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

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

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

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

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

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

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

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

CD Track List

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

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

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

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

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

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

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

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

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

CD Track List

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

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

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

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

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

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

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

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

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

CD Review

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

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

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

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

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

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

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

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

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

CD Track List

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

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

Marley's Ghost: "Honky Tonk" (2026) CD Review

Marley's Ghost was formed in 1986, forty years ago, and interestingly the band has released a new album to celebrate each decade of the its existence. In 1996, it was Four Spacious Guys. In 2006, it was Spooked. In 2016, it was The Woodstock Sessions. And now, to celebrate this excellent band's fortieth year, we have Honky Tonk, which follows 2019's Travelin' Shoes (yeah, seven years is a long time to go between albums, the longest gap in the band's career). Like The Woodstock Sessions, Honky Tonk focuses on covers. While The Woodstock Sessions featured traditional numbers, and Travelin' Shoes got into gospel numbers, this new album, as its title suggests, gets into honky tonk country music. Whatever area of the music world this band decides to explore, you can be certain the results will be wonderful, and will features some excellent vocal work. The band is made up of Mike Phelan on guitar, dobro, bass, fiddle and vocals; Jerry Fletcher on keyboards, accordion and vocals; Ed Littlefield Jr. on pedal steel guitar and vocals; Dan Wheetman on bass, steel guitar, fiddle, guitar and vocals; Jonathan Wilcox on mandolin and vocals; and Bob Nichols on drums and percussion. They are joined by Larry Campbell on acoustic guitar, electric guitar, fiddle and backing vocals (Larry Campbell also produced the album); and Cary Black on bass.

The album opens with "Invitation To The Blues," which has a nice vibe right from its instrumental introduction, featuring fiddle. This song was written by Roger Miller, and it was a hit for Ray Price. Here Dan Wheetman is on lead vocals, delivering a good, passionate performance. "I don't know why you caused me such pain/I only hope I never go through this much again." In the middle, we are treated to several great leads in a row, beginning with guitar, that section a reminder of how talented all these musicians are. That's followed by "Honky Tonk Song," the first of two tracks on this album to include the term "Honky Tonk." This one was written by Mel Tellis and Buck Peddy. Mike Phelan sings lead. "A band kept playing in a joint underneath/I picked up my pillow and I covered up my head/But the band kept playin' and shakin' my bed." Then it kicks in, and it's like the music itself might be what's keeping him up. This is a fun number featuring some delicious work on piano. And of course we learn that the band playing dowstairs isn't the real problem. "Well, I'm so blue, my baby's gone/She took all my money and left me all alone/I'm trying to forget her, but I don't know what to do/A honky tonk song keeps leaking on through." Yup, the real trouble is a woman who has done her man wrong.

Ed Littlefield Jr. sings lead on "Brand New Mister Me," a song written by Ronald McCown, and recorded by Mel Tillis And The Statesiders. It's one of those sweetly sad country number, and these guys do a great job with it, Ed's vocal performance containing just the right amount of ache. It's an interesting song, as it directly addresses his love's new man. "Is my darling good to you/I hope you're feeling happy/'Cause I'm sure feeling blue/And I drive by every morning/And see the man I used to be/How does it feel to be/The brand new mister me?" Then we get the second song with "Honky Tonk" in its title, "Burn Another Honky Tonk Down," a song most famously recorded by George Jones. It's a delightful waltz, with Jon Wilcox on lead vocals, and featuring some really nice drumming. This track has a full and vibrant sound, with lovely work on accordion and fiddle. "Spending my money I earned at the saw mill/To build another honky tonk wall/Early each morning I'm back on that mountain/Wishing her lies were the truth." This is one of my personal favorites on this album.

Teresa Williams joins Dan Wheetman on vocals for "Just Someone I Used To Know," a song written by Jack Clement, and a hit for George Jones. This song is also known as "A Girl I Used To Know." "There's a picture that I carry/One we made some time ago/When they ask who's in the picture with me/I say just someone I used to know." This song always works better as a duet (Porter Wagoner & Dolly Parton, George Jones & Tammy Wynette), because they're both experiencing the same thing, the same longing, yet each (we imagine) without knowing the other does. It's like they are in two different places, but expressing the same things simultaneously, which makes the ache all the more striking. It's a beautiful and sad song, and features some nice work on fiddle. That's followed by "Only Daddy That'll  Walk The Line," a cool and catchy number written by Ivy Bryant and recorded by Waylon Jennings, who included it on his Only The Greatest record. This one is great fun. Ed Littlefield Jr. is on lead vocals. "I keep working every day/All you want to do is play/I'm tired of staying out all night/I'm coming unglued." This track contains a good lead on guitar, as well as some delicious stuff on pedal steel and piano.

Mike Phelan sings lead on "Slowly," delivering a moving performance. There are also some excellent harmonies. "Now I can't hide my feelings no matter what I do/For slowly I'm falling more in love with you/More and more, I need you and want you by my side/More and more, I love you as each day passes by." Oh yes, what a great feeling. Hey, even the peddle steel seems cheerful. This is another of my personal favorite tracks. It's followed by "Rockin' Chair Money," the Hank Williams number (through it was written by Lonnie Glosson and Bill Carlisle). "And I love to rock/Yeah, rock/Baby, rock/Rock on down the line." There are many precursors to rock and roll, but obviously this song is one of them, and this track features a cool bass line and some hopping stuff on piano, through the fiddle and peddle steel provide a lot of its charm.

I love Merle Haggard's songs, especially his slower, sad numbers like "Sing Me Back Home" and the one that Marley's Ghost chooses to cover, "If I'd Left It Up To You," which was on Merle's 1965 album Strangers. Dan Wheetman is on lead vocals, and he delivers an excellent performance. "You made plans to leave a thousand times, I know/And a thousand times I should have let you go/But then I'd always beg you back somehow/If I'd left it up to you, it would all be over now." This track also features some really nice work on guitar. Then "Detour" is a fun, delightful number, with Mike Phelan on lead vocals. "Spent the next five years in jail/Should have read that detour sign." Part of its charm is in its rhythm. And, like many of these tracks, it contains some really nice work on fiddle and pedal steel. These guys need to go on tour soon, spread some of this great music to all the places where it's needed, which, as far as I can tell, is everywhere. Mike Phelan also sings lead on "Midnight," another of the disc's highlights. This song was a big hit for Red Foley, and if this world made any sense, it would be a big hit for Marley's Ghost too. Everything about this track works perfectly. I especially love that guitar work in the middle.

"Motel Time Again" was written by Bobby Bare, and was a hit for Johnny Paycheck. Here it is sung by Jon Wilcox. "Motel time again/Yes, I take myself to bed/I don't even know what town I'm in." Sometimes I miss being on the road, but I don't miss the motels all that much. Road trips still hold their appeal, but I doubt gas prices will ever return to a place where such adventures again become affordable. That's followed by "Waltz Of The Angels," a good, slow waltz featuring Dan Wheetman on lead vocals. "It's surely from heaven, this music I hear/When your lips say I love you in waltz time, my dear." The album concludes with a cover of "Birmingham Bounce," which is a total delight. Jerry Fletcher sings lead on this one. The line "When the drum starts playing that solid beat" leads to a brief drum solo that I love. This track also contains some great stuff on piano, along with a strong bass line. What a perfect choice to wrap things up, the band leaving us feeling good, leaving us dancing. "Now everybody's dancing and they're jumping too/When the music starts rocking, nobody's blue." Exactly. So if you're feeling blue, put this album on.

CD Track List

1. Invitation To The Blues
2. Honky Tonk Song
3. Brand New Mister Me
4. Burn Another Honky Tonk Down
5. Just Someone I Used To Know
6. Only Daddy That'll Walk The Line
7. Slowly
8. Rockin' Chair Money
9. If I'd Left It Up To You
10. Detour
11. Midnight
12. Motel Time Again
13. Waltz Of The Angels
14. Birmingham Bounce

Honky Tonk is scheduled to be released on May 19, 2026. 

Amy Rigby at Permanent Records Roadhouse, 5-13-26

Amy Rigby

"I'm holding onto anything that's good in this world/There's a lot that's good in this world." Those lines come from Amy Rigby's "Don't Ever Change," and they provide a good reminder, particularly these days when we are constantly alerted to everything that's wrong. For, truly, there's a lot that's good in this world, even now. I find much of it in music, and especially in live performances. Amy Rigby delivered a special show last night at Permanent Records Roadhouse. It was a combination book reading and concert, along with a conversation about her new book, Girl To Country, a sequel to her first memoir, Girl To City. And it concluded with a book signing.

starting the show by reading a passage

At 7 p.m., Amy Rigby took the stage, introducing herself, She mentioned that at first she was nervous about the night, until she reminded herself that she wrote the book, and so the hard part was over. Rather than doing a reading and then a concert, or a concert and then a reading, she went back and forth, a performance that connected her memoir to her songs, which of course made perfect sense. The first song she played was "Beer & Kisses," a track from her Diary Of A Mod Housewife album. She mentioned her daughter's wedding, and joked about how her daughter did not ask her to sing any of her songs at the ceremony, and that led to "Cynically Yours." She said that the line "I can picture being with you until one or both of us is dead" isn't as funny to her now as it was twenty years ago. (By the way, her daughter Hazel was the one spinning some great records before the show started, including a song from my favorite Kinks album.) Amy then read some more from her book. If you're familiar with Amy Rigby's music, you know that there is a great deal of humor to her work, and the book, from the passages she shared last night, is also quite funny. As for the songs she played, "Keep It To Yourself" in particular received a lot of laughter from the crowd. If you haven't heard that one, I highly recommend checking it out. I think everyone can use a laugh or two these days.

Amy Rigby and Wreckless Eric

Amy Rigby can also rock when she wants to, as she did on "Bricks," a song from Hang In There With Me, which was released in 2024. I love when an artist rocks out on acoustic guitar. From that album, she also played "Too Old To Be So Crazy," an especially fun song. Following that song, she read from her book a passage about meeting Wreckless Eric, and then Eric joined her on stage. He had played a show at the Wild Honey Backyard Amphitheatre on Sunday (a show I wish I could have attended), and there Amy had joined him for a couple of songs. Now he returned the favor, playing electric guitar and singing backup on "Do You Remember That" and then delivering an excellent lead on "Genovese Bag," which was such a treat. Amy read a final passage from toward the end of the book, and then closed out the performance with "Don't Ever Change," Wreckless Eric again joining her on electric guitar. While that was the end of the music, it wasn't the end of the evening. Pat Thomas joined Amy on stage for a conversation about the new book, and they talked a bit about the writing process and about self-publishing. At the end, Pat Thomas encouraged everyone to purchase a copy of the book, reminding the audience that the event had been free so that people could use what would have been the admission cost to get a book. And though I'm broke, I had to add that book to my collection of music memoirs. Actually, Amy had copies of both books for sale, and as much as I want to read Girl To City, that will have to wait until the next time I see her perform or read. Anyway, it was a wonderful evening, and I'm looking forward to reading my copy of Girl To Country.

Wreckless Eric sets up Pat Thomas' mic

Amy Rigby and Pat Thomas

Permanent Records Roadhouse is located at 1906 Cypress Ave. in Los Angeles, California. 

Stunt Drummer: "Warm Up, Tiger" (2026) Vinyl Review

Stunt Drummer, a band based in Portland, Oregon, put out its first full-length album in 2023, and has now followed that with Warm Up, Tiger. The album title is a combination of two song titles, one from the first side of the record, one from the second. So I guess there are two title tracks to this one. And while we're talking about titles and names, the band's name comes from the fact that different folks would fill in on drums in the early days, and even after the release of the first album. The drummer on this album, Paul J. Leaver, did not play on the band's first album, a self-titled release. The band is also made up of Erik Becker on guitar and vocals, Marty Buckenmeyer on guitar and vocals, and Ethan Schee on bass. Ezra Meredith, who recorded and mixed the album at The Deer Lodge, helps out on these track, and is credited with "Various Bells, Whistles, Howls, Antics and Flamethrowers." Someone might have to explain to me where the flamethrowers come in, but certainly there is some heat to these tracks, some power. The music is a combination of punk and garage rock elements, often with an intense, heavy sound. The album features all original material.

Side A

The record's first side, which is labeled the "Stunt Side," opens with "Pool," which comes on strong, with a heavy, raw and insistent force. There is something frightening as Erik repeats, "Everyone in this place is gonna drown." A mantra of doom, and there is something of an aggressive attitude. But, and maybe I'm just crazy, there also seems something strangely, darkly humorous about that, when you remember that they're singing about a swimming pool. And, hey, we all are doomed, and there's no escaping that. So have a little fun. That's followed by "Chinese Windows." It's interesting that each of these songs has a line that is repeated. Here it is "Chinese windows, they don't fit like they used to," the very first line of the song, repeated several times. What a strange line to be in a song at all, but to be repeated like a chant? It's a song about architecture. And it is delivered with a great energy that comes rushing at us. "He makes his bosses happy/And Peter gets a bone/And now he builds his empire/The model for his class."

"Warm Up" is the song from the first side whose title contributes to the album title. This one has a great beat, a cool groove, so the raw scream of the vocals comes almost as a surprise. There is an intensity, and almost a desperation, to the vocals. And before the end there is the demand, "Get up get up get up" and then "Warm up warm up warm up." And it's over. The first side concludes with "Voodoo," which begins in a surprisingly softer place, though we sense something is nearby, coiling, getting ready to strike. The slow pace of it contributes to an ominous sensation, which is cool. "Are you a witch and will you fly, let's push you off the cliff and see if you try." There is something haunting, even mesmerizing here. This one too has a line that is repeated, "What is up with all the voodoo dolls," and it is during the repetition of that line that the energy increases, the vocal approach changing from an ache to a howl. And from there, the track begins to roll right over us, and then it cannot be stopped. Incredible. This is one of my personal favorite tracks.

Side B

The second side, labeled the "Drummer Side," opens with "Vortex," which is interesting, the way it takes us through different places, different expectations and feelings, even before the vocals come in. The first lines are delivered in a fairly straightforward way. And the very first line, "The vortex is nice this time of year," is undeniably funny, and the straightforward aspect of its delivery makes it funnier to me. The chorus is then shouted, and it becomes frightening. This track ends in mellower territory. It is followed by "Paul The Pear Farmer," which has a delicious beat, and a sort of 1960s element to the guitar work at the beginning. It's a strange song, and there is something scary in the lines, "Paul spent a lot of time down in his room/Down in his room sharpening his knife." But the madness might be coming from within rather than without. Who can keep a hold on reality anymore? Then "Switch" begins with a strong beat, and quickly becomes delightfully strange, many things happening at once, and that bass is so damn good. There is a fierce energy to the vocals, like his life depends on it, or our lives do. "It's got nothing to do with everything/Start it over from the end, turn it on turn it off." It then slowly pushes through, until the vocals return for one last quick burst at the end.

"White Tiger" is the song from the second side that contributes to the album's title, and it contains some good stuff on guitar. "Did you see my car, I think it's blue/Did you cut my throat, yeah, I would've too." This music feels like it exists right on the edge, and if you throw yourself too far in any direction, bones and light will shatter. "Did you see my ghost?" The line is repeated. An answer is needed, is demanded. I love the drumming on this track. The record concludes with "Dress," this one opening in a mellower place, creating a very cool vibe. And maybe we need this, a space to relax a bit after the previous intensity. This one is like a late-night city street. There is even saxophone on this track, Tom Ricciardi delivering some excellent work. "You were insane then/Your favorite word was/Isolation." I especially love the guitar work here, helping to make the track another of my favorites. This is totally delicious. "You only wanted my attention/When you wore that dress."

Record Track List

Side A

1. Pool
2. Chinese Windows
3. Warm Up
4. Voodoo

Side B

1. Vortex
2. Paul The Pear Farmer
3. Switch
4. White Tiger
5. Dress

Warm Up, Tiger was released on April 17, 2026 on Cavity Search Records.