together mostly in their home town of Nashville. The album features original material, including a couple of instrumental numbers.

The album opens with "I'm No Amateur," a song with a catchy element, particularly in its vocal line, and a timeless quality, which is incredibly appealing. "Don't be surprised by the look in my eyes/Every faked emotion will ring so true/I'm no amateur." And soon they dig in, as they repeat "I'm going to make you smile." And, true to their word, this song will likely make any listener smile. There is a good vibe to this song, and I love the work on keys, especially following that repeated line. It's a great choice to start the album. The energy then picks up on "Delaney And The Ditch," which has an early rock and roll thing happening, and moves at a good pace. That bass is so damn good, and I am especially loving the drumming on this track. This one is a whole lot of fun, with Kevin rocking the keys, particularly in the middle of the track. There is also a section of vocals and drums, something that I always find appealing. Remember when rock and pop songs routinely included sections like that? Those were good times, and this track promises that good times are returning.

From the moment "They Got It All" starts, it has a cool vibe, a sound and rhythm that immediately affects you. This song has it all, everything you love about a rock song. Hell, it even includes cowbell. This is a gem, a delightful number with such a catchy groove. "I got suspected, I got teased/I got hurried, I got squeezed/I got inspected like a bug/I scurried under the rug/They got it all, they got it all wrong about me." Doesn't this sound like a hit to you? It's difficult to imagine anyone not loving this song. That's followed by "Surf The Allman Ballroom," a delicious little jam. This instrumental track will have you moving and shaking and feeling good. Whatever concerns and cares might be occupying your thoughts will slip away before this track is halfway over. Two minutes in, it seems to be concluding, but then takes a turn, a breath, before kicking in again with a wonderful energy for the song's finish.

"Down The Same Street" has a strong, straightforward rhythm. Mark sings, "I see my baby walking down the street/I hope my baby's coming back to me/Back to me, back to me." Ah, if this music has anything to say about it, then she'll be coming back. That solid beat will match her steps, and soon they'll be walking together. At least, that's my expectation. After all, who would want to stray too far from music like this? But damn, I'm wrong, for soon he sings, "I'll have to move from this neighborhood/Now no one here will ever treat me good." The trio then gets into serious rock and roll territory with "Baby's Carburetor," with some fantastic stuff on keys (think of Jerry Lee Lewis, that sort of thing, that sort of energy). "I want a girl with a fuel injection/When I start her up, there won't be no objection." Perfect! This is so much fun, and I don't think I would trust anyone who didn't enjoy it. These guys fit a lot of rocking into two minutes. Less than two minutes, actually. It's the shortest track on the album.

"Bad Mantras" had me laughing pretty quickly. I should have expected it would happen from the title. Check out these first several lines: "Don't have any luck/Bad mantra/Everything's fucked/Bad mantra/Listen up, a bad mantra will do you in/Always gotta think twice/Bad mantra/'Cause this world ain't nice/Bad mantra." I suppose we all have them these days, things we find ourselves repeating, negative things. "Everything's fucked" is certainly one of them. So, yeah, while this song had me laughing, it then got me thinking and evaluating my own reactions to the state of things, and how repeating something negative might be having a negative impact on my own state. "I might as well give up/Bad mantra/It's a half-empty cup/Bad mantra." This ended up being one of my favorite tracks. It's followed by "Dylan Ain't Spillin'," kind of an odd number, with its own special appeal, an undeniably endearing quality. Here is a taste of the lyrics: "Folks in Madrid don't eat, I heard/Until ten o' clock at night/The King got tired of the movie set/The Beatles got tired of the throngs." Another line that stands out to me: "Even Gandhi got tired of being poor, I bet."

"The Right Pose" is a slower number, more introspective and contemplative, with a cool, bluesy vibe, and featuring some really good vocal work. "I guess sometimes I strike the right pose/I wear the right smile and the right clothes/Once in a while, it's the right words that I chose to say." The album concludes with another interesting track, "Along With The Sunshine," an instrumental piece that has its own unexpected beauty. This one can take you on a journey inward or outward, depending on your mood, on what you need. There is a hopeful, optimistic tone as it progresses. Ah yes, perhaps we'll all emerge from the darkness into a brighter, more sane world. You can feel it happening as you listen, can't you?

CD Track List

1. I'm No Amateur
2. Delaney And The Ditch
3. They Got It All
4. Surf The Allman Ballroom
5. Down The Same Street
6. Baby's Carburetor
7. Bad Mantras
8. Dylan Ain't Spillin'
9. The Right Pose
10. Along With The Sunshine

They Got It All is scheduled to be released on May 29, 2026 on Times Three Records.