Heartworn Highways Revisited DVD Review

Heartworn Highways is a documentary film that came out in 1976, directed by James Szalapski and focusing on the newly termed "outlaw country," including artists like David Allan Coe, Steve Young and Guy Clark. Then approximately forty years later, Heartworn Highways Revisited was released. This movie takes a fresh look at the Nashville scene, focusing on a new generation of country songwriters and musicians who were inspired by the musicians who took part in the original film. The musicians who appear in this movie include John McCauley, Jonny Fritz, Taylor Zachry, Josh Hedley, Bobby Bare Jr., Nikki Lane, Robert Ellis, Phil Hummer, Shovels & Rope, Langhorne Slim, Shelly Colvin, Justine Townes Earl, and Andrew Combs. Adding to the appeal of the film, Steve Young, David Allan Coe and Guy Clark all return. This movie was directed by Wayne Price.

The movie does a fantastic job of immersing us in the Nashville music scene, taking us to musicians' homes, back yards and recording studios. It's like we're tagging along with the filmmakers. There is no narration, no introductions, no explanations, no exposition. It's a beautiful, intimate portrait of the music life. And, as you've probably guessed, this film features a lot of excellent music. While Bobby Bare Jr.'s "Visit Me In Music City" plays, the film shows us various spots in the city. One of my favorite songs in the movie is Robert Ellis' "Sing Along," a powerful number. "Nobody talks too loud in my home town/Nobody stands too tall for fear of getting knocked down." We see shots of various churches, and we hear these lines: "And the flames of hell, they seem so high/When I can barely see over the pew/I was just a boy when they told me that lie/But lord it felt so true." Fantastic lines. We get a sense of how important music is in that city, how music is the blood and breath of the place. And that makes us fall in love with Nashville. We go inside record stores and music venues, and are treated to some good concert footage. I especially like the shots of John McCauley performing. But the footage of musicians playing outside is even more appealing. I love the footage of Shovels & Rope, for example, and the footage of Langhorne Slim, accompanied by a woman on fiddle, playing "Back To The Wild," with lines like "I don't want to die, but I don't know yet where I belong" and "And I don't want to break your heart, but I probably will."

It is probably no surprise that some of the most compelling footage is that featuring the older musicians, the musicians who took part in the first film. I love seeing Steve Young perform "Silverlake." And at one point we're taken inside what I assume is David Allan Coe's home, and David asks, "Whose song is that?" "That's yours," he's told. And then he sings a bit of "Three Biggest Lies," which is a total delight. It's heartbreaking when he talks about how he lost the rights to his own songs. "My only income is working the road," he says. That's crazy. We need to take better care of our musicians. Where the hell would be without them? Interestingly, one of the musicians in this film actually mentions the original Heartworn Highways film, and how that was what turned him onto Guy Clark. That serves as an introduction to Guy Clark in this movie, and in that first footage of him he talks about how he came up with the main line of "L.A. Freeway." "I knew it was something really good," he says. "That lightbulb went off, man, and I started looking for a pencil and paper, and I couldn't find one. Finally, I tore a section off a burger sack and got Susanna's eyebrow pencil and wrote it down." There is also footage of Guy Clark playing "My Favorite Picture Of You" and "The High Price Of Inspiration." And just before the end, there is footage of him playing "L.A. Freeway." At the end, there is a title card letting us know that the film is in memory of Steve Young and Guy Clark, who both died in that most cruel of years, 2016, the year that took dozens of fantastic musicians from us. If you haven't yet seen this documentary, now is as good a time as any to enjoy it.

Heartworn Highways Revisited was released on DVD on April 6, 2018 through MVD Visual. The DVD contains no special features.

Lexie Blue: "Too Glam To Give A Damn" (2026) CD Review

Lexie Blue is a blues singer based in Michigan, her voice one of both soul and attitude, a voice with undeniable power and appeal, a voice that has earned her deserved acclaim and awards. Her new album, Too Glam To Give A Damn, features some excellent material. Blues, with some funky edges, with some great grooves. Backing her on this disc are Pete Bullard on guitar, Kevin Schoepke on bass, Gary Martin on drums, Jack Rivers on keyboards, Mike Puelson on trumpet, and Joe Rodrick on trombone.

The album begins with its title track, "Too Glam To Give A Damn." And speaking of attitude, this song is filled with it. And that feels right, doesn't it? Aren't we all fed up with most of the nonsense we're being fed these days? Who has the time to listen to all the crap people are saying? Life is much too short to let them affect you. "Yeah, they try to put me down/But I'm too glam to give a damn." The hell with them all. We've got some living to do. This track features some great stuff on keys. Then "Break Up Kiss" has a cool groove, with some good guitar work at the beginning establishing a certain mood. "The thought of you is making me weak/I couldn't stop staring into your green eyes/It was the shortest relationship that I've ever been in/You took me for a ride, then said goodbye." Then she begins to belt out the lyrics, and we are hers completely, whatever she might decide to do. This song is so bloody cool, one of my personal favorites. There is a sexy rawness to this track, in large part because of her vocal performance. And the guitar lead is excellent, like flames licking the skies. The energy is particularly high at that moment. Interestingly, immediately after that, there is a softer, gentler vibe, with some interesting, unusual work on keys, a delightful surprise. And soon the two sounds combine for a delicious jam. Everything is working so well here. And the vocal section at the end is beautiful.

Lexie Blue and the band seem about to come rolling right over us with "Sit Down & Hush," a song with a strong, deep groove and a bit of funk. "The room is hot, honey, can you feel the heat/I promise you, baby, that I'm all you need," Lexie sings here. Does any of us doubt her? The other thing about this is it is fun. There is plenty of delicious guitar work, and that guitar part toward the end seems to be speaking to us. That's followed by "I Got Mine," which has a nice groove that will have you swaying, and before long you are under its spell. "Baby, we've already jumped across that line." Oh yes. Here Lexie delivers a vocal performance that can be warm and intimate, then suddenly incredibly powerful, and is just totally captivating. "Baby, I don't realize the pain that's in my life/But when you come around, I can see it in your eyes." Yeah, this song is another of the disc's highlights, no question about it. "And when I close my eyes, all I feel is you."

Some really good guitar work gets "Walk In My Shoes" underway, and then when the song settles into its groove, there is a bit of funk to it. Lexie's vocal delivery is all attitude. "You come knocking at my door/Say you don't know who I am anymore/But you never really knew me at all/Because your mind thinks too small/Walk in my shoes, walk in my shoes/Walk in my shoes so you can understand." A great demand for empathy. Remember empathy? This country has lost it, among other things. What a great performance she gives here. Just listen to the way she sings, "I feel everything/It hits me hard, and it hits me deep/It either lifts me up/Or it breaks me down." It's all there for us to feel too, if we listen with more than our ears. This is music that hits our entire bodies. Check out that good jam in the second half, featuring some excellent guitar work. Then "Sneaking Out" has a classic, and appealing, vibe and sound. "Your eyes tell a story/A secret fire/There's so much I want to say to you/But I don't know how to/Can you feel what I feel/Oh, it's so real." This is a vocal performance that feels like it is burning inside, just as she says, bubbling up, yet contained, restrained, not fully erupting. Some gorgeous work.

In "Ain't Good At Drinking," Lexie sings, "I ain't feeling so hot/I think I've had a little too much/But I want another shot." This track features a strong groove. It has an interesting vibe, due to the work on horns and the stuff on keys, which play above that groove. Alcohol has certainly been a close companion in the last decade of madness, as I watched the decay of this country and the fall into fascism. Perhaps we all should be good at drinking here. "Ain't Good At Drinking" is followed by "Darker Shade Of The Blues," which feels like a great blues party, with vibrant work on horns and a strong beat and delicious stuff on bass. And all that is present even before Lexie Blue comes in on vocals. And once she does enter, things get even better. "Everybody's talking about those things that you did/I don't want to hear them/Yes, I'm trying to forget." This song is a total delight. And when I hear lines like "No one wants to see your face or even hear your mouth/'Cause everything you say is just a lie made up by you," I can't help but think of a certain fat rapist in the White House. The next time I see his face, I want it to be in the obituaries. Anyway, this song is a whole lot of fun, and features some excellent work on guitar.

Then Lexie Blue gives us "Get The Hell Up Outta My House." With that title, you can expect some delicious attitude. And you won't be disappointed. Lexie delivers a kick-ass vocal performance. This track also contains some absolutely wonderful guitar work, which is part of this track's appeal, along with a catchy vibe and another cool bass line. She's not putting up with any crap here. "Get the hell, get the hell, get the hell up outta my house." Approximately halfway through, there a change, a different groove. "I ain't taking no more/And you can show yourself to the door." There is more good stuff on guitar in this section, though it is perhaps now more in line with your typical blues expression. The album concludes with "Chin Wagging," which begins with a good beat, one to get you dancing, get you moving. The song is about how a woman who tends to gossip went a little far in choosing to talk about the narrator's child, leading to these lines: "Oh, she messed with the wrong mama/She'd better beware/I'm gonna make her regret it/I'm gonna give her a scare." And she admits, "I think I might just smack her." Of course we are on the side of the song's narrator, even those of us who don't have children, in part because of the delicious beat.

CD Track List

1. Too Glam To Give A Damn
2. Break Up Kiss
3. Sit Down & Hush
4. I Got Mine
5. Walk In My Shoes
6. Sneaking Out
7. Ain't Good At Drinking
8. Darker Shade Of The Blues
9. Get The Hell Up Outta My House
10. Chin Wagging

Too Glam To Give A Damn was released on February 2, 2026. 

Fernando Perdomo: "Clouds 4" (2026) CD Review

Fernando Perdomo continues his second consecutive year-long project with Clouds 4, an album of original material inspired by looking up toward the heavens, that great infinite expanse above us, and seeing those collection of water particles. The Clouds series follows last year's Waves series, and so really the connecting link here is water, something that also unites all of us, since we ourselves are in large part made of water. Wasn't it a Star Trek: The Next Generation episode that referred to humans as ugly bags of mostly water? That "ugly" bit was a little mean, but I get it. Anyway, Fernando Perdomo, in addition to composing all the material for the albums in this series, plays all the instruments. He also produced the album. The photo for this volume was taken by Bonny Diver.

The album opens with "Deck 14," which has a kind of dark, mysterious vibe as it begins. The title makes me think of a cruise ship, or, since Star Trek was already on my mind, of a spaceship. I haven't been on a boat of that size, but apparently Deck 14 is an upper level, with a view to the sky and to the ocean. There is a somewhat muted sound here, as if underwater, at least in those opening moments, and there is also something soothing here, if only because we find there is nothing we can do at the moment to solve any of the great problems. We are aware of them, the troubles poking at our reality, but find ourselves distanced from them. Interestingly, the guitar work becomes pretty. Perhaps if we are forced to let go, beauty will appear everywhere. That's followed by "The Zen And Art Of Steve," the first of three tracks on this album to include a man's name in its title. It has an intriguing opening. We're not sure quite where we are, what our footing is, though we are taking little steps. Soon there is a little more power behind the sound, but it is still not quite known where we are. Surprisingly, there is a pause partway through, and then it begins again. It's like it is teaching us something, patiently, hoping we'll get it right, hoping we'll understand it this time through. And maybe here too there is a need to let go, at least of any preconceptions, any notions of what is supposed to happen.

"Francis Beside Me" is the second of three tracks to have a man's name in its title, and it continues in the same vein. This album, perhaps more than others in the series, feels like it has a theme, a certain current running through it, a certain sound, a certain vibe, where beauty is discovered through repetition of a thought, of a feeling. Perhaps peace too can be found. Though as we dig deeper here, we find something else at work, something vibrant, something with its own needs, which are communicated to us. Then "Systemic" feels like it comes from within, like a piece of ourselves is reaching out to touch something apart, to connect with it, speak with it, though without the use of any known vocabulary. As we relax, it isn't certain whether the message is something we've transmitted or received. And in that very question we find a certain state of calm, a beauty that washes over us. An understanding without knowing.

The final of the three tracks to feature a man's name in the title is "Peter Patter," an interesting variation on the idea of "pitter patter." This track takes us to a different realm right away. Don't you love how music can transport you? Here a tension is built, then released. And for a moment we are drifting, completely free from any solid world, and the music, the message comes to us in waves, both from above and below. Then "Cracks" begins with a sense of wonder, like having waves of light wash over you, feeling them, accepting them, but not quite knowing their source. The song's title reminds me of a great lyric from Leonard Cohen: "There is a crack, a crack in everything/That's how the light gets in." It does feel like the light is coming in. Then the motion changes, becomes more human, stepping toward something. A need is now felt. And soon the human element and celestial element somehow combine.

"Pool Of Sky" is an interesting title, making a certain sense with the idea of a cloud. As it begins, it is dropping items into a pool, and watching the ripples fan out. Dropping them into the sky? Perhaps. And then it is like we hitch a ride on one of those ripples for a moment, letting us experience things from a different perspective, a perspective in motion, and the guitar work becomes more playful, more joyful. There is then a breath, a pause, and we find things have slowed down. Is it that the waves have slowed, or are spread farther apart? Or are we now so far within that it only seems slower from our new perspective? Slowing our breath, slowing our heartbeat to match it. In the second half of the track, the guitar takes on more energy, with a desire to drive forward. That's followed by "Your Moods," which has an appealing, soft beauty from the start, drops of sky landing around us. Light and darkness collide, wanting everything at once, and finding a way to have it by relaxing. That's when the brighter colors splash on our faces, paint our surroundings with light. It is like the universe says, "See? See?" And we do.

"Mars, The Bringer Of Chocolate" is clearly the most delightful title of any track, and it is also a rather delightful, playful number, like beauty falling from darkness right onto our laps and then running about. It is also the album's shortest track. The album then concludes with "The Wizard" (which online is titled "Nobody Beats The Wizard!"). Interestingly, there is a tension to this final track, the sense of something building, something creeping, while streaks of electronic light fire down at us as from an alien vessel or a disco space ship. We take steps, repeating a route, a pattern, each time getting a little bit higher, until we reach a different plateau. There we find a more soothing atmosphere, though those lights still streak down upon us. There is a certain satisfaction reached before the end. Where will Fernando Perdomo take us next month?

CD Track List

1. Deck 14
2. The Zen And Art Of Steve
3. Francis Beside Me
4. Systemic
5. Peter Patter
6. Cracks
7. Pool Of Sky
8. Your Moods
9. Mars, The Bringer Of Chocolate
10. The Wizard

Clouds 4 was released on April 1, 2026.

Dale Watson: "Unwanted" (2026) CD Review

On Unwanted, Dale Watson's excellent new album, there is a song titled "Don't Let The Honky Tonks Go." Dale Watson himself seems like a one-man force keeping that certain delicious type of place, that type of music, alive. Not just alive, but fiercely, joyfully alive. A great mix of what they call "outlaw country" with a bit of western swing. On this album, he has two different bands backing him. On most tracks, the band is The Lonestars, which is Zack Sapunor on bass, Don Pawlak on pedal steel, and Manny Pagan on drums. On a few tracks, the band is The Memphians: T. Jarrod Bonta on piano, Carl Caspersen on bass, and Danny Banks on drums. There are also several guests performing on various tracks. Unwanted was produced by Dale Watson, mixed by Cris Burns, and mastered by Eric Corne.

The album opens with "Willie Waylon And Whiskey," and the guitar at the beginning lets us know precisely what we're in for, if the song's title didn't already clue us in. "Willie, Waylon and whiskey/Gonna have a really good time," Dale sings then. The song's lyrics make reference to songs by Willie Nelson and Waylon Jennings, such as "On The Road Again" and "Lonesome, On'ry And Mean," and there is also a musical nod to "On The Road Again." This is a song from one of the greats, honoring two of the greats. The third verse is then dedicated to whiskey, like it is another of the country greats. And why not? Think I'll have a shot or two right now... This song's last line, "Hangin' out with some old friends of mine," is really the feel of this music, isn't it? These musicians, whether we've met them or not, are friends of a sort. And these songs are like old friends, even if they're new songs. Hell, so is whiskey. Danny Levin is on piano on this song. "Willie Waylon And Whiskey" is followed by "She Was My Baby," in which Dale sings, "She can make a man go deaf and dumb and give up without even trying/She was my baby/I fell under her spell." Wonderful! I'm thinking of the woman whose spell I happily fell under. This track features some really nice work on pedal steel. And I love these lines: "She can make a man stop drinking/She can make a man start too/She can make a man stop thinking/Then start thinking what's he gonna do." There is something of a growl in his voice toward the end, which is great.

Dale Watson slows things down then with "If You Really Love Me (Outlive Me)," which is beautiful, particularly because of his touching, tender vocal performance. "If you really love me, outlive me/Don't make me go through life without you/If you really love me, outlive me/It's the least someone who loves me can do." This one might have you in tears before too long, particularly if you've lost someone. It's seriously a gorgeous and moving song, the pedal steel adding to its impact and appeal. Katie Shore joins the band on this one, delivering some pretty work on fiddle. And Matt Hubbard delivers some really nice work on piano. That's followed by another love song, but with a different vibe. This one, titled "Gotta Try Harder," is a fun, energetic, playful and humorous number. These lines, for example, make me laugh: "I pulled out all the stops/Impress her, I did not/In spite of me employing all my charms." It's a song that urges us all to try harder with those women we love. It features some delicious guitar work. And Katie Shore again delivers some good stuff on fiddle.

"What The Hell Happened To The Cadillace" is another with a guitar intro that promises something special, this time with cool, mean vibe. "Whatever happened to the Cadillac/I've learned it turned into a compact/It looks the same as every car I look at/What the hell happened to the Cadillac?" I love his delivery here. I'm guessing a lot of us have wondered about that. With other cars too. Cars used to have more individual style. And that's just the first verse. Dale also mentions how air travel has lost all its charm these days. And check out these lines: "Whatever happened to the radio/Music used to have so much soul/It all sounds the same, and I traced it back/To what the hell happened, what the hell happened, what the hell happened to the Cadillac." And there is anger in his delivery of that last line, anger on behalf of all of us who used to appreciate certain things that are now gone. A different version of this song was included on Dale Watson's 2023 album Starvation Box. That's followed by "You're Got My Heart," a love song, and a duet, Celine Lee joining Dale Watson on vocals. Dale sings, "I've searched my whole life for you," and Celine responds, "I did my share of searching too." Sometimes it takes a while to find that certain someone. I didn't meet the love of my life until I was in my late thirties. But the time before doesn't matter, it's the time you have together that counts. This track contains some wonderful work by Danny Levin on piano, including a good lead in the second half. And, yes, there is some nice stuff on pedal steel too. It's a love song that will leave you feeling good.

Then we get "Don't Let The Honky Tonks Go," the song I mentioned earlier. It's a lively and yet kind of sweet number that urges us to "Keep dancing, keep dancing." I'm totally digging it, and the rhythm certainly encourages dancing. "Put money in the jukebox, be sure to tip the band/That waitress and bartender could use a helping hand." This one too features a strong lead on keys, this time by Matt Hubbard. That's followed by "Just Yesterday," a very cool, slow number with an excellent vocal performance. "I'm grateful for the lips I kiss each day/The only lips I'll kiss 'til my dying day/I'm thankful for the caress that takes my cares away/I'm amazed I loved you less just yesterday." What a tremendous feeling, to find yourself more in love with someone each successive day. This is a song to play for that special person in your life. Phil Spencer plays bass on this one, and Danny Walton is on piano. Both deliver some nice work.

"Life Is Like A Song" is the first song on the album to feature The Memphians backing Dale Watson. It's a sweet number that reminds me of some of the country and folk music of the 1970s. "Life is like a song/We just sing along." Dale delivers a gentle, thoughtful vocal performance. This track also features some wonderful work by T Jarrod Bonta on piano. Katie Shore joins this group on fiddle, providing a good lead approximately halfway through the track. "Enjoy the music/We only get one tune." That's exactly right. "Never Mend The Broken Spoke" also features The Memphians. It is also a sweet number, with a nostalgic vibe. "That red rustic building is the place you want to be/To hear the shuffling two-step of the boot-covered feet." It's about The Broken Spoke, a dance hall in Austin, Texas. A honky tonk. While "What The Hell Happened To The Cadillac" is about some of the less-than-desirable changes that have occurred, this song is about a place that will never change. At least, that is the hope. This song, by the way, also mentions Willie Nelson in its lyrics, along with Bob Wills and Ernest Tubbs, all of whom have played at the venue. This track features some nice work by Katie Shore on fiddle.

The Lonestars back Dale Watson on "If I Can," a pretty and somewhat sad number, a love song that looks at the day when one of them will be gone. "One of these days you'll wake up/And you'll find that I did not/I didn't wake up, I moved on/When that day comes, I hope you know/Just how much I love you so." And hoping the other person will still find love. It's a moving, touching song. "If I can, I'll stay beside you/And if I can, I'll prove it too." Life is so short, and the thought of forever being separated from the person you love might be too much to bear. Unwanted concludes with its title track, and here Dale Watson is backed by The Memphians. This track has a great bite to it, a good mean vibe. "Lovers come and go/They'll always come and go/Just like their love, just like their vows." Ouch! And then the song kicks in. "I'm far from a saint, and a good man I ain't/Good women, I've known a few." Man, this is good. A strong, cool track to wrap things up.

CD Track List

1. Willie Waylon And Whiskey
2. She Was My Baby
3. If You Really Love Me (Outlive Me)
4. Gotta Try Harder
5. What The Hell Happened To The Cadillac
6. You've Got My Heart
7. Don't Let The Honky Tonks Go
8. Just Yesterday
9. Life Is Like A Song
10. Never Mend The Broken Spoke
11. If I Can
12. Unwanted

Unwanted is scheduled to be released on April 24, 2026 on Forty Below Records, and will be available on vinyl as well as CD.

Romeo Void: "Live '81 - '85" (2026) CD Review

Romeo Void released three studio albums and an EP in the early 1980s, and had hits with "Never Say Never" and "A Girl In Trouble (Is A Temporary Thing)." Word was that their live shows were better than their studio releases, but a live album wasn't released until 2023. Titled Live From Mabuhay Gardens November 14, 1980, it was released on vinyl as part of that year's Record Store Day list, and also on CD. Now we are being treated to a second live album from the band, and, yes, this too is a Record Store Day release. Titled Live '81 - '85, it will be released as a double LP tomorrow. And it was released on CD today. The double album has one more track than the CD, that being "Myself To Myself." So if you want that song, you have to get in line tomorrow. According to the Record Store Day website, only 1,200 copies will be available, so I wish everyone luck. The band is made up of Debora Iyall on vocals, Peter Woods on guitar, Frank Zincavage on bass, Benjamin Bossi on saxophone, Larry Carter on drums, and Aaron Smith on drums. The liner notes include several photos, and I love that Peter Woods is wearing a Monkees shirt in one of them. The tracks here come from four different shows: 7/2/81, 10/25/82, 1/29/85 and 2/5/85. But they are not presented in chronological order.

The album starts with several songs from the October 25, 1982 show in Ann Arbor, Michigan. There is a short introduction: "The band you've all been waiting for. From San Francisco, California, Romeo Void." The band launches into "In The Dark," and Debora very quickly seduces us with her vocal performance. "Night is cool, your breath is hot/Sheets cover us, inside we soak/We crawl for what we want." The song has a cool, dark vibe. And I'm digging that work on sax, particularly near the end. That instrumental section is so good. That's followed by "Flashflood," a song from the band's second album, Benefactor, the saxophone playing a prominent role in establishing its atmosphere and vibe. Listen to the way Debora delivers the title line, "In your flashflood." The power, the emotion there is captivating, so alluring. It's easy to fall under this band's spell. And the saxophone reaches out during the instrumental section toward the end.

"Shake The Hands Of Time" was also on Benefactor. It's a delicious punk number. I love Debora's delivery here, the attitude behind it, the style reminding me a bit of some of Jim Carroll's work, actually. Everything about this song is cool, the track featuring some great stuff on sax and a good rhythm. "You gotta get that jerk off your mind, yeah!" There is a powerful ending, the crowd then understandably erupting with applause. The steady rhythm of "Not Safe" helps this song take hold of us. This song is from the 1981 EP Never Say Never. "I'm not sorry," Debora shouts. This track contains some interesting stuff on saxophone. And then I love the saxophone work at the beginning of "Undercover Kept." This song from Benefactor has a different feel, with more of a pop element, and a sort of spoken word delivery at times. "The drinks aren't stiff/I know what is/Here comes Henry/He's watching my baby/Why don't you give up on me?" Wow, this track will remind you of just how fucking cool this band was. This group should have lasted longer than it did.

We hear someone shout, "White Sweater" and the band goes right into that song, which features some wild, passionate work on saxophone at the beginning. So damn good! We hear the rowdy, excited crowd shouting out some other things in a soft moment early in the track. Then the drums drive the song into a faster section, and the track builds in power, a force that carries everything it touches along with it. And then suddenly, bam, a brief pause before the groove takes over again. And in that moment, in the release of that moment, the crowd cheers. This song was on the band's first LP. It's followed by "S.O.S.," a song from Benefactor. It has some beautiful, kind of mesmerizing work on saxophone at the beginning, almost like something you'd expect from a violin or maybe clarinet. "Try to stay sober." Ah, no chance of that these days. Here Debora is haunting, holding us with the charisma you might associate with Jim Morrison. I wish I could have seen this band in concert. They did have a couple of reunions, but for whatever reason I missed them.

Every song so far has been great, and now we get one of the band's biggest numbers, "Never Say Never." Everyone knows this one, even people who might not recognize it by name. The audience, of course, recognizes it the moment the band begins it. This song is just so fucking cool. "Slumped by the courthouse with windburnt skin/That man could give a fuck/About the grin on your face/As you walk by, randy as a goat/He's sleepin' on papers/But he'd be warm in your coat/I might like you better/If we slept together/I might like you better/If we slept together." Yeah, now you remember. That's the last song from the October 25, 1982 show. The next song, "I Mean It," comes from the July 2, 1981 show in Albany. This is a song from the band's first album, and it's dark, slow, sexy. "Curled in your neck, arching my back, I taste you again/In any embrace, there certainly is a limited view." There is some great stuff on saxophone here. Even that instrument has a hypnotic quality. But especially check out the guitar work here. This is the only song from that 1981 show.

Then we move to 1985, first to the February 2nd show in Berlin for "Billy's Birthday," a song from the band's 1984 record Instincts. It's a good song, perhaps not as exciting as what has preceded it, but still featuring some excellent work on saxophone and a good vocal performance. If you listen on headphones, you'll hear another voice speaking in your left ear at times. The disc then switches to the London show from January 29, 1985 for "Just Too Easy," another song from Instincts. This one has more power. "It was just too easy to break your heart," Debora sings. And we know she is telling us the truth. We feel it wouldn't be difficult for her to break any heart she wished broken. Then it's back to the Berlin show for "Say No." It's interesting that this album goes back and forth between these two shows. This song is also from Instincts. There is a terrific energy to this song. The kind of song that will knock you down if you get in its way. I love that instrumental section in the second half, particularly the saxophone. And then we go to London again for "Instincts," the title track to the band's 1984 LP, which has a mellower vibe as it starts, the saxophone setting the tone. Check out the song's first lines: "I don't trust my eyes/They're so easily swayed/Beauty is anxious to be seen a certain way/To be soothing to conceal the problems of the day." Those are some excellent lyrics. And the style of the song helps to place the focus on the lyrics.

The rest of the tracks are from the Berlin show, beginning with one of the band's hits, "A Girl In Trouble (Is A Temporary Thing)," a song from Instincts with more of a pop flavor which is obvious from the beginning. This is a song that remains relevant. Here is a taste of the lyrics: "There's a way to walk that says 'Stay Away!'/And a time to go around the long way/A girl in trouble is a temporary thing." There is  a good groove, and, yes, as you're expecting by now, some cool work on saxophone. Debora introduces the band before "Out On My Own," and when she introduces herself, I realize I've been mispronouncing her name all these years (the accent is on the second syllable). Anyway, this song is another of the disc's highlights. There is a tremendous energy and intensity, both to the music and to her vocal performance. "As the years went by I learned not to cry/I walked away with my head held high/I can remember when I thought it was good/And I remember when they left me, it was for good." This is fantastic, and just gets better and better. I love that drumming, the bass line. And the song takes off into a whole other world toward the end. A stunning number.

A delicious rhythm is established at the beginning of "Six Days And One." This is another gem, which is clear from the beginning. Again, how did this band not soar for another decade after this? This track is tremendous, even before Debora comes in on vocals. It grabs you and does not let go. "And I find as I add up these long days without you/Distance equals loss plus time." That excellent rhythm is at the core, and Debora's vocal performance is one of great need. She opens herself here, her veins spilling their contents before us. And the band takes us beyond any barrier we thought stood before us. This is an incredible track, another of the disc's highlights. The CD (but not the record) concludes with "Chinatown," a song from Benefactor. It's a fun number with a good energy. "It's a history lesson, my money's missing/It's how I get my pleasure." Well, I tell you, this album is giving me a tremendous dose of pleasure. If you already love this band, obviously you're going to want to add this album to your collection. And if you're not yet familiar with this band, this disc will cause you to fall madly in love with these guys.

CD Track List

1. In The Dark
2. Flashflood
3. Shake The Hands Of Time
4. Not Safe
5. Undercover Kept
6. White Sweater
7. S.O.S.
8. Never Say Never
9. I Mean It
10. Billy's Birthday
11. Just Too Easy
12. Say No
13. Instincts
14. A Girl In Trouble (Is A Temporary Thing)
15. Out On My Own
16. Six Days And One
17. ChinaTown

Live '81 - '85 was released on CD on April 17, 2026 through Liberation Hall.

The Blasters: "Rare Blasts: Studio Outtakes And Movie Music 1979-1985" (2026) CD Review

It's time to finalize that Record Store Day wish list. Is The Blasters' Rare Blasts on your list? Of course it is. According to the official Record Store Day website, there are going to be only 1,200 copies available, so we're not all going to be able to get one. The good news is that the album will be available on CD too, so if you don't manage to grab a vinyl copy, no worries. And remember, those folks who managed to get The Blasters boxed set An American Story: The Complete Studio Recordings 1979-1985 on Record Store Day last year already have this album, and can just relax. I had a copy in my hands that day, but sadly could not afford to purchase it. The band is made up of Phil Alvin on vocals and guitar, Dave Alvin on lead guitar, John Bazz on bass, and Bill Bateman on drums, with Gene Taylor on keyboards for more than half the tracks, and with a few special guests on certain tracks. This disc contains liner notes written by Chris Morris, including brief notes on each of the songs.

This disc gets off to a fun start with a cover of "21 Days In Jail," a song originally recorded by Magic Sam, who included it as the flip side to his 1958 single "Easy Baby." Like Magic Sam's recording, this track moves at a good clip. This is some delicious rock and roll, and that guitar lead in the middle is wonderful. This song was an outtake from the American Music album, and was included on the 1997 double album version of that record. Also from those American Music outtakes comes "Love 24 Hours A Day," which was written by Ted Jarrett, and was a single for The Midnighters, where it was titled "It's Love Baby (24 Hours A Day)." It's another gem, a perfect song for The Blasters, Phil delivering a strong vocal performance, and Dave providing a lively lead on guitar. "Baby, my days and nights are lonely/I need your love in every way." Sticking with songs from the 1950s, The Blasters next give us "I Fell In Love," a song Ken Cook recorded in 1958. Phil is clearly having a good time singing it. There is certainly something catchy about this song, in part because of the guitar line. There is also some good stuff on drums. 

The Blasters deliver a fantastic cover of Howlin' Wolf's "So Glad," also from the 1950s. These American Music outtakes are so good, and this one in particular has some great stuff on guitar and keys. And Phil delivers some powerful work on harmonica. This track is a highlight, with all the right energy. That's followed by a cover of Floyd Dixon's "I'm Ashamed Of Myself," here titled "Ashamed Of Myself." The first line is "Oh well, time to rise and shine," and that's a line I think many of us utter every morning. I'm digging this song's bass line. And Dave Alvin delivers a good guitar lead in the middle. The final of the American Music outtakes included here is a cover of Ray Harris' "Lonely Wolf," here listed as "Lone Wolf." "I'm like a lonely wolf/I'm on the prowl tonight." Oh yes! This song has a great rhythm that won't quit, pushing everything forward, onward.

The disc's next two tracks come from soundtrack to the 1984 movie Streets Of Fire. I need to revisit that movie. I remember liking it, but not loving it when I was a kid. The reason I was excited to see it then was because I'd been (and still am) such a big fan of Eddie And The Cruisers, which Michael Paré starred in the previous year. Besides that, both movies have music at their centers. The first of the two songs is "One Bad Stud," a lively number written by Jerry Leiber and Mike Stoller, and originally recorded by The Honey Bears in 1954. The band is totally cooking here, and on this track, they are joined by Lee Allen and Steve Berlin on saxophone, adding to the song's appeal. Lee Allen and Steve Berlin also join the group on "Blue Shadows," the other track from Streets Of Fire. It is the first original song on this disc, written by Dave Alvin, and it features some delicious work by Gene Taylor on keys.

Then we get a cover of "Justine," a song released as a single by Don And Dewey, a track with the energy and feel of a Little Richard record. When I think of the name Justine, I think first of the Marquis de Sade, and then of Lawrence Durrell, but this song has enough power and energy to push all other Justine references from my mind. The Blasters deliver a fantastic rendition. It contains some great stuff on keys. And John Doe joins the band on vocals for this one. Plus, Lee Allen and Steve Berlin are again on saxophone. This track is a whole lot of fun. It was a Non Fiction outtake. The next two tracks are also outtakes from Non Fiction, the band's 1983 LP. Both were previously included on the 2002 two-disc set Testament (The Complete Slash Recordings). The first is a cover of "Leave My Money Alone," a blues number from Lonesome Sundown. It's another track to feature some wonderful stuff from Gene Taylor. These guys deliver a cool rendition. The second, interestingly, is "Flat Top Joint," a song the band had included on the first album, American Music. This isn't the first song from that album that the band decided to re-record. Both its title track and "Marie Marie" were recorded again for the band's second album. This new version of "Flat Top Joint" didn't make it onto Non Fiction, but I'm happy to have it here. It's a strong rendition. This song was written by Dave Alvin.

The final three tracks on this disc are outtakes from Hard Line, the band's 1985 album (which, by the way, was re-issued recently). On the CD case, the order of the first two of these songs is reversed. The first is actually "Can't Stop Time," not "Cry For Me." It's an original number by Dave Alvin, a song with a cheerful sound, featuring Lee Allen and Steve Berlin on saxophone. "Everyone knows you can't stop time." Then we get the cover of "Cry For Me Baby," which was recorded by Elmore James And His Broomdusters. Here it is listed as "Cry For Me." These guys deliver a really good and energetic rendition. This track features more delicious work on keys, as well as some great stuff on guitar. "Well, I cried so much for you/Baby, that's nothing new/Lord, I wish I had a dollar/For the times I've cried for you." The final track is "Kathleen," an outstanding and seriously fun number, featuring Lee Allen and Steve Berlin on saxophone. Gene Taylor again gives us some excellent stuff on keys, and Dave is totally rocking that guitar. Everything sounds right. "So tonight, Kathleen, we can be what we want to be/It's only you and me tonight, Kathleen." And the band stretches out a bit here, which is great.

CD Track List

1. 21 Days In Jail
2. Love 24 Hours A Day
3. I Fell In Love
4. So Glad
5. Ashamed Of Myself
6. Lone Wolf
7. One Bad Stud
8. Blue Shadows
9. Justine
10. Leave My Money Alone
11. Flat Top Joint
12. Can't Stop Time
13. Cry For Me
14. Kathleen

Rare Blasts: Studio Outtakes And Movie Magic 1979-1985 is scheduled to be released on CD on April 17, 2026, and on vinyl on April 18th.

Rick Shea & The Losing End and David Serby & The Hillbilly Fringe at Maui Sugar Mill Saloon, 4-15-26

It was tax day yesterday, and to take some of the sting out of having to send in a check (which I can't really afford), I went to see two great bands at Maui Sugar Mill Saloon and have a few beers (which I can afford). They had a particularly good hazy IPA on tap, and I stuck with that throughout the night. It was the night of Rick Shea's monthly "Swingin' Doors" show, and joining his band was David Serby & The Hillbilly Fringe. So I knew I was in for an excellent night of music. It's good that there are a few things we can still count on in these troubled times, and these musicians are certainly among that number.

Rick Shea & The Losin' End

At 8:30, Rick Shea & The Losin' End took the stage for their first set, opening with one of my personal favorites, "Shelter Valley Blues." Sometimes you just know a night is going to be special from the very first song. And last night was such a night. "Shelter Valley Blues" is such a great song, and Tony Gilkyson delivered some particularly cool guitar work at the end. Rick mentioned his new album, Smoke Tree Road, and said they'd be doing a few songs off it during the show. The next song, "Guardian Angel," was one of the songs from that album. "One step ahead, just for a moment/With the devil never too far behind." We could all use a guardian angel these days, or some music that feels like it can take care of us. Jeff Turmes delivered a nice bass line. That was followed by "Mexicali Train," which Rick introduced as a song about a train trip he took many years ago. It's a timeless sort of trip, isn't it? The kind you can revisit, Dale Daniel's drum beat bringing the train toward us. And if we time it just right, we can hop on. "I'll try to lose myself somewhere inside this Mexicali train."

And now that we were displaced in time, the train left us at some depot late at night, all alone, for "Blues At Midnight."  "The train in the distance with the long, lonesome moan/Reminds me my baby left me here all alone." Rick delivered a cool lead on guitar. Ah, will we have blues at dawn? Jeff's "Don't The Moon Look Real" followed, and we were still deep in the night, but things took a hipper turn, some of the blues disappearing. The song featured excellent guitar leads, first by Rick, then by Tony. Tony then switched guitars for "Hold On Jake," the energy increasing on this one. There was a delicious groove by Dale on drums, and some really nice touches by Tony on guitar. And then just before the end, Tony let loose. That was followed by another song from the new album, "A Week In Winnemucca." In introducing that song, Rick mentioned Chad Watson, who also hosts a monthly music series at the Maui Sugar Mill Saloon. The song featured an especially good vocal performance. Really, everything was working. The first song of the set had offered a promise that it was going to be a special night, and that promise was being fulfilled. Tony Gilkyson then led the band in "Papa Don't Sleep," a fun instrumental tune. Some playful moments during the song ended up making it a particularly special rendition. I love when what could be considered a mistake actually adds something different to a song. The band kept that sense of fun going with "Midnight Shift," which wrapped up the set.

David Serby & The Hillbilly Fringe

Ten minutes later, David Serby & The Hillbilly Fringe were ready to go, opening their set with "Why Leave Los Angeles." Why, indeed? Especially when there is such great music happening here on a nightly basis. This song came on with a fantastic energy. There was no easing into the set. Ed Tree delivered some delicious stuff on guitar. That was followed by "Broken Heart In A Honky Tonk," which featured some wonderful drumming from Kevin Jarvis. The band was clearly having a good time, and everything felt right. There was no pause, not even a breath, between that song and the next, with Ed leading the group straight into "Don't Even Try," and then delivering a great lead on guitar. Dave Carpenter's bass line to "Chase A Buck" set the tone for that one, a sense of excitement. There was a spectacular energy to that song. "Flight Path" followed, the drums keeping everything moving forward, even if memories were nipping at our heels, demanding we pay attention to them. Things relaxed a bit then with "Border Town Romance," which had a more contemplative vibe and a really nice lead from Ed. The band began to rock again with "Don't Stay Fixed," a fun number. "The things I work on, they don't stay fixed." Ah, I think we can relate to that. Several of these songs (including "Don't Stay Fixed") are ones I saw David perform last June at Republic Of Pie, when he mentioned he was working on a new album. Well, as he told the crowd last night, that album is due out next month, which is great news for music fans.

The band then played an older song, "If You're Serious," a ridiculously fun number, its sound seeming designed to make us smile. They followed that with another song that will be on the new album, "No Happy Endings." There were a couple of false starts, Ed indicating that he was starting to do another song. "I was trying to rip off Buck Owens," David said at the end of that one, then specified the song "Act Naturally." "This one sounds like Buck Owens," Ed said, as the band started "We're Breaking Up." This one came on with a force and wonderful energy. The band was rocking at this point, and then slowed things down with "Barroom Blue," a cool tune. "Pharoahs" followed, the energy high again. And then the band delivered a fun rendition of "Fishtail Cadillac," which was the lead track from David Serby's 2024 album Low Hanging Stars. Ed's guitar took us all in some interesting directions. From that album's first track, the band went into that disc's final track, "Is It Lonely In Here," one of my personal favorites. That beat on the floor tom was wonderful, and this song featured perhaps the set's best vocal performance. It was the final song that David had planned to do, but after that song folks understandably wanted more, and so we were treated to the title track from Low Hanging Stars. I think I heard Ed Tree say to David that this was the song he had started to play earlier instead of "No Happy Endings." The set ended at 10:25 p.m.

It was again only a ten-minute break before the music resumed. Rick Shea & The Losin' End opened the night's final set with "(Down At The Bar At) Gyspy Sally's," easing into their second set with a cool number, pulling us into a somewhat darker realm. Rick's guitar called wandering spirits together, and Tony's guitar then got them onto a shadowy dance floor. The band then led a different sort of dance with "Juanita (Why Are You So Mean)," confronting a different sort of spirit. And speaking of mean, that song in turn was followed by "The Starkville Blues," which had a great, mean vibe. Tony sang lead on "Man About Town," a song that lives and thrives in the coolest sections of night, his guitar inviting us along to haunt the city. "Sweet Bernadine" felt just right, and the instrumental section was particularly delicious, Rick delivering some wonderful stuff on guitar. That was followed by one of my favorite tracks from Rick's new album, "El Diablo Manda," Dale playing drums with his hands rather than sticks or brushes at the beginning. If you haven't yet heard this song, I highly recommend checking it out. "All innocence is gone," indeed. Jeff then sang lead on "Things I'm Not Gonna Think About," a perfect choice to follow "El Diablo Manda." It's such a good song, and after it, Jeff mentioned that it will be on his new CD that he's currently mixing.

"Georgia Bride" is another excellent song from Rick Shea's new album, and last night featured a really good groove. That was followed by another Jeff Turmes song, "Early Train," the band delivering a wonderfully mesmerizing rendition, its slow, steady pulse stepping from darkness into the day, while holding us in its dream. Tony then sang lead on "Tear It Down," another cool number with a playful vibe, becoming a delicious jam. They followed that with a beautiful, touching rendition of "An Irishman's A Laborer At Heart," another song from Smoke Tree Road, and then "Big Rain Is Comin' Mama." And, oh yes, we can feel that rain coming, that storm. Jeff delivered some really nice work on bass. Rick then delivered an excellent vocal performance on "One More Night," a song taking us to another time. Rick Shea & The Losin' End only recently began adding this song to the set lists, and I was so happy to hear it last night. If you have a copy of Rick's new album, then you know just how good this song is. The band wrapped up the night with a high-energy cover of Chuck Berry's "Thirty Days." "We'll see you in about thirty days," Rick said afterward. The next "Swingin' Doors" show will feature I See Hawks In L.A. joining Rick Shea & The Losin' End. That is going to another fantastic night. But you don't have to wait a month to see Rick Shea. He and Tony Gilkyson are playing at McCabe's this Sunday.

Set Lists

Rick Shea & The Losin' End Set I

1. Shelter Valley Blues 
2. Guardian Angel
3. Mexicali Train
4. Blues At Midnight
5. Don't The Moon Look Real
6. Hold On Jake
7. A Week In Winnemucca
8. Papa Don't Sleep
9. Midnight Shift

David Serby & The Hillbilly Fringe

1. Why Leave Los Angeles
2. Broken Heart In A Honky Tonk
3. Don't Even Try
4. Chase A Buck
5. Flight Path
6. Border Town Romance
7. Don't Stay Fixed
8. If You're Serious
9. No Happy Endings
10. We're Breaking Up
11. Barroom Blue
12. Pharoahs
13. Fishtail Cadillac
14. Is It Lonely In Here
15. Low Hanging Stars (encore)

Rick Shea & The Losin' End Set II

1. (Down At The Bar At) Gypsy Sally's
2. Juanita (Why Are You So Mean)
3. The Starkville Blues
4. Man About Town
5. Sweet Bernadine
6. El Diablo Manda
7. Things I'm Not Gonna Think About
8. Georgia Bride
9. Early Train
10. Tear It Down
11. An Irishman's A Laborer At Heart
12. Big Rain Is Comin' Mama
13. One More Night
14. Thirty Days

Here are a few more photos from the show:

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