Patria Jacobs, Double Naught Three, 3D Picnic, and Waterloo Saints at Maui Sugar Mill Saloon, 7-9-26 Concert Review

I've had some great nights at the Maui Sugar Mill Saloon. Some spectacular nights. Thursday night was one of the best. It was one of those nights when the right energy is present from the first note, and actually even before that, the audience experiencing it as a kind of electricity, an exhilarating buzz coursing throughout the room looking for an outlet or receptor and finding it in every person there. The place was crowded before the first band even began its soundcheck. The word had gotten out that it was going to be a special night. There must have been some kind of collective magic at play, for somehow people just knew this was a night not to be missed. Four tremendous bands all performing at the absolute height of their power, of their abilities, and doing so with joy. In addition to the musicians themselves (and Nubs at the soundboard, of course), we had Lawrence Mann to thank, for he is the one who put together this bill, like a sorcerer gathering rare components for the mightiest of spells.

Patria Jacobs

At 8:06 p.m., Lawrence stepped up to the microphone, said, "Welcome to the Silver Lake high school reunion," and he introduced the first artist of the night, Patria Jacobs, whose band included Marc Doten (of Double Naught Three) on keyboard, Carey Fosse on guitar, and her Rubyfish co-conspirators Derrick Anderson (who's been touring with Marshall Crenshaw) and Andy Sykora on bass and drums respectively. I had not seen her before, but I'd heard positive things from people I trust, people who know and love music, so my expectations were fairly high. Patria and her band were not far into their first song when I understood just what all the talk was about. That first song, "Indian Burn," eased in. There was a cool beauty to this song. As it eased in, it also eased out. That was followed by a Rubyfish song, "All She Swallows," which had a great vibe, and a groove that was almost haunting. "When I think of all the pills she swallowed." Carey Fosse delivered some nice work on guitar. "Mrs. Combs" had a more fun vibe, with some delicious energy and featuring good work by Marc on keys, and a bass line that I loved. There was also a playful aspect to the vocal delivery. "True story," Patria said afterward. "That was a true story."

Andy established a delicious beat at the beginning of "Serengeti," some great stuff on the floor tom. There was a cool psychedelic element to this song, with a hypnotic delivery to the title word, everything feeling so damn good. And then there was more of a rock thing to certain instrumental sections. Andy switched to brushes for "On The Lake," the song having a gentle vibe. "Funny how I've learned to drown it all down with wine." Patria gave a beautiful vocal performance, that beauty matched by Carey's guitar work. That was followed by "Silver Lining," a fun one, the rhythm like that of a train. The energy was high, and that cool instrumental section had me briefly thinking of The Monkees' "Circle Sky" (that section was returned to at the end). Then Marc delivered some wonderful stuff on keys during "IC Red." "How do you feel/I see red." "Napoleon" was a slower number with a pretty vocal performance and a psychedelic atmosphere, Andy using mallets for that one and delivering some wonderful work. "This will be our final number," Patria announced after that song, and was immediately met with multiple cries of "No" from the crowd. That last song, "Supercharger," was fantastic, and after it the audience understandably called out for more. But, no, that was it. What a great set, and a great start to the night. 

Double Naught Three

Sometimes when multiple bands are on a bill, folks come out for a specific band and then leave after that set. If anyone had come out just for Patria Jacobs, he or she thought better of leaving afterward. People couldn't fail to realize that the excitement had not diminished one bit after her set, and in fact the buzz was louder, greater, more compelling and more joyful. It felt like the night was on an upward trajectory, though it began already at a great peak, leading us to some other plane we'd only heard rumors of. Double Naught Three was certainly the vehicle to drive us in that direction. They began the set as the trio of Marc Doten, Marcus Watkins and Joe Berardi, opening the set with "Arrangement With A Dung Beetle," with a groove that immediately transported us to another land, to a time of the band's creation. These guys create worlds with their songs. "We're Double Naught Three, the remnants of Double Naught Spy Car," Marc said, and then introduced Kaitlin Wolfberg, who joined the trio on violin for "Danger High!" Now we were off into even more interesting territory, with fifteen tons of Cool piled on top. How can you not love that bass line? And Kaitlin was producing some ghostly sounds with her violin. At a certain point, Joe's drumming led us into more serious territory. The crowd sang the song's sole line at the end. "Thanks for singing along," Marc said, which of course was funny, as it was only two words.

Kaitlin left the stage, and Brian Walsh then joined the group on bass clarinet for "San Paku Pass," taking us on a different trip and delivering some phenomenal stuff. That beat on the floor tom first led us farther in, and then led us out. Brian's work was impressive, but it was on "The Rube Cubist" that Brian really knocked everyone's socks off. We were in wild jazz land at that point, taken to wild and fascinating places, all to a delicious beat. At one point, it took a turn toward progressive rock, getting heavier, with Marcus taking over on electric guitar, delivering some absolutely fantastic stuff. And then Joe was commanding on drums. A highlight of the set, for sure. Brian then left the stage, and Kaitlin returned for "I Rose In A Field," which had something of a reggae rhythm, while Kaitlin created a more ethereal sound over it. Marc's bass line worked its special charm, and then Marcus' guitar began pushing against any remaining barriers, finding, or creating, passages. And we all rushed through. As great as all that was, what happened next was even more astounding, as Brian re-joined the group, and all five musicians launched into "Macedonia 6-5000." This was a phenomenal rendition, with the bass clarinet leading us into special territory, where all manner of delightful things were possible. And what was possible was happening, as is always the case with this band. Marcus' guitar work was especially outstanding. And soon we were out in the Unknown, until Joe's beat created a place for us to stand, to step. And at that point the music had segued into "The Indian," and we were soon in a mesmerizing expanse of weirdness, a place I wished to set up home. It was an incredible rendition. The band then wrapped up the set with "Jan-Michael Vincent Rehab.com," taking us yet in another direction, Joe rocking the drums. A fun conclusion to one of the best sets of music I've heard. 

3D Picnic

And after that, no one was ready to leave. It was getting late for a school night, but the crowd remained. Next up was 3D Picnic, a group that was active in the late 1980s and early 1990s, but had apparently only done one other show since then. So, yes, this was something special, and on a night when special was the name of the game. While the rest of the band was finishing setting up and tuning, drummer Brandon Jay mentioned Altadena Musicians, a foundation he set up to provide instruments to musicians who lost everything in the fire. For those who might not be aware, Altadena is an area where many musicians live, and where many lost their homes in the Eaton Fire. "We're 3D Picnic, and we're going to play you some songs from long ago," singer and guitarist Dallas Don Burnet announced, and immediately the band was into the first song, "Beneath The Coals," which soon took on a great punk groove and was totally fun. Holy moly, these guys were good! "Soul Peeler" followed, with Carolyn Edwards taking over lead vocal duties. What a joy it was to watch these guys. And I loved when Brandon let loose on the drums. "We haven't played in, what, three years?" Dallas Don said, then added that the time before that was thirty years earlier. He introduced the next song as being from the band's first album. Before anyone played that night, Joe Berardi and Nubs added a guitar to the instruments hanging on the wall behind the stage, and at the beginning of "Charles Thinks About It," Brandon playfully tapped on it as well as on the other instruments in reach. Carolyn had moved to the keyboard for this number, and this song featured a strong bass line from Greg Mora. This was a ridiculously fun rendition.

In introducing "Desert Of Libya," Dallas Don said the song was about a distant place where "It's hotter than Tarzana in July," while Brandon established the beat. It was Carolyn's work on keys that really helped transport us there. And when the pace increased, they just completely owned us. That was the only instrumental number of the group's set. It was followed by a cover of Kirsty MacColl's "They Don't Know" (a song that was later a hit for Tracey Ullman), with Dallas Don first playfully asking the crowd, "Do you know what the next song is?" When folks shouted back, "No," he said, "They don't know." Carolyn was on lead vocals for this one. Meanwhile, Brandon was tossing drum sticks around like there was no tomorrow. They followed that with "Murdermaid," which was like a surf song if it were written by a punk sea monster lurking beneath the waves. Carolyn attacked the keyboard as if that might keep the monster at bay, a fantastic moment. "We're going to do a song that's never been played before," Dallas Don then told the crowd, adding for clarification, "Well, live." He dedicated the song to Kim Shattuck. Titled "You're My Idol," it had a great, heavy power pop sound, like if The Partridge Family went a bit punk. It, like the band's entire set, was a lot of fun. Carolyn was back on guitar for "All Wrapped Up," and Dallas Don was then sporting a captain's hat. At the beginning of that song, Brandon was playing some of the stuff on the walls again. It's difficult to contain that guy within the confines of a drum kit. After that song, some folks called out requests for "Dirt," and the band obliged (it was on the set list anyway). This song was another highlight, and featured a guitar solo at the end. What a set! What a treat!

Waterloo Saints

Some folks did have to leave after that set (it was already after 11 p.m.), but did so reluctantly. After all, a night this good could not possibly end on anything less than a stellar note. The final band of the night was Waterloo Saints, and those guys were certainly ready and eager to deliver the delicious and fun conclusion this night deserved. "What a great night," singer and guitarist Fred Oliva remarked, also mentioning how all the other bands blew his mind. They opened with "Sincerity," immediately giving us a fun number, just what we wanted. It was clear we were in good hands. I was digging Fred's voice, and the song had a driving beat by Rick Woodard to keep things moving forward. That was followed by "Hologirl." "This one is about a girl," Fred informed the crowd. "She knows who she is." He added that she lived somewhere in southern California. Might she be in the room, I briefly wondered. But then the music took over, and it didn't matter to me where this girl was. Christopher Risucci delivered some great work on guitar, at one point reminding me of The Buzzcocks. After that song, someone in the crowd shouted out, "Sponsored by Lenscrafters," which made the band smile. All of them wore glasses. They then played "MZ Donut," which featured Christopher on lead vocals. The song also featured some excellent work by Michael Risucci on bass, that instrument taking over for a moment, which was great. Fred thanked Lawrence Mann, saying that they are happy to be in the cleanup spot, before launching into "AD 99."

A highlight of the set was "Badderall." In introducing it, Fred playfully asked, "Who's tired of winning?" Someone in the audience yelled out, "I'm exhausted." There was a tremendous energy to the song, and it had something of a 1960s element. That was followed by a fun rendition of "Don't Let Me Let You Down," featuring some really nice guitar work. Then "Fall Beautiful" had a good pop vibe. The band also delivered a wonderful rendition of T. Rex's "20th Century Boy," totally rocking the song. "No time for tuning," they joked before going straight into "Everybody Comes," another fun number, this one with Christopheron lead vocals. They wrapped up the set and the night with "It Won't Be Me." The song began with some delightful "ba-ba ba-ba" vocals, with Fred, Chris and Michael all singing, and later the audience joining them on that part. It was a perfect way to end things, the audience singing along, everybody having a good time. These are the kind of nights that make me think that Los Angeles is the best city in the country.

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

Fernando Perdomo: "Voyeurs 10 Year Anniversary Edition" (2026) CD Review

At a recent concert, Fernando Perdomo told the crowd he was at that point in his career when he can release anniversary editions of albums. That's certainly not to say that there isn't enough going on currently in his career, for there is, what with the Clouds series and his rock opera and the Perdomo Krativz project and Broken Sound and his work with Marshall Crenshaw. But it's great that he's found time to work on a ten year anniversary edition of Voyeurs, this new edition with 2026 mixes by Zach Ziskin and Fernando Perdomo, and with six bonus tracks, all of which are live performances from Troubadour. The disc contains mostly original material, along with one cool Chris Bell number. As he mentioned at that concert back at the end of May, Voyeurs was created in a rather unusual way, with fans able to follow the process as the recording happened and even offer their opinions. And now we have another chance to dig into this special album.

The album opens with "The One You Run To," a pretty and sweet number. Check out these lyrics, which begin the song: "Every time the world's going crazy/And you just don't know what to do/Do you ever wonder if maybe/I could be the one you run to." You might recall that ten years ago (when the original version of this album was released) we were going through a rough year. That was the year that took some of our best musicians from us, and was the year that saw the election of perhaps the worst person in this country to its highest office. The world was going crazy. And here we are, a decade later, and we're in even worse shape. Who would have thought then that we'd still be dealing with that criminal? We need this song more now than we did ten years ago. And we need that person we can run to. And to be the person that someone else can run to. This track features some passionate guitar work. It was written by Fernando Perdomo and Chloe Dolandis. It is followed by "Feels," a song Fernando Perdomo has been playing in concert. This one also has a wonderfully pleasant vibe. "Feels, when the stars align/And you blow my mind/You're a perfect find." And in this song he reminds us, "Love is everything." What else is there? This love song has a dreamlike atmosphere. And sometimes love is like that, isn't it? Where we feel we are in an altered space, a dreamlike realm, where we are soothed, where we are relaxed. "Would you like to feel it forever?" Absolutely.

This year Fernando Perdomo is working on his second year-long project, in which he releases an album of new material every month. That project is titled Clouds, and on this album, he has a song titled "Hiding Under Clouds." Much of the music in the Clouds series is wonderfully soothing, with a contemplative vibe. This song opens in a way that feels similar. Its first section, an instrumental section, would be at home on those Clouds discs. And then Fernando moves into the main body of the song, which features a beautiful vocal performance. "She's no longer by my side/But I can see her sitting there/She's hiding under the clouds." That's followed by "Holding Back I Love You's," an interesting song about feeling love, but not wanting to speak of that feeling too soon and wondering, if only for a moment, if the feeling is real. But soon he repeats the line "I love you." Is he perhaps testing out how it sounds? Maybe, but it sounds true. And it feels like he's ready to express it to that special person. This song features a good beat and some excellent work on guitar. By the way, like the Clouds albums, Fernando Perdomo plays all the instruments on this album. That is, on the original tracks, though not on the bonus concert tracks.

"Angel" has an ethereal quality from the beginning, which is fitting for its theme. "Angel, find me/Touch me, love me/Angel, save me." And once the song kicks in, it features some cool work on bass. Also, there is a sense of something glorious during the main instrumental section of the song, heard in the way the music builds, and especially in the guitar work. "In a world without you/There can be no love," Fernando sings in "In A World Without You," and we can all feel in ourselves just what he means. This is another song that Fernando Perdomo has been including in his live performances lately. It's such a great song. He puts it all out there. "In a world without you/I will disappear/In a world without you/There can be no me."

After a short introduction on guitar, "Something's Missing" breaks wide open with a bright energy that takes hold of us. Here he sings, "But I don't want to start anew/I just want to apologize to you/And smile again with you/I feel like something's missing in my world/I feel like something's missing in my world." This song is another of the disc's highlights. There is a Beatles influence heard here, and the track contains some great stuff on guitar. It was written by Fernando Perdomo and Chris Alvy. "Stay With The Friends" has a strong energy and a positive vibe. "Stay with those who are true/Who appreciate you/No matter what you do/Stay with the friends." The word "friends" has been marred by its use on a certain social website, where it means basically "anyone you've ever met that you want to stay in touch with, along with several people you haven't met." Its impact, its importance has been lost, but those of us old enough to remember a time before social media know just how important friends are, and what they mean. This song is about real friends. It was written by Fernando Perdomo and Stephen Kalinich.

"Smile" has an interesting and appealing pulse at its center. "Where did you go, what did you do/Sadness don't look good on you/Smile, smile, smile/Even if it hurts." There is something special about this song, it immediately finds a home in my head, where it is welcomed. I love it, and the more I listen to it, the more I love it. I highly recommend checking it out. And speaking of home, that song is followed by "Home." I know I've mentioned this before, but I've never come across a bad, or even mediocre, song titled "Home." I really need to make a mix CD of songs with that title. Certainly Fernando Perdomo's "Home" deserves a featured spot on it. "Home...home is wherever you are/Home can be out in the stars/Home can be Venus or Mars." This track features a beautiful vocal performance. "Home" is another song that Fernando Perdomo has been playing at his shows. After the shockingly devastating fires here in Los Angeles, he used this song to raise money for those who lost their homes (I personally know eleven people who lost their Altadena homes; there was a great music community there). This song is also sometimes titled "Home Is Wherever You Are," and it is another of this album's gems.

The music then goes in a different direction with "Sequence 0045," which has an electronic sound as it opens. Then, as it kicks in, it becomes a kind of odd dance song. This is an instrumental number. If you've been following Fernando Perdomo's career, you know that instrumental material makes up a significant part of his body of work, what with last year's Waves series and this year's Clouds albums. This song isn't entirely instrumental, however, as there is some vocal work in the second half, though no lyrics, the voice becoming part of the musical landscape. And the rest of the tracks that were included on the original release are also instrumentals. "Life In The Sea" has a cool, positive vibe, with a good bass line and some interesting percussion. It's a fun number. Then there is something of a 1970s vibe to "Cruiser," another song with a sense of fun about it, with short, bright bursts of sound and energy. In the second half, it really takes off, featuring some excellent guitar work, and ends up being another of the album's highlights.

"Voyeurs," the album's title track, is, yes, an instrumental number, and it begins in a somewhat darker, more somber place than the previous tracks. The drums feel almost like shots when they first come in. And as the song kicks in, it takes on a strong progressive rock vibe. Eventually you realize this track has its grip on your throat. Then "Sunday Afternoon" has a much more pleasant vibe, with some nice work on acoustic guitar. This music takes me to a better place, and I wish it went on a little longer, let me remain in those memories. Fernando Perdomo enters jazzier territory with "Sketchbook," a delicious track with a great rhythm. That followed by "Waltz For Doug Burris." With this track, a delightful, enchanting place opens us before us. This one features some wonderful guitar work, inviting us into a light, youthful dance. And that's how the original album concluded.

The rest of the tracks are new to this tenth anniversary edition, all recorded live at Troubadour in 2016. For these tracks, Fernando Perdomo is backed by Matt Tecu, Emeen Zarookian and Paul Mauradjian. Fernando introduces himself at the beginning of this track, adding "It's incredible to be playing this venue." This is a good version of the song, featuring a fantastic lead on guitar. It's followed by the album's lead track, "The One You Run To." The sound isn't perfect on this track, but the performance is excellent. Then we are treated to a live version of "Smile," which makes me happy. This song is becoming a favorite of mine. Certain songs just hit us, speak to us at a level that it's difficult to articulate, and this song is doing that for me. I imagine it will do that for many of you too. That's followed by "Home." There is a bit of crackling in the sound at times, but this song is so damn good, and this version has a glorious power that feels like it can unite us all. We do share a home, don't we? There is an odd cut, where Fernando is in the process of introducing the band and suddenly we find ourselves in "Something's Missing." The energy is there in this performance. Certainly that's not missing. This live rendition has a fantastic ending. The disc concludes with its one cover, Chris Bell's "I Am The Cosmos." Fernando Perdomo delivers a wonderful rendition. He and his band jam a bit at the end.

CD Track List

1. The One You Run To
2. Feels
3. Hiding Under Clouds
4. Holding Back I Love You's
5. Angel
6. In A World Without You
7. Something's Missing
8. Stay With The Friends
9. Smile
10. Home
11. Sequence 0045
12. Life In The Sea
13. Cruiser
14. Voyeurs
15. Sunday Afternoon
16. Sketchbook
17. Waltz For Doug Burris
18. Holding Back I Love You's
19. The One You Run To
20. Smile
21. Home
22. Something's Missing
23. I Am The Cosmos

Voyeurs 10 Year Anniversary Edition was released on May 5, 2026.

Betty Bryant at The Jazz Salon, 7-5-26 Concert Review

Betty Bryant returned to the Los Angeles Athletic Club last night, where the Invention Room on that building's third floor once again became the Jazz Salon. Last night's show was a little different from previous concerts, as Judd Pillot was out of town, visiting his family, so there were no drums. Instead, it was a trio setting, something I had not seen at one of Betty's performances before.

Just after 6 p.m., Betty Bryant began making her way to the piano, the sunlight through the large windows catching in the cane she uses, giving it a bright, magical look, that detail in itself preparing us for the magic of her music. And soon she was seated at the piano and ready to go, Dave Ross on bass to her right and saxophone player Rob Kyle stage left. Before starting the show, Dave mentioned how it had not been a normal 4th of July because of the peculiar and disheartening state of the country, but that music has the ability "to wash all that anxiety and stress away." I imagine that was exactly why many of us were there. He also mentioned that Betty Bryant has been performing in Los Angeles since 1954. For those who aren't already aware, this incredible jazz performer is 96 years old. Yup, 96 and still doing a two-hour show (artists who are a fraction of her age could learn a thing or two). She began the first song, an instrumental number, solo on piano, and a few moments later was joined by Dave and Rob. Each of the three musicians delivered an excellent lead, receiving applause from the audience, and reminding us that life is pretty damn good. Betty Bryant's rendition of "Just Squeeze Me (But Please Don't Tease Me)" was playful, yet also warm. I love how she dipped into her lower register on the world "blues."

Betty Bryant started "I Remember You" on piano. "You're the one who made my dreams come true," she sang. And isn't that something? Even if it's in the past, it's remarkable just to have experienced that at all. And as Betty played, those in the audience experienced a bit of that again, that wonderful feeling, one of the best parts of being alive. Great music, great performers can do that for us. After that song, a slight adjustment was made to the piano bench, and Betty told the crowd why she doesn't take chances with that anymore, how one time a seat caved in. "I disappeared behind the piano," she said with a laugh in her voice. The trio then played "When Did You Leave Heaven." "I am only human, and you are so divine," Betty sang, while her piano playing was both earthly and divine. And then Rob's saxophone lifted us to the mountain top toward the end of his lead. That was followed by "I Can't Walk Like Tina Turner In My High-Heeled Shoes," a song that Betty wrote. It was a total delight, particularly her vocal delivery in that first section. That was followed by "He May Be Your Man," which began with some good, bluesy piano work, and featured some smooth, delicious work on saxophone. "If he flags my train, I'm sure gonna let him ride." The first set ended with "A Lot Of Livin' To Do." This song expresses precisely the attitude we all need to adopt.

As with the first set, the second set opened with an instrumental number. That was followed by "'S Wonderful." You can never go wrong with Gershwin, as I'm sure you know. "Paradise," Betty sang, and indeed, any place can become paradise when this music is playing. Her piano work felt like a dance through this world, through this life. And what better way to go through it? This set also included "I Got Rhythm," because, again, you can never go wrong with Gershwin. When she sang, "And I got starlight," her eyes sparkled with their own light. We seemed to have everything we could need in that room. Who could ask for anything more? This song featured an excellent lead on bass, and after it, Betty offered a bit of scat. That was followed by "The More I See You," which also featured a wonderful lead on bass. The song was so bright, so cheerful. The trio then dipped into the blues with "Stormy Monday," with Betty delivering some seriously cool work on piano. And Rob's saxophone lead seemed to course through our veins, opening us to a special kind of warmth. There was a current that ran both below and above us. And I loved how Dave's lead on bass kind of sneaked into those deeper places. The set concluded with "It's Hard To Say Goodbye," a song that Betty Bryant included on her 2019 album Project 88, and which she introduced as "The Goodbye Song." What was especially delightful was the way she delivered the line, "You're ooh, you're ah." The show ended at 8:32 p.m. If you have not yet seen Betty Bryant perform, I highly recommend making the effort to get to her next show, which is scheduled for Sunday, August 2nd.

The Los Angeles Athletic Club is located at 431 W. 7th St. in Los Angeles, California.

Clay DuBose: "Father Time & Mother Nature" (2026) CD Review

Clay DuBose is a singer and songwriter based in Texas, an artist who took some time away from recording after his 2005 album These Days. Now he's back with a new album, Father Time & Mother Nature, which features mostly original material, written or co-written by Clay DuBose. The album was recorded in Los Angeles, and he has a stellar group of musicians backing him on this album, some of L.A.'s best, including Ted Russell Kamp (who also produced the album and co-wrote several of the songs), Carl Byron, and Brian Whelan. There is some tremendous talent on these tracks. This album even features some work from the late Neal Casal.

The album kicks off with "When Heroes Say Goodbye," a good country rock number with a driving beat, a song about the effect music has on us, particularly when we're young. "When I was a kid you were there for me/The sound inside my head to set me free." And now so many of those folks are gone. Clay sings, "It's hard to say goodbye to your heroes/You don't know when they'll decide to go/You get the news, you can't rewind/A thunderclap inside your mind." These days we're losing more and more of those musicians that have been such an important part of our lives, not just our childhoods. The year 2016 was especially bad (that year we lost Leonard Cohen, Leon Russell, David Bowie, Merle Haggard, Prince, Dan Hicks, Rob Wasserman, Guy Clark, Ralph Stanley, Maurice White, Paul Kantner, Signe Anderson, Keith Emerson, Greg Lake, Billy Paul and many others), but just recently losing Bob Weir was hard, as he was the last voice of the Grateful Dead, a huge part of my life. This song was written by Clay DuBose and Ted Russell Kamp. Both Dean Parks and Brian Whelan are on guitar, Ted Russell Kamp is on bass, Carl Byron is on organ, and Mitch Marine is on drums. That song is followed by "Winning Streak," also written by Clay DuBose and Ted Russell Kamp. This song takes us to a wedding in Las Vegas, officiated by an Elvis impersonator. It contains references to Elvis songs, including "Can't Help Falling In Love" and "Suspicious Minds." "This could be the start of a winning streak/A winning streak, a winning streak for you and for me." This track contains some hopping work on keys. Brian Whelan is on piano, as well as electric guitar on this one, and Sasha Smith is on organ. Ted Russell Kamp is on both bass and acoustic guitar, and Jamie Douglas is on drums. It's a fun number that feels totally positive, even while using all that gambling imagery. "I'm placing a bet like it's meant to be/Doubling down on our destiny."

"All we are in this universe is a tiny point of light," Clay DuBose sings at the beginning of the album's title track, reminding us of that photo of the earth as tiny blue dot. Then he follows that line with this one: "One lonely sailor on a sea of endless night." I'm sure many of us have been thinking about this vast universe, and our tiny, and brief, place in it. It's all over too soon, and someday even this planet and the sun will be gone. This song features a particularly good, and varied, vocal performance, as well as some excellent lyrics. "All of us, all as one/Oblivious to oblivion." I love that. Quietly powerful moments like that lead this to being one of my personal favorite tracks. Also, this song has some special guests, including the late Neal Casal on both electric guitar and acoustic guitar. I wonder how many more recordings he'll pop up on. And Janiva Magness adds some excellent vocal work. This is an outstanding track. "You can't cheat Father Time or fool Mother Nature." Then "Dreams Come Untrue" is a bluesy country rock number with its own special power. "There's a liar in my head, he has returned/He says, touch the fire, this time it will not burn/There is one thing he forgot to mention/Dreams can come untrue." And then he sings, "The day that I lost you, that was living proof/That dreams can come untrue." This track contains another strong vocal performance, plus quite a bit of good guitar work. Neal Casal is again on electric guitar on this one, as is Dean Parks. Both Brian Whelan and Carl Byron are on keys. Again, there is so much talent on this album.

I wasn't expecting to burst into tears while listening to this album, but there is a song titled "I Hope You're Watching" about the loss of his father, and of course it made me think of my own dad, and suddenly I found myself in tears. While I think the chance of there being any sort of afterlife is just this side of nil, this song is effective, because of course there is still the hope that this isn't the end, that we'll get to see our loved ones again. I wouldn't bet on it, but that doesn't quell the hope. John Schreffler adds some pretty work on pedal steel, adding to the song's emotional impact. That's followed by "Waiting For The Day." Doug Pettibone joins the group on both electric guitar and baritone guitar, delivering some wonderful work. There is a bluesy edge to some of the guitar work. This track also contains a great bass line. And there is a good energy to the vocal performance. "Just give me a little sign/That the sun's about to shine." I think many of us need just that sort of sign. Isn't this darkness going to give? Mitch Marine is on drums.

The first of the album's two covers, is "New Game Now," which was written by Kris Kristofferson and Danny Timms, and included on Kristofferson's A Moment Of Forever. Danny Timms plays piano and organ on this track, and his work is a big part of the track's appeal. In fact, the song begins with some thoughtful work on piano, setting the tone. Also, this track contains what might be the best vocal performance of the album. This is a really good rendition. Will Ray plays electric guitar on this track, and Michael Clarke is on drums. Then "Fading Away" has a steady beat pushing it forward, and us along with it. "When things start going a little too well/In heaven I start jonesing for hell/I fear I have lost all that I found/My days are numbered, I'm counting them down." Both Brian Whelan and Doug Pettibone are on electric guitar, and, yes, there is some excellent guitar work here.

"Broken Mirror" has a softer, more intimate sound, led by acoustic guitar at the beginning. Both Ted Russell Kamp and Dean Parks play acoustic guitar (Ted Russell Kamp is also on bass and toy piano). "Broken up, broken down/Broken mirror on the ground/Shards of love disappear." And the song builds from there, in power and beauty. Brian Whelan and Doug Pettibone are on electric guitar. Sasha Smith is on organ, and Mitch Marine is on drums. That's followed by "Growing Wild," an energetic number. "Every year is flying by," Clay DuBose sings in this one. It's a song about watching one's children grow, and how it happens so quickly. This song features some good work by Eric Corne on harmonica, and a really nice bass line. And even though this one starts with a great energy, it somehow becomes more energetic as it goes, leading to an exciting conclusion. Clay DuBose then turns to a jazzy vibe on the album's second cover, The Kingston Trio's "Scotch And Soda," to wrap things up. He delivers a delightful rendition of this Dave Guard composition, leaving us feeling good.

CD Track List

1. When Heroes Say Goodbye
2. Winning Streak
3. Father Time & Mother Nature
4. Dreams Come Untrue
5. I Hope You're Watching
6. Waiting For The Day
7. New Game Now
8. Fading Away
9. Broken Mirror
10. Growing Wild
11. Scotch And Soda

Father Time & Mother Nature was released on June 12, 2026 on Lazy River Records. 

Drool Brothers, The Furys, and Bad Motivator at Maui Sugar Mill Saloon, 7-3-26

In January, a medical emergency kept The Furys from being able to play a gig they had scheduled at Maui Sugar Mill Saloon, and so The Weirdos filled in, ensuring it would still be an excellent night. Last night, everything was fine, and The Furys delivered a fantastic set. Also on the bill back in January was Drool Brothers, a band I have quickly come to love. And they kicked off the show last night as well. Rounding out the night was a band I hadn't seen before, Bad Motivator (as in "Uncle Owen, this R2 unit has a bad motivator"). And those guys were a lot of fun, delivering a high-energy set. So, yes, it was another night of great music at Maui Sugar Mill Saloon. And certainly we needed it. If things hadn't gone completely sideways, this country would be celebrating its 250th anniversary right now with a big party, but with the way things are, it's understandable that no one is feeling all that patriotic. It's a shame. We need a good party.

Drool Brothers

The Drool Brothers created something of a party atmosphere with their set, and even with their clothes. Chuck was sporting a Davy Jones T-shirt (and actually, if you looked closely you'd see the shirt said, "President of the Davy Jones Fan Club," so it was also a Brady Bunch T-shirt as well as a Monkees T-shirt). And Tom had on a Bay City Rollers T-shirt. So it was obvious they were in the right frame of mind. After a brief soundcheck, which the audience applauded (folks were eager for a party), the band joked, "Thank you very much, it's been a geat night." Seven minutes later they were back on stage, kicking off the night with "Kaleidoscope," a song with a cool groove. Its line "Enjoy the show" makes it a perfect set opener, and after the song, Chuck said, "Enjoy the show, everybody." By then, I think, everybody was enjoying it. "Have Fuzz Will Travel" followed, providing some delicious rock and roll, and that song led straight into "Psychology," the title track from last year's album. "It's disco time, everybody," Chuck announced. See? Musicians give us the party we crave. Natalie delivered some good work on keys, and the song also featured a fantastic bass line. "Lobotomy/Shock therapy," they sang, making it all sound so good, so pleasant. That in turn led straight into a bit of "Get Off Your Ass And Jam." "Quiet Vacation" was next, just the sort of thing we might all want, with those "ba ba-ba ba" vocals. Just that sort of vibe, you know?

Chuck asked the crowd if anyone still gives hickies anymore, if it's still a thing. And the band went into "Yolie's Got A Hicky," which had a totally delicious funky groove. It was a lot of fun, and featured some great stuff from Dan on guitar. This song also featured some good harmonies, everyone in the band singing at a certain point, which was my favorite section of the song. Why is it that the mention of West Covina causes laughter? I'm not sure, but the line from "Alice" made me laugh. This was another fun one, with references to Jefferson Airplane's "White Rabbit." Chuck called out Mini Mendez, who was in the audience, saying that next time they'll have him come up and sing the song with them. That was followed by "Fame Whore," a song that reminds me of "Steppin' Stone" (even when Chuck is not wearing a Monkees T-shirt). Shouting out "Fame whore" and then "Sha-na na-na" is delightful. They wrapped up the set with the fun power pop number "She's Got The Beat" and "Itchy Turtleneck," which featured Natalie playing the tiniest cymbals, finishing at 9:45 p.m.

The Furys

The Furys were up next, and there was a certain excitement in the room, with several people in the audience wearing Furys T-shirts. This band has been rocking folks since the late 1970s, a glorious institution at this point, and one whose energy and joy don't seem to have lessened one bit. They kicked off the set with "ICUCMeCU," and everything was in fantastic motion. That was followed by "Hey Girl, Goodbye," which had a delicious pop vibe and featured a great vocal performance from Jeff. And then they gave us a fun rendition of "Ghosts Of Princes In Towers," a song with a good beat. Paolo is a great addition to the band, by the way, not only on drums, but also on backing vocals. The vocal work might have been the most impressive thing about the band's set last night, and "Ghosts Of Princes In Towers" also contained a fantastic vocal performance. Then, in introducing "Wicked White," they joked about having written the song in 1947, quickly correcting the date to 1977, Jeff giving the song's introduction while Cliff switched guitars. Jeff mentioned that at the time technology was taking over, something he didn't like. Just look where we are now. "Wicked White" was great, a highlight of the set. A video was shot during that number, so keep an eye out for that.

Cliff switched guitars again for "Without You," which was released as a single last summer. This song completely rocked, with an incredible energy, another of the set's highlights. Afterward, Jeff pointed out that he was wearing a Drool Brothers button on his jacket (just above a Batman button, by the way). Then "New Wave Girl" had a sweeter vibe, a nice change of pace. That was followed by "Tightrope Walking," a song, as was mentioned in its introduction, that was written during the pandemic. This one came at us at a deliciously fast pace, and featured both a cool guitar lead and some wonderful work by Dave on bass. There was another excellent bass line in "Waiting For Surrender." That was followed by "Sweet Connection," which had a good pop element, reminding us that pop music can still be cool and powerful and fun. They wrapped up the set with "Say Goodbye To The Black Sheep," which also featured some excellent vocal work, and had a fantastic punk vibe. It was a tremendous set of music, everything sounding perfect, and it was over all too soon.

Bad Motivator

Bad Motivator closed out the night with a set of high-energy music, the stage not always able to contain the band's vocalist, who was often moving through the crowd. The kick drum head, by the way, featured an illustration of R5-D4 in a growing cloud of smoke, but with musical notes emerging from within that smoke. An indication that there would be a playful element to their music. They opened with "Messin' With My Mind," which started with a fast-paced kick-ass beat, a strong and rocking introduction. As the song moved into its main body, it took on something of a 1960s garage sound, mixed with a new wave thing, a wonderful combination. That was followed by "Chasing Truth," which came on with a furious force. Sound man Nubs made a microphone adjustment because everything needed to be perfect, as the sound had been all night. This song also featured some good stuff on keys. It is the lead track on the band's album titled The Album, and there it is followed by "See You Again," which also followed it last night. Still following the album order, the band then played "Too Much," a catchy number. And this is when lead vocalist Brian started stepping off the stage, perhaps in part because of the heat of the lights (something that other artists have mentioned), but probably more due to his unbridled energy.

Things got even more wild on "I Don't Think I Want To V2." That was followed by "Part Time Other" and then "Switchblade SC," which featured some cool work on keys. Earlier, the band's album was held up for the audience (selling records and T-shirts and whatnot at shows is how a lot of artists make their money these days), and at this point a 7-inch was also held up. I love vinyl, and wished I had enough money to buy whatever records this band had for sale, but work has been scarce lately, so those purchases will have to wait for another time. "Information Overload" was next, a fast-paced punk gem that is included on The Album, and one of the reasons I want to add that record to my collection. That was followed by "Heads Up" and then "She Wants Me Dead," the latter a seriously cool number that could work well on your next Halloween play list. That was in turn followed, naturally, by "Forgot To Die," which featured some great stuff on drums. They wrapped up the set with "Troubled Chances," the final track from The Album, and one that included some great stuff on bass. The show was over, but folks called out for an encore, and as it was only 11:28 p.m. Nubs added his own voice to those calling for more, letting the band know there was time for another song. And so the band gave us "Wasted Time," an excellent ending to an outstanding night of music.

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