Mike Berman: "In La Ciudad" (2025) CD Review

It was just April when singer and songwriter Mike Berman released his excellent Ghosts album, and he's now followed that with a new EP. Titled In La Ciudad, this release features original material, written or co-written by Mike Berman. The "ciudad" of the album's title is Los Angeles, a city that is facing some tough times, but which maintains its character, its own peculiar beauty and appeal. It's an extraordinary city with probably the best music scene in the entire country. People have said this city lacks the sense of community that is found in smaller cities, but I think the recent (and current) hardships have proved otherwise. And musicians like Mike Berman certainly feel a sense of community here, in part because they have created it. This EP is offered in tribute to this fantastic city and its citizens. Ed Tree joins Mike Berman on these tracks, playing guitar, bass and keyboards. Other musicians, including Carl Byron and Scott Babcock, join him on most of the tracks. By the way, proceeds from sales of this disc benefit Homeboy Industries, a Los Angeles program that works to get people out of gangs and back into the community.

The EP opens with "La Ciudad Del Sol," a song that Mike Berman wrote with Rob Waller (of I See Hawks In L.A.). It's a song whose lyrics describe, or create, an ideal version of this great city of Los Angeles. It opens with these lines: "In La Ciudad Del Sol/The cops all carry flowers/They while away the hours/Listening to Nina Simone." I love that image of the LAPD hanging out listening to the great Nina Simone. There is a delightful and gentle humor also in the lines "In La Ciudad Del Sol/The ground is never shaking." Imagine that! I wonder what effect even just that one thing would have on the people here. Anyway, "La Ciudad Del Sol" is a pretty folk song about the resilience of this city, which is particularly meaningful in these days after the fires and during the infestation of cowardly masked ICE agents who are kidnapping people from the streets and doing their best to spread terror. "The angels fly above us/And they wash us with their tears/They tell us not to fear/We will survive, me and you." The song offers a hopeful vision for the city, one that, at least while the song is playing, we feel can be attained. "Kintsugi (Campfire Mix)" is too a song of resilience. Here is a taste of the lyrics: "When you find yourself broken, bruised and sore/When you see yourself in pieces on the floor/We'll find a way to fill each crack, and heal you to the core/And you'll find that you are stronger than before." I think we all need to hear this, as a community and as individuals. We all need someone to be there for us, with us, to tell us this, and Mike Berman's voice has just the right friendly and understanding tone. Ed Tree is on bass, Scott Babcock is on percussion, and Steve Kobashigawa provides backing vocal work. A different version of "Kintsugi" was released online in the spring of 2023.

"Angels Flight" was previously included on Mike Berman's 2023 album Where I'm From, an album that also focuses its attention on Los Angeles. And it fits perfectly here as well. Check out the opening lines: "Last night I woke to the devil wind/Blowing warm through the pass again/Raymond Chandler followed me downtown/Drinking whisky sodas ‘til the bars closed down/Thought I saw an angel in Pershing Square/Pushing a shopping cart in her underwear." Carl Byron plays accordion on this track (if you live in Los Angeles, I highly recommend checking out the weekly show he does with Hot Club Of Los Angeles at Cinema Bar). Darice Bailey provides some beautiful backing vocals on this one. This track also features some excellent guitar work. The EP then concludes with another song that was included on Where I'm From, "Drive." But here we get, not the album version, but a live recording of the song from 2023. For this one, Carl Byron is on organ, Ed Tree is on electric guitar, Taras Prodaniuk is on bass, and Scott Babcock is on drums. The song is about driving in Los Angeles, something all of us spend a lot of time doing. "Drive 'til you find a freeway/The ocean or a mountain," Mike sings at the beginning. And that's something about this wonderful city: you can get to the ocean, the desert, and the mountains all fairly quickly (depending on traffic, that is). There is some humor to the line, "And there is hardly any reason/Why you would go downtown," something we all have to explain to those who visit us here. Mike Berman delivers a strong vocal performance, and this live recording has a good sound. "And it surely doesn't matter/If you never see the stars/It takes a thousand miles/Just to find out who you are."

CD Track List

1. La Ciudad Del Sol
2. Kintsugi (Campfire Mix)
3. Angels Flight
4. Drive (Live 2023)

In La Cuidad was released on July 10, 2025.

Debi Derryberry: "Go To Sleep: Lullaby Album" (2025) CD Review

Debi Derryberry has a remarkable career as an actor, having done extensive voice work in animated films, television series and video games, but apparently her first passion was for music. After graduating from college, she moved to Nashville to pursue a career as a country singer before then returning to Los Angeles. Clearly, she never lost her love for music. In addition to forming the group Honey Pig, she has released several children's albums, including last year's wonderful Gotta Go Green, featuring songs with strong environmental messages. Her new children's album, Go To Sleep, might be her most challenging project yet; that is, helping folks get a good night's sleep in this stressful climate. For it isn't just children these days who need something soothing to help them rest. Go To Sleep features mostly original material, written or co-written by Debi Derryberry.

Go To Sleep opens with its title track, which begins with some gentle, pretty guitar work by Steve Brickman. "Go to sleep/Close your eyes/Try to dream." And then she hums, and that humming actually does help relax us, perhaps even more than the lyrics. "Starting with your toes, just breathe/Then the wave of sleepiness just rolls up to your knees/Now relax your shoulders and your heavy head." Yes, this work as a sort of guided mediation. So, yes, I think she is aware that this is for adults as much as it is for children. Steve Brickman also plays keyboard on this track, and Ian Hall is on bass. "Go To Sleep" is followed by "Slumberland." This one also begins with some nice work on acoustic guitar, this time played by Debi Derryberry herself. And her sweet voice is delightful. "Somewhere out beyond the stars/There's a big white door made of clouds/Knock three times if you want to go in/But don't knock very loud/And before you knock, make a big, big yawn." This track also features some beautiful work on cello, an instrument that I am always happy to hear. That's Amy Simon-Weiner on cello. And Michael Starr is on viola. This is a really nice song, and the strings give it another wonderful layer.. Slumberland is a place we all probably prefer to be these days, assuming the world doesn't intrude upon our dreams.

"World Of Wonder" has a different sound, a different vibe at the start. Rather than acoustic guitar, this one begins with some electronic sounds and percussion. "Snail moves slowly, slowly forward/Inching farther down the path." Perhaps this is the right time to mention that Debi Derryberry has a series of videos for these songs on her YouTube page. It's a song that teaches that a lot of things are happening in the world, largely outside of one's notice. It's an incredible place, this planet, isn't it? That's followed by "What Does A Good Night Feel Like." When I first glanced at the track list on the CD case, this is the title that stood out for me and got me to thinking that a lot of adults might be wondering what a good night feels like these days. Here Debi sings, "What does a good night feel like?/My favorite plushy,my mushy pillow/Fresh sheets and a warm blanket/That's what a good night feels like/Good night feels so soft/And good night feels so safe/Good night feels like such a peaceful place." Yes, that's what we're seeking. A little later in the song, she uses sound effects of rain and a squeaking gate when those things are mentioned in the lyrics. Steve Brickman is on both keyboard and guitar, and Geri Lisanti-Levy is on violin.

"Sit down beside me and turn out the light/Make sure the windows are bolted down tight/Pull the down duvet on up to my chin/Just high enough to keep all the heat in," Debi sings at the beginning of "Nose." I love this, the song being from the point of view of a child who is addressing a guardian. "Please stay here with me as I try to sleep/Tell me a tale so my day is complete." We all have little routines that prepare us for sleep, children and adults. A bedtime story is a great tradition. We do that as adults too, don't we? Usually it means reading a good book, rather than having someone tell us a story vocally. But isn't it touching how some things from childhood persist into adulthood? But the song is about a cold nose, and it is completely adorable, with a sweet humor. What makes this track even more special is the group of musicians playing on it. She has some fantastic players backing her, including Phil Parlapiano on piano, Doug Pettibone on guitar, Ed Maxwell on bass, Michael Starr on mandolin, and Van Dyke Parks on accordion. Holy moly!

"Sail Away" features the sounds of sea birds at the beginning, giving us a sense of place even before Debi Derryberry begins to describe the scene: "There is a boat/And there's a sail/There is some wind/And there's a whale." But these are the lines that especially speak to me: "Take me on a voyage/Let's go on a trip/Then we can sail away/Just for the fun of it." Oh yes, that sounds so appealing. Not to harp on the current state of the country, but the idea of getting away has never been more appealing. And Debi's voice makes it all the more enticing. From a trip by water, she takes us on a trip by air, with "I Wish You Could Fly With Me." "See just how high we can go/Have you ever wished you had wings/Just like a bird." This one is like a sweet, gentle waltz, with strings (Michael Starr plays both violin and viola). And the piano has a magical feel, like a fairy tale. That's Phil Parlapiano again. And what a beautiful vocal performance. This track is such a total delight, and gets more and more endearing and wonderful as it goes on. I love that moment toward the end when the backing vocals join her on that "Doe-doe dee-doe doe-dee-doe" part. This is my personal favorite track on the disc.

"In The Arms Of My Rocking Chair" is another highlight. "In the arms of my rocking chair/I can do my best pretending there/I'm a ship at sea/Waves are tossing me/With a force/But of course/I'm not really there/I'm safe and warm here in my chair." That is a good choice of spots for the imagination. Where do you do your best pretending? Debi Derryberry then concludes Go To Sleep with its sole cover, the classic "Hush Little Baby," for I suppose no lullaby album would be complete without it. It's a nice way of wrapping things up, delivering one that most children already likely know.

CD Track List

1. Go To Sleep
2. Slumberland
3. World Of Wonder
4. What Does A Good Night Feel Like
5. Nose
6. Sail Away
7. I Wish You Could Fly With Me
8. In The Arms Of My Rocking Chair
9. Hush Little Baby

Go To Sleep: Lullaby Album is scheduled to be released on September 26, 2025.

Larry Keel & Jon Stickley: "Larry Keel & Jon Stickley" (2025) CD Review

Larry Keel and Jon Stickley are both respected and talented guitarists, working in the bluegrass realm. Larry Keel is known for his work in various projects, including Larry Keel Experience and Keller & The Keels, and Jon Stickley is known for the Jon Stickley Trio, and has also played with Town Mountain (you can hear him on Town Mountain's The Dead Session). The two guitarists have joined forces for a self-titled EP of mostly original material, including a couple of instrumental tracks.

They open the EP with "Future Ghost," an instrumental track composed by Jon Stickley, and originally released by Jon Stickley Trio in 2021, during the pandemic when a lot of folks were contemplating the possibility of being a ghost. This version has something of a different vibe, and features some impressive and beautiful guitar work, just as you'd expect. The joy of the playing helps move us away from our concerns, or at least put them into perspective, like sunlight breaking in upon a nightmare. We are here now, we are alive now, the music seems to say, so take comfort in that and enjoy the experience. That's followed by a cover of "Sailor Suit," a song written by Steve McMurry and original recorded by Acoustic Syndicate. It was included on that band's 1999 album, Tributaries. "Back in the year of 1971/I was six years old on my birthday/We had a great aunt, lived in Fort Lauderdale/Sent me a sailor suit through the U.S. mail." There is a great, bright tone to the vocal delivery of those opening lines. "I want to be in that sailor suit, in my sailor suit." Jon Stickley is on lead vocals. The song expresses a desire to return to childhood, to the innocence of that time. But more than innocence, it was that sense of unlimited possibilities the world seemed to promise to us that holds such great appeal now. Our imagination also seemed limitless, and we trusted it, let it carry us into all sorts of territory. And these guys capture that sense, that great feeling. "Maybe sometime on a warm summer's day/I will find my way." Yes, the possibilities, at least some of them, are still there. There is also some fantastic guitar work on this track. "Why can't I be like I was back then/So free."

"Pioneers" takes us to "A different time from where I stand," as they sing. And our imagination, along with the music, takes us there as we listen "To see the lands not seen by man." Ah yes, that was always our desire when we were children, pretending no one had ever been wherever we happened to be treading. Yes, the previous song is coloring my experience of this track. This song was written by Larry Keel, and originally recorded by The Larry Keel Experience, who included it on the 1999 album The Sound. There is some beautiful guitar work on this one. "Take The Air" is an instrumental piece composed by Jon Stickley, and originally included on Jon Stickley Trio's 2023 album Meantime's Up. And here too is a sense of open possibilities, of capability, with a joy and excitement to the playing. Then a change comes halfway through, a pause, a breath. I think at that point in the original recording, the drums cut loose for a bit. Anyway, following that breath is more outstanding guitar work. This version is somewhat shorter than the original recording. The EP then concludes with "Starborn," a song written by Larry Keel in tribute to Jeff Austin, whom you probably recall from his time in Yonder Mountain String Band as well as for his solo work. This one comes on with a good energy, first in the guitar work, and then in the vocals. "And no one knows where one's mind goes/How it flows through the show, deep and powerful/For all to see, but when the curtains close/What will be will be." Interestingly, this one too has a sort of slight pause for breath in the middle, before building again and then going into a nice instrumental section. "Looking back on where we started from/All the things we've learned/So many twists and turns/But we're still carrying on." Indeed! There is then a mellower, more contemplative instrumental section at the end.

CD Track List

1. Future Ghost
2. Sailor Suit
3. Pioneers
4. Take The Air
5. Starborn

Larry Keel & Jon Stickley is scheduled to be released on September 5, 2025.

Marty Cooper: "American Portraits" (2025) CD Review

There is still a lot that is truly good about this country, despite the current efforts of fascists to destroy it all, and much of what is good is expressed in the music of this land - its stories, its people, its ideals (yes, those ideal still exist, at least in the hearts of many of its citizens), its dreams and goals. And when we listen to its music, we feel connected to its great tradition, its past. Marty Cooper, on his new album American Portraits, revisits some of his well-known songs, songs that were recorded by other artists, songs that touch on the themes and personality of this country. Songs in the folk and country realms. Joining him on this special release are Don Richmond on electric guitar, acoustic guitar, mandolin, banjo, dobro, slide guitar, pedal steel, fiddle, bass, keyboards, accordion and backing vocals (holy moly, that's a lot of instruments); Mark Clark on drums and percussion; James Doyle on drums and marimba; Tracy Doyle on flute; David Geist on piano; Jimmy Stadler on piano; Matt Schildt on piano; Andy Byrd on organ; and Rick Cunha on guitar and backing vocals. Also joining him on vocals are Christy Cornelius, Wendy Newcomer, Eliza Gilkyson, Julie Merrick, Robin James, Herb Pedersen, Gloria Hargis, Janice Hubbard, Hillary Smith, Teri McCartney and Lincoln Wilde. There are also a few tracks that were previously released, and those tracks contain different musicians. The CD has some really nice packaging, like a small hardcover book, the pages containing the songs' lyrics, along with some thoughts on the songs.

The album opens with "Stephen," one of the tracks that was previously released. It was included on Marty Cooper's 1979 record If You Were A Singer. "Stephen" was written in honor of Stephen Foster, the famous songwriter (he wrote "My Old Kentucky Home" and "Oh! Susanna") who was destitute at the end of his life. This track has a beautiful opening on vocals and guitar. "You sold your songs for a penny, you were hungry." This is a moving song. "But I can hear the banjos ringing round the fire," Marty sings, and we hear them too. That image stays with us. For me, that is one of those great images of the country, musicians around a fire. The song continues to grow, the backing vocals toward the end like angels receiving Stephen Foster in their arms. That's followed by another moving and touching song, "Their Roof Is The Sky," this one about the nation's homeless population and how they come from different backgrounds. "American dreams, American dreamers/Where do they come from, where do they go?/In this beautiful country, how wrong it all seems/What will become of American dreams?" This song is delivered with concern and compassion, something we'd do well to pay attention to now, particularly here in Los Angeles where the problem seems to be leading to a hatred of the people rather than the situation. "You who have money and plenty to eat/Why are you frightened of those on the street?/When you look in their faces, who do you see?/Everyday people just like you and me." No, the song does not address the mental health and drug addiction troubles that also contribute to the problem now. But it's a beautiful song.

"The Burlington Zephyr" is a more cheerful number, with a sense of optimism found in its subject, the song expressing an appreciation and respect for what people are able to accomplish. "Here she comes," Marty tells us, that line leading into a good instrumental section. After that section, we learn the fate of this achievement, this train. "Ah, but she's just a dream now/She's just a dream." Those final lines seem to speak not just of that train, but of much of this country. That's followed by "The Mississippi Blind Boy," a song about a blind street musician who was ignored by many, but not by one young boy. "People often passed him by and never raised their heads/As if they feared some wisdom in the words the blind man said." Then part of the song is delivered from the perspective of that musician: "Never let nobody know what you've got on your mind/Sing your song and move along just as if you were blind/And never let no fools possess the secrets of your soul/For the world can only rob you, it will never leave you whole." This song has a sweet, somewhat sad tone, featuring some nice work on violin. "Sing me a story," Marty sings, and that is precisely what he is doing, not just here, but in much of his music.

There is some really great guitar work at the beginning of "(I'm A) Yo Yo Man," with a nice, bluesy tone. Then as the song kicks in, it takes on more of a country sound, maintaining a cool vibe. It's a fun song, and one that was recorded by Mason Williams, who included it on his 1971 album Sharepickers. I could never master the yo yo, but I do recognize the names of the various tricks mentioned in this song. Then we get "The Ball Player." Baseball is the best sport, no question about it. And even though MLB seems determined to remove much of what makes the sport so special (by introducing the pitch clock, making a pitcher not have to throw the four pitches on an intentional walk, etc.), the sport maintains its appeal. But there are sad tales related to the game. "No cheering voices, no popping of the lids/Doesn't anyone know there's a ballgame today/Don't you know there is a ballgame today." And the song contains an acknowledgement of the changes: "I'm not sure what they're playing, but it ain't my game." That's followed by "The Oklahoma Wrangler," another good story song, a character song, this one about a man who is a cowboy who worked in rodeos and made his way to Hollywood, acting the part of a cowboy in films. There is a sweet sadness to this track, and it contains some nice work on pedal steel. "I said, 'Boys, it seems that things are getting worse most every day/When there ain't no place for men like me and you/And the villains are the heroes now, the heroes are just fools/Ain't a one a kid could look up to.'" It's a song of things that have been lost, a time that is gone, but lives on in music.

"A Little Bit Country, A Little Bit Rock 'N' Roll" is one of Marty Cooper's most well-known songs. Donny & Marie Osmond had a hit with it, though with changed lyrics. Here Marty Cooper delivers the original lyrics, which are much better. This song comes on with a wonderful country burst of energy, and contains good stuff on electric guitar. It is done as a duet with Wendy Newcomer. This is a cheerful song about those differences in a couple, and how those differences make them love each other more, not less, as their voices blending at the end surely demonstrate. This rendition is excellent. Forget the Osmonds, and enjoy this version. "In Santa Fe" is also a duet with Wendy Newcomer. There is a very different tone to this one, but just as much love. "We both know we need to get away/And I just had the craziest thought, why don't we sell everything we've got/And begin again in Santa Fe." There is something so appealing in that, isn't there? Two people creating a new start, giving their dreams a chance. It's a beautiful song, featuring some wonderful work on guitar and mandolin. Then "The Indiana Girl" has a nice, pleasant folk sound. This is one of the songs that was previously released. It was included on Marty Cooper's 1972 album A Minute Of Your Time. And Pat Boone also recorded it in the 1970s. "There within I see the dim reflection/Of long forgotten dreams and summer skies." As it grows, the becomes more country, and I like that work on pedal steel. "Sing, sing us a song of way back when."

"Cowboys And Daddies" is a song sung by a father to his young child, when having to take him back to his mother. Yes, it's a song of a divorced couple, and the relationship between father and son, and it might bring a tear or two to your eyes. "Someday when you're older and the cowboy's all grown/You'll know how it hurts every time I take you home." Then "You Can't Be A Beacon (If Your Light Don't Shine)" begins with the chorus, the backing vocalists giving it a spiritual vibe, a rousing sound. This is a positive, uplifting number encouraging people to lead by example and calling out those who are hypocritical (something I imagine many people in this country won't hear). "Think Of The Children As Roses" also begins with Marty's voice supported by some gorgeous backing vocal work. "Think of the children as roses/Fragile as flowers they live/When you help a child or a rose/You'll get back more than you give." Robin James joins him on lead vocals, singing "How many faces have each of us seen/On bitter people, defeated and mean/They were once children with dreams of their own." "Think Of The Children As Roses" ends with this line: "Love is what everyone needs." Simple and true, and something to keep in mind these days.

"The Biplane, Evermore" is a sweet children's song that has been covered by The Irish Rovers. This song was included on Marty Cooper's 2012 compilation I Wrote A Song. "And do not be discouraged by circumstance or size/Remember Evermore and set your sights up in the skies." "Little Bitty Ball" is also a children's song, opening with a spoken word introduction: "This is a song about our very own special place, the Earth/You know, most of us think of it as being a very big place/But really it's not." And in this song, he sings, "But I wonder why we have to hurt each other/When we're sisters and brothers every one." Indeed. We are causing great harm to each other and to this little bitty ball we're all on. That's followed by "Under Your Wing," a gentle, thoughtful number. To me, it's a song about how as we age, we need help again, perhaps from one special person. "I've flown past my dreams, I've lost them in the wind/Maybe in your arms I could find them again/Let the sweet sheltering warmth of your nest/Give me hope, bring me peace, give me rest/I'm a bird, I've been wounded in flight." I suppose we're all wounded now in some way. This is a beautiful song, featuring good stuff on pedal steel and fiddle. Burl Ives recorded this one, and it was included on his 1993 album The Magic Balladeer.

"The View From Ward Three (A Minute Of Your Time)" is one of the tracks that was previously released. It was included on A Minute Of Your Time. At the start, it's about a songwriter at the beginning of his career, needing help. "All I need is just a little start/And then I'm gonna tear this town apart/All I want is a minute of your time." And the song moves on from there, but still expressing that need, which perhaps never quite goes. "All I want is a minute of your time." At the end, the line changes to "All I wanted was a minute of your time." And we know that it is too late now. How many great voices were never heard because they weren't given a chance? That's one of the good things about the internet, allowing those people to reach an audience. This is a powerful number. Then Eliza Gilkyson and Rick Cunha join him on a beautiful rendition of "The Leaves," itself a beautiful song.  "Leaves of gold,we try to catch and hold/Save some time to live." Even that humming carries with it so much love and warmth and hope and meaning. This is a wonderful track.

"Little Play Soldiers" begins on drums, with a military vibe. Isn't it strange how kids play at war? Did they learn that, or is it something darker within our nature? "Little play soldiers, if only you knew/What kind of battles are waiting for you." How will we ever move past this desire to fight each other? Is it possible? The track ends with that drum beat, signaling that it continues, the play and the real thing. This song was recorded by both The Kingston Trio and The Brothers Four. That's followed by "One More Time, Billy Brown," which also addresses the pointless, endless horror of war. The verses are delivered as spoken word, from a father to a son, first when the son is an infant, and then when he's 17. The song takes turns a sudden, dark turn, and is powerful in that sudden change. The son is killed in war, and the father is looking down at him one more time, this time not in a crib or on the football field, but in a coffin. This song wonders how much longer this sort of thing will happen. Ah, so do we all. This song was recorded by Burl Ives, who included it on his 1971 album Time.

"I'm a stranger in your town," Marty sings at the beginning of "A Stranger In Your Town." These days, once again, people are not welcoming to such strangers. This country is full of fear and hatred. "I'm roaming around/And I'll never get home again." This is a really good folk song. "I'm seeking truth and justice." Well, you won't find those things in Washington, D.C., or in many areas of this country, not now, and perhaps not anymore. The album concludes with "I Wrote A Song," another moving number, this one originally included on A Minute Of Your Time. The first lines are "I wrote a song, I called it John/Before I could sing it, he was gone." The second verse changes John to Martin, and I can't help but think of Dion's "Abraham, Martin And John." The third verse is for Bobby. Three people who were cut down so early, murdered. Then Marty sings, "I have a song and I call it freedom/Now we'd better sing it before it's gone," the implication being that freedom could just as easily be killed. And we know today how true that is. This becomes a rousing number.

CD Track List

1. Stephen
2. Their Roof Is The Sky
3. The Burlington Zephyr
4. The Mississippi Blind Boy
5. (I'm A) Yo Yo Man
6. The Ball Player
7. The Oklahoma Wrangler
8. A Little Bit Country, A Little Bit Rock 'N' Roll
9. In Santa Fe
10. The Indiana Girl
11. Cowboys And Daddies
12. You Can't Be A Beacon (If Your Light Don't Shine)
13. Think Of The Children As Roses
14. The Biplane, Evermore
15. Little Bitty Ball
16. Under Your Wing
17. The View From Ward Three (A Minute Of Your Time)
    
18. The Leaves
19. Little Play Soldiers
20. One More Time, Billy Brown
21. A Stranger In Your Town
22. I Wrote A Song

American Portraits is scheduled to be released on August 22, 2025 on Howlin' Dog Records.

Tom Ciurczak at Molly Malone's, 8-8-25 Concert Review

Tom Ciurczak playing "The Watcher"

My two passions (apart from the special people in my life) are music and Shakespeare, and occasionally the two are combined. Tom Ciurczak's new album is titled Yorick, named after the jester in Hamlet who is reduced to a chapless skull, a stark reminder of where we're all heading, which Hamlet encounters just before four major characters, including Hamlet himself, meet their own demise. I ended up really liking the title track, but there were others songs on the album, unrelated to Shakespeare, that I enjoyed even more. And last night I got a chance to see Tom perform some of those songs at Molly Malone's.

"The Watcher"

Tom Ciurczak performs in a six-person band, and at 9 o'clock his band mates were ready, playfully calling for Tom to come to the stage. A moment later Tom strapped on his guitar, donned his shades, and, after a bit of tuning, was ready to go. Tom opened the set with "The Watcher," the lead track from Yorick, a perfect way to get things in motion. Afterward, he turned to his band mates and said, "Okay, let's rock this place." Backing vocalist Melissa Robin asked for more Tom in her monitor, and some folks in the audience picked up on it, joyfully hollering, "More Tom." "The Watcher" was followed by "Wild One," which also follows it on the new album. The song featured some great stuff by Ken Harrill on lead guitar. The band then played "All Night Long," which had a great rock beat. This is a song from Tom Ciurczak's I Ain't Ever Growing Up Volume I. By the way, bass player Phil Stein was sporting a T-shirt that read, "I ain't ever growing up." I enjoyed watching him attack that bass throughout the set. "All Night Long" had a cool section where each of the band members got a moment to shine. That was followed by another song from the new album, "Malleus Maleficarum," with Tom first mentioning the new release.

"Mine Torne Road"

In introducing "Mexican Jail," Tom said they were now going to have some fun, and he wasn't kidding. Really, the whole set was fun, but this was a particularly enjoyable number. It comes from I Ain't Ever Growing Up Volume II. It was followed by "Mine Torne Road," from Call Me Ishmael, a song in the great tradition of Bruce Springsteen, and featuring some good stuff by Chris McKinney on keyboard. That song led straight into "Small Town Girls," the lead track from I Ain't Ever Growing Up Volume II, and another highlight of the set. That was followed by "Bonnie And Clyde," a song with a great energy, particularly to the vocal work. Tom then played "Where Do I Belong," one of my favorite songs from the new album. It was great getting a chance to see him play this one. Tom then concluded the set with "I Ain't Ever Growing Up," first mentioning that it is the song they usually choose to close their shows. "So here we go." The energy was high for this one too.

Set List

1. The Watcher
2. Wild One
3. All Night Long
4. Malleus Maleficarum
5. Mexican Jail
6. Mine Torne Road >
7. Small Town Girls
8. Bonnie And Clyde
9. Where Do I Belong
10. I Ain't Ever Growing Up

Here are a few more photos from the show:

"The Watcher"

"The Watcher"

"Wild One"

"Malleus Maleficarum"

"Mine Torne Road"

"Where Do I Belong"

"I Ain't Ever Growing Up"

Molly Malone's Irish Pub is located at 575 South Fairfax Ave. in Los Angeles, California.

Ted Russell Kamp Releases "California Son" On Vinyl

Ted Russell Kamp played a special duo show with guitarist Billy Watts last night at Ireland's 32. And making the evening even more special, it turned out that vinyl copies of his California Son album had arrived, and so they were available for the first time. Thus the night became a sort of vinyl release celebration, though an unexpected one. The album, as you might recall, was released on CD in March of 2024. Due to the relative space limitations of vinyl compared to compact disc, two of the CD's twelve songs were left off the record. But my favorites are on it, including "Shine On," which he wrote with Rob Waller and Paul Lacques of I See Hawks In L.A. (the Hawks also perform on that track), and "Hangin' On Blues." From what I gathered at the show last night, this is his first album to be released on vinyl. He opened the show, however, with an older song, "Last Drop," which was included on his Night Owl album. Here are a few photos from the first set, which featured some excellent original material, including "Hangin' On Blues," "Waste A Little Time With Me" and "Home Away From Home," along with a cover of Bob Dylan's "She Belongs To Me."

Mary Strand: "I Don't Need Your Permission" (2025) CD Review

The world seems to have gone sideways, and it's not just the creeps on the right wing (the ones we've come to expect to talk rubbish), but folks on the left as well. People have lost their sense of humor, their sense of compassion, and whatever it was that we used to refer to as "common sense." In short, people have gone cuckoo. I find myself turning more and more to music for compassion and honesty, as well as for fun. Remember fun? That's not to claim or opine that folks shouldn't have something to say, of course. Certainly Mary Strand does on her new album, I Don't Need Your Permission. That title itself should clue us in that she has a perspective, that she has a message, and that she's not going to be shy about expressing it. She also delivers it with not only power and honesty, but also often with a sense of fun. And that's what rock music is still about, isn't it? This album does rock, mixing in both punk and pop elements. I Don't Need Your Permission follows her 2023 debut Golden Girl. It contains all original material, written or co-written by Mary Strand. Mary is joined by Ryan Smith on electric guitar, acoustic guitar, 12-string guitar, E-bow, sitar, Mellotron, piano, synths, bass, percussion and backing vocals; Mark Wade on bass, upright bass, electric guitar and backing vocals; and Jack Strand on drums.

The album opens with "Take Your Time" a great rock number with something of a power pop vibe, particularly to the chorus. "Take your time, boy, but understand/That I don't need just any man/I couldn't be better, I'm feeling great/I finally lost all your dead weight/But take your time, take your time, take your time." What's interesting is that while, yes, there is a delicious attitude to her delivery, there is also a sort of kindness, and a joy, and that sets this song apart, elevates it. That aside, this song also features some great stuff on guitar. That's followed by "Yours Until Tomorrow," a song that directly addresses a man who is a musician: "A guy like you might be a tease/Or an epic shooting star/You're up on stage past midnight/Singing love songs for me." It's interesting how those lines put Mary Strand in the audience. "I've kissed a few boys, made a lot of mistakes/And I've learned how to tell the good ones from fakes/But there's something about you, so I'll take a chance/'Cause sometimes a girl wants to get up and dance." Immediately following those lines, the guitar seems to get up with her and dance, a wonderful moment.

"Costa Rica" is a fun number that describes a certain trip that goes a bit wrong. This one was co-written by Ryan Smith, who joins her on lead vocals for a duet. "Dirt roads, flat tires, getting lost for hours/And why does our bathroom have cold showers/Now, don't make some big commotion/Let's take a quiet walk down to the ocean." This track has a funny and sudden ending. Then "Ditch Your Fate" was co-written by Mark Wade, and he joins her on lead vocals as well as guitar. As it begins, the feel of the guitar work reminds me of some of the rock music I grew up with, the songs played at those first dances I went to in junior high, so perhaps I am, in some way, predisposed to love it. But the message of this song is so appealing, particularly as time is racing by these days: "Ride the wave, make some noise, risk your heart/Climb a mountain, make a brand new start/Explore the globe, ditch your fate/Find the you you want to be before it's too late."  Yes, it's a seize-the-day type song, and she even uses that phrase at one point: "Seize the day before it's past." This song is also about the current political and social morass this country finds itself in. And, again, there is a friendly aspect to her delivery that makes me feel somewhat optimistic. "Don't preach gratitude, but change your attitude."

"A Place To Roam" has a different feel, establishing a cool rhythm. I could do without that "Ooh ooh" backing vocal bit, for it reminds me too much of idiots at a club, but it's a good song. "I came here to write a novel/But I'll settle for this song." That's followed by "Stay Or Let This Go," one of my favorite tracks. "The years have not been kind/And I've nearly lost my mind/Should we stay or let this go/I can't fake the status quo." It's a song of a lengthy marriage that seems to have reached a critical point, and it is a fun number delivered with a good dose of humor. It also features some really nice work on bass. "The world keeps spinning/And we're not winning/But I give up the fight/And turn off the light." Then "Wanna Talk Dirty" announces itself as a fun number at the start, with that great beat, and while its opening lines are playful, they also have something to say: "You don't know that my favorite color is yellow/Or that I love candy corn and Jell-O/I don't even know what car you drive/Let alone what makes you feel alive." These lines also stand out: "I love how you roll your eyes, but rarely speak/Every time I admit what I did this week/There's magic in how you gaze at me/Even when you question my sanity." This is a wonderful rock song, with a kind of appealing innocence, heard in lines like "I kinda sorta maybe wanna talk dirty to you/But it's not the sort of thing I tend to do."

"Least Of All Her" is a powerful number about violence against women, an ongoing and serious problem that the fascists in office will do nothing about. Early on, the lyrics mention that "boys-will-be-boys" attitude, something we've a heard a lot in recent years. Hell, we have at least one rapist on the Supreme Court (isn't it telling that they couldn't find a better candidate for that position, one that wasn't a sexual predator?), and a rapist in the White House. So what kind of message are we sending to young women? Well, I'll tell you. The message is, you don't matter. Mary Strand has a different message for young women, and I love that she doesn't hold back here. "We both know you wanna mess with my head/So maybe I'll think I'm better off dead/But I'd rather send you to jail/And hope your mom can't post bail/You'll cry on cue for the judge/And tell the world about your grudge/But I'll speak the truth in my own way/And pray you're fucked on judgment day."  "For All Of Us (Dear Taylor)" is also a serious number. It opens with these lines: "You were a kid with a dream/And, really, you are still/Maybe you're not everything you seem/But you're still climbing up that hill." There is something positive and encouraging here. It's a song offered with great spirit. "Stay the course, girl, light it on fire/When they go low, keep reaching higher/For all of us/For all of us." There is also some strong work on guitar. Then in the chorus of "If We Could," Mary Strand sings, "If we could travel back/Through time and space/And maybe unravel all the things that went wrong/Before accusations took up half the night/And truth wasn't just some trick of the light/Would you? Could you?"

"I Don't Need Your Permission," the album's title track, takes us back to childhood with its first stanza. And then she tells us, "I'm blasting through this life of mine/A woman on a mission/So don't try to give me advice/'Cause I don't need your permission/I don't need your permission." It is a song that urges you to be who you are, and not worry about labels. It's crazy, but for some reason, rather than moving away from labels, people are embracing them more than ever. Now we have to deal with so-called identity politics. The song has a playful bent that I appreciate. The album concludes with "Does Any Of This Really Matter." This is a song about aging, about all of us. Look, we're all going to face these things. More things unite us than separate us, yet people still want to fight, want to spend their time working to limit the rights of others. It's insane. "Limping through life on failing knees/And trying to avoid the latest disease/Angry words and bitter tears/Too many losses through the years." There are some psychedelic elements to that instrumental section, which I love. "Everything changes/But stays the same," Mary sings here. Indeed. And to the question, no, I don't think any of it really matters. It matters to us as individuals, of course. But it's all over much too soon for it to really have any meaningful impact. Life is short. And this is it, friends. There is likely nothing afterward. So enjoy yourselves and don't be assholes.

CD Track List

1. Take Your Time
2. Yours Until Tomorrow
3. Costa Rica
4. Ditch Your Fate
5. A Place To Roam
6. Stay Or Let This Go
7. Wanna Talk Dirty
8. Least Of All Her
9. For All Of Us (Dear Taylor)
10. If We Could
11. I Don't Need Your Permission
12. Does Any Of This Really Matter

I Don't Need Your Permission was released on August 1, 2025.

Fernando Perdomo: "Waves 7" (2025) CD Review

Fernando Perdomo is continuing his incredible Waves album series with Waves 7, which was released on July 1st (so, yes, if you're keeping track, there is actually another volume already out, which I will get to soon). For those are unaware, Fernando Perdomo launched a special project at the beginning of the year, releasing a new album of all original material on the first of each month, a new album on which he not only composes all the tracks, but plays all the instruments. No small feat. Somehow during this project, he has also managed to keep a fairly busy schedule of live performances and also work on other albums. The Waves albums feature cover photos by Joe Galdo, and the photo for the seventh volume, featuring the sun over the ocean, really feels fitting for this particular group of songs, with titles like "Soul Of The Sea" and "Sunset Moonrise."

The album opens with "Sunrise Lightshow." And yes, its first moment does feel like a strong beam of light shining upon us, with a certain power to change things, to bring life. The guitar has a nice, mellow feel early on, and the piece moves at a slow pace, easing us into the world of the album, urging us to sit back and enjoy. There are some pretty elements to this track, helping soothe us. The energy begins to build in intensity in the second half, the track becoming exciting. It builds and builds, reaching a surprising level of power, and now the music rushes about, flowing above us, until just before the end, when it relaxes again, recedes, leaving us in a different state from the beginning. The guitar work in "Mirror Image Mirror" also has a kind of mellow, relaxed feel, at least at the beginning, creating a nice, dreamlike quality. This track also takes a turn, much sooner than the previous piece, creating several peaks in quick succession before then moving to a more soothing place again, though still with some power behind the guitar.

"Majestic AF" comes on with a great, bright, joyful force that is wonderful. I found myself smiling like a madman throughout this track. It is catchy too. And check out that outstanding bass work. There is a glorious power here, and we can feel it running through us as well as above and around us. There are moments when it feels things might change, but then the joy comes rushing back in, without any diminishing of its force. This is one of my personal favorite tracks. So much is happening, all of it wonderful. Then "Soul Of The Sea" begins in a more contemplative space, a song built of memory as well as of hope and beauty, that guitar singing and leading us upward. There are some great, surprising moments too, when a shaft of light rushes up from below, piercing the sky and allowing us passage into some new place we didn't think we'd be able to go. This one takes us on a good journey, and then releases us on a new plane, a new home.

The electric guitar work of "Resolution" feels like a character, with goals and needs, and it moves within a certain space of joy and knowledge, imparting to us something of its experiences, something of that knowledge. The other instruments support that voice. I love the way the guitar soars, gathering us and taking us along. This is one of the album's most beautiful tracks. It is followed by what is labeled as "George's Garden," but which I think is actually "Drums Of Peace." This one has a surprising opening moment, a strange beginning that grabs our attention with that percussion. And then it begins to build and open like a flower that all at once blooms, demanding our attention, announcing, "Here I am!" There is something here that has a great feeling about it, spreading a kind of electric joy and excitement. And then there are reminders of that opening, the percussion remaining a key element. There is also a bit of a psychedelic thing too. This is another of my personal favorites. On sites such as Bandcamp and YouTube, what is titled "George's Garden" is listed as "Drums Of Peace" here, so it seems the two tracks somehow got switched on the disc.

Right from the beginning of "Turn Of The Tide," there is a positive bent to this track that is incredibly appealing, even if there are hints of melancholy beneath it all. The guitar wants to take us through, or perhaps above, any trouble we may be experiencing, reminding us of some more important truth. The track's forward movement doesn't give us too much time to think back on our past. Let's just see where this will take us. Watch the light playing upon the water and follow it to some new horizon we hadn't dreamed of. And then we are suddenly there, within that light, within that future, and it feels good. That's followed by "Fever Dream." As its title might suggest, there is a dreamlike feel to this piece, the guitars even leaving an echo of our dreams behind, which we can experience again. There is something soothing about this piece. We feel relaxed, but attentive, without worries, immersed completely in the experience, the sounds painting vivid colors across the landscape. It's over all too soon.

What is labeled "Drums Of Peace" on the CD case, but which seems to be "George's Garden," has a moment at the very beginning like it is gathering power, and then there is a burst of energy and we have no time to consider our surroundings, because we are within this engine, this streak of light. The guitar is what guides and determines our journey. The album concludes with "Sunset Moonrise," which fades in and has its own beauty. And perhaps because of the way it fades in, it feels that the beauty is of the eternal kind. We are catching a piece of it here, but other people will experience other pieces, and the same goes for those before us. At least, that is the feeling we get. Yet there are still some surprises, like that moment approximately two minutes in. And the track finds a soothing place, a solid light beam of sorts. Interestingly, as it begins to fade out, there is a similar sensation to that of the beginning of the album's first track. It is like we are at the beginning again. What a wonderful journey this album takes us on. This might be the best volume in the series so far.

CD Track List

1. Sunrise Lightshow
2. Mirror Image Mirror
3. Majestic AF
4. Soul Of The Sea
5. Resolution
6. George's Garden (though likely "Drums Of Peace")
   
7. Turn Of The Tide
8. Fever Dream
9. Drums Of Peace (though likely "George's Garden")
   
10. Sunset Moonrise

Waves 7 was released on July 1, 2025.

Piper & The Hard Times: "Good Company" (2025) CD Review

At the beginning of last year, Piper & The Hard Times won the International Blues Challenge in Memphis. Then that summer the Nashville-based band released Revelation, an album featuring some excellent original material, largely in the blues realm, but with soul and rock elements too. That album reached #1 on the blues chart. Not a bad year. Now the group is releasing a new album titled Good Company, this one featuring all original material. And I imagine it will gain the band even more acclaim and recognition. The band is made up of Al "Piper" Green on vocals, Steve Eagon on guitar, Amy Frederick on piano and organ, Parker Hawkins on bass, and Dave Colella on drums and percussion. Lisa Oliver-Gray and Etta Britt provide backing vocals. And there are guests on a few tracks.

Good Company opens with its title track, a rocking blues number with a great energy. Early in the song, Al sings, "Making good music, what it's all about." Yes! This is a song that celebrates music and friendship. And hey, those are the very things that keep us going, keep us sane, in these ugly times. And the band touches on that in this song: "I'm sick of these times, y'all/Listening to the news/Everybody's opinion/Is bringing me the blues." I think we can all relate to that. The band is eager to jam, this track featuring some good stuff on guitar and keys. And it is possible that this song might lead to a bit of self-reflection. Do the people in your life consider you good company? "Good Company" is followed by "Now I'm Lovin' You," which quickly establishes a totally delicious groove, and features great stuff on saxophone. Eddie Meyer and Charlie DiPuma are both on sax. "I used to love my whiskey/Now I'm loving you." The band is having fun here, and I have to think this song would be a highlight of the band's live sets. I need to see these guys in concert. This song urges us to dance, that rhythm speaking directly to our bodies, and the guitar flies and swirls around, dancing itself.

A solid, thumping beat at the beginning of "Tear It Down" tells us the band means business here, and the business is good fun. That beat tells us to get ready, be prepared, and the song begins to build around that beat. Eddie Meyer again joins them on tenor saxophone. "Why are we so broken/Listen, it ain't funny/I'm not joking, y'all/We don't listen/We don't hear/It's all driven/By someone else's fear." Well, those are lines for our times, aren't they? And then the band reminds people, "No one wears the crown," something that sadly half of this country seems unable to understand. "I'm so tired/Body and soul." That's the thing: this time we are living in is exhausting. And I know that I personally get cranky when I'm tired, so perhaps it's no wonder that so many people are cranky these days. But this music has a very positive bent, seeming eager to move things forward, past this current mire. Then John Wallum joins the band on organ for "Cowboy Gucci," delivering some good stuff. Here the guitar helps create the steady rhythm. And the vocals are a great raw force.

Good rhythms are an important part of the music here, and with "In The Meantime," a particularly cool rhythm is established at the onset, one that will likely have you smiling. Interestingly, the vocal approach carries a somber tone. "You've got some thinking to do/I don't think you're being true." This song offers a look at a relationship, where there is a difference of views. "You do your thing/But let me do mine." And he repeats, "Let me do mine," and the guitar rises up in support. During the instrumental section, it seems time is passing and changes have occurred, for afterward Al sings, "I'm on my own, y'all/And look at me now." There is a seriously cool instrumental section just before the end, featuring some nice stuff on guitar. Then "Turn The Tables" begins in a mellower place on guitar, and that guitar soon finds a classic blues groove. The first line (after that spoken word intro, that is) is a variation on that classic blues opening line, "I woke up this morning": "You woke up, baby/Tears in your eyes/You say you don't want me no more/But I'm the one with the surprise." I love the way this song is presented, vocals and electric guitar, an approach that ends up making this track stand out.

With "Runaround Man," the band is ready to rock, the drumbeat calling everyone in and pushing them forward. "I'm going to run, run, run, run, run all over town." There is a tremendous energy, and a certain attitude to his delivery. His woman has been treating him wrong, so he's going out too and do the same thing. That might not be the best strategy for a sound mind, but it makes for a fun song, for sure. Check out the great work on both guitar and keys. "Cheatin's Gotta End" also tackles that subject, as evident from its title. "I sit at home all day, you on my mind/But now you are here, and you're looking so fine." This track contains some excellent work on guitar. Interestingly, this song is one the band recorded before. Apparently, originally the band was called Piper, and the first album, released in 1999, was called The Hard Times. That album contains a rendition of "Cheatin's Gotta End."

"Keep It To Yourself" begins with a spoken line: "That sounded like a bomb or something going off in the background, what was that?" We don't know. But the song starts, taking us to a bar and the action there. "Well, people tell me the strangest things/They start to talk before they start to think/And they tell me all their secret stuff/But I tell you, man, I done had enough." And he urges them, "Keep it to yourself." I think we can all appreciate that. I am often amused when people I've just met open up with all sorts of personal information, but sometimes it gets annoying. And it's usually those times when the person just won't shut up. But my favorite line is this: "Now talk is cheap, I'm gonna raise my fee." This is a fun number. It's followed by another fun number, "Not Your Fault," the sax being a big part of the song's appealing sound. This track also features some excellent drumming. But the lyrics are my favorite element of this one. Here is a taste: "Man starts a riot and breaks the law/Now politics and lawyers, he tried to get off/Now he was looking to find the right reason/To blame it on the stress of the holiday season." We all know the man he is singing of there, and that man has sadly led others to approach things the same way. These days, most people just can't admit to a mistake. A guy driving the wrong way down my street yesterday told me it wasn't his fault, blaming his mistake on his phone. Anyway, I'm seriously digging that work on keys during that great instrumental section. This is one of my favorite tracks.

"My Place" has a good, heavy sound as it starts. "We're all stressed about bills to pay/Hell, how are we going to make it through another day?" This song urges us to take a moment to relax, to step away from the stress and listen to the blues. And indeed, that can be the very thing to do the trick. The blues have that capability. This track features an excellent lead on guitar. And I love that backing vocal work toward the end. Then "Those Days" begins with a spoken word section, looking back to the times when he was growing up: "And when you got in trouble, it was the kind of trouble you could walk away from/You know what I mean/Those kind of days." I would hate to grow up now, with school shootings and social media dominating the days. Things have gotten ugly, and children can no longer be children. And we wonder where it all went wrong. It makes sense to look back to childhood now, and to those childhood friends. For they still are our friends. Their memories are our memories. It is always good to hear from them, and to see them, and that's what this song is about.

CD Track List

1. Good Company
2. Now I'm Lovin' You
3. Tear It Down
4. Cowboy Gucci
5. In The Meantime
6. Turn The Tables
7. Runaround Man
8. Cheatin's Gotta End
9. Keep It To Yourself
10. Not Your Fault
11. My Place
12. Those Days

Good Company is scheduled to be released on August 29, 2025 on Hard Times Records.

Mike Pope: "Songs For People High & Low" (2022) CD Review

Mike Pope is a singer and songwriter based in San Diego. In 2022, he released two albums on the Blind Owl record label. Songs For People High & Low, one of those two discs, features mostly original material (along with one Townes Van Zandt cover), music in the folk and acoustic realm with some strong vocal work. Joining Mike Pope on this album are Peter Hirsch on bass, cello and backing vocals; Andy Rae on percussion and backing vocals; and Brady Alvarez on banjo and backing vocals. There are also a few guests on various tracks.

The album's opening track, "Mirror," begins with some pretty guitar work. The rhyme of the song's first lines, "Heard you got another dollar, what's that to ya/All you want's another chance at hallelujah," can't help but call Leonard Cohen's "Hallelujah" to mind. There is an energy to Mike Pope's vocal performance that is in some contrast to the gentle guitar work, and his voice is joined by some beautiful backing vocals. There is a vibrant beauty to the vocal work. "Heard you're bent on breaking things that are trouble to ya." This is a really strong and compelling opening track. It is followed by "Steep Cracked Rocks," which has a classic folk sound as it starts, featuring really good stuff on guitar. Again there is an energy to his voice. You get the sense of him not really needing a microphone, being able to reach a crowd without any sort of amplification. "I look too deeply and I hear those thoughts/I pick myself up." This track also features a nice bass line. Jeff McElroy plays bass on this one. The song ends abruptly and appropriately with the line "But right now I don't feel like talkin'," which is amusing.

"To Teach And To Sow" has an intriguing beginning, with more electronic sounds mixed with acoustic ones. A folk sound begins to emerge from this unusual atmosphere, as the winds continue to blow around the proceedings. Orion Ferguson is on synths here, helping to create that atmosphere. "And that's to teach what can be known/And that's to sow what can be grown." This is a seriously cool song, and its conclusion is as wild as its beginning. Then we get "Maryanne." A glance at the track list on the back of the case reveals this is the first of three "Maryanne" songs, and the titles of the other two are part of the reason for my initial interest in this disc: "Maryanne (Again)" and "Maryanne (Again And Again)." We have those people who persist in our lives, don't we? The titles have that feel. Anyway, this song has a folk feel, in some contrast to the previous track. "Maryanne talks about love/It's like it comes from stars above/Like there's something that it's made up of/That only she knows." This is a song that I appreciate more and more as it continues. "And all that she asked of me was to be thoughtful/Not to go on singing my words like they were gospel/But now she's got me built up into being something awful."

There is a bit of studio noise at the start of "Shooting Star," and then the song begins with a sweet guitar part. There is something adorable about this song. Here is a taste of the lyrics: "And I ain't waiting 'til 9/No, I ain't waiting 'til 9/She either comes or not, that's fine/But I ain't waiting 'til 9/And I ain't waiting 'til 10." I love the humor in that, because obviously when he sings that he won't wait until 10, it means he's already waited past 9 (and 8, for that matter, as noted in the first lines). I suppose that's even clearer here: "And I ain't waiting a week/Well, maybe I'll just give it a week." There is some wonderful backing vocal work on this track too. (By the way, the CD case lists another song here, "Ain't It Strange," but that song is not on this album. It is actually the lead track on Mike Pope's other album released at the same time.) "Shooting Star" is followed by "St. Augustine." Clinton Davis plays violin on this track, delivering some really nice work right from the start. This song mentions Bob Dylan in its first lines: "Well, last night I had Bob Dylan's dream/I dreamed I saw Saint Augustine/And he was looking for them troubled souls." After approximately a minute and a half, the song kicks in to become a fun bluegrass number, the violin taking off. What a delight! There is some delicious stuff on banjo too. After that great instrumental section, those first lines are delivered again, but at a quicker pace now, fitting with this bluegrass sound.

"My Gods" has a darker opening, a haunting sound featuring some gorgeous work on strings. Anna Levitt plays violin on this track, and Jody Bagley delivers some really interesting work on piano. "I've got my gods, ain't giving them names." This is another of the disc's highlights, a song that almost overwhelms us. That's followed by "Ain't It Fine," which begins with some soft work on guitar, and really begins to shine when the vocals come in. "Oh, the springtime must have come/Because the earth is sweet with flowers." This is an absolutely wonderful song, featuring excellent vocal work, a great blending of voices. The sound, which has a classic feel to it, makes me feel good. And don't we all need that these days?

Then we get the second "Maryanne," titled "Maryanne (Again)." It's not a different song, but rather a different version of the same song. Its differences are apparent from the start. This is a cool, intimate, raw rendition, delivered in a more straightforward way. It has the feel of a live performance. That's followed by the album's sole cover, Townes Van Zandt's "None But The Rain." The guitar is soft, the vocals at the fore. This track features beautiful harmonies. "So tell me gently, who'll be your lover/Who'll be your lover after I'm gone/Will it be the moon that hears to your sighing/Will it be the willow that hears your lonesome song?" The album concludes with its third "Maryanne," titled "Maryanne (Again And Again)." This one has a cool back porch vibe. Each of the three renditions has its own sound, its own different approach. This one becomes more lively as it progresses, particularly in the vocal work.

CD Track List

1. Mirror
2. Steep Cracked Rocks
3. To Teach And To Sow
4. Maryanne
5. Shooting Star
6. St. Augustine
7. My Gods
8. Ain't It Fine
9. Maryanne (Again)
10. None But The Rain
11. Maryanne (Again And Again)

Songs For People High & Low was released on October 7, 2022, and is available on both CD and vinyl.

The Legendary Ten Seconds: "The Pageant Of Torbay Part One" (2020/2023) CD Review

Ian Churchward's fantastic ongoing project, The Legendary Ten Seconds, takes inspiration from the life of Richard III, many of the songs relating the story of the War of the Roses and beyond, the music a wonderful combination of classic and modern sounds. Not every song is about the often maligned king, however. The album The Pageant Of Torbay Part One is about The Torquay Pageant of 1924, which celebrated the history of that area. Ian Churchward was inspired by a lecture given by David Hinchcliffe about the pageant. The album features all original material, written or co-written by Ian Churchward. Ian Churchward plays guitar, Mellotron and mandola on this album. He is joined by Mike Zarquon (who goes by the name Lord Zarquon) on Mellotron, keyboards, bass and drums; Bridgit England on vocals, keyboards and violin; Phil Swann on guitar, 12-string guitar and slide guitar; and Elaine Churchward on vocals. There are also a couple of guests on certain tracks.

The album opens with its title track, "The Torquay Pageant Part One." The first five words of the song's first line, "A passion for the past took the counties over," seem to describe this project as a whole. Ian Churchward clearly possesses a strong passion for the past. We hear it not only in the subjects of the songs, but in the music's sound. There is a sweet joy to this track, and some beautiful vocal work by Elaine Churchward, who co-wrote the song with Ian Churchward. I love the blending of their voices. The track sets the scene, working as an introduction, welcoming us. Toward the end, Ian sings, "Now the pageant is forgotten," but this album is testament to the contrary. Then "Torre Abbey" has a more somber vibe. This one takes us back to 1196 and the founding of Torre Abbey. "Many gifts and bequests were received/And their faith in God, they truly believed." This track contains some interesting changes that stand out, especially that cool guitar work. What is also interesting is that the song moves forward several centuries at the end, to the dissolution of the monasteries by King Henry VIII in the late 1530s. Yes, this music contains history lessons.

"William Of Orange" takes us to the 1600s, when William of Orange took the crown from King James II. He and his forces landed at Torbay in 1688. This track has a wonderful, bright sound and is catchy. There is some beautiful work on violin in the second half. That's followed by "The Billy Ruffian," the song's title referring to a boat that was known by that name. Officially known as HMS Bellerophon, it is the ship that Napoleon surrendered to. The ship then landed at Torbay. Again, we can learn a lot from these songs, which is great for those of us in the U.S., where knowledge of history is probably a bit lacking. Don't let the idea of learning something turn you away from this album (or any album by The Legendary Ten Seconds, for that matter), for the music can be enjoyed apart from that. This track has a strong beat, and features some excellent guitar work. There is even a great instrumental section that includes hand claps. Sam Swann plays bass on this track.

"Riots In Torquay" opens in a darker place, the tone of its first moments captivating. And soon there is the distant sound of shouts, before a good rhythm is established. This song tells the tale of riots provoked by the high price of food, something we can certainly relate to now. Known as the Bread Riots, and also as the Food Riots, they took place in 1847 and 1867. This song is beautiful, and again there is a wonderful combination of male and female vocals. Some sound effects are used again later in the song, but they are never overwhelming, but rather in the background. The next song, "Torre Station," takes place around the same time, but this one describing a more cheerful occasion, the opening of Torre Station, which occurred in 1848. It begins with the sound of a locomotive. "The whole event was a great success/Banners proclaimed Brunel's broad gauge/Locomotives in the Victorian age." This one ends as it began, with a train leaving the station. "The Wonderful Paignton Pudding" is also related to the railway, beginning with the lines "In August 1859/They extended the Torbay railway line." This pretty number has some electronic elements, some nice work on keys, and a gorgeous vocal performance. Bridgit England co-wrote this one with Ian Churchward.

"Patent 8294" also takes place in the 1800s. This is a song about Isaac Merritt Singer and his patent for the sewing machine. The connection to the album's theme is that he had moved from New York to Paignton. This one has a somewhat different sound from the earlier tracks, the vocals supported by mainly by keys, though there is also a good lead on guitar in the second half. That's followed by "The Torquay Regatta," which begins with some excellent guitar work. This one also has it own special sound, with acoustic guitar playing an important part. This track also features a strong vocal performance. It was written by Elaine Churchward and Ian Churchward. Then "Buffalo Bill In Torquay" tells of Buffalo Bill's Wild West Show's visit to Torquay in 1904. "Riders from many a nation/Bringing great acclamation/Colonel Custer's last stand/With Buffalo Bill in command."

"Arnold's White Feather" begins with a beat. Here Ian sings, "The suffragettes are busy in the town of Torquay/Handing out white feathers to the men that they see." The white feather was a symbol of cowardice. As for the Arnold of the song's title, Ian Churchward tells us, "Arnold Ridley was a teacher at a Torquay school/Received a white feather which was rather cruel/Seen by a suffragette who wore a fox fur/His silver war badge he didn't show to her." And we learn that he had been wounded in the first World War. It was in 1917 that he was handed the feather, not long after being discharged from the service. That's followed by "Agatha Heads Off East," a song about Agatha Christie, who was born in Torquay. There is something beautiful, almost magical about the music here. It is an unexpectedly captivating number, and you might find yourself singing along with the repeated line "It healed her broken heart." This track features a really good bass line and some excellent guitar work.

Interestingly, "The Lady Cable" is another song about a boat, and, like "The Billy Ruffian," it is named after a specific boat. The Lady Cable, a passenger boat, went from Torquay to Dunkirk for the evacuation during World War II. The track begins with the sounds of war. "At Dunkirk there was danger/From the sky, stern and starboard/Called the Lady Cable/She'd sailed from Torquay's harbor." I love the whole vibe of this track, and it features another strong bass line. That's followed by "The Funk Hole Myth." The Funk Hole Myth: Torquay During World War II is the title of a book by David Scott. Apparently, there was an accusation that Torquay was a hiding spot for those who didn't want to contribute to the war effort. Yes, here we get another fascinating story from history delivered in song. One can certainly learn a lot from this album, and be inspired to learn more. And this track features one of the album's best vocal performances. The album concludes with "The Theatre Of Pain," a playful number about the Torquay United Football Club, nicknamed the Gulls. This is a song I could have related to more before 2004, for the Red Sox until that year always managed to find a way to lose (and yet we always had a good time at the park). "Another season goes down the drain/We have such fun at the theatre of pain/Come and watch the Gulls lose once again." Guy Bolt plays drums on this track.

CD Track List

1. The Torquay Pageant Part One
2. Torre Abbey
3. William Of Orange
4. The Billy Ruffian
5. Riots In Torquay
6. Torre Station
7. The Wonderful Paignton Pudding
8. Patent 8294
9. The Torquay Regatta
10. Buffalo Bill In Torquay
11. Arnold's White Feather
12. Agatha Heads Off East
13. The Lady Cable
14. The Funk Hole Myth
15. The Theatre Of Pain

The Pageant Of Torbay Part One was released on September 15, 2020, and then as a limited edition CD on November 29, 2023.

Grateful Dead: "Dave's Picks 2025 Bonus Disc" (2025) CD Review

Yesterday was Jerry Garcia's birthday. Folks are now gathered in San Francisco to celebrate that occasion and also sixty years of the best band that ever existed, the Grateful Dead. The band is long gone (thirty years now), but the music continues, and some of the spirit too (certainly not all of the spirit, as tickets for these Dead & Company shows in the park were $245, a far cry from the free shows the Dead once played there). I held my own little personal celebration here in my tiny apartment, listening to this year's Dave's Picks bonus disc, which arrived with Dave's Picks Volume 54. It contains a portion of the show the Dead did on March 31, 1973 in Buffalo, New York. The disc contains the end of the first set and most of the second set.

It begins with the final song of the first set, "Playing In The Band," and there is a great energy from the start. It isn't long into the jam before we get into some magical territory, Jerry's guitar leading the way, or perhaps creating the way. Things continue moving forward. I love the excitement of the journey. This really is about seeing where the music can go, where it can take us. It's a great dance with whatever forces might exist, meeting them on common ground. To do that, the band has to first get us there. That's the journey. And they certainly manage it here. We begin to experience new possibilities and tangible, if passing, realities, the band teasing them into different shapes, coaxing from them even an answer or two, before then returning to the song's main theme. And, hey, we're back on firm ground, though changed from the experience. Better, more aware, more open. Bob Weir then announced the short break.

The rest of the disc comes from the second set, skipping only the first three songs. Some playful tuning leads into "He's Gone." This version of "He's Gone" isn't quite as stirring, as moving, as the one from the March 26th show (on Dave's Picks Volume 54), but it's still really good. And that vocal section is gentle and sweet at the start, then becomes more energetic, even fun, like a celebration in honor of a life, rather than mourning its loss. The band then pushes into "Truckin'," everyone together driving this monster down that road regardless of obstacles. And the crowd cheers at the mention of Buffalo. There is a great power behind this rendition. It feels like it could move mountains if need be. Fantastic. The jam then gets into bluesy territory for a bit. Bill Kreutzmann is eager for a solo, you can feel it, and he soon gets it. It's not a very long drum solo, but it's good. It sort of functions as a connection between "Truckin'" and "The Other One." This "Other One" has some of the same great power and force as was propelling "Truckin'" forward. It is immediately pulsing and exploding and thumping as if determined to burst through any final wall between here and there. It then pulls starlight, bending the universe to the music's will. It seems to be able to do so with ease, charming the gods, retrieving ancient knowledge from black holes, rescuing a better reality from the darkness. While also breathing in some of that darkness, incorporating it into the dance. Then more than ten minutes into the odyssey, we get back into the main theme, and Bob delivers the song's first verse.

The band then gets into weird territory. This is listed as a separate track, "Jam," though I think back in the day our tapes didn't make such distinctions. But certainly it is a big turn from what we'd been experiencing so far. We are now in less certain territory, the farther reaches of space, where reality is more tenuous and the spaces between objects much larger. Distances change with each breath. A rhythm is created, perhaps to pull those objects together, and the band finds its way into "I Know You Rider." Yes, a rare "China"-less "Rider." And such an interesting choice out of "The Other One." "The sun will shine in my back door someday/March winds will blow all my troubles away." Being as this show was on the final day of March, this was perhaps the last chance for that to happen. It's a really nice rendition. Then after a pause, during which we hear the audience going nuts, the band wraps up the set with "Sugar Magnolia." the moment they begin it, the crowd gets excited again. It's a fun rendition, with a good, long "Sunshine Daydream." What a great way to close out the set.

CD Track List

1. Playing In The Band
2. He's Gone >
3. Truckin' >
4. Drums >
5. The Other One >
6. Jam >
7. I Know You Rider
8. Sugar Magnolia

Dave's Picks 2025 Bonus Disc was released in late April, sent with copies of Dave's Picks Volume 54 to those of us with subscriptions.