Kelly's Lot: "Late Bloomer" (2025) CD Review

It was just about a year ago that Kelly's Lot released The Blues Remind Me, a phenomenal album of original material that I considered the band's best release up to that point. That summer, as we enjoyed the new music, many of us were filled with hope at the prospect of the nation's first female president. Since that time, this country has gotten much darker, electing a convicted felon and rapist to the office of the presidency, unleashing its own version of the Gestapo on non-violent immigrants and U.S. citizens alike, and even setting up a concentration camp, all to the outright joy of the Fascist Party (previously known as Republican Party). Early in this sad transformation, even before Election Day, Kelly's Lot released "Bully," a song that, while not mentioning the monster by name, is clearly about the leader of the Fascist Party. It is a song that seems to grow more relevant with each passing day. And then by late November, Kelly's Lot had another new song, this one titled "Where There Is Hope." And that's the thing about this extraordinary band. These guys are not afraid to address our various troubles (they are still predominantly a blues band, after all), but they also always seem to offer hope within their music, to look toward a brighter horizon, which somehow when we listen feels not so far away. Both "Bully" and "Where There Is Hope" are included on the band's new album, Late Bloomer. The album features all original material, written by Kelly Zirbes and Perry Robertson, the music on this release moving more into the folk realm. The band is made up of Kelly Zirbes on vocals; Perry Robertson on acoustic guitar; Rob Zucca on electric guitar; Doug Pettibone on guitar, mandolin and pedal steel; Matt McFadden on bass; Mike Sauer on drums; Mo Beeks on keyboards; and Bill Johnston on clarinet and saxophone. Phil Parlapiano and Bobby Orgel join them on certain tracks. And these guys have done it again. As I mentioned, last year I considered The Blues Remind Me to be the band's best album. But that was, obviously, before I heard Late Bloomer. Now I believe Late Bloomer to be the band's best release. The album was produced, recorded and mixed by Perry Robertson, with additional engineering by Doug Pettibone.

The album opens with "Pied Piper," which has a strong rhythm and some great bluesy work on guitar. "He did what he does best/And passed your very test/He made you all smile/As he talked that extra mile." I love those moments when Kelly Zirbes begins to belt out certain lines. Her vocal power is a key element of this band's great appeal. Bill Johnston delivers an excellent lead on clarinet on this track. Then "Savior" has a much lighter, cheerful tone, and Kelly's vocal approach changes to fit the song's vibe. The great Phil Parlapiano joins the band on accordion, his presence an important part of the song's overall vibe. This is a love song, but a love song from an unusual perspective. "When I was sad and you couldn't help/I had to learn to love myself/That's just what I must do/Just because you kiss me/And hold me tight and miss me/Just because you love me won't make you my savior." It's a song that doesn't say a word against love, of course, but does say we must find our own inner strength and rely on ourselves. And Kelly delivers some nice whistling, adding to this track's joyous sound. "When you came into my lonely world/And gave me a chance to dream/Now I know it's all on me/To find myself and find some peace/In this crazy big world."

"Terry" features a very cool, intimate vocal delivery at the beginning that is completely captivating. Adding to that intimate feeling is the fact that Kelly Zirbes directly addresses the listener in the song's very first line. The first words she sings are "You know" in the line "You know the moon waits for the sun." Another line that stands out for me is "I need the memory to get me through." This track contains some really nice work on guitar, as well as some interesting changes, as when Kelly repeats "In your eyes," and when she then sings "I don't think that I can handle this/There's so much that I'm gonna miss." This is a striking and powerful song. That's followed by "Late Bloomer," the album's title track, which has a bright feel right from the start. It's a lively number with a good deal of pep and optimism, feeling like a hit song (in better times with the music industry, this song would absolutely be a hit). It's catchy, with that great beat and wonderful bass line, and it has a positive message. Plus, there is some good stuff on both keys and guitar. "My heart's getting stronger/Just took me longer."

We then get "Bully," a song I mentioned earlier, and one which follows, in a way, "Without You" from the last album, though it has a much different tone. It surprisingly has a kind of pretty and sweet sound. It is not full of anger, as you might expect, and in fact that is part of the point. "Holding onto anger will put you in a cage," Kelly sings here. "Breaking up a family won’t get you a thing/Breaking up a country don’t make you king/Just talking heaven won’t wash away the sin/And just confessing won’t get you in." This track contains some beautiful guitar work. It's followed by "Daddy." I still cry sometimes when I think of my dad (we never really get over such losses, do we?), and when the song "Daddy" began with the line "He's a teacher," the tears came. The song, however, has an upbeat, positive sound, particularly in that bass line. This song also features some wonderful stuff on pedal steel and mandolin, and a good lead on electric guitar.

"Let Live" is a beautiful song. Kelly's vocal performance here is outstanding. "Regrets hold you down so low/Oh, regrets hold you down so low/Help me, lord, to let them go." Doug Pettibone delivers more wonderful stuff on pedal steel here. "It's time to forgive/Learn to let live/Before there's nothing left to give." It's a difficult lesson, I find, especially these days. And here Kelly again speaks against anger:  "Anger is a cage so small/Oh, this anger is a cage so small/Help me, lord, to release it all." Indeed. What I've found is that anger hurts only me, not those who have made me angry. One thing I love about those lines is that she sings "this anger," mentioning her own anger, which has the effect of drawing us together rather than separating us. There is some beautiful work on guitar. This is another of my favorites. Then "This Time" comes on with a great sense of cheer. The first line Kelly delivers is "We'll make it this time," and she repeats the line for emphasis, because perhaps we are uncertain at first. And check out these lines: "In our hearts we'll find a place that we can call our own/And in this world we'll find a way to keep us safe and warm." Oh yes. We have to make it this time, for it's our only time. This track is yet another of the album's highlights. I think we all need this music now.

"Miner's Ode" has an unusual and intriguing opening, with percussion that puts us in a dark place, a steady motion that makes us think of hard, repetitive work, work that never ends, never changes. Kelly's delivery of the song's first lines has a darkness too: "Upside down/Hard to get through/Inside out." This is a haunting, almost hypnotic number. Halfway through, she delivers some equally haunting whistling. And she whispers the last line. Wow. This band can still surprise us. That's followed by "I Don't Understand." "Why am I so jaded/But so young at heart/And how can I stand here so strong/But so easily ripped apart." Those are the song's opening lines, and they grab us. "I don't understand me anymore," she then sings, something I think we can relate to. I'm not sure anyone understands anything anymore. Mo Beeks and Bill Johnston deliver some really nice work on keys and saxophone respectively. That sax lead in the second half is something special, taking the song to another level. "I used to like to watch the waves crash on the shore/Now I don't go down to the beach anymore/Oh, I don't understand life, that's for sure/Yeah, I don't understand life anymore." The album concludes with "Where There Is Hope." Bobby Orgel plays keys on this track, and it is his pretty work that begins this one. The song then kicks in, and Kelly sings, "Where there is hope we will find it/Where there is hope we can see." She delivers an uplifting vocal performance. This song is in some ways like those classic folks songs, where each stanza introduces a different word or line while keeping within the structure, and so is easy to learn and sing along to. "Where there is truth, we will find it/Where there is truth we can see."

CD Track List

1. Pied Piper
2. Savior
3. Terry
4. Late Bloomer
5. Bully
6. Daddy
7. Let Live
8. This Time
9. Miner's Ode
10. I Don't Understand
11. Where There Is Hope

Late Bloomer is scheduled to be released on August 8, 2025.

Rick Shea & The Losin' End at Maui Sugar Mill Saloon, 7-16-25 Concert Review

Rick Shea & The Losin' End

While Los Angeles may be known primarily for its film and television industry, this city has a tremendous music scene. On any given day, there are multiple great artists performing at various spots all over the city. And here we get the opportunity to see some incredible musicians and singers in rather small venues, and often for little or no money. Rick Shea & The Losin' End have a monthly residency at the Maui Sugar Mill Saloon, a nice little club in Tarzana where there is no cover. The band backing Rick, for those who don't know, includes Tony Gilkyson on guitar, Jeff Turmes on bass, and Dale Daniel on drums. Yeah, it's one of those fantastic groups made of musicians you likely know, and they get together once a month at this club (the series is called "Swingin' Doors"), playing mainly for the joy of it, theirs and ours. And these days most people are in search of such joy. And speaking of joy, the band that joined them last night was The Jolenes. This is a band you might not know, for these guys do not play very often, but you probably know all its members: David Serby, Dan Janisch, Grant Langston, and Dale Daniel (so no rest for Dale last night). It was a treat to get to see these guys perform together.

"Midnight Shift"

Rick Shea & The Losin' End started the show at 8:30, with Rick saying there were some shifty-looking fellows there, referring to The Jolenes, and setting a kind of playful tone for the night before playing even the first note. They opened the show with "Shelter Valley Blues," with Rick singing, "Well, I walked into the fire/Slightly stoned and slightly wired." After a quick sound adjustment, Rick counted off the next song, "Midnight Shift," which featured an excellent guitar section. They went further into the blues territory (though sticking with that time of night) with "Blues At Midnight," a cool number. This was a particularly good rendition, featuring some nice work on guitar, first by Rick and then by Tony. That was followed by "The Starkville Blues," with Tony delivering some delicious stuff on guitar. Jeff then took a turn at lead vocals on his "Early Train." The line that always grabs me from this song is "Summer's coming and I love someone," and last night he delivered that line with increasing intensity toward the end, making it stand out all the more. Rick and Tony took turns delivering excellent leads on guitar, each lead having its own cool, distinctive style. "They're dreaming still."

Rick also gave the crowd some good news, that he is working on a new album. Not only that, but both Tony and Jeff are also at work on new albums. So there are three albums to look forward to. He then played "Down At The Bar At Gypsy Sally's," a song from his last album, Love & Desperation. This song had such a good groove. I love the whole atmosphere of this song. The band then raised the energy a bit with "Hold On Jake." They followed that with "Papa Don't Sleep," an instrumental number from Tony Gilkyson's 2023 album Avenging Angel. It was a fun rendition, and I particularly enjoyed the way the two guitars answered each other. Rick Shea wrapped up the first set with a sweet, gentle number, "A Tenderhearted Love," a song he wrote for his wife. The set ended at 9:14 p.m.

The Jolenes performing "Grown-Ass Man"

Less than fifteen minutes later, The Jolenes were on the stage. Grant Langston said it was a handsome crowd, joking that it was not always the case at their shows. He then led the band in their first song, "Grown-Ass Man," a fun way to get things going. The song featured some great stuff by Dan Janisch on guitar. The fun continued with "Mexican Beer," with David Serby, sporting a Nocona T-shirt, on lead vocals. By the way, in this group, David is on bass. "And they serve Mexican beers here," David said at the end of the song, holding up a bottle. Dan then sang lead on "Baby, Give Me One More Shot," a cool country number. After Dan introduced the song, he asked the others what key it was in. This became a running joke through much of the set. "Is this in A?" Dan asked before the next song. And Grant asked the crowd, "Who wants to dance?" Yes, the song had several folks on their feet and dancing. Their entire set was a lot of fun, with the band seeming to have as much of a good time as the audience was. You could hear it in their playing, and in the way they introduced songs and complimented each other. Dan introduced "Ramblin' Wreck," a song David sang lead on, by saying it was such a fun journey.

"Aisle #4"

One of my favorite songs was "Patiently," with Dan on lead vocals, singing, "Hoping to see you someplace beside my dreams." David joked afterward, "Dan's the sensitive Jolene." David then delivered one of the set's most delightful numbers, "Aisle #4." "If you ever saw your ex in the supermarket, this song's for you," he told the crowd during the song's introduction. "There's gonna be a cleanup in aisle #4." That was followed by "Higher Education," with Dan singing, "I'm getting a higher education/The longer I sit at the bar." Those are the song's opening lines, and the song featured a really nice lead by Grant on guitar. Grant then introduced the next song, saying it was for anyone who found his wife's number on a bathroom wall. That song had the playful title "Hello, I'm Your Husband." Grant told the crowd, "You're gonna want to sing along with this one," and indeed, most of the people joined Dan, Grant and David in singing "45 Miles To The Graveyard." "Knocked Up Knockout" was a high-energy number with a Chuck Berry-type intro, the band really rocking on this one. They wrapped up their set with "Just Stay Gone," another fun song. "Don't come back/Baby, just stay gone." The audience wanted an encore, and the band chose to do a cover of "Blue Eyes Crying In The Rain," with Grant on lead vocals. I hope these guys play together more often. Their set ended at 10:26 p.m.

"Honky Tonk Blues"

Ten minutes later, Rick Shea & The Losin' End were back on stage, kicking off their second set with "Honky Tonk Blues," featuring a rather pretty guitar lead from Tony. They followed that with "Mexicali Train." There's something about that song, it always feels so good, the kind of song that puts you in touch with the life you thought you might be living. It has that kind of feel, you know? Then we got the always fun "Juanita (Why Are You So Mean)." Someone called out a request for Tony's "Tear It Down," which interestingly was on the set list anyway. The song is seriously cool, with that vibe, that rhythm. And they delivered a nice jam on it last night. That was followed by one of my personal favorites, "Mariachi Hotel," another cool song. Jeff took a turn at lead vocals with "Rickety Men," also delivering a wonderful bass line. This song also featured a good jam. That was followed by "Blues Stop Knockin' At My Door." In the song's introduction, Rick mentioned he first heard this song from Lazy Lester. "Blues Stop Knockin' At My Door" led straight into "Sweet Bernardine," another song that is always great to hear. There was a nice little jam on this one too.

"Man About Town"

Tony switched guitars for "Man About Town," yet another cool number. "Each night a new love/Never a true love." And this song contains the wonderfully depressing line "It's too late to be sorry now." Tony remained on that guitar then as Rick led the band into "Sweet Little Mama." This one also has wonderfully sad lines, such as these: "I'm standing in the shadows/All I ever had is gone." Jeff then sang lead on two more songs, first a cover of "Turn Your Damper Down," a rock and roll number, and then on a new song, "Things I'm Not Gonna Think About." "There are some things I'm not gonna think about/Not gonna think about right now." Those lines stand out in these strange days when there are several things we probably don't want to think about. That was followed by "Big Rain Is Comin' Mama." They wrapped up the night with "(You're Gonna Miss Me) When I'm Gone," an energetic number featuring a nice jam at the end. The show ended at 11:50 p.m.

Set List

Set I

1. Shelter Valley Blues
2. Midnight Shift
3. Blues At Midnight
4. The Starkville Blues
5. Early Train
6. Down At The Bar At Gypsy Sally's
7. Hold On Jake
8. Papa Don't Sleep
9. A Tenderhearted Love

Set II

1. Honky Tonk Blues
2. Mexicali Train
3. Juanita (Why Are You So Mean)
4. Tear It Down
5. Mariachi Hotel
6. Rickety Men
7. Blues Stop Knockin' At My Door >
8. Sweet Bernardine
9. Man About Town
10. Sweet Little Mama
11. Turn Your Damper Down
12. Things I'm Not Gonna Think About
13. Big Rain Is Comin' Mama
14. (You're Gonna Miss Me) When I'm I'm Gone

Here are a few more photos from the show.

"Early Train"

"Grown-Ass Man"

"Grown-Ass Man"

"Mexicali Train"

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

Brief Notes On New Jazz Releases

Music often provides our escape route from the current ugliness of our nation. Here are notes on a few new jazz albums you might want to check out.

Meltem Ege: "Solitude" - Singer and composer Meltem Ege recorded her new album, Solitude, in two different cities, Los Angeles and Istanbul (two places she calls home), with two different groups of musicians, and in two different languages. The album contains mostly original material, written or co-written by Meltem Ege. The album opens with "Anlayana," recorded in Istanbul, with lyrics in both English and Turkish. It's an intriguing vocal performance, with different sections delivered in different styles. There is even some scat toward the end. The track also features some excellent work by Serkan Alagök on drums. That's followed by "We Must Not Say Yes," which has quite a different tone. This one was recorded in Los Angeles, and features Theo Bleckmann joining Meltem Ege on vocals, the two engaged in a vocal dance. "I could stay with you/And watch my dreams come true/Nevertheless, it's still wrong in the end/Let's not pretend/I don't belong with you." This track also features some wonderful work by Sarpay Özçağatay on flute. "Solitude," the album's title track, starts with sounds at an airport, and then after thirty seconds, the song begins, and features some nice work from the string section over a steady, insistent rhythm. It grows in power, and becomes one of my personal favorite tracks. Then "Aklinda Kalmasin" has a cool, swinging vibe, and features an excellent lead by Önder Focan on guitar, as well as more great stuff from drummer Serkan Alagök. "Dawn" is a piece composed by Will Kjeer (Meltem Ege had sung on Kjeer's original recording of it), this version beginning with bird sounds and including them again later in the track. There is a sort of forceful beauty to this one, and it contain a good jam in the second half. Then "Seninle Dans" has a delightful Brazilian rhythm and feel. "Eyes Of Innocence" begins with some nice solo guitar work by Derek Bomback, and features a beautiful vocal performance, growing in power as the song progresses. And Sarpay Özçağatay returns to deliver more excellent work on flute. "Child, you are born in a world/Where we try to grow up/And forget to fly." The album concludes with "Brush Strokes," which includes a spoken word section at the beginning and an interesting guitar lead. "I will use my wings and I will fly." This album was released on May 23, 2025.

Jason Kao Hwang: "Myths Of Origin" - In 2023, violist and composer Jason Kao Hwang gave us Book Of Stories, following it last year with Soliloquies, an excellent album of solo improvised pieces. With his new album, Myths Of Origin, he continues to tell stories, as its title suggests, and continues to improvise, but now as a conductor rather than player. While the album is divided into tracks, it is really one continuous piece of music, one great story. It opens with "The Collapse Of Gravity," starting appropriately enough with a single bang on the drums. And as the strings come in, there is an eerie sense of mystery, and the sound begins to build, the action taking place all around us. Frightening, beautiful, and perhaps inevitable, the dramatic music holds us spellbound. It leads straight into "Spin Fast And Burn," which has a more constant motion at its core, and when that is firmly established, the electric guitar takes things to another level. In the second half, things spin faster, the elements combining into one solid and exciting mass. It eases back for a moment as the track ends and "Multiply And Rise" begins. Now different voices make themselves known, to themselves and to us, testing the air, testing their arms, their voices, entering a chaotic dance, from which certain voices begin to dominate and create form. Stranger territory is explored at the beginning of "Dust Gathers Around Sleep," steps taken in darkness. And an undeniable beauty emerges, witnessed by various beings who then offer their own perspectives, bubbling on the surface. "Landmarks Vanish" begins in a more grounded, solid place, a stronger, more insistent energy determining the action. It gets its grip on us quickly, and does not release until it is certain we are under its sway. A fascinating and exciting ride. The guitar at one point surprisingly reminds me of the beginning of "Someone To Watch Over Me," just for a moment, and then goes into odder territory. "Where Fools Fear" takes us into a more delicate realm, with an air of contemplation, of melancholy. And then it grows from there, leading into "Ancestors Of Light," a more mysterious landscape, with beauty pushing up through the surface. And then we are in more familiar territory with "Anthem Of Knowing," a jazz club at the beginning of existence, where we can relax, ease into reality, as things take form around us and those forms rise up in dance. "Never Forgotten" moves slowly, stretching its great limbs across space and taking it all in, the beauty, the sadness, the vast emptiness. At the end, there is applause, which is actually a bit jarring, for this ride becomes a personal one for each person who listens. This album was released on July 7, 2025.

Jennifer Lee And The Ever-Expanding Universe: "Glimpse" - Vocalist Jennifer Lee's new album features mostly original material, with arrangements by Jennifer Lee and Peter Sprague. Peter Sprague also co-produced the album with Jennifer, and plays guitar on several tracks. The opening track, "I Caught A Glimpse Of Your Soul," eases in with vocals and some soft work on keys. "Seemingly a chance encounter/When I first beheld/That radiant smile on the face of an angel/My heart knew all too well." The way she is setting up the scene and telling a story, it feels like this could be a show tune. Soon it kicks in, and that's when the song really grabs me, with its cool, gently swinging rhythm. "I never believed in fate or destiny," she then sings. Peter Sprague delivers an excellent guitar lead in the middle, followed by a strong lead by Adam Shulman on keys. Then "Farewell To Comfort" has a nice Brazilian vibe. "But must I leave this all behind?/Comfort is another word for the rut that I've been stuck in," she sings here. The vocal line has an inviting, pleasant feel, and we want to ride that breeze with her. And there is some pretty layering of vocals in certain sections. I also enjoy Duncan Moore's drumming here. "Dave Don't Mind The Rain" is the first of only two tracks not written by Jennifer Lee, and it establishes a cool, late-night atmosphere right away. It also features one of the album's best vocal performances. There is something seriously sexy about her delivery. "He's just wishing it would rain for days." This track also features a good lead by Gunnar Biggs on acoustic bass. The other song not written by Jennifer Lee is a cover of "If I Only Had A Brain," which begins with some pretty work on piano. She delivers an interesting, slow, contemplative and gorgeous rendition, featuring some nice work by Rich Kuhns on accordion. That's followed by "Serendipity," a pretty and cheerful number that begins with her asking, "Who knows where we're going?" And she reminds us that we're sharing this strange journey together, and that we can choose how to use our time, how to approach each day and each other. "Superhero" begins with some really nice percussion. This one also opens with a question: "How can it be/That you are so very in love with me?" And the next few lines show the wonderful playfulness of this track: "I'm not the kind of girl/Who makes the superhero hot/No, I'm not/No, I'm not." This is another of the disc's highlights. Then "Here You Are" features another excellent vocal performance, as well as some really good stuff from Randy Brecker on flugelhorn. Anton Schwartz plays saxophone on the final track, "Strange And Beautiful," delivering some very cool work on what is a very cool tune. John Wiitala is on acoustic bass, and Vince Lateano is on drums on this one. What a great song to wrap things up! This album was released on June 6, 2025.

Billy Lester Trio: "High Standards" - Pianist Billy Lester puts his own delicious spin on some classic numbers, with Marcello Testa on bass and Nicola Stranieri on drums. The music has an exciting and fresh feel. The album opens with "There Will Never Be Another You," Marcello Testa setting things in motion with a wonderful steady bass line at the beginning, with Billy Lester free to express ideas as they come to him, and they come to him and then to us with a good deal of joy. Things are popping and swinging almost immediately, Nicola Stranieri delivering some great stuff. A strong bass lead emerges in the second half, followed by a drum solo, and the trio is flying. That's followed by "Somebody Loves Me." I've said it many times, but you can never go wrong with Gershwin, and this rendition takes us on an exciting route, the music loose and free and snappy. Billy Lester's work grabs you. There would be no way to just leave this music on in the background, for that background would quickly become everyone's foreground, as the music takes over. Our pulses attempt to keep up. The trio slows things down a bit then with its rendition of "What Is This Thing Called Love?" from Cole Porter. There is a cool aspect to this track from its beginning, particularly in that rhythm. And again there is a wonderful freedom to Billy Lester's playing that keeps us attentive. Then "I'll Remember April" comes on at a fast pace, pushing us forward, and our feet have trouble keeping up. This is a lively, even forceful rendition, and it features a powerful bass lead followed by an excellent drum solo. The bass seems to be the engine here. Things relax then for "You Go To My Head." But relaxed does not mean dull, with Billy Lester's piano work keeping us fully engaged. There is a playful sense to "Just Friends," particularly in some of Billy Lester's work. This track also features some great stuff on drums, even before the solo. It is the drumming that makes this track so appealing to me. Then "Out Of Nowhere" is intriguing from the start, particularly the work on piano, which is thrilling at moments. There is then a strong energy to the trio's rendition of "Lover, Come Back To Me," which pops and crackles. Billy Lester wraps up the album with an original piece, "Free Improvisation," which itself takes us on an interesting journey. A dramatic piano solo to close things out. This album is scheduled to be released on September 12, 2025.

Deborah Silver With The Count Basie Orchestra: "Basie Rocks!" - Vocalist Deborah Silver, backed by The Count Basie Orchestra (along with some special guests), tackles some popular rock numbers from the 1960s, 1970s and 1980s on this album. The album opens with The Rolling Stones' "Paint It, Black," featuring special guest Arturo Sandoval on trumpet. Arturo delivers an excellent lead in the middle of the track. Deborah Silver gives us a passionate vocal performance. I especially love how she delivers a line like, "I look inside myself and I see my heart is black." That's followed by a totally delightful rendition of Elton John's "Bennie And The Jets" which kind of sneaks in and then suddenly announces itself with a bright burst of energy. Deborah's vocal approach is really cool here, giving me a new appreciation of this song. Also, all the lines are delivered with clarity (so, no, it's not "electric boobs," friends), and toward the end she's able to cut loose a bit. This is a truly excellent rendition, and it is followed by another outstanding track, "Baby, I Love Your Way." Her approach to this song is absolutely delicious, with the right amount of romance in her delivery. It's gorgeous and enthralling. And making it even more special, Peter Frampton comes in on guitar in the middle of the track, delivering a nice lead. This track is reason enough to add the album to your collection. Then "Tainted Love" begins with some cool work by guest John Clayton on bass. Here this song becomes a great duet, with Kurt Elling joining Deborah Silver on vocals. Another fresh and exciting approach to a well-known song. Her version of "A Hard Day's Night" swings, and has some vibrant moments, and also a playful vocal section toward the end. "Joy To The World" becomes a duet, this one with Trombone Shorty, who also delivers some wonderful stuff on trombone. Then Bill Frisell delivers an excellent guitar lead on "Fly Like An Eagle." Another of the album's more surprising arrangements is on The Police's "Every Breath You Take," and this rendition is a delight. It has something of an early 1960s vibe at times, and special guest George Coleman delivers some nice work on tenor saxophone. The album concludes with "Life's Been Good," which kicks in with a big band joy, and makes us feel that life is good, that we're all okay. This album was released on May 2, 2025.

Neverland Ranch Davidians: "Shout It On The Mountain" (2025) CD Review

First of all, Neverland Ranch Davidians is a great band name. I enjoy playful (and meaningful) mashups like that, particularly in these twisted days of doom, when this country's scum has risen to the surface rather than sinking like it should. Don't you just want to scream? And laugh? Well, these guys are here for you. The band was formed in 2019, and is made up of Tex Mosley on guitar and vocals, Will Bentley on guitar and backing vocals, and Max Hagen on drums and backing vocals, with Gregory Boaz on bass on the new album. That new album, Shout It On The Mountain, is the band's second full-length release, following the self-titled 2023 album. Like the band's name, the music is a mashup of sorts, with punk meeting rhythm and blues for a wild and unhinged party. The album features mostly original material.

The album opens with a fun number titled "Swamp Feet," which features a solid beat and some strong vocal work, and a good deal of power. And then there is a surprising vocal section in the middle that I absolutely love. That of course gives the band the opportunity to then jump back in with full force, which these guys do. "Get on the dance floor and do the swamp feet." Well, all right! These guys are rocking out of the gate. That's followed by a cover of "Big Bird," written by Booker T. Jones and Eddie Floyd, and originally recorded by Eddie Floyd in 1968. As on that original recording, these guys echo some of the lines, such as "With me down here" and "And you up there." There is a great energy and a good amount of soul to this rendition. It's fun too. I am so glad folks are recording music like this.

"The Gripper" is an original number featuring lots of guitar, yet the vocals remain at the fore, never getting lost in the mix. "She's a gripper," we are told. Ah, what is it exactly that she has her grip on? Well, they tell us: "She's all dressed up in her birthday suit/Gripping my big toe in my boot/Gripping me up, gripping me down/I heard you've been gripping all over town." Yes, this is another fun track. Good rock music, not taking itself too seriously.  I dig that section where the drums carry us forward. That is so damn good! "Ah, that feels good." Indeed it does! And they spell, "G-R-I-P" like "Gloria." That's followed by another fun one, "Signified Monkey." Really, this music just has that special something that lets us shake off whatever garbage might be trying to attach itself to us, whatever might be trying to insist on its own importance, whatever crap this nation is embracing. "Don't let the door hit you in the ass." And, hey, just before the end, we are treated to a short drum solo, and then the line, "Good god, I feel so unnecessary."

"Shout It On The Mountain," the album's title track, features lyrics delivered in a spoken word style, telling us a story. "So I was in New York City when I see her at the soup kitchen." It is like we are hanging out, being told a story with some delicious bluesy accompaniment. "Shout it on the mountain/Shout it on the mountain/Shout it on the mountain/You're preaching to the choir." The story finds them on the sofa,  "watching the Legend Of Billy Jack." I have the Billy Jack boxed set, and I should revisit those movies (though I don't think any of them sports the title Legend Of Billy Jack). This song ends with a nice, heavy, bluesy jam. Then "Citizen Junkie" comes on with a great force, with more of a punk energy and sound, particularly to the vocal delivery, which has a good amount of anger. Interestingly, there is also some spoken word here. This track is very short song, less than two minutes, in keeping with the tradition of early punk songs.

I love the way the drums grab hold of me at the beginning of "Cactus Cooler Man." There is some solid rock action here, with punk elements, and everything is working so well. This is one of my personal favorites, and there is something playful about it. "If you don't know, you'd better ask somebody." By the way, on the back of the case this track is listed as "Cactus Cooler," and on the inside it is listed as "Cactus Cooler Man." So take your pick, I suppose. That is followed by "Don't Call Me." Here it is the bass line that gets me going. There is a great, mean vibe to this one, and some fantastic vocal work. "Call me a deadbeat/Call me a stupid asshole/Call me a jerk/Just don't call me anymore." This is another of the disc's highlights. It ends with a short guitar solo.

"Death Penalty In Texas" comes on with a delicious fiery energy, with some drumming that is ready to knock over anyone who gets in the way. This is one of those great numbers that make you want to hurl yourself around the room until you're bloody and delirious and feeling on top of the world. This instrumental track is so fucking good, and over much too soon (another track that is less than two minutes long). It's followed by "I Think I'm Positive," which has a wonderful groove. "I think I'm positive/I don't mean my attitude/I think I'm positive/I'm not feeling so good." Those lines are delivered as sort of spoken word, while that great groove carries the song along. "This is the third day/I'd better go get tested." There have been a lot of good songs that have come out of the pandemic, but I haven't heard any quite like this (before the pandemic, we might have assumed this song was about HIV). And when he gets his test results back, he screams. Perfect! I love this track. There is a moment when he sounds a bit like Screamin' Jay Hawkins, channeling that wild man. This track also contains some fantastic stuff on guitar. "I think I caught it on the train/It was packed that day/And I remember a guy sniffling." We all went through that, didn't we? Figuring out exactly where we got it. His reaction at the end might seem extreme, but keep paying attention, even as the track is fading out. This is the album's final original composition.

Neverland Ranch Davidians then deliver a good cover of "Orphan Boy," a song written by Larry Nestor and originally recorded by Half Pint And The Fifths in the mid-1960s. "Walking barefoot through the snow/Look for shelter, with no place to go/Begging for meals and riding the rail/Maybe I'd be better off in jail." That's followed by "Happy," a song written by Damon Strawn. "You say you're happy and everything is cool." But the way he sings those lines, we just don't believe that this person is happy. This is a good, slow punk number. The band then wraps up the album with a classic blues tune, Skip James' "Hard Time Killing Floor Blues." These guys deliver a heavy, powerful rendition. "Times are harder than before/While the rich man's getting richer/And the poor man's only poor/The people are divided/On just who is to blame." This is a good song to cover now, and this rendition seems like it might open a vein at any moment. "Some still think that there's a heaven/When all they know is hell."

CD Track List

1. Swamp Feet
2. Big Bird
3. The Gripper
4. Signified Monkey
5. Shout It On The Mountain
6. Citizen Junkie
7. Cactus Cooler
8. Don't Call Me
9. Death Penalty In Texas
10. I Think I'm Positive
11. Orphan Boy
12. Happy
13. Hard Time Killing Floor Blues (Dirty)

Shout It On The Mountain was released on March 7, 2025 on Heavy Medication Records.

Rosie Flores, Jason Ringenberg, John Surge And The Haymakers at Permanent Records Roadhouse, 7-11-25: Photos

Jason Ringenberg

What a treat it was to get to see Rosie Flores, Jason Ringenberg, and John Surge & The Haymakers yesterday. It was a fun and joyous evening of music, just the sort of thing folks need in these twisted days when democracy has been crushed by stupidity and criminals roam the streets in the guise of law enforcement. We need reminders that humanity still exists, still shines, still pulses, still smiles. And there was plenty of evidence of that yesterday at the Permanent Records Roadhouse, a spot that is part concert venue and part record store, a place with great vibes. Doors opened just a few minutes before 6 p.m., and like fifteen minutes later John Surge And The Haymakers took the stage. "Well, look at all you early birds," John commented. Yeah, Los Angeles is not really known for people arriving early, but sometimes I'm pleasantly surprised. John Surge focused on music from his excellent 2024 EP Maybe You Don't Know Me, playing "You Don't Know Me," "Stand My Ground," "Barstool" and "Marisol" from that disc. At one point, approximately halfway through the set, he told the crowd, "We've got a tight clock tonight," and the set moved quickly, wrapping up with "Beyond The Break" at 6:46 p.m. Jason Ringenberg, whom you likely know for fronting Jason And The Scorchers, was up next, and this time his backing band was John Surge And The Haymakers. Very cool. First he performed a couple of songs solo, including "God Bless The Ramones" (Jason And The Scorchers had opened for The Ramones). John, Chris and Boo Bernstein joined him for "Bible And A Gun," with John doing the Steve Earle part and Boo delivering some beautiful work on pedal steel. Then Rosie Flores and the rest of the Haymakers joined him for "Who's Gonna Take The Garbage Out," a fun duet that found Jason and Rosie dancing around before the end. There was a tremendous energy to the set, and during "Golden Ball And Chain," Jason's watch flew off, landing among the audience. His set included "Keep That Promise," a cover of Dylan's "Absolutely Sweet Marie" and a fantastic rendition of "Honky Tonk Maniac From Mars." He wrapped up the set with a couple of songs from the Scorchers' Lost & Found album: "Shop It Around" and "White Lies." His set ended at 7:45, and fifteen minutes later Rosie Flores was ready to go (no rest for Kevin Jarvis, who played drums with her as well). She opened her set with "Get Rhythm," and everything seemed right with the world. She delivered some excellent work on guitar during "Simple Case Of The Blues." Boo Bernstein joined her on pedal steel for a few songs, including "Crying Over You" and a beautiful rendition of "God May Forgive You (But I Won't)." It was a great set. At one point, Pope Paul (on stand-up bass) said, "Rosie fucking Flores!" And Rosie replied, "We have T-shirts." As I mentioned, there was a time limit to this show (apparently there was another show scheduled after it), and when Rosie had two more songs planned, there was time for only one. Jason Ringenberg and John Surge And The Haymakers joined her for a totally fun rendition of "Route 66" to wrap things up. The show ended at 8:51 p.m.

Here are some photos from this special show:

John Surge & The Haymakers

Jason Ringenberg

John Surge introduces Rosie Flores

Rosie Flores

"Route 66"

"Route 66"

Ryan Lee Crosby: "At The Blue Front" (2025) CD Review

Singer and songwriter Ryan Lee Crosby might be based in Rhode Island, but it is clear from listening to his new album, At The Blue Front, that there is a good deal of Mississippi in his soul. And it was to Mississippi that he went to record the album, as might be clear from its title. The Blue Front Cafe is located in Bentonia, Mississippi, a place known for its own particular country blues style. The venue opened in the 1940s, and was run by Carey and Mary Holmes, and is now run by their son, Jimmy "Duck" Holmes, a great blues artist you've likely heard. Holmes' last album, Cypress Grove, was produced by Dan Auerbach, the vocalist and guitarist for The Black Keys. And Jimmy "Duck" Holmes joins Ryan Lee Crosby on half of this album's tracks, on guitar and vocals. Also joining Ryan Lee Crosby on this release are Grant Smith on percussion, and Jay Scheffler on harmonica. Ryan Lee Crosby plays 12-string guitar. The songs are a mix of originals and traditional numbers.

The album opens with one of the traditional tunes, "Going Away," which establishes a good low-down blues rhythm at the start, and features some really nice work on harmonica before Ryan Lee Crosby comes in on vocals. "I'm gonna catch that train/And I'll be moving on." The track has a delicious, raw sound, with also a somewhat relaxed vibe to the vocal performance. He's not trying to sell us anything, just telling us how things are. And this track features some excellent stuff on guitar. That's followed by an original composition by Ryan Lee Crosby, "I'm Gonna Change," which begins with some cool guitar work over a steady rhythm. "Yes, I'm gonna change/I'm gonna change my ways," Ryan sings here. This is something I've been thinking about a lot lately, whether people are truly capable of change. I think they can change, but only within a somewhat narrow scope. No matter how determined you are, you only have yourself to work with, and can't move beyond those natural bounds. Ryan Lee Crosby does sound determined, and soon we learn why: "You know I love you/And I don't want to leave/So, baby, that's why I'm gonna change/Change all my ways." Oh yes, guys, probably all change that is possible is done because of a woman, because we've failed her in some way, hurt her in some way, disappointed her in some way.

"I've Been Worried" is another original composition, this one with an insistent, energetic rhythm, and so a different tone. "Well, I've been worried/I won't be worried long," he tells us at the beginning. "Because the time will come/It's gonna come/And this will all be gone." True. Regardless of what specifically he's talking about, it's true. Everything is fleeting. Whatever you are thinking of, it will be gone one day. I suppose most worries are pointless. But it's difficult to stop, especially these days. We just have to do our best to not let worry get the best of us. I love the way his fingers seems to be dancing on his guitar. This track features such great work on guitar. That's followed by "Mistreating People," also an original composition, a song in which he advises, "Don't go around mistreating people/It's gonna come back your way." I don't believe in karma, but as my girlfriend says, someday a guy will mistreat the wrong person and pay the price. And speaking of mistreating people, I wonder if those evil ICE agents will get theirs soon. "And now I'm here all alone," he sings. But the harmonica helps him out, keeps him company. The blues keep him company. "I'm sorry, oh yeah, I'm sorry/For what I did and didn't do."

Jimmy "Duck" Holmes then joins Ryan Lee Crosby for the second half of the album's tracks, beginning with "Hard Times," a traditional number. "Hard times, hard times/Well, they'll bring you down/Hard times/Oh, they'll get you down." Oh yes, there is no question. Hard times lurk just around the corner. And, let's face it, the times are hard now, in so many ways. I love the way the two guitars support each other and interact. That guitar work is at the heart of this track. This track also features some nice touches on harmonica. Then we get "Catfish." There is something playful about a song that begins with the line, "Oh, I wish I was a catfish," and expresses an eagerness to "have all you pretty people fishing after me." But this is also a pretty cool number, and both Ryan Lee Crosby and Jimmy "Duck" Holmes deliver some strong vocal work. This is a song that Jimmy "Duck" Holmes performed on Cypress Grove, there titled "Catfish Blues." Interestingly, the lyrics are somewhat different, the opening line of that earlier version being "Said if I were the catfish." These guys put their own spin on these numbers.

"Slow down, slow down/You're going too fast," Ryan Lee Crosby tells us at the beginning of "Slow Down," and these blues themselves seem capable of slowing us down, of even adjusting our pulse, as we find ourselves aligning with the music's own pulse. Again, I love the sound of these two guitars. Everything feels right here. Jimmy "Duck" Holmes adds, "You'd better change, change your ways," and it seems he is speaking to one specific person, one specific woman. "If you don't change your ways/You're gonna end up in an early grave." And when Ryan sings, "I'm gonna change, change all my ways for you," we are reminded of the album's second track. Again, it's for love, right? How many men would be complete wrecks if it weren't for that special woman? This one fades out. The album then concludes with "Tell Me." "Tell me how long, how long/How long your good man gonna be gone?" Jimmy "Duck" Holmes asks here. This track contains some really good guitar work. It too fades out, and we get the sense that these two guitarists might have gone on jamming into the evening.

CD Track List

1. Going Away
2. I'm Gonna Change
3. I've Been Worried
4. Mistreating People
5. Hard Times
6. Catfish
7. Slow Down
8. Tell Me

At The Blue Front is scheduled to be released on August 20, 2025 on Crossnote Records.

Mekons: "Horror" (2025) CD Review

If you're looking for something to celebrate - and I think we're all in need of such things these days - how about this: the Mekons are on tour, the full band, and they have a new album out. Two things worth celebrating, actually. The Mekons are one of the world's greatest bands, and somehow much of the world is still unaware of their greatness. The band formed in the 1970s as a strange sort of art project, and somehow - through changes in personnel and changes in the music itself, and with a mysterious lack of commercial hits - has kept going for nearly five decades. Jon Langford will tell you that he and the other members are trapped within this band. Maybe so. But they always manage to keep things interesting, with each new album different from what has come before. And that is still the case, which is astounding and unlike almost every other band out there. The band's new album, Horror (and what a perfect title for these days when much of humanity has turned hideous), is different from their previous releases, and yet still totally makes sense within this world the band has forged. Interestingly, the CD contains no liner notes whatsoever, no credits, no names, no thoughts. It's about letting the music speak for itself. However, there is a sticker on the plastic wrap of the disc, and that sticker says, in part: "'Horror' provides a prescient reflection of the world in its current miasma and how we got here." Yes. This music is now, no question. But it is delivered with that great joy and optimism and humanity that I have come to expect and appreciate from this incredible group of musicians.

The album opens with "The Western Design," which has something of a reggae feel, that easygoing vibe. The song begins on December 25, 1654, as the English fleet planned an attack on Spain's colonies. Yes, the song tells a historical story, an unfolding story. I love the way it is described at the beginning: "The empire casting off." And I love the way that line is delivered. The image is so positive, so optimistic, so innocent. But we know. We know. And the line "The work we may do in the world" is repeated for emphasis, the second time delivered more slowly. What may you be thinking then? The glories of British imperialism. The line pops up again later in the song. This is an engaging number to kick off the album, and it features some beautiful work by Susie Honeyman on violin toward the end. Yes, this band has done it again. And this is just the opening number. We're then ushered into a twisted carnival with "Sad And Sad And Sad," finding ourselves within a dance, a dreamlike waltz that is completely delightful. Ah yes, I feel like we should go on dancing, as the world and reality crumble around us, which they seem to be doing now. "I'll measure my age by everything that I've forgotten." What a great line, and it grabs me particularly as I'm at an age where more and more slips from the grasp of memory. Here we have entered a dream. For isn't this whole thing some bizarre dream anyway? The line "And there is a lack of tomorrows" can be depressing as all hell, and can also be freeing. This line is also repeated, the truth of it hitting home. This is one of my personal favorite tracks.

"Glasgow" has an electronic sound at its start, which comes as a surprise. Then it takes on more of a straight rock sound, at least for a moment, with guitar work that might be at home in a Rolling Stones song. But then it quickly, smoothly moves in a more new wave sound, all that before the song's first lines: "I lived ten years in Glasgow/And it sometimes felt like home/All the time that passed/We don't get back." The violin plays a prominent part in the sound, over that steady rhythm, and the track features a lovely lead on violin. "I was sick and tired of everything." Then "Fallen Leaves" opens in a mellower, dreamlike state, a place of contemplation, of reflection, of deep blue ripples in memory. And perhaps memory is all we'll have left. This song features a captivating vocal performance that has its own great beauty. "The dry earth cracks and shadows grow/A dying sun sinks down/Horrors and cold slaughter, silent mystery." The song is both beautiful and dark, and features more great stuff on violin. That line "A dying sun sinks down" is revisited at the very end, the image the song leaves us with.

The band switches gears then with "War Economy," which comes on like a wild punk pop gem, of spirit and force. "On behalf of the future/I ask you to leave the past alone/You are not welcome/We have no government/We did not invite you/You do not know us/Nor do you know our world/You have no right to rule us." Those are the song's first lines, putting us in a particular frame of mind. And when the words "Violence and greed" are sung, they are echoed, shouted in the background, which feels just exactly right. Other words are likewise echoed and shouted. The anger is just behind us, rising to the surface. We can feel it, not just hear it. That's followed by "Mudcrawlers," a solid rock number with an opening moment that might make you think of The Who, yet with vocals that have a smooth aspect, reminding me of some stuff from the 1980s. How many different places has this band taken us in just the first half of this album? "We walk and then we run." These guys take us in yet another direction with "A Horse Has Escaped," with a sort of light industrial vibe at the beginning. A haunting aspect is also established, and then emphasized when the vocals come in. "Were we ever happy, or were we never happy?" Sally Timms asks. And we can't help but take a quick look at our own lives for the answer. I imagine we were happy. Interestingly, either way, it's in the past, isn't it? "What steps should I take to obscure my mistake/The ship is sinking and a horse has escaped."

"Private Defense Contractor" opens with a sound that could come from the darkest of Talking Heads moments, that section before the vocals. That steady beat gathers us in, invites us to take part in a ritual, which then seems to become a form of labor. This track has an unusual and interesting atmosphere, with some psychedelic elements. The vocals are delivered with something of a punk snarl. "In my fantasy world, the owl has flown/Cryptic signs say crawl under the throne/May the happy church hold you." This song ends with the word "forever," and there is a sense of this continuing into some form of eternity. So then "Sanctuary" comes as a surprise, opening on piano, the sound from sometime in the past. The vocal work has an ethereal quality, and is lovely. "Like friends we never met." The drums soon take on something of a march. I can become completely immersed in this music, maybe even lose my way back to that other reality I had known. Happily lose my way, in fact. Before the end of this track, there is whistling. It's all so wonderful. Then "Surrender" has a prominent rhythm, and everything seems to work within its framework, even the vocals. "In the future, we'll find ecstasy/In the future we surrender."

"You're Not Singing Anymore," perhaps more than any other track, has something of that classic Mekons sound or vibe, whatever that might mean (seems silly to even say that, actually). But, you know, with many voices rising together near the beginning, lifting us up. That sort of energy, that sort of joy. "You said it was easy/No questions at all/Now songs of the past/You're not singing anymore." It then kicks in, growing from there, with a steady rhythm on bass. And it becomes another of my personal favorites. The album concludes with "Before The Ice Age," which might have been the first song I heard from this release. Dave Trumfio, as Nervous Boy, performed a rare solo set here in Los Angeles in early February, opening for Jon Langford and Sally Timms. And during that set, Sally joined him for a rendition of this song. This is another interesting, unusual song from this interesting, unusual band, the lyrics delivered as a sport of spoken word ("An infectious, slow motion catastrophe, melting"), as we drift into oblivion. And when we do, when we really do, this is the band that will be playing.

CD Track List

1. The Western Design
2. Sad And Sad And Sad
3. Glasgow
4. Fallen Leaves
5. War Economy
6. Mudcrawlers
7. A Horse Has Escaped
8. Private Defense Contractor
9. Sanctuary
10. Surrender
11. You're Not Singing Anymore
12. Before The Ice Age

Horror was released on April 4, 2025 on Fire Records.