Alan Arena: "Cape Cod Girl" (2026) CD Single Review

"It's ninety degrees on the Cape Cod beach," Alan Arena sings at the beginning of his new single, "Cape Cod Girl," and I'm hooked at that moment. It's been in the nineties here in Los Angeles for a while now, and that kind of heat makes you want to be at the beach. It also makes you want to slip back to your youth when the heat didn't matter all that much, and the beach meant a certain kind of freedom, and promises of a certain kind of action. I grew up in Massachusetts, and every summer my parents would take my brother and me to Cape Cod for a week. The hope was always meeting a Cape Cod girl, and it usually seemed to happen too. There was that kind of magic then, wasn't there? And girls were everywhere. This song has that kind of vibe, that kind of youthful enthusiasm and energy.

Alan Arena is a blues artist based in Massachusetts. Last year he released Deceived, an album featuring a lot of original material, and followed it with a holiday single, "Gritty Holiday Ditty," a song that mentions Chuck Berry. And on this new single, "Cape Cod Girl," there is a fun rock and roll thing happening, with some delicious stuff on keys and saxophone. The musicians backing him include Brooks Milgate on piano and organ, Gordon Beadle on saxophone, Mike Welch on guitar, Brad Hallen on bass, Marty Richards on drums, and Joe Russo on backing vocals. "When she gets up from her blanket, everybody looks/With just a little smile, everybody's hooked/Ain't nothing gonna matter in this whole wide world/When you fall in love with a Cape Cod girl." And of course the girl doesn't care about all the attention she attracts. She just wants to enjoy the beach, the day. That sounds about right, eh? This track also features some really nice guitar work. The song feels like summer, like all the best things about summer. It's good that folks are still writing numbers like this. "She wants to live today like it's all she's got."

CD Track List

1. Cape Cod Girl

Cape Cod Girl was released on June 12, 2026. Alan Arena is working on his next full-length release, which is due out in early 2027.

Dave Rudolf: "Roll With The Punches" (2026) CD Review

Dave Rudolf has done it again, chosen an album title that speaks directly to what we're experiencing in these frustrating and ugly times, to what we must do to get through them. Roll With The Punches. There is something positive in that title, for it suggests we are able to deal with the seemingly endless series of difficulties and troubles coming our way. Of course, it is music that helps us roll with these punches, isn't it?  This album follows last October's We'll Find Our Own Way, and it features most of the same musicians who played on that album, including Felton Offard on guitar, Jack Whittle on guitar, Gary Victorine on pedal steel, Thomas Linsk on keyboards and organ, Jim Widlowski on drums, Wally Hustin on bass, and Michael Hesiak on saxophone, with Marsha Lynne Smith on backing vocals. Dave Rudolf plays acoustic guitar and electric guitar, and wrote all the songs. Once again, he proves himself completely at home in several different musical styles and realms.

Roll With The Punches opens with its title track. With that delicious work on keys and saxophone in the song's opening moments, we are immediately thrust into some great rock and roll territory. And like any good rock and roll, there is a blues base here, heard in the song's first line "I lost my job because the business was slow." Soon he lets us know the job was causing him distress, and he sings, "So I packed up my things and said Adios/And jumped in the car and headed to the coast/You gotta roll with the punches." Leaving the blues behind. He makes it sound like a celebration. And shouldn't life be a celebration? After all, what are the odds that we'd be here at all? There is a wonderful lead on keys in the middle. This track also contains some good stuff on guitar. "I was always aware that life wasn't fair," Dave sings. Indeed. If there was a sense of fairness to this existence, Dolly Parton would still be alive, and that rapist occupying the White House would be rotting in a hole. "I live by the motto 'Buyer beware.'" Then Dave Rudolf takes us into more soulful territory with "Lend A Hand." This one too features some good work on keys, and also a heartfelt vocal performance right from its first lines, "There are those who are hungry/Far too many in need." The song is a positive and hopeful number about doing what we can. It contains some really good backing vocal work too, giving the song a gospel-like bent, and a good bass line. The guitar leads the way to a better world at the end.

Some really nice work on guitar helps to create an appealing rhythm at the beginning of "Unrequited." Check out these lyrics: "Lost in her visions of stories she's read/No one can live up to the hero in her head/Her impossible standards, the perfection she seeks/Have doomed her to failure, and her future is bleak." Then Dave Rudolf goes into reggae territory with "The King In His Castle," another track with a strong bass line. This one also features some delicious percussion. "For the king in his castle, in his marble hall/Is a small, little man who believes he is tall/Thinks he is smart, but he's a court fool." And with phrases like "throne of gold" and "they tell him he's strong," it's clear just who is the subject of this song. I especially love the drumming on this track. "I've been traveling down this lonesome road/Searching for someone," Dave sings at the beginning of "She's Somewhere," a pretty number. "I still have hope I will find that place/Where my love she waits patiently there." I was pretty far into my life before I finally met my love. This song is for all those who are still looking, still waiting, still hoping. It urges people to not be discouraged, to not quit looking. There is a really good vibe to this song. May each of us find that special someone.

A while ago, someone told me that whenever I'm in need of a laugh, all I had to do was conduct an online search for "Florida Man" and any randomly chosen date, and I'd be sure to read a ridiculous story. I've done it several times, and it has never failed. Dave Rudolf's song "Florida Man" seems to come from such stories, such headlines. "It might be their genes, might be the gin/It might be the heat that does those boys in," Dave sings. Maybe, but something is terribly wrong with that state and the people there. Nothing wrong with this song, however. It's a fun song, with a cool groove. "Bless his heart, he's doing the best he can." Ah, we all know what people really mean by "bless his heart." "Only in Florida logic don't stand/We build our castles out of rusty beer cans/We got bugs and hurricanes and swampy lowlands/It's a crazy stew that makes a Florida man." That's followed by "Forever Is Not Long Enough," a song that sounds like a romantic island vacation, with a nice bossa nova vibe, and features some excellent work on guitar. "The tide keeps time with love that grows/The world slows down just for a while."

Dave Rudolf gets funky with "Infectious," a fun number with a certain 1970s thing happening, along with a 1980s dance element. "Feeling the bass," he sings at one point, and, yes, the bass is present in our chests. The saxophone also plays a prominent part in this song's appeal. "We're left with no choice, we have to move our feet." Indeed. Ed Tossing plays keys on this one. That's followed by "You Make Things Better," Dave Rudolf changing gears again and moving more into country territory. Here are the first lines: "When the road gets rough, and the nights are long/And I'm weary of the trials and the things that go wrong/You lift me up with a simple smile/And my joy comes back to make it all seem worthwhile." Yes, exactly. That's all it takes, a smile from my girlfriend. This sweet country number contains some wonderful work on pedal steel, and it features a passionate vocal performance. This is one of my personal favorites. "You make things better for me/In these troubled times, when the world gets you down/We all need a helping hand."

"No One Should Feel This Way" is an older song, one that Dave recorded earlier and is revisiting here. This track has a heavier, more serious tone than many of the tracks. "When I wake up, it's hard to leave the bed," Dave sings here. I think many folks find it difficult to get out of bed these days. The bed holds more appeal than the world outside. "Where's the promise about American dream/If you work hard, you'll have wealth and esteem/That ship has sailed." Yes, that seems to be the case. We still hold onto hope, but working hard is not enough anymore. It just isn't. It's enough to squeak by, but not to thrive, not to get ahead. "It's not that I haven't tried, I work until my hands bleed/But down here in the deep, deep mud, we're all drowning in man's greed." Then "Simpler Times" has a pretty sound, in part thanks to the work on pedal steel. "Take me back to a simpler time," Dave sings. There is certainly something appealing in that idea. In this song, it is about returning to an earlier time in a relationship before their lives became complicated, but the line that especially stands out to me is this: "Before our dreams ran away and hid."

"The Devil Drives That Soul" is a cool song, with a dark thread running through it, with great lines like "The choir sings of mercy, but they choke on their refrain" and "And the saints are selling secrets while the rich have no regrets." Yeah, the song is of this time. And it contains a strong vocal performance. The song's rhythm helps us through, encourages us to dance into oblivion. "This world was born in chaos, and it runs on hidden fears." And there is no help coming from above. The track contains some good stuff on bass and on guitar, and is another of the disc's highlights. It's followed by "Not What I Had Planned," which has a much gentler approach. Here is a taste of the lyrics: "Sometimes the things that you have lost/Turn out to have too high a cost/And it takes a while to understand/It's better than you had planned." I do not believe that things happen for a reason, but sometimes things turn out better when they don't go the way you'd hoped or planned. "It might not be the world that you had hoped/But you must learn the best way to cope." The album concludes with "The Long Road To Your Heart," a song with a soulful sound, featuring nice touches on saxophone. There is an appealing 1960s vibe. I love that the final song contains the phrase "where the journey starts."

CD Track List

1. Roll With The Punches
2. Lend A Hand
3. Unrequited
4. The King In His Castle
5. She's Somewhere
6. Florida Man
7. Forever Is Not Long Enough
8. Infectious
9. You Make Things Better
10. No One Should Feel This Way
11. Simpler Times
12. The Devil Drives That Soul
13. Not What I Had Planned
14. The Long Road To Your Heart

Roll With The Punches was released on March 25, 2026.

Deep Valley Roots Music Series Continues At Maui Sugar Mill Saloon, 8-26-26

While most of us are busy trying to come to terms with a world without Dolly Parton, a world without Tim Curry, great music continues. Last night at the Maui Sugar Mill Saloon, Karman Jeanne hosted her Deep Valley Roots music series, the night including performances by Buddy Greenbloom & Friends, Zachary Ross, Karman Jeanne And The Fish, Ted Russell Kamp, and RJ Chesney. Quite a lineup, right? And, yes, there were a couple of tributes to Dolly Parton over the course of the night.

Buddy Greenbloom & Friends

The night started with a set by Buddy Greenbloom & Friends, who opened with "Rodeo Grounds," delivering some wonderful old-time sounds. There was an especially nice lead on fiddle by Andrew Frankel. That was followed by "Whiskey And Tears" and then a cover of Merle Haggard's "Mama Tried," Buddy Greenbloom giving us a good rendition. Andrew Frankel provided another wonderful fiddle lead on "(Better Off) I Remember Those Times." "I remember when the world was mine/I could play in the street and not get a fine." Afterward, Buddy told the crowd, "That was my first single I recorded," adding that it was recorded here in Los Angeles. And he mentioned his vinyl release. His record release party is tonight, at Desert 5 Spot in Hollywood. His set also included "Wild Woman Of The West," a cover of Faron Young's "Alone With You" and "Gothic Cowboy."

Zachary Ross

Zachary Ross was up next, performing solo. This was a treat. I'd seen him play with Ted Russell Kamp, with Amilia K. Spicer, with others (and of course you know him as a member of Rose's Pawn Shop), but never solo, playing his own material. "It's been a long time since I've been playing my own stuff," he mentioned at the start of his set. He introduced the first song as a "story that takes place in the middle of nowhere, Kansas." Interestingly, there was a subtle shift from the first song's introduction into the body of the song, as that first number was delivered as spoken word. He followed that with a murder ballad, which he described as really being about missing his wife when she's on tour. "But I disguised it as a murder ballad," he said. The whole set was excellent, captivating, but for me the highlight was the song about a friend who had died. It was a compelling song, one that was also about regrets. Even the song's introduction was heartbreaking. At the end of it, he mentioned that he'd never performed the song in public before. That was followed by a breakup song, the first of two, in which he sang, "Why don't you let me let you down easy." The second breakup song was from the woman's perspective, and it featured some great guitar work. That was followed by "Kiss Your Blues Away," a cool song with a strong vocal performance, and featuring some more good stuff on guitar. Ted Russell Kamp joined him on bass for the final song of the set, a cover of "Rainy Night In Georgia," Zachary again delivering excellent work on guitar.

Karman Jeanne And The Fish

Karman Jeanne And The Fish took the stage just after 9:30 p.m., joined by Ally Corbett on fiddle. This was the first time Ally had performed with the duo, but no one would have guessed that had Karman not revealed it, for she sounded right at home with them. They opened with "Free Rocks For Sale," which featured some nice work on fiddle and some especially good vocals. That was followed by a beautiful rendition of "Strange Time," the violin sounding perfect, and Karman playing a couple of percussion instruments. A highlight of the set. Ally then left the stage, and the duo performed "Tell Me Tomorrow," the song featuring some nice harmonies. The line "Only gravity could make us stay" grabs me every time. For anyone outside of Los Angeles, we've been experiencing a heat wave for more than a month. It's not really a wave at this point, though that word is still being used by certain people. In introducing "Come October," Karman asked the crowd who else was looking forward to the cooler weather, when folks can wear sweaters. It seems like a dream at this point. After "Come October," Ted Russell Kamp joined the duo for the rest of the set, starting with "Talking About You" and then a fun rendition of The Everly Brothers' "Gone, Gone, Gone," on which he delivered some nice stuff on bass. Ally Corbett rejoined the group on violin for "Empty Bed," a song featuring a particularly good vocal performance. "I never said I was an angel/And I meant the words I said." This was another of the set's highlights. Ally left the stage again, and the duo wrapped up the set with "What If I Said" and a wonderful rendition of "Take."

Ted Russell Kamp

"We lost one of the greats," Ted Russell Kamp said as he began his set. I was surprised we had gone that far into the night before someone mentioned Dolly Parton. He kicked off the set with a passionate rendition of her "Old Flames Can't Hold A Candle To You." Her light is going to be missed, no question about it, but it felt good hearing a song of hers. Ted played it solo on acoustic guitar. He followed that with a delicious rendition of his own "Hobo Nickel," and then "This Old Guitar," that one featuring an especially strong vocal performance. He then switched from guitar to bass for "Hangin' On Blues," a song from his 2024 album California Son. And when he sang "Trying to make sense of it all," he spoke for all of us. Is there any sense to be made of the world today? Well, that delicious work on bass made plenty of sense to us. He then dedicated "Only A Broken Heart" to "all of my musical friends here." That one too was performed solo on bass. Zachary Ross joined him on acoustic guitar for "Right Down To The Wire," and everything was feeling just right. He stayed for the rest of the set, and Ally Corbett joined Ted also for a really nice rendition of "Path Of Least Resistance." Zachary delivered a good lead on guitar, which was followed by some sweet work on violin. Ted sang just a bit of "Islands In The Stream," which was a big hit for Dolly Parton and Kenny Rogers in 1983, before he delivered a cool rendition of "Eye On The Horizon." He wrapped up the set with "The Good Part," a fun number. For this one, not only did Zachary Ross and Ally Corbett join him, but also Karman Jeanne on backing vocals. "The best is yet to come," Ted sang, and we felt some of that optimism. There was some magic there, to be sure, and the song became a delicious jam.

RJ Chesney

RJ Chesney closed out the night, joined on his set by Zachary Ross on acoustic guitar and Ted Russell Kamp on bass. His short set focused on music from his upcoming release, A Southern Man, and specifically on songs he wrote with Zachary Ross. He kicked the set off with the album's lead track, "Unforgiving Heart," Zachary delivering a nice lead on guitar. After that song, RJ Chesney mentioned the new album coming out in September, and gave us a really good rendition of "Afraid Of The Ball." In introducing "My Heart Is My Home," RJ Chesney mentioned it was based on a poem written before he became a singer/songwriter. And what a beautiful rendition! It was a highlight of the night. That was followed by an excellent rendition of the album's title track, "A Southern Man." Ally Corbett joined him on violin partway through, adding to the song's great appeal. And she stayed for the final song of the set, the final song of the night, Dolly Parton's "Coat Of Many Colors." RJ said that it was the type of song that made him want to become a songwriter. It was a perfect way to wrap up a great night of music. The show ended just after midnight.

Maui Sugar Mill Saloon is located at 18389 Ventura Blvd. in Tarzana, California. The Deep Valley Roots music series is held there on the fourth Wednesday of every month.

The Lucky Ones: "Prodigals And Vagabonds" (2026) CD Review

I got turned on to The Lucky Ones a few years ago when they had a song on the Hank Williams Uncovered tribute double album. On that release, they covered "I'm A Long Gone Daddy," delivering a really fun rendition. A year later, the band was also featured on Uncovering Dylan Volume 4, where they turned in a wonderful rendition of "Just Like Tom Thumb's Blues." The band's contributions to both releases were highlights of those albums. The band's new EP, Prodigals And Vagabonds, gives us a chance to enjoy some of the band's original material. All tracks on this disc were written by Mike Meehan, who also plays bass and guitar, and provides vocals. The band also features Shawn Barron on vocals and acoustic guitar; Josie Bello on accordion and synthesizer; Andrew Friedman on pedal steel guitar; Rich Lanahan on vocals, electric guitar, mandolin and lap steel; and Mike Leuci on drums, acoustic guitar and electric guitar. The album was recorded by Bill Herman. It was mixed by Bill Herman and Mike Leuci. 

The EP opens with "Roadshow," which begins as a pleasant-sounding folk number, with some really nice work on both acoustic guitar and mandolin. Then after the first line, "Roadshow, save my soul," it kicks in, becoming a seriously wonderful country number, featuring excellent work on steel guitar. There is always something appealing about a line like "Fill it up with fuel and keep on moving," though paying for gas these days is less appealing than it used to be. There is a great vibe to this song. If you're a fan of, say, Uncle Tupelo, you're going to love this. And, guess what, this song even mentions Anodyne and No Depression, which surprised and delighted me the first time I listened to this album. And at the end when he again sings the first line, "Roadshow, save my soul," we get the sense that this music itself can help us with that very thing. That's followed by "Absalom," a song that seems to be inspired by William Faulkner's Absalom, Absalom! as well as the biblical storm of Absalom. "I was raised with a troubled mind/Seeking vengeance as it comes/Wayward heart and battle-torn." The song contains a good, steady beat. And while at first, it might seem this song has a laid-back vibe, with its wonderful work on steel guitar, there is actually an interesting intensity to this song. "Comes a day you lay your burden down." Faulkner isn't the only literary source for this song, as it also contains a reference to William Shakespeare's The Second Part Of King Henry The Fourth, quoting King Henry's famous line "Uneasy lies the head that wears a crown" from Act III Scene i. I loved the song even before that, but quoting Shakespeare made me fall deeper in love with it. This is a personal favorite of mine.

There is an uplifting beauty to the instrumental section that opens "All Things Great And Small." I love the accordion work here. This is the track that gives the EP its title. Its first lines are "Prodigals and vagabonds/On the road to Avalon/Answering the call." And the use of Avalon puts us in mind of mythology and magic. Then we find ourselves with musicians on the road. "Soundchecks, endless tours/Lost highway troubadours" and "Accordion, an old tip jar/All things great and small." So perhaps that Avalon was not part of the King Arthur legend after all, but the old Avalon Ballroom or some other venue. Or both. Either way, this music is a piece of paradise. There is a biblical reference here too, in the line "Pride before the fall" (an abbreviated version of "Pride goes before destruction/And a haughty spirit before a fall"). Then "Mercy Of The Storm" establishes a good, solid beat, and features some excellent guitar work that sets the tone. Jesse Meehan plays rhythm guitar on this one. This track also contains a particularly good vocal performance. "Grace in the wilderness/Mercy of the storm." There is some nice backing vocal work as well. This song has a sense of undeterred forward motion, in part because of its rhythm. "Music on the hill/Last fair deal gone down." And that old folk and blues line is repeated, being the final line of the song. The EP concludes with "Counting Every Mile," a track with an especially soulful vocal performance. We hear a need in his voice, in his delivery. "Like a bird on broken wing/Singing his refrain." The guitar work in the middle has a 1960s vibe, which is appealing. This track also contains some nice stuff on accordion. "Fare thee well, my friend/On the other side."

CD Track List

1. Roadshow
2. Absalom
3. All Things Great And Small
4. Mercy Of The Storm
5. Counting Every Mile

Prodigals And Vagabonds was released on CD on July 10, 2026 on Paradiddle Records, though apparently it was released digitally earlier.

Kelly's Lot Returns To The Roar Room, 8-23-26

Kelly's Lot is back in Los Angeles after a tour that took the band up through northern California, Oregon, Washington, Montana and Idaho. And to celebrate the return, the full band, including the horn section, played a few sets at The Roar Room yesterday. It was an early show, starting just after 5 o' clock. "Let's play some music," Kelly Zirbes said, and the band launched into "It Ain't Always." Kicking the show off with a song with a great groove and positive vibes, the horns shining immediately. I am at my most optimistic when listening to music like this, and this band is particularly adept at creating music that makes us feel that humanity still has a good chance of getting on course, of creating a world that benefits all its citizens, not just the rich and greedy. Perry Robertson delivered a cool lead on guitar, and after that song, Kelly began telling the crowd a bit about the tour. Fourteen gigs in sixteen days. That's crazy. She mentioned how by the end of the first gig in San Francisco, where the band had a great crowd, she lost her voice. But fortunately it returned the next day, when they had a show in Reno. "Revolving Door" followed "It Ain't Always." "You tell me that I'm special/Is that what you're telling her?" That song featured a nice lead by Bill Johnston on saxophone. Then "Can't Take My Soul" featured some delicious stuff by Mike Sauer on drums.

In "Just Tell Me The Truth," Kelly asked, "Can we all get along?" It was a question that was asked honestly, a question that has certainly been in the air lately. I'm not sure we can (the evidence seems to indicate it's unlikely). But as far as truth, the saxophone was certainly telling the truth. The truth is heard in music, and perhaps it is for that reason that I've been under the impression that we could get along if we all listened to some good music. It's worth giving it a try, right? This song also featured some cool work on guitar. It was followed by "Aces," another fun number, with some excellent energy and more good stuff from the horn players. And then the band switched gears, delivering a beautiful rendition of "Mama's Blues," featuring an outstanding vocal performance and an equally moving saxophone lead. The band changed gears again with a delightful rendition of "Lock Me Up," the song even having a "cha cha cha" ending. "Boom Boom Boom" featured great leads from Bill on saxophone and Mo Beeks on keys. There were some nice, surprising moments from the horns. Then "Taking Time" included a wonderful lead by Matt McFadden on bass at one point. The band wrapped up the first set with a fun rendition of "Right Now," featuring some great drumming, and Perry letting loose on guitar. The set ended just after 6 o' clock.

It was a short set break. The band was back on stage less than twenty minutes later, with Kelly encouraging everyone, "Some funky blues, baby, come on!" And, indeed, the second set opened with a funky blues gem, "Train." The song had a gloriously funky and fun groove. And when Kelly sang, "It's what I need, it's what I need to do," we all felt that same need. The band jammed on this one, which I loved, and they did not hold back at all. Some wild energy. When they finished the song, it seemed impossible that it was only the first song of the set. Interestingly, it was the only original song of the entire second set. Unusual for a band known mainly for its original material. Kelly talked a bit more about the tour, and then led the band into "Route 66," with Kurt Kassulke joining her on vocals. There was great stuff from both Bill and Gary Bivona on saxophone and trumpet respectively. Kurt remained on stage then for "Mockingbird." The band got into the groove before the vocals came in, and there were some false starts, but that was part of the fun. That song ended with just the bass, which was cool. 

A cover of "These Boots Are Made For Walkin'" followed that, with Kurt again on backing vocals. This was a fun rendition, with a great lead on saxophone and a delicious lead on guitar. During the jam, Kelly left the stage, as she sometimes like to dance with folks in the audience. It was clear that when Perry finished his guitar lead, the band expected Kelly to be back. But then she was at the bar, forcing the band to call to her. That added to the fun of this wonderful, loose version. The song had a particularly delicious ending, especially Mike's work on drums. Who would have guessed that "These Boots Are Made For Walkin'" would be a set highlight? But it was. That was followed by "Faith," the George Michael song, another fun choice, and the last of the songs to feature Kurt on vocals. He and Kelly sounded especially good together on this one. The band wrapped up this relatively short set with a nice rendition of "Walkin' After Midnight." The set ended at 7 o' clock.

Seventeen minutes later the band was back on stage, opening the final set with "Hush Up," with yet another excellent lead on saxophone. That was followed by "Boogie Bus." And I think by then everyone was on board. Mo delivered some very cool work on keys. After a brief discussion about what to do next, Kelly turned to the crowd and said, "Raise your hand if you made a mistake today." Ah, but when I'm enjoying music like this, any mistakes I might have made disappear from my thoughts. The song the band chose was "Reason For The Blues," and it featured some great stuff on bass. Everything was feeling right with the world at that point. That was followed by "Mr. Chairman," with Kelly singing, "I can't get down with nothing but the blues." The whole band was getting down at this show, and in doing so was pulling us up. A good rendition of "Better Way" followed. "Nobody is gonna hurt me again." And then they gave us a fun rendition of Melanie Safka's "Brand New Key," Kelly's great voice supported by just drums at one point. And she delivered a particularly good performance on "Love And Understanding." "Hey, babe, won't you let me in?" Oh, who could deny her? They wrapped up the show with a fantastic version of "Today." How was this song not a huge hit? "And I do what I do/If it helps me get through." This music is what helps, and this song in particular is so effective at pushing troubles and worries away. The show ended just before 8 o' clock.

Set List

Set I

1. It Ain't Always
2. Revolving Door
3. Can't Take My Soul
4. Just Tell Me The Truth
5. Aces
6. Mama's Blues
7. Lock Me Up
8. Boom Boom Boom
9. Taking Time
10. Right Now

Set II

1. Train
2. Route 66
3. Mockingbird
4. These Boots Are Made For Walkin'
5. Faith
6. Walkin' After Midnight

Set III

1. Hush Up
2. Boogie Bus
3. Reason For The Blues
4. Mr. Chairman
5. Better Way
6. Brand New Key
7. Love And Understanding
8. Today

Therapy At The Roar Room is located at 3645 Foothill Blvd. in Glendale, California.

Bill Scorzari: "Sidereal Days (Day 2)" (2026) CD Review

In October of last year, singer and songwriter Bill Scorzari released Sidereal Days (Day 1), an album whose title seemed to promise a second volume. And now he is delivering that second volume. Titled Sidereal Days (Day 2), this new album contains all original material, songs written over many years. Bill Scorzari plays acoustic guitar on all the tracks, and also elecctric guitar, mandolin and banjo on certain tracks. He is joined by Danny Mitchell on piano, organ, flugelhorn and trumpet; Juan Solorzano on electric guitar, slide guitar, baritone guitar and pedal steel; Michael Rinne on upright bass and electric bass; Neilson Hubbard on drums and percussion; Brad Talley on dobro; Eamon McLoughlin on violin; Chelsea McGough on cello; and Joshua Britt on mandolin and mandola. Cindy Richardson Walker, Erin Rae, Marie Lewey and Megan McCormick provide backing vocal work. The album was produced by Bill Scorzari and Neilson Hubbard.

The album opens with "I Know You Know," a song written a decade ago. There is a wonderfully positive attitude heard in the music and in Bill Scorzari's delivery, as in early lines like "Through the mountains and the valleys, on the bridges and the roads/Through the air and through the water, on the rails and in our souls/There's a burning flame desire that takes us to where we belong." And he soon asks, "So, are you good to go to the distance?" And listening to this music, we feel in our hearts that the answer is resounding, "Yes!" Let's go. And with that special someone, we can make it wherever it is we should go, or at least enjoy the journey. Brad Talley delivers some nice work on dobro. I love Danny Mitchell's work on keys, which adds to the spirital thrust of the song. "And how the random things of the universe all seem somehow to be tied/To our joy and our acceptance, just like old friends stoppin' by." This is an excellent song. It is followed by "I Stayed," which has a sweet vibe, created by that pretty guitar work at the beginning, backed by some beautiful pedal steel by Juan Solorzano. "I told you my worries and I said I can't breathe/And I asked you to hurry when you said that you want me." There are some really nice harmony vocals on this song, on lines like "Is that all you can say? Is that all you will do?/Is that always your way? Is it always for you?" This song quickly makes itself at home inside me, and I think it will do the same for many of you. "I was faithful and true to your dreams each day/And I didn't turn and go. I stayed. I stayed." At the end, there is a wonderful section where Bill and Erin Rae take turns singing, "I stayed." Is there anything that sounds better? Is there anything that makes us feel better?

"I Think It's Gonna Rain" makes some interesting use of percussion right at the beginning, leading to the song's opening line, "Storm clouds, I see them rollin' in from one hundred miles away/And I can hear your voice still whisperin' through that wind." Some lyrics are delivered almost as spoken word here, Bill acting as storyteller. This track also features some excellent, intriguing work on strings. The song ends, but the track continues with the sound effects of a storm. As much as I love this song, and I do love it, I wish it just ended when the music ends. As always, the storm sound effects are unnecessary, and detract from, rather than add to, the overall power of the track. Then "It Keeps Me On The Run" contains some really good work on guitar and mandolin. It becomes a surprisingly intriguing song. "They say the devil lies in wait for those who pray/And that heaven is a place where we will all be forgiven someday/Well, I've come here to tell what's on my mind/And I don't care what they say." And when Bill raises his voice, his hold on us tightens. "Someplace, somewhere, out there in this world/Somehow, some way, someday I will find you again, my love." We can hear the need, the determination. This song makes great use of the strings too. It is a fascinating and compelling number.

"Middle Class Middle Child" features some good work on guitar and piano at the start, creating the song's vibe. "I'm a middle class middle child/I was the center of attention for just a little while." I love the way he sings "for just a little while," those words softer, as the result of thoughtful reflection. And after the line "I've spent half my life in the grey between the black and white," the song kicks in with some good, powerful work on drums. Interestingly, the percussion almost immediately disappears again, but then returns for brief spans. "And if you work your life away, you've nothing gained." This song includes some excellent work on pedal steel and strings. In addition to piano, Danny Mitchell plays flugelhorn and trumpet on this one, adding another great layer. I also love the backing vocal work by Marie Lewey and Cindy Richardson Walker. There is some glorious power here. It's an outstanding track, one that should unite us. Then "Open Door" has a gentle, sweet vibe. It touches on that theme that has been haunting many of us in recent days, when Bill sings, "There is no time to waste/Life is short on days and it's time to go." Here we are treated to some nice work on mandolin and dobro. Megan McCormick delivers the harmony vocals on this one, her voice working so well with Bill's. "Just walk through this heart that's broken, this heart that's hopin', this open door."

The opening instrumental section of "Sandcastles Waiting" has a pretty and contemplative vibe. There is something soothing in it too. "When you're lost in that sorrow that we all have to face/When you can't wait 'til tomorrow but you can't get it today." This track features some good work by Juan Solorzano on electric guitar. "Just remember I'm yours and how I love to embrace you/When I breathe I still taste you." At the end he repeats "Please come home," and the final time we hear that line, the backing vocalists deliver it, giving it an ethereal sound. Marie Lewey and Cindy Richardson Walker provide that backing vocal work. That's followed by "So Much To Say On Rainy Days." On this one, Bill Scorzari plays both acoustic guitar and banjo. The banjo helps to set the tone. "And you wonder if it's too late, too late to dream again," he sings near the beginning. And after a brief instrumental section, he echoes, "Dream again, dream again, dream again." An echo, but it also could be heard as a suggestion to those of us listening. Interestingly, like "Sandcastles Waiting," this song ends with a line delivered by the backing vocalists. "Dream again."

"And I don't know just when things will change and then get better," Bill sings in "That's A Good Thing." Many of us are wondering about that now. This song was written in 2016. That was a rough year, to be sure, and things are much worse now. I'm thankful for music reminding us of the better parts of humanity. That's a good thing, indeed. Erin Rae adds some beautiful harmony vocals. Then the first several lines of "There Is A River Now" are delivered a cappella, with backing vocalists Marie Lewey and Cindy Richardson Walker joining Bill. The song kicks in, this one dominated by electric guitar, giving it a different sound. That's some good work too on electric guitar. "Before it turns out we've turned away from turnin' around" is such a great line. And the backing vocals give the song a gospel bent. The album concludes with "Sweet Surrender (Reprise)." "Sweet Surrender" is a song that Bill included on his 2014 album Just The Same, where it also was the final track. He performs it solo on acoustic guitar, an excellent ending to a wonderful album. "No, I'm not angry when I need you, when I miss you, when you're gone/When I can't see your smile, you've just been away too long."

CD Track List

1. I Know You Know
2. I Stayed
3. I Think It's Gonna Rain
4. It Keeps Me On The Run
5. Middle Class Middle Child
6. Open Door
7. Sandcastles Waiting
8. So Much To Say On Rainy Days
9. That's A Good Thing
10. Time Is A River Now
11. Sweet Surrender (Reprise)

Sidereal Days (Day 2) is scheduled to be released on September 25, 2026.

I See Hawks In L.A. Plays Club Tee Gee, 8-18-26

I See Hawks In L.A. is back in town after touring the Pacific Northwest, and last night played a last-minute gig at a place called Club Tee Gee in the Atwater Village section of Los Angeles. It's a venue the band had never played before, though Dan Wistrom had been there with another of his bands. A small room, with what must be one of the largest disco balls ever created. It looked especially big in such an intimate space, in a way dominating the room, at least until the music started. Then, of course, the music was the focus, and that giant ball hanging over everything in the place ceased to matter.

The band opened the first set with "Carbon Dated Love," affectionately referred to as "Fern," with Dan on electric guitar. After that opening number, Rob Waller said, "Well, we're just coming off the road, so maybe we'll do a road song here." The band has a good number of road songs, and the one the guys chose to do then was "Grapevine," a song featuring some nice harmonies. That was followed by "Ohio," or, as we now know it's titled (since it was released as a single), "Get Back To Ohio." It's a fun song, especally for all of us who are from some other place, a place that occasionally beckons us back. And it contained a great rhythm. The band followed that with "White Cross." Oh, the good times suit me just fine, and that's precisely why I drove straight to this show from work in San Pedro. Dan delivered a wonderful lead on guitar. 

It was on "Turn That Airplane Around" that Dan switched from electric guitar to pedal steel. That's pretty deep into the first set before hearing some pedal steel. I'm glad this song has found its way back into rotation. "Well, everybody got a drink?" Rob asked after that one. "Here's a drinking song for you." The band doesn't have nearly as many drinking songs as it does driving songs, and so it wasn't difficult to guess that it would be "Poour Me." a song from the band's 2018 album Live And Never Learn, and another to feature Dan on pedal steel. He switched back to electric guitar then for "Skipping Stones," a song that featured Victoria Jacobs on lead vocals. I know I've mentioned this before, but this song has become a favorite of mine at the band's concerts, in part because of its delicious rhythm. And last night the harmonies at certain points really grabbed me. Paul Marshall then sang lead on his "Truth Is You Lied," delivering an excellent rendition. That was followed by another treat, "Sexy Vacation," a song that was included on Shoulda Been Gold, one with a wonderful energy, and one I hadn't heard them do in a long time. It was so good to see these guys do this one again. They wrapped up the first set with another song that hadn't been played much in recent times, "Yolo County Airport," from the Hallowed Ground album. I love that the band is bringing back some old gems. This song was a lot of fun, and featured great harmonies. The first set ended at 9:36 p.m.

At 10 o' clock, the band was back for the second set, Rob acknowledging the crowd as being those special late-night weekday denizens, unusual creatures, especially in this city. The set began with "Hope Against Hope," featuring some nice work on pedal steel, as well as some fantastic stuff  by Paul on bass, especially leading to that jam toward the end. "This is a country night, so let's do a Willie Nelson song," Rob said, referring to the fact that the music series at the venue is called Two Step Tuesdays, focusing on country. The Willie Nelson song was "Me And Paul," the band giving us a really good rendition, with Dan on pedal steel. Then we were treated to a new song. Titled "Turtle Song," it was apparently debuted by the band on the recent tour. It was a sweet-sounding number, one I hope will find its way into regular rotation. "That's largely a true story," Rob said afterward. This was a special night, and the band followed the new song with one that hasn't been played a lot in recent years, "Open Door," another song from Hallowed Ground, and this time with Victoria on lead vocals. She delivered an exceptional vocal performance on this song, making it another highlight of the show. It was an excellent rendition.

Paul Marshall then delivered his absolutely delightful "Talking To The Dog," a song I first saw him perform solo down at Unurban a while back. I'm thrilled that this song has become part of the I See Hawks In L.A. repertoire. "He likes my brand new song." Indeed! So do we. That was followed by "Raised By Hippies," featuring some nice work on pedal steel. I always love the sweet vocal work at the end of that song. And then we were treated to an especially good rendition of "If You Lead I Will Follow," a song from New Kind Of Lonely. This is one of my favorite Hawks songs, and last night's rendition was absolutely beautiful. And the line "Shake off the dust from the day" stood out for me after a work day when the wind was blowing the San Pedro sand around. This was one of those magic moments that keep me coming back for show after show. And I was glad to find I wasn't the only one who recognized how special this song was last night. It was followed by a good version of "Live And Never Learn," and then "California Country." It seemed that Victoria was giving it a little something extra on hi-hat at the beginning, which was wonderful. "Only now I understand/That I could never leave this land/I'm a California man." Ah, I hope I don't have to leave this land. This song featured an excellent lead by Dan on guitar. The band wrapped things up with "Good And Foolish Times," and for perhaps the time first ever, the line "Underneath the disco lights" stood out, as we suddenly remembered we were gathered under the biggest disco ball. The crowd was dancing, enjoying these good and foolish times, and the band did the extended ending. The show ended just before 11 o' clock.

Set List

Set I

1. Carbon Dated Love
2. Grapevine
3. Get Back To Ohio
4. White Cross
5. Turn That Airplane Around
6. Poour Me
7. Skipping Stones
8. Truth Is You Lied
9. Sexy Vacation
10. Yolo County Airport

Set II

1. Hope Against Hope
2. Me And Paul
3. Turtle Song
4. Open Door
5. Talking To The Dog
6. Raised By Hippies
7. If You Lead I Will Follow
8. Live And Never Learn
9. California Country
10. Good And Foolish Times

Club Tee Gee is located at 3210 Glendale Blvd. in Los Angeles, California.