Mick Kolassa: "All Kinds Of Blues" (2024) CD Review

There are all kinds of blues, and this nation is currently experiencing them all. What is happening out there was predicted by everyone of even moderate intelligence. None of the horror is the least bit surprising. But it is still disheartening that so many people in this country willingly, eagerly turned away from democracy to embrace fascism. They wanted this, folks. Will this country bounce back? Probably. But it is going to take a long time for these wounds to heal. And there is a lot of work ahead before people will regain their faith in the government, and it can't even begin yet. First, the current administration must be utterly destroyed, and ICE agents must be tried for crimes against humanity. Again, this is going to be a long process. Music will be there for us along the way. Mick Kolassa's 2024 album All Kind Of Blues feels like a perfect vehicle, as its music takes us around the country, its original material drawing inspiration from various places, and finding things to celebrate at each spot. Joining the vocalist and guitarist on this album are Jeff Jensen on guitar (Jeff Jensen also produced the album); Dexter Allen on guitar and bass; Eric Hughes on harmonica and guitar; Rick Steff on piano, organ, accordion and mini Moog; Joey Robinson on keyboard and drums; Bill Ruffino on bass and percussion; Leo Goff on bass; Tom Lonardo on drums; James Cunningham on drums; Marc Franklin on trumpet; and Kirk Smothers on saxophone.

The album opens with "Thank You Memphis," which has a vibrant, uplifting sound from its start. Its opening lines are "Life changes, you got to change with it/You can't be afraid to try something new." And soon he sings, "You knew I needed to run to your arms/When life drove me to my knees/You helped me heal, helped me make it real/You helped me find my way back to me." A special person can help in that way, and a special place can do the same thing. And the latter is what this song is about, a special place called Memphis. This track not only contains some good guitar work and delicious stuff on horns, but also a lot of great work on harmonica, including a really nice lead. The traveling continues in "Where Love Takes Me." "No matter where I'm going, one thing is for sure/Ain't going to bother taking no detour," Mick sings at the beginning of this one. "But I'm only gonna go, only gonna go where love takes me." That's a good lesson, especially these days. Where does your heart lead you? Another line that stands out is this: "I don't know where I'm going, but I'll go there with a smile." We can hear that smile in his delivery, and even little laughs. This track also features the horns, which add to the positive vibes. I also love that guitar lead in the second half, and that cool work on organ.

"Did You Ever Wonder?" was written by Mick Kolassa and Doug MacLeod. Doug also joins him on guitar and vocals for this one. "You know, Doug, there's some stuff that really gets me wondering," Mick says at the beginning. "Well, we drive in a parkway, and park in a driveway," he starts, quoting a line from George Carlin, my favorite comedian, who often took a good look at some of the quirks of language. This song is playful, the lyrics delivered as sort of spoken word, the song a conversation between the two. "When does breaking news finally get broke?"  "Are fat chance and slim chance really the same?"  "And what in the world was the best thing before they had sliced bread?" Rick Steff plays accordion on this track, helping to create the atmosphere. That's followed by another fun number, "Too Old To Die Young." This song mentions some of the famous musicians who did die young, touching on that whole 27 thing: "I haven't made millions, just nickels and dimes/But I've made 27 2.7 times." There is nothing good about dying young, nothing glamorous or romantic or cool about it. This song celebrates being alive, even if it means being old. "There's a whole lot of things I'm going to try again."

Mick Kolassa slows things down with "Happy Endings." In its first line, he tells us, "There's no such thing as happy endings." He then explains: "Endings mean it's all over/Endings mean it's the end." Ah, true, but there are certainly some things I will be happy to see end, such as the mess occupying the White House. This track features some seriously cool work on keys. "Happy ever after is a fairy tale/There's nothing happy about goodbye/Happy ever after is an illusion/Happy endings are a lie." And check out that guitar lead by Dexter Allen in the second half. Then we get "Amy Iodine," a delightful, playful number with a nice rhythm and some odd little touches right from the start, cluing us in that this is going to be something different. And indeed, his new lady friend is different. "She knows how to please me in, oh, so many ways/She really understands me, she was programmed that way." And he's named her Amy Iodine (or did she name herself?). This is a song for the strange new world we are quickly marching into. There is plenty of humor here, with lines like "I get all this love for only $9.99 a month" and "What do you mean reboot, I was almost there." Rick Steff plays mini Moog on this one, as well as piano, so he is in large part responsible for creating the interesting dynamic, that combination of the old and the new. Things then gets funky with "You Bumped Me Again." This song is funky, but definitely still bluesy, and with some great stuff from the brass section. The band is getting loose, getting into the groove, and the results are delicious.

There is a wonderful joy to Mick Kolassa's blues. On "Where Love Takes Me," he sang about going somewhere "with a smile," but it isn't just that song where we hear the smile in his vocal delivery. That smile is audible throughout the album. His voice tells us we can get through these troubles, no matter what it is he is singing about on any given track. Take "Does Your Mama Know," for example. It's about a relationship, and having to sneak around, but the music can make you feel good about whatever it is you're dealing with. And of course that harmonica work always helps. Then "Eating My Soul" slinks in, immediately announcing that it is several shades of cool. There is a deeper vocal delivery here, and that work on saxophone is just so damn good, even before that fantastic lead. Yet this song comes from a darker realm. "I can’t remember what started it all/Just know I need it to end/I used to fly, now I only fall/And I’m feeling like I lost my best friend." This track contains some wonderful stuff on guitar. "I think I'm losing control/Never felt more like crying out loud/And I feel like it's eating my soul." Everything about this one is perfect. It's one of my favorite tracks.

For a song titled "I Can't Sing No Blues Tonight," it's particularly bluesy, through and through. In its rhythm, in that work on keys, in the guitar work, and yes, in the vocal performance. Blues that feels just exactly right, you know? It even uses that perennial blues line "I woke up this morning," though not right at the beginning. I am especially digging that stuff on keys. "I feel so low, I can’t sing about it now/I'm down so low, too low to sing about it now/What they've done to me, lord, it should not be allowed." That's followed by "That Don't Mean." This one has some strong opening lines: "Not looking is easy, not thinking ain’t hard/Not worrying is simple when you hold all the cards/Now that don’t mean, don't mean that trouble ain’t there/You just make it worse when people know you don’t care." Those lyrics stand out to us especially these days. A lack of empathy is just one of the many terrible characteristics of the rapist currently occupying the White House, and of the creatures that voted for him. This track features some excellent work on guitar, and is another of my personal favorites.

"Somebody Else's Whiskey" is a fun song, featuring the horns and a funky dance element. It's a song about taking what isn't yours, "There you go again, that don't belong to you." There is more nice stuff on keys. I also like how the guitar responds to Mick's lines in the second half. That's followed by "Bad Decisions," which was written by Mick Kolassa and Eric Hughes. Eric plays both guitar and harmonica on this one, delivering some great work on both instruments. "We can have a couple drinks and make some bad decisions," Mick sings here. Oh yes, bad decisions never sounded so good. Mick's vocal delivery here has a certain level of intimacy that totally sells the song, makes it sound wonderful. And, yeah, there is a laugh to his delivery at key moments. The album concludes with "A Yankee Heading Home," which is a perfect bookend to "Thank You Memphis." This one takes us north, and has a gentle, pretty sound. Heading home always sounds so good in song.

CD Track List

1. Thank You Memphis
2. Where Love Takes Me
3. Did You Ever Wonder?
4. Too Old To Die Young
5. Happy Endings
6. Amy Iodine
7. You Bumped Me Again
8. Does Your Mama Know?
9. Eating My Soul
10. I Can't Sing No Blues Tonight
11. That Don't Mean
12. Somebody Else's Whiskey
13. Bad Decisions
14. A Yankee Heading Home

All Kinds Of Blues was released on July 19, 2024.

The Brian Kinler Band: "Fire Signs" (2025) CD Review

It's been three years since jazz pianist Brian Kinler released his last album, Made From Scratch, and in the interim he's been busy making a new home for himself and his husband in Florida. But several months ago he announced a new album would be coming out, and treated fans to videos for a couple of tracks from it. Now the album, titled Fire Signs, is out. It features all original material composed by Brian Kinler. The music on this album is everything we'd want from this talented pianist, building on the success of the material of previous albums, and adding new directions and dimensions. And, perhaps most importantly, the great passion of his playing, of his approach, is heard on every track. The joy, the warmth, the heart. That is just exactly what we need in these crazy, frustrating and angering times. Joining him on trumpet and flugelhorn is Steve Herrman. String arrangements were written and performed by Andre Mayeux, who also did the horn arrangements and mixed and mastered the album.

The album opens with "Skin In The Game," its title being a phrase I imagine many of us have been thinking about lately, questioning how much we should be invested in what is happening in this country, how much we should be involved, particularly as we get older and feel that time is a bit more precious than it once was. But that phrase can also mean remaining invested in one's own life, still being able to contribute something personal, staying active and taking risks. And it is that more personal realm that this song seems to address. It eases in with an electronic sound, and then the early work on keys feels like dance, perhaps a solo dance. Then the music soon bursts through to another level, as if a personal party has merged with the larger celebration, the larger party that humanity keeps going, even through troubled times. There is a wonderful 1970s influence heard in those vibrant sections. The track moves between these two vibes. Interestingly, the trumpet enters the more personal section, Steve delivering an excellent lead here, taking that section to another level. And then the keys really begin to dance, to move, urging the rest of us to stay active too. We all do have skin in the game, as long as we are still alive.

"The Rails" begins with some pretty, contemplative work on piano. It is tender, touching, almost tentative in its initial steps, and then begins to breathe, to spread out, as if to embrace new circumstances, to embrace surroundings, to embrace one's own life again. There still might be worries, concerns, but the music is prepared, capable of facing them, and so then we are as well. Isn't it wonderful how music is able to do that? This is a beautiful piece, and Andre's string work adds a lot to the power and beauty of the track. It feels like we are all taking in, with each great breath, the beauty of the world, and some of its spirit. Brian changes gears again with "Talk To The Boss," a lively, exciting and totally fun number. This is one of the songs that Brian recorded a music video for. There is a delightful joy and energy to this one. The boss is, of course, one's spouse. I think the first person I ever heard use the term in that way was my uncle Bo, and he still does use it, saying he has to check with the boss. This track also features some outstanding work on trumpet.

The mood changes with "The Pursuit," a song of pain, loss, a track that mourns. But it is a shared loss, not a lonesome one, and the flugelhorn plays an important role in creating that feeling. There is a strong sense of community here, of history. It seems that there will always be causes for such mourning. Humanity has progressed in some incredible ways, and has failed to progress in other profound ways. This is a gorgeous track, the strings adding to its strength. There is a sense of people enduring, even overcoming misfortune and sorrow. That's followed by "Curfew." Do kids still have curfews? Or are they just not allowed out at all anymore? I remember we had a decent amount of freedom, as long as we were home by a certain time. We would always push it, of course, often forgetting about the time. Did we even own watches? I don't know. This track begins in a beautiful place, as if looking around and appreciating the magic of the world, of the evening. It can feel incredibly personal, the world in those moments, and the music does too. Then after a minute or so, it kicks in, taking on something of a dance rhythm. It's like we are completely at home now in whatever world we have discovered and are making it our own. What's interesting is that the track then moves back suddenly to that earlier feel, or rather combines elements from both realms to create another idea. And halfway through the track, things start to swing, to really move, the piano being the driving force, the force that says, Oh yes, we are having some fun, come joins us.

"You Make It Right" is a love song. I hope all of us experience what this song expresses, having a special someone who makes everything right. Sometimes the world comes down to two people, and many of us want more and more of that. Do you ever have that feeling that any time spent away from your love is just wasted, or at least not spent well? It is keenly felt when we become more and more aware of how finite our time is. It is a powerful feeling, and it is reflected in the music here, in its beauty, in its eagerness, in its demand for more. This track contains powerful, soaring moments, and then it ends gently. It is followed by "Fire Signs," the album's title track, which opens with an electronic sound and soon takes on a cool rhythm. There is an interesting energy to this one, with mystical touches, and warmth to his work on piano. Brian is a Leo, a fire sign, and though he doesn't put any stock in astrology, he admits it's fun to look at the horoscope when he comes across it. There is certainly something dramatic, theatrical about this song, and all of it coming from the heart.

Brian Kinler is from the New Orleans area, and much of his music is informed by that location, by the spirit of that particular city. Certainly "Let Them Eat King Cake" is, king cake being a traditional Mardi Gras food. I was in New Orleans for Mardi Gras only once in my life (so far), and it was a wild time. This track contains the fun and joy and playfulness of that time and place, the way it builds and then opens into a delightful celebration. It's like you turn the corner and suddenly find yourself in the French Quarter. I hope that Brian Kinler will book some shows in Los Angeles soon, in large part because I want to see him perform this song. That's followed by "Same Place Twice." I have traveled over much of this country (only have two states left to visit), but not much outside of this country. There are places I do want to return to (such as New Orleans), but I am more eager to explore places I've never been (like Stratford-upon-Avon and Rome), and that's what this song is about. It begins with some pretty work on keys. There is a somber aspect to the approach here, the music seeming to express the majesty of this great world of ours, and also the delicate aspects of life. There is so much to see, so much to learn, and all in such a brief span allotted to us. Check out that seriously cool piano work at the end, when it seems he's at home everywhere, taking a bit of New Orleans to every place he visits. Brian then wraps things up with "Kissed By A Muse," a lively number, one that takes place in a world where everyone is out on the dance floor, where magic happens nightly, where good cheer abounds. In short, the world we want to live in. Let the piano guide you into that world, let that trumpet welcome you.

CD Track List

1. Skin In The Game
2. The Rails
3. Talk To The Boss
4. The Pursuit
5. Curfew
6. You Make It Right
7. Fire Signs
8. Let Them Eat King Cake
9. Same Place Twice
10. Kissed By A Muse

Fire Signs was released on May 20, 2025.

Jacob Johnson: "Surviving The Dream" (2024) CD Review

Jacob Johnson is a singer and songwriter based in Greenville, South Carolina. He released his first album, Est. 1986, in 2007, and followed that with Wild And Sweet: A Christmas Album in 2013, One-Take Jake in 2014, and Gospel Sessions in 2021. His most recent release, last year's Surviving The Dream, features mostly original material, written or co-written by Jacob Johnson, along with two really good covers. Joining him on this album are Aaron Bowen on keyboards, Wayne Mason on upright bass, Mark Eshenbaugh on electric bass and backing vocals, Stephen Campbell on bass, Shane Nelson on drums, John Henry on drums, Jack Ryan on drums, Rory Hoffman on accordion, Mickey Raphael on harmonica, Gray Lee on backing vocals, Ella Hennessy on backing vocals, and Emily Landrum on backing vocals.

The album's opening track, "The Sketchiest Motel In Fayetteville," begins with some impressive work by Jacob Johnson on guitar, and soon features some cool work on bass. But when I really begin to love this song is when Jacob sings the lines, "The stars are shining, but only out of pity/As I pull into the Carolina Motor Inn." I love that idea of the stars shining, but only out of pity. There is also an Aerosmith reference, including a nod to "Walk This Way." I appreciate the humor of the song, the playfulness. "But I'll see you in the morning/If I don't get lost again or killed/I just wanted you to know/There is someone who loves you/In the sketchiest motel in Fayetteville." Ah, so sweet. Anyone who has been on the road will be able to relate to this song. We've all stayed at motels like this. I bet anyone who listens has at least one particular motel in mind. Usually we knew right away, before even getting into the room, that it was going to be less-than-deal, but these days even the worst motels are not cheap. There is more wonderful guitar work later in the track. This song was written by Jacob Johnson and John Norwood. "F. Scott Fitzgerald" likewise begins with some good work on guitar, then very quickly kicks in to become a fun number. It's about a couple on the road, storing change for the tolls in the ashtray (just as many of us did). There is a great joy to be had in being on the road with that special someone, singing songs, and this song expresses that feeling so well. "We’re gonna sing all those songs about highways and freedom/And make up a few of our own/And make up a few of our own." Yes, this is a good song to add to your road trip play list. It is giving me that itch to get on the road. This is one of my personal favorites. Adding to its charm and good vibes is Rory Hoffman on accordion. "And the road says, 'Welcome home'/You've got an old soul, but you're not alone."

Jacob changes gears then with "So Far Away," a different sort of love song, one of distance. There is an intimate feel to the vocal delivery, and a bluesy vibe to this one. Check out these lines: "The stars are beginning to twinkle and shine/Until they’ve each found their place/I’m still looking for mine/But they’ll all disappear when the night turns to day/Why are you so far away?" A song for all of us who have had or are currently in a long distance relationship. Life is much too short to be separated from that special person for too long. That's followed by "Old Soul," a delicious guitar instrumental track. The vibe is somewhat laid back, with a cool attitude. And because of its title, we think back to "F. Scott Fitzgerald," with that line "You've got an old soul, but you're not alone" connecting the two songs. We certainly don't feel alone while enjoying this guitar work.

The first cover of the album is "Still Is Still Moving To Me," which was written by Willie Nelson and included on his 1993 album Across The Borderline. This one is not among the most frequently covered of Nelson's songs, and it provides Jacob Johnson with another opportunity to shine on the guitar. I especially love that lead in the middle. This track also features some really nice work by Aaron Bowen on keys. There is a strong energy to this one. It is followed by the album's other cover, "Jessica," the Allman Brothers tune, which is also this album's second instrumental track. Jacob Johnson delivers a tender and pretty rendition. It contains wonderful work by Mickey Raphael on harmonica, followed by a short but nice lead on bass by Stephen Campbell. There is a such a good feel to this version, and, who knows, that might have something to do with the fact that Jacob Johnson's wife is named Jessica.

"Surviving The Dream" (the album's title track) is a title that stands out for me. In the television and film industry (and elsewhere, I imagine), people will often remark that they are "living the dream." It's generally offered in a less-than-sincere tone, but there is still some truth to it, whether they mean it or not. It's just that the dream is not what others, or they themselves, had imagined it to me. Surviving the dream is something else again. It is more about enduring, and perhaps gives a darker, negative connotation to the dream itself. On this track, Rory Hoffman again delivers some nice work on accordion. This song too includes the phrase "old soul": "I’ve been an old soul since the day of my birth/But life’s just as short, so what is it worth/If I’m not surviving the dream?" It is about persevering, and there is humor to this one too. It is one you might find yourself singing along to, especially on its rousing chorus. Maybe that would be best with a glass of beer in your hand. There is also some great stuff on electric guitar. It is another of the disc's highlights. The album then concludes with "The Goodnight Chorus," a song that takes place in those early hours of morning, after a night of music, a night of drinking. It was written by Jacob Johnson and Gray Lee, and, yes, there is some excellent guitar work on this track too. This one builds beautifully, powerfully. I love getting caught up in its momentum. "Goodnight to the voice/Of a lost generation/Singing for tips/In a dark railway station."

CD Track List

1. The Sketchiest Motel In Fayetteville
2. F. Scott Fitzgerald
3. So Far Away
4. Old Soul
5. Still Is Still Moving To Me
6. Jessica
7. Surviving The Dream
8. The Goodnight Chorus

Surviving The Dream was released on October 11, 2024.

Fernando Perdomo: "Waves 5" (2025) CD Review

As you probably know by now, Fernando Perdomo is releasing a special series of albums this year, with a new one coming out at the beginning of each month. The albums, titled Waves, feature all original material composed by Fernando Perdomo, and each album finds him playing all the instruments. You might think that five months into the project there could be hints of fatigue, perhaps showing at the edges. But far from it. In fact, somehow these albums are getting better and better, with Waves 5 being the best volume so far. And it features another gorgeous photo by Joe Galdo on the cover. These days many people are looking for music that will transport them in some way from their current concerns, helping them forget about politics and other strains of stupidity. The music of this series does that so well, and the tracks on Waves 5 take us on wonderful little journeys in our minds.

The album eases in with a pretty and soothing exploration inward. Titled "Meditation (For Jesse Gress)," this piece was composed on one of Jesse Gress' guitars. The guitarist, known for his work with Todd Rundgren, died in early 2023. For anyone who has lost someone in recent years, this track provides a place to go, a place to let your thoughts and memories flow unimpeded, with love rather than sorrow. There is a mystical bent to this piece that feels just exactly right. Then "A Mystery" comes on with more strength, a more determined drive. It is less contemplative, and more dramatic, particularly in the guitar work. If there is a mystery, the music seems to both delight in it and strive to solve it. But perhaps rather than solve it, it is better to live and work within its exciting bounds.

Growing up, I spent a lot of time at the beach, and I loved low tide, when tide pools left much to discover, and we could walk out in the wet sand among crabs and other tiny creatures scuttling about. Often there weren't as many people on the beach at those times, so the world was our own to determine. And it feels that "Low Tide" is exploring that world, and finding perhaps some darker elements. The electric guitar drives that exploration forward, but this track also features some really good work on bass. At some point, we realize that the exploration has become something of a dance, that we are a part of that world now, that we are involved from the inside, no longer just observing. And what a wonderful thing that is! That's followed by "Stomper XL," which surprises us, beginning, as it does, with a strong beat, and then taking us on a fun, curious path. There is a dance in our step, and the world flashes bursts of gorgeous purples and greens and yellows all around us, welcoming us, beckoning us onward. It's like life is a game set up by sentient plant life delighted that we have joined the fun, that we are playing along. It is a completely enjoyable track, taking some interesting, odd little turns in the second half.

There are some psychedelic elements at the beginning of "A Morning Walk," and also some sweet folk elements. This is a beautiful piece that reminds us of how good it is to be alive, how incredible it is to be here at all. There is always so much to learn, so much to explore, that what seems like the ordinary world is actually something astounding and gorgeous when we take the time to look closely at our surroundings. Go for a walk with wide open eyes, the music seems to suggest, and be in no hurry. We'll see the world as we did when we were young children. There is that sense in this music. Then "Evolution" opens like a curtain revealing a magic world. There is then a slight pause before the action begins, like a spark in a vast darkness, a light that takes form, a light that begins to move like a dancer, expressing its desires and its designs through its movement. Others join it, until there are many voices, each with its own needs. It becomes intriguing, and then suddenly it's over.

"You Don't Look Like A Fernando" certainly has the most humorous title of the album, and of the series so far. There is a voice heard at the beginning, speaking the title line before the music begins, a line that we suspect Fernando Perdomo has heard more than once in his life. So he's having a little fun with it here. The music, however, has a fairly somber sound, contrasting with that playful sense. The track features some excellent guitar work that cuts through the swirling mists. There is also some interesting use of percussion on this one. Then "Sunray" is another wonderful surprise. As it begins, it announces itself as a dance song, and almost demands movement from us as we listen. This album really takes us in several different directions. This track is kind of fascinating, for it is like prog disco, if there is such a thing, a dance song that is far more intriguing than perhaps a dance song has any business being. Its depth lies is in the guitar work. And that section where the bass leads is fantastic.

True to its title, there is an eerie aspect to the sound of "Ghosts In The Water" right from the start. It is as if we are in murky water and sense something or several somethings moving past us, around us. But soon we forget about the possibility of danger, and instead become immersed in the wonder of it. Feeling their vibrations, accepting them, and wanting to enjoy their presence while it lasts. It is almost as if we are entering a dance with the ghosts, until it is no longer like they are in our world, but that we are in theirs. Have we ourselves become the ghosts in the water? Then with "Deep Sea Diver" we go farther into this strange and beautiful world. There are hints of danger, of darkness, but also a calm that we can wrap ourselves in as we move forward, like a shield. Soon the song takes on a fairly strong beat, and any worries have dissolved. We've left them behind. Now it is about beauty and knowledge. It is about the experience. And as the track begins to reach its climax, it becomes exciting. I'm also excited to know where this series of albums will take us next.

CD Track List

1. Meditation (For Jesse Gress)
2. A Mystery
3. Low Tide
4. Stomper XL
5. A Morning Walk
6. Evolution
7. You Do Not Look Like A Fernando
8. Sunray
9. Ghosts In The Water
10. Deep Sea Diver

Waves 5 was released on May 1, 2025.

Clem Snide: "Oh Smokey" (2024/2025) Vinyl Review

William S. Burroughs has inspired a lot of bands over the years, with several taking their names from his writing. Steely Dan, The Soft Machine, The Mugwumps, Nova Mob, and Clem Snide all got their names from his work. Clem Snide, a project created and led by Eef Barzelay, started in the early 1990s, releasing a self-titled cassette in 1995, and following that with several other albums. The newest album, Oh Smokey, received a limited release last year of only five hundred copies, apparently on white vinyl. Now the album has received a wider release, on a nice purple vinyl. The record contains all original material, written by Eef Barzelay. It was recorded and produced by Josh Kaufman (of Bonny Light Horseman), who also plays several instruments on these tracks.

Side A

The album opens with "Free," which has a cool, gentle sound, but with a certain energy and a good country vibe. "We can break free," Eef sings, and the line comes in a sort of break in the action. When the song kicks in again, it feels like the music is moving to a brighter horizon, that the musicians have broken free. Can we break free from all that surrounds us? The music makes it feel that it's not only possible, but likely. And what is it that we'll encounter then? It seems that we'll find out. "Free" is followed by "At Your Command," which features some beautiful guitar work. Here there is a sense of being filled with wonder, looking out at the universe as children, which is basically the truth of the matter. None of us is here long enough to really get to know very much, or perhaps anything at all. We are fragile, temporary creatures, with little control. "Tempted as I am by all these earthly things/That only ever just slip through my hands." This track also contains some nice stuff on keys that greatly adds to the atmosphere, like a voice adding its own strength and wisdom, and that atmosphere takes over at the end, like a glorious sunrise. So sit back and enjoy the wonder of it all.

"I prayed for light/But only got heat/Felt something give way/Deep inside of me," Eef sings at the beginning of "All Was Revealed," a beautiful song that feels partly grounded in a slow dance, and partly of the ether, like something opening above to allow a special light in. This is one of my personal favorites, a song about death, a recurring theme of this album. And it feels like a dream. "Is there somewhere quiet we could go/Some sweet old long forgotten spot." This music seems to offer access to those spots. Doors open on all sides; it is only a matter of choosing where we want to go. This is such a good song, one that I loved upon first hearing it, and which I appreciate more and more each time I listen to this album. Then there is a humor to "Airshow Disaster," particularly in these opening lines: "You know it always seemed to me/Together we/We were an air show disaster/Waiting to be." And he delivers those lines so sweetly, which is perfect. This song seems to offer a kind and thoughtful universe, heard in lines like "Like the clouds only covered the sun/When it got in our eyes." A nice way of looking at things, isn't it? "And as the sirens wailed/We just held each other's hands/And floated inside of that moment/Free from all time." This is a gorgeous and moving track, another of the record's highlights.

Side B

"Smokey" sort of eases in, something of a dark atmosphere in those opening moments, where perhaps things are settling in or winding down. "And it seems like every turn was wrong/But don't you go start doubting/Your own mind." There is a friendly aspect to the vocal performance. Soon the track begins to build. "A golden light that somehow lives outside of time." At the point where that line is delivered, there is a bit of a 1970s flavor to the music, to the vocal work. The music itself can pull us, if only momentarily, outside of time. "Sometimes we all lose our way/The rushing water rising/Right where we stand." I also like the bass work. Then "A Stillness So Sweet" seems to approach us at the beginning, quickly overtaking us, enveloping us in its sound, and it contains interesting opening lines. "We never liked to see each other/In each other's eyes." I love how this one kicks in, taking on a good beat, a really nice folk rock sound. This track features some wonderful vocal work too. "See, no one here's a passenger/Captains we are all." That is so positive a thought, an idea, fitting with the vibe of the song. And then that idea is followed by the line "Going down together with the ship," which takes us in a somewhat different direction.

"Well, at least there is bourbon/At least there is weed/And even mushrooms, if you need." Those opening lines of "Angel Canyon (Song For Dan)" make me smile every time I hear them. I think many of us have uttered words, or thoughts, to that effect, especially lately. We are dealing with different shades of pain, different kinds of trouble. And death lurks ahead. It cannot be avoided. And that's what this song is about. "'Cause you can't run/And you can't hide/When it's your own body's time to die." But the lines that I especially hold onto are these: "So may some sweet old song/Be the last thing/That you hear." Oh yes, that would be nice, a song to usher us out of this existence. Eef also sings of "a love outside of time," which has an encouraging and hopeful ring to it. There is a pretty instrumental section at the end, and perhaps it is during that section that someone makes his exit. This is another of my favorites. The album concludes with "Unlocked." Here he sings, "Because hidden is the path toward being free," again touching on the theme introduced on the album's very first track, freedom and death being two recurring themes of this album. He follows that line with this: "Can we dig our way out? I guess we'll see." So it seems that death is the way out. There is a spiritual bent to these songs, but nothing heavy or heavy-handed. "The prison door was unlocked all along," Eef sings at the end, repeating the line several times. A great ending to a wonderful album.

Record Track List

Side A

1. Free
2. At Your Command
3. All Was Revealed
4. Airshow Disaster

Side B

1. Smokey
2. A Stillness So Sweet
3. Angel Canyon (Song For Dan)
4. Unlocked

Oh Smokey received its wider vinyl release on May 2, 2025.

Feter Martin Homer & David Serby at Republic Of Pie, 6-1-25 Concert Review

I am certainly not opposed to driving significant distances for live music. When I was living in Eugene, Oregon, I used to drive down to the San  Francisco area for concerts on a somewhat regular basis, and in more recent years I've done the drive to San Diego for multiple shows. It's weird, but living in Los Angeles eventually changes one's concept of distance, with time being a bigger factor than actual space, and so Long Beach (which isn't really all that far) becomes a serious commitment, and Saturday night's drive to Claremont seemed long. So it's a special treat when a great artist is performing within walking distance of my apartment. It used to happen more often when Gary Calamar was hosting the Mimosa Music Series at the Federal Bar. Those were some great times! That venue sadly is no more. But occasionally someone really good will play at Republic Of Pie (not all that far from where the Federal Bar was). Last night David Serby was on the bill along with Feter Martin Homer, the two playing together, swapping songs.

As they were tuning up, a friendly and enthusiastic patron asked them what they were going to play, if there would be any covers. "Not tonight," Feter answered. While I was still trying to figure out if this information made the guy more or less eager to hear the music, the two began the set. Feter Martin Homer kicked things off with "Momma Prayed," the title track from his newest album,"to set the mood," as he said. And he almost immediately showed his skill on the guitar. Afterward he indicated that song was a true story. David Serby followed it with "Don't Stay Fixed," which he mentioned was also a true story. "The things I work on don't stay fixed," he sang. I like the direction he takes that song, singing, "That if I ever break your heart, it's under warranty." Feter then played "Marybelle," another track from his newest release. David Serby mentioned that he's working on a new album, and his first song of the evening is going to be on it, as will be the next song he played, "Broken Heart In A Honky Tonk." I am looking forward to this new album. Based on what I heard yesterday, it's going to be a good one! I am especially fond of his new song inspired by a flight to Mexico and another passenger's dalliance with a flight attendant. You might not expect it from its subject matter, but this song was particularly pretty, and was a highlight of the set.

"This Storm Shall Pass Away" was another highlight. This song comes from Feter Martin Homer's self-titled album. Feter then joined David on a beautiful rendition of "Better With My Hands," delivering some nice work on guitar in that instrumental section. That was followed by another pretty song, "Virginia." Feter also played guitar on David's "Flight Path," "Little Old Bruise" and "Charm, Looks Or Money," that last one a fun, energetic number inspired by something his wife said. In this song, he sang, "I ain't got charm, looks or money/But I've got you."  Feter wrapped up the set with his "Detroit Cold & Blue," another fun number. The set ended at 7 p.m. But that wasn't the end of the music. Paul Inman's Delivery kept things going with an excellent set of mostly original songs (and also a really nice rendition of "No Expectations"), playing guitar, harmonica, and keyboard.

I See Hawks In L.A. at Claremont Folk Music Center, 5-31-25 Concert Review

I See Hawks In L.A. performing "Hope Against Hope"

It's always a good time when the Hawks get together for a gig. And what made last night's sold-out show even more magnificent was the fact that Rick Shea & Tony Gilkyson were opening. That's one hell of a great double bill, and certainly worth the drive out to Claremont. The Folk Music Center is a famed family-run store, hosting a respected music series. This was my first time there, and I immediately liked the place. There was a wonderful, relaxed and friendly vibe, and lots of cool percussion instruments (all of which I want to own, especially that giant drum over the entrance to the backstage area). And there were physical tickets! Remember physical tickets? Right, those little souvenirs of the concerts we all attended. Now most venues charge insane fees (with no explanations) and don't even provide actual tickets. The tickets, by the way, were only twenty dollars. Yes, that's right: physical tickets and a price that took us back to the glory days of concert-going.

The show was scheduled to start at 7:30 p.m., and at 7:27, Rick Shea and Tony Gilkyson took the stage. "This is going to be a fun night," Rick said, exactly what those of us in the audience were thinking. The duo opened with "A Week In Winnemucca," one of Rick's songs (they would alternate throughout the set). The line that always stands out to me is "The locals kept their distance, yeah, but not for very long." Tony delivered a very cool lead, and then after that song told the crowd, "Rick and I kind of regard this place as a home away from home." The place has that kind of welcoming vibe, no question. Tony then chose "Big Red Six," but had to stop for a moment to address someone in the back of the room who was being incredibly loud and disruptive. He did it firmly, but kindly, and the show continued. Rick delivered some good stuff during the song, sometimes playing a sort of bass line, sometimes taking wonderful leads. A nice version of Rick's "Mexicali Train" followed, and then Tony's "The Everyman," which was a fun, totally delightful number. Tony switched to electric guitar for Rick's "Mariachi Hotel," which is always a favorite of mine. Such a cool song! In introducing "Well Traveled Man," Tony said, "This is a song about the aging process, and all the denial that goes into the aging process," which got a laugh from the crowd, most of us having been doing a bit of aging (and denying) ourselves. "I ain't old, I'm a well traveled man," Tony sang. Rick then delivered a newer song, "An Irishman's A Laborer At Heart," a song that got me thinking of my dad, and featured some pretty guitar work. It's a really good song, and Tony said it was a hard one to follow. He chose to do it with "Death In Arkansas." They wrapped up the set with "Big Rain Is Comin' Mama" and "Man About Town," the latter a song written by Tony's father. "No time for fears, no time for regrets/No time for dreams that linger yet." Their set ended at 8:15 p.m.

"Raised By Hippies"

Ten minutes later, the Hawks were ready to go. How was that switch achieved so quickly? Well, there was no pedal steel this time, and Victoria's drum kit consisted of just the snare. So there was a sort of stripped down sound, which was wonderful. The band kicked off the set with "Hope Against Hope," such a beautiful way to get things started. It was an especially pretty rendition. I love Paul Marshall's bass part, particularly toward the end. And Dan Wistrom delivered some wonderful stuff on guitar during that jam. While Tony Gilkyson had mentioned that the music store was a sort of home away from home, Rob Waller expressed a similar sentiment, mentioning that his kids used to come here, that this place was "the number one field trip for the kids." He told the crowd he loved being in that room with all the instruments. The band then launched into "Raised By Hippies," which a good, positive energy. The line "Reagan was president, they didn't know what to do" makes me laugh every time. And, hey, who knows what to do these days when a much worse bastard occupies the White House? The band delivered some absolutely phenomenal harmonies on the song's final line. Then in "White Cross," they sang, "Good times didn't suit me/I had to taste the pain," lines that also strike us in these dark days. This song featured some outstanding guitar work by Dan Wistrom, receiving some deserved applause. That was followed by "Poour Me." Oh yes, who hasn't been needing a little more wine lately? I love this song, and the "bad burrito" line always makes me smile. The rendition last night had such a sweet-sounding final moment.

"Live And Never Learn"

For "Live And Never Learn," Dan switched to a Weissenborn guitar, an instrument he showed a few of us before the concert. A beautiful instrument, like a hundred years old. Perhaps it was due to the presence of that instrument, but the band delivered a really good rendition of the song last night. They followed that with "Grapevine." Two album title tracks in a row. Victoria Jacobs then sang lead on "Hills On Fire," first telling the crowd, "I thought this song was pretty apropos right now." She delivered an absolutely wonderful vocal performance. After that, Rob announced, "We're gonna try one we haven't done in a while." Dan added, "I've never done it." And they went into "Harvest," a song from the Grapevine album. It was so good to hear it again. I'm not sure how long it had been since the band last played it, but I think the last time I heard it was maybe two years before the pandemic, which is like thirty years ago. Paul Marshall then sang lead on "Salvation." "Here's a song about a very magical journey," he said, introducing the song, then asked, "How do I start this?" Once it was started, it became a beautiful rendition, perhaps the best I've heard the band do. It was a highlight of the set, for sure. Dan brought out the mandolin for "Might've Been Me," a song that produced smiles all around.

"The River Knows"

Rick Shea and Tony Gilkyson joined the Hawks for the final two songs of the set, Rick on mandolin and Tony on electric guitar. The stage was quite small, undoubtedly the main factor in Victoria's decision to limit herself to just the snare drum, and so there was some shifting necessary in order to fit Rick and Tony in there. "We're gonna get all the clowns in this car," Rob commented while everyone adjusted. Victoria said, "Twister, we're playing Twister up here." Once everybody was ready, the band went into "The River Knows," a song from the Mystery Drug album. Rick plays pedal steel on the album version of that song, by the way. Everyone got a chance to lead, including Paul on bass. It was fantastic. They then wrapped up the set with the crowd-pleasing "Humboldt." "Spark it up and let it out!" Rick also joined them on mandolin for the encore, explaining Tony's absence, "Tony already took his shoes off." The encore was a delightful, uplifting rendition of "Good And Foolish Times." Like I said, it's always a good time when the Hawks play. The show ended at 9:39 p.m.

I See Hawks In L.A. Set List

1. Hope Against Hope
2. Raised By Hippies
3. White Cross
4. Poour Me
5. Live And Never Learn
6. Grapevine
7. Hills On Fire
8. Harvest
9. Salvation
10. Might've Been Me
11. The River Knows
12. Humboldt

Encore

1. Good And Foolish Times

Here are some more photos from the show:

"Big Red Six"

"Mariachi Hotel"

"Grapevine"

 

"Hills On Fire"

"The River Knows"

"Humboldt"

 

"Humboldt"

 

The Folk Music Center is located at 220 Yale Ave., in Claremont, California.