Mark Winkler: "Love Comes First" (2026) CD Review

Mark Winkler is a vocalist and composer who has an uncanny knack for knowing precisely what we need at any given moment and then giving it to us. In 2024, the year when the nation decided to elect a convicted felon and rapist to the highest office in the land, he had put out an album titled The Rules Don't Apply. That was in January of that year, long before any of us had an inkling what sort of hell the nation was going to embrace. We were still optimistic then, silly us. Then last year, when we knew precisely what sort of hell the country had chosen, he released an album titled Hold On. It was the message we needed. Now, when many of us have completely given up on politics and the justice system and the media and the whole game, he gives us an album titled Love Comes First. And isn't that exactly right? Isn't that what we're feeling? This is the time when we turn to those people in our lives that mean something to us. Life is too short to let the rest of the nonsense take center stage any longer. Love comes first. The album contains a mix of original material and covers, and Mark has some talented and accomplished musicians backing him.

The album opens with an original composition, "Snappin' On The 2 And 4," something to dissipate our fears, something to make us feel good. And, yes, there is some finger snapping right at the start. Join in; it will make you feel better, even if you're someone who struggles to find the beat. Mark Winkler wrote the lyrics, and Greg Gordon Smith composed the music. The song has a cool vibe (the finger snaps ensure that, don't they), and there is a playful element, heard in lines like "And when I clap on one and three/I see the way you look at me/I'm out of step, but I adore/The way you're snappin' two and four." Greg Gordon Smith delivers some wonderful work on piano, and Grant Geissman provides a really nice lead on guitar toward the end. This track also features Gabe Davis on bass and Kevin Winard on drums. It's followed by the album's title track. "Love comes first/With no introduction/Unrehearsed/When you walked into my lonely life/And changed my universe/With your smile." Ah yes! I hope everyone gets to experience that, and if you're able to do so with a cool Latin vibe, all the better. This is also an original composition, the lyrics by Mark Winkler, the music by Dori Amarilio. Dori Amarilio delivers some delicious guitar work on this track. This track also features Scott Mayo on both saxophone and flute, and Mike Stever on fluegelhorn, adding some wonderful flavor. Rique Patoja is on piano, Nando Raio is on bass, and Jimmy Branly is on drums. "Problems disappear/And the clouds all clear/When love is near."

"Fame Adjacent" is one that Mark wrote with Jamieson Trotter, who plays piano on it and sets the song in motion. The song is about being a musician who is doing fairly well, though is not quite a big star, as is suggested by its playful title. "And maybe that's not so bad after all," Mark sings. And while it's about the life of a musician, other folks can certainly relate to its theme, the idea of appreciating what we have in life, of recognizing when a dream has shifted somewhat in order to come true. "The money could be better/I wouldn't mind that/But something's kinda nice about this/Fame adjacent." Ann Patterson is on saxophone, that instrument helping set a great tone. "Who can say my dream is absurd?" Following that line, we are treated to a wonderful lead on sax, followed by some really nice work by Jamieson Trotter on piano. And the song ends up being a sweet number directed at friends and fans. That's followed by the first of the album's covers, "More Than You Know," a standard that was written for the Broadway musical Great Day. Greg Gordon Smith begins this one on piano, and Mark delivers passionate vocal work: "Even though your friends forsake you/Even though you don't succeed/Wouldn't I be glad to take you/Give you the break you need." Soon this version takes on a good rhythm. Chris Wabich is on drums, and Gabe Davis is on bass. Mark's vocal performance contains a good deal of love. We hear it, we feel it. "Loving may be all you can give/But, baby, I can't live without it."

I've said it before, but you can never go wrong with Gershwin. On earlier albums, Mark Winkler covered "Nice Work If You Can Get It" and "They Can't Take That Away From Me." On this album, he gives us a wonderful rendition of "Embraceable You," his voice at first supported just by piano, his voice and that instrument somehow shutting out the rest of the world, all the noise, for us. The focus is on the couple of the song, the music seeming to come from them. Sometimes an attraction can be so strong that it manifests in music. That's the feeling we get here. "I love all the many charms about you/Above all, I want my arms about you." Nolan Shaheed comes in halfway through to deliver a wonderful lead on trumpet, one that seems to celebrate love. In fact, it feels that love is driving the instrument forward. So good. And what a vocal performance! It's one of the album's best, and most charming, performances. And then we get "Why Are People So Stupid?" Yes, I admit it, when I glanced at the track list, this was the song I was most excited to hear. Its title is a question I've been asking for a decade or so. I think cell phones are part of the trouble. No one uses his or her brain anymore. No need to remember anything when you can look it up. No need to understand how to read a map when the phone will tell you when to make a turn. But it's also a fact that our nation does not prioritize education. And why would it? The fascists (previously known as Republicans) understand that educated people don't vote for them, so they want people as stupid and as ignorant as possible. So here we are. This song is not really political in nature, however. The lyrics begin as a list of common things that are part of our current situation, and I appreciate these lines: "Those damn scooters everywhere I go/Cell phones ringing at the picture show" and "Crazy people buying guns/Young girls living like Kardashians" and "Fatter foods and thinner books/Corporations run by crooks." This song also features some great stuff by Bob Sheppard on saxophone. Jon Mayer is on piano, Kevin Axt is on bass, and Mark Ferber is on drums. "Tell me why, oh why are people so stupid/Tell me why, oh why we never learn." The fear is that we have not yet reached the bottom (though you'd assume we have if you took a look at the supporters of the rapist in the White House).

"I guess I'm just old-fashioned/I love the things of old/Black and white movies and dancing slow/Big bands on the radio/Those things are timeless/Like walks in the rain," Mark Winkler sings at the beginning of "Nobody Else But You." And, then, you know what? This becomes a sweet love song, not a nostalgia trip, turning its attention to that special someone of the present. "Nobody makes me happy/Nobody makes me smile/And nobody's face can make my heart race but you." It ends up being another of the disc's highlights. "I must have been smart/To let you carry my heart away." There is some pretty work on piano that also works to carry us away. Steve Rawlins is on piano on this track. Jay Leach is on guitar, John Hatton is on bass, and Kevin Winard is on drums. Then Mark Winkler gives us a few covers, beginning with "Everything But You," written by Duke Ellington, Harry James, and Don George. This is a very cool rendition, with an arrangement by Josh Nelson, who plays piano on it. As always, he delivers some excellent work on keys. Larry Koonse provides some delicious stuff on guitar. I'm also digging that work by Gabe Davis on bass. Tom Culver joins Mark on vocals, and I love the great rapport there. They sound wonderful together. This is another of the disc's highlights, even before Ricky Woodard comes in on saxophone. And then, of course, it gets even better.

"Mona Lisa" begins with piano supporting Mark's voice, and has a kind of mysterious feel, which works well as the song directly addresses the painting, a painting that itself has many questions surrounding it. Greg Gordon Smith is on piano here. Partway through, Gabe Davis comes in on bass. And then check out that great bass work on "Just In Time." That's Gabe Davis again, and his work is delightful. This one also features delicious stuff by Chris Wabich on drums. This is a wonderful rendition, yet another of the disc's highlights. The arrangement is by Greg Gordon Smith. "Now I know just where I'm going/No more doubt or fear/I found my way/Because love came just in time/I found you just in time." The album concludes with "Do You Ever Wonder?" which features lyrics by Mark Winkler and Shelley Nyman, and music by Chris Gordon. It's a beautiful, contemplative number. "Do you ever wonder/If we started over/Would we be so quick to say goodbye." Mark delivers a truly special vocal performance. This track also contains some nice work by Grant Geissman on guitar.

CD Track List

1. Snappin' On The 2 And 4
2. Love Comes First
3. Fame Adjacent
4. More Than You Know
5. Embraceable You
6. Why Are People So Stupid?
7. Nobody Else But You
8. Everything But You
9. Mona Lisa
10. Just In Time
11. Do You Ever Wonder?

Loves Comes First was released on May 1, 2026 on Cafe Pacific Records.

The Firkins, I See Hawks In L.A., and Old Californio at Highpoint Brewing Company, 5-29-26 Concert Review

Stellar bands and excellent beer led a lot of folks to make the trek out to San Dimas yesterday, undaunted by the Friday evening traffic. The lineup featured three of southern California's most wonderful bands: Old Californio, I See Hawks In L.A., and The Firkins. That lineup promised not only some of the best music one could hear anywhere, but a fun, loose time. Plus, the venue, Highpoint Brewing Company, has a relaxed, friendly vibe, and some seriously great beer on tap. I got there more than two hours before the show was scheduled to start in order to avoid the worst of the traffic (still took me an hour and forty minutes, versus the thirty-five minutes on the way home), and to enjoy a few beers so as to reach a pleasant state of inebriation, a receptive state in preparation for a fantastic evening.

Old Californio

Old Californio was up first, because keyboardist Jon Niemann had another gig to get to afterward. Gloria Delgado (of The Firkins) introduced the band at 7 o'clock, and Old Californio launched into "Chilao Flats." "Just looking for the good life," Rich Dembowski sang at the beginning of that song, and I couldn't help but think perhaps everyone in the room had found it. What's better than enjoying some excellent music surrounded by good people? What's better than that connection, not just to the music but to each other? Good vibes filled the room. Sure, they emanated from the stage, from the band, but also from the people in the audience as they reacted to the music. The song became a good jam, with some really nice work from Jon on keys and from Woody Aplanalp on guitar. And in the very first song of the set, of the night, there were those desired moments when it's easy to become immersed in the music. Woody's lead on guitar received deserved applause from the crowd. Before the song, the band had remarked that the first song would essentially be the soundcheck. Well, everything sounded perfect, and Justin Smith added the chimes to the end of the song. That song was followed by "Mother Road," which had a delicious energy, Jon rocking the keys. "Okay, Woodrow, break my heart," Rich told Woody, and Woody delivered another strong lead on electric guitar. After that, Rich said to consider his heart broken. He introduced both Woody and Jon, leading someone in the audience to call out, "Who's the bass player?" Rich replied, "He hasn't earned it yet. We'll get to him." Then, after an excellent rendition of "City Lines," Rich told the crowd, "Mr. Jason Chesney on bass."

Rich mentioned how The Firkins are the perfect pub band, which is true. But more on that in a bit. Rich strapped on his harmonica for the band's cover of "Willin'." It was a sweet rendition, featuring some great stuff from Woody. Afterward, someone playfully called out a request for "Dixie Chicken." But, no, the Little Feat portion of the show was at an end. Instead, they delivered an especially good rendition of "Destining Again," featuring some delightful stuff from Justin on drums. "Can't go back, because nothing lives in the past." It was after that song that Rich introduced Justin. That was followed by a cover of "Ring Of Fire." I don't think anyone does this song better than Old Californio. Rich's vocal approach is a large part of what makes their version so damn good. But the song also featured some great stuff on keys. And then Woody really dug in, his lead on guitar being the center of a terrific jam.  After that song, Rich announced they were going to do two more songs, then the band huddled to discuss what those two songs might be. The first was "Kansas City Southern," which was crackling with energy and featured a totally delicious bass line from Jason. That rhythm was able to shoot the train, with all of us aboard, out into the stratosphere. They wrapped up the set with "Lean Into It," featuring another great groove, some absolutely fantastic stuff on bass. This one too became a delicious jam. The set ended just before 8 o'clock.

I See Hawks In L.A.

Fifteen minutes later Gloria introduced I See Hawks In L.A., and Rob Waller wished her a happy birthday (her birthday is Monday). The band began the set with "Live And Never Learn," which felt like the perfect opener, in part because of the lines "Well, I try so hard to do what's right/That won't get me through Friday night." It was, after all, Friday night. Afterward Rob remarked, "How about that Old Californio? Oh my god!" Bands will often give a nice, respectful nod to the other groups on the bill, but this was not a small act of kindness on Rob's part. This was an honest reaction to what he'd experienced during Old Californio's set. Which is what we all experienced, and so yet another way that the group and audience connected. Dan Wistrom switched from pedal steel to electric guitar for "White Cross," which followed "Live And Never Learn," and he delivered a nice lead during the song. In introducing "Poour Me," Rob said, "Well, this place seems like a good drinking place." Indeed. On the lines "But Friday afternoon/I like to sing a couple tunes," he added, "just like this one" after the word "afternoon." Folks in the audience liked to sing as well, and several people were singing along to this song. There are a lot of fun lines in this song, and I was happy to find I wasn't the only one singing along with the line "Wednesday I ate a bad burrito." This was an especially fun rendition. "Keep on pouring," Rob said at the end. Oh yes, there was still plenty of drinking time left. That was followed by a cover of Clarence Carter's "I Stayed Away Too Long."

Then we got a special treat. The band played "Drysdale, Sutton And Koufax," a song these guys hadn't performed in like twelve years. Interestingly, Paul Marshall stepped aside for this one, and Rich Dembowski joined the band on bass and backing vocals. The line "It's time for Dodgers baseball" got a big cheer from the audience. Before the end of the song, Paul Marshall was back on stage, adding some nice backing vocal work. This was certainly a highlight of the set, and it was followed by another highlight, "Talking To The Dog," with Paul on lead vocals. It's a song that makes me laugh every time I hear it, and I hope it will end up on an album one of these days. Victoria Jacobs then sang lead on "Skipping Stones," a fun number that featured a delicious rhythm and some good work by Dan on electric guitar. That was followed by "Global Pandemic," a new song I first heard earlier this month. Like "Skipping Stones," it's a fun one to dance to, and there is a special, kind of freeing and almost defiant, joy to be had in dancing around to a song about the pandemic. One of the crowd favorites last night was "California Country," the audience completely into it, singing along. That was followed by "Humboldt" to wrap up the set. The song began with a good jam, and grew from there, becoming another of the set's highlights, Victoria Jacobs hitting those chimes at just the right moment. After that, it was natural for the audience to want more, and the band played "Good And Foolish Times," this time with the extended ending. The set ended at 9:15 p.m.

The Firkins

The Firkins were ready to go at 9:37, opening with "I Like Beer." Earlier, Rich had mentioned how The Firkins are the perfect pub band. Obviously, starting a set with a song titled "I Like Beer" kind of proves that. But even the band's name is related to beer. A firkin is a specific cask for beer or ale, containing nine imperial gallons. And all of this band's original material is related in some way to beer. So, yes, the perfect pub band. Plus, these guys are a lot of fun. It was a bit strange seeing Gloria holding a glass of water instead of a glass a beer (and I thought of that bit from Absolutely Fabulous, where Edina explains water: "It's a mixer, Patsy, we have it with whiskey"). Gloria then grabbed her bass and the band played "Adventures At Bootleggers." Oh yes, now the band was rocking, and so it made total sense to follow that with "Straight Out Of The Barrel," which was a lot of fun. The fun continued with "My Dad's Drinking Gene," a cool song with a rockabilly edge, Sophia Delgado delivering some really nice work on lap steel. Sophia then switched back to electric guitar for "Hamilton's Tavern," that guitar providing some delicious rock and roll energy. This song also featured a cool bass line and a fun beat. Gloria gave a shout-out to both Old Californio and I See Hawks In L.A., coming from the heart, before starting another delicious, rocking number. A lot of the crowd was dancing, especially on a song like "The Ticker."

"Is Dan still here?" Gloria asked the crowd. "He went to get a beer," someone shouted in response. And that was perfect. If someone wasn't in front of the stage, he or she was in the front room getting another beer. The bartenders, by the way, were totally nice. Gloria dedicated "Pliny The Younger" to Dan Wistrom, this song featuring some really nice work on lap steel. Then "San Diego" had a great punk energy, with Sophia back on electric guitar. That was followed by "There Stands The Glass," with acoustic guitarist Danny Ruiz on lead vocals, and then "Victory At Sea," a song that has become popular in Ukraine. Another highlight was "Mr. Odd," which included some excellent guitar work from Sophia. They followed that with a cover of The Byrds' "One Hundred Years From Now," a song from Sweetheart Of The Rodeo. "I Came Here For The Beer" was great fun, as always. And then there was some talk of "Stop Driving Like An Asshole," a Hawks song that The Firkins have covered. It's a song that gets in my head every time I am on the road, even if I'm going only a short distance. Well, the crowd offered some encouragement, and The Firkins decided to do it. Not only that, but Rob Waller and Paul Marshall joined them on vocals, another special treat of the evening. Gloria decided to end the show there, but the crowd wanted more, and so The Firkins concluded the night with "A Few Rounds," a fast-paced number with a totally delicious, powerful rock energy. It was an excellent way to finish off a night of fantastic music. The show ended at 10:37 p.m.

Set Lists

Old Californio

1. Chileo Flats
2. Mother Road
3. City Lines
4. Willin'
5. Destining Again
6. Ring Of Fire
7. Kansas City Southern
8. Lean Into It

I See Hawks In L.A.

1. Live And Never Learn
2. White Cross
3. Poour Me
4. I Stayed Away Too Long
5. Drysdale, Sutton And Koufax
6. Talking To The Dog
7. Skipping Stones
8. Global Pandemic
9. California Country
10. Humboldt
11. Good And Foolish Times (encore)

The Firkins

1. I Like Beer
2. Adventures At Bootleggers
3. Straight Out Of The Barrel
4. My Dad's Drinking Gene
5. Hamilton's Tavern
6. For Hops
7. The Ticker
8. Pliny The Younger
9. San Diego
10. There Stands The Glass
11. Victory At Sea
12. Mr. Odd
13. One Hundred Years From Now
14. I Came Here For The Beer
15. Stop Driving Like An Asshole
16. A Few Rounds (encore)

Highpoint Brewing Company is located at 402 W. Arrow Hwy. in San Dimas, California.

Arielle Silver and Karman Jeanne & The Fish at Maui Sugar Mill Saloon, 5-27-26

Arielle Silver

Last night was the second concert in Karman Jeanne's new music series, "Deep Valley Roots," which is held on the fourth Wednesday of every month at Maui Sugar Mill Saloon. It was a night celebrating singer/songwriters, with a nod to Bob Dylan, who celebrated his eighty-fifth birthday on Sunday. Joining Karman Jeanne & The Fish was Arielle Silver, an extraordinary singer and songwriter based here in Los Angeles. And this time she was part of a trio, called Arielle Silver & The Friday Night Book Club, and that group, made up of Arielle Silver on vocals and acoustic guitar, Darby Orr on bass, and Wendy Kline on violin, kicked off the night at 8:30. It was the first time I'd seen Arielle Silver in a trio setting, and apparently only the second time this group has performed (the first being a month ago at Kulak's Woodshed). It was also the first time Arielle Silver had ever played at Maui Sugar Mill Saloon, or even been there. She opened her set with "Asteroids And Chaos," one of my personal favorites. It was on the line "You say this could be our big chance" that the violin work began to grow, which seemed just exactly right. Certain lines and phrases always seem to stand out, such as "hold each other through the panic" and "love will save us." Those are lines that likely stand out to most people in these strange times. If you've not yet heard this song, I highly recommend picking up a copy of her 2023 album Watershed.

Arielle Silver And The Friday Night Book Club

Also from that same album came "Rickie Lee," the violin playing a prominent role from the right start of the song. And there was a good violin lead a little later. This song also featured an excellent vocal performance. It was followed by an especially pretty rendition of "Riverdock At Sunset" (also from Watershed). "There's a difference between keeping something safe/And helping it to grow." Those wonderful lines, I'm sure, speak to all parents. Arielle Silver played a few new songs last night, the first of which was "Asking For A Friend," the meaning different from Ben Vaughn's song of the same name. Here it is in the vein of seeking a friend. "I don't need to kiss you or fix you," she sings. And, "I'm not going to damage my marriage." It was a really good song. And it was followed by "Even Now," another new song, this one "a song about finding hope in dark times, or creating hope," as Arielle said in its introduction. This song is easily among her very best, up there with "Asteroids And Chaos," and it featured a gorgeous and moving vocal performance. The final of the three new ones was "Only Lonely One," and even though it was new to the audience, the crowd was soon singing along. It looks like her next album is going to be something great. By the way, before "Only Lonely One," she played "What Really Matters," a song from her A Thousand Tiny Torches album, featuring a wonderful bass line. "Only Lonely One" was followed by "Worth Waiting For," a beautiful love song in which she sings, "You are everything worth waiting for." Wendy delivered some excellent violin work, even before that pretty lead. The trio wrapped up the set with "Headlights," a delightful, cheerful-sounding number to leave folks feeling good.

Karman Jeanne And The Fish

Karman Jeanne And The Fish then took the stage, and this time were not just a duo. Joining them were two of Los Angeles' outstanding musicians, Ed Tree on electric guitar and Ted Russell Kamp on bass. They opened the set with "Strange Time." With more of a full band, the song took on a stronger country vibe, which was wonderful. There was a nice instrumental section, during which Karman was on tambourine. A great start to the set. Karman then introduced Ted and Ed, mentioning how Ed Tree is recording the duo. Yes, in addition to being a musician and songwriter, Ed Tree is a producer and has his own studio, The Treehouse. And from the beginning of "Free Rocks For Sale," Ed delivered some cool work on electric guitar. Karman then told the crowd that Jonathan Sheldon, who played fiddle with them at last month's premiere of the "Deep Valley Roots" music series, had been in a bad car accident and suffered a cracked skull, the reason for his absence last night. I hope we'll be seeing him back on stage soon.

"Tell Me Tomorrow" was one of the set's highlights for me, with its wonderful harmonies and some great stuff from Ed on guitar, in addition to the strong lyrics. "Only gravity could make us stay." That was followed by "Buckets Of Rain," the first Bob Dylan cover of the night, to celebrate his turning eighty-five. The song was included on Dylan's fantastic Blood On The Tracks album, and these guys delivered a good rendition. That was followed by "Talkin' 'Bout You," which Fish dedicated to his significant other. There was such a good feel to that song, Fish taking the first verse and Karman taking the second. There was a playful vibe to the set. When Karman requested another glass of hot water, Ed Tree teased a bit of "Smoke On The Water" before starting "Can't Let Go," a song written by Randy Weeks and recorded by Lucinda Williams. There was a delicious, crackling energy to this song. Ted was on backing vocals as well as bass. Following that song, Ed teased a bit of "Paint It Black." The band then delivered a really good rendition of "Take," which was clearly another of the set's highlights even before Karman blew everyone away with that incredible vocal work at the end. They wrapped up the set with a cover of The Band's "The Weight," with Fish on lead vocals.

Ted Russell Kamp with Ed Tree

But the show was not over. In fact, there was another hour and a half of music to go. Ted Russell Kamp returned to the stage for a short set. He opened with "This Old Guitar," a song from his Walkin' Shoes album, released in 2019. It's a song he wrote with Ed Tree, who joined him on electric guitar for it. Ted played acoustic guitar on that one, then switched to bass for his second and final song, "Another Love Song." This song was included on Night Owl and The Low And Lonesome Sound. Karman Jeanne joined him on backing vocals on this one, and the two delivered a sweet rendition. Robert Morgan Fisher was up next, joined by Ed Tree on electric guitar. The two delivered a couple of excellent Bob Dylan covers. The first was a great, moody rendition of "Blind Willie McTell," which became powerful, captivating as it progressed. The second was a really good rendition of "It's Alright, Ma (I'm Only Bleeding)." "This song could have been written last week," Robert said in introducing that one. After the line "On anyone that lives in a vault," he added, "Or under a ballroom."

Ted Russell Kamp with Karman Jeanne

Robert Morgan Fisher

Joseph Eid

Joseph Eid was up next. "I'll start with something old, then do something new," he told the crowd, then opened with "Watch It Fall," the title track to his 2017 release. It's a song that spoke to me, and the line "I always seem to run into him when I've been drinking" made me laugh. He followed that with a new song, the line "But a lifetime ain't enough" standing out to me, and then ended his set with Bob Dylan's "Don't Think Twice, It's All Right." Lorin Hart then opened her set with a cover of Dylan's "Moonlight," delivering a sweet rendition. She followed that with an original number, "Might As Well Be Magic," an excellent song, and concluded with another original composition, "Dreams Of The Earth." Daniel Corey was the final performer of the night. His first song featured some really nice guitar work, which received applause from the crowd. He followed that with "Nearsighted," first saying, "This is a song about disappointment and failure." He sang, "Don't you speak to me/Don't be so absurd." Near the end, he added some whistling, and someone in the audience responded with whistling of his own. He wrapped up the set, and the night, with "Lift Me Up." The show ended at 11:47 p.m.

Lorin Hart

Daniel Corey

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

Brand New Heartache: "A New Alchemy" (2026) CD Review

Brand New Heartache is the duo of Matthew and Eleese Meschery, a husband-and-wife team based in Nashville (and previously based in Oakland). Named after the song originally recorded by The Everly Brothers, and later covered by Gram Parsons and Emmylou Harris, Brand New Heartache is now releasing its first full-length album, A New Alchemy. The album features both Matthew and Eleese on vocals, with plenty of good harmonies. Supporting them are James DePrato on guitar and bass, and Jebin Bruni on keyboards, along with several other musicians on various tracks, including KP Hawthorn, who provides backing vocal work. The album was produced and mixed by Michael Patterson.

The album opens with its title track, "New Alchemy," which has a nice, bright pop energy at its start, fitting for the excitement of new love. "Call it science, call it art." Eleese and Matthew sing the lyrics together, which is perfect. Isn't life at its best when you experience it as a duet? "There's something I can't quite explain/About the way you make me feel/It's the sacred and profane/It's what's true and still surreal/Is it all in my mind, all in my mind, all in my mind." I love how the sound of this track captures that delicious feeling of beginning to fall in love. This song contains a nice section where the focus is fully on their vocals, their voices supported by a steady pulse on drums. Michael Urbano plays drums on this track. A different version of this song was released several years ago. Then "Montreal" has more of a folk vibe at the start, their voices supported by guitar, giving the track a more intimate sound and feeling. "Out here amongst the stars/People spilling from the bars/And it's so cold we can see our breath." I love how the word "breath" has just a bit more breathy delivery, a lighter delivery. This is a beautiful song, and though it takes place in Baltimore, it reminds of a certain night in Boston, one winter day when I met the love of my life. And everything opened up while also simultaneously narrowing the focus to just the two of us. And feeling like we're in another place, like the world is different. "But our dreams shine brighter than the moon/And we won't let this world defeat us/So let 'em know we're coming soon." Kyle Caprista plays drums on this one.

Eleese sings lead at the beginning of "Next Best Thing." Here are the opening lines: "Am I who you wanted, or just what you need/To help you forget someone who haunts your dreams/We have a connection, one I think could last/But not if your heart is still somewhere in the past." Ah, no one wants to be just the next thing. In song, it's all about true love. And in life, it should be too, right? Halfway through the track, Matthew takes over on lead vocals, so we hear from both people in the relationship. And together they ask, "How can we know for sure?" I love the way this song builds. It has a wonderful sound, a sort of pop magic, featuring some nice work on keys. Both James DePrato and Jebin Bruni are on keys for this one. Jim Bogios is on drums. Then KP Hawthorn (of The HawtThorns) joins them on acoustic guitar on "Precious Days." Matthew sings lead at the beginning of this one, and Eleese joins him on the lines, "Time is not on our side/Now we're both on the other side of twenty-nine/And, baby, won't you take my hand/These are precious days that we're wasting." As I get older, I am more and more aware of any time that is wasted, and time spent away from that special person often feels like time wasted. This song also contains some delightful work by Jebin Bruni on keys and a really good beat. Michael Urbano is on drums. These lines also stand out to me, perhaps because I'm here in L.A. while my love is on the east coast: "There's a place high above Los Angeles/Where people walk their dogs and lovers go to kiss/I went there by myself, though I'm not sure what for/Oh, but when I got there, it just made me want you more/Made me want you more." I love this song. It has such a great, positive feel to it, and ends with them singing, "Oh, these are precious days." Perfect.

"I want to fall right into your open arms tonight/Like a fool who's finally found their paradise," Matthew sings at the beginning of "Wedding Rice." Soon Eleese joins him, and together they sound so sweet, so pretty. And she takes a turn singing those opening lines. There is an optimistic and gentle vibe to this song, and their voices are full of love, which can't help but make us feel it too. The opening lines are sung again toward the end, this time Matthew taking the first line and Eleese taking the second. Etienne Franc is on upright bass, and Jim Bogios is on drums. That's followed by "Company We Keep." Some rather playful and yet sweet "doo doo doo" vocal work at the beginning helps set the cheerful tone. Also, the presence of banjo helps in that direction. James DePrato plays banjo. "Blame it on the new company we're keeping/Blame it on the one who's been keeping us from sleeping/You can see it in our eyes/That learning curve is steep/And you can blame it on the new company we're keeping." Yes, it's a song about a baby. "Who are these people that we've become?" Ted Pecchio is on bass, and Darren King is on drums. There is more of that "doo doo doo" vocal work near the end. And you know everything is just fine, regardless of a lack of sleep and not getting out to the bars.

It is interesting how as the album continues, we can't help but think it follows the course of a single relationship from the beginning to the arrival of a child, and now into problems with "Hold Fast." Eleese begins this one on vocals: "I never thought that I would see the day/Ten years on since we first met/To think we might just throw it all the way/With incriminations and epithets." When Matthew comes in, they both sing, "Do you think we can hold on, make it through the night/Do you think we can stop pretending one of us is going to win the fight." The vocal work is particularly beautiful on the song's title line, especially the way Eleese reaches some higher, lighter places. And it is that very vocal work that gives us hope that they can hold fast, and hope for the rest of us too. Kyle Caprista plays drums on this track. Then "Raise The Shade" is a fun one, with a good, positive energy. Sarah Aili joins them on backing vocals. "Let's make a deal and only play love songs/The ones that make you feel and rock it like Chaka Khan/Because it's been far too long that we've been feeling blue." Those are interesting lines, when all the songs on this album are love songs, in as much as they're all about love, about a relationship. This track features a good lead on electric guitar. Matthew Szlachetka plays guitar on this track. Jimmy Wallace is on keyboards, and Darren King is on drums. "Watch the sunlight make the room glow." This music itself seems to have that ability, that power. There is a glow to this music.

"Moving Song" features a really nice rhythm. Darren King is again on drums. Both KP Hawthorn and Sarah Aili provide backing vocal work here. "And I don't care where I reside/I got my baby by my side." I've been thinking about this a lot lately. Can we be happy wherever we are, just so long as we are together? I love the optimistic, positive bent of this song, the excitement that is in their voices as they sing, "It's a trip when you're crossing the state line/Moving fast because we're running, running out of time." And that's something else I can't help but think of: time, and how it moves much too quickly, and there's just too little of it. Matthew then begins "Eurydice": "I'm tired of being worried/And I'm worried that I'm tired all the time/I'm always in a hurry/But somehow I'm still so far behind." Those opening lines certainly speak strongly to me. Eleese soon joins him. "And you can have my heart/But you have to take me too." This is an excellent song. I love how it takes on a good energy. It feels true, it feels important. By the way, the first time I listened to this disc, I had just seen a production of Antigone, so when I looked at the track list I was thinking of that Eurydice, the wife of Cleon. But this song is related to that other famous Eurydice, the wife of Orpheus. You know, the tale where he is allowed to rescue her from underworld, as long as he doesn't look back at her. "Don't look back for me, because I don't want to be/I don't want to be your Eurydice/It's an act of faith, it's a test of trust/And in those times when I can't keep up/I promise that I'll always be right behind you."

"Younger Us" has a sweet folk vibe, and features some nice harmonies. "After all these years, it's still hard to know/If we're hanging on or letting go." This is a song that asks, "What would the younger us say?" I imagine there are many folks who understand that question. Matthew Szlachetka is on guitar, Mitchell Cardenas is on bass, Jimmy Wallace is on keys, and Darren King is on drums. The album concludes with "Someone Else." "If I didn't love you, then I would be someone else." That's a strong opening line. I think we all get it. How can we imagine not loving our significant others? We would have to be someone else. This track features some wonderful work on strings by Alisa Rose. Nat Gleason is on both keys and electric guitar. This song touches on the fear of forgetting in old age. To forget that person you love is terrifying. That would be the worst aspect of suffering from Alzheimer's. Life is so short as it is, and to have your life taken away before you die is a horrible fate. "I can see the reflection in your eyes of who I am and who I'm supposed to be." This is a remarkable album. I'm looking forward to hearing more from these guys.

CD Track List

1. New Alchemy
2. Montreal
3. Next Best Thing
4. Precious Days
5. Wedding Rice
6. Company We Keep
7. Hold Fast
8. Raise The Shade
9. Moving Song
10. Euydice
11. Younger Us
12. Someone Else

A New Alchemy is scheduled to be released on July 24, 2026 on Mule Kick Records.

Fernando Perdomo: "Clouds 5" (2026) CD Review

Fernando Perdomo is continuing his year-long Clouds project with Clouds 5. For those who aren't yet familiar with this project, Fernando Perdomo is releasing an album of new material on the first of every month. Not only does he write all the tracks, but plays all the instruments and produces the albums. And this is the second such project he's undertaken, the first being last year's Waves. The photo on the cover Clouds 5 grabbed me because it's unlike any of the photos from the other volumes so far, as well as unlike any of the Waves covers from last year's series. It's the first dark sky to be depicted. And as I was looking at the album cover, I wondered if the image, taken by Sheila DeChant, would reflect the music.

Well, the answer is Yes. The first track, titled "The Dark Mass," has a contemplative vibe, along with a sense of loneliness, particularly early on as the music seems to speak out into the darkness without receiving a reply. What's interesting is that it is not long before we realize we are being soothed in our solitude, that a sort of peace is found there. Like a single light hitting us in our own singularity. And then, just as we've begun to feel that sense, the music turns slightly, just enought to set us at unease before its conclusion, which is also interesting. That is followed by "Overcast," and here the guitar seems to be testing the waters, testing the air, seeing if a small action might have unusual repercussions, create ripples in the sky. The guitar work is pretty, and this idea of sending beauty up and out is appealing. After all, it seems what we as a species are putting out there these days is anything but beautiful. Perhaps the cosmos would respond if we tried a different tactic. And even if we can't get in touch with anything out there, this music helps us reach inward as well. 

There is perhaps a slight hesitation at the very beginning of "The Baron," but it might be more from weariness and caution, for now we sense the presence of someone of experience, someone unlikely driven to rash or impulsive action. The solo guitar work here is soon captivating, creating an intriguing character. There is a beauty here too, a beauty that comes from wisdom, that rises from taking in one's surroundings and really seeing them. This is one of my personal favorite tracks, and it seems to lift us as it reaches its conclusion. Then a gentle hand is present in "Honey," offering a soothing, friendly reminder that we are okay, that there is nothing that demands our attention right now. A sweet light drips down upon us. The music grows in intensity at one point, only to then release us again into a pretty place, with stars twinkling around us, and we're safe.

With "Bangor Sun," we immediately find ourselves in an unusual place, a space of both light and dark, a place of rhythm and breath, with a pulse that is like a current running beneath us. Sometimes it feels like a swim through darkness. Spots open within the darkness, light coming in through them, and maybe something also rushes out through those openings, those gaps. Reality changes around us, even if we are somehow able to remain still. Perhaps we are carried on that current, and we feel it like a gentle dance. This is another of the album's highlights for me. Then "Anything Can Happen" feels like a continuation of "Bangor Sun." We feel light, untethered, drifting, with every direction open to us. And beauty lies in all directions. This is a short track, just under a minute long.

The very first moment of "Move With Life" is gentle; then almost immediately the music begins to increase its pace, its intensity, as if it needs an answer, aware that time is short. Sometimes, being aware of that, we rush forward, whether that's the right direction or not. And almost as quickly, the music seems to realize a pause, a breath is warranted, is probably beneficial. Take a look around, and then we see the urgency is no more. What a great feeling that is. Floating free. And then, having taken that breath, having looked around, a specific direction is chosen. Or perhaps it is that something from that direction demands our attention, and for a moment we are caught up in its action, its urgency becoming our own. But we'd learned something and so are able to take a step back, to assess, to see the pattern, to choose whether to let it drive us or not. There is some wonderful, expressive guitar work throughout this track. It is another of the album's highlights, and it leaves us feeling good, like we can face whatever might come our way.

With "Big Sigh," I love how the music feels like a smile growing, almost without us realizing it, and the smile might very well be our own. Isn't it wonderful how music can do that? Then there is a joy to "NeeNee," like a dance that takes place in some inner spot. It is like a bright mantra, and a deeper response. It's an interesting piece. It is followed by "The End Of An Astounding Day," which eases in, perhaps a voice of reflection. Then, remembering something exciting, it becomes excited again, before then relaxing, taking pieces of joy, pieces of beauty from the experience and holding them again to view before letting them go. They fly up and around, lingering as dancing lights before disappearing into the night. And then, after a breath, it is time for us too to let go.

CD Track List

1. The Dark Mass
2. Overcast
3. The Baron
4. Honey
5. Bangor Sun
6. Anything Can Happen
7. Move With Life
8. Big Sigh
9. NeeNee
10. The End Of An Astounding Day

Clouds 5 was released on May 1, 2026.

Ellis Paul at McCabe's, 5-24-26 Concert Review

Ellis Paul

Last night marked the end of an era of sorts, as Ellis Paul played his final full show with the guitar affectionately known as Guinness. Yes, after fifteen years, a lot of shows, a lot of travel, and some bumps along the way (some damage caused by United Airlines), the guitar is retiring. It will soon be, at least for a time, hanging in the Folk Music Hall of Fame in Boston, where it has certainly earned a place. And Ellis Paul explained to the audience at McCabe's last night just why it was fitting that this guitar's final full show should take place at that particular venue. For, while not purchased there, the story of this guitar did begin there. More on that in a bit.

There was no opener for this show, and right at 8 o'clock, Ellis Paul took the stage. The man who introduced him mentioned something about the guitar, and so the audience was of course curious. "This is the last gig I'm ever going to do with this guitar," Ellis told them. "This is like Michael Jordan's last basketball game, like Pavarotti's last concert," he joked. And he opened the show with "3,000 Miles," which felt especially fitting, this guitar having traveled many more miles than that in its fifteen years. The audience, knowing the song, sang along. Afterward Ellis remarked that everyone sounded good. He then strapped on his harmonica for a sweet, pretty rendition of "Rose Tattoo," one that featured some excellent work on that harmonica. "If I ever lost you/I would be lost too." Seemingly simple, yet powerful and meaningful lines, ones that strike right to the heart of things. And, hey, we all need someone to say, "Hey, I've got your back." Just before the end of that song, Ellis gently teased the crowd, "You're so damn quiet, you're so very quiet, I can't believe how quiet." He told them he was going to fade the song out like in the 1970s. "Some of you remember," he said, then, looking at the audience, amended it to, "all of you remember the '70s."

Ellis Paul then told the story of Guinness, how the story of that guitar began with the story of another guitar, a guitar he spotted at McCabe's one day before a show. It was a guitar he fell in love with, but which cost $7,000. A guitar he felt he couldn't afford, but which would not leave his thoughts. And so the next time he was in town, he had decided it would be his. But when he went to the case at McCabe's, the guitar was no longer there. It had been sold. To Neil Young. He promised himself he'd never let another guitar break his heart. But it wasn't long before he was at a venue in Oklahoma, a place apparently similar to McCabe's (I haven't been there), and there he met the guitar that would later be named Guinness. The price tag on that guitar was $10,000. He wasn't going to do it, not until he got word that Neil Young was going to be stopping by the place. If you're familiar with Ellis Paul's music, you know he's a great storyteller within his songs. But he's also a great storyteller, period. Let me explain it this way: the story received applause last night. And I think people there appreciated the part that McCabe's played in this story.

When Ellis announced his next song, "Kick Out The Lights," there were cheers from some folks. It was clear they were ready to sing along, or shout along, as the case may be. This song has always had an audience participation element, though it has changed in recent years. It used to be that the men would sing "Kick out the lights," and the women would sing "Johnny Cash, Johnny Cash, Johnny Cash." Now Ellis sings the "Kick out the lights" line by himself (along with, perhaps, a few of us who were too well trained to completely let it go), and everyone - men and women and anyone in between - shouts out "Johnny Cash, Johnny Cash, Johnny Cash." It's always a fun song, a crowd-pleaser, and last night it featured some very cool stuff on guitar toward the end. That was followed by "This Is Where All Good Trees Go," a song that he only plays at McCabe's. It was a song he improvised one night here many years ago, and then, unlike most improvised numbers, it was one he actually remembered the next time he visited southern California. And so it found a regular spot in his McCabe's set lists. He played it unmiked and in the audience. Before the song, Ellis told the story of Elizabeth Cotten playing the first show at McCabe's, a story I'd learned only a couple of hours earlier. For those who are curious, there is a new book on the history of McCabes titled Live At McCabe's Guitar Shop: Santa Monica's Legendary Music Venue (I need to pick up a copy when I have a few extra dollars).

Ellis stayed in the audience for the next couple of songs. The first of those was "What Could A Horse Do," a song written about a veteran suffering from PTSD. The line "It went dark, it went dark, it went dark" was especially captivating, gripping, the way he delivered it, just a whisper by its last word. Ellis then mentioned that he feels the world is a mess right now and so he's decided to end every song on a ninth chord, and explored a bit the effects of the sound of those chords. The other song he played within the audience was "Gold In California," a song about Big Sur. When he was introducing it, a guy shouted out that he was married there. "I love it like it's my home town/But I wasn't born here." The audience sang along on the words "in California." Ellis then returned to the stage for "Holy," which he played on the upright piano. If forced to pick what I think are Ellis Paul's best songs (and no one is forcing me to do that), it would be "Maria's Beautiful Mess" and "Holy." They are certainly not just among his best songs, but among the best songs by anyone anywhere. "Holy" often has me in tears. It's beautiful and hopeful, and it works a certain magic on us, because it plays on what we know of the outcome with the hope of the character. If you haven't yet heard this song, I highly recommend purchasing a copy of his 55 album. Not only is this song on it, but also "Gold In California" and "When Angels Fall" (the latter a powerful song addressing school shootings).

"Alice's Champagne Palace" was next, a song about a place in Homer, Alaska. Once upon a time this song too mentioned Los Angeles, but "L.A." has since been dropped from the line "If you're from New York, L.A., Dallas." But it's still a great song. It was followed by another of my personal favorites, "You'll Never Be This Young Again," a song that reminds us to go after our dreams, no matter what our age, no matter where we are in our lives. It's not too late, friends. And even if you don't need to hear that message, it's still an absolutely wonderful song. Ellis had still more to say about McCabe's: "If I could play this place every week, I would, and I would take my payment in guitars." Okay, let's arrange that. I would love to be able to see him on a weekly basis, like I was able to do back in the late 1980s and very early 1990s. He followed "You'll Never Be This Young Again" with "I Ain't No Jesus." "The only miracle I've seen is I can call you mine." Ah, yes! He then concluded the set with a cover of John Prine's "Angel From Montgomery," performed unmiked in the audience, the audience singing along. A really nice moment. The show ended at 9:30 p.m. Interestingly, rather than calling out for an encore (it was clear there wasn't going to be one, as Ellis had to get to Lares for mango margaritas before 10), some folks asked for the explanation of why Guinness was being retired. And so Ellis explained about the cracks, the damage to the guitar, and how it sometimes goes out of tune. Well, everything sounded great at this show. Guinness went out in style.

Set List

1. 3,000 Miles
2. Rose Tattoo
3. Kick Out The Lights
4. This Is Where All Good Trees Go
5. What Could A Horse Do
6. Gold In California
7. Holy
8. Alice's Champagne Palace
9. You'll Never Be This Young Again
10. I Ain't No Jesus
11. Angel From Montgomery

McCabe's is located at 3101 Pico Blvd. in Santa Monica, California.

The Oddity, The Smokey Lonesome, and Mini Mendez & Tom Dunne at Music Garden L.A., 5-23-26

It was beautiful day in Los Angeles yesterday, a perfect day to catch an outdoor concert. And fortunately for us, there was a damn good lineup at Music Garden L.A. in Highland Park, a lineup that included Mini Mendez & Tom Dunne, The Smokey Lonesome, and The Oddity. How's that for a Saturday afternoon in the sunshine? Can you beat this city?

Mini Mendez & Tom Dunne

Mini Mendez and Tom Dunne kicked off the show at 4 o'clock. The previous day, Mini Mendez had described the show online as "a set of our sappy love songs played with semi-correct chords." He loves to sell himself short, but that description does capture the delightfully loose and playful vibe of the set. Mini was on vocals and guitar, and Tom was on drums and backing vocals. They opened the set with "Friday Night I'm Wearing Blue," a song that was released as a single in 2018, Tom using brushes on his snare. It's a wonderful song, and it's over before you know it. Sappy? Not at all. "Too loud?" they asked afterward. Also, not at all. In fact, someone mentioned that Mini Mendez's guitar should be turned up. On the next song, he sang, "I would fall in love with you," and then whispered, "Again," which was striking. As he repeated the word "Again," it grew in power. They then played just a bit of The Bay City Rollers' "Saturday Night," because it was that kind of a fun gig. And, I suppose, because it was Saturday night. Well, Saturday afternoon. And don't The Glimmer Stars have a song about The Bay City Rollers? The set also included a sweet rendition of "Paulina," with some nice harmonies on "Her name, her name, her name." Mini Mendez then began belting out that line. "That chick broke my heart," he said afterward, adding that he has many songs with women's names. Indeed! Later in the set he played a song titled "Cynthia." They're all about a girl, as he said. The line "And I'll try to be real cool, but I'm not fooling anyone" made me laugh aloud. Then from "You Dropped The Bomb," a line that stood out to me was "Dressed up in sweet despair." What a great line! That was to be the end of their set, but folks called out for more. "We don't have any more," they said. What they ended up doing was "Nice," a Glimmer Stars song, with Mini Mendez adding "Highland Park" to one of the lines. That led straight into a bit of Big Star's "In The Street," with Tom providing some finger snaps, to wrap things up.

The Smokey Lonesome

The Smokey Lonesome was up next, with guitarist Dave Porter sporting a Tranquilina T-shirt (Tom was in the audience at that point, and so were Gloria and Sophia Delgado). The Smokey Lonesome kicked off the set with "Koa Box," and immediately the energy we've come to associate with this duo was crackling. I love it when Natalie Fratino attacks that standup bass. Natalie then sang lead on a cover of "Ophelia." I always dig the guitar work that Dave adds to that song. That was followed by "Frontera," the lead track from the band's 2024 EP Desert Run, a fun one every time they perform it, and then "Heartbroken Heartbreaker" and "Jasmine." After a brief mention of the merchandise table, they went into "Ways To Be Wicked," and if the energy was high before, the duo was really rocking things now. Natalie then told the audience they were going to need a little help on the next song, asking the crowd to call out "California" at the appropriate moment. No need to explain just when that moment is, for the song - "Cannabis" - is one of their most popular songs, and everyone in the crowd seemed to know when to join them in shouting "California!" "Cannabis is legal, oh, in California." I sometimes forget that cannabis is still illegal in other parts of this country. While switching guitars, Dave told the crowd, "You know, it's Gabriel Johns' birthday week." The duo then played "The Smokey Lonesome," one of my personal favorites. It's a song to sing around the campfire, if you've just managed to escape the law and you're burning some evidence in that campfire. So good! It was followed by a kick-ass version of "Desert Run" and then a cover of "Silver Threads And Golden Needles" to close out the set. But the audience demanded more from these guys as well, and they played a request for "Paulito's Old Lady," a fun, wild number with a punk energy.

The Oddity

The Oddity closed out the afternoon. For this show, the group was the duo of Gabriel Johns on vocals and guitar and Boomer Bearman on drums (Michael Gavigan was unable to make it). You probably know Gabriel Johns from his work in Slamdinistas. "We are The Oddity, minus one," he announced before kicking off the set with "My Turn To Die," which has the lines "I'm not wasting my time/Waiting for my turn to die." It was a great choice of openers. "I write a lot of songs about death," Gabriel said afterward, adding that tomorrow is promised to no one. Indeed. That's something that's been on my mind a lot lately, and very few things irritate me more than someone wasting my time. That was followed by "Whose Life," which asks the question, "Whose life is it anyway?" And then we were treated to a cover of "Mixed Up, Shook Up Girl." There was a positive, even empowering, sense to this music, and Gabriel introduced "Difference" by saying that he believes we can all make a difference somehow, somewhere. That song was one of the set's highlights, and it was followed by another highlight, "I Don't Want To See You," which had a jazzy vibe and good rhythm. "See if you recognize this," Gabriel said before Boom Bearman began the next song on drums. The song was a cover of "Pocketful Of Rainbows," which Elvis Presley recorded for the movie G.I. Blues. That was followed by a new song, "Speak Free," a very cool number that ended up being another of my personal favorites. Then "I Get Sad" featured a delicios beat, and was yet another of the set's gems. There was also some excellent drumming in "Truth," and then a great energy to "We're Coming Home." That song led straight into "Girl With The Big Surprise" to wrap up the set. But once again, the crowd wanted more. The Oddity chose to do a cover of "Wild Horses," with Mini Mendez joining Gabriel on vocals. What a great afternoon of music!

Music Garden L.A. is located at 5133 York Blvd. in Highland Park, California.