Rock The Plaza: Concert To Save The Historic Plaza Theatre In Palm Springs (2025) CD Review

The Plaza Theatre opened in Palm Springs in 1936, its first event being the film premiere of Camille, the George Cukor film starring Greta Garbo and Robert Taylor. And that was just the beginning of its storied existence. But of course no matter how much history a building has, at some point it will require renovations. On November 11, 2022, a special concert was held to raise money to fund the needed renovations for the Plaza Theatre. That concert featured Alice Cooper, Joshua Homme and Paul Rogers, among other artists. And now, renovations completed and the venue back in business (Lily Tomlin and John Waters will be there this week), an album of that concert is being released. A double album on vinyl was released as part of Black Friday Record Store Day, and the CD is coming out December 5th. The house band for the event included Spike Edney on keyboards and vocals, Brian Ray on guitar and vocals, Pete Thorn on guitar and vocals, Jon Button on bass, Matt Sorum on drums and vocals, Teddy Andreadis on keyboards and vocals, Eric Singer on drums and vocals, Sheryl Cooper on backing vocals, and Vanessa Amoros on backing vocals.

The album kicks off with Alice Cooper performing "No More Mr. Nice Guy," a song from the 1973 record Billion Dollar Babies. He delivers a good rendition, even if his vocals are a bit rough at moments. The lyrics that always stand out to me are these: "I went to church incognito/When everybody rose/The reverend Smith, he recognized me/He punched me in the nose/He said, 'No more Mr. Nice Guy.'" Alice Cooper follows that with "I'm Eighteen," from the 1971 album Love It To Death. "Well, I've got a baby's brain, I've got an old man's heart." I loved this song when I heard it growing up, but it is somehow even more powerful now, more meaningful hearing it from a different perspective, and I hope that teenagers and people in their early twenties are still getting exposed to it now, reminding them that their brains are not quite fully developed (something it seems they are unaware of). "I'm eighteen/I get confused every day." At the end of the song, he jokes, or clarifies, "Now, I was singing 'eighteen,' not 'eighty.'" It's crazy that Alice Cooper isn't all that far from eighty now. 

Alice Cooper next gives us "Under My Wheels," a song from Killer. It's interesting that he chose all early 1970s songs. This one is probably the wildest, most exciting of the songs he plays here, and it features some excellent guitar work and some good backing vocals. "Okay, this is a sing-along," he then says in introducing "School's Out." "If you don't know this song, you never went to school." Indeed. Who didn't love this song? It was the title track to Alice Cooper's 1972 record. That was the year I was born, and when I was in high school, we were still blasting it and shouting it. And he delivers a strong rendition here, with some outstanding stuff on guitar. Toward the end, the song segues into Pink Floyd's "Another Brick In The Wall, Part 2." You know, the "We don't need no education" song. On the CD case, it is listed as "Another Brick In The Wall." And then he goes back into "School's Out." There is some fantastic energy here. "Thank you," he says at the end. "Let's save this theatre."

Joshua Homme, from Queens Of The Stone Age, delivers a fun rendition of David Bowie's "Let's Dance," the title track to his 1983 record (what a good year that was for pop music, the year of Syncronicity, War, She's So Unusual, Sports, Rebel Yell, Colour By Numbers and Murmur). Joshua does a great job with the song. He certainly has the vocal chops for it. Joshua, by the way, was born in Palm Springs. He then takes things in quite a different direction, covering "Somethin' Stupid," a song recorded by Frank Sinatra. Nancy Sinatra had joined Frank on his 1967 recording of the song, and here Joshua Homme is joined by Orianthi. They give us a wonderful rendition. Matt McKenna joins the group on acoustic guitar, delivering some excellent work.

Orianthi performs a cool rendition of "These Boots Are Made For Walkin'," her voice containing all the necessary attitude. Orianthi is then joined by Brian Ray on vocals for the duet of Sonny & Cher's "I Got You Babe." It might seem an odd choice, but remember, Sonny Bono was the mayor of Palm Springs for four years. And, besides, it's a wonderful song. Who can dislike this song? The crowd is clearly digging it. That's followed by Joshua Homme covering Gerry Rafferty's "Right Down The Line," this track featuring some nice work on both keys and guitar, as well as a good, prominent bass line. That in turn is followed by "I Sat By The Ocean," a Queens Of The Stone Age song from that band's 2013 album, ...Like Clockwork. It was also released as a single. This one too includes a strong bass line, which is part of the song's appeal.

Paul Rodgers is introduced as "One of the greatest throats in all of rock and roll," which is wonderful. He starts with an excellent rendition of "Can't Get Enough," which was Bad Company's first single and the lead track on the band's self-titled debut LP. I need to revisit those Bad Company albums. I listened to this music a whole lot when I was growing up. And listening to this song now, I find it totally holds up. After the song, Paul tells the crowd, "We all love Palm Springs, and we all love this particular theatre." He follows that with a cover of Sam & Dave's "I Thank You." I especially like the second half of this rendition, when things get looser. That's followed by "Feel Like Makin' Love," a single from Bad Company's second LP, 1975's Straight Shooter (which was the first Bad Company album that I got). This is a really nice rendition, and I love his vocal work here. Plus, the song still has the power during the chorus that I recall from my childhood. "Yeah, nice singing," he tells the crowd just before the end of the song. But what is particularly impressive is Paul Rodgers' singing on this one. This track is one of the disc's highlights for me.

Then, interestingly, we get the second David Bowie cover of the album, "Rebel Rebel," here performed by Jay Nailor. He is backed by Joby Pritzker on acoustic guitar, Bernt Bodal on bass, and Eric Singer on drums. Jay delivers a good, energetic rendition. Alice Cooper then covers The Who's "My Generation," doing the stutter and all. This song still totally rocks, which, of course, you'd expect anyway in Alice Cooper's hands. This is a very cool rendition. The disc concludes with Paul Rodgers singing "All Right Now," Free's big hit, and another excellent rock song. For those who might not recall, Free was the band Paul Rodgers was in before Bad Company. This song was a staple of the Massachusetts rock radio stations I listened to while growing up, and it always hit me just the right way. I'm glad to find it still does. There is a section toward the end with vocals over a steady pounding on the drums. This is a great way to wrap up the album.

CD Track List

1. No More Mr. Nice Guy - Alice Cooper
2. I'm Eighteen - Alice Cooper
3. Under My Wheels - Alice Cooper
4. School's Out/Another Brick In The Wall, Part 2 - Alice Cooper
5. Let's Dance - Joshua Homme
6. Somethin' Stupid - Joshua Homme and Orianthi
7. These Boots Are Made For Walkin' - Orianthi
8. I Got You Babe - Orianthi and Brian Ray
9. Right Down The Line - Joshua Homme
10. I Sat By The Ocean - Joshua Homme
11. Can't Get Enough - Paul Rodgers
12. I Thank You - Paul Rodgers
13. Feel Like Makin' Love - Paul Rodgers
14. Rebel Rebel - Jay Nailor
15. My Generation - Alice Cooper
16. All Right Now - Paul Rodgers

Rock The Plaza: Concert To Save The Historic Plaza Theatre In Palm Springs was released on vinyl on November 28, 2025, and is scheduled to be released on CD on December 5, 2025 through Omnivore Recordings.

Ronnie D'Addario: "Written By" (2025) CD Review

Ronnie D'Addario is a songwriter and musician who is known for his solo work (he started recording in the 1970s) and also for his work with Tommy Makem. It's on the Tommy Makem albums that I first heard his playing when I was a teenager getting into the folk scene. At this point, Ronnie is also known because of the work of his sons, Brian and Michael, better known as The Lemon Twigs. The new album, Written By, features The Lemon Twigs (they also produced the album). It was put out on vinyl as a limited release on Black Friday (as part of Black Friday Record Store Day), and will receive a CD release in early December. In addition to The Lemon Twigs, this album features some special guest artists, including Todd Rundgren and Sean Ono Lennon. As the album's title promises, all the songs were written by Ronnie D'Addario. Some of the songs are ones that Ronnie had recorded and released on earlier discs and is now revisiting, while other songs had never been recorded before. By the way, Ronnie D'Addario also has a song on the new two-disc Raspberries tribute, Play On.

The album opens with "Intromental," and as its title suggests, this track is an instrumental intro, featuring some sweet guitar work by both Ronnie D'Addario and Brian D'Addario. Brian also plays both bass and mandolin, and Michael is on drums. There is a pleasant, uplifting folk vibe to this piece. Michael D'Addario then sings lead on "A Very Short Dream." Ronnie and Brian provide backing vocals, and the harmonies are a big part of the track's appeal. Also, Kaitlin Wolfberg plays violin on this track, adding to the song's beauty. "Some days you feel as though/You've been 'round forever/Other times it seems/Like a very short dream." Oh yes, and sometimes it somehow feels like both simultaneously, though mostly it is like a very short dream, much too short. Why do we waste so much of our little time? These lines, in particular, stand out: "One day you're mapping out/Big plans for the future/Next you're thinking about/Dreams that didn't work out." This song, by the way, was the title track to an earlier Ronnie D'Addario album, released in 2015.

Darian Sahanaja (of the Wondermints and Brian Wilson's band) sings lead on "Be Like Him," while Ronnie provides backing vocal work. Brian plays several instruments on this track, including electric piano, organ, marimba, bass, guitar, chimes and drums. Probyn Gregory plays trumpet. This is a totally catchy song. "If you want to help somebody else/Don't forget to first work on yourself." That's followed by "Not Today." There is a certain Beatles influence heard on this track. Michael sings lead on this one, and plays drums. I especially like the drumming on this one. Brian is on piano, guitar, bass and synthesizer. No one other than the brothers performs on this track. "I gave it everything I had/You let it end/Now you feel bad."

Special guest Todd Rundgren sings lead on "I See The Patterns," with Ronnie on backing vocals and organ. Kaitlin Wolfberg joins again on violin, and Cameron Carrella plays trumpet. The track begins with some nice work by Brian on piano. It's a song about a problematic relationship, which the guy is now bringing to a close. "One defining day/You're gonna say to yourself/Why am I alone/Without the only good thing that I had/Why? Where was I when it went bad?" And it's about hoping that she'll one day understand just what her behavior has cost her. I suppose everyone is in that position at some point, though I wonder if any of us actually learns if that moment arrives for the other person. This song was on Ronnie's A Very Short Dream album. That's followed by "5th Of July." Like "Not Today," this track is all Lemon Twigs. No one other than brothers Brian and Michael performs on this one. And it is another strangely catchy song. "No light in the sky/I sit and cry/5th of July." This track features some nice moments on guitar. And that "sha la-la la-la" vocal part at the end is wonderful.

Mac DeMarco joins The Lemon Twigs on lead vocals for "Love's Won Me Over," a thoughtful, slower number. Ah, may love win everyone over before too long. "I'm at a loss in this world alone/I'm at a loss goin' it on my own/So at a loss - that was me before/Felt like a loser, but not anymore." This track contains some soothing harmonies. Then Matt Jardine joins Ronnie on vocals on "Don't Wait For Yesterday," a song that was the lead track on Ronnie's Time Will Tell On You. "Don't hold out hope that/He'll return/Don't you ever learn/He took all you had to give/Forget him. Start to live." And the song's narrator offers his own love. This is a sweet, gentle pop song (it feels like something The Beach Boys could have recorded). Ronnie delivers some nice work on organ. And actually he plays all the instruments on this track.

Brian sings lead on "My Old Self Again," a song I'm guessing a lot of folks will be able to relate to, especially in this time of anxiety and depression. It's about looking at yourself and suddenly not recognizing yourself, and wondering just how the darkness took over. "Who is this dark stranger/Consumed with gloom and anger." There is also the question of how related a certain amount of madness can be to one's creativity. "Who is that old tired/Lost soul once so inspired/It might have been there lurking/Inside my head just waiting/When something bad set it off." This is a fascinating and fantastic song, one of my personal favorites. Ronnie had included it on A Very Short Dream. Kaitlin Wolfberg is on violin on this track, and Cameron Carrella is on trumpet. Then special guest Sean Ono Lennon sings lead on "So That's How It Is." He is a perfect choice of vocalists, for there is something of a Beatles vibe to this song. Ronnie is on backing vocals, and also plays guitar, bass and organ. "So that's how it is/I can't believe it's come to this/You're not saying, 'Stay. Don't go'/Nothing so/That's how it is." Both Kaitlin Wolfberg and Cameron Carrella play on this track too. And, yes, it is another of the disc's highlights. I love that guitar work at the end.

Ronnie is on lead vocals for "Tree Stumps," and also plays guitar and bass. The song begins with some really nice work by Brian on piano. This track also features guest Katie Sheele on oboe, that instrument giving this song a delightful, timeless sound and helping to make this track yet another highlight. "Tree stumps lined along the ground/Look like tombstones all around." That's followed by "Heavenly Night." This track is all Lemon Twigs, all the instruments played by Brian and Michael. It kind of eases in, and then picks up a wonderful energy on the chorus. "Got a heavenly night/It's a night to be shared/And the setting is right/Love's in the air." It all comes down to love, doesn't it? Why else are we here? That chorus makes me happy. The album wraps up with a good, delicious rock song, "If I Were You," with Ronnie on lead vocals. Both Ronnie and Brian play guitar on this one, and there is some excellent guitar work here. I'm digging Brian's work on bass too. "Man, if you're asking me to tell you true/I'd keep her away from me if I were you/But since you asked what I would do/That's what I would do." A fun way to end the album.

CD Track List

1. Intromental
2. A Very Short Dream
3. Be Like Him
4. Not Today
5. I See The Patterns
6. 5th Of July
7. Love's Won Me Over
8. Don't Wait For Yesterday
9. My Old Self Again
10. So That's How It Is
11. Tree Stumps
12. Heavenly Night
13. If I Were You

Written By was released on vinyl on November 28, 2025, and is scheduled to be released on CD on December 5, 2025 through Omnivore Recordings.

Danny Ayala: "Only Fools Love Again" (2025) Vinyl Review

Danny Ayala is known for his work with The Lemon Twigs, playing bass and keyboards, as well as providing vocal work, for that band on its tours. And both Brian D'Addario and Michael D'Addario of The Lemon Twigs joins him on his fantastic new solo album, Only Fools Love Again, as does The Lemon Twigs' touring drummer Reza Matin. This album features all original material, written or co-written by Danny Ayala. Danny Ayala plays several instruments on these tracks, including bass, piano, electric piano, organ, synthesizer, and glockenspiel. These tracks also feature the work of Fernando Perdomo, who plays acoustic guitar, electric guitar, mandolin, bass and percussion. Fernando also produced most of the tracks with Danny (two tracks were produced by The Lemon Twigs). By the way, though it's a single album, the packaging has a gatefold, something that always takes me back, in a good way, to my childhood, when I'd be seated in my dad's den with the record jacket open on my lap while I listened. So, yes, I had the gatefold open on my lap while I enjoyed this record.

Side A

The album opens with "I Was Wrong," which begins with the line "I was wrong to ever leave you alone." An admission, or confession, to put things in motion. This is a wonderful pop song. The other day someone was again telling me how bad current pop music is. I know where the guy was coming from, but obviously he hadn't heard this record. This fits in with the best stuff from the power pop bands, with some Paisley Underground influence, basically showing how good pop music can be in the right hands. "You bring out the best side of me, girl," Danny sings. And the chorus is incredibly catchy. This is one of the tracks to feature The Lemon Twigs, and it's followed by another track to feature Brian D'Addario and Michael D'Addario, "Something With You," this one also produced by The Lemon Twigs. It is an interesting and thoughtful sort of love song, featuring an excellent vocal performance, and some nice work on piano. If you're a fan of Chris Stamey's music, you'll love this music too. It has a sweet, pretty vibe, and contains some excellent harmonies. "Am I wrong to let go of a future/That I really want to know/I can't tell if it's true/Several soul mates or just you/I imagine all of it with you."

There is a delicious pop energy to "I Don't Like Her," with a rhythm that can drive us straight into the sky, over the rainbow and back. This is the other song that was produced by The Lemon Twigs, and both Brian and Michael join Danny on it. It contains a great, powerful instrumental section, featuring some excellent work by Brian on electric guitar. This is one of my personal favorites. It's followed by "Life's Always Worth It." "I know things pass/Good times won't last/I know all these things I know." This is a perfect song for our strange, unsettling times, reminding us "Life's always worth it." Sure, everything passes; sure, this is all too brief. All the more reason to choose life, to enjoy ourselves, to not get caught up in the manufactured troubles. This track features a beautiful vocal section, with Danny providing his own harmonies, as well as some powerful moments. The first side concludes with "The Ballad," a magical, wonderful song. Kaitlin Wolfberg plays on this track. A one-woman string section, she plays violin, viola and cello, helping to create this track's great appeal. Plus, Danny plays glockenspiel, and Fernando Perdomo plays mandolin, those instruments adding to the delicious sound. This one takes us on a journey through changes, through different sections, and is gorgeous at times. Brian and Michael provide excellent harmony vocals. "Let the stars shine on your face/Let the moon shine on your soul/Wherever you may go." This is another of my favorites.

Side B

The second side opens with "The Village." Strange, delightful and even haunting at moments, this song stands out, even among these excellent songs. This one also features the work of the extraordinarily talented Kaitlin Wolfberg, who again plays violin, viola and cello. And at the track's heart is a moving and beautiful vocal performance. "So tell me what's the difference if you lie/I couldn't ever tell the difference if I tried/So use me and abuse me, I'm the perfect guy/I'll wipe the tears when I'm supposed to cry." What an unusual and outstanding song. Then "Pluto" comes on hard with a great force, the drums driving us into the track. We grew up with nine planets, and somewhere along the way, Pluto was kicked out of the club, reclassified, redefined against its will. This is a fun, wild song from the perspective of Pluto, featuring some excellent work by Fernando Perdomo on electric guitar. "Am I too cold or too dark for you to say that you want me/Am I too far from your home/I know it's hard to be alone." And Pluto tells us straight out, "I wanna be a planet."

"Don't Hold Me" has a steady, familiar rhythm. In fact, when it begins, it feels like a classic rhythm and blues number from the 1960s. It has that vibe in its opening moments. There's a really good bass line, and I love that guitar work in the instrumental section toward the end. "I don't know if I have what it takes/To break what could be beautiful fairly." Lexi Snow provides harmony vocals on this track. That's followed by "I Wanna Come Back To You," which was written by Danny Ayala and Nick Kivlen (of Sunflower Bean). Danny plays glockenspiel again on this one. There is a soothing aspect to the song, especially to the vocal work, and the repetition of the title line is particularly effective. We all understand where he's coming from. This track also features some wonderful touches on electric guitar. Danny then wraps up the album with a cheerful pop gem titled "Smile For Me," a song that makes me feel that the world is a much better place. And, hey, maybe it is. Music has the power to transform reality. "And oooh we'll make it better." This is yet another of the record's highlights. "How does that sound?" he asks. It sounds perfect.

Record Track List

Side A

1. I Was Wrong
2. Something With You
3. I Don't Like Her
4. Life's Always Worth It
5. The Ballad

Side B

1. The Village
2. Pluto
3. Don't Hold Me
4. I Wanna Come Back To You
5. Smile For Me

Only Fools Love Again was released on September 26, 2025 on Reminder Records.

John Surge And The Haymakers at Maui Sugar Mill Saloon, 11-26-25 Concert Review

John Surge And The Haymakers

The "Open Road Americana" music series held its wonderful pre-Thanksgiving bash at Maui Sugar Mill Saloon last night, with John Surge And The Haymakers headlining. Originally, three bands were scheduled to play, but The Macat Persico Band was unable to make it due to a family matter. That meant getting two sets by John Surge And The Haymakers, so no complaints. And actually, the other band that was originally on the bill couldn't make it either, apparently having to split to the east coast. And so The Paul Devlin Band was added. Both bands still played the Macat Persico Band's drum kit, and Scott Persico hosted the show. It was a fun night, a good night for folks to drink and cut loose before spending time with their families.

The Paul Devlin Band

The Paul Devlin Band kicked off the show at 8:25 p.m. with "Long Way To Go," and on the very first line we heard Paul's vocal power, a perfect way to grab everyone's attention and let us know this was going to be a strong set of music. That was followed by "Slow Turning," the guitar part at the beginning reminding me a bit of The Monkees' "A Little Bit Me, A Little Bit You." It was an energetic, fun number featuring some nice drumming. Paul mentioned that he's known Scott Persico for a long time, and the next two songs were ones he wrote with Scott. The first, "You Can Hold On To Me," began a cappella, Paul along with backing vocalists Kim Ledoux and Leslie Martinez. "When everyone else has let you down/You can hold on to me." It was a catchy, cheerful number, and when Paul sang, "Everything's gonna be all right," I believed him. The second, "When Tomorrow Comes," featured a passionate vocal delivery. "Does your heart sometimes question what is real?" Paul Devlin followed that with a good rendition of David Wilcox's "Rusty Old American Dream." Paul switched to mandolin for a couple of John Hiatt songs, "Cry Love" and "Gone." Greg Watmore switched from lap steel to electric guitar for those songs. I especially loved their rendition of "Gone," which was a lot of fun. The set was rounded out with "Crazy Love," Delbert McClinton's "Monkey Around" and Don Henley's "The Heart Of The Matter." The set ended at 9:14 p.m.

John Surge And The Haymakers

At 9:38 p.m., John Surge And The Haymakers were ready to go, bass player Teresa Cowles sporting a turkey T-shirt under her denim in honor of the holiday. Before the first song, John mentioned that it had been one year since he last played at this venue. John, in fact, used to host the music series at Maui Sugar Mill Saloon, before The Macat Persico Band took over and John began hosting down in Long Beach. The band opened the first set with "Your Wonderful Life," an energetic number with good leads by both Chris Motter on guitar and John Schreffler on pedal steel. They followed that with "You Don't Know Me," the lead track from the band's most recent release, and one I am always happy to hear. This one also featured some good stuff on pedal steel, plus some wonderful work by Kevin Jarvis on drums. John told the audience that with the powerful stadium lights aimed at the stage, it was hard to see everybody, and he hoped everyone was doing well. The crowd responded, letting him know they were doing all right. And the band continued the set with "One Promise At A Time." There was some serious joy in the playing, and thus in the room as a whole.

"You've been waiting for our hit single, and we're going to play it right now," John said, introducing "You're So Right," a country gem that was the lead track on Almost Time. Chris delivered some delicious work on electric guitar, and the song was hopping. That was followed by "Tricks Of The Trade" and then an excellent cover of the Desert Rose Band's "One Step Forward." They slowed things down then with "I Remind You," another favorite of mine, this one featuring some lovely work on pedal steel. "Welcome To Suckerville" then got folks dancing, and was followed by "Almost Time," "Amtrak" and "Beyond The Break" to wrap up the set. "Beyond The Break" was a fun choice to lead into the set break. The first set ended at 10:24 p.m.

Less than twenty minutes later, the band was back on the stage, and started the second set with "Ricochet," the lead track from the Your Wonderful Life album. That was followed by "What Were We Thinking," which featured a good lead on pedal steel. There was a bit of an awkward ending, but that just added to the song's charm. "Marisol," another of my favorites, followed, this one featuring a nice lead on guitar and some wonderful drumming. John mentioned that the band was going to be opening for the Beat Farmers, and that they wouldn't be playing the next song then because it's theirs. That song, "Gun Sale At The Church," is one that John Surge included on Your Wonderful Life. He dedicated the song to sound man Nubs. That was followed by "Rattle Me," a song that features a fantastic bass line by Teresa, as well as a really good guitar lead.

"Honky Tonk Song"

In introducing "Barstool," John said it was a song about going to a bar, getting drunk and falling in love. He said it could happen tonight, adding that there is still hope as long as the bar is open. Do people still meet in bars, or are all relationships begun on the internet these days? I hope people still fall in love the old-fashioned way, the honest way, the fun way, getting drunk at a bar while a great band plays. That's how it happened with me. Anyway, the song featured some cool work on pedal steel. Karman Jeanne Kruschke (of Karman Jeanne & The Fish) then joined the band on backing vocals for a cover of "Honky Tonk Song." This one contained some great stuff on electric guitar. That was followed by "Studio Apartment Blues," a slower, mellower number. Things then got rocking again with the band's cover of "Mercury Blues," which featured lots of excellent work on pedal steel and a really fun lead on guitar. The band wrapped up the set with a cover of "Six Days On The Road," a nice, rowdy ending to the night. The show ended at 11:24 p.m.

John Surge And The Haymakers Set List

Set I

1. Your Wonderful Life
2. You Don't Know Me
3. One Promise At A Time
4. You're So Right
5. Tricks Of The Trade
6. One Step Forward
7. I Remind You
8. Welcome To Suckerville
9. Almost Time
10. Amtrak
11. Beyond The Break

Set II

1. Ricochet
2. What Were We Thinking
3. Marisol
4. Gun Sale At The Church
5. Rattle Me
6. Barstool
7. Honky Tonk Song
8. Studio Apartment Blues
9. Mercury Blues
10. Six Days On The Road

Here are a few more photos.

Scott Persico introduces The Paul Devlin Band

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

Josie Falbo: "Kickin' It" (2025) CD Review

Josie Falbo is a talented jazz vocalist based in Chicago. In addition to her vibrant solo career, she has provided backing vocals for many artists over the years, including Mavis Staples (on her Have A Little Faith album) and Bobby Lewis (on Here I Go Again). She released her first album as leader, Taylor Street, in 2010, and a decade later followed it with You Must Believe In Spring. Fortunately she has not made her fans wait another decade before her third album. The tracks on Kickin' It show her remarkable vocal talent and range. The album features original arrangements by Carey Deadman, who also produced the album and plays trumpet. There is a fairly good range of material here, and many of the tracks feature a great horn section

The album gets off to a wonderful start with Cole Porter's "I Get A Kick Out Of You," which begins with a bright burst of energy. And as Josie Falbo sings that she gets no kick from champagne or cocaine, we hear in your voice that she needs neither. Her energy, her excitement and her power come from within. She might sing that it's about another person, this "you" of the song's title, but the energy wells up inside her, feeling like it doesn't even need this other person. She delivers some wonderful scat in the middle. This track also features excellent leads by Steve Duncan on trombone and by both John Wojciechowski and Scott Burns on saxophone, while that bass rushes along, keeping things cooking. That's Eric Hochberg on bass. Josie Falbo and the band then change gears with "Autumn Nocturne," which begins with a beautiful swell, before soon relaxing. Josie Falbo delivers an absolutely beautiful vocal performance, getting support especially from the string section. "Now autumn roams the hills once more/But you forgot your vow/Now here am I alone with only memories/Only lonely memories, autumn memories of you." There is a yearning, there is melancholy, but there is also hope. "That when it's fall again, love will call again/And you'll be beside me/To make my autumn dream come true." For now she lives in that moment of not knowing, that moment when everything is possible. The piano dances within that moment, and that dance seems optimistic. That's Chris Sargent on piano. This track has a gentle ending, like the end of a day and the promise of a good dream.

"Flor De Lis" begins with some delightful guitar work by Fareed Haque, taking us to another place. Isn't it wonderful how music can transport us like that? After that introduction, the song gets into its Latin rhythm. And Josie's vocal work, when she comes in, has an otherworldly vibe. This is during that "Oooh" part before the lyrics. The lyrics are delivered first in Portuguese, and then later in English. There is an easygoing vibe at first, and then the song takes on a lively aspect. Soon we are treated to a really nice lead by Jim Gailloreto on soprano saxophone. There are surprisingly playful moments in this track, particularly in that transition from Portuguese to English lyrics, and I love Bob Rummage's drumming there. "All I want is just a chance to love you/And then you'll see me flying/So high up in the sky." As she sings those lines, her voice begins to soar. Ah, so love wins again! "Love Dance" then has a warm and inviting opening. "From too much talk to silent touches," Josie sings. Oh yes! "Turn up the quiet, love wants to dance." There she invites us to witness that dance, and perhaps to take part in it. And who wouldn't want to? Part of the track's charm is in Jeremy Kahn's work on piano.

The horns set "I Just Found Out About Love" in motion. There is a great cheer and optimism in Josie's vocal delivery. It is the kind of performance that makes us feel optimistic too, and certainly we need that these days. "What's love doing to you/Looks like you could be liking it too." Ah, if only everyone could feel such a great love, I bet much of the world's suffering would cease. And I am under the impression that music like this can have the same effect. It's not too late for anyone to find out about love, as Josie's voice suggests. And the energy of the band seconds that. This is one of my personal favorite tracks. Josie slows things down then and draws closer to us with "Yellow Days." What a beautiful performance! And the strings carry us up through the clouds into whatever may lie beyond them, even as she tells us, "Life is empty/And the sunlight seems so harsh instead of tender." It is a song of memory, seemingly of collective memory. At one point in the second half, the horns open a door for us, and the music seems to be going to a different level, yet almost immediately returns to its gentler vibe. 

Some playful scat over a delicious rhythm is such a great way to get "Brigas Nunca Mais" moving. Josie does quite a lot of different things with her voice before delivering the first actual word, and it seems she could convey whatever meaning she wished without a single word. This one is also delivered in two languages. "Why should we still want to fight/No more quarrels tonight." I can't imagine anyone even wanting to voice disagreement once the world of this music takes over. This track features some particularly good work by Fareed Haque on guitar, as well as a wonderful lead by Steve Eisen on flute. There is also more excellent wordless vocal work at the end. That is followed by "Social Call." "Do you recall the old days/We used to have a ball/Not that I'm lonesome without you/I just thought I'd pay a social call." It's a song of second chances, or at least the desiring of one. She delivers more vocal feats here, making us all believe in those second chances. Her voice will dance love and romance right into being. Of course, a saxophone can always help in that endeavor, and here we get some wonderful stuff by Geoff Bradfield on tenor sax. Steve Million then delivers a delicious lead on piano. I also love Eric Hochberg's bass line to this song.

"Lazy Afternoon" has a kind of relaxed feel to match its title. This track creates a world where there is no stress, no anxiety, no haste. "If you hold my hand and sit real still/You can hear the grass as it grows." And in the second half we are treated to a really nice lead by Lawrence Kohut on bass. That's followed by "Estamos Ai," which is a lot of fun, right from its opening moments, even before the scat. But that vocal work is what really makes this one shine. This track is a joyful dance that even the animals and flowers can join. Shouldn't life feel like this? This track also contains some excellent guitar work by Fareed Haque. If you want a song to just take you by the hand and lead you into a colorful, delightful world, this is it. I love this track. Josie Falbo changes gears then with a captivating rendition of "Chelsea Bridge" to wrap up the album. In addition to a phenomenal vocal performance that includes more excellent scat, this track features some really wonderful stuff by Jeremy Kahn on piano.

CD Track List

1. I Get A Kick Out Of You
2. Autumn Nocturne
3. Flor De Lis
4. Love Dance
5. I Just Found Out About Love
6. Yellow Days
7. Brigas Nunca Mais
8. Social Call
9. Lazy Afternoon
10. Estamos Ai
11. Chelsea Bridge

Kickin' It was released on October 17, 2025. 

Jonny Two Bags Headlines A Great Night Of Music At Maui Sugar Mill Saloon, 11-22-25

Jonny Two Bags

Jonny Two Bags, whom you know for his work in such groups as Social Distortion, Youth Brigade, U.S. Bombs, and Cadillac Tramps, delighted a packed crowd last night at Maui Sugar Mill Saloon with a great set of music that focused on material from his 2014 album Salvation Town. The entire lineup for the night was strong, featuring sets by Electric Magic and Rob Bolger, as well as a late-night set by Dev Elephant. You know a night is going to be good when there are musicians in the audience as well as on the stage, and that was the case last night.

Electric Magic

Electric Magic kicked off the night at 8 p.m. with a fun, energetic set that had several folks dancing. They delivered a mix of covers (including two Beatles songs: "Come Together" and a rocking rendition of "Dear Prudence") and original material (including "Cross My Heart" and "Brave New Day"). "Let It Burn" had a good, funky sound, and "Fleur De Lis" featured some really nice work on harmonica. At one point, lead singer Danita Menchell stepped off the stage, joining the people dancing up front. They wrapped up their set with "Pressure," finishing at 8:43 p.m.

Rob Bolger And The Poor Decisions

Rob Bolger was up next, taking the stage at 9 p.m. (don't you love it when everything is on time?). He announced the band as Rob Bolger And The Poor Decisions. "We just came up with that name tonight," he said. That band, by the way, included Dylan Thomas sitting in on electric guitar, an unexpected treat (he was especially great on "Junkie King"). Rob dedicated the second song of the set, "Mean Motherfucker," to sound man Nubs Gutmacher (everyone loves Nubs). Halfway through the set, after "It's Too Late," Rob announced, "You know, we've only had one rehearsal." He then added, "But I think it's turning out okay." Everyone in the audience thought so too. The set was a lot of fun, and had a great, loose vibe. It was a short set, ending at 9:35 p.m.

Jonny Two Bags

Jonny Two Bags and his band started setting up moments later. "Any effects on the vocals?" Nubs asked. "None," Jonny answered. "No effects." That gave us a sense of what was to come. It was going to be as real as it could be. Good, honest music. And that's not all that easy to come by these days. A little after 10, Jonny asked, "Are we ready?" We in the audience certainly were, and the band opened the set with "Avenues," a song from Salvation Town, one with a good energy, one that seemed to get the entire room in motion. Afterward Jonny asked for a quarter to adjust the microphone stand, but he was handed a screwdriver, which was even better. Microphone stand adjustment completed, he followed "Avenues" with "Ghosts," also from Salvation Town, this one featuring some great stuff by Eleanor Whitmore on violin. On the album, it was David Lindley. That's one of my personal favorites.

Jonny Two Bags

"This is the lead-off track off the record, the one record," Jonny said, introducing "One Foot In The Gutter," which, yes, is the first track on Salvation Town. Jonny switched to electric guitar for this one, and Eleanor switched to keyboard. Eleanor was back on violin for "Hope Dies Hard," and then switched to mandolin for "Clay Wheels." The first lines of "Clay Wheels" certainly stand out to me: "Sometimes I wonder/If this is as good as it gets." This song was another of my favorites from the set. Jonny then thanked folks for not only coming out, but for being enthusiastic. All of the songs up to that point had been from Salvation Town. The next few songs, however, were not, including "Salute The Dead," a U.S. Bombs song  The rendition last night was quite a bit different from the U.S. Bombs version, as far as the sound goes. Eleanor was on mandolin, and Jonny was on acosutic guitar. This song had a fantastic jam, featuring some great stuff from Chris Masterson on lead guitar. Vince Hizon and Mike Reznick then joined the band on alto and baritone saxophone respectively for a wonderful cover of Van Morrison's "Into The Mystic." Those two weren't able to fit on the crowded stage, and so played in the audience, giving some of us in the front the great sense of being surrounded by music. They also played on "Alone Tonight" and "Wayward Cain," both coming from Salvation Town. "Forlorn Walls," also from Salvation Town, followed, and then Jonny wrapped up the set with a cover of the Rolling Stones' "Sweet Virginia." "Sing along on this one, if you're so inclined," Johnny told the crowd, and many did. The song featured wonderful leads on saxophone, mandolin and guitar. The set ended at 11:13 p.m.

Dev Elephant

A little less than a half hour later, Dev Elephant took the stage and delivered a solid hard rock set. Great power trio stuff, you understand, with some excellent drumming. At the start of their set, they mentioned growing up on Social Distortion. They did have a guest vocalist join them for a couple of songs toward the end of the set, adding yet more energy to an already energetic performance. The set ended at 12:38 a.m., but the audience wanted more, calling for an encore, which they got. A strong ending to a fantastic night of music.

Here are a few more photos from the night:

Electric Magic

Electric Magic

Electric Magic

Rob Bolger

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

The Burrito Brothers: "The Magic Time Machine Of Love" (2025) CD Review

The Flying Burrito Brothers have been around in one form or another since the late 1960s, when the band was founded by Byrds members Gram Parsons and Chris Hillman (both of whom had left the band by the early 1970s). Now known as The Burrito Brothers, the band is made up of Chris P. James on vocals, keyboards, piano and acoustic guitar; Tony Paoletta on pedal steel and dobro; Steve Allen on guitar; and Peter Young on drums, percussion and vocals. But interestingly on their new album, The Magic Time Machine Of Love, we get a little taste of Gram Parsons, that being snippets from an interview from March of 1972, as well as on the songs "Pride Of Man" and "More And More," both of which feature Gram's vocals, while the second song also features Al Perkins' pedal steel work. This album also features some tracks that were recorded several years ago, with different lineups of musicians. So the past meets the present on this new release, which makes the album's title perfect.

The album opens with a snippet from the interview with Gram Parsons from March 3, 1972. "I always had this dream about doing stuff in England, because England is so unjaded that way, they're so open-minded about it," he says. The band then opens with a striking rendition of "A White Shade Of Pale," with a strong, soulful gospel bent at its start. That's a bit of "Freedom," a song written by Charles Mingus and also recorded by The Paramounts, the band that would lead to Procol Harum. This version of "A Whiter Shade Of Pale" includes extra lyrics that were written by Keith Reid but not included on the original Procol Harum recording. This has always been one of my favorite songs, and the extra lyrics include a Shakespeare reference, making me love it even more. They sing, "If music be the food of love," which is most of the first line from Twelfth Night. That phrase can also be heard as the theme of this album. Anyway, these guys do an excellent job with the song. The vocal work is particularly excellent. Sherrie James and Terrie Lonow provide backing vocals on this track. The song ends as it began, with a bit of "Freedom."

Things then get heavier on "Captain Bobby Stout," a song written by Lane Tietgen, and recorded by groups like The Jerry Hahn Brotherhood, Kindred, and Manfred Mann's Earth Band. This version by The Burrito Brothers, which was recorded in 2007, begins with some spoken word. This is a powerful, bluesy, soulful number with a strong, raw vocal delivery. The lineup on this recording includes Chris P. James on keyboards and vocals, Bob Hatter on guitar and vocals, Joe Webber on bass and vocals, Dave Lemonds on drums, and Jeff Lewis on backing vocals. There is some good jamming here, and the track contains a nod to David Bowie's "Fame." That's followed by "Pride Of Man," the first of the album's songs to feature Gram Parson's vocal work. The current four band members back him, taking their inspiration from a Quicksilver Messenger Service version of the song. There is a great energy to this track. It's interesting how well this works, how fresh and immediate the song sounds and feels.

We've lost many great musicians this year, including Jesse Colin Young of The Youngbloods. On this album, The Burrito Brothers deliver a really nice rendition of his "Peace Song," a song from his 1972 album Together, a song that opens with these lines: "Sometimes I can't help crying/People, when I hear about the dying." And the song features these lines: "Sisters and brothers, do you hear me?/We've gotta stop killing one another." I doubt it will ever happen, because too many people are stupid, horrid creatures (look at how many people voted for a convicted felon and rapist in this country, people who value their guns more than children's lives), but I am still hopeful. This track was recorded in 2007, and features Bob Hatter on guitar and vocals, Joe Webber on bass and vocals, Dave Lemonds on drums, Michael Curtis on piano, and Danny Ramsey on congas. Their version of this song ends with a nice nod to "Give Peace A Chance."

"Used To Do" is an interesting track, as it was not originally intended to be a Burrito Brothers song. It first was going to be a track for a reunion album by International Submarine Band, another band that Gram Parsons started in the 1960s, and then it became a James Brothers recording. So it features members of both bands, including Chris P. James on vocals, David James on vocals and Fred James on electric guitar, Jon Corneal on acoustic guitar, Ian Dunlop on bass, Jim Baker on pedal steel guitar, and Jody Maphis on drums. It is a song that looks back on a relationship, and looks forward to finding someone else. "I'll go out and find me somebody new/Who's gonna love me the way that you used to do." Then we get some more of the interview with Gram Parsons. Here he talks about Chris Hillman. "In the Burritos, he felt like more of a quiet power behind me," he says. He speaks highly of Chris, saying, "Steve Stills got himself a bargain." That leads to the album's second track to include Gram Parsons' vocals, "More And More," this one also featuring former Flying Burrito Brother Al Perkins on pedal steel. The track features some really sweet work on pedal steel, along with a lot of great stuff on piano. "More and more, I'm forgetting the past/More and more, I'm living at last." Chris P. James is on piano, Kenne Cramer is on guitar, Brian Pepo is on bass, Chip Abernathy is on drums, and Sherrie K. James provides backing vocals.

We are then treated to "What Goes On," a Beatles cover that features the three James brothers, along with David Fontana on drums and Tony Paoletto on pedal steel. Most of this track was recorded in the late 1980s, with the pedal steel work added more recently. That's followed by the first of the album's tracks to be written by Chris P. James, "Time Machine." This is another interesting track, for it has a new age element to it, heard right from the start. There is a dreamlike quality to this song, and it features some good work by Tony on pedal steel. "Remove the rust between us with a time machine." Halfway through the track, the song turns a corner, developing more of a rock sound. "Music is a time machine/Love, love, beautiful love." Love and music are what this existence is all about; the rest is mostly noise. "Everyone has a time machine," the band reminds us here. Indeed. Certain songs can transport us back to earlier moments in our lives. Then "Whiskey Woman" begins with more from that March 3rd interview with Gram Parsons, this time not presented as a separate track, but as a sort of introduction to the song. This track was recorded in 2004, and it has a cool blues rock vibe. It was written by Chris P. James and Boomer Castleman.

"Tales Of Desire" is another unusual track, this one written by Chris P. James. There is a certain progressive rock influence heard here. The track features a powerful, passionate vocal performance. "Earth, sky, thunder/Wind, fire, gas/Mountain, meadow, wonder/All things must pass." The track contains snippets of well-known speeches (Robert F. Kennedy's "What we need in the United States is not violence or lawlessness, but is love and wisdom, and compassion toward one another," Franklin D. Roosevelt's "The only thing we have to fear is fear itself," etc.) at the end. That's followed by "Number Nineteen," also written by Chris P. James. This is another song from many years ago, and it features Chris P. James on vocals and keyboards, David James on bass and vocals, Scott Baggett on guitar, Dave Fontana on drums, and Tony Paoletto on pedal steel. There is a really nice, pleasant feel to this song. "Number 19 taking her sweet time/But, baby, I don't mind." It ends with the line, "It's like something from a dream." The album then ends with "Right Where We Belong," a song written by Timothy B. Schmit. "I'm the pouring rain/You're the restless wind/We're a hurricane/Crazy strong/Right where we belong." So good. And these lines stand out too: "We're the present tense/We're the here and now." This is the attitude we need to take, right? Because, after all, it's the truth.

CD Track List

1. Intro: Gram Parsons
2. A White Shade Of Pale
3. Captain Bobby Stout
4. Pride Of Man
5. Peace Song
6. Used To Do
7. Gram Praises
8. More And More
9. What Goes On
10. Time Machine
11. Whiskey Woman
12. Tales Of Desire
13. Number Nineteen
14. Right Where We Belong

The Magic Time Machine Of Love was released on August 1, 2025.

Rick Shea & The Losin' End at Maui Sugar Mill Saloon, 11-19-25 Concert Review

Rick Shea's monthly show at the Maui Sugar Mill Saloon was held last night, with John McDuffie sitting in on guitar in place of Tony Gilkyson. As with each of these "Swingin' Doors" shows, a special guest band was also on the bill, and last night it was Claremont Voodoo Society, a band I was excited to see. As I've come to expect, this was a wonderful night of music.

As usual, the night began with a somewhat shorter set by Rick Shea & The Losin' End. They took the stage at 8:37 p.m., Rick mentioning that he was sick last month, explaining why he wasn't there. After switching a questionable guitar cord, Rick opened the show with "Big Rain Is Comin' Mama," a song from his 2020 album Love & Desperation. In his introduction he mentioned how it's been raining here in Los Angeles the last several days, and how more rain is on the way. There was a good energy to the song. After a quick sound adjustment, the band followed "Big Rain Is Comin' Mama" with "Nelly Bly," which had a nice, slow groove, and a very cool ending. Then we were treated to a particularly good rendition of "Shelter Valley Blues," which featured some delicious bluesy guitar work by John. "They say this ain't no place for fools or dreamers/But a foolish dream is all I've ever known."

Rick Shea has a new album coming out early next year, and he mentioned that album last night before playing "Midnight Shift," a song that Buddy Holly recorded in the late 1950s. That was followed by a song that I had requested, "Trouble Like This," from the 2017 album The Town Where I Live. This is a beautiful song that has been playing in my head a lot lately. I suspect that if you listen to it, it will make a home in your head too. Rick then told the story of Johnny Cash getting arrested in his introduction to "The Starkville Blues," a fun number. Jeff Turmes sang lead on "Early Train," a cool song, sounding like a dream we can share. John McDuffie did not have his pedal steal with him for this show, but his work on electric guitar on that song kind of felt like what he might have played on that instrument. It was a fantastic rendition. And the cool vibes kept coming, with "(Down At The Bar At) Gypsy Sally's" following "Early Train." "The wolfman's on the prowl," Rick sang. And with the song's delicious groove, we all felt like we were on the prowl. The group closed out the set with "Hold On Jake," a good country rocker. The set ended at 9:24 p.m.

The Claremont Voodoo Society was up next, taking the stage at 9:36 p.m. and opening with a nice rendition of Tom T. Hall's "That's How I Got To Memphis," featuring some good work by Bill Barrett on harmonica. That was followed by "Crawford's Hill," featuring some really nice harmonies. Throughout the set, three of the four band members took turns singing lead, each with his own strengths and style. And their fallen bandmate Brad Lewis was still present, in part through certain song choices, such as "Still Got The Blues For You," an incredibly cool song that was a wild sort of waltz. A highlight of the set. Their rendition of "Make Me Down A Pallet On Your Floor" included a good drum solo. There was some more great stuff on drums in their cover of Hank Williams' "Hey, Good Lookin'," which also had a cha-cha-cha ending. I thoroughly enjoyed their set, and hope to see them again sometime soon. And whatever albums they might have available I need to add to my collection. Their set ended at 10:34 p.m.

Less than ten minutes later, Rick Shea & The Losin' End were back on stage, kicking off their second set with a cover of "Honky Tonk Blues," the Hank Williams song. That was followed by "Mexicali Train," with a rhythm like a train so that we could all climb aboard. "Juanita (Why Are You So Mean)" followed. As you might guess from its title, it's a fun song. Then the band delivered one of my favorites, "Mariachi Hotel," a song that felt like a delicious haunting. After that, Jeff mentioned what a great song "Mariachi Hotel" is, and how it was difficult to follow that with one of his own songs. The song he chose to follow it was "Rickety Men," from his Wreckage album. And it's another really good number, a fun song with a delightful groove, a particularly catchy bass line. The band kept that sense of fun with "Blues Stop Knockin' At My Door." That was followed by another personal favorite of mine, "Sweet Bernadine," which was a highlight of the set. I love the whole feel of that song.

Jeff took another turn at singing lead on "Don't The Moon Look Real." During John's lead, a woman came dancing out of the loo. Don't you love it when music has that effect on folks? Plus, this venue has that kind of friendly, relaxed vibe that makes it all seem just exactly right. They followed "Don't The Moon Look Real" with "Sweet Little Mama" and then "Sweet Little Pocha." "She cries when she hears the mariachis, but I never know why." The guitar work at the beginning of "Que Mas Quieres" reminded me a bit of the beginning of the Grateful Dead's "Truckin'," and was another energetic number. They rounded out the set with "Mathilda" and "(You're Gonna Miss Me) When I'm Gone," the band jamming a bit on that last song, which was wonderful. The show ended at 11:50 p.m.

Set List

Set I

1. Big Rain Is Comin' Mama
2. Nelly Bly
3. Shelter Valley Blues
4. Midnight Shift
5. Trouble Like This
6. The Starkville Blues
7. Early Train
8. (Down At The Bar At) Gypsy Sally's
9. Hold On Jake

Set II

1. Honky Tonk Blues
2. Mexicali Train
3. Juanita (Why Are You So Mean)
4. Mariachi Hotel
5. Rickety Men
6. Blues Stop Knockin' At My Door
7. Sweet Bernadine
8. Don't The Moon Look Real
9. Sweet Little Mama
10. Sweet Little Pocha
11. Que Mas Quieres
12. Mathilda
13. (You're Gonna Miss Me) When I'm Gone"

Here are a few more photos from the show:

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