Ghalia Volt: "Burn The House Down" (2026) CD Review

I was turned onto the music of Ghalia Volt back when she was leading the band Ghalia & Mama's Boys, delivering a kind of delicious raw and sexy blues music. She became a one woman band during the pandemic, releasing an album titled One Woman Band in 2021. Shout Sister Shout! followed in 2023, and now she has a new album out, Burn The House Down. For this one, she has a band backing her, a band made up of JD Simo on guitar and slide guitar (JD Simo also produced, engineered and mixed the album), Brian Allen on bass, and Chris Powell on drums. Ghalia Volt is on vocals, guitar and slide guitar. The album features all original material.

The album gets off to a delicious start with "No Ice Please," a song thumping with great, raw, powerful blues. You might think of it as back porch blues, provided that porch is attached to a sort of waystation for joyful and playful demons.And yeah, I want the drink, the full drink, and its full effects, so don't fill that glass with water, frozen or otherwise. "Don't water it down, don't you water it down/No ice please, no ice." Of course, when I glanced at this track list, in these twisted days, the first thing that popped into my mind was the evil organization known as ICE. No ICE, please. I love how polite she is here, "No ice please," which works in delightful contrast to the wonderfully mean edge of the music. It is energetic opening to the album. Then "Mine" establishes a good groove right away, a groove that comes out of a cool, dark place, and soon we are immersed in that place, even before recognizing it as home, as our current state. "Millions of hands you'll never shake/Billions of souls you'll never meet/Under trillions of stars you'll not once name/Yet you think you own/A portion of the sky/You're already planning on taxing/The next generation for air to breathe." Ghalia's vocal approach here is different from the first track, and somehow even more captivating and enticing. She draws us closer with every syllable she utters, casting a spell over us, her willing victims. This is a fantastic song, featuring some intriguing, haunting guitar work. Ah, who owns us at this point?

"Let me take you for a ride," Ghalia sings at the beginning of "Ride." Ah, like we have any choice in the matter. She has us, and she knows it. This song, which she wrote with Jeremy Joyce, has a great groove, one to get you dancing. It's a song that is more in the pop realm, but a kind of bewitching pop of a slightly altered reality, a great dance song playing in a club of eternal night. No need to worry about tomorrow, the dawn ain't coming. This track features some delicious stuff on bass. "You're the lucky devil/Flying like an angel." Then Ghalia takes us back into more solid blues territory with "Where Do We Go," evident from that guitar work at the beginning. Ghalia Volt immediately captivates us with her voice, and it's a moment before we realize she is asking a question, "Where, where do we go/When we're dead and gone/When we're dead and gone/When we're dead and gone?" She's already put us in mind of an eternal night anyway, so this question seems natural. She then asks if we'll ever meet again. I think when we're dead and gone, we're dead and gone, and there is no meeting ever again after that. But Ghalia seems to have access to the darkness, and maybe with her special eyes she catches glimpses of something beyond this realm. Or maybe it is that she's able to mesmerize those legendary forces, coax from them the power to determine her destination. "It don't matter where we're goin' then/When we're dead and gone."

"Wrong Horse" has a hopping energy. in part because of its beat. "You've been betting on the wrong/Horse way too long." Oh yes, probably, so I stopped betting altogether. I love the way the guitar takes on its own fiery force, that section ending up feeling like the heart of the piece. "Wild spirits are hard to tame/A free soul can't be claimed." The spirit of this vocalist, of this band, would be damn near impossible to tame. This track has some unexpected whistling at the very end. Then "Lucifer's Grip" takes hold of us in its opening moments and shakes us about. Once we've succumbed, submitted, the grip relaxes, but only somewhat. "Yes, I saw it coming/Saw it coming, yes I did/Saw it coming, yes I did," Ghalia sings early in this one. I doubt nothing she tells us. Almost halfway through, there is a moment that feels like a darker version of a cool moment from Queen's "Crazy Little Thing Called Love." The raw and exciting testimony of this song almost has me believing the devil is real, as Ghalia's voice sometimes seems to be coming from the other side, like she is on the edge of two worlds, existing in two places simultaneously.

"Wreckin' & Rollin'" is a fun one, one to get you dancing. It seems this song can get the whole world swaying to its rhythm. "Rollin' in like a tornado/Spinnin' and spinnin' nice and slow." And I love it when the guitar takes off in the second half, leading the way out of the storm. That's followed by "Burn The House Down," the album's title track, which eases in, opening on a scene of a sort of destruction. "You tore down the hallway frames/Tossed our pictures of memory lane/Gave furniture to donation/All carried out by an army of salvation." Wow, just rearranging the name of the organization that way gives it a whole different vibe, a different sense. Ghalia Volt is a creative force not just in her vocal prowess, but in the way she constructs a song. "Piece by piece, you wiped out the past/So you might as well burn the house down." This song features an especially exciting and strong vocal performace.

"River Song" kind of creeps in. And Ghalia, when she comes in, keeps her voice low at first. Even her humming is mesmerizing, haunting. Interestingly, later in the song she sings, "Forgive me, babe, for what you've been through/You said I put a spell on you/But call it a curse, you call it a curse." Oh man, she knows precisely the effect she's had on us, though I doubt anyone would call it a curse. There is another interesting moment when the music relaxes a bit, opens, breathes. And then the pounding of the drum returns, while we are treated to some cool guitar work, and Ghalia's next vocal section is even more compelling. There is a psychedelic element here, which is wonderful. This is one of my personal favorite tracks. It's followed by "Let Yo' Hair Down," which has a great, heavy rhythm, and yet provides a chance to shake loose. It's like the blues and rock were played through a dance club's system, affected by it, with certain lines repeated. The album then concludes with "Black And White," which has a sweeter, acoustic sound. "I got your back, babe, I got your back," Ghalia sings here. We all need to hear someone say that to us.

CD Track List

1. No Ice Please
2. Mine
3. Ride
4. Where Do We Go
5. Wrong Horse
6. Lucifer's Grip
7. Wreckin' & Rollin'
8. Burn The House Down
9. River Song
10. Let Yo' Hair Down
11. Black And White

Burn The House Down was released on May 15, 2026 on Ruf Records.

Maura Dunst: "Violin Songs" (2026) CD Review

Maura Dunst is a member of The Foxgloves, playing fiddle and mandolin in that group. She released her first solo album, This Won't End Well, in 2022, and followed that with the EP Oh Sister in 2024. Her new release, an EP titled Violin Songs, is a little different. This one is a true solo effort, with Maura Dunst singing and playing violin without any other accompaniment. She also did the arrangements. And though the title is Violin Songs, these aren't songs we generally associate with violin (though we may very well start to do so now). The songs are covers by artists like R.E.M., Sheryl Crow, and Bruce Springsteen. The EP was recorded, mixed and mastered by Steve Kaul at Wild Sound Recording Studio in Minneapolis.

Maura Dunst opens the EP with Sheryl Crow's "Strong Enough." Though the only instrument is violin, she does several violin parts, including using the instrument for a little percussion. It's always interesting to me how certain lines will strike me differently and stand out depending on what is going on in the world. And this time these lines stand out: "Nothing's true, and nothing's right/So let me be alone tonight/Because you can't change the way I am." This is a good rendition, featuring an excellent vocal performance that grows in power as the track progresses. That's followed by "Dancing In The Dark." This song was everywhere in 1984, the first single from Bruce Springsteen's Born In The U.S.A. album. This was back in the days when hit songs deserved to be hits (something that ended only two years later). Listening to Maura Dunst's rendition, it's clear why this song had (and continues to have) such great appeal. "I ain't nothing but tired/Man, I'm just tired and bored with myself/Hey there, baby, I could use just a little help." The song contains lyrics that still speak to us, maybe more now than then, actually. "Stay on the streets of this town/And they'll be carving you up all right/They say you gotta stay hungry/Well hey, baby, I'm just about starving tonight." And I love the pause she adds before those lines, giving emphasis both to those lines and to the previous line, "Come on, baby, the laugh's on me."

There are several different songs titled "Work Song" (when you have a chance, check out the one by The Evangenitals). The one Maura Dunst covers here is that by Hozier, and, yes, she does add clapping. She delivers a beautiful, soulful rendition, tapping into those same timeless elements that Hozier did on the original. "When my time comes around/Lay me gently in the cold dark earth." She follows that with "The Eye," a pretty folk song by Brandi Carlile, included on her 2015 album The Firewatcher's Daughter. Here Maura is picking the violin. I love her approach to this song, this track featuring a gorgeous vocal performance. "I wrapped your love around me like a chain/But I never was afraid that it would die/You can dance in a hurricane/But only if you're standing in the eye." She wraps up the EP with R.E.M.'s "Everybody Hurts" from that great Automatic For The People album. This is a song that has brought me to tears on more than one occasion, and Maura Dunst's version has the same effect on me. "When you're sure you've had enough/Of this life, hang on." And with the multiple violin parts, we do not feel alone. They're able to hold us up. And certainly we need that in these difficult times. "No, you're not alone."

CD Track List

1. Strong Enough
2. Dancing In The Dark
3. Work Song
4. The Eye
5. Everybody Hurts

Violin Songs is scheduled to be released on July 24, 2026.

Chris Stamey: "Modernism" (2026) CD Review

Last year, Chris Stamey released Anything Is Possible, an album of mostly original material. Now he's following it with Modernism, an album consisting predominantly of covers, including some great songs from the late 1960s. It feels like he's cutting loose here, having a good time with these songs. He plays guitar, bass and keyboards on these tracks, and is joined on drums by several different guys, including Rob Ladd (who plays on most tracks), Jody Stephens, Jon Wurster, Mitch Easter, Will Rigby, and even the late and great Alex Chilton (on a track recorded in 1977). And other musicians join him on various tracks, including the rest of The dB's on one song. Chris Stamey produced the album and did the arrangements. (The album's title, by the way, comes from the name of his Chapel Hill recording studio, Modern Recordings, where most of this album was recorded.)

Chris Stamey kicks things off with The Beatles' "Hey Bulldog." Jody Stephens (of Big Star, Golden Smog) is on drums for this one. I've always had a lot of love for this song, perhaps in part because the very first Beatles album I ever got was the compilation Rock 'N' Roll Music Volume 2. I was eight years old, and this song was one of my favorites on it. Chris Stamey does an excellent job with it, adding a cool vocal part at the end, repeating "You can, you can, you can, you can." As much as I love The Beatles, I love The Kinks even more, and Chris Stamey delivers a wonderful rendition of "Waterloo Sunset." Making this track even more special is the presence of all four members of The dB's, along with the Serendipitous Family Singers, as well as Evan Atherton on trumpet and Seamus Kenney on trombone. This is a song that often gets in my head, and I find myself whistling it. It's on the Something Else album. "And I don't feel afraid/As long as I gaze on Waterloo sunset/I am in paradise." This is such a good rendition, featuring some excellent guitar work. Peter Holsapple is on lead guitar, piano and vocals; Gene Holder is on bass; and Will Rigby is on drums, tambourine and vocals. This is one of my personal favorite tracks from this disc.

I need to listen to more stuff from The Left Banke. It wouldn't take much to own the band's complete catalogue, so when I have a few extra dollars (whenever that might be) I should make a couple of purchases. Chris Stamey chooses to cover that group's "Shadows Breaking Over My Head." Like the original recording, this version features strings. Jennifer Curtis is on violin and Josh Starmer is on cello. This track also features the incredibly talented Probyn Gregory on F horn, and Rachel Kiel on flute. This song seems a perfect choice for Chris Stamey, and he delivers a really good version. Chris then gets funky with a totally delightful rendition of The Sly And The Family Stone song "Thank You (Falettinme Be Mice Elf Agin)." This track is a whole lot of fun, and features some great stuff by Brian Dennis on guitar and bass. Crispin Cioe is on tenor saxophone and Arno Hecht is on trumpet. I love the way that trumpet sings toward the end, followed by a cool saxophone lead. There is a delicious energy to this track. Jon Wurster (of Superchunk) is on drums, and Rachel Kiel provides some backing vocal work. This is one of those rare songs that absolutely everyone loves. Seriously, have you ever met someone who didn't like it?

"Neon Rainbow" is a song I hadn't thought of in a long time. Usually when I think of The Box Tops, it's "The Letter" that is in my head, but this song is the other half of the title to that album. And, no, this isn't the track that features Alex Chilton. But it does feature Emily Frantz on harmony vocals, Laura Thomas on violin, and Wes Lachot on organ, and it features a particularly good vocal performance from Chris. There is something about this song that will make you feel good. "The city lights, the pretty lights/They can warm the coldest nights/All the people going places/Smiling with electric faces." That's followed by "Of Time And All She Brings To Mind," the first of three tracks written by Chris Stamey. It's a song that Chris Stamey originally included on his 1987 record It's Alright. This new version features Matt McMichaels on backing vocals, and Rob Ladd on drums. The song's opening lyrics certainly speak to us in these ridiculous times: "Confusion is the order here/You're not invited to be clear/So stop the struggle to explain." I love the lyrics to this song, particularly lines like "I think I know the questions you adore/But I can't ask them anymore" and "Take me in your arms again/The way you'd take a bitter pill." This new version is fantastic.

While all the covers so far have been pop and rock hits from the late 1960s, Chris Stamey goes in another musical direction with "Hernando's Hideaway," a song from the 1954 musical The Pajama Game, written by Jerry Ross and Richard Adler. And it ends up being another of the album's highlights. It is a total delight. Ridiculously fun. Wes Lachot is on piano, Rachel Kiel is on flute, and Rob Ladd is on drums and percussion, and all deliver wonderful work here. There is also some stellar work on guitar. The first time I listened to this album, I was sad when this track ended, and played it again immediately, and then again. Then we get the second of the album's songs written by Chris Stamey, "Where The Fun Is," which was originally the flip side to Chris' 1977 single "The Summer Sun." Alex Chilton produced the original version and played drums and guitar on it, but this is not the track that he appears on here. Mitch Easter plays drums on this track. Laura Thomas is on violin, and Rachel Kiel is on flute. It's an unusual song, and I like both versions. There is a bright pop energy to certain sections.

Chris then goes in another direction, choosing the jazz standard "Let's Get Lost," written by Jimmy McHugh and Frank Loesser. And while we're talking about Alex Chilton, I should mention here that he recorded this song for his 1993 album Clichés. This version by Chris Stamey is wonderful, and features some excellent stuff on guitar. In fact, that guitar lead makes getting lost sound perfect. "Let's get crossed/Off everybody's list/To celebrate this night we found each other/Oh, let's get lost." Rob Ladd is on drums. Another interesting choice is "At Last," and Chris Stamey puts his mark on it straight away, that instrumental introduction being different from what I've heard in other versions. He delivers some fantastic stuff on guitar here too. And what a cool vocal performance. Jennifer Curtis is on violin, Josh Starmer is on cello, Rachel Kiel is on flute, and Rob Ladd is on drums, all contributing to make this an outstanding rendition. "And life is like a song." Oh, yes!

"There's A Dream Around The Corner" is the final of the album's track written by Chris Stamey. It was originally included on A Brand-New Shade Of Blue. The pace is faster on this new version. And this is a perfect time to revisit this song, with lines like "Every day seems harder than the one that came before/But there's a dream around the corner/If you know what to look for" and "If you wake up in the night and wonder where you are." This new version is excellent. Matt Douglas is on clarinet, Rachel Kiel is on piccolo, and Rob Ladd is on drums. The album concludes with the track that features Alex Chilton on drums and guitar, a cover of "Ruby Tuesday," which is one of the best Rolling Stones songs. So, yeah, Chris returns to music from the late 1960s to wrap things up. The vocals to the original track were lost, but what was there has been restored, and Chris completed the track for this release. Rachel Kiel adds some nice work on recorder on this track. Don Dixon is on bowed acoustic bass, and Pat Sansome provides harmony vocals. It's great that this track was included, a wonderful ending to a special album.

CD Track List

1. Hey Bulldog
2. Waterloo Sunset
3. Shadows Breaking Over My Head
4. Thank You (Falettinme Be Mice Elf Agin)
5. Neon Rainbow
6. Of Time And All She Brings To Mind
7. Hernando's Hideaway
8. Where The Fun Is
9. Let's Get Lost
10. At Last
11. There's A Dream Around The Corner
12. Ruby Tuesday

Modernism was released on June 19, 2026 through Flatiron Recordings, and is available on both CD and vinyl. 

The Silverteens: "TV On Fire" (2026) CD Review

The Silverteens are a band that mixes a garage rock sound with power pop energy. The band, based in Minneapolis, is made up of Terry Isachsen on guitar, Mark Engebretson on vocals and percussion, Steve "Grizz" Olson on bass and backing vocals, and Jerry E. Johnson on drums and backing vocals. They released their self-titled album in late 2023, and followed it with an EP in tribute to The Plimsouls. Now they have a new EP coming out. Titled TV On Fire, it features mostly original material, along with one cover. It was produced by The Silverteens and Paul McFarland.

The EP opens with "Don't Burn Your Bridges."  "You're alone now/On the phone now/Trying to connect you/To friends that will miss you." This song has a great rock sound, with a bit of a punk energy to the verses and, interestingly, a bit of a 1980s pop flavor to the chorus. There is some excellent work on bass and a lively vocal performance, giving the song a sense of excitement. I also love that moment with just drums, leading into the final section of the song, which is a good, driving jam. The song ends with the line "Don't burn them down," and is followed by a song titled "Brought You Down." There is something about the music that feels like it moving downward, bringing us down with it (not in a negative way). There is a cool and catchy punk element to this one too. "You were happy-go-lucky/'Til the day she found you lonely/You were at your most vulnerable/She made you feel most miserable/Brought you down, brought you down/To a level you thought you'd never see." In the second half, there is an exciting change, moving in a different direction, with a wilder energy. This track features some really nice stuff on guitar.

The drums kick off "TV On Fire," the EP's title track. A steady, strong beat. And when the guitar comes in, it promises a certain energy, a certain rock level. And the song delivers. This is one that I imagine helps the audience cut loose at the band's live performances. It demands a certain volume. "Fire is my TV," they sing here. Yeah, it's not really about setting one's TV on fire (an act which could certainly have its own appeal), but about enjoying something natural, being entertained by something natural (which of course is also quite appealing). Is anyone able to disconnect from technology anymore? This song urges us to do just that. The final track (at least of those listed) is the EP's only cover, The Bumpers' "Cupidation," a somewhat obscure gem from the 1960s. These guys capture the spirit of the original version, and then add their own special energy to it. This version rocks, and features some great guitar work. The song ends approximately fifteen seconds before the track does, the silence at the end helping to "hide" the final track, a short, odd piece that is not listed on the CD case, featuring vocals and percussion, feeling like a vocal warmup at a monastery, if the monks had decided to worship the rock gods. 

CD Track List

1. Don't Burn Your Bridges
2. Brought You Down
3. TV On Fire
4. Cupidation

TV On Fire is scheduled to be released on July 10, 2026.

Jenny Reynolds: "Willow & Stone" (2026) CD Review

It's been six years since the release of Jenny Reynolds' last album, Any Kind Of Angel, and a lot has happened in the intervening time, both in the world at large and in the artist's personal life. She fell in love again and got married, and that is enough to give anyone a fresh and positive outlook, and is the reason for this new album, Willow & Stone. The album contains all original material, songs of love, songs of change. André Moran, Mark Hallman and BettySoo played on Any Kind Of Angel, and join Jenny Reynolds again on this one. André Moran is on electric guitar; Mark Hallman is on bass, organ, keyboard, Mellotron, drums, percussion, harmonica and backing vocals; and BettySoo is on backing vocals and accordion. Also joining Jenny Reynolds on this release are Fred Mandujano on drums and percussion, and Noëlle Hampton on backing vocals, along with guests on certain tracks.

The album opens with "Listening To The Rain," which establishes a cool, somewhat relaxed vibe, with some nice work on keys at the start. Then, surprisingly, the lyrics come at us in quick succession, at least at first. "Face your own demons/Discover all the reasons/You might be believing/The lies they are teaching." Then the lines with the harmony vocals have a sweeter vibe. Both BettySoo and Noëlle Hampton sing on this track. There is also some good work on electric guitar, and a kind of a jazzy aspect to this song. "I'm just feeling all the pain/All the worry, all the hurry/When nothing is the same." That's followed by "Learning To Be Yours," a love song. We need as many of those as we can get these days. "Inch by inch, side by side/Fell in love, I became your bride," Jenny sings at the beginning of this one. The song has a sweet, gentle, cheerful sound. Noëlle Hampton and BettySoo again provide some wonderful vocal work. This track also features some good work on harmonica. "The day-to-day will teach us how/Take me dancing across the kitchen floor/I'm on my feet, I'm learning to be yours." It's interesting that the first two songs refer to teaching in some manner, as Jenny Reynolds used to work as a teacher. She delivers some pretty guitar work. I also appreciate the humor heard in the line, "Damn, your shoes are everywhere." In the line itself and the way she delivers in.

"If I Hadn't Waited So Long" is also about love, about a relationship, about our needs. "Didn't know that I'd been missing someone's love/Thought the way that I was living was enough/I thought I'd keep getting by on my own/Strong as a willow, but weak as a stone." Those lines give the album its title. This song contains a gorgeous, moving vocal performance, one to carry us through. Chip Dolan plays piano on this track, delivering some wonderful work. Then "I'm Not The One" has more of a country flavor. This one was written by Gabriel Rhodes and Jenny Reynolds. Gabriel Rhodes also joins Jenny on vocals, and also plays acoustic guitar and baritone guitar. "Don't waste your time, I'm not your baby/All I'll do is drive you crazy/I'm not the one, the one you're looking for." There is something of an Everly Brothers vibe to this song, something delightful about it, and it features some good stuff on guitar.

"In Our Way" is a song of some of those details we notice when we're in a relationship, particularly when we meet as adults, having already developed our own ways and habits. It's a sweet, comforting song. "You can set the table like you want to/I don't care as long as there's space for two." Interestingly, there is a change in the sound when she sings out of the outside world, which makes total sense. And then she returns to main vibe of the song. There is a more somber sound to the guitar work at the start of "Shadow And Sin." "Jury's back, gavel's down/I slipped out, but stayed in town/Just to see how you could go on living." And then Brian Standefer comes in on cello, adding to the beauty of the song. Jenny then returns to a full-band sound for "Living On The Seams," this time with Barbara Nesbitt on backing vocals. Michael Ramos plays both piano and flugelhorn, the horn adding another voice to the song. "How we heal, how we bleed/Your way, my way/Home or highway/I can't handle living on the seams."

A jazzy vibe is established by the guitar and percussion at the beginning of "Closer," a track that features one of the album's coolest vocal performances. "You watching the place or looking at me/Booth in the backroom corner is free." And I love those backing vocals by BettySoo and Noëlle Hampton. This is one of my personal favorites. Then "A Little Lie" has an interesting, kind of darker atmosphere, and features an intimate vocal delivery. "Hand in hand, give and go/Sweat and satin, dancing slow." This is the track that BettySoo plays accordion on, and her work adds a great flavor to the atmosphere. "Can you get away with me?" This is a captivating song. It's followed by "Imperfect." "I'm hurting, I'm hurting/I'm worried, you know/I'm worthless, I'm wordless/There just for show." It is her delivery of those lines that really grabs me. On this song Mark Hallman provides the harmonies, and then Noëlle and BettySoo come in too. This is another compelling song. The album then concludes with "The Night, The Moon And The Sea." On this one, Jenny plays electric guitar, and is supported just by Mark Hallman on both bass and keyboard. Jenny delivers a pretty and passionate vocal performance. "Some people only know stars/They're always looking too far."

CD Track List

1. Listening To The Rain
2. Learning To Be Yours
3. If I Hadn't Waited So Long
4. I'm Not The One
5. In Our Way
6. Shadow And Sin
7. Living On The Seams
8. Closer
9. A Little Lie
10. Imperfect
11. The Night, The Moon And The Sea

Willow & Stone was released on June 19, 2026.

James Houlahan at Kulak's Woodshed, 6-19-26 Concert Review

James Houlahan

James Houlahan did a rare full-band show last night at Kulak's Woodshed, celebrating his excellent new album, On A Wing. And a celebration it was, with a fun atmosphere in the room. If you're unfamiliar with Kulak's Woodshed, it's an intimate venue in North Hollywood with its own singular vibe, and with couches and even a bed for patrons to relax on during a show. Don't get too intimate on that bed, however, because it's possible you'll be on camera at some point during the performance. The shows there are streamed, and rather than just a single camera aimed at the performers, there are half a dozen cameras capturing different angles and areas, some of those cameras in motion for a professional document of the show (and perhaps of you on that bed, you randy lovebirds). If you've heard James Houlahan's new album, then you know there is a sort of theme to the material, with birds being a recurring image throughout the tracks. Well, soon after I arrived at Kulak's Woodshed yesterday evening, I saw a white bird briefly fly around the room before settling out of sight somewhere overhead. It seemed perfect. Later James mentioned that it apparently lives at the venue, but I had been there several times and had never seen it before. So was it aware that it was fitting for it to make an appearance at this particular show? Maybe.

Fernando Perdomo

Fernando Perdomo kicked off the night with a solo set. Before the set he revealed that he had changed his mind several times about which song to kick off with, that he had planned to do a mellow set, like the one he performed at that venue just a few weeks ago, but was then thinking he'd perhaps do a more energetic set. The song he ended up choosing to start the night was "I'm Here," the lead track from his 2018 album Zebra Crossing, which begins in a mellow place then grows from there. He followed that "Photographers In Love," which had a great, vibrant energy right from the start, and was a clear sign he'd decided against an entirely mellow set this time around. "Photographers in love/Photograph each other." After the song, he mentioned that the first two songs of the set were old, and that his next song was new, and was the first song he wrote this year, on New Year's Day. That song, "Goodbye Sun," is the title track from the new Perdomo Kravitz album, which was released a month ago. It featured a particularly moving vocal performance. He followed that song with "I'm No Fun," which also follows "Goodbye Sun" on that album. It's one of my personal favorites, and he delivered an excellent rendition, feeling like a beautiful, sad, delightful dance.

"In a world without you/There can be no love," Fernando sang at the beginning of "In A World Without You," and I wondered if the other people in the room suddenly pictured this world as it would be without their loves. I did, and it was a place I'd have no interest in. "Nothing is all right in a world without you." That about sums it up. Fernando then played another song from Zebra Crossing, "We Were Raised With Headphones On," In introducing it, he mentioned always having his Walkman with him when growing up, and on a family trip his mom got upset and told him to take it off. His response? "Mom, I'm enjoying all the same views, but my soundtrack is better." Wasn't the soundtrack always important to people our age? My memories are accompanied by specific songs. "Dreaming in stereo/Glued to the radio." He followed that with "Harmonics And True Love," which is interesting, because it is the middle part of a trilogy of songs titled "Canyon Trilogy," included on Goodbye Sun. He delivered a nice rendition, then wrapped up his set with "Home." Actually, the song has two titles. On Zebra Crossing, it's titled "Home," and on 45's The Best it's titled "Home Is Wherever You Are." Before the song, he mentioned that he used the song to help raise money for those who lost their homes in the recent fires. It's a wonderful song, and it featured perhaps the set's best vocal performance. Beautiful.

James Houlahan

It was only seven minutes later that James Houlahan and the band were ready to go. The band, by the way, included Fernando Perdomo on piano and keyboard; Esther Houlahan on backing vocals; Feef Mooney on backing vocals; John Kruth on flute, electric sitar, mandolin, recorder, harmonica and bulbul tarang; Greg Cohen on upright bass; and Danny Frankel on drums and percussion. James Houlahan said, of Fernando Perdomo and the new album, "This is our fifth album that we've worked together on." A vinyl copy of On A Wing was on a stand on top of the piano, by the way. One of the things that made the night so special was that everyone who played on the album was on the stage, something that hadn't happened before. Will it happen again? I hope so, but I understand that it's difficult to get all those people together. The band began with "These Changes," which is such a sweet, wonderful song. "Dressed up in the beauty of all that you are." Fernando was on piano for this one, and John played recorder. "We're actually playing the songs in order that they are on the album," James told the audience, and alluded to the fact that the order of songs on an album is carefully chosen, which is one of the reasons I think it's important to listen to full albums, not pick and choose the singles. Picking one or two songs from an album is like walking up to a painting in a museum and looking at just one corner of the canvas.

John switched to harmonica for "Chariot Song," which had a fun vibe and featured some nice harmonies from James and Esther (Feef hadn't yet joined the group on stage). And there was some excellent work on harmonica. Tim O' Gara then joined the band on jaw harp for a very cool rendition of "The Cuckoo Bird." For this one, John played bulbul tarang. That instrument and the jaw harp helped give this version its own delightful sound and flavor. Plus, Fernando delivered some nice stuff on keyboard. After that song, James mentioned that the name of the instrument bulbul tarang translates to "waves of nightingales," which makes it a perfect instrument for this particular album with its bird theme. Feef Mooney then joined the group, and James introduced "All Night" as a song about a breakup and about a hangover, and indicated that it was a sing-along, to prepare the folks in the audience. John played flute on this one, delivering some wonderful work. But what I especially loved about this song was the attitude to James' delivery, backed beautifully by Esther and Feef. That, and the excellent percussion by Danny Frankel. And, yes, folks soon sang along. "We stayed up all night/Didn't talk about you." They also clapped and snapped along during that section toward the end.

"The Cuckoo Bird"

"The Cuckoo Bird"

"All Night"

"So I noticed there was an actual bird here in the building, which I took to be a really good sign," James said in introducing "That Bird & I," referring to the white bird that had flown around while the band was setting up. And he mentioned the song is based on a true story, a moment at night when he heard a bird "running through his catalogue." John delivered some really nice work on mandolin on this one, and the presence of mandolin was part of what gave the song such a positive vibe. "We lift our voice just to sing." It was great how that final section would swell, driven by the voices. That was followed by "I Believe In You." Before starting that song, James said that "Music is a refuge," something I've been feeling very strongly, particularly in the last decade since a significant portion of this country went sideways into fascism, embracing a moron and rapist as the embodiment of the strength of man. It's frightening and infuriating, to say the least, and it is to music that I continually go to be reminded of the better state of humanity. And especially to someone like James Houlahan, whose voice contains and expresses those better qualities. There was a lovely joy to "I Believe In You," a song that seems designed to make us feel better about the world. And perhaps it's because the music becomes the world. You know? This song also featured more great percussion and a delightful lead by John on flute.

"Carry On"

"Hurriquake"

"I moved here in 2012 from Boston, Massachusetts, and I've played in lots of venues, and something like Kulak's is a treasure," James said before starting a beautiful rendition of "Carry On," a song written by Willy Mason. Esther and Feef stepped away for this one and the next one, "Hurriquake." Those folks who don't live in Los Angeles might not be aware, but a few years ago we had a rare hurricane in this city, and in the middle of the hurricane there was an earthquake. If that sort of thing were in a disaster movie, we'd accuse the screenwriter of going a little too far, and our disbelief would no longer be suspended. But it happened. And that's what this song is about. At the beginning, John played just the end of his flute, getting a different sound from it, with Fernando adding some interesting things on keys to help create the unusual atmosphere. This song also featured some cool work on bass from Greg Cohen, who brought out the bow for part of it, and some wonderful percussion from Danny. At one point in the song, John switched from flute to electric sitar. And Fernando was delivering some wild stuff on both piano and keyboard. This was certainly a highlight of the set, and it was great seeing everything that goes into this remarkable song. 

"Lucinda"

Esther and Feef returned to the stage for "Lucinda." John played recorder at the beginning, then switched to mandolin on this sweet and delightful folk song. The album concludes with a cover of "Joy 'Round My Brain," and so the set also concluded with it. Tim O' Gara joined the band again on jaw harp, and this time also provided some backing vocal work. It was an excellent and hopping rendition, featuring a delicious lead on mandolin. A lot of fun, and a great way to wrap things up. The show ended just before ten o' clock, but no one was in a hurry to leave. It was John's birthday, so "Happy Birthday To You" was performed, and John was presented with a cupcake with a candle on it. Fernando also teased a bit of The Beatles' "Birthday" on piano. John then wanted to do a blues number, and was joined by Danny on drums, Fernando on piano, and James on acoustic guitar. A nice surprise. And then as folks enjoyed some cupcakes, Fernando played Neil Young's "Down By The River" on piano. By the way, that record on top of the piano turned out to be a test copy for a future vinyl release of On A Wing, so keep an eye out for that.

"Joy 'Round My Brain"

The show's not over yet

Birthday boy delivers some blues

Kulak's Woodshed is located at 5230 1/2 Laurel Canyon Blvd. in North Hollywood, California.

Celebrating The Legacy And Spirit Of The Palomino In Film And Music, 6-17-26

The Palomino closed just a few years before I moved to Los Angeles, so I never had the opportunity enjoy a concert there. It was located at 6907 Lankershim Blvd. in North Hollywood, not far from where I currently live, that building now a banquet hall. For several decades it was the Los Angeles venue to go for great country music, a place that hosted artists like Buck Owens, Johnny Cash, Willie Nelson, Patsy Cline, Merle Haggard, Marty Robbins, Linda Ronstadt, and Emmylou Harris, and was where Ronnie Mack held his Barn Dance. Those of us who never were able to attend a show there still got a taste of the place in films like Every Which Way But Loose and Hooper. And now, finally, we can see a lot more of it in The Palomino, the new documentary written by KP Hawthorn and directed by Adrienne Isom.

KP Hawthorn and Adrienne Isom

Some of my favorite singers and musicians gathered at the Grammy Museum last night for a special screening of the documentary (which is not quite in its final form, as some licensing of rights is still in progress). I'm usually oblivious to buzz regarding films, but I've been hearing about this project for several years, from many different sources, mostly from musicians that I respect, who have been eager to see this movie. There was an excitement and a joy in the room even before the film started, as folks who hadn't seen each other in years were able to catch up a bit. Adrienne Isom and KP Hawthorn introduced the film, joking about how the Palomino ghost was responsible for moving some letters around in the credits. I had heard some stories about The Palomino (it would be difficult to live in this city and completely avoid such tales), which is part of why I was excited to see the film. But, holy moly, the story the documentary reveals is even wilder and more interesting than I'd expected or imagined. We've all heard about some of the famous people who showed up to play there (Bob Dylan and George Harrison being among their number), but equally engaging was the family story at the center of the drama, something I had known nothing about. The filmmakers were able to interview members of the Thomas family, including Janet Thomas, who provides some hilarious anecdotes about growing up at the venue, tending bar at the age of six (and, yes, there are photos). And through them we get an even greater appreciation for what Tommy Thomas did with the place, and through them we experience the heartbreak over what happened after Tommy's death.

But of course it's the music that drives the documentary. Some fantastic musicians appear in the film to help tell the venue's story, as well as their own stories and the story of the southern California country music scene. Because, while the Palomino is the focus, the film does go beyond that to celebrate that great southern California sound, at times in comparison to what was happening in Nashville. Those interviewed include James Intveld, Rosie Flores, Dave Alvin, John Jorgenson, Tony Booth, Emmylou Harris, Albert Lee, Ronee Blakley, Jim Lauderdale, Joe Ely, Chip Kinman, Ryan Hedgecock, Ronnie Mack, Lucinda Williams, Chris Shiflett, and Dave Stuckey. There is some much-deserved praise for the venue's great house band, and also information on the talent show, where folks could get up and play a song. Both James Intveld and Rosie Flores performed in those contests. And there is plenty of footage of folks playing at that club, including some excellent shots of Jerry Lee Lewis rocking the piano. The place looks like heaven to me. Los Angeles still has, as far as I've been able to tell, the best music community in the entire country, and the history is phenomenal. I imagine that music fans in other parts of the country upon seeing this film are going to want to move here. Even though The Palomino is gone, the sort of spirit that we see in this film still exists here. And who wouldn't want to be a part of that?

Following the film, there was a Q&A with KP Hawthorn, Adrienne Isom, Tony Booth, Rosie Flores, James Intveld, and John Jorgenson, moderated by Scott P. Bomar. The musicians shared some of their memories of the days at The Palomino, with Tony Booth talking about the house band, and Rosie Flores mentioning that after winning the talent night contest several times she was given a proper gig at the venue. She also mentioned the supportive atmosphere of the club and among musicians. That's something that still seems present in this city. James Intveld mentioned that the club was also a great place to find musicians if you needed someone for a gig you had booked elsewhere. He also told the story of taking Bruce Springsteen to The Palomino. After the Q&A, James and Rosie grabbed their guitars and delivered a wonderful rendition of "Crying Over You," which was written by James and was a hit for Rosie in 1987. "See you all at the Redwood," James then told the crowd. 

James Intveld and Rosie Flores

James Intveld

The Redwood Bar & Grill was renamed The Palomino for the occasion, with Palomino signs on the stage, including one listing upcoming performers Jerry Lee Lewis and Flying Burrito Brothers. So for folks like me, people who never had the opportunity to visit The Palomino, this was the chance to enjoy a little of the magic of that place. More than a little, actually. As at The Palomino, there was a great house band, which included Marty Rifkin on steel guitar, Bob Gothar on electric guitar, Kip Dabbs on drums and Lorne Rall on upright bass, with James Intveld leading the group. At 10:17 p.m., James asked the packed house, "Are you ready to party?" It was kind of a deliberately humorous question, because, as James was well aware, the party vibe had begun even before the film started. But, yeah, things were about to be taken to another level, and the crowd responded enthusiastically. James led things off, appropriately, with "Let's Get Started." He followed that with "A Woman's Touch," a song of his that Rob Waller covered on See The Big Man Cry (and Marty Rifkin played pedal steel on that rendition too). That was followed by "Pretty World." Marty and Bob delivered some nice leads on these songs, but the leads were all fairly short.

Tony Booth

The first guest of the night to join the band was Tony Booth, who delivered a fun rendition of "Workin' At The Car Wash Blues," playing James' acoustic guitar, while James moved to electric bass. Tony followed that with "The Other Woman," and toward the end of that song a woman threw her bra at him, but then wanted it back when he joked he was going to keep it. Very silly, but keeping with the great spirit of the night. "The Bottle Let Me Down" followed, and when Tony was looking like he might be done, James encouraged him to sing "The Key's In The Mailbox," which was the title track to Tony's 1972 record. And of course it was great to hear him sing it. Ronee Blakley then joined the band on vocals, James inviting her up to sing her Nashville songs. Her performance in the Robert Altman movie might be what she is most known for, but what I especially love her for is her work with Leonard Cohen on Death Of A Ladies' Man. She first delivered an excellent rendition of "Bluebird." Afterward, she asked James Intveld, "Was I singing too loud?" "No," he told her. With a great, delicious power? Absolutely. With too much volume? No, definitely not. She then sang "My Idaho Home," delivering another wonderful performance, and closed our her portion of the show with a good cover of "Your Cheatin' Heart." Before bringing up the next guest, James Intveld gave us a nice version of "They Call Me A Playboy."

Tony Booth and the bra

Ronee Blakley

Rosie Flores

Then Rosie Flores joined the band. "What a night!" she exclaimed. Indeed! She kicked her portion of the set off with a delightful rendition of "Honky Tonk Moon." After the line "I don't want to go home," at one point she added, "Do you? No." Certainly not. There was still a whole lot of great music ahead. She followed that with "God May Forgive You (But I Won't)," a song she included on her first album, and one she introduced as being "a song that James and I used to do back in the Palomino days." And speaking of Palomino days, Rosie next played "Palomino Days," dedicating it to Adrienne and KP. It should come as no suprise that this song was a highlight of the night, an important part of the celebration. "Would you like to hear some blues?" Rosie then asked the crowd. She gave us a cool version of her "Drive Drive Drive," a song from her Simple Case Of The Blues album. Marty delivered an excellent lead on pedal steel, and the song became a good jam. Chip Kinman and Jeff Ross then joined the group on vocals and electric guitar respectively, delivering a great rendition of "White Lightning," the crowd singing the title line.

Rosie Flores and James Intveld

Chip Kinman with Palomino T-shirt

Mustangs Of The West

Up next were Mustangs Of The West, who opened their part of the show appropriately with "Down At The Palomino," which of course was another highlight. The song was written by John Beland, and in introducing it, Suzanna said they wanted to write an extra verse about Ronnie Mack and the Barn Dance, and they got John Beland's blessing. By the way, the song mentions Tony Booth in its lyrics, as well as Bob Dylan and John Fogerty. It was kind of wild to see Tony Booth play and later in the same show hear him mentioned in John Beland's lyrics. The Mustangs got the audience clapping along, and the song became a good jam. They followed that with a pretty rendition of "Evangeline," featuring some nice stuff on both fiddle and pedal steel. Alice Wallace was up next. "Happy Palomino night, everybody," she greeted the crowd. She then delivered a wonderful rendition of Linda Ronstadt's "Long Long Time," playing James Intveld's acoustic guitar. What a beautiful vocal performance! KP Hawthorn joined her for a fun version of "Silver Threads And Golden Needles," the two sounding great together. They even danced together during an instrumental break. Sure, the ending of the song was a little awkward, but that just added to the charm. 

Alice Wallace

Ronnie Mack

Ronnie Mack and Dave Stuckey then joined the group. "The documentary got into it in pretty fine detail," Dave said. "But Ronnie Mack, he carried the torch for so long at the Barn Dance." A sweet moment. And everyone in the room was very excited to see Ronnie Mack. He sang lead on "It's Only Make Believe," with both he and Dave playing acoustic guitar. This was another highlight. They followed that with an energetic rendition of "One After 909." Ronnie Mack left the stage, and Dave Stuckey remained to sing lead on a hopping rendition of "Miss Molly." James took over lead vocals on the second verse. Things got even more fun with their take on "Mohair Sam." James then led the band into "Shotgun Boogie," another fun number. Adrienne Isom then took over on upright bass, for "Right Or Wrong," the Bob Wills tune, with Dave Stuckey on lead vocals. After that song, Dave left the stage, and Chris Isom took over on electric guitar for a cool rendition of "Six Days On The Road," with Adrienne Isom again on upright bass, and KP Hawthorn joining on backing vocals. James Intveld was on lead vocals. "Give it up to Chris, the loudest guitar player up here so far tonight," James said afterward. That was followed by "Mama Tried," with James again on lead vocals, and Bob back on electric guitar and backing vocals. John Surge then joined the band on lead vocals and guitar for a totally fun rendition of "Honky Tonky Song," Bob delivering a good lead on guitar. This was yet another highlight of a fantastic night. James Intveld had one more song up his sleeve, and brought the night to a close with a delicious cover of Chuck Berry's "Promised Land." The show ended just before one in the morning.

Dave Stuckey

KP Hawthorn and Chris Isom

John Surge

What a night! Keep an eye out for future screenings of The Palomino. This is a movie that music fans (and isn't that everyone?) are not going to want to miss.