Electric Blue Yonder: "Microparty" (2025) CD Review

Electric Blue Yonder is a group that combines folk rock sounds with some psychedelic elements in its original music. It is led by the husband-and-wife team of Johnny Veres and Beth Hataway. They put out their first EP in 2017. Titled Born Of The Sky, it was followed by Between Space & Time in 2020 and Mourning Sounds in 2021. From what I've heard of this band's material so far, it seems clear these guys bring a sense of fun to their music, a sense of play and a sense of adventure. And so it seems completely natural that they would put out an album designed for children (as well as for those adults who have held onto some of the joy of childhood). Microparty features all original material, including at least a few songs that are guaranteed to bring joy into your world. Delightful, magical, silly numbers that also carry important messages.

The album opens with its title track, "Microparty (Theme)," a song that invites everyone to a party, invites everyone to dance with that good beat. There are disco elements, as well as a bit of an ELO vibe at moments. I'm digging that work on violin by Kimi Samson. "Come along/You belong/We can be/Anything that we want to be/If we try." At one point, they say that this music, this party, is not just for the young, but also "the young at heart." It makes perfect sense to follow a song titled "Microparty" with a song titled "World Of The Small." This one begins with some soft work on acoustic guitar by Beth Hataway, and then becomes a delightfully strange and strangely delightful song. "In the world (in the world)/Of the small (of the small)/Where nothing is big or tall (not at all)/Invisible to the naked eye." It's a song about bacteria, cells and other things that we can't see. So, yeah, it's an educational number. "Atoms, you can't look at 'em." Part of this song's singular sound is due to Johnny Veres' work on organ. This track also features some wonderful stuff on strings. Kimi Samson is on violin, and Caleb Elliott is on cello.

"Raindrop" is a song delivered from the perspective of a raindrop, with a cool bass line by Russell Thomas Bush. "When it gets cold, I become snow and ice/When you cry, I am your tears of joy/Some days I'm a puddle/And others I'm a bubble." Yup, another educational number, and it's so adorable, particularly the vocal line. It's also a good deal of fun. Johnny Veres plays glockenspiel on this one. That's followed by "Rainbow," a song about the colors of the rainbow, about the order in which the colors are arranged. It's a cheerful number, and features some good work by Sam Williams on flute. "When you see a storm cloud blocking out the sun/Know that there's a rainbow when the storm is done." Children recite the colors and then exclaim "Rainbow!" at the end.

Three songs were released as a singles in advance of the album, and while I really like all of them, it was the second one that completely won my heart and got me excited about this release. Titled "Roly Poly," it is one of the most wonderful and delightful songs I've heard in years. Everything about this song makes me smile, from its rhythm to its lyrics to the way the backing vocals support the lead vocals. At the beginning Beth sings, "I'm a roly poly trying to get across town," and the backing vocals add, "She's a roly poly trying to get around." This is a roly poly who has a fairly strict schedule; she has to be somewhere by 3 o'clock. This song would fit in well with the absolute best songs from the Muppets. It has that kind of vibe, in part because of Johnny Veres' work on banjo. We need songs like this, adults and children alike. Maybe adults even more than children. By the way, a video was released for this song, and I ended up watching it many times, laughing for the joy of it each time. That's followed by the first song that was released as a single, "Sun & Shower," another absolutely adorable number. "It's so nice for you to drop on by/It's a beautiful day outside." I love the rhythm of the vocal line. And the chorus is kind of beautiful: "It takes a sun and a shower/To grow a beautiful flower/And a little bit of love, love, love." Toward the end, they sing, "Think about what you can do/To spread a little love if you/Think you've got some love to share." That's a good message for everyone, particularly these days when many people have grown cold.

"Lil' C" is another totally delightful song, this one sung from the perspective of a caterpillar. "I'm a little caterpillar inching along/To my own song." I can't help but wonder if this caterpillar knows the roly poly, if they've encountered each other along their individual routes, their individual dances. But seriously, I love this, and it just gets better and better as it goes. "I'm just a little caterpillar in a big, big world." I think we can relate to that feeling. This track features Daniel Ritch on tuba. Then in "Counting With Katherine," they sing, "Back in 1962/A woman proved what she could do/She used her math to take us far/Set her sights upon the stars." It's a song about Katherine Johnson, and about counting, and about doing our best at whatever we try. That's followed by "Bath Time," which was the third single released in advance of the album. It is a ridiculously fun rock song about getting clean. "Swimming around in my imagination/Just me and my toys in my aquarium/We can go for a ride out to the sea/Where the waves are high and we are free." If you dig The B-52's (and who doesn't?), you'll enjoy this song. It builds wonderfully, and might make you want to throw a party in your bathtub (but please be careful dancing in the tub).

"Bebop Bo Bobot The Robot" is another of the disc's highlights, with a great bass line. It  begins by describing someone's search in a junkyard, a search which yields a robot head. And then suddenly, the band takes on the electronic voice of the robot, which comes as a delightful surprise.  I love the way they change their voices to take on that character. The track becomes a conversation between a person named Michael and a robot named Bebop Bo Bobot. In the second half, the robot announces it wants to dance, and the music cooperates, aiding him in that endeavor. That's followed by "Pick Up Your Toys," a song that has a classic vibe, taking us back to the early days of rock and roll. This is a song you'll want to play while cleaning your home. The album concludes with "Little Jack," a song that looks back at the day. It's a winding down, the sound and pace making us think of getting ready for bed. And indeed, near the end they sing, "Let's count our sheep/Then fall fast asleep." "Sweet dreams," they tell us. And if our dreams are at all like the world created by these songs, they'll not only be sweet but joyous.

CD Track List

1. Microparty (Theme)
2. World Of The Small
3. Raindrop
4. Rainbow
5. Roly Poly
6. Sun & Shower
7. Lil' C
8. Counting With Katherine
9. Bath Time
10. Bebop Bo Bobot The Robot
11. Pick Up Your Toys
12. Little Jack

Microparty was released on April 25, 2025 on Infinite Reality Records.

The Rembrandts: "L.P." (1995/2025) CD Review

Whether you were a fan of Friends or not - hell, even if you hated the television show - you became familiar with its theme song, "I'll Be There For You" by The Rembrandts. Certain television themes go far beyond the shows they were attached to. Think "Peter Gunn" and "Batman Theme." Think John Sebastian's "Welcome Back." The theme song for Friends was played everywhere, and is continued to be played. The song was added to the band's third album, L.P., as a "hidden track," helping to make that album a hit for the band when it was released in 1995. On Record Store Day, an expanded edition of the album was released as a double LP on yellow vinyl. If you missed that (apparently, only 1,400 copies were made), it has also been released on a single CD. The liner notes, written by Andrew Ellis, contain the story of that famous song, as well as how that song fits into the band's larger body of work. The expanded edition contains four bonus tracks, three of which were previously unreleased. There is almost eighty minutes of music on this disc. The album was remastered by Michael Graves at Osiris Studio. The Rembrandts are the duo of Phil Solem on vocals and guitar, and Danny Wilde on vocals and bass and guitar. They are joined by Pat Mastelotto on drums, and Michael Ramos on keys, along with several guests on various tracks.

The album opens with "End Of The Beginning," which features some good and interesting harmonies from the start. The song also contains some strong lyrics, such as these lines: "If there's a meaning to it all, it doesn't matter anymore/'Cause it's the end of the beginning." But what I like most about this track is the psychedelic element to the guitar work in the instrumental section in the second half. That's my favorite part of the song. "End Of The Beginning" is followed by "Easy To Forget," in which they sing, "Do I feel better now/I mean, I think I gotta get you back somehow/I tried to drink you off my mind/But I haven't yet/No, you're not easy to forget." I like that "But I haven't yet" line, as it implies he hasn't given up on it, and is likely still drinking. This track contains some catchy guitar work, which is itself not easy to forget. And I dig that work on keys in the middle. Billy Payne plays organ on this track, and John Pierce plays bass.

So are there songs on this disc that are better than the Friends theme song? You bet there are! One of my favorites is "My Own Way," in part because of the strong vocal work, but also the overall sound. There is a bit of a Beatles influence heard in this one, and there is a catchy rhythm to the vocal line. "You say I don't have a leg to stand on/So it's a good thing I've got two/But if I had only one leg to stand on/That's exactly what I'd do/No one can say there's a right or wrong way." And that instrumental section is bloody great. It's a powerful section, and interestingly, they contrast that with the next couple of lines delivered softly. There is a lot about this track that makes it stand out. The band really delivers here. Jon Niefeld plays drums on this one. Then "Don't Hide Your Love" is a pleasant pop number with a kind of sweet vibe. "Don't hide your love/'Cause there ain't time enough," they tell us. Indeed!

They change gears with "Drowning In Your Tears." While it uses the cliche of comparing tears to rain, this song features a passionate vocal performance that is appealing. "Now what else is there I can say/To make your heartache go away/I'm drowning in your tears." It also contains some nice work on guitar. And probably anyone who loves music will appreciate these lines: "I'm waiting for the band to play/A song to carry me away." That's followed by "This House Is Not A Home," an energetic pop rock number with a strong, driving beat. And it's a love song. "No, this house is not a home/Without you." It has such a good feel about it. Then from "April 29," these lines stand out for me: "I used to be fearful of the voice inside my head/And all the foolish things it said." There is an energy to this song too, particularly in the vocal delivery.

Another of the highlights for me is "Lovin' Me Insane," a song that comes at us at a good pace, taking hold of us even before those opening lines, "Somebody wake me up/Somebody talk me down/Somebody help me." Those are lines that are particularly effective in these strange days. The band is rocking here. "I'm going crazy/You're driving me mad/You're loving me insane." We've all been driven mad by someone, I suppose, but I like this idea that someone's love actually is the cause. I also love those wild vocal reactions at certain points. Things kind of fall apart toward the end, but even that somehow works. "As Long As I'm Breathing" begins with drums. And when the keys come in, it develops a soulful vibe that I love. This song is a declaration of love, and it's wonderfully positive. "If you feel insecure/And the world around is grey/Well, baby, you can rest assured/That I won't run away." Life can be pointlessly difficult, but having that one special person that you can rely on makes all the difference in the world, and that's what this song is about. It is another of my personal favorites. It contains a cool guitar lead in the second half, and it ends, as it began, with drums.

In "The Other Side Of Night," they sing, "Now you're moving through your waking world/While in my sleep I dream." And there is an interesting dreamlike quality to this song. It feels like a reality slightly different from the normal waking life, and features some good percussion. This is another highlight. The original album concludes with that familiar song, "I'll Be There For You," and, dear lord, it's hard to keep from clapping along in that moment after the song's first line. This song does hold a lot of appeal, particularly in its message. Again, we want someone to be there for us when everything else is going wrong. It is interesting, but there are some similarities between this and "Where Everybody Knows Your Name," the theme song from Cheers, in the message. According to the liner notes, this song was 30 or 45 seconds long, and The Rembrandts wrote the rest of it, expanding it to proper song length.

Bonus Tracks

The first bonus track, "Turn Me On," was previously released on a four-song EP of "This House Is Not A Home." It's a fun pop song. It contains a nod to The Beatles, as they sing, "Turn me on, turn me/And you can drive my car," and in the background we hear "Beep beep." The other three bonus tracks were previously unreleased. "Perfect Line" is about struggling to write a song, or, as they sing, "a letter inside this song," in order to reach a specific person. It has something of a sweet sound, with some really good vocal work. "I'm searching for the perfect line." That's followed by "Wait For Me." It's surprising that this song was left off the original release. It is a strong number, better than some of the album's tracks, with a rather serious sound and subject. Here are its first lines: "You thought of every reason/To throw your life away/You couldn't handle one more day." And then it turns brighter and the song becomes about helping, as he promises to "do whatever I can do." The disc concludes with another good pop song, "You Make Me Feel," this one highlighting their harmonies. "You make me feel like I really belong with you."

CD Track List

1. End Of The Beginning
2. Easy To Forget
3. My Own Way
4. Don't Hide Your Love
5. Drowning In Your Tears
6. This House Is Not A Home
7. April 29
8. Lovin' Me Insane
9. There Goes Lucy
10. As Long As I Am Breathing
11. Call Me
12. Comin' Home
13. What Will It Take
14. The Other Side Of Night
15. I'll Be There For You (Theme From Friends)
16. Turn Me On
17. Perfect Line
18. Wait For Me
19. You Make Me Feel

This expanded issue of L.P. was released on CD on April 18, 2025 through Omnivore Recordings.

Judy Wexler's Birthday Bash at The Baked Potato, 5-6-25

Jazz vocalist Judy Wexler held her birthday party last night (a few weeks after her actual birthday) at The Baked Potato in Studio City. She did two shows, and I was able to catch the early one, at which she delivered an excellent set of music. The show started right at 8:30 p.m., and after a brief thank you to the audience, Judy went straight into the group's opening number, "Wish You Were Here," a song she included on her newest album, No Wonder, which was released in January. Backing her at the show were Jeff Colella on keyboards, Danny Janklow on saxophone and flute, Gabe Davis on bass, and Steve Hass on drums, all of whom played on that album. It wasn't long before Danny Janklow delivered a nice lead on sax, with Steve Hass adding some great accents on drums during it. That first song also featured a good lead on keys. "But you are here," Judy said afterward. "Thank you so much for being here." She did not reveal which birthday she was celebrating, but indicated that it was scary one ending in a zero.

"I find these times very dark," Judy said in introducing the next song. "So this song is for this moment." That song was Irving Berlin's "Let's Face The Music And Dance." It really is a perfect song for these times. Things seem quite bleak, but life is so damn short as it is, so we can't give too much of ourselves to the darkness. We need to find joy, even when things are at their worst, even when half the nation has embraced fascism. After that song, Judy told the audience that is why she goes out to hear music now more than ever, for that much needed sense of community. It's important to know there are still good people out there, that there is still joy, still some humanity. I think everyone in the audience knew and felt exactly what Judy was expressing. After all, they had made it a point to be there. They had sought out the music, they had sought out this community.

Danny switched to flute for both "A Weaver Of Dreams" and "That Sunday, That Summer," both of which were featured on the new album (the first third of the set focused largely on that release). The latter of the two, as Judy introduced it, was about that one special moment in someone's life. And so it made each of us think of that special moment in our own lives when we met that special someone. Mine, perhaps not surprisingly, was at a concert. Perhaps it was partially due to the song's subject matter, but everything was feeling particularly good, everything was feeling right at that point. There was a certain joy in the room. This song featured some really good drumming. Danny was back on saxophone for "The Summer Knows," delivering a great lead. This song was one of the highlights of the set for me. We could feel that sultry sense of summer, we could hear it in Judy's performance. "I Took Your Hand" then began with some nice work on saxophone. That was followed by "A Certain Sadness," which contained one of the evening's most beautiful vocal performances.

"You'd Better Love Me" was a lot of fun, with some great stuff on bass. That was followed by "One Less Bell To Answer," "The Long Goodbye," and "Someone To Light Up My Life." "Someone To Light Up My Life" was another highlight for me, that song really grabbing me, mostly because of Judy Wexler's gorgeous and moving vocal performance. "Searching for something or someone to light up my life." Then "I'm In Love Again" featured a wonderful lead on keyboard. And it was during that song that we finally were treated to a lead on bass, which was a total delight. "The Last Goodbye" was another of the set's highlights. Judy Wexler included this song on her Crowded Heart album. She wrapped up the set with "Comes Love," the band cooking and letting loose on that final song. At the end of the set, a cake was brought out for Judy. The band and audience joined together in a rendition of "Happy Birthday To You," and Judy blew out the candles. She invited the audience to have some cake, one more thing to bring everyone together, to add to that sense of community. And that, after all, is it what it's about, those moments of beauty, of community, those moments where the better parts of humanity shine. Judy Wexler is not just aware of the importance of such moments, but is adept at fostering them, as she did last night. Life is short, the times are dark. Let's face the music and dance.

Set List

1. Wish You Were Here
2. Let's Face The Music And Dance
3. A Weaver Of Dreams
4. That Sunday, That Summer
5. The Summer Knows
6. I Took Your Hand
7. A Certain Sadness
8. You'd Better Love Me
9. One Less Bell To Answer
10. The Long Goodbye
11. Someone To Light Up My Life
12. I'm In Love Again
13. The Last Goodbye
14. Comes Love

The Baked Potato is located at 3787 Cahuenga Blvd. in Studio City, California.

Françoise Hardy: "En Vogue: Best Of 1962 - 1967" (2025) CD Review

The world lost the great Françoise Hardy last summer, but her music lives on. On Record Store Day last month, a double album titled En Vogue: Best Of 1962 - 1967 was released. It's a collection of twenty-four wonderful tracks recorded in the 1960s. If you missed getting a copy of the record (which apparently was presented on red vinyl), the following week it was released on CD (the twenty-four tracks fitting on a single CD).  She was clearly very busy during the years represented on this disc, releasing many singles and EPs each of those years. The twenty-four tracks included here are, as the title indicates, some of her best work of that period. The tracks are arranged largely in chronological order, though interestingly the liner notes include the songs' chart positions on certain dates rather than the release dates. Most of the songs here were written or co-written by Françoise Hardy.

The collection opens with "Tous Les Garçons Et Les Filles," a song that Françoise Hardy wrote with Roger Samyn. This song was a huge hit, reaching #1 in France, Spain, Belgium and Quebec. For some reason, the U.S. was slow in appreciating her music, and I still meet people who are not familiar with her material. Well, this collection presents a perfect opportunity for those folks. I don't speak French, and really have little idea what she is singing here. But that doesn't matter. Her voice and her phrasing have such incredible appeal. This is a beautiful song, and its emotional impact is certainly not lessened by a lack of understanding of the language. That's followed by "Le Temps De L'amour," which was released as a single in 1962, and also was a #1 hit in France, though only reaching #7 in Belgium and #10 in Spain. This one was not written by Hardy, but by Lucien Morisse, André Salvet and Jacques Dutronc. And here she delivers an even more alluring vocal performance. There is something haunting in its beauty, and the track has a very cool vibe. I think it would be damn near impossible to not completely fall under this woman's spell.

"Le Premier Bonheur Du Jour" opens with some wonderful guitar work, preparing us for Hardy's entrance on vocals. There is an intimate quality to her performance here, and we feel she is singing to us alone, her voice a soft caress. This song was written by Frank Gérard and Jean Renard, and the track features some nice work on strings. Then "J'aurais Voulu" begins as a wonderful dance, and then rises in power at key moments, with a bit of a Spanish flavor. It was written by Françoise Hardy. Then, as we move into 1964, some rock elements begin to enter into her material. We hear it at the beginning of "Pourtant Tu M'aimes," which starts with drums. There is something undeniably catchy about this song. Françoise Hardy wrote it with Jonathan Cole and Jimmie Cross. "Et Même" is also fun, with a full pop sound and even some hand claps at the beginning and end. This is another original composition, released as a single in 1964. Somehow this one only reached #25 on the chart in France.

In general, when I think of Françoise Hardy, I think of songs like "Mon Amie La Rose." She is absolutely captivating here, and it's no wonder that this is one of her most popular songs, reaching #2 in France. It was released as a single, and also included on an LP. If you've never heard her sing, and for some reason have time only for one song, this is a perfect choice (I guarantee that after hearing it, you'll want to hear everything else she's recorded). That's followed by "Je N'Attends Plus Personne," which has a harder sound. Though her voice still possesses an undeniable beauty, there is an edge to her delivery here. And this track features a cool lead on electric guitar in the second half, with that great mid-1960s rock flavor. (According to Discogs, that's Jimmy Page on guitar.) Françoise Hardy wrote this one with Giovanni Meccia and Enrico Ciacci.

"Je Veux Qu'il Revienne" is a particularly interesting song, clearly influenced by some American pop songs, especially in the sound of its chorus. It was co-written by Charles Blackwell, who worked with a wide range of artists in his career. Like Françoise Hardy, Blackwell died last summer. That's followed by "La Nuit Est Sur La Ville." I love that moment when the music swells and reaches another level, and she asks, "Pourquoi? Pourquoi?" Wonderful! Then "Dis-Lui Non" has an early rock and roll sound, particularly in that guitar work at the beginning. It feels like one of those delicious female vocal group offerings. Françoise Hardy wrote it with Barney Skelton Jr.

Françoise Hardy did also sing and record some of her songs in English, and this collection includes her "All Over The World," which she wrote with Julian More. It was included on her In English LP. Her voice is beautiful here, and I suppose it's great being able to understand just what she's saying, but for whatever reason, I prefer hearing her sing in French. She had first released this song in French. It is this collection's only song delivered in English. That song is followed by "L'amitié," which was written by Jean-Max Riviere and Gérard Bourgeois, and has a gentle and warm vibe about it, feeling almost magical. "Le Temps Des Souvenirs" features strings and another excellent vocal performance. Then "Tout Ce Qu'on Dit" has more of rock sound, particularly in the guitar work, and is one you can dance to, with its strong beat. "Ce Petit Coeur" has a delightful, playful sound, a lighter vibe.

The collection moves into 1966 with "Je Ne Suis La Pour Personne," which has a sweet, pretty sound. This one will likely have you smiling before long. It is followed by "Il Est Des Choses," which she wrote with Eliana De Sabata and Edoardo Vianello. It is a slower dance, a beautiful number, featuring some nice work on piano. Then we are treated to "La Maison Où J'ai Grandi," one of my personal favorites. It begins with a brief intro on guitar, having something of a bluesy vibe. And when her vocals come in, there is a longing heard, a yearning for something that perhaps no longer exists. It is a performance awash in memory. And then the song kicks in to become a rather cheerful number, which might be surprising. I love the emotional journey this song takes listeners on. It seems to keep growing. It's wonderful from beginning to end, and is a song I don't really want to end. That's followed by "Comme," which has a pretty and magical sound, like a vibrant dream.

"Je Changerais D'avis" begins in a soft, almost delicate place, like she doesn't want to disturb a sleeping lover for fear that he will disappear altogether. But then it opens into a brighter, fuller area, as she lifts her voice, and it grows from there. That's followed by "Rendez-vous D'automne," a beautiful song with an air of melancholy, of things lost. As you'd expect, it features a moving and captivating vocal performance. Then there is a dreamlike quality to her vocal performance in "Au Fond Du Rêve Doré" that is incredibly appealing. This track also features some nice work on harmonica. This song was released on a four-track EP in 1967. Also on that EP was this collection's final song, "Violà," on which she delivers an intimate vocal performance that borders on spoken word at a couple of moments, in the delivery of the title word. The sound then grows from there, and this track is another of the disc's highlights. The song was written by Françoise Hardy, and reached #3 in France. A perfect conclusion to an excellent collection of music from this incredible artist.

CD Track List

1. Tous Les Garçons Et Les Filles
2.  Le Temps De L'amour
3.  Le Premier Bonheur Du Jour
4.  J'aurais Voulu
5.  Pourtant Tu M'aimes
6.  Et Même
7.  Mon Amie La Rose
8.  Je N'attends Plus Personne
9.  Je Veux Qu'il Revienne
10.  La Nuit Est Sur La Vile
11.  Dis-lui Non
12.  All Over The World
13.  L'amitié
14.  Le Temps Des Souvenirs
15.  Tour Ce Qu'on Dit
16.  Ce Petit Coeur
17.  Je Ne Suis La Pour Personne
18.  Il Est Des Choses
19.  La Maison Où J'ai Grandi
20.  Comme
21.  Je Changerais D'avis
22.  Rendez-vous D'automne
23.  Au Fond Du Rêve Doré
24.  Violà

En Vogue: Best Of 1962 - 1967 was released on CD on April 18, 2025 through Omnivore Recordings.

Caspian Coberly: "Starlight" (2025) CD Review

Caspian Coberly is a singer and songwriter based in Seattle, known partly for his work in Is This Real?, a Wipers tribute band that takes its name from that punk group's first album. His solo work moves along a different path, featuring some heavy 1960s and early 1970s influences. His self-titled release came out in 2019, and was followed by Peace, Love, And Music, an album he did with Ben Root. His new album, Starlight, is a true solo affair, with Caspian Coberly writing all the songs and playing all the instruments, with just a bit of help added on two tracks.

"Green Magic," the disc's opening track, begins with drums, a strong beat that promises something fun, something lively. And as the bass comes in, we do hear a certain punk influence, preparing us for a good ride. As the song kicks in, it takes on a feel of those late 1960s blues rock groups. "Come on, baby," he invites us in those early moments, and it doesn't take too much coaxing on his part. "I forget that I was young/In the day that I'd begun/In a way I let you go/Everything I was supposed to know." This has a great hard blues rock sound, feeling like a good jam and featuring some strong work on guitar. It strikes me as kind of crazy that this is the work of just one person, because it seems like a great band to see in concert. However, this is one of the tracks on which Caspian Coberly got a bit of help, with additional work on keyboards and synthesizers added later with Roberto Schilling. This song slows as it reaches its conclusion, winding down. Then "She (Knows All)" has a somewhat softer sound as it begins. On this track we hear a definite John Lennon influence, particularly in the vocal performance. "She knows all she could know, it goes/She knows all she could know, it goes, and all/We don't know it all/Is it something?" There is also some nice layering of vocals, and a cool lead on electric guitar toward the end. This song fades out all too soon.

There is also a John Lennon influence heard in "Wonder," with that harder edge, like on some of Lennon's early solo work, at least on those first several lines. It's an interesting love song, a song that almost demands love. "Love me truly/Love me duly/Like no other." Here he also sings, "Chasing the past," and in a way we get the sense that this is something he is doing with his music. And that is just fine with us, because he seems to capture it perfectly. This music could be slipped into the past, and we'd believe it came from that time (like that moment in Wag The Dog, right?), though it works so well now too. Interestingly, the moment where he counts into the next track with drum sticks occurs at the end of this track. So then this track slides right into the next, "Send A Call," which features some excellent, moving work on guitar at the beginning. "Call me back/After all/My dreams are all for you." There is something sweet about his vocal performance here. There is a need, a yearning in his voice. I also like that bass line. But it is that guitar lead in the second half that especially stands out. This song has a sudden ending, almost as abrupt as The Beatles' "I Want You (She's So Heavy)," though there is a bit of studio noise after the ending.

"Shepherds Delight" was released as a single in late January, and is the song that got me excited about this album. It's a seriously cool song with a strong groove. Those effective pauses bring Led Zeppelin to mind, and they aren't the only element giving this song a Zeppelin vibe. "It's bringing me back/It's nothing to you/It's nothing, it's something that I should know." Again, it seems crazy that this is the work of one person rather than a band. But either way, it's great that someone is still creating music like this. That's followed by "South Street Talk," which has a more easygoing feel to it. "You're all I needed, baby/I do the best that I can/Talk/Walk/From here/Talk/Walk/Disappear." This one also features some good work on guitar. Then "Don't Walk Away" has a rather pretty sound, and is a sort of love song. The first two lines stand out: "Thinking of the world today/Love is only something they say." Those lines ring true, don't they? There are certain words, certain phrases that we hear, but which seem to not be truly felt or experienced by those speaking. "Don't, don't walk away/Have I come undone/Loneliness is only mine/Thinking of you all the time." He then tells us, "Wrote this song inside a dream," and indeed there is a dreamlike quality to it. Love is the best dream, isn't it?

"The Long Time" comes rushing at us like traffic in a city, and then a strong beat leads us into the body of the song. There is a strange psychedelic element to the sound, like the sound approaching in waves. Then when he sings "And I'm breaking away and I'm breaking away," there is actually a bit of a Bee Gees thing to his vocal approach. This is one of the most interesting tracks on the album, particularly as the sound is concerned. It is also the other track on which Caspian Coberly got a bit of help, the drums recorded with Ben Root. That's followed by "All That I Want," which has the sound of a live track. As far as I understand it, it's not a live recording, so it's a bit of an odd choice, a bit jarring. The audience sound drops out after a minute or so, just before the vocals come in, but they come back in at other points in the track. This song has a classic, soulful sound. with a bit of a "Lean On Me" vibe at moments. "Love that's so strong/Well, I'm calling you back/Babe, come on home/All that I want/All that I need/I need you, girl/I'm begging, please." The album concludes with "Perfect Nights," which creates a sort of fuzzy city landscape in its initial moments. We ease in from there, and for a moment there is a meditative feel, before suddenly the drums launch us into the body of the tune. This is a cool instrumental number, the disc's only instrumental track, and the jam contains some great stuff on guitar.

CD Track List

1. Green Magic
2. She (Knows All)
3. Wonder
4. Send A Call
5. Shepherds Delight
6. South Street Talk
7. Don't Walk Away
8. The Long Time
9. All That I Want
10. Perfect Nights

Starlight was released on April 11, 2025.

Gene Clark & Carla Olson: "So Rebellious A Lover" (1987/2025) CD Review

In 1987, Gene Clark and Carla Olson released So Rebellious A Lover, an important, influential and just fantastic album containing a mix of original material and covers, blending country and rock sounds. Gene Clark, perhaps still known best for his work in The Byrds, as well as in Dillard & Clark, had released several solo albums, the last of which was 1984's Firebyrd, on which he revisited "Mr. Tambourine Man" and "I'll Feel A Whole Lot Better." Carla Olson at that point was a member of The Textones and had not yet released any solo albums. So Rebellious A Lover would end up being Gene Clark's final album before his death in 1991, and was sort of the beginning of Carla Olson's solo career. Both sing and play acoustic guitar on the album, and Gene also plays harmonica, while Carla also plays piano. Joining them are Roscoe Beck (who played with Leonard Cohen) on bass, and Michael Huey on drums and percussion, along with Ed Black on pedal steel, Hans Christian on cello, Skip Edwards on keyboards, Randy Fuller on banjo, Chris Hillman (fellow Byrds member) on mandolin, Stephen McCarthy on lap steel and dobro, Tom Junior Morgan on flute and piano, and Otha Young on acoustic guitar. The album has been remastered and now includes several bonus tracks. For those who are wondering, most of the bonus tracks included here were also included on the 2003 and 2018 reissues, but not all of them. The CD notes include a photo of the moment when Gene Clark and Carla Olson met. This is an album that should be in everyone's collection.

The album opens with "The Drifter," a song written by Carla Olson, Tom Junior Morgan and Joe Read. Carla sings lead on the first verse. "The judge was the kind of man who always talked fast/And the way things were going, his world wouldn't last." After that line, it kicks in and Carla Olson brings some of that rock energy to her vocal performance. This is one of the tracks to feature Otha Young on acoustic guitar, and Young delivers some great stuff. Gene takes over the lead vocals for the second verse, and Carla is again on lead vocals for the third verse. "The drifter knows he can't always go with the tide/The time will come when he'll have to choose up sides/Which way will he go, will it be left or right/The judge says things are either black or white." Those lines in particular stand out in these strange days. Many people still believe that, that things are either black or white, either one extreme or the other.

"Gypsy Rider" was written by Gene Clark, and is a song that Rob Waller (lead vocalist for I See Hawks In L.A.) covered on his 2023 solo album See The Big Man Cry, which Carla Olson produced (she also plays guitar and provides harmonies on that rendition). It was also covered that same year by Pete Mancini & Rich Lanahan, who included it on Silent Troubadour: The Songs Of Gene Clark. It's a phenomenal song. It begins in a softer, mellower place, with some pretty work on guitar. This track also features some excellent work on steel guitar, as well as some wonderful work on mandolin in the second half. However, it is Gene Clark's haunting vocal performance that is at the center of this track, and a large part of its great appeal. "You know there's nothing to explain/She should have known by now/You're just a vagabond/You may never pass this way again." It is interesting that the first two songs are about such a character - a drifter, a vagabond. "Gypsy Rider" is one of my personal favorites on this album.

There is a strong bass line on "Every Angel In Heaven," a song written by George Callins and Carla Olson. And because of that prominent bass line, and because of Carla's delivery of those early lines, there is the sense that this one could go in a few different directions. There is the possibility that it could explode into a punk rock number. But when the acoustic guitar comes in, it is clear where it's going, the song being more in the folk vein. I love how that bass part remains a prominent element of the sound. This song features drifting as a theme as well: "When I got out, I kept on wandering/Texas was no place to be/The man I killed had lots of family there/And all of them were trying to find me." At the end she repeats, "Help me through this lonely night." Music like this helps those listening through lonely nights. By the way, this song was also recorded by The Textones, and included on their Cedar Creek album, which also was released in 1987. Moving across the land plays a part in the story of "Del Gato" too: "I travel the saddle, I follow the cattle/Down on the range where they graze/And I just ride in from a hard southwestern drive." This song was written by Gene Clark and Rick Clark, and it is this song that gives the album its title. "So rebellious a lover/Don Juan as my cover." In this song, death lurks around the corner, as it does in so many great songs.

Gene Clark and Carla Olson deliver a wonderful and touching rendition of Woody Guthrie's "Deportee (Plane Wreck At Los Gatos)," featuring some gorgeous vocal work. This is a song that has been covered by many artists over the years, and it certainly strikes a chord in today's harsh climate, particularly with a line like "Some of us are illegal, and some are unwanted" and in the way the people largely don't care about their fates. I suppose our country has always fallen quite short of its purported ideals, but these days are especially terrible, for those in charge have cast aside all ideals. "Deportee (Plane Wreck At Los Gatos)" is followed by another cover, this time the traditional folk ballad, "Fair And Tender Ladies" (also known as "Come All You Fair And Tender Ladies" and "Come All Ye Fair And Tender Maidens," and versions have been recorded under the titles "Tiny Sparrow" and "Little Sparrow"). The version here contains lines that are also in "Dark Hollow" (with slight variations): "I'd rather be in some dark hollow/Where the sun refuse to shine/Than to live here in Missouri/With your memory always haunting my mind." This is another of the tracks to feature Otha Young on guitar. There is also some whistling in the second half, and a moving lead on harmonica.

We then are treated to a cover of John Fogerty's "Almost Saturday Night," a song from Fogerty's 1975 self-titled album. This is a song that Dave Edmunds also covered (it was included on his Swan Songs: The Singles 1976 - 1981, released last year). Gene Clark and Carla Olson deliver a rather cheerful folk and country version, featuring mandolin. That's followed by a cover of the Flying Burrito Brothers' "Hot Burrito #1," written by Chris Ethridge and Gram Parsons. This song is also known as "I'm Your Toy," and here is titled "I'm Your Toy (Hot Burrito #1)." This track features some nice stuff on steel guitar, as well as on piano. Gene Clark delivers a beautiful and moving vocal performance. "You may be sweet and nice/But that won't keep you warm at night/'Cause I'm the one who showed you how/To do the things you're doing now." It is his vocal work that makes this track stand out.

"Are We Still Making Love" is a country tune written by Carla Olson. Here are the opening lines: "Are we still making love/Or is it just part of the game/Have we both had enough/Of life being the same." This is one of those delicious crying-in-your-beer songs, and Carla Olson gives a passionate vocal performance. Her work is so damn good. "I know I've stumbled, but I've gotten up again/And somehow the good times that we had/They don't outweigh the bad/Oh, how can we bring it to an end." Most of us have been there at one point or another, when we decide, "Maybe it's time to let go," as they do at the end of this song. That's followed "Why Did You Leave Me Today," which was written by Gene Clark. This track has a sweet tone, aided by the steel guitar. "For so long, we worked so hard/We didn't have a dime/But we had one another's love/And that was all the time/Then one day our ship came in/The answer to our dreams." Soon they ask the question in the song's title. "I watched my dream slip away." No longer having to struggle would be great, but not if my love weren't there. This is one of those songs about how love is the most important thing, and shows what a talented songwriter Gene Clark was. The original album concludes with a cover of Joe South's "Don't It Make You Want To Go Home," which was the title track to an album he released in 1969. Carla and Gene take turns singing lead on this track. "It's been a long time, but I'm glad to say/I'm going back to my hometown." Yes, going home always sounds so appealing in song. This is the other song to feature Otha Young on guitar.

Bonus Tracks

This expanded edition contains eight bonus tracks, the first six of which were included on the 2003 and 2018 reissues of So Rebellious A Lover. The first is a cover of Phil Ochs' "Changes." Their rendition begins softly, like the Phil Ochs original version. Then, nearly a minute in, it takes a turn, kicking in and becoming more of a rock song with a strong beat. It actually has something of a Byrds vibe at that point. The band for this track is Gene Clark on guitar and vocals, Carla Olson on guitar and vocals, Stephen McCarthy on lead guitar, David Benson on bass, and Donald Lindley on drums. It was recorded in 1990.

That's followed by "Day For Night," a song written by Gene Clark. It was recorded in 1985. "Shades of evening, purple empty space/Where everybody screams like they're all true/Shadows of morning, curtains of twilight/Trying to trade the day for the night." The band for this song and the following three tracks (all of which were recorded in 1985) is made up of Gene Clark on vocals and acoustic guitar, Carla Olson on vocals, George Callins on lead guitar, Ed Black on pedal steel, Joe Read on bass, Phil Seymour on drums and backing vocals, and Pat Robinson on piano and backing vocals (basically, it's The Textones backing Gene Clark). "Jokers Are Wild" was written by Dick Holler and Pat Robinson. Gene Clark is on lead vocals. "And I was the king in her life for a while/Love often changes its mind/And I always thought that the king takes the queen every time/But jokers were wild." This track contains some really nice harmonies. "Wishes don't always come true/But how can it be that a king lost a queen to a fool?" It makes perfect sense to follow "Jokers Are Wild" with a song titled "Winning Hand." This is a fun country number written by Gene Clark, and featuring prominent work on pedal steel. Then "Lover's Turnaround" is a good, sad country song written by Gene Clark and Thomas Jefferson Kaye. Something about this song makes me think of Roy Orbison at moments. Maybe it's the way he sings, "Sleepless days and endless lights." It's a wonderful track.

For "Broken Hearts And Broken Dreams," the band is Carla Olson on lead vocals and acoustic guitar, Gene Clark on vocals, George Callins on lead guitar and slide guitar, and Bob Saldana on bass. "Broken hearts and broken dreams/That's all that's left of me and you/Seems we burned up all our bridges/Trying to find a dream or two." This song was written by Dianne Baumgartner. Gene Clark and Carla Olson deliver a compelling, gorgeous rendition. This track was recorded in 1989. The disc's final two tracks were not included on the earlier reissues of this album. The first of those is another rendition of "Gypsy Rider." Interestingly, this one does not include Carla Olson. It is the only track on the disc to not feature her, and yet it includes other members of The Textones. The band is Gene Clark on vocals and guitar, George Callins on guitar, Ed Black on pedal steel, Joe Read on bass, and Phil Seymour on drums. It was recorded in 1985. The final track is "Number One Is To Survive," featuring just the duo of Gene Clark and Carla Olson. This one was written by Carla Olson, and originally recorded by The Textones and included on that band's first album, Midnight Mission, released in 1984. The rendition here was recorded in 1989 at Gene Clark's house. Gene Clark plays both guitar and harmonica. He and Carla share lead vocal duties, each taking different verses. And when their voices blend, oh boy, that is when the track really shines. This track is a treat, for sure.

CD Track List

1. The Drifter
2. Gypsy Rider
3. Every Angel In Heaven
4. Del Gato
5. Deportee (Plane Wreck At Los Gatos)
6. Fair And Tender Ladies
7. Almost Saturday Night
8. I'm Your Toy (Hot Burrito #1)
9. Are We Still Making Love
10. Why Did You Leave Me Today
11. Don't It Make You Want To Go Home
12. Changes
13. Day For Night
14. Jokers Are Wild
15. Winning Hand
16. Lover's Turnaround
17. Broken Hearts And Broken Dreams
18. Gypsy Rider
19. Number One Is To Survive

This special expanded edition of So Rebellious A Lover was released on February 21, 2025 on Sunset Blvd. Records.

Tim Gartland: "Right Amount Of Funky" (2025) CD Review

Tim Gartland's new album, Right Amount Of Funky, is full of great blues sounds, just as we've come to expect from this singer, songwriter and harmonica player. And here he also adds some soul and even reggae elements. And, as you might surmise from the title, an amount of funk. Just the right amount. Hey, we need some funk these days, no question about it. The album features all original material, written or co-written by Tim Gartland. Joining him on this release are Robert Frahm on electric guitar, Dennis Drummond on acoustic guitar and backing vocals, Jody Nardone on keyboards, Mike Joyce on bass, Jack Bruno on drums, Andy Peake on percussion and backing vocals, Nalani Rothrock on backing vocals, and Jolie Grace Wareham on backing vocals. The album was produced by Tim Gartland and Andy Peake.

He kicks off the album with "Waste A Worry," a song about being down, having lost his job and his woman (the second because of the first, apparently). But his attitude is still positive, as he urges his friend not to waste a worry on him, the song addressing that friend (and so us): "I'll be my old self eventually/I'm going to take the time I need/So don't waste a worry on me." And he sings, "I got enough funds for my rainy day." What, a blues song in which the guy isn't completely broke? Yes. And talk about looking on the bright side, he sings, "My work was like a prison, so now I'm free/My woman dug the dollar more than she dug me." This track features some nice touches on guitar, even before that cool lead. And, yes, there is a delicious lead on harmonica. Toward the end he tells his friend there is something he can do for him, and that is play a little music with him. I love that! And that music can help the rest of us. I hope we can all adopt his attitude as we face our individual (and collective) problems. Then we get the album's title track, "Right Amount Of Funky," which begins with a good beat, setting the tone, setting the mood. As the bass leads us into the main body of the song, we feel the funk coming on. And here we get another good message. Check out these first lines: "Well, what's funky enough is up to you, you see/What's funky for you might not work for me/The groove that feels true and makes you move is the one to use, baby." I'm digging his vocal performance. This is a very cool and fun track. "This funk right here is the right amount of funky for me." I'm guessing it will be the right amount for many people. And after he tells us that, he delivers a delightful lead on harmonica. This music will have you feeling good before long. What more can we ask in these infuriating times? At the end, there is some great back-and-forth between the harmonica and electric guitar, with some delicious stuff on keys supporting that conversation.

Those first two songs were written by Tim Gartland, and the next couple were written by Tim Gartland and Karen Leipziger, who also wrote "The Thing About The Truth" together (that one being on Gartland's 2022 album Truth). The first of those two is "A Better Life," which begins with a great, though brief, guitar introduction before easing into a good, somewhat relaxed groove. Tim Gartland has a talent for using the blues to address current troubles and issues, and he does so here. This song describes different situations that people are escaping when looking to come to a new land, looking for a better situation, that promise that the United States once boasted about. Something I love about this song is the uplifting turn as he sings the chorus, "With little more than a pocket full of dreams/A chance at a better life/A promise of what could be." It is as if the music itself still believes in that promise, still holds that promise. And just as we are feeling optimistic ourselves, the song turns again, describing the next person: "She was fourteen years old when the warning came down/Of vigilantes set to burn her town to the ground." These days this country has turned against immigrants, the very people we were taught were the backbone of this country when we were kids. This was supposed to be the land of opportunity, welcoming people to a better life. What are kids taught now, I wonder. This country has lost its way, and ICE is a terrorist organization, the United States' own gestapo. It is a terrifying time for immigrants, and even for those who might look like immigrants, or who might offer a helping hand to immigrants. When this terrible chapter in our nation's history comes to a close, and I am still hopeful that it will, ICE needs to be completely destroyed and its members put on trial for crimes against humanity. "A Better Life" is followed by "Walk Away." Here, Tim Gartland sings, "Did I see what I wanted? Was any of it real/You're not who I thought you were, that's how it feels." And when he sings, "It's time to walk away," those great, soulful backing vocals repeat that line. This one has a good vibe, even as he sings, "I got a hole where my heart was, love is what we lacked/You came in through the front door, you left out the back."  There is good work on harmonica throughout the track, and a solid lead on electric guitar. There is a lot that we want to walk away from. This could be a theme song for the world, in a way.

There is a cheerful vibe to "If This Ain't Heaven," both in its rhythm and in the vocal performance. "If this ain't heaven, yeah, it'll do/Sure enough will do, baby." This is a song that is certain to make you feel a bit better. Anyone in love knows exactly the way he feels. And love is what this whole thing is about, isn't it? Paradise isn't something that comes after death, it is what we achieve in the arms of that special person. If it's not heaven, it is just as good, no question. The harmonica tells us so. That's followed by "Alone Times." With this song, he gets into a reggae thing, a sound designed to make us feel good. I'm digging that percussion. "Nothing beats alone times with you," Tim Gartland sings on this track. Yes, another love song. The world needs as many love songs as it can get. When choosing things to compare to alone times with his love, the examples he gives are related to music: "Not even Mardi Gras in the quarter/Whisky with B.B. King/Graceland and the Jungle Room." And check out that lead on harmonica.

Even if you didn't know the title of the next song, "About To Cry," you might guess it from that instrumental opening. Once that mood is established, Tim Gartland sings, "So I'm about to cry/And if you asked me why/Well, I guess I'll try, I'll try to explain." The reason isn't difficult to fathom. It's a woman saying goodbye. But here he doesn't blame the woman; he blames himself. "She offered love, and I turned her down/I acted part fool, part circus clown." The album concludes with "Stop Working Me," which has a great classic blues rock sound. "If you want something from me/Don't treat me like a clown/Ask me straight away/Because the circus has left town." Yes, two songs in a row mention clowns, which is interesting. This is a fun one, featuring a seriously cool vocal performance. The backing vocal work is also wonderful. "I can spot a hustle/From a mile away," Tim sings here. Apparently nearly half the country is not so able to do so, and that has given the rest of us the blues.

CD Track List

1. Waste A Worry
2. Right Amount Of Funky
3. A Better Life
4. Walk Away
5. If This Ain't Heaven
6. Alone Times
7. About To Cry
8. Stop Working Me

Right Amount Of Funky was released on April 25, 2025.