JoJo Green: "Paint The Sky - Part 1" (2026) CD Review

JoJo Green is a group that deftly combines elements of pop, jazz, rock, soul and funk to create its own special sound and vibe. Based in St. Paul, Minnesota, the band released its first full-length album, The Line, in 2021, and followed that with an EP titled The Summer Tree the next year. Now, four years later, these guys give us Paint The Sky - Part 1, which features all original material. The band is made up of Sharisse Germain on lead vocals, organ and keyboard; Scott Yonke on bass; Zach Miller on alto saxophone, tenor saxophone and backing vocals; Nancy Long on drums: Conner Allen on guitar; Doug Christianson on percussion; Dawson Redenius on trumpet; and Annie Hicks on backing vocals. The album was produced by Scott Yonke, Sharisse Germain and Matt Patrick.

The band does not make us wait for the funky fun to begin. The bass line at the beginning of the opening track, "Get Me Back," announces that the party has started. "I can feel the weight of the world/It's got me pinned to the ground," Sharisse sings. Yet her voice seems completely unrestrained, gloriously free and powerful. Her delivery has a tremendous energy, her voice seeming to drive this song. "I know the road I need to travel/I know the road that leads me home." I've said it before, but there is always something appealing about going home in song, and here that road is exciting. I love how that bass pops and dances. And the horns add another delicious layer. When this track seems to be reaching its conclusion, instead it enters another realm, led by the drums, this other realm being a seriously cool space. And then we are back in the main body of the song, and somehow there seems to be even more energy now. That song is followed by "Two Different People." Its first line, "Why are you two different people," is delivered a cappella, and then we're into another cool realm. The question is asked again, "Why are you two different people?" There is a somewhat heavy vibe to the song as the question is asked. But the band soon finds itself a delightful groove, and everything feels good, not just because of that rhythm, but because of the horns. This is a fun song to dance to, let loose to, and the horns are especially delicious. "Holding out just ain't my style/Holding on seems way more fair." Interestingly, when the question is asked again, the song returns to that initial sound; so the song has two different vibes, one more serious than the other, which works well with the question. This track also features some excellent guitar work.

The band takes us into smoother territory then with "Paint The Sky," the disc's title track. This is a jazzy pop realm with a somewhat dreamy aspect. "And I let out a sigh/I want to stay forever right here/You get up and fly/Take me by the hand, let's disappear." And when she sings, "Let's just stay here please," that line is allowed to hang in the air for a moment, before the song takes on a somewhat funkier vibe. And interestingly, this is when the song becomes more beautiful too. There is some pretty fantastic vocal work here, as well as a good lead on guitar. This song also contains really nice work on saxophone. It ends by returning to that line, "Let's just stay here please." So that thought lingers, at least until the next song begins. That song, "Couldn't Do Wrong," begins in a mellower, more intimate folk space, with some nice work on guitar. "If I could sing you this song/If I could sing you this song/If I could sing you this song/I couldn't do wrong." Those are interesting opening lines, because they get us wondering what wrong she has been doing, or is afraid of doing. Perhaps it is a greater need than we understand at first, a need to be able to sing to this person, a need to be with this person. A vulnerability is expressed in those lines. The song takes on an undeniable beauty. "The lake, it seems peaceful tonight/I couldn't do wrong, I couldn't do wrong." This is a song that really grew on me, and before the end it had become a favorite, something I wasn't expecting when it began. And each time I've listened to it since then, I've loved it more.

The album concludes with "Timothy B. Schmit," a funky number with some disco elements early on and featuring more delicious percussion, as well as some glorious saxophone work. There are interesting changes. At times, it has a dramatic, playful, even cinematic, sense that reminds me of Double Naught Spy Car. Plus, it's an instrumental number, which is perhaps another reason that group comes to mind. And it's great fun, while not being afraid to go in more romantic directions at certain moments. Also, as you might guess from the track's title, it contains some good stuff on bass. It's a wonderful ending to this thoroughly enjoyable disc. I am looking forward to Part 2.

CD Track List

1. Get Me Back
2. Two Different People
3. Paint The Sky
4. Couldn't Do Wrong
5. Timothy B. Schmit

Paint The Sky - Part 1 was released on September 26, 2026. As I understand it, Paint The Sky - Part 2 will be coming in 2027.

Tom Ciurczak: "Antarctica" (2026) CD Review

Last year Tom Ciurczak released an album titled Yorick, and it was that title that first drew my interest. I'm always curious when an artist uses or cites Shakespeare in his or her work, and a reference to a character that doesn't even appear in the play is particularly intriguing. Anyway, I'm thankful for that title, for I otherwise might not have heard this engaging and exciting singer and songwriter. He has now followed Yorick with a new album, Antarctica, which features all original material, songs that tell compelling stories, while still maintaining a strong rock vibe. Backing Tom Ciurczak on this album are Jimena Fosado on electric guitar, Oscar Jesus Bugarin on electric guitar and acoustic guitar, Rob Reischak on electric guitar, Matt Hornbeck on electric guitar and acoustic guitar, Sean Sobash on bass, Travis Carlton on bass, Billy Diisko on bass, Valerie Chaikin on keyboards, Stephen Haaker on drums and percussion, and Jayme Palmer on backing vocals, along with guests on various tracks. The album was produced by Stephen Haaker and Brett Grossman. The painting on the album's cover, by the way, is by Camille Woods, who also did the cover of Yorick. 

The album opens with "Invisible Man," a song told from the perspective of someone who is struggling, who doesn't feel his own worth. A serious subject, and yet I find some humor in the first stanza, or at least in its final line: "Dad ain't been the same since Vietnam/And Mom is back in prison again/Bank took away our car and house/And I'm starting to have some serious doubts." This track has a good rock sound, with the right raw emotion in Tom's vocal performance. I think most of us can relate to these lines: "I don't know what I'm supposed to do/Everywhere there's trouble/Lots of people struggle/But that ain't nothing new." Are we all just numbers? Certainly from the perspective of the government or any other official organization, we are. And that's part of the reason we turn away from those sorts of organizations. In music is where we find humanity, where we can be reminded of our own humanity, our own worth. That's followed by "Haunted House," which has a great energy as it begins. Jayme Palmer joins Tom on lead vocals for this one, delivering the song's opening lines as spoken word. "This place doesn't need a barbed wire fence/The hardest prison to escape is in your mind." And Tom sings, with a sort of desperation, a driving need, "I'm always waiting here for you." Jayme delivers another spoken word section partway through, and that section contains one of the song's best lines, "There's something seductive when you scream." And Tom sings, "When are you coming back for me/I need for you to set me free//From living in this haunted house alone." His vocals are particularly good on those lines.

There is a dramatic opening to "Antarctica," the album's title track, creating an atmosphere that sets us at unease, taking us to another place and another time. That work on keys has a deliciously haunting vibe. Then a rock sound emerges from that opening, and we learn this song takes place a hundred years ago, soon after the end of World War I, telling a true story about a whaling operation. Check out these lines: "Set out from Argentina, headed for Whalers Bay/Sailed out through Drake Passage on a cold October day/To the edge of the world, at the end of the road/Maps said there'd be dragons, but never mentioned the ghosts." This track features some really nice stuff on keys, particularly during that instrumental section in the second half. And the line "Weigh, heigh, up she rises" of course reminds me of "Drunken Sailor." This track ends as it began. Then "Blackout Jack" seems to open in a dark realm, with a dramatic tone and sense, and some seriously cool guitar work in that opening. Adding to its intriguing vibe is Lasim Richards on trombone. This one too, after that first section, goes more into a rock realm, while maintaining some of that initial sound. There is a great energy to Tom's vocal performance. "I know the streets like the back of my hand/Seen every type of con and scam/Laugh at the cops who think I'll crack." The guitar drives things upward during that instrumental section in the second half, scratching at the sky, taking a swipe at the gods. Wonderful stuff! Oddly, and unexpectedly, this track ends with some laughter and banter.

"And here we go" comes the announcement at the beginning of "Looking For A Place." And the song comes on like a delicious blues rock number with a driving beat and a strong bass line, and develops from there. "Ain't running from the law/Ain't running from my wife/Just need a place to go/And think about my life." Ah yes, where are those places? This track features some delicious stuff on keys. That's Bobby "Bundst" Victor on keyboards. Tom Ciurczak switches gears then with "We Were Immortal," taking us to a strange, haunting place, reminding me of some of those weird early 1970s horror films as it starts. "There's a deep abyss/Where all his monsters exist." And then there is a different sort of 1970s flavor to the music as the song continues, a touch of progressive rock. "We never made it far/The music gave us away/We didn't have the fuel/To keep the stars in tune." This is a song that takes us on a ride, something that a lot of music, particularly the stuff on the charts these days, no longer does. It's a cool track. Then "Going Down In Flames" has a solid rock sound, like some of the stuff I grew up on. "I was born with a thunder crack/Rocked my world and I rocked it back/I stood up and started to laugh/Man, this is gonna to be fun." Indeed! Those are the song's opening lines, some unabashed rock lyrics. Isn't it great to have something like this again? This track features some good drumming and some wonderful stuff on electric guitar. "Crank it up, it's gonna get real loud/If you can't handle it, better leave right now."

Tom Ciurczak switches gears again with "Losing You," which has a sweeter, mellower vibe from the start, with some pretty work on keys. That's Neara Russell on keys for this one. "See the highway fading as/The sun sets in these tired eyes/As I drive away now." Jayme Palmer joins him on lead vocals again, this time the two blending their voices in a pretty duet. This is a song about a musician trying to make it on the road, while thinking about home. "'Cause all this time away from home/I was just losing you." It's a touching number. That's followed by "Atom Glow," a song that takes place in a post-apocalyptic setting, and yet has a rather pretty sound, "Survivors stalk the subway fallout shelter/That's where I found you/Your eyes were glowing like that yellow sun/That died when the angels fell from the sky/Lobotomized zombies wandered the streets/Looking for a meaningful purpose." And it has a sense of humor, heard in lines like "But when I look at you with that atom glow/Well, I melt down, darling/This half-life's better/Than the one we left." The album concludes with "Creature From The Blues Saloon," its title, obviously, a reference to the old horror film Creature From The Black Lagoon. Interestingly, its opening lines refer to Casablanca and then Looney Tunes, an interesting combination. But it is about a dangerous creature who "matched me drink for drink" and apparently led him into criminal activity. It's hard to say, because he "Can't remember what happened after that." Both Matt Hornbeck and Dylan Tirapelli-Jamail play electric guitar on this one.

CD Track List

1. Invisible Man
2. Haunted House
3. Antarctica
4. Blackout Jack
5. Looking For A Place
6. We Were Immortal
7. Going Down In Flames
8. Losing You
9. Atom Glow
10. Creature The Blues Saloon

Antarctica was released on September 18, 2026.

I See Hawks In L.A., The Underthings, and Double Naught Three at Maui Sugar Mill Saloon, 10-9-26

The Underthings

Last night's outstanding concert at Maui Sugar Mill Saloon was billed, at least in some corners, as a "Farewell To The Underthings." But I have some great news. It might not, in fact, have been the final show by The Underthings. Rather, it might have signaled a new beginning for that band. But more on that in a bit. The concert, which was one of the best of the year, featured three bands that Paul Lacques was a founding member of. In addition to The Underthings, there was I See Hawks In L.A. and Double Naught Three (previously known as Double Naught Spy Car). One thing that is remarkable about that lineup is how different each of those bands is from the other two. Paul Lacques didn't just focus on one small area of music and excel in that space; his interest seemed to cover great realms in music, and he excelled in all of them. And though he is no longer with us, the music is very much alive, as was clear last night. What a joyous, vibrant, exciting night of music. And it was free. Paul Marshall joked with me before the show, "Three great bands for the price of none."

I See Hawks In L.A.

The night started with I See Hawks In L.A., Richie Lawrence (a member of Rotondi as well as The Underthings) joining the band on accordion for the entire set, which was a treat. The room was packed for the soundcheck, "Turn That Airplane Around," a song from the band's first album, which the band recently celebrated at a special show at McCabe's. Apart from some sound adjustments made during the song, it felt to some like it might have been the beginning of the set rather than just the soundcheck. Either way, the song drew applause from the eager crowd. There was a great buzz in the room, and as the band left the stage for a few minutes before the start of the set, I could hear that many of the conversations around me focused on Paul Lacques. A knowledgeable crowd, and that generally means a fun crowd, an enthusiastic crowd, a respectful crowd.

When the band took the stage just before 8:30, Rob asked for the televisions to be shut off. "No one here cares about that." It is a rare thing when you can speak for an entire crowd, but in this case the statement was spot-on. Everyone was there for the music. The Hawks kicked things off with "Live And Never Learn," and right away the music took hold, the world feeling like a much better place. The song featured some really nice harmonies and a good lead from Dan Wistrom on pedal steel. Paul Marshall's bass work was excellent, particularly during that special section in the middle. While a sound adjustment was made on Rob's vocal microphone, Rob mentioned being excited to celebrate the last show of The Underthings. Apparently there were some issues with the monitors, but everything sounded wonderful in the house. Dan switched to electric guitar for "White Cross," and both he and Richie delivered strong leads. And Rob's vocals were fantastic. There was an electricity on certain lines. "Well, tonight we're also thinking about Paul Lacques," he said after that song, then mentioned how Paul had founded all the bands on the bill, and how they were all different. The Hawks gave us an especially good rendition of "California Country," a great joy to the song.

"Ohio" (or, rather, "Get Back To Ohio," as it is now officially titled) was tremendous fun, featuring some nice work by Dan on electric guitar, and some wonderful stuff on accordion, especially near the end. Folks in the audience added their voices to the "Sweet home" line, which felt just right. This music is like a sweet home for us, isn't it? And it felt right dancing joyfully to a line about being poisoned by the California dream. The band followed that with a fairly new song, "Turtle Song" (this was only the second time I've seen these guys play it), which had a sweet vibe. The accordion worked especially well on this one, adding an element that now seems almost necessary to the song's success. "I know it's crazy, but it just feels right." After that song, Rob joked with the crowd: "Everybody gets a turtle. You get a turtle. You get a turtle. You get a turtle." Dan added to the Oprah Winfrey joke, telling the audience, "Everyone look under your seat." I have a special fondness for turtles, but, though I didn't check, there was no turtle taped to the bottom of my chair. Rick, a guy near me in the audience, happened to be sporting a cool turtle shirt, and I think he enjoyed the song as much as I did. It seemed everyone in the room embraced this new song. 

Victoria Jacobs took a turn on lead vocals, delivering a stellar rendition of "Skipping Stones." Dan added some nice touches on guitar throughout the song, and Richie delivered a great lead on accordion. Also helping this song stand out was the delicious interplay between guitar and accordion at one point. But it was the rhythm that drives this song and especially stands out. This was a highlight of the set. That was followed by another favorite, Paul Marshall's "Talking To The Dog." I've seen him perform this song several times now, and it still makes me laugh every time. Both Dan and Richie delivered good leads, and the song had such a delightful sound and vibe. "Paul Marshall's brand new song," Rob said afterward, playing on the song's line about the dog liking his brand new song. A cover of Willie Nelson's "Me And Paul" followed, the song featuring beautiful vocal work. And then they gave us "I Fell In Love With The Grateful Dead," which had a great rhythm, Victoria kicking ass on drums during this trip. The song also gathered a fantastic energy. The band concluded the set with "Hope Against Hope," its opening section containing some wonderful work on bass. Paul delivered cool stuff on bass throughout the song, and the band included a sweet jam at the end.

The Underthings

The Underthings were up next, and the crowd was certainly ready. I had seen this band perform a few songs at the Paul Lacques celebration at McCabe's in April of 2024, but had never seen a full set. The group was made up of Stefanie Naifeh on vocals, Richie Lawrence on accordion and backing vocals, Marcus Watkins (of Double Naught Spy Car) on guitar, Terry Wilson on bass (sitting in for Simeon Pillich), and Tony Braunagel on drums. A ridiculous amount of talent and experience packed into one band. They got right into the magic with "My Ship," with its totally cool, jazzy vibe, Stefanie taking command of the room. The song was wonderful, even without the saxophone, and it included a bit of "Sixteen Tons," the audience singing along. "I'm so happy to be here with you," Stefanie told the crowd, before mentioning this was the group's final show. The band then delivered a delightful rendition of "I Will Eat You Up," although at first Tony, who began the song on drums, started playing a different song. Very quickly he realized his mistake, and then got the song off to a great start with that wonderful rhythm, a sort of Bo Diddley, New Orleans thing happening. Stefanie was a gloriously twisted force, a compelling presence, and an absolute delight. I doubt anyone would object to being eaten up by her. That song comes from the band's self-titled album, and they followed it with another song from that same album, "Waiting For The End Of The World," Stefanie introducing it by saying they'd been having dreams of the end of the world. It was written in 1988, recorded in 1990, and it featured a beautiful vocal performance, along with really nice touches on bass. It was another of the set's highlights. 

"I Ain't Lonely" was another delicious number with a jazzy vibe. Oh yes, swing me, baby! Richie delivered some fantastic work on accordion, and the song had a delightful ending that caught us all by surprise. That was followed by "I Want To Sleep," a song that was just released on Bandcamp, and one containing a compelling, captivating vocal performance, along with a nice rhythm. "How many people here know the song 'The Curse Of Bigness'?" Stefanie then asked, and several people cheered (including myself - I have the band's first album on cassette). It's an intriguing song anyway. It was the title of a play that Paul Lacques wrote, produced in 1987. And it's something that Sandy Rogers has been mentioning at recent concerts, as she covered "Wild Bill" on her latest album, Tingling Blue, that song having been written for the play. After a false start, The Underthings delivered a really good version of "The Curse Of Bigness," a number with its own wild drama. "I get headaches from low-flying planes." That was followed by another song included on that self-titled album, "La Vie," which featured some excellent stuff on guitar and some wonderful accordion work.

The final three songs of the set were, interestingly, the three songs they performed at the McCabe's show in 2024. The first of them was "Voulez Vous Danser," which Richie began on accordion. He delivered some wonderful work throughout the song, and also provided backing vocal work. A guest backing vocalist also joined the band. Richie spoke a bit about Paul Lacques after that song, referring to him as a champion of music, and speaking for everyone in the room. That was followed by a fun rendition of "Home In My Heart," everything sounding so damn good. They wrapped up the set with "Brand New Mind," featuring some wonderful drumming, making it a great song to dance to. This is a song that was also recorded by Rotondi, and a perfect choice to conclude the set, there being a certain elation to the song's sound. "Shine, shine, my head shines/I woke up with a brand new mind."

Double Naught Three

Double Naught Three closed out the night. And this time it really was the Double Naught Three: Marcus Watkins, Marc Doten and Joe Berardi. Violinist Kaitlin Wolfberg, who has been playing with them lately, wasn't able to be there. The band went right into the music, no introduction, no preamble, seemingly not even a soundcheck. Just, bam, right into the glory of "Macedonia 6-5000," featuring some incredible drumming from Joe. Marc began the night on the keyboard, delivering some wild stuff. I suppose that first song functioned as the soundcheck, for there was a quick adjustment after it, before the band continued with "Jan-Michael Vincent Rehab.com," which was great fun. I love when things get weird, as they did here. And from weird to more fun, this band determining the course of our little universe. We were in good hands, of course. Strike that. We were in spectacular hands.

"Kay Sara Sarah" was up next (a song title I love, by the way), with that totally delightful, catchy part at the beginning on keys. So cheerful. And the band took us into disco land later in the song. This was a particularly good rendition, and a highlight of the set. Marcus switched guitars then, and Marc said, "I don't know if that's the Underthings' last gig." At that moment, I thought perhaps it was just wishful thinking on his part, for no one wanted this to be that group's final show. More on that in a bit, really. Anyway, "Kay Sara Sarah" was followed by "I Rose In A Field," with that wonderful reggae thing. There were some interesting breaths in that number. Yeah, this band can even make a brief pause exciting. And things then got wild, got intense, and got so fucking good. Then "Arrangement With A Dung Beetle" began in that gloriously strange place, that place that felt perfect for Halloween month. The song then became a dance. 

It was after that song that Marc switched from keyboard to bass, and the band launched into "What's Your Hurry," Marc almost immediately delivering some delicious stuff on bass. And Joe's drumming was fantastic. And Marcus delivered a great lead on guitar. Everything felt exactly right, and this was one of the highlights of the night. Joe then set "Double Naught Spy Car" in motion on drums. Yes, the band has a song sharing the band's name. So does I See Hawks In L.A. So does Rotondi. So there. Anyway, the song featured a seriously cool groove, and Marcus delivered some absolutely incredible stuff on guitar. "Helicopter" began with a delicious bass line, moving directly at us, and soon we were in another cool dimension. This tune was a whole lot of fun, and I especially loved the interactions between guitar and bass. Marc then returned to keys for the final song of the night, "The Mooche," introducing it, "This is a classic." Indeed, and Joe was delivering some spectacular stuff on drums. The set ended at 11:28 p.m., and the crowd erupted, wanting an encore. But no such luck. Interesting that the Hawks didn't play "Good And Foolish Times," and Double Naught didn't play "Danger High." But that probably adds to the special aspect of the show, playing with, or against, audience expectations. But it wouldn't have mattered if Double Naught had chosen "Danger High" as an encore or not. It was just that no one was particularly keen on this night ending, and any song at all would have been welcome.

So, as for this being, or not being, the final show for The Underthings, I had a chance to talk with Stefanie after Double Naught Three's set. I asked her if this was really it, and she said it might not be the end after all. The band's bass player did not want to continue without Paul Lacques, which I understand. But that bass player wasn't able to make it last night, and the set was still a great success. Terry Wilson filled in admirably. So might the band continue in this new configuration? From what I gathered, Stefanie does not want this to be the end any more than the audience did, and so there is good chance that the band will continue. It was a phenomenal night of music, and I left the venue feeling optimistic, not only about The Underthings' future, but about the world in general. 

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

Ben Tatar And The Tatar Tots: "The Kids' Table" (2026) CD Review

Ben Tatar And The Tatar Tots continue their delicious tradition of singing only about food on their new release, The Kids' Table. The kids' table, of course, is always the fun table at holiday gatherings, the table with the most joy, the most noise, and likely the most spills. The band captures the fun of that table in the original songs of this album. And just as a side note, what other bands can you think of that have a theme to their material? There is The Baseball Project, of course, all their songs being about baseball. The Zambonis sing about hockey. The Firkins sing about beer. There is also The Legendary Ten Seconds, singing about Richard the Third. Any others? Anyway, this album is a treat for anyone who likes both music and food, regardless of which table he or she ends up at during holiday feasts. The band is made up of Ben Tatar on vocals, acoustic guitar, trombone, trumpet, keyboards, glockenspiel and banjo; Jon Gould on electric guitar; Cory Biggerstaff on bass; Kurt Lubbe on drums; and Anthony Bruno on saxophone and clarinet. Cameron Tatar and Everleigh Tatar provide some vocals.

The Kids' Table opens with its title track, which has a good rock sound, with a steady beat, at its start. "I have dreams/Of cakes and ice creams," Ben sings at the beginning. Soon the song kicks in. "And I recall/The flavor of it all/The aromas wafting down the hall/Assembling the group." We all have memories like those, don't we? And certain smells, certain tastes, take us back. "Save a spot at the kids' table for me," he sings, a certain amount of excitement in his voice. The horns respond. It's a fun number, featuring some nice work on bass, and that instrumental section in the second half is wonderful. That's followed by "Jumping Beans," a song that in its first moments promises to be a fun one, with the great rhythm. I love the drums on this track, and the song feels like a dance. A silly dance, to be sure, but aren't all dances delightfully silly dances? "Jumping beans are coming to town/Up, down, left and right/Jumping beans are out of sight/My jumps are sky high/Everybody jump, no reason why." And then he sings, "Everybody join in the fun." That's a key line, not just to this catchy song, but the whole album. For this is fun, and it encourages all of us listening to have fun too.

The rhythm is a big part of the appeal of "Put A Little Ranch On It" too, a big part of its fun. And the song mentions the band in its lyrics: "Put a little ranch on it/It's good on cucs and carrots too/Makes Tatar Tots a happy crew." Of course, that now makes me wonder if these musicians are covering themselves in ranch dressing. No judgment. Whatever you enjoy. This song has a cool vibe, and these guys wouldn't lose that sense of cool even if they were covered in Russian or Catalina dressing. The fun continues with "Pass It On Down The Line," which has a delightful jazzy vibe and a totally delicious rhythm. It's a song about wanting a hot dog, and the title makes me think he's ordering the hot dog at the ball park and his seat is in the middle of a row. The clarinet work here is absolutely wonderful, the heart of this piece. This is one of my personal favorites (and I don't even like hot dogs).

There is more of a folk sound at the beginning of "Pictures Of Food," and the first lines made me laugh out loud the first time I put on this disc: "Scrolling through my mama's phone/That's what she gets for leaving me alone." This song is adorable. "A picture of a menu, and a picture of my dad/Then ten to twenty pictures of a dinner that they had." Those lines remind me of comedian Lachlan Patterson's bit about how photos used to tell a story, used to have meaning, while now we take pictures of food and clothing we think of purchasing. And, in fact, this song's second verse mentions clothes: "Here's a picture he took yesterday/Of a shirt he didn't buy/Ten pictures of the same thing/In case my sister blinked an eye." Perhaps Ben Tatar heard that same comedy routine. And in this song he talks about how we all do it, how we all take pointless and numerous photos of completely uninteresting subjects. The band then gets into a rock sound with "The Candy Dance," a song in which Ben Tatar asks, "What kind of candy is your, what kind of candy is your, what kind of candy is your favorite?" There is a dance associated with each candy. I'm partial to milk chocolate and white chocolate. I used to buy one-pound bags of M&Ms, back when such a thing existed. Now there is much less than a pound in those bags, and yet they cost more than twice what they used to. That's progress. I don't buy them anymore. Too expensive. Anyway, this fun song encourages dancing.

"Get ready to act out the foods in this song, and in the end let's see who can do them all at once," Ben Tatar tells us at the beginning of "All The Cooks In The Kitchen." I love the playful aspect of these songs, heard in lines like "Flip a pancake with your foot/That's a thing to do." Hmm, I'm guessing if I tried to do that, that would end up being a pancake I wouldn't be eating. But I'm digging this song. It features nice stuff from the brass section. "Crack an egg with your armpit." That's followed by "Five Second Rule," another jazzy delight, moving at a fast pace. "One hot potato jumped off my plate/But the timer starts when it hits the floor/Better be quick if you want some more." And how could anyone not love the moment when he says, "Cue the sad trombone"? The band gets a little funky for the album's final number, "Boogie On The Cookie." "There's a boogie on the cookie, oh yeah/There's jam on my bread." Yup, this is fun. And silly. And it features some good work from the horns.

CD Track List

1. The Kids' Table
2. Jumping Beans
3. Put A Little Ranch On It
4. Pass It On Down The Line
5. Pictures Of Food
6. The Candy Dance
7. All The Cooks In The Kitchen
8. Five Second Rule
9. Boogie On The Cookie

The Kids' Table is scheduled to be released on November 20, 2026 (just in time for Thanksgiving).

The dB's: "Cycles Per Second: US Tour 2024" (2026) CD Review

If, like me, you were unable to get a copy of The dB's Record Store Day release Cycles Per Second: US Tour 2024 earlier this year, there is some excellent news. The album is being released on CD, and in addition to the record's thirteen tracks, there are another nine included here. I still wish I'd been able to get that record, of course, but this expanded edition helps alleviate some of the disappointment I felt at missing out on it. After all, I'd been at the November 16th show in Los Angeles that is represented here, and that was an outstanding concert. Interestingly, the songs are in a different order than they were on the vinyl release, and a different order from the concert I attended, which is odd. All the songs that were played at that show, with the exception of "My Little Red Book" (which is a cover), are included here, though these recordings come from different shows, both Los Angeles shows and the North Carolina show. For some reason, the liner notes do not indicate which songs come from which show, which is a shame. The band is made up of original members Chris Stamey on guitar, Peter Holsapple on guitar, Gene Holder on bass, and Will Rigby on drums, along with Wes Lachot on keys.

The disc opens with "Neverland," a song from Repercussion, the band's second album, released in 1981. "You're asking where did my love go/I tell you really I don't know." This is a song the band played deep in the set at the Zebulon show I attended in Los Angeles, but it works really well in this lead spot too, establishing the wonderful sort of power pop the band excels at. The track features some excellent stuff on guitar, particularly at the end. It's followed by "Black And White." This song opened the band's debut album, and it closed out the set at Zebulon, and it is perhaps the band's most popular song. There is a fantastic energy here, and the crowd joins in on the action, singing "You don't like it at all." And check out Will's drumming near the end. There is the power in power pop.

"Dynamite" is another song the band played late in the set at the concert. I wonder why the songs were re-ordered. This order places the song after "Black And White," as it was on that first album. Anyway, this is an spectacular rendition, the bass at the center. It features some very cool stuff on drums, as well as some wonderful touches on guitar and a catchy keyboard part. But it's the vocal work that has always drawn me to this song, and the vocal work here is excellent. Because the songs are not in the order presented at the shows, the applause at the end fades out before the next track, "Lonely Is (As Lonely Does)" (here titled simply "Lonely Is") begins. This is a song from Like This, released in 1984. "Well, living in the past is rough/Living here today is enough."

I recall that at the show I attended "Happenstance" was a highlight for me. And listening to this rendition now, it is a highlight of this disc (though, again, I'm not sure if this recording comes from the show I attended or one of the others). There is a delicious intensity to the delivery, some excellent vocal work and a great beat. Also, I love that section in the middle when the guitar takes control, when it transports us to an unusual place. You might find yourself holding your breath as you wonder just where the guitar will take you. The song builds wonderfully from there toward its climax. That's followed by "Love Is For Lovers," which did follow "Happenstance" at the concert I attended. This is a delightful rendition. And I love that the lyrics include a nod to Shakespeare's Measure For Measure (that title itself a biblical reference).

We can hear the crowd react as "She's Not Worried" begins. This is a song from the band's first album, and a total delight. "Sometimes I don't say the silly words she wants to hear/But you know they're always on my mind." There is a bit of a Beach Boys flavor here, and this song is another highlight of the disc. "She's not bothered by the foolish way I lead my life/'Cause she knows it'll be over soon." Then a totally delicious beat sets "Cycles Per Second" in motion, and sets us in motion too. Everything is working perfectly, ths song's fantastic energy driving us forward, the drumming keeping us grooving. This is another of the band's most popular numbers, a song from the debut album. It is the second song the band played at the Zebulon show I attended.

"Molly Says" is a song that was not played at the Los Angeles show, the only such number on this disc. It comes from The Sound Of Music, an album the band released in 1987. It's a good song with some lyrics that stand out, such as these lines: "She could stand in a deep, dark hole/And still look down on me." And of course its title puts this song in that special category that includes "Candy Says," "Stephanie Says," "Lisa Says" and "Jane Says." It is followed by "We Were Happy There," which was the first encore at the show I attended. It comes from Repercussion. Isn't there something beautifully sad in a line like "We were happy there"? As it places happiness in a time and place that exist no longer. I'm digging the bass line. There are a couple of moments when the guitar reminds me of T. Rex's "Bang A Gong (Get It On)." The song ends with the line "And we're going to go back home," which is a cheerful idea, and delivered with a certain beauty. "(I Thought) You Wanted To Know" was also in the encore. It was the final song of the night. It features that great jangly guitar, like The Byrds. "(I Thought) You Wanted To Know" was the band's first single, released in 1978. This is a wonderful version. "Molly Says," "We Were Happy There" and "(I Thought) You Wanted To Know" were not included on the Record Store Day release.

"Living A Lie" is the lead track from Repercussion, and another that was not included on the Record Store Day release. It features a fantastic vocal performance and some excellent stuff on guitar. There is a delicious strength to this song, a power. And speaking of power, that song is followed by "That Time Is Gone," a song full of attitude and grit, and another of the album's highlights. It comes from the band's 2012 album, Falling Off The Sky. This song is so damn good, and is perhaps more striking now than when it was released. "You'd better wake up, wake up, wake up/That time is gone." Then "From A Window To A Screen" features a beautiful vocal performance. "Some would say we were friends/I won't make that mistake again."

"The Fight" is the song the band chose to open the Zebulon concert I attended. It's one of my favorite songs from the first album. The version included here is excellent, with all the energy you'd hope for, hopping in the right spots, rocking in the right spots, and with a strong vocal performance. I'm still curious why this song didn't open the album. You can hear the crowd responding enthusiastically at the end. That's followed by "Before We Were Born," a song from Falling Off The Sky, one of that album's highlights. "I'm telling you right now/Nothing's gonna change a thing/Are you ready for the news/It's hidden in the words I sing." And he tells her, "I've got a feeling that I knew you/Before we were born, before we were born." And that guitar work adds to the great vibe of this song. Then "Big Brown Eyes" features a great bass line. Right from the start, that bass is delicious. This music has such a good feel to it. "You give me something to think about."

A delightful rhythm is at the center of "Ask For Jill," and is a large part of this song's appeal, making it a fun one to dance to. But there is more going on here, including some particularly interesting guitar work. The crowd joins the band during that section in the second half when Chris held up the pages containing the lines from one side of the phone conversation. That's followed by "I'm In Love," the opening moments of this song, with that great drumming, pulling us in. The vocal work stands out here. "I've got, I've got no idea/Just how far to press my luck." And I love the way that declaration is delivered, "I'm in love, I'm in love, I'm in love." We even get a brief burst from Chris on harmonica. "In Spain" then follows. This was one of the encores at the show I attended, and is another fun number, featuring some very cool stuff on guitar. By the way, none of the stage banter is included on this live album, just the songs.

The album concludes with two versions of "Amplifier," the first coming from one of the two Los Angeles shows, and the second from the North Carolina show (the only tracks so identified). Hey, if you're going to choose one song to get two renditions, this is the one. It's such a great song. Check out these lines: "She took his car, took his bike/She took everything that she thought he liked/And what she couldn't take/She found a way to break." And here Wes gets a chance to really shine on keys. In the first version, after that great keyboard lead, Wes is introduced. Will and Gene are also introduced, Gene described as "Weighing in at 121, standing six foot nine." The second version is slightly shorter. This one also contains some great stuff on guitar, and Wes gets his cool lead. The band jams, with a little nod to "Funk #49," but in this one, the band members are not introduced.

CD Track List

1. Neverland
2. Black And White
3. Dynamite
4. Lonely Is
5. Happenstance
6. Love Is For Lovers
7. She's Not Worried
8. Cycles Per Second
9. Molly Says
10. We Were Happy There
11. (I Thought) You Wanted To Know
12. Living A Lie
13. That Time Is Gone
14. From A Window To A Screen
15. The Fight
16. Before We Were Born
17. Big Brown Eyes
18. Ask For Jill
19. I'm In Love
20. In Spain
21. Amplifier (LA)
22. Amplifier (NC)

Cycles Per Second: US Tour 2024 is scheduled to be released on October 30, 2026 on Propeller Sound Recordings. It's such a treat to revisit these songs. I hope this band tours again soon.

Dallas Burrow: "The Way The West Was Won" (2025) CD Review

Dallas Burrow is a singer and songwriter based in New Braunfels, Texas. He released his first EP in 2012, and followed it with three more in 2016. His first full-length album, Southern Wind, came out in 2019, and was followed by a self-titled album in 2021 and Blood Brothers in 2023, and then two live albums in 2024. His music exists in that wonderful land between folk and country, personal numbers that feel universal. Then last year, he gave us The Way The West Was Won, an album with its own particular vibe, mostly original country songs that conjure a different time. Songs that tell stories of another age. The classic look of the album cover gives us a good clue as to what we might expect from these songs. The album was produced by Lloyd Maines, who plays dobro, bass, acoustic guitar, electric guitar, steel guitar, banjo, flute and percussion on these tracks. It was engineered, mixed and mastered by Pat Manske, who is on percussion. Dallas Burrow has some special guests joining him, including Ray Wylie Hubbard, Kelly Willis and Jim Lauderdale.

The album's first track, "Read 'Em And Weep," opens with some cool guitar work, and then he counts us in, perhaps dealing us in, for the first line then is "Cut the cards, boys, deal me in." And we are invited into a world of the untamed west, a world of possibilities, which is so appealing. "I've got a little story to tell." And indeed Dallas Burrow proves himself a damn fine storyteller. This track features special guest Ray Wylie Hubbard on vocals. It also contains some really nice work by Katie Shore on fiddle, that instrument a large part of the track's appeal, a large part of what enables us to journey to that time. Then her fiddle work at the beginning of "Colorado Bound" sets a very different tone. This song has a gentle, sweet, pretty sound, and its first line, "I saw you in a daydream," comes naturally from that sound. "Heading west for the mountains/In a sleeper car/In your head you were counting/All your lucky stars." Kelly Willis joins him on vocals for this one, delivering some beautiful work, and Lloyd Maines provides some good stuff on dobro. We are set in motion to Colorado, while also remaining behind, watching as the train goes.

Brian Beken is on fiddle for "Disappearing Ink," providing some nice work at the start, and at key moments throughout the track. The rhythm of this one plays a prominent role, not just the percussion, but the rhythm of the vocal delivery. This track features some wonderful vocal touches, like when there is almost a growl to his voice as he repeats, "Here I go again." Lloyd Maines delivers good work on banjo, including during that delicious instrumental section. "I've been a hundred places I shouldn't have been/I spent my last dollar 'bout a hundred times." That's followed by "Justice In The West." Something about this one has me feeling good from its opening moments. It's in the rhythm of the guitar, it's in the tone of his voice. We all know this place, recognize it, and feel drawn to it. And we can be there through this music. This song is told from the perspective of someone who became a lawman and went after bandits. It's a world that is now in the past. Not just our past, but the narrator's as well. This is a wonderful song, one of my personal favorites.

Another strong character is established in the opening lines of "Black Rock Desert Blues": "I headed out of Silver Springs/Just pawned a wedding ring/I've done some terrible things/But that one haunts me still." This track contains some really nice guitar work, and Bukka Allen adds some great flavor on accordion. We learn more about that wedding ring later in the song. Again, Dallas Burrow can tell a good tale, and this track is another of the album's highlights. It is followed by "Streets Of Dodge," which also makes great use of the accordion. There is something in that instrument that works to conjure memories, and to place us within them. There is a gentle, easygoing vibe to this song, and yet the tale turns to one of pain and loss. "I left old Dodge City/When I lost my loving bride/When I lost my loving bride." Then "Tornado" begins like one of those classic westerns, with a very cool sound. The opening lines are delivered in a way close to spoken word, setting the atmosphere for this tale about a horse named Tornado and that horse's rider.

Jim Lauderdale joins Dallas on vocals for "The Way The West Was Won," the album's title track. "Gold in them hills, and hope in our chest/We saddled up the ponies and we headed out west." There has always been something appealing about heading west, right? Following dreams, following legends, following desires. Lloyd Maines delivers some great work on dobro, as well as guitar and bass, on this track. Then Lloyd Maines plays flute on "Indian Song," and that instrument helps to create the atmosphere in the song's opening moments. This one features an especially cool vocal performance. "Got run off by long knives/The settlers and the trains." I also love the way this track ends. I highly recommend checking it out. "Time is of the essence/It's always running out/Like a freight train in the night," Dallas Burrow then sings at the beginning of "Livin' For Today." Oh yes, and as we get older we become more and more aware of that, and songs like this one hit us harder. Katie Shore returns on fiddle, delivering some wonderful work, especially on her lead in the middle. This is another of my personal favorites. "But if all our days are numbered/Like the sand in an hourglass/We still have a choice/As to how we let 'em pass."

"When The Cowboy Rides" is a lively number, featuring good stuff from Brian Beken on fiddle. It's a song that puts cowboys, poets and philosophers out on the same plain. "A woman's heart is wild as the sea/You can love her, but set her free/It's been this way for eternity/A woman's heart is wilder than the sea." Lloyd Maines delivers some good work on steel guitar, and Jim Lauderdale provides harmony vocals. Then "The High Low" begins with some nice work on guitar. The vocals have a friendly folk tone, fitting the vibe established by the guitar. And soon the percussion and fiddle are added and everything feels right. Brian Beken delivers excellent work not just on fiddle, but also mandolin. I love the playful aspect to this song, heard in lines like "She was born a brunette/Grew up to be a blonde." It's a fun number. And Jim Lauderdale, Kelly Willis, Katie Shore, Lloyd Maines and Pat Manske all join Dallas Burrow on vocals near the end. The album then concludes with "Cowboy's Prayer." "At the end of the trail" seems a perfect line to begin this album's final track, doesn't it? This song feels like the end of the day as well as the end of the trail. "If I've done some wrong, Lord/Well, I'll pay the price/If you could forgive me/That sure would be nice."

CD Track List

1. Read 'Em And Weep
2. Colorado Bound
3. Disappearing Ink
4. Justice In The West
5. Black Rock Desert Blues
6. Streets Of Dodge
7. Tornado
8. The Way The West Was Won
9. Indian Song
10. Livin' For Today
11. When The Cowboy Rides
12. The High Low
13. Cowboy's Prayers

The Way The West Was Won was released on September 26, 2025 on Forty Below Records. And since then, Dallas Burrow has released another album, Modern Day Vagabond, which came out just last week.

Jimbo Ross: "Beyond The Groove" (2026) CD Review

On his new album, Beyond The Groove, the great Jimbo Ross focuses on material by Dizzy Gillespie, Thelonious Monk and Horace Silver, giving each composition his special magical touch. He plays that famous five-string electric viola and violin on this album, and is joined by Joe Gaeta on guitar, Stuart Elster on piano, Peter Marshall on upright bass, and Ron Wagner on drums. The arrangements are by Jimbo Ross and Joe Gaeta, and the album was produced by Jimbo Ross. 

The album gets off to a wonderful start with "Groovin' High," a Dizzy Gillespie number. There is a fun, light, playful vibe as it begins with the interaction between Jimbo Ross and Stuart Elster. And when the musicians move into the main body, there is a good amount of cheer, especially in Jimbo's playing. It is like we are invited to a festive gathering led by Jimbo Ross. This is something certain to raise your spirits. Stuart delivers an excellent lead on piano, keeping things moving, keeping spirits high, while Peter Marshall's bass work beneath it has its own special charm. If you'd like to forget about the world's current troubles, this music should do the trick. A good guitar lead follows, Joe Gaeta at first keeping with the established dance, while adding his own delightful touches. And before the end of this opening track, we're treated to some brief, but lively drum solos by Ron Wagner. Then we return to that initial section, signaling the dance is complete. That's followed by "In Walked Bud," a great choice, for it seems to pick up where "Groovin' High" left off. Jimbo has a great freedom early on, taking off into some glorious territory, knowing he'll be followed. No one is lonely or alone in these places. It's as if setting off for the mountains, leading a troupe of musicians and other explorers. Joe's guitar lead follows, as he takes up a position in front, charting a new path with the same destination in mind. Stuart's piano lead seems to add more energy to the endeavor, shining more light upon the path. The interactions between the instruments in the second half are exciting, one of my favorite sections of this album. Fantastic. This is the first of three Thelonious Monk compositions included on this album.

The second Dizzy Gillespie tune, "A Night In Tunisia," begins with its great rhythm, and soon we are off a new journey, familiar and yet new, Jimbo finding fresh territory to explore, and new ways to explore what might have been so familiar, and doing so with skill and joy. He takes charge of this place. We know we are in good hands, as he charms us right out of our blues. Joe Gaeta's guitar lead delights and pops and moves. At the heart of this track is its rhythm. There is some outstanding stuff on both drums and bass. Everything is working perfectly here. Then "Peri's Scope" has a sweeter, softer tone at the start, a friendly hand reaching out and taking hold, leading us in a dance. Our partner hums to us, making sure we remain within the music, within the dance. But how could we ever miss a step with these guys? There are magical touches to Stuart's piano lead, as if we're entering a fairy tale before things begin to rock a bit more. Reality or fantasy, it doesn't matter, as long as we can stay in the realm these musicians have opened for us. The guitar lead focuses our attention on the movement before Jimbo then sweeps us up into the air again and builds something for us all there, a place where we can enjoy ourselves.

There is a light, pleasant vibe at the start of "Afternoon In Paris," feeling like a wonderful walk through daylight when the air is cool and the flowers are in bloom. This music takes us to places we long to go, helping us escape from the twisted mess of our current landscape. And during the piano lead we sense more excitement in the air. It is no longer a casual stroll. Now there is a point to our excursion, a purpose. Though that doesn't in any way lessen our enjoyment. And everyone we meet along the way gets caught up in the joy of the movement, the joy of the moment. "Nica's Dream" follows. There is a different kind of energy here, a different sort of passion. Here the dance has a more intimate, more focused sense. There is something classy here. Furs and good wine. But nothing stuffy. Elegance and smiles, the strings seem to express. And joy, joy, joy. The guitar spins us around on the floor, seeming to promise an endless celebration, an endless escape from whatever it is we are eager to forget. This song was composed by Horace Silver, the first of three Horace Silver tunes included on this disc. It's followed by "Juicy Lucy," also written by Horace Silver. There is a delicious, playful vibe to it from the start, the kind of song that struts in, but never takes itself too seriously. Life is much too short for that anyway. Let's enjoy ourselves. The guitar lead certainly encourages us to do that very thing. and the beat keeps us feeling light, never aware of our own bulk, our own dimensions. And during Stuart's piano lead, we can carry ourselves on our toes, twirling around with ease.

Jimbo Ross' instrument takes on a certain character at the beginning of "Ba-lue Bolivar Ba-lues Are," creating this character, filling it out, and dancing it about. It is so vivid for us. And perhaps as we listen, we become that character. Why not? Jimbo's work is absolutely wonderful, one of the album's most delightful performances. And Stuart Elster delivers a strong lead on piano, reminding us how good life can be. Jimbo Ross again delivers some excellent work, over a cool rhythm, to start "Whisper Not," a tune composed by Benny Golson. And during Stuart's piano lead, you might find yourself snapping your fingers or anything else you can snap. That's followed by "I Mean You," the final Thelonious Monk composition included on this album, and it's a fun one. This is one of the most delightful tracks, in large part because of Jimbo's playing, his approach. And the piano is hopping. This track also features an excellent guitar lead. Everything is moving, swinging. This track is one that should add some cheer to your day.

Things then slow down a bit for "Gloria's Step," a track with warm tones and a late-night, kind of romantic feel, particularly during Stuart's piano lead. Yet, that doesn't mean this track lacks excitement. Just listen to that guitar lead. And there is a good vibe during Jimbo's lead. Thing then move at a good clip on this rendition of Miles Davis' "Solar." There is certainly a bright feel to the music, to the approach, and a joy in the sound. Again, this is music that will melt away all troubles and distractions. This track features some excellent drumming, and I'm especially fond of that work on drums toward the end. The album concludes with its third Horace Silver composition, "Nutville," which has a cool vibe from the start, with that steady rhythm and delicious work by Jimbo on strings. Partway through, it picks up the pace, Jimbo's strings flying around the room with confidence, with knowledge, with experience, and we can't help but get caught up in the motion. This track also contains some fantastic stuff on piano. A perfect way to end this excellent album.

CD Track List

1. Groovin' High
2. In Walked Bud
3. A Night In Tunisia
4. Peri's Scope
5. Afternoon In Paris
6. Nica's Dream
7. Juicy Lucy
8. Ba-lue Bolivar Ba-lues Are
9. Whisper Not
10. I Mean You
11. Gloria's Step
12. Solar
13. Nutville

Beyond The Groove was released on August 21, 2026 on Bodacious Records.