The Mike Williamson Band, The Furys and The Glimmer Stars at Maui Sugar Mill Saloon, 11-7-26

The Furys

The Maui Sugar Mill Saloon has become one of my favorite venues for music. It has the vibe of a neighborhood bar, the sort of place where you get to know, or at least recognize, most of the folks who show up. But it's like a neighborhood bar if everyone in the neighborhood was a talented musician, for musicians who play there make up a good portion of the audience even when they're not playing. And the sound is good. Sure, it gets a little loud whenever Pat Todd is on the bill, but it's the kind of place where you can understand the lyrics, where the vocals are not drowned out by the guitars. And that's important for people like me, people who love music. And this venue is home to a lot of great music. Last night The Furys returned to the Maui Sugar Mill Saloon to rock the crowd with some delicious, high-energy music, aided in that endeavor by The Mike Williamson Band and The Glimmer Stars. An excellent lineup, though I suppose by now we've come to expect such great bills at this place.

The Mike Williamson Band

The Mike Williamson Band was up first, taking the stage just after nine o'clock. "Hey, we're The Mike Williamson Band," Mike announced. And that was all the introduction that was needed, before drummer Tim Jimenez got things rolling, the band kicking off the set with "Mascara,"  a seriously fun rock and roll song. It's a song that was released a few years ago by The Paper Hearts (Mike was sporting a Paper Hearts shirt under his jacket last night). That was followed by "Bloodshot Eyes," which featured some fantastic drumming. Mike thanked the crowd for coming out, and before starting "Around The Block," gave a shout-out to The Glimmer Stars. As the song began, Mini Mendez jokingly called out, "Is this a cover?" The song was written by Mike Williamson and included on his 2022 self-titled album, but has been performed often by Lights Out Levine. And on at least one occasion, Mini Mendez and Jon Levy performed it with Mike Williamson. Anyway, it's a totally delicious rock song, and last night it was particularly fun. "Heart Turned Black" followed, with some really good work on guitar and a tremendous energy. This song has a great driving force.

"Here For The Summer" had that wonderful summer thing happening, that fleeting sense of wonder that reminds us of our youth. And, if you're like me, that feeling is completely tied to music anyway. Then "Trail Of Our Dead" had a more serious vibe. I loved those moments when Tim was keeping time on the floor tom. That was followed by "Pale Flower," and if "Jessica says it will be all right," then you know it will be all right. "Western Skies" is a song that was included on the 2022 album, and as it began last night, it received cheers from several folks in the audience who recognized it from the first notes. Rick Johnson delivered some very cool work on bass. "I need to hear your voice again." That was followed by "Sundown," Mike mentioning in the song's introduction that it's one he plays with The Paper Hearts sometimes. This was another song to feature some excellent drumming, the beat being the heart of this number. The song rocked with the joy of early rock and roll. "Back To You" was introduced as "a newer one." Again, the music was fun, just the sort of thing we need. Mike switched guitars for the final number of the set, "Missouri To The Golden State," a good, solid rock song with some great stuff on guitar to wrap up the set.

The Furys

The Furys didn't bother with any introduction whatsoever, just went straight into the music, straight into the heart of things with "ICUCMECU," with a beat that could cut through any nonsense that gets in the way. The band was rocking right from the start, and the song included some excellent guitar work from John DiMambro and Cliff Roman. And then the energy of "Wicked White" was just exactly right, music so good that the entire world seemed okay, no matter the messages received. That was followed by "Hey Girl, Goodbye," which featured some really nice stuff by Dave Lewty on bass, plus some great drumming by Paolo Dell'Olio. And what a vocal performance from Jeff Wolfe! "Ghosts Of Princes In Towers" began with a delicious, solid beat. And, again, the music had such a great feel about it, the kind of sound that seems to play throughout your entire body. "Without You" came on fast and fierce, with a pop-punk joy and energy. And has Jeff's voice ever been better? I don't know, but he was sounding fantastic last night. Everything was working for this band. They were at the top of their game. 

Jeff introduced "New Wave Girl" as being a song about his wife, and playfully encouraged folks to see him after the show if they wanted to hear the whole story. I don't know if anyone took him up on it, but I know everyone was enjoying the song. There was a wonderful vibe to it. Music is what makes this whole existence seem right, you know? That was followed by "Waiting For Surrender," which had a strong bass line, the bass being at the heart of that song. Then "Tightrope Walking" came on with an undeniable power, while "Sweet Connection" had a delicious pop joy to its sound. The guys wrapped up the set with "Say Goodbye To The Black Sheep," a song from early in the band's career. It was released as a single in 1978. The song's power and great appeal seem to have only grown stronger over the years, this one delivered with a sort of furious joy, if that makes sense. It was a phenomenal set. If you missed it, you have another chance to catch the band soon. The next show is December 12th at Redwood Bar and Grill, on a bill that also includes Drool Brothers and Neverland Ranch Davidians.

The Glimmer Stars

The final set last night was by The Glimmer Stars, guitarist Steven Soto greeting the crowd playfully, "Tarzana, get it on." Mini Mendez, sporting a Furys T-shirt, added, "Good evening, and thank you for sticking around." As did the other two bands, these guys opened with a bang, with a great rock song. In their case it was "Better Day," and they seemed to be rocking even harder than usual on it. "I took the California blues just as far as I could take it." Ah yes, but each time, these guys take it a little farther. That song led straight into "I Need It Now," and this one too seemed to have more power than usual. The band was clearly determined to rock the room, to end this great night with an energy that was fitting with everything that had come before. They were on fire as they ripped into "Pictures Of You." Jeff, by the way, from the audience called to Mini, "Nice shirt." The band then delivered perhaps the best version of "If I Only Could" that I've heard. It was a lot of fun, featuring some great drumming by Richie Mendez. Then "Dreaming Where You Are" featured some cool stuff on guitar.

Steven introduced the band, then mentioned that there's a video out for the next song. Mini joked, "And I'm still learning the song." The song, "Autumn Girl," was another fun one. It was followed by "Maybe," one of my personal favorites, a song from the band's newest album, Someday's A Long Time. They then gave us a seriously fun rendition of "Alley Cat," followed by "One Glorious Moment," which come on with a glorious force. And when Mini Mendez introduced "Paulina" as being about a girl, a lot of folks in the audience shouted back, "They're all about a girl." The song had a delicious punk energy, and led straight into "I Want You" to close out the set. That one too featured some excellent drumming. The audience wanted more, and the band had ripped through the set with such speed that there was plenty of time for an encore, as Nubs at the soundboard pointed out. And so The Glimmer Stars gave us a really good cover of the Tommy James And The Shondells hit "I Think We're Alone Now." "Thanks for putting up with that one," they joked at the end. The show ended at 11:38 p.m.

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

Carla Olson: "For Pete's Sake" (2026) CD Review

Pete Brown is known for co-writing several of Cream's best songs, including "Sunshine Of Your Love," "White Room," "SWLABR," "Politician" and "I Feel Free." And he was known as a poet before collaborating with Jack Bruce. Carla Olson, who has collaborated with Gene Clark and Mick Taylor (among many others) began writing with him in 2019, and she actually details some of their process in the liner notes of her new album, For Pete's Sake, an album featuring lyrics by Pete Brown. He would send her a set of lyrics, and she would send back a demo, and they'd proceed from there. Things then got weird when the pandemic changed the world and particularly the music scene. Carla Olson was fairly busy soon after that initial round, working on Americana Railroad and Ladies Sing Lightfoot. And then in 2023, the year that Carla Olson produced Robert Waller's See The Big Man Cry, Pete Brown died. As Carla mentions in the liner notes, she was determined to get proper recordings of all these songs. And those recordings make up For Pete's Sake. Joining her on this album are Joe Read on guitar, bass and organ; Todd Wolfe on guitar and dobro; Mikal Reid on guitar, bass, harpsichord, organ and percussion; and Ben Lecourt on drums and vibes. Tom Jr. Morgan provides the horns and also plays piano. There are also special guests on various tracks. And the album features a second version of "With My Black Cat By My Side," this one coming from Pete Brown's own The Shadow Club album, and featuring Carla Olson on backing vocals.

The album opens with "Education," which, as Carla Olson mentions in the liner notes, was the first set of lyrics that Pete Brown sent her. It has a groovy, bluesy rock vibe, and features the horns. "I sure didn't know a whole lot 'til the time we collided" is certainly a good first line for an album that is a collaborative effort. There is a full, vibrant sound. Rick Hemmert plays drums on this one. And I love the guitar work, particularly at the end. "You were my education/So much information." The album's second track, "Careless Dancing," was also the second set of lyrics that Pete Brown sent Carla Olson. There's a cool, kind of jazzy vibe to this one. It has me right from its first lines: "One night we danced/Right over a cliff." I love how the first line makes us believe things are going in one direction, and how that changes completely with the second line, a nice surprise early on that grabs us. This one also features some strong guitar work. Jake Carmona is on percussion.

"With My Black Cat By My Side" is the song that Pete Brown included on his own album. There are two versions of the song included on this disc, the first being the Carla Olson recording. It has a wonderful, welcoming feel. "Sometimes I don't do so well/But I always keep on tryin'/Even when the world is hell/I can barely stop the slide." Those opening lines are ones I bet we can all relate to, and Carla gives a tremendous vocal performance here. Skip Edwards joins her on organ and piano on this track, delivering some great work. This track also features some good drumming. "I always want to believe/The future promised paradise/But there's no tricks left up my sleeve/Down here hoping for a ride." Then "Read Me My Rights" comes on strong. "All my good words had become bad lies/My loves were turning into hates." There is a great energy and power to this song, especially to Carla's vocals. This track also contains some really nice stuff on keys, and an excellent bass line. "I was living down among the wrecks."

A more easygoing groove is established with "Racing Against The Sand," and Carla's voice seems to speak for all of us as she begins, "Searching for something, I'm not sure/Something clean and something pure/Been around the world so many times." This track builds in power as she sings, "It's a race against skies/That are falling down." This one features the horns, and it is ultimately a positive number, lifting us up together. It is one of my favorites. "I'm still in the band/Hear me scream and shout." And I love what Carla does vocally on "You Heard Me." Just listen to the way she delivers a line like "This is no way to drive a train." Can't you feel her attitude coursing through your own blood? This is a fantastic track, in large part because of her vocal work. And check out these lines: "There's avenues that we hoped to explore/Before yesterday became the law/And they closed the door." There is some good work on guitar too. Victor Bisette (who plays on my favorite Los Lobos album, Kiko) plays drums on this one. It is another of the album's highlights.

There is a gentler vibe to "Don't Leave Your Love Behind" as it starts. There is a beauty to this one, even as it grows in power. "You've been lost to me for so long/All those hard roads you have traveled on/Fighting through all that wilderness/Times you won, and times that led to less."  I love the guitar lead toward the end. That's followed by "Lost And Found In Lockdown." This one features lyrics written by Carla Olson, with music by Joe Read. It's a song about the time of the pandemic, the time when they were working on the songs of this album. I know I've said this before, but I hope someone writes a comprehensive book about the music that came out of the pandemic. "Lost and found in lockdown/Thankful for my friends/All of us in the sinking boat/Kindred spirits 'til the end." This one has its own special beauty.

Carla Olson then changes gears with "Nine Lives," which has a wonderfully raw and intimate feel, a slower number, delivered on vocals and guitar, though at first with no lyrics, but rather some humming. Then in the second half, Carla sings, "Black cat, black cat," and we realize it's a riff on "With My Black Cat By My Side." It's like we're privy to her working out that song. So if you count this track as another take on "With My Black Cat By My Side," then there are three versions of the song included here. The album concludes with the other version of "With My Black Cat By My Side," this one from Pete Brown's album, with him on lead vocals. In addition to Carla Olson on backing vocals, Pete Brown is supported by John Donaldson on keyboards, Clem Clempson (of Humble Pie) on guitar, Malcolm Bruce on bass, Richard Bailey (who has played with Jeff Beck and Steve Winwood) on drums, Graeme Flowers on trumpet, Alan Barnes on saxophone and Greg Heath on saxophone. Chantelle Duncan, Helen Hardy and Jackie Rawe also provide backing vocal work. I'm glad this track is included here, though it is making me realize I need to get myself a copy of The Shadow Club.

CD Track List

1. Education
2. Careless Dancing
3. With My Black Cat By My Side
4. Read Me My Rights
5. Racing Against The Sand
6. You Heard Me
7. Don't Leave Your Love Behind
8. Lost And Found In Lockdown
9. Nine Lives
10. With My Black Cat By My Side

For Pete's Sake is scheduled to be released on November 13, 2026 on Sunset Blvd. Records.

Mike Bloomfield: "Dark Road Blues: Santa Cruz 1981" (2026) CD Review

Mike Bloomfield is known for his work in The Paul Butterfield Blues Band and Electric Flag in the 1960s, and for playing on Bob Dylan's Highway 61 Revisited album, as well as for his subsequent solo career. In 2012, he was inducted into the Blues Hall of Fame (the same year that Lazy Lester and Furry Lewis got in), and in 2015 he was also inducted into the Rock And Roll Hall of Fame (as a member of The Paul Butterfield Blues Band). He died in February of 1981, at the age of 37, apparently from an overdose. His final recorded concert performance was just two weeks earlier, at The Catalyst in Santa Cruz, California (there were a couple more shows after this one, but no known recordings of those shows exist). That concert, held on January 31st, has now been released on CD as Dark Road Blues: Santa Cruz 1981. This show was a solo performance, with Mike Bloomfield playing both acoustic guitar and piano.

The album opens with a cover of "Dark Road Blues," with Mike Bloomfield playfully singing "I got loaded last night/Then I pissed on the floor/Brushed it up with my toothbrush/Don't brush my teeth much anymore" at the beginning. Then he gets into the main body of the song. He delivers this one on piano. There is a wonderfully loose feel to this song, and I love when his voice falls nearly into a growl at certain key points. "I ain't going down the dark road by myself." Mike Bloomfield is known for his guitar work, but here he shows his skills on piano. And he delivers some seriously cool stuff on piano on "Mean Mistreater Mama," easing into it with that wonderful piano introduction, and coming in on vocals after a minute or so. He gives us a delicious performance, both vocally and on the keys. "Do you remember, mama/I knocked upon your door/You had the nerve to tell me, baby/You didn't want me no more/Do you remember." Those lines are a key moment of the song, Mike's delivery heartfelt and moving. Soon after that, he moves into a piano solo. This is one of my personal favorite tracks.

With "I Don't Know," it is clear Mike is now he's having fun. "Sometimes I wish my true love was gone/She said, You shouldn't say that/I said, What shall I say this time, baby." He gives a tremendous performance. It must have been something to see him in concert. Chris Morris, in the liner notes for this release, writes, "In early '81, it appeared that Mike Bloomfield was again on the ascendant." Indeed! And it makes me wonder what he could have done over the next several years if he'd had that time. After "I Don't Know," Mike announces he's going to do one more song on the piano. That song is a very cool rendition of "Nobody Knows You When You're Down And Out," and here too he gets into the vibe on piano before starting the vocals. This is an especially remarkable vocal performance. Just listen to the way he delivers the lines, "When did I begin to fall so low/I didn't have no money/And no place to go." We can feel every syllable. This is coming from the heart, coming from experience. What a performance! There is a bit of popping right near the end, but it might be from him bumping into the microphone. At any rate, this track is a highlight of the album.

Mike Bloomfield then switches to guitar for the rest of the set, beginning with a delicious rendition of "Kansas City Blues," which has a great classic blues feel. He's grooving within this number, and the results are wonderful. He then covers Jimmie Rodgers' "T.B. Blues." The guitar work at the beginning is interesting, for he seems to be trying various different things before settling into a nice, slow groove. "I think my baby is trying to make a fool of me." Mike doesn't quite do the yodeling thing that Jimmie Rodgers did, but does something approaching it, which actually has a pretty sound. There is a bit of popping toward the end of this track. That's followed by "Country Mechanic," a song written by Nick Gravenites, a fellow member of Electric Flag (and who also played in Big Brother And The Holding Company after Janis Joplin had left). This is a particularly playful number, with lines like "Gonna mess around with your engine" and "All I want is to get my dipstick/I will fool around, baby, in your oil." This is such a cool set. According to the liner notes, this was the opening set of the show, Mike Bloomfield supporting Sir Douglas Quintet. What an opening set!

Mike then tackles the traditional folk number "Frankie & Johnny," delivering wonderful guitar work that receives some cheers from the audience. This track is a delight, in large part because of his guitar work, but also because of his vocal delivery. He gets softer as he repeats "She said bye, bye-bye," and it seems like maybe he's doing his own fade-out at one point. But really he's just drawing us all in closer. That's followed by a medley of "Fool For A Cigarette" and "Feelin' Good." Ry Cooder had played that combination on his 1974 record Paradise And Lunch. It begins with some cool guitar work. He sings, "Lord, I'm a fool for a glass of wine/And when I finish drinking/That's when I begin stinking," and then, "If I was a wino/I tell you just what I'd do/I would put my bottle away/Baby, just to feel good with you." He wraps up the set with Robert Johnson's "Come On In My Kitchen," introducing it as "one of my favorite slow blueses." His rendition is so damn cool. Someone in the audience reacts, letting loose a wild cheer, which makes Mike laugh. But he doesn't miss a step. This is an excellent rendition to conclude the disc.

CD Track List

1. Dark Road Blues
2. Mean Mistreater Mama
3. I Don't Know
4. Nobody Knows You When You're Down And Out
5. Kansas City Blues
6. T.B. Blues
7. Country Mechanic
8. Frankie & Johnny
9. Fool For A Cigarette/Feelin' Good
10. Come On In My Kitchen

Dark Road Blues: Santa Cruz 1981 was released on CD on October 9, 2026 through Liberation Hall. There was also a special vinyl edition released.

Joey Stuckey: "King Of Strings" (2026) CD Review

Respected singer, guitarist, songwriter and producer Joey Stuckey died from a heart attack on October 17th, at the age of 53, while on tour in Madison, Wisconsin. The next week, his new EP, King Of Strings, was released. The EP was recorded in just one day in June at Les Paul Studio in Los Angeles, and Joey Stuckey was the first artist to record there. The EP features Dusty Wakeman on bass, and David Raven on drums.

The disc opens with "Temple In The Wind," a song with a strong energy, particularly to Joey's vocal work, and some catchy guitar work. It was released as the EP's first single. "You are my heart/You're my temple in the wind," Joey sings here. We all need that sort of sanctuary, a place where we feel safe. And if it can be in the arms of a special person, all the better. Yes, it's a love song. There is a cool lead on guitar in the second half. And, as won't come as any surprise, this track features good work by both Dusty Wakeman and David Raven. There is a false ending, and then after the guitar leads us back into the song, Joey sings, "Making my way to a better place." Then "Born To Be Your Toy" has a harder blues rock sound, featuring some serious guitar work, a guitar that means business. And a powerful vocal performance. "You're made of stone, I'm made of mud/You're every curse ever known to man/I should be running as fast as I can." This is an older song, co-written by Charlie Hoskyns (of The Popes), who died in 2017, and a version of it was released as a single in 2020. "You win again/I was born to be your toy." Not a good relationship, obviously, but sometimes we can't help us ourselves and it feels strangely good to give in, to lose. "You have the power, I have none."

"King Of Strings," the EP's title track, is a song about Les Paul himself, though apparently there was an earlier version of this song written for Duane Allman. The song mentions, "'Smoke Rings' by Les Paul and Mary Ford/Hanging on every word." And soon, Joey sings, "King of strings/Master of melody/Crafter of tunes/Such sweet harmony/Taken too soon/From this reality/The king of strings." The lines "Taken too soon/From this reality" apply much more to Joey Stuckey than they do to Les Paul, who was 94 when he died (and they apply to Duane Allman, who was only 24). There are moments when Joey's vocal approach reminds me a bit of Van Morrison. The title track is followed by "Hertsmere Blues," a totally delicious blues number that opens with some wonderful guitar work. "Can't live without you, baby/Without you, nothing is the same," he sings, with a great ache and passion in his voice. There is nearly a howl in his voice when he contemplates life without this woman's love. There is something primal here, which we completely understand. Who could stand a minute of this world without that special person?  "Now listen, I'm going to talk to you," he says nearly halfway through the track. But it is his guitar that does all the talking then, and so eloquently. I'm digging that guitar lead, delivered over a solid rhythm. Here he stretches out a bit, making this track stand out.

"Baby Don't" is a song with a classic rock and roll sound and flavor, as well as a playful sense, a sense of humor. "Baby, I want to believe you/But I don't/Every time you say you will/Baby, you just don't." You can hear the humor in his voice, in his performance. "All the lies you're telling/They are so innovative." And, yeah, there is some damned good work on guitar here too. The disc concludes with a cover of Cream's "Sunshine Of Your Love." Yup, a trio covering another trio. This was the song that turned me onto Cream when I was a kid, and I have a soft spot for it. Here the band gets heavy. Joey's guitar lead in the middle is what makes this rendition special.

CD Track List

1. Temple In The Wind
2. Born To Be Your Toy
3. King Of Strings
4. Hertsmere Blues
5. Baby Don't
6. Sunshine Of Your Love

King Of Strings was released on October 23, 2026 on Senate Records.

Richie Lawrence: "Moving At The Speed Of Trees" (2025) CD Review

What makes the Los Angeles music scene so special? Well, it's the work of people like Richie Lawrence, a musician who is able to play with a variety of artists, always adding just the right element, the sort of thing you might not realize was missing until you heard him play it. A member of Rotondi and The Underthings, and playing with artists like Ray Bonneville and I See Hawks In L.A.,  Richie Lawrence is one of those incredibly talented musicians who is at home in whatever musical realm he finds himself. In addition to playing with a variety of artists, he has a solo career, releasing worthy albums like Melancholy Waltz, Water, and Rue Sanxay. His most recent solo album, Moving At The Speed Of Trees, released last year, features mostly original material, written or co-written by Richie Lawrence. The album's title, of course, reminds me of Ellis Paul's "The Speed Of Trees," which has the line "Your love makes me move at the speed of trees." There is a lot of love in this city for Richie Lawrence. Just check out the musicians who join him on this album. Folks like Rick Shea, Tony Gilkyson, Rob Waller, Paul Marshall, Victoria Jacobs, Shawn Nourse, Katie Thomas, Stefanie Naifeh, Simeon Pillich, Dave Zirbel and Giorgi Khokhobashvili. That is quite a bit of talent assembled for this disc. The album is dedicated to Paul Lacques, who was going to co-produce it with Richie. Richie Lawrence revisits a couple of songs that he wrote with Paul Lacques, songs previously recorded by Rotondi and Goin' South Band.

It is a treat to get to hear Richie Lawrence sing lead, as he does on the album's opening track, " On The Boat." Check out these lyrics: "As I leave my only home, I think of you and me/Your broken heart, love torn apart, a child upon the way/I'd rather seal my heart than steal another day/Take what's mine and stow myself away." This line also stands out: "We shared a type of loneliness that strangers sometimes do." He gives us a touching, tender vocal performance. Richie delivers some nice work on piano too. Shawn Nourse (who used to be a member of I See Hawks In L.A., and is known for his work with Dwight Yoakam) plays drums on this one, and Simeon Pillich (of The Underthings) is on acoustic bass. Then Katie Thomas takes over lead vocal duties on "Isla," her vocal approach having a wonderful, dreamy quality. On this track, Richie plays both piano and accordion. He delivers an excellent lead on piano in the middle, as well as some wonderful work on accordion. Shawn Nourse and Simeon Pillich play on this track as well. "You're not alone/Go find her now/Where did you leave her/Down by the river/Girl of your dreams." This song was written by Richie Lawrence and Katie Thomas.

Giorgi Khokhobashvili plays violin on "Life Long Lived," that instrument playing a prominent role right from the beginning. And on this song, which is about a woman turning one hundred, Katie Thomas joins her voice with Richie's. "One hundred years/Industrial to digital/Cars to Mars/Wars never ending." In just a few words, they've perfectly described humanity's "progress." The only time I am optimistic about humanity is when I'm listening to good music. Things change, but humanity remains the same. That violin lead in the second half has much to say about this life, this world. That is some wonderful work by Giorgi Knokhobashvili. Then some really nice work by Dave Zirbel on pedal steel helps set the tone at the beginning of "Oh Me Oh My" (you might know Dave Zirbel from his work with Phil Lesh & Friends). This song was written by Richie Lawrence and Rob Waller, and it is Rob who sings lead on it. You know him from I See Hawks In L.A. (and if you don't, please do yourself a favor, and dig into that band's work). This is a song about a couple, and actually about a specific couple, Richie and Katie. This one line tells us so much: "He overheard her laughing, she was drawn to his mournful sound." And speaking of the Hawks, Paul Marshall plays bass on this track, and provides some backing vocal work. There is something delightful about this song, particularly its chorus. "She came to paint his music, he found her in a song." Isn't that an interesting line? How do we find each other? Is it in our own worlds that we find that special someone?

"Big Fun" is a total delight, a fun and playful number. We know it right away because of Richie's work on piano in that opening section. Rick Shea delivers some excellent work on electric guitar, Paul Marshall gives us a wonderful bass line, and Victoria Jacobs keeps things hopping on drums. Katie and Richie blend their voices again on this song. "Do you ever wonder, this cloud I'm under/Can't you hear the thunder in my brain/I've got some real dreams, some clear blue sky dreams/I want to make my dreams come true." Ah, yes, dreams to push the storms away. And then they ask, "Why can't I feel good/Not quite as good as I could/Why can't I feel real good with you?" This is one of my personal favorites. It's followed by another of the album's highlights, "Leaving You," one of the songs co-written by Paul Lacques (with Richie Lawrence and Robin Ginsburg). It was recorded by Rotondi, and included on that band's great Preaching + Confessing album. It was also one of the songs played at the special celebration of Paul's life and music held at McCabe's back in April 2024. Katie Thomas does a tremendous job singing lead on it, and Victoria Jacobs provides beautiful harmony vocals. Rick Shea delivers some delicious work on mandolin, that work really helping to create the delightful vibe of the track. There is also some excellent work on accordion. "Oo-wee-oo heaven so blue as I/Oo-wee-oo leaving you/Heaven so blue somewhere above the clouds/I will love you way up above the clouds." 

The sound turns darker, more somber with "The Poetry Of Lust," the vibe established with that compelling work on piano that begins the track. Tony Gilkyson plays electric guitar on this one. The song soon it becomes a strange dance just as the vocals come in. "No words spoken as eyes connect/Enveloped by your rhythmic scent/An instant recognition/Falling to submission/I should go." Stefanie Naifeh (of The Underthings) joins Richie Lawrence on vocals on this track. This one becomes a great, dark jam, featuring fantastic guitar work. Then "InFable" has a snappy groove and features some nice work on both piano and bass. Here Richie turns in one of the album's best vocal performances. "Can't you hear the sound of greed/Seeds breed bloody money." There is a great, jazzy vibe. I'm totally digging this track, especially Richie's work on piano, even before that delicious lead in the second half. This track also boasts some cool work on drums. This song's final line provides the album with its title.

The album's sole cover is "Lone Freighter's Wail," a song written by Ray Bonneville, included on his 2014 album Easy Gone. Dave Zirbel plays pedal steel on this track, delivering some excellent work. Katie sings lead on this one, with Richie and Katie singing together on the chorus. This is a beautiful rendition, and it ends with some pretty work on piano. It's followed by "The Wonderful Waltz," the album's other song co-written by Paul Lacques. This song was originally included on the Goin' South Band album Home In My Heart, and is another of the songs that was played at that celebration of Paul Lacques' life and music at McCabe's in April 2024. Richie Lawrence delivers a sweet, beautiful rendition, his voice blending so nicely with Katie's. Victoria Jacobs plays drums on this track, and Paul Marshall is on bass. "The day will come for which there is no tomorrow/And everyone's dreams will return to the scene of that evening/Home from the fields with the sun and the moon in the weary sky/Later that evening we'd all do a wonderful waltz/The wonderful waltz."

"Emily Dickinson" is a pretty piano instrumental, the only instrumental track on the album. There is a welcoming vibe to it as it begins, and then it seems to take us into collective memory, where things aren't always easy, and where there is still a sense of loneliness. The album then concludes with "I Believe In You." This song is also a solo performance by Richie Lawrence, this one finding him on vocals as well as piano. He delivers a moving, passionate performance, making this track stand out. "And spirit soars through love/And love is never bound by pain/Only time will tell your fate in this/A world adverse to truth."

CD Track List

1. On The Boat
2. Isla
3. Life Long Lived
4. Oh Me Oh My
5. Big Fun
6. Leaving You
7. The Poetry Of Lust
8. InFable
9. Lone Freighter's Wail
10. The Wonderful Waltz
11. Emily Dickinson
12. I Believe In You

Moving At The Speed Of Trees was released on March 21, 2025.

Mike Berman: "In The Woods" (2026) CD Review

Last year singer and songwriter Mike Berman put out two excellent discs - a full-length album titled Ghosts, and an EP titled In La Ciudad. Both were produced by Ed Tree. Now he has a new full-length album coming out. Titled In The Woods, it too was produced by Ed Tree, who plays several instruments on it, including bass, electric guitar, slide guitar, harmonium, Mellotron and synthesizer. Mike Berman plays acoustic guitar, 12-string electric guitar, harmonica, piano and synthesizer. Also joining Mike on this one are Elissa Barron on backing vocals, Conor Sisk on drums, Scott Babcock on drums, Marty Axelrod on piano and organ, Steve Nelson on upright bass, Mark Indictor on violin, and Richard Dodd on cello. The songs are mostly originals, written or co-written by Mike Berman, along with one really good cover.

The strings make their presence appreciated right from the beginning of the album's first track, "Honey That Was Me." This is the song that gives the album its title, with the lines "It was me in the woods keeping watch through the night/It was me softly calling in the moon's sacred light/And all those things you love and fear, hiding in the trees/All that time it wasn't what you thought, honey, that was me." There is a sweet beauty to this song, and a comforting vibe. Yet simultaneously, under that, there is something perhaps disturbing in the lyrics, in someone being watched without knowing, and with a phrase like "a hunter looking for his game" with its hints of danger and violence. The song could be taken as a strange sort of confession from a person who fancies himself a guardian angel, and perhaps is. Mike Berman's voice is one we naturally trust, and that is perhaps why the song can be unsettling. Don't they say it's the person you'd least expect? The strings are present from the beginning of "Hospital For The Brokenhearted" too, some wonderful work on cello. This track features nice work on guitar too, and a gentle vocal approach. A voice that is soothing, yet with an ache. It's like an ache that he tries to heal with the song itself. "In the garden the sun is shining/On the wounded ones wandering through/So come on down to the hospital/Maybe I'll see you." I also love these lines: "Doctors stare with tired eyes/Their hearts have all been broken too." Ah, can the broken heal the broken? Maybe only they can. This song is welcoming, welcoming all of us. Mike Berman's voice is perfect for that. This song was released as a single in September.

"Hold Back The Sea" was also released as a single, this one in August. There is a stronger energy to this one, with some excellent work on electric guitar and a steady drum beat. "Because there's no holding back the sea/The works we build are washed away, we can't stop the waves, you and me/No matter how we dig, the walls we raise, the lines we rig, it's all futility/There's nothing that will hold back the sea." Now those are some lines we can relate to, lines we can appreciate, lines that seem to perfectly capture our feelings of this time, and Mike's delivery has more power. I love that those lines work both literally and figuratively. This is a compelling number. And isn't there something oddly comforting in the knowledge that nature will win in the end? I love Elissa Barron's backing vocals near the end. Then some pretty guitar work opens "Coop The Hawk," accompanied by some moving work on strings. This song, about a hawk here in the city (which of course makes me think of the band I See Hawks In L.A.), has a wonderful folk vibe. "The noise and rumble from the freeway nearby/Sometimes seems to grind at me/Still Coop flies high in the breeze blowing by/And I'm standing by his favorite tree." Adding to the delightful, sweet vibe of this song is a little whistling following those lines. There is something appealing in watching a bird soaring above us in the city. And, if the world stops for just a moment, we can feel ourselves up there with the bird. This song has that feeling, reaching up with our hearts.

The jangly guitar work at the beginning of "Get Me 'Cross The River" sets a certain tone, creates a certain flavor, touching upon another time. "My wallet can't afford the ocean" is a line that stands out to me, making me think of those days when I decided not to go to the beach because parking costs too much. And speaking of parking, here are other lines that catch my ear: "Stockton in spring is not too bad/If there's a place for me to park." But my absolute favorite lines from this song are these: "Your heart's a mystery/And the clues are hide to find/Would you explain this plot to me/Say you want me/And I'll turn this van around." This song was written by Debora Ewing, Mike Berman and Elissa Barron. It's followed by "A Willing Mind." I love the opening lines: "With a willing mind/And a tender heart/A man is doomed/Right from the start." And the lines are delivered with a gentle honesty that makes us know he has such a heart and is one who is doomed himself. Ah, we recognize our own, don't we? That's what this music seems to tell us, reaching out to us from a similar place. And it features not only a tender and beautiful vocal performance, but some wonderful guitar work. "I have no choice/But to fall apart."

Mike Berman then gets into the blues with "Farthest Thing From The Blues," a song I remember enjoying at one of his shows last year. It even opens with that classic blues phrase, "I woke up this morning." Here he tells us, "Well, all around me looks like everything is going down/Stock market tumbling and my friends are all leaving town/But with all going round, I'm still making a happy sound." Oh yes, we can appreciate lines of resilience. And then the song kicks in, and begins to have a jump to its rhythm. And guess what? It's because of a woman. And isn't that the truth? With all that insanity and garbage in this world, the look or touch from the right woman can make everything all right. "So much bad going round, I want to share some happy news." Yes, yes, yes! And the happy news is that woman, and we know just what he means. And Elissa Barron providing backing vocals helps make this song shine. She delivers some great work. The song also features a delicious lead on electric guitar. That's followed by the album's sole cover, Bruce Cockburn's "All The Ways I Want You," a song from his 1994 album Dart To The Heart. Mike's rendition features some pretty work on harmonica at the beginning and at key moments throughout the song. This is a really nice rendition.

"Tell The Bees" is a surprisingly moving song, one that will get you thinking, contemplating our place in this world. "We got it all wrong/We had the chance but now it's gone/Nothing left to say or do/Nothing to fix, nothing to prove." The line about how the bee keeper is gone, and the effect that has on the hive, might have you wondering if we are to look after the animals, or if we are in dominion over them, like one silly book seems to suggest. And in a larger context, it makes me wonder about the fate of humanity as a whole. When we are gone, animals will still be here. This track features perhaps the album's best vocal work, along with some beautiful work on strings. It's followed by "Out Beyond The Break," and this one too contemplates a future. "I'm thinking about time/The way the future leaves the past behind/Never looking back/Always seeking on." This track contains some pretty backing vocal work and lovely work on strings. It was written by Michael Eck and Mike Berman. The album then concludes with "Tell It To The River," written by Michael Berman and Elissa Barron. It's a touching number, featuring more beautiful work on strings. "The sadness of your smile/Barely serves as a disguise/Resting like a stone/On your tender heart/Until you let it go/Nothing good can start." 

CD Track List

1. Honey That Was Me
2. Hospital For The Brokenhearted
3. Hold Back The Sea
4. Coop The Hawk
5. Get Me' Cross The River
6. A Willing Mind
7. Farthest Thing From The Blues
8. All The Ways I Want You
9. Tell The Bees
10. Out Beyond The Break
11. Tell It To The River

In The Woods was released on CD on October 30, 2026 on Tanager Way Records. There is also a limited edition blue vinyl release available.

The Raz Band, Dedzmuzik, Low Era, and The Howling Faith at Maui Sugar Mill Saloon, 10-29-26

Last night's lineup at Maui Sugar Mill Saloon included only one band I was already familiar with, that being The Raz Band, whose 2015 album Madison Park I had reviewed. The others were new to me, and one of them - Low Era - was new to basically everybody, as that band hasn't yet released any albums or EPs or even singles. But what a treat to get turned onto some new music. I was especially taken by Dedzmuzik, with its fantastic grooves.

The Raz Band

The Raz Band kicked off the night just after eight o' clock, opening the show with "Coming At You," a wonderful, energetic rock song with a great beat. The band performed as a trio, guitarist and vocalist Joey Molland (whom you certainly know from Badfinger) having died last year. Jim Manzo asked the folks in the audience if they were happy, leading into the song "Happy," which was written by Joey Molland. Jim sang lead on it and delivered a good bass line. "I could be happy somewhere." This song mentions an "hour of darkness," something I think we're all experiencing these days. Music will light the path out of it. Michael Raz Rescigno mentioned that Joey had sung lead on the next song, joking that he needs to be careful to do a good job so as not to upset Joey's ghost. That song was "Breadline Love," which featured a really good lead on guitar, with a classic rock and roll flavor.

Jim mentioned that the band has a new album out, titled Copy This, before launching into a rocking rendition of The Turtles' "She'd Rather Be With Me," featuring drummer Jeff Hutchinson on lead vocals. They ended the song, then playfully continued it. That was followed by a cover of "Spirit In The Sky," Michael's sister joining the band on backing vocals. This song is also on the new album, and was the first single released from it. Michael's sister, by the way, was sporting a T-shirt that read, "The Raz Band Rocks!" After that song, Moses approached the stage to get the band's drink orders, as someone in the crowd wished to buy a round for them, which was cool. Even cooler was the next song, "The Boy," the first Raz Band song, which featured some really good drumming and a strong bass line. The song had the kind of sound that makes you feel the world is all right. You know? Certainly we need these songs now. That was followed by "Naked On The Floor," which had a powerful beat. The band wrapped things up with a couple of fun covers - Badfinger's, "No Matter What" and Tommy Roe's "Dizzy." A forty minute set that flew by. I hope I can see them do a longer set next time.

Dedzmuzik

Dedzmuzik was up next, this band also a trio. They began with an instrumental introduction that had a cool, psychedelic vibe, setting a mood, taking us to some different territory. Then as the vocals of "Absent Eyes" began, the music took a turn toward progressive rock. There was some excellent work on bass, while the guitar reached toward those ethereal spaces. "Why'd you have to go and be that way?" "The Door" then began with some delicious drumming. "Find another way out of this hole." At a certain point, the bass line could break through brick, through concrete, a furious pulse. That was followed by a peppier number. The set also included "Icarus," a seriously cool song that began with a great rhythm. "All of your dreams have effectively turned into nightmares." The guitar seemed to issue a warning to us at the end. That was followed by "La Lluvia Cae," with another totally delicious rhythm, and even a drum solo, which I loved. It seemed from the reaction it got that everyone in the room felt the same way. 

In introducing "Journey," Gee Landazuri said the song didn't have any lyrics, so he wanted those of us in the audience to make up a story and tell him about it later. And that story involved a red velvet dress that walked by, shouting of truth, then disappearing. Dark clouds soon formed in her absence, with one sharp fingernail ripping into the atmosphere, that finger then pointed directly at our hopes and ambitions, while laughter rumbled in the clouds. The laughter became our own, and as we shouted into the heavens, the beast receded. "In The Shadows" was introduced as a song about grief, written in a dark place. It featured another great, interesting beat, with some surprises. And holy moly, that bass! "What am I to do?" The set then concluded with "Little Box," its wonderful guitar part transporting us. The song contained little teases of other songs, and the band jammed. Moses called for an encore, and the bartender was not to be denied. The band delivered a cover of "Californication." The line "Buy me a star on the boulevard" stood out to me, as earlier in the day I had attended the unveiling of the star for The B-52s. Dedzmuzik is a band I'm going to be paying attention to.

Low Era

Originally the night's lineup included Olaguay, but that band was unable to be there, and Low Era (is the name a play on a pitcher's Low ERA?) stepped in. Another trio, and apparently friends of Dedzmuzik, who got them onto the bill. These guys went right into the music, sans introduction, sans banter, kicking off their set with "Another Wasted Day." This song had a good groove, and at a certain point became harder before returning to that groovier section. This is a new band, and after that first song they mentioned that they are working on their debut EP. But for now, there is no music available on CD, or even digitally. They followed "Another Wasted Day" with "Back Of The Line," a rocking number. "Out Of Focus" featured some really good work on bass, particularly toward the end. "Demise" came on strong, and contained an excellent guitar lead. "Cracking Up" featured some excellent drumming. The band wrapped up the set with a great, solid rock song, with a good, pounding beat, with something of a Who influence heard.  Their set ended just before eleven o' clock. People called for an encore, and the band started to oblige, but Lawrence Mann (the night's host) cut it short because of the time.

The Howling Faith

The Howling Faith closed out the night. The only group on the bill to not be a trio, these guys are the duo of Laura Ishida on lead vocals and bass, and Danny Rodarte on guitar and vocals (though apparently they do sometimes perform with a drummer). During their soundcheck, there was some feedback, leading to someone in the audience howling, which Laura was quick to joke about, saying, "That's why we're called The Howling Faith." This band with its first song of the set quickly established a very cool vibe, the guitar taking us to another place. I'm always excited when music can transport me. Laura mentioned that that song will be released next week "in its full glory," that what we heard was its stripped down version. "Out Of Time" followed. "Out of her mind, she's out of time." "World Of Hurt" was like a dark, dreamy surf, and was one of my personal favorites. "Why did I love you/Knowing how it would end." Another highlight was "It's Too Late," a new song that featured some really nice stuff on bass. That was followed by "Days And Days." "Do you think about me the way I think about you?" she asked in this one. And a certain power enters her voice as she repeated, "Oh, I want you." The set ended right at midnight.

Maui Sugar Mill Saloon is located at 18389 Ventura Blvd.