Fernando Perdomo: "Cloud 9" (2026) CD Review

For the ninth volume of Fernando Perdomo's Clouds series, he's giving us something a little different. Before you even take the disc out of its case, you'll notice a change, and that's the title. Instead of Clouds 9, as you'd expect the title to be, in keeping with the titles of the previous eight entries in the series, it is Cloud 9. For how could he pass up the chance to call it that? And when you look at the back of the CD case, you'll see that the tracks (or most of them) were recorded live, also a departure from all the earlier volumes. You'll also see that one track has a co-writer, which has not been the case with any of the tracks from the other volumes. Up until now, all the material was written and performed by Fernando Perdomo solo. This one track was not only co-written by another artist, but is performed with him. This is also the first volume to contain fewer than ten tracks. So, quite a few differences.

On August 2nd of this year, Fernando Perdomo performed a special concert at Kulak's Woodshed in North Hollywood, recording the show for release as Cloud 9. At the time, I wondered how much of the show would end up on the CD, because the show was approximately two hours, and a good chunk of it featured guest guitarist Steve Caton joining him. Well, none of the Steve Caton material is included here (perhaps it will end up on a future release). Still, the album contains more than fifty minutes of music. It opens with its title track, immediately taking us to a beautiful place. I love music that is able to transport me in some way, and this track does so straight away. And once we are in this other land, Fernando begins to explore it, to fill it with color. It is welcoming, soothing. And then there is a delightful moment when his guitar dances upon that landscape, like a sprite. After that, the piece begins to build in power, and then lifts us to yet a different realm just before the end. Or before pausing, as the case may be. At the show, this seemed to be the end of the piece, and you can hear applause in that moment. But the next piece is included on this same track, all under the title "Cloud 9," which is interesting. And it is here that we get into stranger places, and are able to experience more details of this landscape. Like we are now closer to the source, and are able to get glimpses of the inner parts and their motion, immersing ourselves in the music, in the experience. As it swells and grows, it feels like it is all around us. The applause is cut from the end of the track, and from most of the rest of the tracks too. So though the album was recorded in front of an audience, we can, for the most part, forget about that while listening. The audience's presence does not intrude on our own personal experience of the music.

There is a hypnotic effect at the beginning of "Transporter," as the music takes hold. The different layers to the music help create that effect. We trust the music will take us safely into whatever territory lies ahead. And perhaps the movement is within us anyway. There is something soothing here, though it is a full sound, and a vibrant sound. In the second half, there is a different intensity, and it is then we feel there are others around us. We are not alone on this journey, even if we at one point felt it was an inward adventure. Streaks of bright sunlight break in. That's followed by "St. Peter's Gate." As it starts, ethereal voices like great fingers reach down, playing upon our reality, pressing against our atmosphere. Then something grows from beneath, from within. There are brief playful touches, like some other creature is nearby making tiny adjustments on our reality. Then we settle into a relaxing, welcoming place, where everything feels right. In the second half, there are little changes, like someone is again fiddling with our reality, an interesting effect. Then a more drastic change occurs, and we are removed from that gentle cradling we felt and brought to a place with sharper edges, before being soothed once again.

"What Is A Cloud" is the track that was co-written by Bradley Bobbs, who joins Fernando on vocals here, delivering the piece as spoken word. This is a great departure from the other tracks on these volumes, not just having someone join him, but containing lyrics. Fernando's playing still has a soothing aspect, but this track is a bit jarring at first because of the vocals and the way they are delivered. It is a sort of science lesson about clouds. There is some humor, and the track contains references to Winnie The Pooh, Superman and The Rocky Horror Picture Show. This is also a track when we become aware of the audience, as laughter is audible at times, and there is applause at the end. Fernando delivers some interesting, kind of trippy stuff on guitar. This track is the longest on the album, at more than twelve minutes. It ends with a reference to Joni Mitchell's "Both Sides Now."

"The Weather Station" begins with messages sent from the cosmos. Or perhaps sent out to them. Soon those messages begin to melt, to change, to warp, to slip out of our realm, though only for a short time. Then we are back where we were, but our grasp on reality is perhaps a bit more tenuous now, for we know that things can change at any moment. And soon they do. Electronic voices, electronic footsteps, like the universe is one great and vast machine, pulses riding its wires from one end to another. And we are small, lost somewhere within its intestines. This track takes us on the album's most interesting journey, and is one of my personal favorites. Then with "God," we are in a brighter place, but with heavier rumblings beneath. Sounds are coming at us from above and below, but there are still places to breathe, to take a look at our surroundings. A thunder rolls about, gathering energy. There is a sense of excitement, as we are taken to those deeper places, places previously hidden from our sight. There is no turning back now, as we push through another barrier and find ourselves in a wilder space, where the air is heavy enough and sharp enough to bruise us if we're not careful. This is another of the album's best tracks.

At the concert, that was the point when Steve Caton joined Fernando Perdomo on stage. The album could have ended there, and certainly no one would have objected. Those first six tracks add up to approximately forty-seven minutes of music, more than enough to qualify as a full-length album. But Fernando does something else unexpected. He adds two more short tracks, listed as bonus tracks on the CD case. These are studio recordings. The first is "Head In The Clouds," soon taking us to a rather pretty place, a place where we have no obligations, where we are free to float, to turn inward or outward as the mood strikes us. Then in the second half, as the track is nearing its conclusion, it seems to collect all its thoughts in a more focused way, pulling us all in. The album concludes with "Keith's Song," which has a different sound and vibe, delivered on acoustic guitar. There is a sweet beauty to this one, and it will likely leave you feeling good. This track is dedicated to the memory of Keith Boundy.

CD Track List

1. Cloud 9
2. Transporter
3. St. Peter's Gate
4. What Is A Cloud
5. The Weather Station
6. God
7. Head In The Clouds
8. Keith's Song

Cloud 9 was released on September 1, 2026.

Jeff Colella & Putter Smith: "Between Friends" (2026) CD Review

In 2014, pianist Jeff Colella and bass player Putter Smith released an album together titled Lotus Blossom, which featured covers of tunes by Billy Strayhorn, Miles Davis and Bill Evans, along with a couple of original compositions. Fans have had to wait more than a decade for the duo's follow-up, but it's here now. Titled Between Friends, this album contains a good mix of covers and original material. Interestingly, for some of the covers, they turn again to the work of Bill Evans and Billy Strayhorn. Both musicians are known for their talent in improvising, and so there is a lively sense to these tracks, for each musician is actively listening to the other, communicating as they go, letting each piece breathe and have a life of its own. So even the well-known numbers might take you to some unexpected places. The album was produced by Jeff Colella, Putter Smith and The American Jazz Institute.

The album opens with one of the original compositions, "For Us," written by Putter Smith. As it begins, it feels like a gentle and warm piece, with a possible romantic bent and atmosphere, with a cool, late-night vibe. And there is that, for sure. But there are surprises, especially in Putter Smith's bass lead. There is a wonderful freedom of movement in that lead. And as they come out of that section, there is a great energy and joy, a sense of fun, and that informs some of Jeff Colella's work in the second half. This track provides an excellent start to the album. It's followed by another original composition by Putter Smith, "Anam Cara, VR," a piece written in memory of his wife ("anam cara" means "soul friend," a wonderful concept). Putter begins this one with a bass solo, which feels right. And there are surprises here too. Am I crazy, or is there a brief nod to "Young At Heart" in that solo? The song takes on a warmer aspect when Jeff comes in on piano, delivering some beautiful work. And we find ourselves walking in someone else's memories, which of course become mixed with our own. It's marvelous how music is able to do that, how it is able to make those memories come alive. Who is that companion that this music conjures for you? If you close your eyes, you might feel that person's touch upon your skin. This is a beautiful track.

The first of the album's covers is "Laurie," written by Bill Evans, this song being the first of two Bill Evans compositions on the album (interestingly, both compositions were included on Bill Evans' 1980 record We Will Meet Again). Jeff Colella begins this one solo, with a gentle touch, and with hints of the great magic we experience in love. The piece takes on more energy at moments after Putter comes in, and these two extraordinary musicians take the piece in some unexpected and delightful places. That's followed by "Voyage," written by pianist Kenny Barron. Jeff Colella and Putter Smith approach this one in an interesting way, as if both are leading together rather than each taking a turn. The results are lively and exciting, and the track breathes and moves. It does feel like it's over a bit too soon. Then Jeff begins "Locomotive," performing solo for just the first moments before Putter joins him, the two handling the theme together. There is something darker to this one early on, as well as something beautiful. There is a strong focus here. I especially love Putter's lead on bass.

The mood then changes with the duo's cover of  Billy Strayhorn's "Isfahan." There is a refreshing lightness to their rendition, and a certain joy to the playing, particularly in the bass work. I love their approach. Because of that groove, things seem right with the world. The piece's beauty shines as well, and the track has a wonderful ending. That's followed by "Catastrophe Loops," an original composition by Putter Smith. These days catastrophe loops seem an almost logical rection to the uncertainty of things, when worst-case scenarios play out on a daily basis. Anyway, there is an intensity at times to this track, sometimes heard more in the piano work, sometimes more in the bass work, though it is never overwhelming. This is a fascinating piece, and it reaches a calm place at the end, as if we've emerged from the loop.

"A Prayer For The World" is an original composition by Jeff Colella, his only composition on this album. It is a contemplative number, which then grows in power partway through, as if reflection is not enough, and it now is demanding a response. It then returns to a softer tone. I am still hopeful that things will improve, but too many people don't want them to improve. Just think of all the people that willingly, eagerly, put a rapist and convicted felon back into the White House. There is a sadness heard at the end of this track, as it slows and lets go. Jeff then begins "The Glide," and soon Putter joins him on that initial theme. This track gets more interesting once the two musicians begin exploring areas outside that theme, while still keeping it in mind. Then when we return fully to that theme at the end, it means more to us. This is a wonderful rendition. The album concludes with its second Bill Evans composition, the title track to his We Will Meet Again album. They deliver a touching rendition. It's difficult saying goodbye to someone, especially when we consider the probability that there is nothing after this, that we likely will not meet him or her again. But who knows? And perhaps this song is more about meeting someone again in this life, or at least intending to, before death permanently separates us. We remain hopeful, don't we? There is some beautiful work here.

CD Track List

1. For Us
2. Anam Cara, VR
3. Laurie
4. Voyage
5. Locomotive
6. Isfahan
7. Catastrophe Loops
8. A Prayer For The World
9. The Glide
10. We Will Meet Again

Between Friends was released on August 21, 2026. 

Hootenanny at Maui Sugar Mill Saloon, 9-5-26: Photos

Feef Mooney

Last night a hootenanny was held at Maui Sugar Mill Saloon, featuring Feef Mooney, Bernie Barlow, Cameron Dye, Fernando Perdomo, Mason McNulty And The Burning Fields, Gabi Lima, Violet Rey, and Ursula Lari. This was Feef Mooney's first time ever playing at Maui Sugar Mill Saloon, and she kicked off the show promptly at eight o' clock, focusing on songs from her new album The Really Real. She played "Evolution," "The Really Real" and "The 25th Hour" from that album. I especially loved her guitar work on "The 25th Hour," with its 1960s flavor. She delivered a seriously good rendition, featuring a delicious bass line from Fernando Perdomo and some great stuff by Nick Vincent on drums. A highlight not just of her set, but of the night. After that song, she mentioned how she was new to the Maui Sugar Mill Saloon experience, but now understands why everyone likes the venue so much. She wrapped up the set with "Cleo September." Actually, she had intended to play at least one more song, but was told her time was up. The audience wanted more. It was a very short set so that the next artist could start promptly at 8:30. Later in the show, that sort of strict time was let go.

Bernie Barlow

Bernie Barlow was up next, her set focusing on songs from Walking Around This Town, which was released last year. She opened with "Brave," which features the line "You make me feel like everything's real/You make me feel alive." She also played "Which Way To Go," "Enough Time" (which she introduced by saying, "This next song is about how we don't have enough time on this Earth," something that has been on my mind a lot lately), "Stay Right There" (which featured some nice harmonies), and wrapped up the set with "Million Miles An Hour," a rocking number.

Cameron Dye

Cameron Dye kicked off his set with "Thick Skin," which had a really nice vibe and featured some good work on harmonica, plus some wonderful stuff by Lyn Bertles on violin. He followed that with "The Lie We Have In Common," a cool number with some good drumming (that was Nick Vincent again on drums), and then "Blown Away," the line "Tell yourself I told you so" making me smile. That song also featured some powerful work on violin. The set also included "Nasty Girl," "Right Outa My Mind" and an excellent rendition of The Rolling Stones' "Child Of The Moon," featuring some great stuff on bass.

Fernando Perdomo

Fernando Perdomo opened his set with a wonderful rendition of "Home," with Kaitlin Wolfberg joining him on violin. What a nice choice of opener. Then Michael Collins and Janet Thompson joined them on drums and bass respectively for the rest of the set. "Photographers In Love" had a false start because of a power issue, but was a good rendition nonetheless. "I'm No Fun" followed, that song having such a sweet and catchy sound. Then, after "Goodbye Sun," Fernando introduced the band and announced that he and Kaitlin are starting a duo project to be called Fernando & The Wolf. Fernando wrapped up the set with "Girl With A Record Collection," which was a lot of fun and featured some great stuff on drums.

Mason McNulty And The Burning Fields

Mason McNulty And The Burning Fields kicked off their set with "Dust," which featured some really nice guitar work. The band's set had a good energy, and included a song that he sings in the movie Billy The Kid: Blood And Legend, as well as a song titled "Sirens." 

Gabi Lima

Gabi Lima let the audience know she'd had a sore throat all week, but based on her performance I'm not sure anyone would have suspected that. Backed by Teresa Cowles on bass and Jason Berk on guitar, Gabi kicked off her set with "Sidecar," which was a lot of fun. She followed that with "Boy In Love," a delightful power pop gem. Gabi anounced she's working on a new album, and then played "Loose Cannon," which will be on it. She followed that with a cover of Steely Dan's "Dirty Work," with Teresa and Jason joining her on vocals for the chorus, and then "Sunny," the first song she recorded for the new album. She wrapped up the set with "Tinnitus," another totally fun one.

Violet Ray

Violet Rey opened her set with a traditional folk number, "The Cuckoo," a song she introduced as a Townes Van Zandt song (while Townes did record it, as "Coo Coo," it was written long before he was born). She delivered a really good rendition, and followed it with a strong original song, "Peeping Tom." She also covered The Rolling Stones' "Wild Horses," and played a few more original numbers, including "Transformer," "Asking For" and "Coyote." She mentioned that "Coyote" has two titles, as her mother calls it "Dangled Carrot."

Ursula Lari

Ursula Lari closed out the night. Her set included "En Mis Suenos" (a good original song), and covers of "In The Morning, Rain Or Shine" and "Corazon Espinado." Partway through "Corazon Espinado," Fernando Perdomo joined her on electric guitar, and that song ended up being another highlight of the night, a perfect way to wrap up the show.

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

Oil Capital Underground DVD Review

Every city has its music and its musicians. Every city has its music scene, some bigger and more robust than others. When one thinks of Tulsa, it is likely the so-called "Tulsa sound" that springs to mind. The documentary film Oil Capital Underground: The Genesis And Evolution Of Punk Rock In Tulsa - Late 70s To Mid 90s begins by listing on screen some of the famous musicians who hail from that city (some being born there, others spending at least part of their childhoods there), people such as Leon Russell, JJ Cale, Elvin Bishop, and Dwight Twilley. The focus of this film, however, is on the city's punk scene, something that many people might not be as knowledgeable about. It documents the punk scene from the late 1970s all the way through the mid-1990s, with interviews with many of the key players. Not just musicians, but those who owned and ran some of the important music venues that catered to the punk scene. It covers a lot of territory, and takes us deep into the scene, the subject handled with affection.

Interestingly, it begins with some thoughts on the reaction to the scene, particularly by the police. "You know, the police in a town like Tulsa, they're not going to let kids have too much fun for too long," says Dale Lawton. The Sex Pistols show in January of 1978 is said to be the start of Tulsa's punk scene, with The Ramones playing there soon afterward. Then the documentary gets into the Tulsa bands, such as The Automatic Fathers, New Mysterians, Los Reactors, Bridge Climbers, Food Chain, and (of course) None Of The Above (known affectionately as N.O.T.A.). It features interviews with musicians such as George Anthony, Jeff Klein, Anthony Lookout, Roger Scott, Bruce Hendrickson, Joe Danger, Sarah Wagner and Tex Montana. Bruce Hendrickson says that "it was kinda us against the world on a daily basis." And I love Sarah Wagner's anecdote about what inspired her to start a band, which was having someone tell her, "A woman's place is in the audience." There is some cool old footage of these bands, and we're treated to bits of several great songs. This documentary has added significantly to my records wish list. Seriously, I must have some recordings of  Los Reactors, Bridge Climbers and Food Chain in my record and CD collection.

The history of the punk scene is a history of different venues, and this documentary does a great job of giving those venues their due. Places like The Bleu Grotto, Cain's Ballroom, Crystal Pistol, and Club Nitro. Charlotte Tanner, owner of Crystal Pistol, talks about being asked by the country music fans why she was now booking punk bands, and says, "Well, they've got to play somewhere." And as the documentary moves into the late 1980s and 1990s, the venues change, and we learn of places like Annie's Diner, Vortez, Ikon, and 424 (the story of 424 is crazy). Khaled "K" Rahhal, owner of Club Nitro, is mentioned by many of the musicians, and is interviewed in the film. As you might guess, there are plenty of wild stories. The film gets into some of the later bands, such as Predestined Fate, Asylum, Crimes Against Humanity, Cenotaph, Concept Of Nonsense, Brother Inferior, Baby M, Bunnies Of Doom and Pitbulls On Crack. In general, I found the footage on the earlier groups a bit more interesting, and there seemed to be a bit too much time dedicated to later bands. Still, this documentary is certainly worth checking out. It's great to look back to a time when music was exciting and fresh. And there is a good chance you'll be turned onto some songs you'll want to add to your music collection.

Special Features

The DVD contains some bonus material, including a short reel of outtakes, featuring bits from interviews. There is also a photo gallery, which plays as a video. And there is a commentary track by the director of the film, Bryan Crain, who is a musician himself. He talks about the look of the film, about getting some of the old footage and still photos, and he provides more information about some of the venues. And though his own band The Outcasts is not featured in the film, Bryan Crain points out moments when he was able to put in a bit of his music in the background.

Oil Capital Underground: The Genesis And Evolution Of Punk Rock In Tulsa - Late 70s To Mid 90s was originally released in 2018, and is scheduled to be released on DVD on September 22, 2026 through MVD Visual.

Jennifer Kaiser: "Guided By The Light" (2026) CD Review

Jennifer Kaiser's new album, Guided By The Light, might come from darkness, from a place where grief and worry seem to hold sway, a place that is familiar to many of us, but the music itself is a way out. It is the music of an irrepressible spirit, one that might help us move beyond our own troubles. The album was recorded in two different sessions, one of which was produced by Andy Kravitz and Fernando Perdomo, both of whom also play many of the instruments on these tracks. Jennifer and Fernando have known each other since their youth, and Fernando produced her earlier albums, 2011's Masquerade and 2017's Closer To Red. The other session was produced by Tommy Radikales and Mane Ariza, and recorded at Taganga Sounds in Colombia, those tracks having a different vibe. There are a couple of tracks that both sets of producers had a hand in recording. The album features mostly original material, written by Jennifer Kaiser.

The album opens with "I Didn't Lose The Light," a song title that sets the perfect tone, a title that expresses a certain resilience in the face of troubles. There is some pretty work on strings at the beginning. That's Kaitlin Wolfberg, who plays violin, viola and cello on this track. "They tried to take it all away from me. I lost a lot in that fight/I lost my mother. I lost my brother. But I didn't lose the light." And then she tells us, "Everything is different/I can't say I know the way, but I know that I am not alone." Another line that stands out is "I will find my way back home." There is always something incredibly appealing about heading home in song. It touches something inside all of us, a longing, a need. That's followed by "Radiator." This one has an interesting opening, Jennifer repeating the word "radiator" over some cool percussion by Andy Kravitz. The vocal approach to this one is different, at times like spoken word, as on the line "The stars were shining overhead." And while in the first song she sang of still having the light, here she sings, "No lights behind, no lights ahead/We were going steady as the dead." There is something fascinating, perhaps even hypnotic about this track, and it contains some really nice stuff on guitar. Both Jennifer Kaiser and Fernando Perdomo play guitar. It ends, as it began, with repetition of the word "radiator."

"How Do You Like Me Now" is a wonderful, strangely uplifting song that offers a hand to any who might need it. "You're a beautiful boy, you're a beautiful girl/You're a one-of-a-kind child/Don't let them break you down." There is a certain beauty in those lines, in their delivery. This one also features some excellent drumming, the beat playing a prominent part. And it contains a great bass line. It is followed by "Everything Changes." This one was written by Jennifer Kaiser, Fernando Perdomo and Andy Kravitz, and the music does feel like something that would be equally at home on a Fernando Perdomo album. There is that touch of magic. This track contains some beautiful vocal work, especially on the chorus: "Everything changes, no matter what I do/Move the pieces forward, but you're still in my rear view/Everyone changes, no matter who they are/In the end we're all just stardust reaching for each other's hearts." Another line that stands out, and might be helpful to many folks these days is: "But I don't worry anymore 'cause it makes no sense to worry when nothing is for sure." This track also features some really nice work on bass, as well as excellent stuff from Kaitlin Wolfberg on strings. This is one of my favorite tracks.

"Waited For You" is more firmly in the pop realm, with a different sound, a different vibe, a different approach. This is one of the tracks that was produced by Tommy Radikales, and it features a different set of musicians backing Jennifer, including Jairo Zuniga on guitar, Beto Urieles on keys, and Mane Ariza on backing vocals. "I waited for you to come out and say/That everything would be okay." "One Sided Dreamer" was also produced by Tommy Radikales. It features some wonderful guitar work by Jairo Zuniga. "If I could ease your pain, then I would ease mine too/It's just a silly game, anyway, win or lose," Jennifer sings at the beginning. And when the song kicks in, it takes on stronger pop elements. Jennifer delivers a pretty vocal performance. "I don't know where I'm going, but I'm still hanging on." And in the second half, there is a nice whistling section. That's Mane Ariza whistling.

The album's only cover is Joan Osborne's "St. Teresa," the lead track from her 1995 album Relish. It was written by Joan Osborne, Eric Bazilian, Rob Hyman and Rick Chertoff. Eric Bazilian and Rob Hyman are members of The Hooters, and they played on the original recording. There is no mandolin on this rendition by Jennifer Kaiser, but there is sitar, giving this recording its own special sound. That's Fernando Perdomo on sitar. He also plays guitar, bass and organ on this track. And here is something interesting: Andy Kravitz, who plays drums on this track, also played drums on the Joan Osborne recording. Jennifer Kaiser delivers a compelling vocal performance. That's followed by "I Am Love," a seriously cool track, with its own special sound and vibe. Fernando Perdomo plays Mellotron on this one (in addition to guitar, bass and keyboard). Kaitlin Wolfberg returns on strings. Plus, there is some good percussion. And then in the second half, Jennifer plays kazoo. An unexpected and interesting use of that instrument. "They tried to break my heart, ya see/And they got nothin'." 

"Will I Have A Chance" is one of the tracks that was produced by Tommy, Mane, Fernando and Andy. Most of the musicians are from the Tommy Radikales camp, but Kaitlin Wolfberg joins them on strings, and her work is an important part of the song's appeal. This track also features a beautiful vocal performance from Jennifer, and ends up being another of my favorites. It is followed by "I'm Not Afraid," which was produced by Tommy Radikales. "I'm sick and tired of feeling so alone/I'm sick and tired of fearing the unknown." This one is more firmly in the pop realm. The drums sound fake, which I don't care for. Gabriel Salazar is on guitar for this one. The album then concludes with "Break Of Dawn," the other track to feature the work of all four producers. As with "Will I Have A Chance," the track started at Taganga Sounds and then Kaitlin Wolfberg's string work was added. Actually, this one started long before that, for this is a song that Jennifer Kaiser included on her Masquerade album. This new version has a different sound, a different approach, and features some nice work by Beto Urieles on keys. And in the middle, there is a short, but good guitar lead by Jairo Zuniga, followed by some wonderful stuff from Kaitlin Wolfberg. "Take me to your room, hide me in your arms/Cover me in kisses until the break of dawn." Ah, yes, that's what life is all about. While everything else falls apart, being in that special someone's arms makes all the difference, and helps us face the next day. This music does the same thing.

CD Track List

1. I Didn't Lose The Light
2. Radiator
3. How Do You Like Me Now
4. Everything Changes
5. Waited For You
6. One Sided Dreamer
7. St. Teresa
8. I Am Love
9. Will I Have A Chance
10. I'm Not Afraid
11. Break Of Dawn

Guided By The Light was released on August 13, 2026.

Sandy Rogers Band at Cinema Bar, 8-30-26

After catching Pulsars at Echo Park Rising Sunday afternoon, I got in my car and drove to Culver City to see Sandy Rogers Band at Cinema Bar. Is there anything better than catching two great concerts in one day? Sandy Rogers was scheduled to go on at 7 p.m. I got there just before 5 o' clock, and the music was already in swing, Tom Gramlich's band delighting the crowded room. In fact, all the seats in front of the stage were already taken, but I managed to grab the last chair off to the side and settled in for a wonderful evening of music. Tom's band was cooking. 

A table in the front opened up before Sandy Rogers' set, so I grabbed it. During the soundcheck, Paul Marshall sang a bit of Sam Cooke's "Good Times." There was playful vibe even before the show began. And then Sandy Rogers opened with "Tingling Blue," the title track to her latest release, and there was a great joy in the room the moment the band began. It seemed Sandy held onto the first syllable of the word "losing" a bit longer than usual, another example of the sense of play which was so appealing. And the energy was high. Dan Janisch delivered a good guitar lead. And Paul was all smiles, a clear indication that everything was right, and that it was going to be a good set. "Tingling Blue" was followed by "One Of Those Kind," which featured more good work by Dan on guitar. Paul came in on backing vocals on "Oh yeah," again highlighting the special vibe of the show. "How about Sandy Rogers, back from a broken ankle?" Paul said to the crowd after that song. Yes, it was great seeing her on stage again. At least a couple of shows had to be canceled, or postponed, after she broke her ankle.

The band delivered a nice rendition of "Fool For Love," Sandy first mentioning how the song was written for one movie and ended up in another (the move it is in is Reservoir Dogs). Victoria Jacobs gave the song a delicious rhythm, and Paul delivered some particularly excellent work on bass. "I have the best band," Sandy said afterward. One of the outstanding numbers at this show was "Train Fare To Memphis." It was a beautiful rendition with a fantastic vocal performance and a pretty lead on guitar from Dan. Everything was working perfectly, and everyone in the room could feel it. Sandy joked around afterward, saying that Dan should sing "Honey, here's your train fare to Memphis." And so he did. And it was funny. Again, it was that kind of show. I'm just so happy I was there to see it. And the band followed "Train Fare To Memphis" with another highlight, "Lonesome Man." Sandy mentioned in introducing the song that it's her favorite from the new album. And from the reactions of people in the crowd when she introduced it, it was clear she was not alone in favoring that song. The band gave a great rendition, with tremendous passion, particularly in Sandy's vocal delivery.

"In Her Auto-mobile" is a always fun one, in part because of its rhythm, and in part because of the way Sandy delivers the lyrics, holding onto certain words, stretching them. And it didn't hurt that there were some particularly delicious moments on guitar during that song Sunday. That was followed by "Missouri Blue," another highlight. This was an especially cheerful rendition, featuring some great work on bass. This was the kind of set where after each song, I thought, "Wow, that was a great version," one of the best I've heard. The band was giving a little extra something to seemingly every song. "Trailer Up On A Hill," for example, had a playful beginning. And then "Let's Ride" featured a seriously cool vocal performance right from its opening moments. Sandy had someone in the audience retrieve her cowboy for her before starting "Why Wyoming." Did the presence of the hat have any bearing on how good that rendition of "Why Wyoming" was? Maybe. It was a phenomenal rendition, and the crowd reacted strongly to it. Who can say the hat was not responsible in some way? Sandy kept the hat on after that one, following "Why Wyoming" with "You Lied Your Way." Perhaps the hat's magic had run its course, because this was the only song of the set to get a bit messy. But even that didn't detract from the audience's enjoyment of it. Sandy and her band had the crowd on their side. Someone called out, "Broke Ankle Blues," and Dan obliged with a nice blues lick. The band then played "No Antidote" and wrapped up the set with a great rendition of "Run Out Of West," with something of a haunted vibe at the start, and featuring a wonderful vocal performance as well as a really nice lead on guitar. This was a great set.

Set List

1. Tingling Blue
2. One Of Those Kind
3. Fool For Love
4. Train Fare To Memphis
5. Lonesome Man
6. In Her Auto-mobile
7. Missouri Blue
8. Trailer Up On A Hill
9. Let's Ride
10. Why Wyoming
11. You Lied Your Way
12. No Antidote
13. Run Out Of West

Cinema Bar is located at 3967 Sepulveda Blvd. in Culver City, California. By the way, the crummy photo I included was taken with my cell phone. Please forgive the poor quality. I had my good camera with me, but something about that venue makes photography a losing game.

Ruby James: "Call It Rock & Roll" (2026) CD Review

I recently read that MTV got rid of the rock category for its Video Music Awards. Now while some of us might be surprised to find that MTV still exists at all (wasn't there some announcement last year that it was ending?), this move does show the lack of respect the music industry has these days for rock and roll. What the hell happened? Why are rock bands largely absent from the Billboard Hot 100 chart? Have kids gone soft in the head? While the decaying remnants of MTV might have no interest in rock, and the charts are filled with rather dull songs, there are artists who are still tapping into the rock and roll spirit, artists that can rock when they wish. And if the world hadn't ceased making sense, these artists would be dominating the charts. Ruby James has titled her new release Call It Rock & Roll, and I see no reason not to follow her wishes. Here she digs into spirit of rock, with its roots in blues and country. The disc contains mostly original material, along with a couple of covers. Joining Ruby James on this disc are Kyle Crusham on guitar, bass, keyboards, and Mellotron; David Jimenez on guitar; Harmoni Kelley on bass; Jan Flemming on keyboards; Jimmy Paxson on drums and percussion; and Darin Murphy on drums and percussion. There are also some special guests, including Eddie Spaghetti and Rosie Flores, on certain tracks.

Ruby James kicks off the disc with "Voodoo Queen," and in the track's opening moments, there is a kind of twisted and delicious laugh, letting us know she is up to no good. And that means nothing but good for music fans. The song has a great energy, particularly in her vocal delivery, and some interesting touches. Perhaps what's most important is that there is a sense of fun here. Remember fun? Ruby James wrote this one with Adam Mackintosh. It's followed by "Gasoline," which begins with a strong, fast pulse. "I'm standing naked at the gates of hell/I'm just as useless as a girl can be/You came to play a game and cast your spell/I've come to crown the king to rescue me." But before you get the wrong idea, she sings, "You never met a girl so hard and mean/You're just as useless as a boy can be." She delivers a great vocal performance, toying at the edges of darkness and danger, just as rock should do. It's a kick-ass number. "Your dirty blood is rushing through my veins/I want to show you what your pain can mean."

"I should have seen it in your eyes," Ruby sings, or taunts, at the beginning of "Novocaine." Something about the way she sings, we can hear a certain amount of attitude in her voice, and of course there is something exciting in such a voice, something sexy. And here she again mentions a spell, and there is a sort of haunted vibe heard here: "What is it going to take to break me from this spell?/I tried to numb the pain, a shot of novocaine." This is a very cool song, written by Ruby James and Kyle Crusham. Then "Honeydripper" has a slow, steady pulse at the beginning, emerging from the haze. It might feel heavy, it might feel dark, but there is also a pop thing to this one. And when the guitars have their say, the song gets into heavier rock, and that's when this one shines. "I'm coming for you, baby, and I'm coming at you hot." There is some nice percussion here. This song was written by Ruby James, Kate Vargas, and Bruce Butkovich. The great Rosie Flores adds some guitar work to this track, and Courtney Santana provides backing vocal work.

The first of the two covers on this disc is Ruby Janes' own special rendition of The Supersuckers' "Pretty Fucked Up," here titled "Punk Rock Love Song (Pretty Fucked Up)." Supersuckers' Edward Daly (known as Eddie Spaghetti) joins her on it, playing bass and acoustic guitar, and providing some lead vocal work. And Supersuckers' Chris Von Streicher is on drums for this one. This rendition sets itself apart immediately, beginning softly on piano. That's Ruby James on piano on this track. In this opening section, there is a crackling sound effect as if we're listening to an old record, an effect I would rather do without. But what's especially striking is Ruby James' vocals. Her performance is soulful, moving. "I probably won't die, but it sure feels that way/I used to be strong, I used to be tough/I used to be pretty, but now I'm just pretty fucked up." So, yeah, we get the story from the girl's perspective. Then Eddie comes in, "Now I know people change, and sometimes that's good/And some people don't, but maybe they should." And the song becomes one of those great rock ballads. It's an interesting, unexpected take on the song. Ah, we're all "pretty fucked up now."

The disc's other cover is "Bumble Bee," a song from the early 1960s, one that has been covered by a lot of artists. Rosie Flores joins Ruby James on lead guitar on this one, delivering some excellent stuff. "You know you hurt me once before/You'll never hurt me anymore." Oh, we have no doubt of that. This is a seriously cool and fun rendition. And, hey, a song with the phrase "an evil bumble bee" can't be taken too seriously, right? And that's what we're missing from a lot of music these days, that sense of fun. Ruby puts her own spin on it, but keeps some classic rock and roll elements here. I love this rendition. It's another of the disc's highlights. Ruby James then wraps things up with an original number titled "Boogiedown Town," which she wrote with James Hall. Phrases like "got a zeppelin in my pocket" put us in in the proper mood. And on the chorus, there is a bit of 1970s flavor. "I got this fire on my heels/And these hips that don't lie/I got a love that keeps 'em thirsty/And a beat that won't die." That steady beat keeps us in line. And Rosie Flores adds some guitar to this track as well, and Courtney Santana again adds some excellent backing vocal work. A delicious conclusion to a really good disc.

CD Track List

1. Voodoo Queen
2. Gasoline
3. Novocaine
4. Honeydripper
5. Punk Rock Love Song (Pretty Fucked Up)
6. Bumble Bee
7. Boogiedown Town

Call It Rock & Roll was released on August 7, 2026 on Mule Kick Records.