Fernando Perdomo: "Waves 4" (2025) CD Review

Fernando Perdomo's impressive year-long project continues with Waves 4, which was released at the beginning of April. For those who don't yet know, Fernando Perdomo is releasing an album of new material at the beginning of each month this year. He not only composed all the tracks on Waves 4 (and each of the other volumes in the series), but plays all the instruments, and produced the album. One thing he did not do is take the album cover photo. Each volume has featured a different shoreline photo by Joe Galdo, and Waves 4 has my favorite of the photos thus far. I love that dramatic sky and those incredible blues. The tracks on this album are instrumentals, the music itself sometimes featuring dramatic colors and moments, other times having a soothing effect, and always engaging.

The album opens with "Pulled In," which immediately catches us in its grip, the sound rolling over us, a series of sharp waves seeming to slice the air above us. After a minute or so, the track takes a sudden and surprising turn, sounding like it is being shut down, like someone pulled the plug on it. Then another surprise comes right on top of that one, the track kicking in with a great and positive force. And soon we are treated to some bright guitar work. There is a weight to this song, which is part of its power. Halfway through, it begins to build, and we realize we are still under its force. That slicing sound recurs, but with a different feel this time, like moments shifting backward past us, things we can't hold onto. And now we've entered some sort of other realm, a place of beauty, of magnificent sea creatures. This is such an intriguing track to kick things off. Fernando Perdomo switches directions then with "The Tunnel," which has an unusual meditative vibe at the start. This one also takes us into another place. We feel focused on our immediate surroundings, but sense other action all around us, just beyond our grasp, just beyond our line of vision. The guitar acts as our guide, showing us wonders of this space, and even singing to us in its own particular language, a language capable of spinning magic.

"The Thunder, The Rain, The Clouds" opens dramatically, like a streak of lightning. There is a sense of danger in those first few seconds, and then the guitar work has more of a calming effect, like a pleasant rain, as if the violence of a storm quickly gave way to a more soothing shower. Yet there still are hints of darkness. Interestingly, on the streaming site, the song has a slightly different title, "The Thunder, The Rain, The Mist." There is some excellent guitar work on this track. The storm has not left us, but it need not frighten us or keep us immobile. "Soaked" has a dramatic sense about it too. It feels like a storm as well, though one that is more consistent. The light that reaches us through this storm is artificial, pointed, like sharp streaks in this city landscape.

"Brighton" eases in, like steps in the darkness, like we deliberately want to slow things down, to get a better look at them, to get a better grasp on the evening, on the experience. Perhaps it's all in the past already, and we are looking back, or even stepping back. These memories have a power and a life of their own, even if there is a haze cast over them. We walk into a dream, into a memory, and it seems we could remain there if we wish. Then "The Most Beautiful Giant (TallGirlKatie)" kicks in with a glorious force, and soon takes on a somewhat more laid-back attitude, becoming a tune to sway to, before it then builds again, taking on more power. There are other interesting turns, like that pause nearly halfway through, with an interesting call-and-response that reminds me of Close Encounters Of The Third Kind. That moment quickly passes, and things begin to build again. This track takes us on quite a ride. It is followed by "Beauty," a nice contemplative guitar piece that opens into a special place that feels both like dawn and dusk, where there are possibilities and promises and, yes, beauty.

The guitar work on "Find Me" is touching, moving, feeling like it desires to physically enter into memory and hold someone, or to bring someone out of memory into an embrace. This is one of my personal favorites. The guitar work is so expressive and beautiful. There is sadness, and also hope. There are a couple of moments that remind me a bit of "In My Life," just for a second or two. That's followed by "The Most Mysterious Man," which has an odd beginning. What sort of realm are we being ushered into here? But then it soon becomes rather gorgeous, though with a haunting sort of element, like from dreamlike carnival. This is another of my favorites. Apparently, this one is also called "The Most Mysterious Man In Tarzana," a more humorous title. To write ten new songs each month is impressive enough, but when they are as good and interesting as this track, that is something else again. The album concludes with "The West Bay," which is dedicated to the memory of David Westbay. It is thoughtful and pretty, and becomes more beautiful and engaging as it progresses.

CD Track List

1. Pulled In
2. The Tunnel
3. The Thunder, The Rain, The Clouds
4. Soaked
5. Brighton
6. The Most Beautiful Giant (TallGirlKatie)
7. Beauty
8. Find Me
9. The Most Mysterious Man
10. The West Bay

Waves 4 was released on April 1, 2025.

Fernando Perdomo: "Waves 3" (2025) CD Review

At the beginning of the year Fernando Perdomo embarked on a special project, a series of albums titled Waves, a new one released on the first day of each month. A new album of original material, that is. And so far each release has had ten tracks. That's a heck of a lot of new material to be composing and recording every month. He also plays all the instruments on these albums. If this is making you feel that maybe you haven't been using your time productively, join the club. Fernando Perdomo makes the rest of us look like lazy oafs. So be it. At least we get to listen to the music while we're lying about, accomplishing little. And the music is wonderful. These instrumental tracks take us on individual journeys.

There is a dreamlike atmosphere to the opening track, "True Passion Is Like A Storm," from the beginning, even in its pace. There is no hurry here. There are moments in this track when I think of a stylized love scene from some late 1980s movie, where it's done as a montage and there is smoke and unusual lighting, there is that sort of vibe. And then the guitar really takes off. That lead in the middle is exciting, the kind of thing that shifts worlds, just as true passion does. That's followed by "Lifeline." An interesting atmosphere is established early on, with spirits or creatures marching out of the mists to that beat. And there are things falling from the sky, streaking down around us, burning bright, but these obstacles do not impede the forward movement. And the guitar feels like it is somehow reaching across that barrier between life and death, between now and then, with a timeless strength and knowledge, announcing it is here to help. This track also features a really good bass part, particularly that section in the middle. At the end, the music seems to be charging up for another journey, another challenge.

Fernando Perdomo switches to a pretty acoustic sound, a more natural vibe for "The Mayan." This song is dedicated to David Crosby (he owned a boat called The Mayan). It's difficult to believe that more than two years have passed since the world lost him. I am fortunate that I got to see David Crosby in concert several times: in CSN, in CPR and solo. This track features some wonderful guitar work. It gives the sensation of being out in nature, a space and time for reflection, that impression aided by the sound of water running, like a stream. "Safe Harbor" also has a beauty and warmth, with a vibe that is both loving and friendly, comforting, something that makes us feel good. In the second half, it takes us into a more magical land, and we find ourselves at home there. I love the way this music transports us. There is an undeniable passion to "Anything For You,"  perhaps even a sense of urgency felt at the beginning, like how we feel when a person we love is in need, and we are eager to help, to find a solution, to make everything better right away. It seems that perhaps this guitar can take care of all of us.

The music goes in a different direction with "Dos Mutantes," the title a play on the name of that great Brazilian band Os Mutantes. And, yes, this track certainly has something of an Os Mutantes sound, particularly in the guitar work. This is a very cool and fun track. Fernando Perdomo is having a good time with this one. Fans of Os Mutantes will undoubtedly appreciate this, and for everyone else, this track will probably get you curious about that band, and that's a good thing. "Dos Mutantes" is followed by "The Fifth," which has a kind of cool, somewhat laid-back 1970s vibe with progressive elements, the kind of tune that makes us feel not completely tethered to this planet at times, like we are finding ourselves as parts of constellations, encountering other lifeforms, and then relaxing again. The universe is fine, isn't it?

"The Gulf" makes me think of being at the beach, for it has both that sense of excitement of the ocean along with some soothing elements. There is an energetic pulse running through it. Then "Heaven Appears Before You" is like a delicate dream, a flower opening, having a beauty that is both eternal and ephemeral. Sometimes it seems like all of eternity can exist in a single moment. I suppose it is fitting that this is one of the album's shortest tracks. The album then ends with a rock song, "Pacific Coast Highway," a high-energy, exciting number. The guitar rocks and soars, and at times is quite uplifting. There are some interesting twists and turns here, but at heart this is solid rock number, a delicious jam. When it begins to fade out, you get the feeling this one could have delivered another few minutes of greatness.

CD Track List

1. True Passion Is Like A Storm
2. Lifeline
3. The Mayan
4. Safe Harbor
5. Anything For You
6. Dos Mutantes
7. The Fifth
8. The Gulf
9. Heaven Appears Before You
10. Pacific Coast Highway

Waves 3 was released on March 1, 2025.

Vince Santoro: "Exposed" (2025) CD Review

The list of artists that drummer Vince Santoro has played with is fairly impressive, and includes such folks as Edgar Winter, John Prine, Roseanne Cash, Mary Chapin Carpenter, Julian Dawson, and Carlene Carter. Now after decades of supporting other artists he is releasing his first solo album. Titled Exposed, it features all original material, written or co-written by Vince Santoro. And this time Vince Santoro is the one getting some support, and he does so principally from the talented and accomplished George Marinelli, who knows a thing or two about solo albums, having played all the instruments on his own recent release, Except Always. Here he plays electric guitar, acoustic guitar, slide guitar, bass guitar, keyboards, harmonica and percussion, and produced the album. By the way, Vince Santoro, in addition to the drums, plays guitar and bass on this album, and sings lead. He is also joined by Barbara Santoro on backing vocals and piano, and by a few special guests on certain tracks.

The album opens with its title track, "Exposed," which has a great, solid rock vibe and a strong beat, as you'd expect. But what really stands out is his vocal performance. There is a delicious energy to his approach. This is a sort of love song that is all about willingly, even eagerly being vulnerable. "I'm exposed/And I don't care/My heart's parading through the street/Without its clothes/My love laid bare/For all to see/My masquerade has come/Crashing to a close." And I love the word play in the lines "She may not be in my future/But if I can get past that/I know I can face/Whatever happens," that great play on "future"/"past." What a good opening number. Then Jim Hoke joins Vince Santoro on horns for "Rec Room," a song with a ska flavor. This one will take many of us back to our childhoods, when we were learning to play instruments, making a great deal of noise, as Vince mentions in the first stanza. It's a song about all the glorious goings-on in the rec room. Do people still refer to that room as a "rec room"? We heard that phrase all the time when growing up, but I haven't heard it much since then. The song takes us from childhood to the adult years when he's the one dealing with the noise, but doing so joyfully. There are some delightful touches to this track, such as the backing vocals echoing the word "romance." And of course Jim Hoke's contributions are a large part of the track's appeal.

Vince Santoro changes gears with "For Adeline," a song of loss and perseverance. There is a contemplative air to this one, and also a warmth. "A day will come when I'm alone/And life is feeling somewhat normal/No longer holding back." It's a pretty song, with a heartfelt vocal performance. "I'll beg the clouds to block the sun/A welcome rain will mark the day when/I'll get my crying done." I'm not sure the crying is ever done, but it comes less frequently. There is a dreamlike quality to this one, sort of outside of time, and the track contains some nice work by Barbara Santoro on piano. And then the rain comes in the next track, "Long Slow Rain." This one features a cool vocal performance, especially on the chorus. "All my troubles seem to fall away/Time don't mean a thing/In a long, slow rain." I love the way he delivers those lines. This is about how time and everything can slip away when you're fishing, and how pleasant that feeling is. This is the track to feature George Marinelli on harmonica, that instrument really helping to set the tone. Also adding to the sweet vibe of this track is the whistling at the end.

The track list on the back of the CD case indicates that "Everything" is next, but actually it's "I'd Be Dancing Too," which is a cool, kind of slow rock number with a bit of that country rock thing reminiscent of some of the early 1970s Rolling Stones output. This song celebrates the power of music for each of us, how a song can stay with us throughout a day. "She's got a song going on in her head/That's what's it's gotta be/A song goin' on in her head/Wish that we could hear it/If only we could hear it/Maybe we'd be dancin'/We'd be dancin' too/Yeah, maybe we'd all be dancing." Jonell Mosser joins Vince Santoro on vocals. This is one of my personal favorites. Then we get "Everything," a fun song with a delicious beat and with something to say, something we can embrace and enjoy, particularly in these days when so many people frustrate and irritate us with their garbage. "I can't digest your word salad/And it isn't just one thing here/Or one thing there/It's everything - every word of/Every sentence that you said/There's every chance that I'm dumber/Having let you in my head." I feel like we all get a little dumber with each minute that we spend on social media sites, and certainly every moment we listen to any nonsense from those currently in power. This is another of my favorite tracks. It's one you might want to play at loud volume and sing along to. I love this song.

The first line of "Too Familiar Sight" makes me smile each time I listen to this album: "You don't have friends - I can see why." At that point, I'm still within the mindset of the previous song, and applying that line to the people I was thinking of before, which works just fine. But very quickly this song sets itself apart. And it is a fun one, a look at one's self from an interesting perspective. Benny Harrison joins him on keyboards and backing vocals. Then "What's That Like" is told from the perspective of a homeless person. There is the sound of rain at the beginning, what the person is experiencing being in contrast to what he is describing in the first lines: "Warm and cozy in your house at night/Plenty to eat/Family beside you/What's that like? What's that like?" This one was written by Vince Santoro and Barbara Santoro. The album concludes with "Shade Tree." Most of us have, at least at some time, the urge to wander, but this song is about making a permanent home, putting down roots and enjoying the place where you are, which also certainly has its appeal. As the song progresses, it has a good amount of soul, featuring some wonderful backing vocal work. This track also features a really good lead on guitar.

CD Track List

1. Exposed
2. Rec Room
3. For Adeline
4. Long Slow Rain
5. I'd Be Dancing
6. Everything
7. Too Familiar Sight
8. What's That Like
9. Shade Tree

Exposed is scheduled to be released on June 6, 2025.

Emma Wilson: "A Spoonful Of Willie Dixon" (2025) CD Review

Emma Wilson is a singer and songwriter working in the blues realm. She released her first full-length album, Wish Her Well, in 2022, and then won the "Emerging Blues Artist Of The Year" award at the UK Blues Awards. She followed that with Memphis Calling in 2023, that album containing a mix of original material and covers. One of the covers on that album is Willie Dixon's "I'm Your Hoochie Coochie Man," which she retitled "Hoochie Coochie Mama" for her version. And now she has released an album of Willie Dixon songs. Playfully titled A Spoonful Of Willie Dixon, it contains excellent renditions of some of his well-known tunes. Willie Dixon was an incredibly influential blues musician and songwriter. Even if you haven't listened to any Willie Dixon records (and if you haven't, you've been missing out), you have heard his material. Lots of artists have covered his songs, including The Rolling Stones, The Paul Butterfield Blues Band, Etta James, Cream, Led Zeppelin, Grateful Dead, and Tom Petty & The Heartbreakers. So these songs (or at least most of them) will likely be familiar to you. Emma Wilson is backed by Mark Barrett on drums, Ian Leese on bass, Nik Svarc on guitar, and Bennett Holland on organ and piano.

Emma Wilson opens the album with "Spoonful," a song that Willie Dixon wrote, but one that Howlin' Wolf recorded. This is one of the first Willie Dixon songs I heard when I was a kid, but it was the Cream version that I first heard. And then I heard the Grateful Dead cover it before ever hearing the original recording. I love the way Emma Wilson tackles it. Her delivery has attitude. There is something deliciously dirty about it. She teases out some of the words, dragging them along the floor, having her way with each syllable before letting it go. There is also some fantastic stuff on guitar. And check out that work on keys. The band gets a chance to jam a bit here. This is a phenomenal rendition, and a great way to kick off the album. Things then get fun on "Good To The Last Drop." This track has a delightful groove, the band getting loose here, having a good time. I am particularly fond of the work on keys. It seems Emma Wilson is too, for during that lead, she exclaims, "Wooo!" and then "Yeah!" You too might find yourself shouting and hollering in response. This track feels like a celebration. This song was written by Willie Dixon, Buster Benton and Marie Booker.

Emma then delivers a seriously cool rendition of "I Can't Quit You Baby." This is a song that Led Zeppelin covered, one that the band actually gave Willie Dixon credit for on the record (those guys weren't always good about that, the little thieves). This track features some outstanding guitar work and, yes, more great stuff on keys. And I love the way Emma draws us in closer with her vocal performance, and then once she has us, she raises her voice, tearing into us. "When you hear me howling, baby." Oh yes, yes, yes! That's followed by "Wang Dang Doodle," a song I first heard done by the Grateful Dead. Emma Wilson's rendition moves a good clip. The Dead did a slower, meaner version. This version almost swings. That doesn't mean it's devoid of attitude. Emma is clearly having fun with this song, and this track contains more great stuff on guitar. Bennett Holland is rocking those keys in the second half. You can almost hear applause when he finishes, as you would if this were a live performance. And just when you have come to realize that this version is a little party, there are hand claps to confirm it.

"I Want To Be Loved" is a song that the Rolling Stones covered early in their career. Emma Wilson offers a cool rendition that struts about. And how can you not love the way she delivers the song's title line? So good, so delicious. The song takes off from there, with another impressive guitar lead that feels just right. She closes out the album with "It Don't Make Sense (You Can't Make Peace)," a song from much later in Willie Dixon's career. This one was included on his 1984 album Mighty Earthquake And Hurricane. I need to add that album to my collection, because this is a fantastic song. The song is about how with all of humanity's accomplishes, it is ridiculous that one thing we can't do is stop fighting each other. This version by Emma Wilson eases in, setting the mood and taking its time, which is wonderful. She and the other musicians take the opportunity to stretch out a bit here, this version nearly twice the length of Willie Dixon's original recording. Emma really does a phenomenal job with this one, delivering a captivating performance. This track is haunting and hypnotic at moments, and engaging the whole way through.

CD Track List

1. Spoonful
2. Good To The Last Drop
3. I Can't Quit You Baby
4. Wang Dang Doodle
5. I Want To Be Loved
6. It Don't Make Sense (You Can't Make Peace)

A Spoonful Of Willie Dixon was released on May 2, 2025.

Dashdown: "Jaguar" (2025) CD Review

In late January, singer and songwriter Dave Ashdown released a book of his lyrics titled Lyrics From The Heartland, that book featuring lyrics from his work in the band Waiting For Henry as well as his solo output, which he records under the name Dashdown (usually written as dASHDOWN these days). The four songs of his new EP, Jaguar, are included in that book, so folks were able to read the lyrics before hearing those songs, and perhaps develop their own ideas of how the songs might sound. The EP has since been released, so now those folks have a chance to discover if their own ideas were close to what was recorded. As for me, in some cases, different lines stood out while listening to these songs than when reading the book. Dave Ashdown plays guitar, bass and drums on these tracks. Rich Ashdown is on lead guitar.

The EP opens with "Rock & Roll Healer." We hear a single bell sound at the beginning, and then the song kicks in, quickly becoming a good, raw rock number, and we hear that bell once again in the background. "There you go, you're a dreamer/Bustin' loose from a parking meter/Set your intentions and hit the road." There is a straight-ahead movement to this song, a rock song without adornment, but with some strong work on electric guitar. That's followed by "Capes." When I was reading the lyrics, the nod to Chuck Berry stood out for me, the line "Go ahead, tell Tchaikovsky the news," and I wondered if this one might have that kind of early rock and roll vibe. And while there is a definite rock thing involved here, particularly in its driving beat and some of the guitar work, the vocal approach is actually more relaxed, even warm. And it is that vocal performance that really pull us into this one. That Chuck Berry line passes, and other lines stand out for me. "We all been fakes/And we all been flakes/And we all wear capes," he sings. Interestingly, the lines in the book are "We all been flakes/We all been fakes/But we all wear capes." This track ends up being my personal favorite.

"Holograms" comes on with a much heavier vibe at the start, and features a raw vocal performance. This one too has some variations from what is presented in the book, a re-ordering of some lines. "All you devils/looking at me/Gypsy eyes/Don't want to believe." And a line that jumps out at me each time I listen to this track is "Don't know what I'm gonna do." That might be a sign of our times as much as the power of the song. Does any of us know what he or she is going to do? This track contains a nice guitar lead just before the end. The end then seems to come rather suddenly. The EP concludes with "Shiny Things." There is a delicious rock and roll excitement to this song, and certainly something of that garage rock appeal. It has the raw power of a live track. And check out these lyrics: "Planets go round constantly/Stardust smile, yeah, wouldn't you agree/It's wishful, it's so serene/Checking out my new machine/Planets collide eventually."

CD Track List

1. Rock & Roll Healer
2. Capes
3. Holograms
4. Shiny Things

Jaguar was released on March 13, 2025.

Tom Ciurczak: "Yorick" (2025) CD Review

Yes, I admit it: what initially drew me to Tom Ciurczak's new album Yorick was its title. An album, or at least a song, about a character from Shakespeare's Hamlet?  Yes, that is enough to intrigue me. Yorick was King Hamlet's jester, a character that Hamlet remembers fondly from his childhood, but who now is only bones, appearing in the play as simply a skull (check out the cool album cover art here, which was done by Camille Woods). My two biggest passions are music and Shakespeare, and it's wonderful when they overlap, as they do here. Tom Ciurczak is a singer and songwriter based in Los Angeles. He released his first album, Call Me Ishmael (yes, another literary reference, which I appreciate), in 2020, and followed that with two volumes of I Ain't Ever Growing Up, the first released in 2023, the second last summer. This new album contains all original material, written by Tom Ciurczak. As with his earlier releases, some certain 1970s rock influences can be heard here. Backing him are Matt Hornbeck on electric guitar, Travis Carlton on bass, and Stephen Haaker on drums and percussion, along with several guests on various tracks.

The album opens with an unusual song titled "The Watcher." It has a solid rock sound, feeling like it takes place somewhere in the middle of this country, but the lyrics indicate that the song's central character is an alien, and a rather old one at that. Here are the first lines: "A couple thousand years ago/I came down here to carve the Nazca lines/They said they're coming back for me/They planned to get me home by supper time."  I'm reading a book of early 1950s short science fiction stories, and this song reminds me of at least one of those stories, of an alien left behind. The song is directed at the human race as much as at his own people, as he has watched the species progress. We get the feeling that perhaps the song has this particular sound because he's become so acclimated. This is now his home, whether he likes it or not. But he has a warning for people: "I've seen lots of planets born and die/Better fasten your seat belt/It's gonna be a bumpy ride when the ice caps melt." And yet he still, after all this time, claims to feel a distance from the events taking place here. "But watching it all going to hell just ain't my concern," he sings. Does he mean it? And we can't help but think those words could be spoken by many people of our own race, particularly those in charge at the moment. What will happen to this character? What will happen to us? As the song reaches its conclusion, it seems that life as we know it does too. Unless that sound is him finally leaving. Billy Diisko plays bass on this track, and Valerie Chaikin is on keyboards. Tita Hutchison provides backing vocals.

"Wild One" is a song of youthful outlaw activity, with a driving beat. There is an innocent, harmless feel to much of what is described early on, but it's also nothing to be proud of, and we get the sense things are not going to turn out well for this character. "Your favorite film was Rebel Without A Cause/Living on the edge, ignoring all the laws/Leaving everybody else back in your dust/You always sang along with 'Thunder Road'/Said everyone buckle up and better grab hold." It's interesting that Tom mentions a Bruce Springsteen song here, because the Boss clearly has influenced his sound. This track also features some really good stuff on electric guitar. Jimena Fosado and Oscar Jesus Bugarin play guitar on this track, and Sean Sobash is on bass. Melissa Robin provides backing vocals. "Yorick," the title track, has quite a different sound, a different vibe from the start. Its first lines are delivered by Yorick after he's been decapitated: "I'm coming down/From the steeple 'til I hit the ground/'Cause I'm the guillotined jester's head." What an unusual opening. Also, it's interesting that he indicates Yorick was executed, for there is nothing in Shakespeare's text to suggest that. This song also mentions Shakespeare by name: "The king and queen are mesmerized/By the poet Shakespeare plays." This track features a strong vocal performance, along with some pretty backing vocal work by Tita Hutchison and Eli Arnold. Dylan Tirapelli-Jamail plays electric guitar, and Angela Petrilli plays acoustic guitar. Neara Russell is on keyboards. The song ends as it began, with those first few lines repeated.

"You're Next" is a good rock song, its guitar work especially reminding me of some of that stuff I grew up with in the late 1970s and early 1980s. The lyrics come at us in quick succession: "But democracy is in bigger trouble/There are no winners, just survivors/Governments are bigger liars." His vocal delivery at times makes me think of John Mellencamp, even before he sings the line, "Stand for nothing, fall for anything" (remember that song, "You've Got To Stand For Something"?). The chorus has a different feel, with something of a late 1980s rock feel. Possibly the coolest thing is that delicious bass work in the second half. Holy moly! That's Brandon Washington. Then "Where Do I Belong" addresses the homeless problem from the perspective of someone on the street, yet has a strangely positive vibe to it, with lines like "I know it's going to be all right" and "But it's okay, I'm tired of the non-stop/If things go my way, I'll be back on top" as he tries to talk himself into believing those things. I suppose we all tell ourselves things in order to keep going, and so this is a song everyone can relate to in some way. I love the energy and vibe of this song. This track contains some good hard rock guitar at key moments. Rob Reischak plays electric guitar on this one, and Bobby "Bundst" Victor is on keyboards.

"Chameleon" is about another character on the street, someone else you might not notice, but for a different reason. "I'm watching everything you do/You won't see me, but I'll see you." Yes, this character is a private eye who brags about being the best at what he does. This song also contains this scary line: "I know everything about your private life." That line stands out for me perhaps because of the attacks on privacy happening all the time these days, attacks which many people don't even seem to care about. Jimena Fosado plays electric guitar, and Oscar Jesus Bugarin plays acoustic guitar on this one, and Sean Sobash is on bass. That's followed by "Top Of The Rainbow," which has a cool vibe right from the start, in part because of the presence of a horn section. Jon Manness is on trumpet, and Lasim Richards is on trombone. This one has more of a laid back feel, with a gentler, soulful vocal approach, which helps it stand out. "And after you left, I had a hard time accepting that you'd gone/I wondered if I let you down." There is an unmistakable 1970s influence heard on this track.

Then Matt Lomeo joins Tom Ciurczak on harmonica on "A.L.T.O.W.D.," delivering some wonderful work (as he always does). The song's title stands for "Another Long Typical Ordinary Working Day," and this a song of international intrigue. In addition to the harmonica, this track features some nice work on keys. That's Bobby "Bundst" Victor on keyboards. "Malleus Maleficarum" also deals with international troubles, this time about the Russian invasion of Ukraine. "Grab what you can/Head on out 'cause the city's on fire/Tanks keep rolling in/Ain't sticking around to greet some new messiah." This track packs a punch and features a passionate vocal performance and some really good work on drums. The album then concludes with "Am I MIA," this one more in the folk and country rock vein, featuring some wonderful vocal work, particularly the blending of voices. Tita Hutchinson is on backing vocals. I also appreciate the play on words and sounds in its title line, "Am I MIA or am I in Miami?" There is also some excellent stuff on guitar. Dylan Tirapelli-Jamail is on electric guitar, and Angela Petrilli is on acoustic guitar.

CD Track List

1. The Watcher
2. Wild One
3. Yorick
4. You're Next
5. Where Do I Belong
6. Chameleon
7. Top Of The Rainbow
8. A.L.T.O.W.D.
9. Malleus Maleficarum
10. Am I MIA

Yorick is scheduled to be released on June 27, 2025, and will be available on both CD and vinyl (and I hear the vinyl is going to be clear blue, so, yes, I want to get a copy of this album on vinyl too).

Murray Attaway: "Tense Music Plays" (2025) CD Review

Murray Attaway is known for his work as singer and guitarist in Guadalcanal Diary, a seriously cool band from the 1980s (if you are unfamiliar with that band, do yourself a favor and start digging into the catalogue). After that band broke up, he released his first solo album, In Thrall, in 1993. He then recorded a second solo album a year or two later, which was to be titled Delirium, Or How I Spent My Thirties, but it was never released. And now, thirty years later, he has released a new solo album. Fans of Guadalcanal Diary and his first solo album are going to love this new disc. And it should bring in a whole lot of new fans as well. It features all original material, written by Murray Attaway.

"I'm a lost soul from another time," he sings on the album's opening track, "Breath." Maybe so, and I bet enough people feel that way that a large audience can relate. The music is in the pop rock realm, featuring some strong guitar work and an appealing vocal performance. It's a song of pain and struggle, with some striking lines, such as "I try to wear a halo/But it just passes through me." There is an interesting play on lines from "Amazing Grace," with him singing, "I once was lost, but never found/Was blind but cannot see." Robert Schmid plays bass and drums on this track. That's followed by "Stars Behind The Moon," which has an acoustic, softer sound, but a somewhat darker vibe, as he sings of "pain and violence." It features some wonderful work by Ana Balka on violin. Check out these lyrics: "Cry from the heart of an earthbound soul/That could chase the devil to the deepest hole/I thought it was stars behind the moon/But it was just someone in a lonely room." This is one of my personal favorite tracks. It brings me to the edge of tears, and I can't even explain why. Something about the picture it paints, something about the way it places us inside it, I suspect. And of course it could be that violin work. Then in the second half, the energy suddenly increases, as does the passion of his vocal performance. It's a powerful moment in a captivating song.

Murray Attaway returns to a rock vibe with "Hole In The Ground." There is an alluring darkness to this track too, with a raw delivery full of attitude. This one too has lyrics that stand out, such as these: "Listen while I tell you about a dream you had/It was midnight on a frozen lake/The ice gave way and you fell in and drowned/Cry like a killer, smile like a clown/Might as well jump in a hole in the ground." And his voice is reaching us from the edge of that hole. We hear the difference between what is inside someone and what is shown, and we wonder if either is real. He then goes back to an acoustic sound on "Better Days," a folk sound. On this song, these lines stand out: "Close your eyes and we'll pretend/That we can still be all we've been/And we can stay always in better days." I love lyrics that are somehow simultaneously cheerful and depressing, as those are. This is another of my favorites. In addition to excellent lyrics, it contains some really good guitar work. "One more time/We'll dance and shout/Before the lights/Have flickered out." We are all on the edge, aren't we? Let's dance and shout while we can, before the end. "And we'll say, 'I'll see you in better days.'" I love this song. It's one I can listen to several times in a row, one I can turn to for some kind of comfort. It was written by Murray Attaway and Layla Attaway.

"I guess I dream too much/That's what people say/But even when I'm dreaming/I'm never far away," Murray Attaway sings in "Never Far Away." This one kind of quietly grabs me. There is something wonderfully raw and immediate about its delivery, probably in the fact that the guitar and vocals do all the work here, like a demo, or like some of Billy Bragg's work. "And if I go walking off alone/It's 'cause I'm worried something's wrong/And I'm just trying to get back home." That's followed by "Old Christmas," which has a cool, menacing rhythm. "Silky voice says, now you're mine/Deep in the dirt/In jars of clay/Lost in the earth/Hidden from the day." Wow, this album is captivating, but this track especially is, the way it feels like it's stalking you, playing with you, knowing it has you the whole time. There is some particularly good percussion here. This song contains a nod to "Swing Low Sweet Chariot." "Please let me stay alive/Woman in the back seat screaming drive, drive, drive."

"Stranger" contains a vocal performance that commands our attention, supported by some good guitar work. "And every day's a long, hard ride/Miracles are dreams and water/Rumor has it just inside/Is a stranger." Dreams are a recurring idea on this album. This track also has a surprising nod to "Hey Ho Nobody Home." The album then concludes with "You Were There," which comes on strong, a good rock song. "Nothing to fear, no cause for alarm/Well, I didn't know how blind I was/Wrapped in shades of arrogance/Barely struggling to breathe." This one might remind you a bit of R.E.M. "Doors are closing in your face/You got to get out of this awful place/I don't have an answer/Only thing I found/Was when I was down/You were there."

CD Track List

1. Breath
2. Stars Behind The Moon
3. Hole In The Ground
4. Better Days
5. Never Far Away
6. Old Christmas
7. Stranger
8. You Were There

Tense Music Plays was released on May 9, 2025. I hope this album signals a new beginning for Murray Attaway's music career, and that we won't have to wait too long before he records another album.

Willie Nile: "The Great Yellow Light" (2025) CD Review

I was thrilled that Willie Nile scheduled a concert on my birthday this year. What better way is there to celebrate? It was one hell of a great show, which I suppose will come as no surprise to anyone who has ever seen him in concert. At that show, Willie Nile played some new material, and those songs were among the best of the night. Now those songs are among those included on Willie Nile's fantastic new album, The Great Yellow Light. The album features all original material, written or co-written by Willie Nile. Willie plays both electric guitar and piano on this release. Joining him are Jimi Bones on electric guitar, acoustic guitar, and backing vocals; Johnny Pisano on bass and backing vocals; Jon Weber on drums; Rob Hyman (of The Hooters) on organ, accordion, piano and backing vocals; and James Frazee on percussion. Paul Brady, Steve Earle and James Maddock join him on vocals on certain tracks, and there are other guests on various tracks throughout the album.

A cool surf guitar intro leads into the energetic opening number, "Wild Wild World." It does feel like we are dancing toward oblivion these days, doesn't it? And this song has that exact vibe; it is a whole lot of fun, feeling like a party, while the lyrics are about some of the crazy stuff happening, natural and otherwise. It certainly is a wild, wild world. And so what do we do? My selfish inclination is to enjoy myself as much as possible. We get only one shot at this thing. So who the hell wants to spend what little time he or she has all stressed out and miserable? This music encourages us to dance, to throw ourselves about in delightful abandon, and that is just what I aim to do. "Laughter in the Kremlin, chuckles in Versailles/Big guffaws in Washington, and I think I know why/'Cause it's a wild, wild, wild, wild world." It's a great, positive celebration to kick off the album. Then "We Are, We Are" has a harder rock vibe from the beginning, a sort of rock anthem. "We're young and strong, we are we are/We're righting wrongs, we are we are/We're heading for the stars." Yes, so positive here too, and we need that. Don't be surprised if you find yourself singing along with this track. And though Willie Nile is about to be 77, he is not fooling you with that "We're young and strong" line. His energy is tremendous. If you get the chance, I highly recommend seeing him in concert. You'll get a sense of what his live shows are about when listening to this track.

"Electrify Me" is another energetic rock number. I've heard people say things like fifty is the new forty, that sort of idea, but when Willie Nile is the subject, seventy-six is the new twenty-one. This song seriously rocks. We need this music. Our bodies, our souls are eager for it, for its taste, for its spirit. "You look like water but you taste like wine/Your touch sends shivers up and down my spine/Electrify me." That's followed by "An Irish Goodbye," one of the songs he played at that show on my birthday. That night he talked a bit about what people mean by an Irish goodbye. Basically, it's when you leave a party, or any sort of gathering I suppose, without any kind of formal farewell, just slipping out without a word. And the song is about that final goodbye. Most of us slip out without proclaiming our exits, without any special final words. This track has something of a different sound from the previous tracks. That is in part due to the presence of Chris Byrne (of Black 47) on uilleann pipes and bodhran, Fred Parcells (of Black 47) on tin whistle and trombone, and David Mansfield (who has played with Bob Dylan and Bruce Hornsby) on mandolin. Yeah, there is a wonderful Celtic vibe to this track. At the concert, Willie had the audience singing along to this song: "An Irish goodbye, an Irish goodbye/Here's fire in your whiskey, here's mud in your eye/It's high time to leave here, the angels know why/I'll just say an Irish goodbye." Paul Brady joins Willie on vocals on this track, and Larry Kirwan (of Black 47) is on backing vocals. This is a wonderful and uplifting song about death, featuring some delicious percussion.

The album's title track, "The Great Yellow Light," is another highlight. I love the way it builds at the beginning as he describes that magical moment. And what a fantastic vocal performance. "I was dreaming of a girl/With wonder in her eyes and thunder in her heart." Then it suddenly kicks in. We feel we are experiencing that joy, that wonder, that magic ourselves. Willie Nile is able to tap into our own memories of great joy, to reshape our memories, make them shine brighter, make them even more momentous, more meaningful, more powerful. The music and our pasts combine, along with our own desires for the present. This track returns us to the beginning at the end. Andy Burton is on keys for this one. That's followed by "Tryin' To Make A Livin' In The U.S.A.," another song that he played at that concert on my birthday. It's a playful number about the good a hit record would do for his bank account, and also about the fun of being a musician. We can feel that fun in every beat, every note, particularly in his vocal performance. "The bums I used to know now can sleep in satin sheets/All the people that I owe will be dancin' in the streets/They're gonna put my face on the hundred dollar bill/Open tab at the bar, gonna drink my fill." I love Rob Ryman's work on accordion. And I love the line, "If this is all a dream, don't wake me up."

"Fall On Me" has a sweeter vibe, its opening lines being, "If you're gonna fall, fall on me/If you're gonna cry, cry to me/When you think you've seen it all/When your back's against the wall/If you think you're gonna fall, fall on me." This one will likely speak to most of us, with lines like "When all your dreams just won't come true/And you can't take it like you could before." Don't we all feel a bit sad, a bit broken? We all need a special someone who will be there when we crumble, and crumbling feels inevitable these days. But, maybe, just maybe, with music like this, we'll manage to avoid it. This music catches us even before we fall. Isn't it wonderful how music can do that? This song was written by Willie Nile and Frankie Lee. "What Color Is Love" was also written by Willie Nile and Frankie Lee. This is a pretty song with a passionate, moving vocal performance. "So far have I traveled, so much have I seen/How long must I wonder is it all a dream."

"Wake up America, red white and blue/You used to be great, what happened to you?" Willie Nile sings in "Wake Up America," addressing the country as a whole. I'm not sure exactly when this nation was great, but we all know it really did try to live up to its ideals until very recently. We all know that something went horribly wrong in 2016 and even worse in 2024, that things were much better before the fascist morons took over. This country has lost nearly all the things that were good about it. Actually, it didn't lose them so much as deliberately jettison them. Is it too late to get them back? Listening to Willie Nile, the answer seems to be no. Hope still lives here. And Steve Earle joins him on vocals for this one. "Sometimes you get it right, sometimes you get it wrong/I know you're not perfect, sometimes you break down," Steve sings. And Waddy Wachtel is on electric guitar for this one. "Wake up America, do you know who I am/I'm one of the millions, do you even give a damn/I'm the son of immigrants, I'm a daughter of slaves." What is sad to me is that the people who need to hear this song will certainly not hear it. Yet the music is still hopeful. We are better than everything that is happening now. I hope that's true. "Wake up America before it's too late." The album concludes with another hopeful song, "Washington's Day," in which Willie sings, "Now when this world and that world collide/And the powers that be hit you low/When you're feelin' so small in the face of it all." Eric Bazilian (of The Hooters) plays mandola on this track, and co-wrote the song with Rob Hyman, Rick Chertoff and Willie Nile. It's a song of compassion and the promise of a better, more humane tomorrow. It is a song that feels like a great embrace, a song that pulls everyone in, a song we need.

CD Track List

1. Wild Wild World
2. We Are, We Are
3. Electrify Me
4. An Irish Goodbye
5. The Great Yellow Light
6. Tryin' To Make A Livin' In The U.S.A.
7. Fall On Me
8. What Color Is Love
9. Wake Up America
10. Washington's Day

The Great Yellow Light is scheduled to be released on June 20, 2025 on River House Records.

Charlie Musselwhite: "Look Out Highway" (2025) CD Review

Acclaimed blues harmonica player Charlie Musselwhite's career in music began nearly sixty years ago. Since then, he has played with a wide array of great artists, including Tom Waits, Bonnie Raitt, Janiva Magness, Mickey Hart, and The Blind Boys Of Alabama, and in bands like New Moon Jelly Roll Freedom Rockers. He has also released quite a few solo albums. His new album, Look Out Highway, contains, as you'd expect, some excellent blues numbers featuring a whole lot of great harmonica work. Charlie Musselwhite also plays guitar and sings lead on these tracks. Joining him on this release are Matt Stubbs on guitar; Chris "Kid" Andersen on guitar, piano and organ; Randy Bermudes on bass; and June Core on drums and percussion. A couple of guests vocalists join Charlie Musselwhite on two tracks. Even with expectations as high as they are for any Charlie Musselwhite album, this disc manages to impress us with each track. It's just seriously damn good.

The album kicks off with its title track, and right away it features some strong work on harmonica over a steady, thumping beat. And we are on board. When he sings, "where the blues come from," we sense he is talking about the place that created him too, for he is blues, through and through. We hear it not only in his harmonica blowing, but also his vocal work. And both his voice and his harmonica have the power to cast aside our own pain. "Well, I didn't feel bad/Until the sun went down/I didn't have nobody/To put my arms around." This is fantastic, mean, and oh so cool. And speaking of cool, check out the bass work and the vocal work to "Sad Eyes." "If you don't love me, won't you fool me good/We could have fun, honey, you know we should/You look so lonely, your eyes are kind of sad." I especially love that line, "If you don't love me, won't you fool me good." Wow. There is something sad in that request, in that need, yet also something honest. And he sings, "This ain't love, baby, but you know it really ain't bad." This song also gives a little nod to Stephen Stills' "Love The One You're With."

"I hear there's a storm warning/My baby's blowing back into town." Those are great opening lines, no question. There is something playful, yet true in those first lines of "Storm Warning." "You'd better close all the windows, lock up all the doors/There's a storm a-comin' like never before." We can picture this woman as a force of nature, and not even that great harmonica work will tame her. Nothing can control her. So just huddle up indoors and hope the storm passes soon without much damage. "There's lightning when she talks," he tells us. This track features another excellent bass line, as well as some phenomenal stuff on guitar. That's followed by "Baby, Won't You Please Help Me," which has a delicious rhythm. At the beginning, Charlie asks, "This time another year, honey, where will I be?" That question kind of stops me. Looking to the future is sometimes frightening, particularly these days. Things are getting pretty screwed up out there, friends. This song is at least partially autobiographical. "I was born in Mississippi, I was raised in Tennessee/Seems like every place I've been looks like the blues keep tailing me." Yet he tells us even more about himself with that harmonica. On an album full of strong harmonica work, this track stands out in that regard.

Then we get "Hip Shakin' Mama." With a title like that, it clearly is a fun number. And to be clear, it's not the same song as the one that Irma Thomas recorded. However it does have a classic vibe, and contains some really nice drumming as well as guitar work with a cool 1960s sound. And that lead on harmonica slides in, taking our hand like a good dance partner and moving us around the floor or the world. "Some like it slow, some like it fast/Where I'm from, we do it half and half/Some like it slow, some like it fast." On the second "Some like it slow," he laughs, which is a wonderful moment. I'm glad that was left in. That's followed by "Highway 61," which features some very cool guitar work. And again, to be clear, this is not the same song that Bob Dylan wrote (which is called "Highway 61 Revisited" anyway). "Just because I'm a stranger/Honey, please don't put me down." This track also contains some delicious work on keys.

It was 1976 when Crystal Gale recorded "Ready For The Times To Get Better." Here we are nearly fifty years later and times are so much worse. Most of the blame for how things are going can be laid squarely on the fascists (previously known as Republicans), and I don't see them changing anytime soon, but of course there are nuts on the left too, folks who have lost their sense of humor (as those on the right never possessed to begin with), people who are ready to turn every little thing into an argument and to write you off if you disagree with any part of it. It seems too many people have gone bonkers for the times to get better. But, hell, we are ready, even eager, for them to get better, and Charlie Musselwhite delivers a delicious blues rendition of this song. Listening to his version, it seems unbelievable that this song was ever anything other than a blues number. "You try to take from me what I cannot give/No happiness can I find/I got a dream I've been trying to live/It's burning holes in my mind/It's been a too lonely time/With no peace of mind." Edna Luckett joins him on vocals for this one. Then we get "Ramblin' Is My Game." Ah yes, rambling always sounds so good. All you need with you is a harmonica. "My baby took my car, and the blues took me." This one is fun, and I'm digging that guitar lead in the second half.

"Blue Lounge" has a classic blues sound, which immediately makes itself at home in our hearts. Because the blues never really left, did they? Our entire bodies recognize this sound, this vibe. This is the album's only instrumental track, and it features some great stuff on guitar. Then Al Kapone joins Charlie Musselwhite on vocals for "Ghosts In Memphis." This one has a good rhythm, moving along, and moving us along with it. There is a spoken word part by Charlie Musselwhite: "Yeah, it seems like the ghosts are always waiting for me/The music seems to summon the ghosts/The ghosts live in the music/Yeah, them haints is haunting me." There is only one other song I can think of offhand that includes the word haint, and that is "Haunted House," with its line "ain't no haint gonna run me off." Al Kapone's part, which comes just before the end, is also spoken word. The album concludes with "Open Road." As I said earlier, rambling always sounds so good. "Well, my baby, she loves to ramble/She loves this old open road/She'll drift from town to town/Just as long as she's feeling low." There is always something appealing about the open road, and there is always something appealing about going home too. And there is always something appealing about Charlie Musselwhite's harmonica work. Here he delivers more great work on that instrument.

CD Track List

1. Look Out Highway
2. Sad Eyes
3. Storm Warning
4. Baby, Won't You Please Help Me
5. Hip Shakin' Mama
6. Highway 61
7. Ready For Times To Get Better
8. Ramblin' Is My Game
9. Blue Lounge
10. Ghosts In Memphis
11. Open Road

Look Out Highway was released on May 16, 2025, and is available on both CD and vinyl (the vinyl is a clear green).

Janiva Magness: "Back For Me" (2025) CD Review

Janiva Magness is a singer and songwriter working largely within the blues realm. And though she has recorded quite a bit of excellent original material, she also has a great talent for presenting fresh renditions of other artists' work. In 2019, she released Change In The Weather, on which she covered songs from John Fogerty's solo work as well as songs from the Creedence Clearwater Revival catalogue. Her new album, Back For Me, finds her covering the work of several different artists, including Bill Withers, Ray LaMontagne and Tracy Nelson. Supporting her on this release are Dave Darling on guitar, Ian Walker on bass, Sasha Smith on keys, and W.F. Quinn Smith on drums, along with several special guests on various tracks.

Janiva Magness opens the album with "Masterpiece," a strong, pulsing blues number written by Dave Darling, who has written or co-written a lot of her original material, and also produced this album. The moment when I completely fall in love with this track is when, after delivering the line "I've made a lot of mistakes/But you might be my masterpiece" for the first time, Janiva adds a thoughtful, "Hmm." It is such a delicious moment. Something else this track has going for it is the presence of special guest Joe Bonamassa on guitar. As you would expect, he delivers some great stuff, and the band begins to jam during that wonderful guitar lead. In addition, there are fantastic touches on keys. Janiva slows things down then with the album's title track, which was written by Casey Lee Hurt, Eric Schultz and Kelly Keith Brenden, and included on Casey Lee Hurt's Pawnshop Gospel album. Nick Maybury joins the group on guitar for this one, delivering some really nice work. The song's first line grabs us, "You don't have to break my heart." We hear experience in Janiva's voice, even before she sings, "And I may have a scar or two." There is a great longing and power to her delivery of the song's title line, "Come back for me/Come back for me, baby," and we feel she could summon anyone or anything she wished with her voice, even bring down the heavens upon her. What an incredible performance.

She covers the wonderful Bill Withers song "The Same Love That Made Me Laugh," which Withers released as a single in 1974. On this track she is joined on organ by the great Phil  Parlapiano, who delivers some strong work. And holy moly, there is a fantastic energy to this rendition, and plenty of soul. It's an outstanding track. "Why you want to make me cry," she sings, demanding an answer. Well, what do you have to say for yourself? "The Same Love That Made Me Laugh" is followed by a cover of Doyle Brahmall II's "November," a song he had included on his 2016 album Rich Man. Janiva Magness delivers a moving, engaging and uplifting rendition. John Schroeder joins her on guitar for this track, and Dave Darling provides some backing vocal work. Check out the guitar work in that powerful section in the second half. Then both John Schroeder and Sue Foley join Janiva Magness on guitar for "Holes," a delicious blues rock song written by Julianne Marie Guidi. This one begins with its beat, and in those opening seconds we become excited. "Sister, quit your diggin' them holes." This one is a lot of fun, with Janiva delivering a kick-ass vocal performance. "I met a girl, she had a little demon/She buried that demon in the desert dirt/She couldn't kick the feeling." Oh man, this is so good. And, yes, there is plenty of excellent guitar work, including some playful moments.

"I Was Good To You Baby" is a song written by Buddy Flett and David Egan, and recorded by Tracy Nelson. David Egan also recorded his own version, including it on Twenty Years Of Trouble, which was released in 2003. Janiva Magness delivers her version with plenty of attitude. "I was good to you, baby/You'll find out someday, maybe/Just might drive you crazy." This rendition has bite. John Schroeder again gives us some good work on guitar, and this track also includes some delicious work on keys. That's followed by "You Can Bring Me Flowers," a song Ray LaMontagne included on his 2006 album Till The Sun Turns Black. There is some interesting percussion on this rendition, which I love. It gives the track a cool vibe. Phil Parlapiano is on organ for this one, and Robert "Chalo" Ortiz is on guitar, their work adding to the cool feel of the track. And Janiva Magness delivers  a great, raw vocal performance. "You can bring me flowers, babe/When I'm dead and gone."

One of my personal favorites on this album is Janiva's rendition of Tracy Nelson's fantastic song "Down So Low." She does a phenomenal job with it. Just listen to how she delivers lines like "The pain you left behind/Has become, has become a part of me." We hear that pain, but also a power within her voice. Robert "Chalo" Ortiz plays guitar on this track too. And there is some really nice stuff on keys. "Now you know I love you/But that wasn't enough/We both fell apart/When things got too rough." A stunning performance full of soul, of emotion. That's followed by another great choice of songs, Ann Peebles' "Do I Need You," a song from her 1974 record I Can't Stand The Rain. Interestingly, this song also contains the line "I can't stand the rain," which comes basically as a call-back to that album's title track, delivered in the same way. "I need something that's in my life that makes me want to live/I'm not in a hurry, but I think I need a change/I need some sunshine in my life, I can't stand the rain." Phil Parlapiano is on organ, and Robert Ortiz is on guitar. The album concludes with "Hittin' On Nothin'," a song written by Allen Toussaint under the name Naomi Neville, and originally recorded by Irma Thomas in 1963. Janiva gives us a fun rendition that features some cool stuff on bass and some delicious work on keys, plus hand claps. Jesse Dayton plays guitar on this track. Bernie Barlow and Allen Sovory provide backing vocals. "You know you promised me a mink coat/For my birthday/I ain't seen mink, rat or rabbit/Ever since that day."  What a delightful way to wrap up the album.

CD Track List

1. Masterpiece
2. Back For Me
3. The Same Love That Made Me Laugh
4. November
5. Holes
6. I Was Good To You Baby
7. You Can Bring Me Flowers
8. Down So Low
9. Do I Need You
10. Hittin' On Nothin'

Back For Me was released on March 28, 2025 on Blue Élan Records.

Brief Notes On New Jazz Releases

I hope my fellow music enthusiasts are hanging in there during these troubling times. There is a lot of great music to help us cope. Here are notes on a few new jazz releases you might want to check out.

The Beveled Edges: "I Guess We're Not Alone" - The Beveled Edges are the duo of vocalist Shelly Bhushan and guitarist Anthony Lanni, and on this album they are indeed not alone. They are joined by Arei Sekiguchi on drums, Haruna Fukazawa on flute, Tosh Sheridan on piano, Brady Whitely on organ, Garry Ianco on strings, Alejandro Berti Delgado on trumpet, Ric Becker on trombone, Jeremy Powell on saxophone, and Will Holshouser on accordion. The album features all original material, written by Bhushan and Lanni. It opens with "Amarillo," with Shelly Bhushan grabbing us with her delivery of those first lines: "Amarillo, the color of heaven/Will you wait for me there/I'm not sure if you think of me often/But I think of you in my dreams." The song then takes on a wonderful Latin feel, and features some strong guitar work. But it is Shelly's vocal performance that captivates us. "This life, it feels so short/And yet it feels so long without you here by my side." That's followed by the album's title track, "I Guess We're Not Alone," this one too with a Latin rhythm. Shelly's vocal approach is different here, yet equally enthralling. There is a compelling, exciting edge to it. There is something so welcoming about Anthony's guitar work on "I'll Be There For You" that we feel we are on familiar ground from the start. This is a beautiful song. "When the night seems long/You don't need to be strong/Because I'll be there for you." Oh, how we all need to hear someone say that to us, especially these days. This is one of my personal favorites. "At The End Of The Day" is another highlight. At the beginning when Shelly repeats, "At the end of the day/At the end of the day/At the end of the day," we think of possible directions she could go, and there are several, and we are relieved when she sings, "I only see you." We need more love songs, we need sweet songs. This one features some wonderful guitar work, as well as some nice stuff on percussion. And it offers some surprises in the second half, and that's when the song really grabs me. "Paris Isn't Paris Without You" features some delicious work on accordion helping to set the mood, and Shelly delivers some of the lyrics in French. This is another beautiful number, with a passionate vocal performance. Then there is an intriguing power to "Down The Stairs," a dramatic track. "But I wish you peace," she sings, yet there is something somber, almost dark, in the delivery. "And although your soul has lifted/We still wrestle you down, down, down, down." This is another of my favorites. It's a stunning number that gets its hooks into you and doesn't let up. Then "Fade Into The Sky" features some moving, moody work on trumpet. Things get lighter and more optimistic on "Never Too Late," a fun, cheerful song. "It's never too late/It's never too late/It's never too late for love." I love that guitar lead in the second half. This album is scheduled to be released on June 20, 2025.

Royce Campbell And The Vosbein Magee Big Band: "Vagabond" - Accomplished and famed guitarist Royce Campbell joins forces with The Vosbein Magee Big Band for this live album of mostly original material composed by Campbell. The album opens with "Peepers," which has a kind of gentle exuberance, and features good leads on guitar and trombone (that's Matt Niess on trombone). I'm also fond of DeWayne Peters' drumming here, particularly in the liveliest sections. "Gentle Breeze" then eases in with a cool rhythm, the focus on Bob Bowen's bass work in those opening moments. Things get seriously cool with "A Sharp Blues," which contains a whole lot of delightful playing. If you're delivering the cool, then a bass lead is a must, and here we get some great stuff by Bob Bowen. There are also some really wonderful moments on saxophone and piano, though it's the drumming that especially makes this track a favorite of mine. That's followed by the album's only cover, "Body And Soul," which begins slowly and features a touching guitar solo by Royce Campbell early on, and beautiful guitar work throughout. Things get lighter and more fun with "Mambo Puente," this one with a strong rhythm. Chris Magee delivers a bright and spirited lead on trumpet on this track. That's followed by "Moon Cycle," which features a moving lead by Alec Moser on flugelhorn, and contains some wonderful swells. "Vagabond," the album's title track, is a joyous and completely enjoyable number with some catchy elements and a delightful lead on guitar. It also contains some spirited and uplifting work by Bill Schnepper on soprano saxophone. "Middle Ground" has something of that classic big band vibe that is so appealing, especially these days when we want music to transport us away from our current reality. Another of the album's highlights for me is "Dancing Waterfall." In its opening section it holds a promise of something exciting, and then it quickly delivers. Interestingly, it then returns to the vibe of its opening moments. It pushes forward, then relaxes, pulling back, breathing, and creating space for an excellent lead by Kerry Moffit on trumpet. But it is during Royce Campbell's guitar lead that the track goes into its most interesting places, when the band starts exploring. "Inner Peace," as you might expect, has a soothing effect. The album wraps up with "Viper," which has a good energy and features a really nice lead by James Cotton on tenor saxophone. This album was released on April 21, 2025.

Melissa Kassel & Tom Zicarelli Group: "Moments" - This album isn't exactly new. It got some sort of release last year, but got a wider release this month. It features all original material, written by Melissa Kassel and Tom Zicarelli. The group includes Melissa Kassel on vocals, Tom Zicarelli on piano, Gary Fieldman on drums, Phil Grenadier on trumpet and Bruce Gertz on bass. The album opens gently with "Lullabye," which has a gorgeous late-night vibe, established by Tom Zicarelli's work on piano. And there is an interesting innocence to Melissa Kassel's vocal approach. "Shed your skin and let me in/Is it possible to learn to fly/Stars so high in this vastness of sky." The others come in approximately a minute into the track, and there is a smoky feel to the trumpet lead, like a lone figure in the mists rising from a city street. And there is a moment near the end when the music is like stars falling from the heavens, particularly the piano work. The energy then picks up on "Dancing," which also has a magical vibe to it, like a story we want to be swept up into. And with that rhythm, it feels like it would be easy to do so. The drumming takes on an exciting aspect during the trumpet lead, and this track also features a cool lead on bass. Then at the beginning of "Adrift," Melissa sings, "As I open my eyes, I think of you," which is interesting, because there is a dreamlike quality to the song. It is a song of longing, of wishes, of what could have been, and her vocal performance perfectly captures that feeling. Dreaming while awake. And the trumpet leads us farther into that world. "Spring Forth Joy" features a wonderful lead on piano, as well as a delicious bass lead. And that one also includes a drum solo, helping to make it another of the disc's highlights. And as you might guess from the song's title, there is a great positive aspect to this one. "Spring forth joy/There's a sparkle in your eyes/Bring forth happiness/That lives within your smile." There is a great warmth to "Glow Of Your Love," and a timeless vibe which is quite appealing. "When you're not near, how I long for you/I miss your tender looks, the sound of your voice, and the warmth of your smile." In "Breath," Melissa sings, "I'm safe within your love." And feeling safe, she is able to let loose there toward the end, which is wonderful. The bass then begins "Twilight." "Twilight surrenders itself to the stars/The glow of your eyes/Your hand in mine." Interestingly, she revisits phrases from an earlier song, giving a sense of continuity: "The warmth of your smile/The tenderness of your touch." The album concludes with its title track, which has something of the feel of the first track, taking us from the morning to the night, back into a dream.

John Stein: "Among Friends" - This is a new album, but the tracks were recorded in 1997, many of them in John Stein's living room, the rest in his office. There are no overdubs or anything. This is just three friends making some wonderful music. The tracks feature guitarist John Stein, vocalist Fay Whittaker and cellist Chris White. The album is made mostly of covers, but there are a few original pieces as well. It opens with a cool rendition of "I Thought About You," the track gently swinging, particularly once Fay Whittaker comes in. What a delightful vocal performance! It's clear these guys are playing for the joy of it. You can hear their smiles in every note. This track contains a delicious lead on guitar. For much of the track, the cello acts as a bass, and what's interesting is that when Chris begins to use the bow, the guitar then dips into the bass range. That's followed by "It Might As Well Be Spring," this one a duet with John and Fay. "I keep wishing I were somewhere else/Walking down a strange new street." Those lines stand out now, for I think a lot of us in this country feel that way these days. One of the highlights for me is "Prelude To A Kiss," largely because of Fay's extraordinary vocal performance, and also because of that beautiful lead on cello. "Sarlat" is the first of the album's original numbers. John recorded a different version of it for his Portraits And Landscapes album. It features some wonderful guitar work, and a lead on cello that has a magical, story-like quality to it, making it another of the disc's highlights. The next original song, "Our Love Will See Us Through," also stands out, right from the gorgeous cello work at the beginning. John Stein wrote the music, and Ron Gill wrote the lyrics. "Oh, how I long for your tenderness/For the warm and gentle touch of your hand." This album also includes a fun, cool rendition of "Route 66." But my personal favorite is "Summertime." I love that hauntingly beautiful instrumental opening which pulls us in, preparing us for Fay's captivating vocal performance. Then a few minutes in, the track rounds a corner and starts to groove, to swing. A different, but equally wonderful direction. Check out that guitar work. This track is more than seven minutes long, and still concludes much too soon. It is followed by an excellent and warm rendition of "Time After Time." The album wraps up with another original composition, "Switch-A-Roo," which John Stein included on Portraits And Landscapes, here delivered as a delicious guitar and cello duet. This album is scheduled to be released on May 23, 2025.

Terry Waldo & The Gotham City Band: "Treasury Volume 2" - In November, Terry Waldo & The Gotham City Band took us a fun and lively journey into the past with Treasury Volume 1, an album exploring the very early days of jazz, and making us feel like we were somehow there, somehow a part of it. It was such a joy listening to that album, experiencing those tunes. And the Volume 1 part of the title promised something further. Well, now we have Treasury Volume 2, which continues the party. This volume opens with a delightful rendition of "Guess Who's In Town," featuring the incredibly appealing vocal work of Veronica Swift, plus a string of fantastic leads on clarinet, trumpet, trombone and guitar. Ah yes, current troubles disappear as soon as this music starts playing. And that moment when Veronica Swift cuts loose just before the end is perfect. That's followed by King Oliver's "Snake Rag," which has a wonderfully playful vibe, like a comedy act dancing upon the stage. Terry Waldo's piano lead is a delight. After that, the music opens up into the streets of New Orleans and urges us all to join. They slow things down with a delicious blues number, "Wabash Blues," which has a surprisingly sultry feel. Jerron Paxton delivers a great vocal performance here. And while the brass players shine, the rhythm underneath is one to get you smiling. If only we could make our current reality sound like this music, act like this music! "Muscle Shoals Blues" is great fun, a lively number to raise the spirits of even the most morose among us. A gentler joy is felt from the beginning of "Smiles," which features some sweet and joyous scat. "There are smiles that chase away the teardrops/Like the sunbeams chase away the dew." Arnt Arntzen and Terry Waldo are on vocals for this one, and they warm us with their performance. The good vibes continue with "Get Out And Get Under The Moon," featuring a bright vocal performance by Molly Ryan and a fun drum solo by Jay Lepley. And that conversation between saxophone and clarinet is so enjoyable. Even more enjoyable is Jerron Paxton's banjo work on "The Smiler." I wouldn't be surprised to step outside and discover the world has changed for the better while I've been listening to this disc. How can it not have that effect? Terry Waldo and Brian Nalepka do a wonderful job on vocals on "Sweet Sue," the song swinging, and even including a cool lead on bass. Things really start moving on "Since My Best Gal Turned Me Down," featuring Jerron Paxton on vocals. This track also features some outstanding work on clarinet. The band delivers some great ragtime on "Original Rags," featuring Jerron Paxton on banjo. The album concludes with "Viper Mad," another fun, lively number, this one featuring Jim Fryer on vocals. The piano work on this track gets me smiling like some fool licking moondust from the neck of the hottest flapper. And things just get better from there. What a fantastic album! This one is scheduled to be released on May 30, 2025.

Electric Blue Yonder: "Microparty" (2025) CD Review

Electric Blue Yonder is a group that combines folk rock sounds with some psychedelic elements in its original music. It is led by the husband-and-wife team of Johnny Veres and Beth Hataway. They put out their first EP in 2017. Titled Born Of The Sky, it was followed by Between Space & Time in 2020 and Mourning Sounds in 2021. From what I've heard of this band's material so far, it seems clear these guys bring a sense of fun to their music, a sense of play and a sense of adventure. And so it seems completely natural that they would put out an album designed for children (as well as for those adults who have held onto some of the joy of childhood). Microparty features all original material, including at least a few songs that are guaranteed to bring joy into your world. Delightful, magical, silly numbers that also carry important messages.

The album opens with its title track, "Microparty (Theme)," a song that invites everyone to a party, invites everyone to dance with that good beat. There are disco elements, as well as a bit of an ELO vibe at moments. I'm digging that work on violin by Kimi Samson. "Come along/You belong/We can be/Anything that we want to be/If we try." At one point, they say that this music, this party, is not just for the young, but also "the young at heart." It makes perfect sense to follow a song titled "Microparty" with a song titled "World Of The Small." This one begins with some soft work on acoustic guitar by Beth Hataway, and then becomes a delightfully strange and strangely delightful song. "In the world (in the world)/Of the small (of the small)/Where nothing is big or tall (not at all)/Invisible to the naked eye." It's a song about bacteria, cells and other things that we can't see. So, yeah, it's an educational number. "Atoms, you can't look at 'em." Part of this song's singular sound is due to Johnny Veres' work on organ. This track also features some wonderful stuff on strings. Kimi Samson is on violin, and Caleb Elliott is on cello.

"Raindrop" is a song delivered from the perspective of a raindrop, with a cool bass line by Russell Thomas Bush. "When it gets cold, I become snow and ice/When you cry, I am your tears of joy/Some days I'm a puddle/And others I'm a bubble." Yup, another educational number, and it's so adorable, particularly the vocal line. It's also a good deal of fun. Johnny Veres plays glockenspiel on this one. That's followed by "Rainbow," a song about the colors of the rainbow, about the order in which the colors are arranged. It's a cheerful number, and features some good work by Sam Williams on flute. "When you see a storm cloud blocking out the sun/Know that there's a rainbow when the storm is done." Children recite the colors and then exclaim "Rainbow!" at the end.

Three songs were released as a singles in advance of the album, and while I really like all of them, it was the second one that completely won my heart and got me excited about this release. Titled "Roly Poly," it is one of the most wonderful and delightful songs I've heard in years. Everything about this song makes me smile, from its rhythm to its lyrics to the way the backing vocals support the lead vocals. At the beginning Beth sings, "I'm a roly poly trying to get across town," and the backing vocals add, "She's a roly poly trying to get around." This is a roly poly who has a fairly strict schedule; she has to be somewhere by 3 o'clock. This song would fit in well with the absolute best songs from the Muppets. It has that kind of vibe, in part because of Johnny Veres' work on banjo. We need songs like this, adults and children alike. Maybe adults even more than children. By the way, a video was released for this song, and I ended up watching it many times, laughing for the joy of it each time. That's followed by the first song that was released as a single, "Sun & Shower," another absolutely adorable number. "It's so nice for you to drop on by/It's a beautiful day outside." I love the rhythm of the vocal line. And the chorus is kind of beautiful: "It takes a sun and a shower/To grow a beautiful flower/And a little bit of love, love, love." Toward the end, they sing, "Think about what you can do/To spread a little love if you/Think you've got some love to share." That's a good message for everyone, particularly these days when many people have grown cold.

"Lil' C" is another totally delightful song, this one sung from the perspective of a caterpillar. "I'm a little caterpillar inching along/To my own song." I can't help but wonder if this caterpillar knows the roly poly, if they've encountered each other along their individual routes, their individual dances. But seriously, I love this, and it just gets better and better as it goes. "I'm just a little caterpillar in a big, big world." I think we can relate to that feeling. This track features Daniel Ritch on tuba. Then in "Counting With Katherine," they sing, "Back in 1962/A woman proved what she could do/She used her math to take us far/Set her sights upon the stars." It's a song about Katherine Johnson, and about counting, and about doing our best at whatever we try. That's followed by "Bath Time," which was the third single released in advance of the album. It is a ridiculously fun rock song about getting clean. "Swimming around in my imagination/Just me and my toys in my aquarium/We can go for a ride out to the sea/Where the waves are high and we are free." If you dig The B-52's (and who doesn't?), you'll enjoy this song. It builds wonderfully, and might make you want to throw a party in your bathtub (but please be careful dancing in the tub).

"Bebop Bo Bobot The Robot" is another of the disc's highlights, with a great bass line. It  begins by describing someone's search in a junkyard, a search which yields a robot head. And then suddenly, the band takes on the electronic voice of the robot, which comes as a delightful surprise.  I love the way they change their voices to take on that character. The track becomes a conversation between a person named Michael and a robot named Bebop Bo Bobot. In the second half, the robot announces it wants to dance, and the music cooperates, aiding him in that endeavor. That's followed by "Pick Up Your Toys," a song that has a classic vibe, taking us back to the early days of rock and roll. This is a song you'll want to play while cleaning your home. The album concludes with "Little Jack," a song that looks back at the day. It's a winding down, the sound and pace making us think of getting ready for bed. And indeed, near the end they sing, "Let's count our sheep/Then fall fast asleep." "Sweet dreams," they tell us. And if our dreams are at all like the world created by these songs, they'll not only be sweet but joyous.

CD Track List

1. Microparty (Theme)
2. World Of The Small
3. Raindrop
4. Rainbow
5. Roly Poly
6. Sun & Shower
7. Lil' C
8. Counting With Katherine
9. Bath Time
10. Bebop Bo Bobot The Robot
11. Pick Up Your Toys
12. Little Jack

Microparty was released on April 25, 2025 on Infinite Reality Records.

The Rembrandts: "L.P." (1995/2025) CD Review

Whether you were a fan of Friends or not - hell, even if you hated the television show - you became familiar with its theme song, "I'll Be There For You" by The Rembrandts. Certain television themes go far beyond the shows they were attached to. Think "Peter Gunn" and "Batman Theme." Think John Sebastian's "Welcome Back." The theme song for Friends was played everywhere, and is continued to be played. The song was added to the band's third album, L.P., as a "hidden track," helping to make that album a hit for the band when it was released in 1995. On Record Store Day, an expanded edition of the album was released as a double LP on yellow vinyl. If you missed that (apparently, only 1,400 copies were made), it has also been released on a single CD. The liner notes, written by Andrew Ellis, contain the story of that famous song, as well as how that song fits into the band's larger body of work. The expanded edition contains four bonus tracks, three of which were previously unreleased. There is almost eighty minutes of music on this disc. The album was remastered by Michael Graves at Osiris Studio. The Rembrandts are the duo of Phil Solem on vocals and guitar, and Danny Wilde on vocals and bass and guitar. They are joined by Pat Mastelotto on drums, and Michael Ramos on keys, along with several guests on various tracks.

The album opens with "End Of The Beginning," which features some good and interesting harmonies from the start. The song also contains some strong lyrics, such as these lines: "If there's a meaning to it all, it doesn't matter anymore/'Cause it's the end of the beginning." But what I like most about this track is the psychedelic element to the guitar work in the instrumental section in the second half. That's my favorite part of the song. "End Of The Beginning" is followed by "Easy To Forget," in which they sing, "Do I feel better now/I mean, I think I gotta get you back somehow/I tried to drink you off my mind/But I haven't yet/No, you're not easy to forget." I like that "But I haven't yet" line, as it implies he hasn't given up on it, and is likely still drinking. This track contains some catchy guitar work, which is itself not easy to forget. And I dig that work on keys in the middle. Billy Payne plays organ on this track, and John Pierce plays bass.

So are there songs on this disc that are better than the Friends theme song? You bet there are! One of my favorites is "My Own Way," in part because of the strong vocal work, but also the overall sound. There is a bit of a Beatles influence heard in this one, and there is a catchy rhythm to the vocal line. "You say I don't have a leg to stand on/So it's a good thing I've got two/But if I had only one leg to stand on/That's exactly what I'd do/No one can say there's a right or wrong way." And that instrumental section is bloody great. It's a powerful section, and interestingly, they contrast that with the next couple of lines delivered softly. There is a lot about this track that makes it stand out. The band really delivers here. Jon Niefeld plays drums on this one. Then "Don't Hide Your Love" is a pleasant pop number with a kind of sweet vibe. "Don't hide your love/'Cause there ain't time enough," they tell us. Indeed!

They change gears with "Drowning In Your Tears." While it uses the cliche of comparing tears to rain, this song features a passionate vocal performance that is appealing. "Now what else is there I can say/To make your heartache go away/I'm drowning in your tears." It also contains some nice work on guitar. And probably anyone who loves music will appreciate these lines: "I'm waiting for the band to play/A song to carry me away." That's followed by "This House Is Not A Home," an energetic pop rock number with a strong, driving beat. And it's a love song. "No, this house is not a home/Without you." It has such a good feel about it. Then from "April 29," these lines stand out for me: "I used to be fearful of the voice inside my head/And all the foolish things it said." There is an energy to this song too, particularly in the vocal delivery.

Another of the highlights for me is "Lovin' Me Insane," a song that comes at us at a good pace, taking hold of us even before those opening lines, "Somebody wake me up/Somebody talk me down/Somebody help me." Those are lines that are particularly effective in these strange days. The band is rocking here. "I'm going crazy/You're driving me mad/You're loving me insane." We've all been driven mad by someone, I suppose, but I like this idea that someone's love actually is the cause. I also love those wild vocal reactions at certain points. Things kind of fall apart toward the end, but even that somehow works. "As Long As I'm Breathing" begins with drums. And when the keys come in, it develops a soulful vibe that I love. This song is a declaration of love, and it's wonderfully positive. "If you feel insecure/And the world around is grey/Well, baby, you can rest assured/That I won't run away." Life can be pointlessly difficult, but having that one special person that you can rely on makes all the difference in the world, and that's what this song is about. It is another of my personal favorites. It contains a cool guitar lead in the second half, and it ends, as it began, with drums.

In "The Other Side Of Night," they sing, "Now you're moving through your waking world/While in my sleep I dream." And there is an interesting dreamlike quality to this song. It feels like a reality slightly different from the normal waking life, and features some good percussion. This is another highlight. The original album concludes with that familiar song, "I'll Be There For You," and, dear lord, it's hard to keep from clapping along in that moment after the song's first line. This song does hold a lot of appeal, particularly in its message. Again, we want someone to be there for us when everything else is going wrong. It is interesting, but there are some similarities between this and "Where Everybody Knows Your Name," the theme song from Cheers, in the message. According to the liner notes, this song was 30 or 45 seconds long, and The Rembrandts wrote the rest of it, expanding it to proper song length.

Bonus Tracks

The first bonus track, "Turn Me On," was previously released on a four-song EP of "This House Is Not A Home." It's a fun pop song. It contains a nod to The Beatles, as they sing, "Turn me on, turn me/And you can drive my car," and in the background we hear "Beep beep." The other three bonus tracks were previously unreleased. "Perfect Line" is about struggling to write a song, or, as they sing, "a letter inside this song," in order to reach a specific person. It has something of a sweet sound, with some really good vocal work. "I'm searching for the perfect line." That's followed by "Wait For Me." It's surprising that this song was left off the original release. It is a strong number, better than some of the album's tracks, with a rather serious sound and subject. Here are its first lines: "You thought of every reason/To throw your life away/You couldn't handle one more day." And then it turns brighter and the song becomes about helping, as he promises to "do whatever I can do." The disc concludes with another good pop song, "You Make Me Feel," this one highlighting their harmonies. "You make me feel like I really belong with you."

CD Track List

1. End Of The Beginning
2. Easy To Forget
3. My Own Way
4. Don't Hide Your Love
5. Drowning In Your Tears
6. This House Is Not A Home
7. April 29
8. Lovin' Me Insane
9. There Goes Lucy
10. As Long As I Am Breathing
11. Call Me
12. Comin' Home
13. What Will It Take
14. The Other Side Of Night
15. I'll Be There For You (Theme From Friends)
16. Turn Me On
17. Perfect Line
18. Wait For Me
19. You Make Me Feel

This expanded issue of L.P. was released on CD on April 18, 2025 through Omnivore Recordings.