Friday, March 27, 2020
Thursday, March 26, 2020
The album begins with an instrumental piece titled “Dear Pavel,” dedicated to Pavel Friedmann, who wrote the poem “The Butterfly” at the age of twenty-one in the concentration camp. He was born in Prague in 1921, and died at Auschwitz in 1944. This piece features some pretty work on piano, and has a gentle approach, like an arm around our shoulders guiding us through the world. That is followed by Dana Sandler’s delivery of “The Butterfly,” which was written on June 4, 1942. This track is incredibly pretty and touching. Here is a portion of the poem: “That butterfly was the last one./Butterflies don’t live in here,/in the ghetto.” After the war, the poem was donated to the National Jewish Museum.
“Dear Franta” is a very short instrumental piece for Franta Bass, who was only fourteen when he was murdered at Auschwitz. He was eleven when he and his family were sent to Terezin, and there he wrote several poems. Three of those poems are presented on this album. The first two – “Home” and “The Old House” – are presented together. The lines from “Home” can certainly be heartbreaking, but the music has something of an angelic and uplifting quality. “I look toward my home/The city where I was born/City, my city/I would gladly return to you.” One note: in the liner notes, the line is given as “I will gladly return to you,” but she clearly sings “would.” The horns then have a sweet energy, like they could magically lift and carry this child home. The piano again has a pretty sound. That segues into “The Old House,” which is sung by a child, and that child’s voice is unexpected and chilling, for it is an even stronger reminder of what was lost. “Now it is deserted, rotting in silence/What a waste of houses,/a waste of hours.” That is Rory Sandler McMahon on vocals. The third piece by Franta Bass, “The Garden,” is presented as a separate track. This song creates an innocent scene in its opening lines, “A little garden/Fragrant and full of roses,” and you can’t help but consider the incredible contrast between what these children were creating and the harsh world around them. The innocence is soon dispelled by the poem’s final lines, “When the blossom comes to bloom,/The little boy will be no more.” If you weren’t aware of where the poem was written, it is possible you might conclude the idea is that the boy is no more because he is now a man. But we know that is not the case. It is a heartbreaking final line, full of awareness of impending death. Anyone singing of a child’s death is likely to be compelling, but knowing that it was a child writing of a child’s death is almost too much to bear.
“Dear Alena” is a somber, introspective instrumental piece for Alena Synkova-Munkova, one of the few children who actually survived the camp (she died in 2008). This album offers three of her poems. The first is “Untitled,” which actually has a light and joyful sound as it begins, creating a peaceful setting before the vocals begin. “Therefore, I will wait –/until my life’s purpose/is fulfilled/And you will come.” At the end, Dana sings “I must not lose faith/I must not lose hope.” The opening lines of Alena’s second poem, “I’d Like To Go Alone,” are “I’d like to go away alone/Where there are other, nicer people.” Simply stated, certainly, but powerful nonetheless. I love that horn, which rises up as if searching for some other place, some other people, searching for a god to deliver them there. This is surprisingly positive too, with the lines “Maybe more of us/A thousand strong/Will reach this goal/Before too long.” Dana repeats these lines. That’s followed by a change in tone, led by piano, and we feel as if this better place has been found. It almost feels like people dancing at this point. However, Dana then chooses to return us to the beginning, repeating the song’s opening stanza, which feels like she has brought us back to that place they were hoping to escape. Interestingly, she then sings a bit of “Ani Ma’amin,” and the disc’s liner notes provide an English translation: “I believe with complete faith/In the coming of the Messiah, I believe.” “Tears,” the third piece by Alena Synkova-Munkova, is incredibly moving. As Dana sings of tears, I have to hold my own back. “Tears –/inspired by grief/tears/that fall like rain.” I really like the bass work here, that instrument seeming to provide a place for the child’s tears to land where they will not be lost, but instead will be bounce and splash and somehow produce more life.
“Dear Anonymous” is a wonderful instrumental piece that, as you may surmise, is about those children whose names are not known, those young poets who did not sign their work. There is a strong sense of movement to this piece, and so there is hope. The first of the poems is “On A Sunny Evening,” which also expresses hope, both lyrically and musically. It is a celebration of nature, of spring, of life. “I want to fly but where, how high?” And check out these powerful lines, which conclude the piece: “If in barbed wire, things can bloom/Why couldn’t I? I will not die!” The second anonymous piece, and final track of the album, is titled “Birdsong.” The bass begins this song, which also celebrates aspects of nature and has an optimistic quality. There is a gorgeous instrumental section led by piano. The lines “You’ll know how wonderful it is/To be alive” are repeated, as the music builds in power. Then it eases back, and Rory Sandler McMahon joins her to sing those lines again, so we have a blending of an adult’s voice and a child’s voice, a mixing of past and present. And that is how this remarkable album ends.
CD Track List
- Dear Pavel
- The Butterfly
- Dear Franta
- Home/The Old House
- The Garden
- Dear Alena
- I’d Like To Go Alone/Ani Ma’amin
- Dear Anonymous
- On A Sunny Evening
- Birdsong/Butterfly Reprise
I Never Saw Another Butterfly is scheduled to be released on April 21, 2020, which is Yom HaShoah.
Wednesday, March 25, 2020
The album opens with “New York Is Rockin’” and this song is rocking. If you are looking for some true rock and roll to raise your spirits, here you go. You are going to love this song. And hey, if it weren’t for the coronavirus, this one might make you want to gather in the streets to dance. There is even a section with vocals and percussion, like all the great rock songs from my youth. The lyrics are as fun as the music, with lines like “Wall Street is dressing up in old blue jeans/They’re jumping at the Garden for the New York Knicks.” This song is a celebration of the city, and all things we think of in relation to it. I love it when he yells, “Taxi!” That’s followed by “The Backstreet Slide,” which has a bluesy rock sound to start, and Willie’s vocals have a sly quality, with those lines about “a gentle hand/Or a cattle prod” immediately grabbing me. He really knows how to pull listeners in. The song kicks in to become a cool, mean and timely tune, delivered with that great attitude that Willie Nile is so damn good at. “A climate change freeze/Or a presidential con/It doesn’t really matter/What side you’re on.” And check out these lines: “We’re all going down/One way or another/Tell your new best friend/Tell your sister and brother.” Those lines certainly have a dire vibe, but then Willie offers this: “We do our best to find our way/All around the world/There are songs to be sung.” Indeed.
“Doors Of Paradise” opens in a mellower place, drawing us in. When it kicks in, this song has more of a pop feel, and features some compelling lyrics. “You can break my heart/With a careless phrase/You can twist and turn/In so many ways/But the one who gets hurt/Is the one who pays/The doors of paradise swing both ways.” That’s followed by “Lost And Lonely World.” From the moment it opens with that great vocal section, this track seems a call to rise, a call to lift our chins and sing out. This is another strong track with a steady beat and excellent lyrics. Here is a taste: “You think you’re at the movies/You’re talking to the screen/You’re acting like the cover of a monster magazine/Take me far away/I don’t want to stay/I can’t anyway/In your lost and lonely world.” And another line that strikes me each time is “You’ve got me disappearing just like the ozone.” Seriously, this is a really good song. The entire album is fantastic, but this song in particular stands out for me.
The guitar part at the beginning of “The Fool Who Drank The Ocean” announces it as a rock song, and we are certainly not disappointed. This tune has a driving beat and more good lyrics. “I found success as a slave/But for a moment could you refrain from/Dancing on my grave.” Then in “A Little Bit Of Love,” Willie sings “We will watch the crazy world go by.” Yes, it is a love song for today. We always need love songs, and this one in particular should reach a lot of people. Plus, it has a Hamlet reference in the lines “Every dog gonna have his day/Equal rights with equal pay/From Times Square to the Milky Way/Every dog gonna have his day.” The line from Hamlet is “The cat will mew and dog will have his day.” And how can you help but feel good when Willie sings “A little bit of love goes a long, long way.” This is one of my favorite tracks.
“New York At Night,” the album’s title track, is another delicious rock tune, kicking off with a good beat. There may not be a party right now in New York, but it won’t be long before denizens of that city will be gathering together again. “There’s a party going on/You can hear the heartbeat/New York at night/New York at night/Everything’s all right.” The song is a celebration, and even those of us who might not care for New York are going to get caught up in its joy and excitement. “If you’re feeling blue, you won’t be for long.” That’s followed by a gorgeous song titled “The Last Time We Made Love,” his vocals backed by some gentle and beautiful work on piano. And by now it should come as no surprise that this song features some remarkable lyrics, with lines like “Our tongues were trading tender riddles with the wine” and “My ocean trembles every single time you sigh/Our bodies moving with no reason to ask why” especially standing out. Then “Surrender The Moon” bursts in and within seconds has me smiling for the pure joy of its sound. I love this song’s humor and energy. Check out these lines, the first of the song: “You’re boring/You’re dull/She hates you/Oh well/You moron/You fool/You know it/That’s cool/Surrender/The moon.”
Willie slows things down again with “Under This Roof,” which begins on acoustic guitar. This is a beautiful song offering comfort and companionship. “There will be times when darkness comes around/When all of your faith comes tumbling down/When heartache appears and gravity falls/Know there is a place behind all these walls/Under this roof, my arms will find you.” I love this song. He then returns to rock with “Downtown Girl,” a celebration of a different sort. In this song he sings, “we can watch the crazy world go by,” a line similar to that in “A Little Bit Of Love.” Is it a theme? It is certainly a theme for a lot of us these days. The album then concludes with “Run Free,” a tremendously appealing song that celebrates a sense of freedom. And though we can’t physically be running free at the moment, in our minds we are traveling by leaps and bounds, and this song certainly aids us in that. It is a strong conclusion to a powerful album.
CD Track List
- New York Is Rockin’
- The Backstreet Slide
- Doors Of Paradise
- Lost And Lonely World
- The Fool Who Drank The Ocean
- A Little Bit Of Love
- New York At Night
- The Last Time We Made Love
- Surrender The Moon
- Under The Roof
- Downtown Girl
- Run Free
New York At Night is scheduled to be released on May 15, 2020 on River House Records.
Tuesday, March 24, 2020
The first disc contains the original stereo mix of the album, along with a bonus track. It opens with “Orphans Of Babylon,” a groovy rock song that is part progressive rock, and part pop, with some rather catchy elements. It’s an enjoyable song, a good opener. It’s followed by “Twilight Capers,” which has more of a glam rock vibe and some unusual lyrics. These are the song’s opening lines: “All the white horses ran bleeding to the end/Shot through the heart by dear devoted passion.” I also really like these lines: “I can see his broken grin/His fallen hope, his glorious sin.” This track also features an odd and kind of delightful ending, like the studio was suddenly overrun by tiny aliens. Then we get “Kiss Of Light,” which was released as a single, and again shows the band’s talent for interesting lyrics. “She tortured my body and made me feel sorry/Though I thought I was right.” “The Bird Charmer’s Destiny” is a short, kind of pretty track, the vocals backed by some nice work on keys. It leads straight into “The Gold At The End Of My Rainbow,” which has its own peculiar beauty. “The night has had its way with me/This game is growing rather grim/And some of us must sink or swim.” That’s followed by “Bring Back The Spark,” which on the original record, was the final track of the first side. It is more of a straight rock and roll tune, a lively and fun song.
The original album’s second side is dominated by a series of songs that together make up one large piece of music, the Modern Music Suite, inspired by the band’s experiences during the tour of the United States. The first track begins with the sound of a radio catching bits of various programs as some unknown listener hastens to change it. Then finally he or she finds what he or she is looking for, a Be Bop Deluxe song, and in fact the album’s title track, “Modern Music.” I could do without that sort of silly introduction, but once the song begins in earnest, it is quite good, and ends up being one of my favorite tracks. “When you're lonely and you're far away/When those steel guitars begin to play/Please don't let them steal your heart away.” It leads straight into “Dancing In The Moonlight (All Alone),” which is a fun song with a lighter sort of vibe. “When will this journey be through/I’d like to make love to you.” That in turn leads straight into “Honeymoon On Mars” and then “Lost In The Neon World,” two short numbers. Those are followed by “Dance Of The Uncle Sam Humanoids” which has a sort of exciting vibe to it, with a hint of disco to its style at times. This is one to cut loose to, and is another of my personal favorites. This series of songs concludes with “Modern Music (Reprise),” which ends with a weather report, back on the radio.
Interestingly, though the series of connected songs is finished, “Modern Music (Reprise)” does actually lead straight into “Forbidden Lovers,” a nice dose of 1970s rock and roll, complete with cowbell. It would be difficult to not enjoy this one. “I’m glad they came/To taste your pain/We're both insane on a crazy night/Such a crazy night.” That leads straight into “Down On Terminal Street,” a more interesting song that opens with a bright burst of energy, a glorious explosion, which seems to clear the way for an intriguing set of lyrics, and a stronger, more vivid landscape. Check out these lines: “I heard a voice like winter call my name/Said very soon that I would join them there/And all the creatures born of ink and rage and lies/Crawled off my pen and ran across the page to die.” Now those are some damn good lyrics. The original album concluded with “Make The Music Magic,” a song that has a light, pretty feel.
The first disc ends with a bonus track, “Shine,” which was the flip side to the “Kiss Of Light” single. It has a sort of funky vibe, which I dig. And in fact, on the original single for this track, the band renamed itself Funky Phaser And His Unearthly Merchandise, a goofy name, to be sure, but fun, fitting with the feel of the song. This one is actually a groovy jam, nearly eight minutes long. It gets fairly goofy and ridiculous toward the end, when there is suddenly a spoken word bit: “Did you see what he did? Did you? I thought he was going to disintegrate.” But don’t worry, it doesn’t get too bogged down in that, and the funky music continues. Like all the songs on the original album, this one was also written by Bill Nelson.
The second disc contains the entire album, but with new stereo mixes, along with “Shine” and two other bonus tracks. These new mixes, to my ears, seem to bring the vocals more clearly into focus. Everything has a stronger clarity, and I greatly prefer these new mixes. The two bonus tracks at the end of the disc are early versions of “Forbidden Lovers” (complete with count-off at the beginning) and “The Bird Charmer’s Destiny.”
CD Track List
- Orphans Of Babylon
- Twilight Capers
- Kiss Of Light
- The Bird Charmer’s Destiny
- The Gold At The End Of My Rainbow
- Bring Back The Spark
- Modern Music
- Dancing In The Moonlight (All Alone)
- Honeymoon On Mars
- Lost In The Neon World
- Dance Of The Uncle Sam Humanoids
- Modern Music (Reprise)
- Forbidden Lovers
- Down On Terminal Street
- Make The Music Magic
- Orphans Of Babylon
- Twilight Capers
- Kiss Of Light
- The Bird Charmer’s Destiny
- The Gold At The End Of My Rainbow
- Bring Back The Spark
- Modern Music
- Dancing In The Moonlight (All Alone)
- Honeymoon On Mars
- Lost In The Neon World
- Dance Of The Uncle Sam Humanoids
- Modern Music (Reprise)
- Forbidden Lovers
- Down On Terminal Street
- Make The Music Magic
- Forbidden Lovers (First Version)
- The Bird Charmer’s Destiny (First Version)
This deluxe version of Modern Music was released on December 13, 2019 through Esoteric Recordings. By the way, apparently on that same date there was released an even more deluxe edition, with five discs (the fifth being a DVD).
Monday, March 23, 2020
Jan Luby kicks off her new release with “Coloring Outside The Lines,” which starts with some bright, pretty guitar work. The song’s opening lines are of a childhood experience: “When I was a child, I colored grass orange/The princess’ hair light green.” Ah yes, a punk princess! “They said, ‘Clouds are white, the sky is blue.’” It’s a song about being corrected as a child, being told to conform to accepted ideas of how things should be, what things should look like. I think this happens to all kids, which is a shame (at least it did when I was growing up). But this song is about embracing that individuality and keeping an open mind, and taking that sense into adulthood, experiencing a life outside the lines. It is a cheerful, positive song, which we all certainly need these days. “Here’s a song to the ones who don’t follow/Who listen to a voice their own/While you tell them that they can’t make a difference/They’re busy growing the seeds they’ve sown.” Seth Connolly plays guitar on this track, and Joe Potenza is on bass. “With our hearts wide open to all we might find/Coloring outside the lines.”
Cathy Clasper-Torch joins Jan Luby on violin on “Fireflies,” a sweet and pretty number with something of a magical quality. There is a delightful innocence to its sound. I love that work on violin, which seems designed to ease our minds and make us feel better, lighter. And Jan’s vocals have a friendly and comforting quality. This is a wonderful song. It’s followed by the album’s title track, “Night Window.” Cathy Clasper-Torch plays cello on this one, an instrument I always appreciate. I love those deep, gorgeous tones. Of love, Jan Luby sings “There are no barriers it won’t pass through,” a line I find incredibly appealing. I also love this line: “Convince yourself that nothing matters while hoping that you’re wrong.” Cathy Clasper-Torch switches back to violin on “Black Sparrow Tattoo,” and Billy Novick’s work on penny whistle adds a delightful and enchanting sound. “I still dream about you when I can sleep.”
“Lullabies” features for me what is the most compelling vocal performance of the album. Jan’s voice has a fiercer energy at times. “So many years you blamed yourself/When all you ever did was try to stay alive/Singing lullabies.” This track also features more beautiful work on violin, including a lead halfway through. Joe Potenza’s bass is also a strong element here, and Seth Connolly delivers more good work on guitar. But it is Jan’s vocal performance that makes this my favorite track. “And here you are/You managed to survive/Singing lullabies.” Then in “Don’t Worry About It,” Jan sings “At times like these, sad to the bone, that’s when I want to hide.” Yup. But Jan’s vocals have a comforting quality, and as she sings “Don’t worry about it, there’s nothing to fear,” I am tempted to believe her. Hers is a voice you can trust. And yes, this track features more pretty work on violin. That’s followed by “Las Patronas,” a song about migrants, delivered with both passion and compassion, and featuring Cheryl Arena on harmonica. “Such kindness for strangers passing through.” Then “Living On The River” has a serious, somber tone, and features Tim Tompkins on cello. “A quick decision, or was it planned?/There’s no way that we could understand/Or wonder what you would have done/If you didn’t have a gun.”
Things are certainly tough out there, even scary. And in these dark and confusing times, we rely on those we love for sanity, and to provide a steady ground, making us feel secure, safe. And that’s what “Steady Ground” is about. “You’re the bedrock/Under my feet/When the whole world is sand/When the earth is shaking/Everything breaking/Here you are to take my hand.” While many songs are about that wild, confusing, thrilling aspect of early love, this is rather about that wonderful feeling knowing there is someone there in the center of the maelstrom who always has your back. “You’re the constant in the chaos/When nothing’s what it seems/When I’m lost, you find me/Once again remind me/To hold onto my dreams.” “Steady Ground” is followed by “Sea Glass,” a pretty song that has a particular appeal for me. My family has always collected sea glass from the beach in Gloucester, and now it’s wonderful to see my niece and nephew just as excited about it as my brother and I were when growing up. “Endless days and endless nights/Worn by waves and sand/Sea glass catching sunlight/In the palm of my hand.” Here sea glass works as a good metaphor. “And all that you’ve been through/Made you beautiful.” This song features a beautiful instrumental section led by Cathy Clasper-Torch on violin. Check out these lyrics: “Walking down by the sea/Feeling sad and old/You’re a gift to me/As I brace against the cold/Tiny treasure found/Made my spirits rise.”
“Crazy Streak” comes as a surprise, even a jolt. It is delivered a cappella, with Kim Trusty joining Jan on vocals. This song has an undeniable energy. “I got a crazy streak/Don’t mess with me/I got a crazy streak/When I feel threatened enough/Don’t care about your size.” This one ends with a little laugh. The album then concludes with “Age With Grace,” a sweeter-sounding folk song about aging, delivered with some humor. “Who is that person in my bathroom mirror/And what’s she doing in here with me?” This song features some nice work by Cheryl Arena on harmonica. “And, hey, I really don’t mind the wrinkles on my face/But I could do without the aches and pains.” I am guessing basically everyone I know is going to appreciate this song. I laughed out loud the first time I heard her sing that bit at the end: “What was I going to say?/What was I going to say?/What were we talking about?/Oh, maybe it’ll come around again.” For that is all too familiar to me.
CD Track List
- Coloring Outside The Lines
- Night Window
- Black Sparrow Tattoo
- Don’t Worry About It
- Las Patronas
- Living On The River
- Steady Ground
- Sea Glass
- Crazy Streak
- Age With Grace
Night Window was released on February 9, 2020.
Sunday, March 22, 2020
Skeleton, which came out on CD only in January. Unlike that album, this one contains no original compositions. With the exception of Nick Grinder on trombone, this release features different musicians from the previous disc.
Standard Deviation opens with a quirky and fun rendition of Michael Jackson’s “Thriller.” This song, and the album from which it comes, could not be avoided in my early teens. Those songs seemed to dominate the airwaves and our school dances for several years. While I’m not a huge fan of that record, “Thriller” is certainly the most interesting and enjoyable of its tracks. This rendition is powered by horns, which works quite well, particularly as the bass mostly maintains that familiar theme. John Challoner is on trumpet, Owen Broder is on alto saxophone, Adam Larson is on tenor saxophone, Nick Grinder is on trombone, Dave Baron is on bass, and Nathan Ellman-Bell is on drums. “Thriller” is followed by an unusual take on “Ode To Billie Joe,” featuring some groovy and funky percussion. My girlfriend brought up this song to me just the other day, and together we looked up information on the story, because she had her own ideas on just what it was that was tossed from the Tallahatchie Bridge (and it certainly was not what was used in the film inspired by this song). Apparently, songwriter Bobbie Gentry has never revealed precisely what she intended the object to be, saying that the exact object isn’t important, that it’s the family’s indifference to news of the suicide that is at the core of the song. Anyway, this track features fewer horns than the opening track, and Benjamin Sutin’s violin takes a prominent spot in the telling of the tale, along with Owen Broder’s alto saxophone, and Matt Podd’s piano. This rendition gets seriously fun toward the end, and I love that section with violin and percussion, which reminds me of the Irish folk music I love so much.
D’Layna joins the group on vocals for a soulful and cool version of Bob Dylan’s “Dear Landlord.” John Challoner delivers some wonderful work on trumpet, effectively a second voice, making the song a sort of duet. However, D’Layna doesn’t deliver any of the song’s lyrics, but rather riffs a bit. And Matt Podd delivers some nice work on piano. This is a thoroughly enjoyable track, something to put a smile on your face. That’s followed by “Don’t Stop Believin’,” another song I heard a whole lot while growing up. Seriously, who didn’t own a copy of Escape? The moment this version from Wayne Alpern starts – on violin, no less – I become seriously happy. This track is delightful. Interestingly, there are some vocals on this track, provided by Jeff Burnige, but they are presented as spoken word, sort of in the background, like on an old radio. “Just a city boy/Born and raised in south Detroit/He took the midnight train going anywhere,” then skipping to “For a smile, they can share the night/It goes on and on and on and on.” I’m guessing any fan of this song (and who isn’t?) is going to dig this rendition. There is even a brief drum solo in the middle of it. Then the bass gets “Teenage Dream” going. This is the only song on the album that wasn’t familiar to me (it was written by Katy Perry, someone I haven’t listened to), but I am digging the bass line. The horns seem to be dancing at moments. There is certainly some joy here, which I appreciate. But for me, it is that bass line that really sells it.
I have loved the Zombies’ “She’s Not There” since I first heard it in my childhood (I had it on a cassette). And who isn’t thinking about zombies these days? It’s difficult to not see the parallels between our current situation and those zombie virus films, except of course for all the flesh-eating, which so far we’ve managed to avoid. Anyway, this is a wonderful rendition, with some great stuff from Benjamin Sutin on violin. And these guys keep it going, stretching the song to nearly eight minutes, adding a little nod to James Bond at one point. Wayne Alpern follows that with a cover of the 1975 hit song “Who Loves You” by The Four Seasons (here titled “Who Loves You Pretty Baby”). This one is all about the horns, and has a sweet tone at times, particularly on the title line. Then as the song nears its conclusion it takes on a cool vibe. Wayne Alpern also offers a good rendition of Gotye’s “Somebody That I Used To Know.” As you might guess, this track features a delicious bass line. It also features some excellent work by Benjamin Sutin on violin. There is a beautiful and moving section in the second half of the track.
This album contains a second Bob Dylan song, “As I Went Out One Morning.” Interestingly, this one is from the same record as “Dear Landlord,” John Wesley Harding, which was released in 1967. This track features just four musicians: Owen Broder on alto saxophone, Benjamin Sutin on violin, Dave Baron on bass, and Nathan Ellman-Bell on drums. So it ends up having a fairly straightforward sound, which works well. The album then closes with another classic tune from the 1960s, “My Girl.” This is another one that never fails to bring a smile to my face, and I love what Wayne Alpern has done with it. This is quite a pretty rendition, with more outstanding work on violin, and also by Owen Broder on clarinet. This track takes hold of us, and carries us on an emotional journey that surprised me the first time I listened to this disc. It’s really a phenomenal rendition.
CD Track List
- Ode To Billie Joe
- Dear Landlord
- Don’t Stop Believin’
- Teenage Dream
- She’s Not There
- Who Loves You Pretty Baby
- Somebody That I Used To Know
- As I Went Out One Morning
- My Girl
Standard Deviation is scheduled to be released on April 3, 2020.
Saturday, March 21, 2020
Jerry Garcia opens the first set with “The Way You Do The Things You Do,” and right away his sweet vocals work to raise my spirits. This is a slightly mellow version, feeling just a bit slow, but I’m digging it. Its pace and vibe might help us ease into a better place, a place that might be nearby, but is normally hidden from view by daily worries and troubles. It takes a certain dose of magic to reveal it, and Jerry’s guitar is often just the thing. The jam is fairly loose, and Melvin Seals delivers some cool work on keys. There isn’t any real exploration in the jam; it’s more about letting the groove carry you. And as they finish the song, Jerry, Gloria Jones and Jacklyn LaBranch give us a beautiful vocal section. They follow that with a gorgeous and moving rendition of Van Morrison’s “And It Stoned Me,” with an easygoing vibe that should have you smiling before long. Everything about this is comforting, Jerry’s guitar like a beacon guiding us home. This is just what I needed, possibly what a lot of folks need now. Jerry’s voice sounds so good here, and accompanied by those soulful backing vocals, the song edges closer to a spiritual experience. And when Jerry starts to belt the lyrics out at the end, the universe feels all right. You know?
The Jerry Garcia Band turns to rock and roll with a cover of Chuck Berry’s “You Never Can Tell.” This is a delight, with that innocence, that sense of fun that Jerry is able to tap into with ease. His approach to Chuck Berry’s material is about the soul, the groove, the joy of it. The band jams on this one a bit, and it’s wonderful. Every second of this track is a joy. And Melvin Seals delivers some great stuff here. I wouldn’t have expected this particular song to be a highlight of this show, but there it is. They follow that with Bruce Cockburn’s “Waiting For A Miracle.” It may feel like we’re all waiting for a miracle these days, one that refuses to come, but listening to this music gives us a certain strength, the feeling that we are able to handle whatever problems may come. The band then dips into reggae with a cover of Jimmy Cliff’s “Struggling Man,” a song I’ve always loved. The first reggae album I ever bought was not Bob Marley’s Legend, but rather a live Jimmy Cliff album, and I listened to that thing over and over. This song was on it. David Kemper in no way dilutes that reggae rhythm, but fully embraces it, and that is part of what makes this such a joyous and vibrant rendition. There is a great happiness to this track.
“My Sisters And Brothers” feels like a perfect song for right now (and I suppose it always does), with lines like “Through this world of trouble/We’ve got to love one another.” This has such a positive sound, I can’t help but feel optimistic. I’m not into religion, but sometimes a touch of gospel music is just exactly the thing to raise our spirits and ease our minds. No way to deny that. And Jerry delivers it with a passion, making believers of us all. The first set then concludes with a rousing rendition of “Deal.” This is usually not one of my favorites, partly because it was played so often, and seemingly always as a Set I closer, but I have to say I am seriously digging this rendition. I think it’s because of the joy in the playing by the entire band. And the energy toward the end is tremendous.
The second set eases in with “Shining Star.” Jerry was on this night, especially vocally, and here he delivers a passionate and pretty rendition of the song made famous by The Manhattans. Jerry can deliver an earnest love song like the best of them. The jam is pretty too. It has a gentle ending, which works really well. Things then get fun with a groovy, delicious version of “Think.” The jam here is great, with a glorious energy, particularly from Melvin Seals. Holy moly, he really delivers here, helping to make this another surprising highlight of the show.
Things are hopping with the version of “Lay Down Sally” that opens the album’s fifth side. It has a cheerful groove that should keep you smiling. Honestly, it seems this entire concert is designed to raise our spirits. What better choice of music could there be today? The band jams on this one, while John Kahn maintains that delicious groove on bass. That’s followed by “Twilight,” a rare treat. This is a mellower, more soulful, more thoughtful number, written by Robbie Robertson and originally recorded by The Band. This version by Jerry Garcia Band is much better than the original, much more moving, and includes a sweet jam. Jerry really shines on these slower numbers “Don’t leave me alone in the twilight/Because twilight is the loneliest time of day.”
Jerry Garcia delivers another soulful and passionate vocal performance on “See What Love Can Do,” which was also a rarity. This is a song I just want to wrap myself up in, let it keep the troubles of the world at bay. “I want to see a smile on every face/When you tell your story/Be sure that it’s right/Every single word is true/See what love can do.” The band then eases into “Lazy Bones,” and I love Jerry’s intimate vocal performance right from the start. It is absolutely gorgeous. This is Jerry at his best. There is something gentle and soothing about this track, which is another highlight for me. It is a seriously beautiful performance.
The show then concludes with a fun and kind of sweet rendition of “Everybody Needs Somebody To Love.” Jerry’s take on this song is quite a bit different from the version most of us know by The Blues Brothers. This has a more relaxed tempo, but still with a bright energy. And the band lets loose during the jam. The eighth side of this album, by the way, contains no music, but has an etching in the vinyl which reads, “Jerry Garcia Band, Electric On The Eel.”
Record Track List
- The Way You Do The Things You Do
- And It Stoned Me
- You Never Can Tell (C’Est La Vie)
- Waiting For A Miracle
- Struggling Man
- My Sisters And Brothers
- Shining Star
- Lay Down Sally
- See What Love Can Do
- Lazy Bones
- Everybody Needs Somebody To Love
This vinyl edition of Electric On The Eel: August 10th, 1991 was released on August 2, 2019.
Friday, March 20, 2020
After a brief introduction (“Ladies and gentlemen, and the rest of you…”) and a goofy sound effect of a car skidding to a crash, The Cars kick off their set with “Good Times Roll,” a fitting opening. How many songs have titles that are variations of “Let The Good Times Roll”? I’m not sure, but I can think of half a dozen off the top of my head. After that song, they thank the crowd, then launch into “Bye Bye Love,” and here the energy gets really crackling. This was always one of my favorites, and here they deliver a great rendition, with some excellent work on guitar. I was fortunate enough to see Cars’ lead guitarist Elliot Easton play with the Wild Honey Orchestra just a few weeks ago, a treat for me as for one reason or another I never did see The Cars in concert. Then we hear “Hey, it’s good to be back home,” which must be from Benjamin Orr. Though The Cars were a Boston band, I think only drummer David Robinson was actually born in Massachusetts (he also played with Jonathan Richman). Benjamin Orr, who died in 2000, was from Ohio. And the band goes into “Night Spots,” which also has an electric energy. This is a song that would end up on their second record, Candy-O. After that, someone in the audience shouts out a request for “Just What I Needed,” to which the band responds, “You’re just what we needed.” But they don’t play that song right then. Instead, they go into “I’m In Touch With Your World,” a kind of quirky number that I dig. And that’s how the first side ends.
“So you’ve heard of us, eh?” they say to the crowd at the beginning of the second side. And they play “My Best Friend’s Girl.” The moment they start it, the audience responds. This song had been released as a single, as well as being included on that first album. It would later be included on that Greatest Hits album in 1985. It’s such a fun song. The band slides right into “Moving In Stereo,” which is my personal favorite Cars song. We all remember that scene from Fast Times At Ridgemont High, with Phoebe Cates getting out of the pool. A cool scene, and a cool song. From there, the band goes straight into “All Mixed Up,” a segue which works really well. “All Mixed Up” follows “Moving In Stereo” on the band’s first album as well. That’s followed by “Take What You Want,” a song not on the original debut album, but included as a bonus track on a later re-issue. I love the jamming on this one.
The third side gets off to a thumping and delicious start with “Don’t Cha Stop.” This is one you want to dance around to, or at least it’s one that I dance around to. They follow it with another fun rock song, “You’re All I’ve Got Tonight.” After that, the band thanks the audience: “Thank you up here and back there. Can’t see you all there. Are you back there?” Well, the moment they start the next song, “Just What I Needed,” I’m sure they’re aware of everyone in the place, up front and in the back, for the crowd is clearly excited to hear the band’s hit single. And the band delivers a fun rendition, certainly a highlight of this release. And apparently it was the set closer. But soon the band is back for a two-song encore. “Hotel Queenie” is up first, and is another song that was not included on that first album, but was included as a bonus track in an expanded re-issue. This is a wild, fast-paced rock song, with a punk energy, another highlight of this record. There is a slight pause before the band delivers the final song, a cover of the classic Eddie Cochran rock ‘n’ roll tune “Somethin’ Else,” a song that includes the lines “That car’s fine lookin’ man/It’s something else.” By the way, the fourth side is designed to look like a Cars tire tread across the vinyl.
Record Track List
- Intro/Good Times Roll
- Bye Bye Love
- Night Spots
- I’m In Touch With Your World
- My Best Friend’s Girl
- Moving In Stereo
- All Mixed Up
- Take What You Want
- Don’t Cha Stop
- You’re All I’ve Got Tonight
- Just What I Needed
- Hotel Queenie
- Somethin’ Else
Live At The Agora, 1978 was released on vinyl on April 22, 2017. According to the Record Store Day website, it was a limited run of 4,000 copies, but a sticker on the album’s plastic wrap says “Strictly limited to 5,000 copies.” So, who knows? By the way, the packaging is not a gatefold. The two records are in individual inner sleeves tucked into the same outer sleeve.
Thursday, March 19, 2020
The tracks on Ohms largely run together, creating a single musical experience. It opens, with “Soul Sequencer,” which begins with an eerie call from an electric mountain top, an intelligence reaching to us, drawing us toward it, then scanning us, testing us. When they’ve completed their initial work, the track suddenly takes on a steady beat. We are welcomed, perhaps, through a door into some sort of factory, where people are being duplicated, multiplied, but without eyes, sliding off the assembly line and having to feel their way through metal debris. It is fascinating, horrifying. Would it be wrong to dance to this? It helps, doesn’t it? We find a release. Then, as that track segues into “Nitrous Cross,” we are dropped into a darker space, with tiny lights piercing us from above, here and there, the air thick, and stirred around us by an unseen hand. We have no footing, and feel like we are about to drop farther, but instead end up floating. Soon, in “Shadow Circuit,” we find ourselves in a grid, each of us assigned a number, which is emblazoned in light on our chests, like glowing tattoos. People flash by, are added to, multiplied, and afraid of being subtracted. We move closer and closer to the machine, the sound growing louder, to learn our fate. But then we are through, and the rest recede behind us. What has happened? We look back, but vision is muddied now. Yet around us is a peaceful feeling at last, and we close our eyes. It doesn’t last long, however, and there seems to be danger as we move through “Blame Shifter,” and the slow beat that emerges seems to hold us in place, to promise some intrigue. People lumber by in the shadows, carrying sharp tools, weapons, and we try to blend in, but we’ve been drugged and have little control. In “Spirit Duplicator,” a new electronic voice appears, pushes away everything else, calls our focus to it, demands it, allowing us to see nothing else, to hear nothing else. We are all ears and eyes, and this force enters us everywhere. This track suddenly ends, and there is a brief pause before “Nobody Knows,” when a new group comes out of the shadows, out of the silence, shaking censers, and pulling behind them some heavy chains. Before we can see what is at the other end of the chains, the track ends. In “Sadness In Wires,” we are alone again, feeling despondent, and yet also holding a bit of hope in our isolation. Things begin to shift and fade, and perhaps none of this is real, just something we are hearing on a radio.
The second side opens with “State Of Clear,” and things seem fine now. We have a good groove, one we can move to, and are in familiar territory. Perhaps things aren’t completely perfect, but we can move freely here, the sound closer to rock, to pop, to recognizable landscapes, and we are put at ease. But just as we get comfortable, reality shifts again toward darkness with “Sleep Crime,” a foreboding, a sense of something ominous runs along our skin. We slow, look around. Something is there, something dangerous, something frightening, but we can’t quite see it. No light can penetrate its form long enough to define it. We just pray it will pass us. Then, with “Knowing,” we are dropped into a cool, psychedelic spot, where maybe things are strange, but nothing is harmful. We know we can handle whatever may happen here, for none of it is likely real anyway. Things are loose. Then we turn a corner we hadn’t expected to be there, pass through a curtain into a mellower place, “Splendid Sun,” and whatever is here has been here for a long time. Then in “Ohms,” it is like we are taught how to control this place, or at least how to keep from having it control us. We test it, turn things up here and there, find we like it. It is like we have a handle on this new reality now. So then when this new thing comes thumping in, “Out Of View,” it feels like it is entering, even invading, our own territory. That is how involved we are at this point. We have adapted. And so, in “Psychic Wounds,” we are okay, lighter now. And any wounds can be healed, though there is a desire for sleep, for rest. With “Silicone Emotions,” the sounds once again become more electronic, but not frightening. Have we fully become part of the machinery? Is this our voice reaching out now to another? To someone we wish to pull in? The message fades. The album concludes with “Octave Cycle,” and now there is a curiosity, but not a fear, of what is out there, and of what is in there. Something is approaching, but we stand fast, letting its force pass like a breeze, rippling our skin. Its beat is our beat. We hold and let go simultaneously. There is a peace and a freedom even among the clamor and the coming darkness.
Record Track List
- Soul Sequencer
- Nitrous Cross
- Shadow Circuit
- Blame Shifter
- Spirit Duplicator
- Nobody Knows
- Sadness In Wires
- State Of Clear
- Sleep Crime
- Splendid Sun
- Out Of View
- Psychic Wounds
- Silicone Emotions
- Octave Cycle
Ohms was released in Europe on March 6, 2020, and will be released in the United States on April 3, 2020.
Wednesday, March 18, 2020
The record opens with “In The Calm Of Your Eye,” which has a mellow, haunting sound at the start, seeming to take some influence from the darker side of folk. That tone is maintained, even as the song develops a cool drum beat. “And we will find a way/To see/There can be/Life in the calm/Calm of your eye.” Then halfway through, the song shifts from an acoustic sound to more of a harder rock groove, and soon the electric guitar flies upward, as if suddenly freed of constraints, and the song becomes a cool jam. Then “Evidently Me” begins in that rock realm, but with something of an otherworldly vibe, like the rock music of some fantasy creatures. And when the vocals come in, that sense is even stronger. I am digging this music, and I think I also would have enjoyed it had I heard it when it was first released in 1981. That was the year I started playing Dungeons And Dragons, and something about the sound of this song makes me feel it would have been eagerly welcomed by our group while we played. “There lie certain dangers/Quite beneath the ones you see.” Then this one takes a turn also, led by the bass, speeding up and becoming a hard rock jam, like something Deep Purple might have done in its early days. This band can seriously rock when it wants to. Both “In The Calm Of Your Eye” and “Evidently Me” were written by Steve Zahradnik.
The first side of the record concludes with “Islands,” written by Tom Vess, who leads this one off with his bass. Rather than build toward it, this one begins as a rocking jam, the guys ripping right into it. Perhaps the song takes a breath or two at one point, then that electric guitar is off on a fiery quest, raising specters from the smoke of a ceremony in some distant land. The song then slows its pace, almost as if breaking down. And after a brief pause, it shifts into a prettier and mellower land, and it is then that the vocals begin. “Try to fathom a place that is untouched by fate/A place where you know not what will come/But what does will not harm you/A promised land, perhaps, but in a much simpler sense.” This pretty realm, however, feels like a respite, an oasis, and you just know you will be in a more turbulent, electric territory sooner or later. And indeed, that is the case, and soon things are moving quickly, the drums and bass rushing forward, that groove seeming to say “Onward, now, now, now, let’s go.”
The second side opens with “Dissonant Toys,” which eases in, creating a strange atmosphere, another fantasy realm, like that which a slightly disturbed child might see in his room when the shifting shadows cause things to seem to move, to flicker. Then the song kicks in to become a rock song, and again these guys jam on it, each of the three musicians delivering interesting stuff. This is one of those songs where you might sometimes find yourself focusing on one instrument, sometimes on another. There is some excellent work on drums here. Toward the end, the song returns to that mellower place, as if coming back from the realm of a child’s imagination, and right as the song ends, there is a hint that that realm is about to break through into this reality. That’s followed by “The Maze,” an instrumental track that begins with a glorious energy, like the band is already jamming, and we’ve stepped into the room to check out what they’re up to. There is a brighter, more cheerful sound and vibe to this one, and it moves at a good clip. And then it’s suddenly over.
“Medicine Man” has a strong progressive rock sound from the start, soon zooming off toward some distant point, then shifting its groove once it has arrived, and that’s when the vocals come in. At that point, it has a bit of a 1960s influence, which is cool. “When I see you that way it’s so hard to say no thank you.” I love this section. The song then speeds off again just before the end. The album concludes with “Good Mourning,” which opens in a prettier, more relaxed place. Again, a 1960s psychedelic influence is felt. The electric guitar then offers a lament or petition to the gods. Will they answer? It almost doesn’t matter, as the offering seems an end in itself. And the song returns to a more acoustic setting. “Find a new way to live/Learn the way to forget and forgive.”
Record Track List
- In The Calm Of Your Eye
- Evidently Me
- Dissonant Toys
- The Maze
- Medicine Man
- Good Mourning
The special re-issue of Demo Press was released on November 29, 2019 through Jackpot Records.
Tuesday, March 17, 2020
The album opens with “Future History,” a cool song with a strong 1960s British invasion vibe, and some psychedelic touches. It’s an overall cheerful sound, which I certainly appreciate. Plus, it’s a love song, and we can never have too many of those. Here is a taste of the lyrics: “I’m getting memories I shouldn’t yet have/But you know that I know they’re true/It’s you and me in this future I see.” Michael Collins plays drums on this track. That’s followed by “Pitchforks And Torches,” which begins with sound effects of a crowd and church bells (ask not for whom the bell tolls; it tolls for all of us, right?). The artwork in the accompanying book, by the way, is adorable, like an awkward teenage punk Frankenstein’s monster or something. Likewise, there is something kind of adorable about the song itself, particularly during that instrumental section, which I love. This song includes the album’s title in its lyrics: “They didn’t understand/Quite how he could just be/Meat bones and chemicals, electricity.” Mark Pickerel plays drums on this one.
The song title “Kiss Somebody You Love” is certainly good advice. When things are getting crazy (and they are certainly getting crazy now), we sometimes need a reminder to do those things that should come naturally. In this one, Eamon sings “Sipping cups at my café, I read the news like every day/It’s the same old stories, it never ends/But I keep reading ‘em just the same.” We are all fixated on the news these days. But what matters most are those important people in our lives. Kiss someone you love (unless, perhaps, you haven’t seen that person in a while; in that case, maintain a distance of six feet from him or her). Jeff Brown plays drums on this song, and on the one that follows it, “Fun To Be Had.” This is an interesting track, the song’s character seeming to urge folks to have fun, while the song itself has a somewhat sadder, darker tone. Plus, the song’s narrator isn’t quite to be trusted, as he tells us “Having fun, maybe you heard about the things I’ve done/Some were good and some were not so good, I admit/Having fun, maybe some things I should or shouldn’t have done/But nobody understands that they were fun.” Oh man, look out. That darker, more serious tone continues in “Nightingale,” which has a haunting, timeless folk sound. It is a song of death. “But no storm could stop the words that flew from nightingale/Asking only where his true love went.” This track ends with sound effects of birds and a distant storm. Though as the song ended, the chirping continued, and I realized there were birds outside my window.
The record’s second side kicks off with a cool, lively rock song, “Waiting For The Morning.” I love the sound of this track, which has a bit of a garage thing, a bit of psychedelia, a bit of punk. That energy is wonderful, particularly as he sings “Stop, stop it, stop it, stop.” There is also some good guitar work. The accompanying artwork in the book includes a sign on a building that reads “Meaningless Drudgery Inc.” Most of us at one point or other in our lives have been able to relate to that. That’s followed by “Happiest Day In History,” which, as you might guess, has a positive bent. Yes, we’ve got to keep up our optimism. It has been difficult to do the last few years, and even more difficult right now, but I like hearing someone wishing us the happiest day in history. Tim Meinig plays drums on this one.
Interestingly, the first line of the following song, “Simple But So Complicated,” is “She knows the way from happiness to pain.” Ah, that happiest day didn’t last too long. Has reality intruded? Like the dog in the accompanying illustration says, “Sunny days are fine, but they always turn to grey.” This song has a mellower, more introspective feel at the start, but does kick in and features some brighter 1960s pop elements (such as that “ba ba ba ba” vocal part which is reminiscent of the Beach Boys). There is something loose about this one, which works for the lyrics. “He’s lost his way, his sunshine’s turned to gray.” By the way, this track also incorporates the album’s title in its lyrics: “Meat bones and chemicals, electricity/Simple, but so complicated.” The album then concludes with “Such Good Friends,” a song about appreciating the people in one’s life, and letting them know, something we should do frequently, especially in these dark and twisted days. “I’m so lucky to have such good friends/And I really want to tell you again.”
Record Track List
- Future History
- Pitchforks And Torches
- Kiss Somebody You Love
- Fun To Be Had
- Waiting For The Morning
- Happiest Day In History
- Simple But So Complicated
- Such Good Friends
Meat Bones Chemicals Electricity was released on March 6, 2020.
Monday, March 16, 2020
The album kicks off with “Rob Me Blind,” and immediately we get the sense of how important vivid characters are in this band’s songwriting, and how these characters have stories to tell us. The first time I listened to this song, the lines that stood out for me were “I wasn’t much to look at then, and I ain’t much better now/But you love me anyhow.” I like that there is a pause before “But you love me anyhow,” for it gives that line more emphasis, more meaning. Ah yes, this song ends up being a sweet love song of sorts. “Whoever said crime don’t pay/Has probably never seen your face on a sunny day.” That’s followed by “Shows What I Knew,” which has a harder edge from the start. “I never thought in a million years/There’d be anything left that you would need to prove/Shows what I knew.” Then toward the end, unexpectedly, it becomes a song you might find yourself singing along with. “We’re gonna be good boys like our brothers/We’re gonna be good girls like our mothers.”
Mike Giacolino joins the band on harmonica for “Could’ve Told Me Then,” and I absolutely love his work here. His presence is felt and appreciated from the very beginning, and helps to make this one of my personal favorites. This track has a lively country rock sound, and an excellent vocal performance. This is a song about a couple heading out on the road together. “We packed up everything we had, headed out east on the ten/And if you knew you’d never love me, well, you could have told me then.” I also love these lines: “And I know you never made me any promises/And I could have done so much better to win your heart/As the years go by, it seems to me it’s getting colder each spring/I’m trying to keep busy, but I haven’t done a thing.” This is a seriously good song, and I highly recommend checking it out.
All The Real Girls is a band with ties to the movies. Its name comes from a 2003 film starring Patricia Clarkson, Zooey Deschanel and Paul Schneider. And Peter Donovan has some experience in the film industry himself, having acted, directed and produced, as well as written music for a film. So perhaps it is no surprise that this band would refer in some way to films in these tracks. “Movie Star Handsome,” the album’s title track, features some fantastic lyrics. Check out these lines: “I’ll let you go and break my heart/I’ll let you tear that sacred muscle apart/And swallow the spark/Build a cage in the dark.” I particularly love that line “I’ll let you tear that sacred muscle apart,” such a strong and powerful image, a more graphic description that is incredibly effective. But my favorite line in this song is “And I’ll write your name with claw marks in the sky.” Wow, these guys can create some memorable and striking phrases. This is certainly another of the album’s strongest tracks. It features Eric Corson on slide guitar. The first side of the record then concludes with “Wolves,” which begins softly on piano. “And we’ve heard there’s wolves at the door and they want in.” After that line, the song kicks in, and includes some frightening and depressing lines, like “And I guess we’ve read our last book/We’ve danced our last two-step, we sung our last hook/And we’ve seen the scoundrels and crooks, they always win.” This is a powerful and stirring song.
The second side of the record then begins with a cheerful-sounding tune, “Empty Glass Of Ice.” The lyrics, however, contrast with that tone, and are about a nasty breakup (“You sold my favorite records and threw my clothes out on the lawn”), leading the man to drink by himself at a bar until closing time. Yet for him there is still hope. And the song has some humor, in lines like “I think I’d better call you, then I think I’d better not/I think it’s time somebody took me home.” Yes, it’s a country song about drinking, and it features some nice work by Ed Brooks on pedal steel, which adds that great lonesome feel to it. There is some clapping at the end, however, which quickly dispels that sense that this poor guy is alone. I would have cut that. That’s followed by “Hometown Hero.” This one too has a rather bright sound, and is more of a rock song, with some lines that work in contrast, such as “I wake up crying most nights” and “I’m a shipwreck, I’m a ghost.”
“Brother Brian” opens with a punch, a strong beat, which works well with its subject, which includes bombs and death. I love the surprising addition of horns to this exciting song. Samantha Boshnack is on trumpet, and Chris Credit is on saxophone. Then in “Do Your Worst,” Peter Donovan sings, “I want to live forever/I want to watch the sands of times roll by/I want us to be together/So do your worst to me tonight.” An unusual declaration of love, eh? I love it. I also love this line: “They say you’ve got a mouth on you, it’s full of razor blades.” Interestingly, some nice female backing vocals by Amanda Winterhalter help to create the sense of this being a sweet love song. This track is another of the record’s highlights. The record then wraps up with “Your Favorite Songs,” another unusual love song. Check out these lines: “If you want to be the captain of a ship/I’ll carve you out an ocean and build a boat in it.” This is perhaps the album’s more interesting track. It pulls you in, and there is something undeniably beautiful about it. Certainly part of that is Jacqueline Ryall’s presence on cello. After the line “But we’ll be strong somehow,” the song kicks in, which is perfect. “I’ll lie and say it gets better/I’ll tell you there’s a light at the end/But you don’t need my pity.”
Record Track List
- Rob Me Blind
- Shows What I Knew
- Could’ve Told Me Then
- Movie Star Handsome
- Empty Glass Of Ice
- Hometown Hero
- Brother Brian
- Do Your Worst
- Your Favorite Songs
Movie Star Handsome was released on both vinyl and CD on February 21, 2020.