Dr. John: "Live At The Village Gate" (2025) CD Review

The first Dr. John disc I bought was The Ultimate Dr. John, a compilation released in 1987. He was pretty popular at that time, at least in the circles I was moving in. I remember hearing several of his songs on the radio with some frequency, especially "Right Place Wrong Time" and "Such A Night." And of course everyone had seen his performance of "Such A Night" in The Last Waltz. Besides that, all of my friends who were into the Grateful Dead were well aware of Dr. John's rendition of "Iko Iko," which predated the Dead's first performance of the song by several years. In recent years, several of his albums have been reissued, including Gris-Gris and Ske Dat De Dat: The Spirit Of Satch, and we've been treated to some new compilations, including last year's Gris-Gris Gumbo Ya Ya: Singles 1968 - 1974. Now we get something really special, a previously unreleased live recording from 1988, the time when my friends and I were getting really into his music. Titled Live At The Village Gate, this two-disc set captures his performance from March 5, 1988 at The Village Gate in New York City. His band includes Joe Caro on guitar, Wilbur Bascomb on bass, Richard Crooks on drums, Trazi Williams on congas, Ronnie Cuber on baritone saxophone, Lou Marini on tenor saxophone (yes, Blue Lou), and Lew Soloff on trumpet.

Disc One

The first disc opens with "Renegade," a song that was written by Dr. John and Gerry Goffin, and included on the 1979 album Tango Palace. It's a cool tune, and this is a strong rendition, with a funky edge and some nice stuff from the horn section. "I'm a runner in the jungle/Renegade from the law/Don't talk to me about morality/I don't want to hear it no more." The band stretches out a bit here, this version approximately twice the length of the studio version. And it's during that energetic jam that the brass section really shines, delivering some fantastic stuff. Dr. John does some vocal riffing toward the end. "See, I like to live the life I live, and I like to love the life I love/'Cause I want to do what I want to do anytime I feel like doing what I want to do/And I want to be how I want to be anytime I feel like being how I want to be/And I want to say what I want to say anytime I feel like saying what I want to say." There is some delicious percussion beneath him there, and his vocal riffing has a great rhythm too. That's followed by "Qualified," a song from his 1973 record In The Right Place, the album that also features both "Right Place Wrong Time" and "Such A Night." The song is great fun right from its start, with a rhythm that is almost guaranteed to get you on your feet and a wonderful vocal performance from Dr. John that has a playful vibe. "Look at me, I'm stepping up in class/You'd better watch out, child, I'm moving up fast." He also delivers some really good stuff on keys. As with the first track, this one is also quite a bit longer than the studio version.

Dr. John delivers a good cover of "Life Is A One Way Ticket," a song that at the time of the concert had yet to be included on a Dr. John album. It would be included on 2004's N'awlinz Dis Dat Or D'udda. This track begins with some delicious work on piano, and then Dr. John tells us, "Life is a one way ticket/There ain't no second time around/You'd better get all you can out of life/Before you're six feet in the ground." Oh yes, he digs into the blues here, and tells it as it is. "Some people believe in reincarnation/I believe when you're dead you're done." Yup, this is it, folks, so enjoy yourselves and try to not be shitty to other people. This rendition is overflowing with cool. Check out that work on saxophone. And then that trumpet is ready to tear a hole in the sky, if only to prove there is no big bearded man hiding there. There is also a great bluesy lead on guitar. This is a track where everyone gets a chance to shine. There is certainly time for it, this being the longest track on the disc. It is followed by "Keep That Music Simple," a song that Dr. John included on Tango Palace. "This here is our motto," Dr. John says at the beginning. "Keep that music simple/Come on, let's move/Keep that music simple/Everybody in the groove." And yeah, there is a good groove, one you can move to, with some funk. "I know what I'm talkin' about." Oh yes, no question about it.

"One Dirty Woman" gets going with some cool, mean work on piano, and then gets even cooler as it kicks in. In this song at one point he sings of "going down to Louisiana," and the music itself of course speaks of that place. Dr. John is one of the musicians most closely associated with New Orleans. Things get even cooler on "I've Been Hoodood" (which on In The Right Place was listed as "I Been Hoodood"). Its opening is fantastic, the way the horns and guitar interact. What a great job of setting that tone, creating the atmosphere. And Dr. John's vocal performance is exactly what we think of, what we want, when we think of this performer. He takes us into that darker, sexy realm that he would often inhabit, his voice and the horns working as our own passport into that world. The band jams on the great groove, this rendition more than twice as long as the studio version. Everything is working perfectly here. The first disc concludes with "Rain," a song from his City Lights album, released in 1978. This is a slower, bluesy, kind of gorgeous song. "Life ain't worth loving/Love ain't worth having without you." It's a passionate number that we can feel throughout our body. The ache, the need. "I need my baby/So bad I've gone crazy/Without you."

Disc Two 

The second disc kicks off with "Let The Good Times Roll" (someday I will make a mix CD of all the songs with some variation of that title), a song that was included on that compilation, The Ultimate Dr. John. Before that, it was included on his 1972 album Dr. John's Gumbo. He gives us a really good rendition here, this track featuring some outstanding guitar work. This is a song to get everyone loose, and it leads straight into "Ooh Poo Pah Doo." This is fun. "It's all in your mind." Then in introducing "Mess Around," Dr. John says they're going to "mix it all up, make a little gumbo for ya." And this track is even more fun, one to get you dancing, get you shaking. Dr. John delivers some absolutely delicious stuff on keys. The band is cooking, the song is popping. This is a celebration, to be sure, and all you have to do to join is let yourself go, give yourself over to the groove. The track features several excellent leads. It's a track I just don't want to end. Dr. John changes gears with a cover of "Georgia On My Mind," a song that he included on his 1984 live album Such A Night! Live In London. And what a great job he does with the song here, providing some passionate work on piano. I also love that work on saxophone, and I'm certain that anyone who listens will love it too. 

Dr. John introduces "Mama Roux" by saying it's a special request, and that he hasn't played it in a long time. For those somehow unfamiliar with it, it's a song from Gris-Gris. The backing vocalists aren't here, but the horns kind of fill in. There are some playful moments, and this becomes a fun rendition. The crowd is clearly appreciative. Well, it would probably be weird if Mardi Gras weren't mentioned at some point, right? Don't worry, this disc concludes with "Mardi Gras Day," This rendition eases in with some cool, timeless piano work, supported by guitar and drums. Then, after a minute or so, it kicks in to become a party. This music has such great cheer to it, we feel that life could really become a party, folks in a second line marching down the main street of every city, every town. The music pushes away all the current strife. It dispels fascism. Partway through, Dr. John introduces the band, and as each member is introduced, he takes a solo, beginning with Richard Crooks on drums. Dr. John gives each member a playful introduction. And, yes, he introduces himself before his lead on piano. And he sings his goodnights to the crowd near the end. When the track first seems to be ending, it suddenly starts up again, the band grooving. This track is the longest of the second disc, more than sixteen minutes of fun. Now take this joy out into the world where it's needed.

CD Track List

Disc One

1. Renegade
2. Qualified
3. Life Is A One Way Ticket
4. Keep That Music Simple
5. One Dirty Woman
6. I've Been Hoodood
7. Rain

Disc Two

1. Let The Good Times Roll/Ooh Poo Pah Doo
2. Mess Around
3. Georgia On My Mind
4. Mama Roux
5. Mardi Gras Day

Live At The Village Gate is scheduled to be released on November 21, 2025 through Omnivore Recordings. 

RJ Bloke at Bigfoot West, 10-29-25 Concert Review

Well, this is it, at least for a long while. Last night RJ Bloke (Jay Souza) played his final Los Angeles  gig before his move up to Portland. For the site of his last show, he chose Bigfoot West, a venue where he's done several shows in recent years. It's a cool bar with a decidedly rustic vibe. Playing on the several televisions before the show was one of those silly programs where people pretend to seriously investigate Bigfoot. And I wondered briefly if this program is played routinely there, you know, because of the name. Like those awful, so-called "found footage" films, the program had lines like "I thought I saw something move up there." The camera jerked around in that direction, focusing on nothing at all, because there is no such thing as Bigfoot. There was a decent crowd, especially for a Wednesday night. The stage area was decorated for Halloween, with cardboard machetes and knives hanging from the ceiling and a series of skulls on cardboard attached to the walls, and below them flames, an interesting choice. Even more interesting was the presence of a wardrobe rack stage left, with a tag saying "Costume Shop." I suppose if RJ Bloke had a desire to, he could don any of the two dozen items hanging there. A costume rack is something I don't recall ever seeing at a bar gig before, but then again my memory isn't always to be trusted.

Approximately five minutes before 9 p.m., the televisions were turned off, and just after nine, Jay was ready to go, opening the show with "Raining In My Heart," which featured some nice work on harmonica. He followed that with "Where Are You Now," a song from the Hold Drugs Dear disc. Jay introduced himself after that song, as RJ Bloke, and someone in the audience called out, "Good stuff, man, good stuff." The set contained a mix of original material and covers, and Jay followed "Where Are You Now" with a cover of Bob Dylan's "The Man In Me." The first set also included covers of The Beatles' "She Said She Said," Merle Travis' "Dark As A Dungeon," The Rolling Stones' "Waiting On A Friend," Robyn Hitchcock's "When I Was Dead," and CCR's "Lodi" (with him changing the line to "I'm stuck in Culver City again" just before the end). But of all the covers he did in that set, the one that especially stood out was "Drugs," a song written by Tracy Huffman and included on his Tracy Huffman And The Walking Sticks album. "I just learned this one a couple days ago," Jay said in introducing it. It's a fantastic and humorous song in which he sings that he's taking drugs now and they make him feel good, adding that they don't make him feel like shit, "like you do." "I'm going to take that one to Portland," he said afterward. Yeah, I imagine the Portland crowd will dig it.

But most of the highlights of the first set were originals. "Be Happy" received a big reaction from the crowd. After that song, RJ Bloke said, "I've always enjoyed playing at Bigfoot," and he talked a bit his imminent move to Portland (he leaves tomorrow), and how he's sad to leave Los Angeles. "I like Portland a lot, but I love L.A." That also received a cheer from the audience. I lived in Oregon for a while, and there is a lot to love about that state, especially about Portland, but the rain certainly got me down after a while. When I moved to L.A., I didn't want to see any rain for a year or two. "Coat Of Disappointment" also got a much deserved large reaction. That's one of my personal favorites. And "El Norte" got a cheer before he even started it, during the introduction. And that was the song he chose to conclude the first set.  

The second set also contained a good mix of covers and original songs. He opened with a cover of "St. James Infirmary," and followed it with "God Is A Scarecrow." Covers included Cheap Trick's "Surrender," a really nice rendition of John Lennon's "Jealous Guy," and Paul Simon's "Kodachrome" (with the first line changed to "When I look back at all the crap I smoked in high school"). The cover that really stood out for me in the second set was "Take Out Some Insurance," a cool blues number written by Jesse Stone and recorded by Jimmy Reed. It's great to hear Jay Souza really dig into the blues, and this song featured some excellent work on harmonica at the beginning. This set also included "Widow Next Door" and "A Sailor's Mind," the latter from the Hold Drugs Dear album. It was after that song that a guy in the audience requested the title track from that album. Jay told him he hadn't planned on playing it, but then decided to give it a go. He was joined on stage for part of the song by the guy who requested it. Jay ended the show with "Fast Life Slow Death," another of his best songs. The show ended at 11:03 p.m. And that's it. The end of an era, as they say. Jay Souza, as both RJ Bloke and as the main force behind Patrolled By Radar, has played an important part in the Los Angeles music scene. While it's possible he might come back at some point to do some shows, it will be at least a year before that happens. In the meantime, Portland is adding a talented singer and songwriter to its ranks.

Set List

Set I

1. Raining In My Heart
2. Where Are You Now
3. The Man In Me
4. I Feel Found
5. Drugs
6. She Said She Said
7. All You Need Is Enough
8. Dark As A Dungeon
9. Better Than Then
10. Waiting On A Friend
11. When I Was Dead
12. Be Happy
13. Lodi
14. Coat Of Disappointment
15. El Norte

Set II

1. St. James Infirmary
2. God Is A Scarecrow
3. Surrender
4. Jealous Guy
5. Widow Next Door
6. Take Out Some Insurance
7. A Sailor's Mind
8. Hold Drugs Dear
9. Kodachrome
10. Fast Life Slow Death

Bigfoot West is located at 10939 Venice Blvd. in Los Angeles, California.

Just Like Crazy Otto...

If you are a Grateful Dead fan, then you know the line "Just like Crazy Otto, just like Wolfman Jack" from "Ramble On Rose." Well, we all know who Wolfman Jack is, but we might not all be familiar with Crazy Otto. His real name is Fritz Shulz-Reichel, and he was a pianist and composer. Earlier this month I found a Crazy Otto record at a used book store in Burlington, Massachusetts, and so of course had to pick it up. I've been turned on to a lot of different music because of the Grateful Dead, and this particular record is certainly among the more surprising. It contains some fun piano music, including an unusual rendition of "In The Mood," the song written by Joe Garland and popularized by Glenn Miller. I don't think I've ever heard a version quite like this before. 

Fernando Perdomo: "Waves 10" (2025) CD Review

We are approaching the end of the year, which means we are also approaching the end of Fernando Perdomo's Waves series. If you haven't yet heard about Waves, it's a fantastic series of albums, a new disc released on the first of every month. Each disc contains ten new original compositions, which means that the latest release, Waves 10, contains the one hundredth original song of the year. Quite a feat, right? But what makes this all the more impressive is just how damn good the songs are. In addition to writing all the material, Fernando Perdomo plays all the instruments, and produces and mixes each album. If you are looking for music that will take you on interesting journeys, you're going to want to delve into this series.

Waves 10 begins with "Poseidon," its opening moments expressing a sense of magic, of the unknown. There is something childlike about its sense of wonder. And then it begins to grow from there, but does not lose that feeling of taking place in an otherworldly, magical location. The song is named after the Greek god of the sea, and the strange world the song conjures is that of the unknown depths of our oceans, a place where there are still discoveries to be made. This track is a striking opening to the album. It is followed by "Golden Glow." Here the bass creates a steady motion, over which the guitar is able to soar. Yet the guitar here generally moves forward, rather than up too high. The crash of the cymbal feels like each wave hitting the shore, one after another. There is something we feel we can trust here, something reassuring, even as we drive forward with a certain determination. This track has a long, slow fade-out.

"Keeping The Stone Warm" has a sweeter vibe, a song with a gentle and loving disposition. But that doesn't mean it is without energy, without purpose or drive. The guitar finds some interesting places to go, things to say, before returning to its main thrust. I also love the bass line to this track. This track leaves us feeling good, feeling safe, and, yes, feeling loved. Then "Sun Be Gone" is delivered on guitar and keyboard, those instruments feeling like rays of light themselves, though perhaps heavier than the bright light of the early afternoon. This is more like the last dance of the late afternoon when you try to stretch out the day into night, though you know you'll be unable to do it. At a certain point darkness overtakes us, and then the music is like the memory of light which carries us through. And maybe then the guitar feels even freer, unrestrained by the reality of day. This track has an unusual, unexpected final moment.

Fernando Perdomo then takes us back into the depths of the ocean for some exploration on "Ms. Diver," and that exploration can be inward as well as outward. What is it of ourselves that we discover in the deep blue when we are cut off from normal communication? We allow ourselves to slow down. Even our breath slows. Our needs diminish. Our curiosity increases. Forms emerge from the darkness, slide by, unbothered by our presence. There is beauty here, but not exactly as we'd expected it. And our pulse quickens just before the end. That's followed by "Abandoned Mansion In Decay." I love how there is a slight pause after that initial strum on the guitar, giving us the opportunity to shift into this new realm, to emerge from the depths into a lighter space. This song is delivered on acoustic guitar. There is a different sort of exploration here. Now it feels mainly external. The guitar takes on a great energy halfway through, before relaxing again, breathing. The guitar work here is exciting and beautiful.

We are then in more familiar territory with "Bustelo For Blood," which has some pop elements and a good groove. There is something catchy about this one, something inviting. I don't care for coffee at all, but coffee is very important to my girlfriend, who usually buys Bustelo, and so I must remember to play this track for her, see if there are some things within it that she finds that elude me. I love the vibrant guitar work to this track, which carries us along. This track also has a strong climax. Then with "Koi" we find ourselves again beneath the waves, in that incredible, magical realm, moving almost effortlessly among the fish and whatever sunlight is able to penetrate the surface of the water. There is the strong sense that everything around us is engaged in a dance without knowing it, but we can see it all perfectly. The beauty, the movement.

On the ninth installment of this series there is a song titled "Desolation Desperation," and this one contains a track titled "Illusion Delusion." And yes, I find titles like that appealing, in part because they are fun to say aloud. Go ahead, try it. See? Anyway, this one begins with an interesting dialogue on guitar, taking breaths between lines. Then approximately halfway through, it changes directions, if only slightly, opening up to embrace more of the world. And as it does, we feel we can let go. A great feeling. The album concludes with an interesting track, "The Caress," the keyboard and bass involved in their own dance, one of exploration and romance, two voices looking for the same thing, and not only that, but finding it. Ah yes, and in that there is such great hope. Hope for all of us. What a wonderful way to wrap things up.

CD Track List

1. Poseidon
2. Golden Glow
3. Keeping The Stone Warm
4. Sun Be Gone
5. Ms. Diver
6. Abandoned Mansion In Decay
7. Bustelo For Blood
8. Koi
9. Illusion Delusion
10. The Caress

Waves 10 was released on October 1, 2025.

Minot: "Walls/People Pleaser" (2025) Record Review

Minot is a fairly new band based in Missoula, Montana, a trio made up of Flora Holland on guitar and vocals, Alex Molica (of KP & Me, Towner, The Brown Bottle Flu, Seattle Stomp) on guitar and vocals, and Noah MacKinnon on drums. These guys released their first album, And You're Not, in April of this year (that release is on cassette, though it is also available to download online). That album features some fun and cool original garage punk music, with some darker elements to certain tracks. They've now followed it with a single, this one released on vinyl, a seven-inch. This record was mixed and mastered by Hunter Jones.

The A-side song is "Walls," which was available to stream starting in early June. The song begins with a sort of frantic count in, and then kicks in to become an absolutely delicious number, with something of a classic vibe. "Flip a switch right there and it's light, light, light." It's so good to know bands are still delivering this sort of thing. This music will take you back, for sure, but is not immitative. It is familiar, and yet fresh. In the middle, there is a sudden break in the music. "Wish I could be happy." And then it begins to build again, and interestingly there is another frantic counting off. After that, the guitar takes over for a bit, a cool instrumental section. There is an ache, a sort of haunted aspect to the vocal delivery from Alex. "The walls are closing in on me, and I can't see the sun." 

The flip side is "People Pleaser," which was previously unreleased. This one is also counted in, but in French. It immediately sets itself apart from "Walls," having a sweeter vibe, sort of like a bit of the paisley underground scene meets the garage scene. Yeah, it's wonderful and catchy. There is something cheerful to the guitar work. This one features Flora on lead vocals, and she has her own great style, her own delivery (with maybe a bit of a Nico influence). "People pleaser, gonna squeeze ya/Make us love you, we're in charge of you." 

Record Track List

Side A

1. Walls

Side B

1. People Pleaser

Walls/People Pleaser was released on September 19, 2025, pressed on traditional black vinyl.

Fernando Perdomo: "Waves 9" (2025) CD Review

Fernando Perdomo is one of the busiest musicians and songwriters out there. If you've been reading my blog this year, you've come across his name many times, because he's involved in so many projects. One of those projects is his Waves series, in which he has been releasing an album of new material on the first of every month. Ten new songs, not only written by him, but on which he plays all the instruments. What's especially remarkable about this project is that all the material is excellent. In fact, the music seems to have gotten even better as the year has progressed. Waves 9 contains some fantastic and captivating tracks. The cover photo by Joe Galdo is also interesting, with the beach and sky close to the same color, the distinction between land and sky almost completely blurred if it weren't for the waves in the middle.

"Are You Out There?" has an interesting opening, with a haunting, contemplative, almost spiritual bent, a surprising way to kick off the album. And then the guitar begins to sing, reaching out to the skies. This piece grows in beauty, both of this earth and of some place beyond it, where hopes and memories meet. In a way, this music feels like the album's cover, where boundaries become hazy. Take your loved one's hand and step into the unknown, which either of you might recall. That's followed by "Possibly The First Progressive Rock Song Directly Influenced By The Village People." That's an incredibly playful title, which I appreciate. Of course, now I want to dig into the history of progressive rock and find out if any other songs were directly influenced by the Village People. That's just the kind of project I enjoy, but I probably shouldn't waste too much time doing that. For now, I'll just dig this track, which has a good, funky foundation. The guitar work has a strong late 1970s, early 1980s vibe, a rocking kind of thing. No, this isn't disco, for this track was influenced specifically by the album Renaissance, released in 1981 and a bit different from earlier records by the Village People (if you haven't heard it, check out "Food Fight" from that album, which is unlike anything else you've heard from the Village People). Anyway, Fernando is clearly having a good time here, having fun riffing over the groove.

Fernando Perdomo takes us into stranger territory with "Emotion Attains Physical Form," a track sounding like it was orchestrated by an immortal carnival barker who has some darker tendencies after all these years. Melancholy has seeped into his act. But the show still holds some intrigue for us all. I love the different elements, different voices to this piece, all part of the act. This is certainly an interesting ride, leading to a definite conclusion. That's followed by "Desolation Desperation." The guitar sings upon a hazy landscape, unsure who will be receiving its message, but needing to send it all the same, if only to retain its own sanity. We hear love in its notes, and need, desire. Sometimes the reaching out is enough. The air moves around the notes, allowing itself to be shaped by them, and so there is the sense that we can effect some change in our surroundings. The guitar work toward the end is particularly good, and we feel that someone will respond. Someone somewhere.

"Digital Raindrops" is an odd track, the sound fractured, hopeful but hesitant, with a desire to pull things together and reach some place of beauty, yet caught in a temperamental machine. Then we get a track titled "To Infinity." And yes, when I read that title, I heard "and beyond" in my head, and I don't even care all that much for animated films. Anyway, this track takes us into a strange space, the cosmos populated by creatures that sing like whales, a place where ancient knowledge has its own motions, its own coordinates, and where we could, if we desired, swim within that knowledge, despite the dangers. The guitar pushes forward, while also reaching back to us, to beckon us onward, reminding us we can persevere. And then it lets us go.

The guitar work at the beginning of "Rays Of Life" is like sparks of light in a deep blue ocean. Then a groove is found, and it is like suddenly everything around us is engaged in a pleasant dance. Everything feels good, feels right. The guitar work is what we focus on, but there is some delicious stuff on bass too. I just wish this track went on quite a bit longer. It seems to conclude prematurely. We are then in darker, uncertain territory with "Riptide." Nature is in control, but not in a hurry. Soon we become part of it, engaged in a section of an eternal dance as we are swept along by currents beyond our control. Yet there are plenty of spots to grab hold, if we have that need. The inclination, however, is to see where this will take us. And it seems to continue, even as the track fades out.

There is a delicate beauty as "Lady Lake" begins, magical and gentle. We feel safe in the arms of this music. Close our eyes and let go. A thousand hands will catch us, guide us, if we need them, but we find we can swim through air, breathe in water. What a great feeling. And then with the album's final track, "The Lighthouse," we are in another interesting space, where melancholy has beauty, where an old despair has things to teach us, and yet where worries disappear, evaporate under their own weight. The guitar leads us into a restful ease. Memories play at the edges, but cannot harm us. And the future seems to be a shared memory, something we agreed upon without desiring it. Hold onto each other before the end so that we can face it together.
 
CD Track List

1. Are You Out There?
2. Possibly The First Progressive Rock Song Directly Influenced By The Village People
3. Emotion Attains Physical Form
4. Desolation Desperation
5. Digital Raindrops
6. To Infinity
7. Rays Of Life
8. Riptide
9. Lady Lake
10. The Lighthouse

Waves 9 was released on September 1, 2025. By the way, the disc itself has a cool picture of Fernando.

Joselyn & Don: "Lost And Found Highway" (2025) CD Review

Joselyn & Don are a duo from Montana, now based in Los Angeles, creating music in the folk realm, with some strong blues and soul influences. Joselyn Wilkinson and Don Barrozo released their first album, Soar, in 2020, following it with the EP Seeds & Bones in 2022. Now they have a new full-length disc. Titled Lost And Found Highway, it features mostly original material. Joselyn is on lead vocals and ukulele, while Don plays guitar and provides harmony vocals. The musicians backing them include Bob Glaub on bass, Mauricio Lewak on drums and percussion, Greg Leisz on pedal steel, Tom Freund on upright bass, and Graham Richman on keyboards and synthesizer. These tracks also feature some talented guests, including Chris Pierce and Abby Posner.

The album opens with "Right On Through," which begins with some pretty guitar work and soon some gorgeous vocal work. Cristina Vane joins the duo on harmony vocals, adding another beautiful layer. This song takes us to an event in 1989, a train accident in Montana. "That sound was so loud, it shook the whole town/The end of the world coming true/When that winter wind comes, there's nowhere to run/She'll do what she's gonna do." These lines also stand out: "When that wind of change comes, she don't let you run/Until she's done breaking your heart." Greg Leisz provides some really nice work on pedal steel, helping to create the song's compelling and appealing atmosphere. Daniel Kleederman joins them on electric guitar. Then at the beginning of "Golden Hill," Joselyn sings, "I need a town with mystery/Aging ways that speak to me/Stories in bricks that I can read." I think all towns can hold some mystery, but I understand the allure of a place with history as well as mystery. And there is something appealing about a brick structure, something that draws me back east. Then she asks, "How could that be anywhere but Golden Hill?" At a time when I'm wondering if I'll be able to stay in Los Angeles, and considering what elements would be important to me when choosing another home, this song grabs me. This song features a string section, adding to its warmth. Mica Nafshun-Bone is on violin, Kate Brown is on violin, Jason Polychronakos is on viola, and Judah Groveman is on cello. And just when I'm thinking I could be happy elsewhere, in the next song, Joselyn sings, "But I know I've got to get back to L.A.," and I think about all the wonderful benefits of living in this city. The "doo-doo" vocal part reminds me just a bit of The Kinks' "Waterloo Sunset."

Chris Pierce joins them on "Choose Love," not only adding his great voice to this track, but also playing harmonica. I love the whole vibe of this song, a song ready to sink its fangs into any obstacle. There is something of the blues here, and certainly some darker elements, yet it's a song about choosing love, something that is more and more of a challenge these days. And there is a great, positive energy to this song. Bridget Graham provides some backing vocal work to this one. That's followed by the album's only cover, "Seminole Wind," a song that Jon Langford and Sally Timms sometimes cover. It was written by John Anderson. These guys deliver a good rendition, featuring some wonderful work by Mica Mafshun-Bone on fiddle. Liz Irons provides backing vocals here.

It's interesting to me how many songs take place at 4 a.m., certainly more than any other time. It's a time of darkness, a time just before the new day begins, the last hour when you might still be able to hold onto the previous day. And on this album, Joselyn and Don give us a song titled "4 AM." "Four AM feels like a drug/Waking me up with everything that I'm scared of." Those are some good opening lines. For months, I had a strange, recurring nightmare about a spider (I'm not even afraid of spiders, but the dream was strange for other reasons), and it would wake me at exactly 4 a.m. each night. "The world keeps on spinning no matter how you fret/So hush-a-bye, my dear, the night ain't over yet." There is an interesting beauty to this song, particularly in Joselyn's vocal performance. That's followed by "What Are We Doing Here." "But she's got dreams and a guitar, gonna take 'em on the road/'Cause nothing in this whole wide world can settle a restless soul." These lines speak to us, no matter what our specific dreams might be. This is a song for all of us who've asked ourselves, "What are we doing here?" Greg Leisz delivers strong work on pedal steel.

"Workin' The Hi-Line" is a song about an immigrant, sung from that person's perspective, not taking place in our current, ugly times, but rather in the early nineteen hundreds. It's about settling in, working, and making this country one's own. "This country is my home now and this is where I'll die/Under the big Montana sky." I wonder how immigrants feel these days. It seems that others make it impossible for them to embrace this country as their own, which is so sad. This track features some good work on guitar. That's followed by the album's title track, "Lost & Found Highway," which begins with these lines: "Somewhere on these roads I could lose myself a little/Somewhere on these roads I'll make it right/I could drive right through the night if I keep it in the middle/Chasing down a peace I'll never find." There is usually something quite appealing about being on the road in song, but here it is questionable. It could go either way. And while traveling is appealing, so is going home. "I guess I'm always leaving 'cause it's easier to do/I never stick around to do the hard work/To see it through." And she asks, "How does it feel to know your place?" Joselyn and Don wrap up the album with "Rock And Roll Heart," an original song, not to be confused with the Eric Clapton number, and featuring Abby Posner on harmony vocals and guitar. The song's first stanza stands out to me: "I heard it on the news this morning/Another legend passed away/And I was struck with the memory/Of the last time I ever saw him play/So I put those records on, I'm wrapped up in a song/In my mind he's never truly gone." The year 2016 was the worst in that regard; it seemed every day we lost an important musician (including Leonard Cohen, Leon Russell, David Bowie, Merle Haggard, Paul Kantner, Guy Clark). But since then, so many more have been taken from us. This song is needed for all of us who find ourselves missing certain artists who have been important in our lives. "From Amy to Zevon, from Aretha to the Ramones/I just need to hear that first note, and I feel like I'm coming home." The music lives on.

CD Track List

1. Right On Through
2. Golden Hill
3. Girl From The Mountain
4. Choose Love
5. Seminole Wind
6. Four AM
7. What Are We Doing Here
8. Workin' The Hi-Line
9. Lost & Found Highway
10. Rock And Roll Heart

Lost And Found Highway was released on October 3, 2025 on Paintbrush Records.

Karney: "One True Song" (2025) CD Review

Anna Karney is a singer and songwriter based in San Francisco, creating music that is generally in the rock realm, sometimes drawing on folk influences as well. She released her first album in 1999, and has followed it with several other albums, EPs and singles. Her new album, One True Song, features original material, more in the folk realm than some earlier releases. Anna Karney plays electric guitar, acoustic guitar, piano and keyboards on this album. She is joined by James Deprato on electric guitar and acoustic guitar, Kevin T. White on bass, Uriah Duffy on bass, Kyle Caprista on drums and percussion, and Phil Bennet on organ and keyboards, along with a few guests on certain tracks.

One True Song opens with its title track, which has kind of a sweet, pretty sound, while Anna's voice has a glorious rock edge. "From the cold, hard city streets/To the houses where all good people meet/I won't do wrong/With my one true song/Come on, come on now, sing along." And when she sings the line about love, the song has the feel of an anthem. It is easy to picture an audience singing along. Love is what it's all about, this whole experiment we're a part of. "We will all come out together for love, love, love." And it is love that also will be the engine. It has to be. Politics have completely failed us. This track also features some really nice guitar work. "I gave my guitar away/To someone on the street," Anna tells us at the beginning of the next track, "Gave My Guitar Away." "Try to brighten  up somebody's day." There is a wonderful rock energy to her vocal performance, with hints of blues. It's a song of connecting with others through an act of kindness, but also through music. And of course that's what this song does too. It can connect us, unite us. This track features some good stuff on electric guitar. Erik Smyth joins the band on guitar on this one. Toward the end, Anna addresses us directly, passing the music to us, the ability to make music. No passive audience, us. Imagine if everyone had a musical instrument. Wouldn't it be great if people focused on music rather than politics or religion or whatever. "Just think of all the good things to be done."

"Suspended" eases in beautifully, creating an appealing atmosphere. "Soft breezes/Upon my face/Whisper through the trees/And through the spaces/Through the spaces." The song itself seems to move through the trees, to come like a wind to our ears. This is a beautiful song, one of my personal favorites. I love it more each time I hear it. There is a bit of Chrissie Hynde vibe to Anna Karney's voice at times. "Suspended/For a moment in time/For a moment in time/Where there is peace and quiet/Where there is peace/And quiet." That's followed by "Freedom Summer." "This is a story of heroes/Andrew, Michael and James," Anna sings at the beginning. It's a song of the fight for civil rights and the folks who were killed in Mississippi in 1964 - Andrew Goodman, Michael Schwerner and James Chaney. "That was the end of the road/The end of the road." I wish those crimes were firmly in our past, but look where our country is now, fully embracing racism and fascism, with half the population under the thrall of a bigot, a convicted felon, a rapist, a creep who was sued for not allowing black tenants in his buildings. Anthony Blea joins the group on violin, delivering some especially moving work, adding a lot to this powerful track. "Remember their names/Andrew, Michael and James."

"Out Of Body 2025" opens with some wonderful guitar work, then kicks in with an unexpected force. "Put the makeup on my face/And I disappear without a trace." This track features some great percussion and a harder edge. Faisal Zedan plays derbekki drum, Arabic riqq and frame drum on this track. It's an exciting and wild ride, another of the disc's highlights, with vocals that seem to surround us. It's an outstanding and astounding vocal performance. "I am someone I don't know." There is excellent stuff on guitar too. Faisal Zedan also contributes some superb work on percussion to "Eos," a song about the Greek goddess of the dawn. I love the way Anna delivers the title line, like she is able to summon the heavens, invoke the spirits, and move with them through the trees to us. "She wakes us to the dawn of possibility."

Interestingly, the album concludes with acoustic versions of three tracks, starting with "Gave My Guitar Away." There is a bit of a Kelly Zirbes sound to her delivery, particularly in those first few lines. Though this is the acoustic version, that great lead on electric guitar is still present. "Let your inner child come shining through." Then we get "Freedom Summer." That incredible work on violin stands out even more here. I love that percussion too, which has its own power. By the way, this song mentions how several people involved in the crime were able to walk away, not facing any consequences. That is true today too, for the most part, especially when a convicted felon not only avoids prison, but becomes the president. Sick. There is no justice in this country. The album ends where it began, with "One True Song." It's a beautiful way to wrap things up, concluding on a positive, hopeful, even empowering note.

CD Track List

1. One True Song
2. Gave My Guitar Away
3. Suspended
4. Freedom Summer
5. Out Of Body 2025
6. Eos
7. Gave My Guitar Away (Acoustic Version)
8. Freedom Summer (Acoustic Version)
9. One True Song (Acoustic Version)

One True Song was released on July 18, 2025.

Jim Patton & Sherry Brokus: "Two True Loves" (2025) CD Review

Jim Patton & Sherry Brokus are an Austin-based duo known for crafting meaningful and engaging songs in the folk-rock realm. On their new album, Two True Loves, they deliver some excellent new material and also re-work a few older songs, songs from the 1980s. All tracks were written or co-written by Jim Patton. Backing the duo on these tracks are Ron Flynt on bass, keyboards, acoustic guitar and backing vocals; Scrappy Jud Newcomb on lead guitar; John Chipman on drums; and BettySoo on backing vocals. 

This disc gets off to a good start with "I Want It All." You might think solely from that title that this song is about a particularly selfish person, but that is not the case at all, for the things this person wants are things everyone should have. "I want a job that I care about/A club nearby where we can twist and shout/And a few good songs on the radio/And someone to hold me when I feel alone." What's particularly brilliant about these lyrics is the effect they then have on the song's main line, a line you've likely heard said throughout your life, "They tell me that you can't have everything." In the past the "they" in a sentence like this is essentially everyone, and so there is no judgment made, but here the "they" of the line becomes a sort of adversary, someone positioned above, in an oppressive sort of context. "Every step up the ladder, they care about you less/And less/And less." I love that delivery, for each "And less" feels like another step downward. That's followed by the album's title track, "Two True Loves." There is a great 1960s feel to the guitar work from the beginning, part of what makes the song so appealing. But part of it is the song's theme. Most of us have at least two things we are passionate about, two true loves, often a person and an artistic endeavor. I certainly wouldn't want to be without my girlfriend, but I also couldn't exist very well without music. "You said, 'Why don't you love me like you love your rock and roll?'" The song is also about how we have things to prove, maybe to others, the world, but mainly to ourselves, and while time is slipping by, we have to make the time for both our passions.

Jim Patton and Sherry Brokus slow things down then with "Nothing At All," a song that is more contemplative. A song of reflection, with an air of melancholy. Check out these lines, which open the track: "Everybody I know has been saying they just can't take this pain/They're looking through their past for a place to hide." I love that idea of hiding in their past, or rather wanting to hide in the past. It seems these days that a lot of folks would like to reside in some place in the past, a spot they can't quite locate. This song is full of excellent lyrics, such as this line: "You know that life's so different from your dreams." I can feel that line like a blade pressing against my side. This track is one of my personal favorites. The energy increases again with "Annabelle Lee," though there is some reflection here too. "But everybody knew what I was looking for/Because they were all looking too." Oh yes, we all desire some of the same things, something that is often forgotten these days. He tells a girl she reminds him of someone he used to know. Isn't it interesting how the past keeps poking its head into the present? "She must have thought I was going to be a star/She latched onto me like an unemployment check/And we walked outside this bar."

"Everybody's angry, saying things I can't forgive/I have a wife who loves me, responsibilities/But I still have these dreams exploding deep inside of me/You'd better leave me alone/Can't you see that I don't want to talk about it anymore." In those lines of "Leave Me Alone," they are revisiting that theme of a person's dreams not being fulfilled. But there is still hope. We can hear it in the guitar work. And as the line "Leave me alone" is repeated toward the end, Jim adds, "Don't want to be like you" and then "And I'm not going to," defiantly, determinedly. That's followed by "Laurence Beall," about a musician and friend who had dreams of his own. There is the question of whether those dreams have been realized, a recurring idea on this album, and one that will speak strongly to a lot of folks.

"Why Did You Leave Me For Him?" is a country number, with a subject perfect for the country realm. Heck, even that title seems to cry country. It's difficult to keep from dwelling on such questions, such matters, because it's all about your view of yourself, how you measure up, how you are perceived. "Was he your one true love, or was it just a whim/Did you drink too much, did you think too little/Did he play your heart like a Cajun fiddle/Oh, baby, why did you leave me for him?" This one was written by Jim Patton and Steve Brooks. It contains some really nice work on guitar. "That Cup Of Coffee We Never Had," also written by Jim Patton and Steve Books, has a sweeter vibe. "When I think of you I think of all those poems/Written just for you in my room alone/I was seventeen, watching from afar/Like I was your planet, and you were my star." This song looks back to youth and to missed opportunities. We all have those lost chances, when our lives might have changed. But, as mentioned here, it's impossible to know whether the changes would have been better or worse than what we got.

There is a bit of a 1960s flavor to "She Doesn't Want To See You Anymore." Here are the song's opening lines: "Somehow she didn't fit your dream/Some scenes did not ring true/You took her love for granted/That's an easy thing to do." There is a sadness to this one, heard mainly in the vocal performance. "Nothing ever hurts you like the slamming of a door/When she doesn't want to see you/She says she doesn't want to see you/No, she doesn't want to see you anymore." This one was written by Jim Patton and Mookie Siegel. It's followed by "Caught In The Headlights," which has a harder edge. There is a bit of a Tom Petty flavor. "A future once so bright/Flashed before our eyes/We were caught/Caught in the headlights." It's a song about greed. The line "What's in it for me?" is echoed. This song was written by Jim Patton and Steve Brooks. Then "Local Yokels" is a kind of playful song, playful even in just the use of the word "yokel" and that interior rhyme in the title. Here are a couple of lines that stand out: "They look at life as a conspiracy/The world is flat as far as they can see." It's crazy, but some people really believe the earth is flat. People that stupid should not be allowed to vote or operate motor vehicles. "Local yokels everywhere I go/Local yokels think they're in the know." And that's it: local yokels are everywhere, and they shun education and information because they're convinced they already know everything. Somehow these imbeciles took control of this country. It's frightening. This is another of my personal favorites.

"What If You're Fooling Me Now" is a softer number. "You tell me you're sorry, you made a mistake/You swear it won't happen again/Wish you could turn back that part of the past, or at least try to pretend/You sound so sincere when you tell me we'll make it somehow/But I look in your eyes and I can't help but think, what if you're fooling me now." Wow, those are really good opening lines, and delivered with the right amount of ache. And soon he sings, "You swear forever, the rest of your life/Just like when you told me, 'I do.'" Ouch. That is wonderfully harsh. I love the way the lyrics grab us. This is another of the disc's highlights. It was written by Jim Patton and Rob Lytle. It's followed by "Hard Times," one of the songs from the 1980s. Of course, hard times persist, and the song still feels timely. Things are bad out there, as they always will be when people elect Republicans (now known as the Fascist Party) to lead the nation. There is a bluesy edge to this song, which is fitting, and the track contains some excellent vocal work, as well as some cool stuff on guitar. "Everybody's asking, 'Which way to the top'/Somebody always wants what somebody else has got/Some guy is dressed up in red, white and blue/He's lying to me, who's lying to you too." This one was written by Jim Patton and Lew Morris. The album concludes with "One More Song," a song about musicians, about playing various smaller venues, again touching on that theme of dreams not yet realized, Jim's vocals supported by keyboard. "Something inside that never quite died/And he's always got one more song."

CD Track List

1. I Want It All
2. Two True Loves
3. Nothing At All
4. Annabelle Lee
5. Leave Me Alone
6. Laurence Beall
7. Why Did You Leave Me For Him?
8. That Cup Of Coffee We Never Had
9. She Doesn't Want To See You Anymore
10. Caught In The Headlights
11. Local Yokels
12. What If You're Fooling Me Now
13. Hard Times
14. One More Song

Two True Loves was released on September 12, 2025 on Berkalin Records. 

Saint Pierre's Album Release Party At The Trip, 10-18-25: Photos

Saint Pierre celebrated the release of Luck And Gravity last night at The Trip in Santa Monica. The album came out on Friday, the band's first full-length disc of original material, and it played over the venue's sound system as folks were coming in. There was a good energy in the room, the kind of joy and excitement you hope will be there for a record release party. At 8:03 p.m., the band took the stage. Saint Pierre is the husband-and-wife duo of Danny and Julia St. Pierre, and they had a fantastic band backing them, which included Ed Tree on guitar (Ed Tree produced the album), Severo Jornacion on bass, and Rusty Squeezebox (David Ramsey) on drums. Danny didn't wait until the end of the set to introduce those guys, but rather introduced them before even the first song. The band played the album in order, and there was a great energy right from the first song, "Wish You'd Said." Julia and Danny offered some insights into each of the numbers, including how "Luck And Gravity," the title track, might have originally been "Luck And Chemistry," but that title didn't sound as good. Introducing "You Steady Me," Julia said, "This is the first song we recorded for the record." It is one of my personal favorites, and if you haven't yet heard it, I recommend checking it out. The album concludes with a Tom Petty song, "Keeping Me Alive," which Danny mentioned was in a documentary in the 1980s. Julia and Danny are in a Tom Petty tribute band called Petty Theft, and after playing all the songs on the new album, they concluded the set with a few more Tom Petty songs: "You Wreck Me," "Mary Jane's Last Dance" and "I Won't Back Down," the last song going out to everyone who was at the No Kings rally, and one that had a lot of folks dancing.

Here are some photos from the show:

The Trip is located at 2101 Lincoln Blvd. in Santa Monica, California.

Bruce Gertz Quintet: "Octopus Dreams" (2025) CD Review

Bruce Gertz is a bass player and composer with an impressive resume that not only includes work as a bandleader and performances with such artists as Dave Brubeck and Larry Coryell, but also as an author of several books and a contributing editor of Bass World, a magazine for bass players. His new album, Octopus Dreams, features all original material. The Bruce Gertz Quintet is made up of Bruce Gertz on double bass, Phil Grenadier on trumpet and flugelhorn, Rick DiMuzio on tenor saxophone, Gilson Schachnik on piano, and Gary Fieldman on drums.

The album opens with "Power Walk," which has a strangely unsettling sound or tone, keeping us from immediately settling into it but also keeping us intrigued. It is the bass lead that gives us a greater access point, and that comes along fairly soon, approximately a minute in. Bruce delivers some really cool work here, and that bass lead is what gets me loving this track. Phil Grenadier then takes over, and there is a joy, an excitement to his work. That is in turn followed by a saxophone lead by Rick DiMuzio, over a good groove that may get you tapping your feet. There is some warmth to the saxophone lead. The track returns to that somewhat dissonant sound before the end. "Power Walk" is followed by the album's title track, "Octopus Dreams." I've always found octopuses to be fascinating creatures, and the album's title and cover are part of what initially drew me to this release. This track creates an interesting mood. Phil Grenadier's flugelhorn playing has something of a fluid feel, gliding and moving over the rhythm, and I can imagine an octopus dancing, its partner the water itself, the motion of the sea determining the direction of the dance. This track also features some wonderful work by Gilson Schachnik on piano. There is a lively aspect to it at times, the energy seeming to build, and then suddenly relaxing as Bruce Gertz steps forward on bass. There is an almost magical sense to that lead on bass, taking us through an unfamiliar but beautiful underwater realm. 

The ocean remains in our thoughts then as "Sea Worthy" begins, and it feels we are casting off, setting off on a possible adventure in that opening section. There is nothing ominous about it, but rather there is a joyful sort of excitement. And less than a minute in, Bruce takes a lead spot on bass, captaining the ship and keeping things moving. Rick then takes over with his saxophone, and it is then that we begin to feel we are dancing on the waves, Gary Fieldman's drumming giving us a sense of waves splashing against the boat. Phil then raises things a notch or two during his lead. None of this track's leads is all that long. There is a special energy to Gilson's lead on piano, driving things forward for a time, before then pulling back, once again relaxing. Toward the end the drums emerge, the first drum solo of the album, and interestingly the track ends with that solo. Then "Mr. Z" takes us into mellower, soothing, contemplative territory, yet with a lightness at times, particularly in Phil's work, which is wonderful. There is a touch of the magical realm in Gilson's lead on piano, particularly at the start, pushing back the veils. Rick's lead then dances upon the flowers, upon the air, and Bruce takes us into the evening with his brief lead.

The quintet changes gears then with "I'm Busy," which has a livelier, more cheerful sense to it. There is a sense of motion, of action, though not necessarily haste. Rather the rhythm speaks of a population with things to do. The drumming maintains that feeling, even as the saxophone digs in and seems eager to push on to another level. The horn then rises, ready to lead us to some special place of its own creation, and we have no doubts that it is able to do so. The piano, as its lead emerges, is dancing, which is delightful, and that instrument still has things to say when Bruce takes his spot leading on bass. His is a short lead, and soon we are treated to a drum solo, broken into short sections. Everything comes together at the end, a warm dance. That's followed by "Redacted," which has quite a welcoming opening moment, perhaps surprising for a piece with that title. I suppose I'm not alone in thinking of subterfuge and dishonesty when reading that word, or at least a lack of openness. But this music doesn't feel that it is hiding anything. In fact, there seems to be an eagerness to share, especially heard in Phil's work. That's followed by "Opening," the album's final track. I appreciate the album closing with a track titled "Opening." What is it they say, one door opens as another closes? There is a sweet vibe to this piece, leaving us feeling good. What more can we ask?

CD Track List

1. Power Walk
2. Octopus Dreams
3. Sea Worthy
4. Mr. Z
5. I'm Busy
6. Redacted
7. Opening

Octopus Dreams was released on August 15, 2025.

Big City Camp Fire Features Rob Faucette, Emily Zuzik And RJ Bloke, 10-16-25

RJ Bloke

As you might already know, RJ Bloke (Jay Souza) is heading north at the end of the month, leaving Los Angeles to make his new home in Portland, Oregon. But he had booked a few last shows before the move, and last night he played a set at Audio Graph Beer Company, in downtown L.A. It was part of the Big City Camp Fire music series, which is held at that brewery monthly, hosted by Rob Faucette. Last night's lineup also included Emily Zuzik, whose new EP, Age + Alchemy, is certainly worth checking out. It was an excellent night of music and beer, one of my favorite combinations. 

Whenever you go to a brewery you haven't visited before, there is always that question of which beers to try because they're all new to you. I often choose by the name. That's how I ended up getting turned onto Flying Circus at Wingwalker Brewery (a place that is no longer open), for example. So I was leaning toward a hazy IPA called Spectral Blur, but the bartender steered me to a west coast IPA called Overdrive (one I would not have chosen based on its name). It was so delicious that I ended up sticking with it for the rest of the night. The staff and the patrons were friendly, and the place had a good atmosphere. The seating was on what felt to me like the Playskool versions of picnic tables, but they served their function adequately. The baseball game ended before the music began, so there wasn't that competition between artist and television. This music series, by the way, began in February, so it hasn't been around all that long.

Rob Faucette

At 7:14 p.m., host Rob Faucette started things off with a short set, kicking the night off with "Damn Old Heart." And the first lines grabbed me and made me laugh: "She don't matter no more/Now my quarrel's with you." This was my first time seeing him perform, and I immediately loved his music. Isn't it great when you know right away that you're in good hands? Rob followed that with a cover of "A Few Old Memories," a Hazel Dickens song, and then told the audience, "I have two albums coming out someday." He mentioned that his next song will be on the second of the two, maybe coming out next year. That song, "Like A Shadow," featured the line "Like a shadow that wasn't there yesterday." And if this one song can provide an indication of what these two albums are going to be like, they are definitely discs I'll want to add to my collection. That was followed by "Stromness," named after the town in Scotland. He then wrapped up the set with "Son Of A Witch." Halloween is coming up, after all. I appreciate the Macbeth reference in the song. "Double double, I'm in trouble/My fire won't start, and my cauldron don't bubble." But the line that especially made me laugh was, "I turned my pet frog into my sister."

Emily Zuzik

That set ended at 7:33 p.m., and four minutes later Emily Zuzik was on stage, ready to go. No wasting time between artists at this music series, apparently. She mentioned Rob's witch song, and then joked that she was dressed like a witch herself. She opened her set with "Between Midnight And Memphis," a song from Age + Alchemy. What a strong vocal performance! The crowd cheered as she belted out certain lines. I love when a crowd is involved like that. She followed that with "Easy," which is also from the new release. Both of those first two songs were co-written with Ted Russell Kamp, as was the next song, "The Case For Slowing Down." In introducing that song, Emily said it's about getting older and looking over your life, "which is kind of the central theme of that EP." She followed that with "How'd You Get So Good," a song from The Wild Joys Of Living, and one that came about through "What's In A Name," a songwriter's challenge that she hosted (which itself got its name from Juliet's famous speech in Romeo And Juliet: "What's in a name? That which we call a rose/By any other word would smell as sweet"). Songwriters would be given one word, and then get together to perform the songs they'd written around that word or theme. The word for this particular challenge was "change." This was around the time that Obama was president, she informed the audience. "Remember that?" Ah yes, it feels like a century ago. The country he presided over is gone. Emily Zuzik next chose "Trouble," from her Torch & Trouble album. "Something's gotta give, something's gotta change."

Emily Zuzik

"So I promised a spooky song," Emily said, and then delivered the captivating "Ernst Kirchner." This was probably the set's most beautiful performance. She followed that with a cover of Bruce Springsteen's "One Step Up," a song from Tunnel Of Love, and then returned to Age + Alchemy for "Taking A Walk." "It's about falling in love," she said in introducing it. She delivered a delightful rendition. For the last song of her set, she asked the crowd if they'd prefer a quiet or rocking song. People predictably called out for a rocking song, and she obliged with "Motels," which, like "How'd You Get So Good," comes from Emily's The Wild Joys Of Living album, and like "How'd You Get So Good," was the result of one of the "What's In A Name" challenges. The word that time was "motels," and Emily joked that the group ended up with a lot of dirty songs. "This is mine," she said. "And all those dirty little things that I do/Are things I'm done doing to you." Her set ended at 8:21p.m

RJ Bloke

RJ Bloke was on stage before 8:30 p.m., jokingly telling the crowd, "If you saw me Saturday at Frogtown Brewery, this is the same set, same ad libs." He mentioned his move to Portland, coming up in two weeks, and then started his set with "Be Happy." This song has a somewhat different vibe in his solo shows than at Patrolled By Radar shows, and he delivered some nice work on harmonica. I thought this show was his penultimate Los Angeles show, but he mentioned one other show I hadn't been aware of, that being at the Hotel Cafe on the 26th, though there he will be one of many performers that night, so not delivering a full set. The last show will be at Bigfoot West on the 29th and then the "movers come on the 30th." He followed "Be Happy" with one of my favorite songs, "Coat Of Disappointment," which was inspired by a man whose wife had died. If you are not familiar with this song, I highly recommend checking it out. It's on the Patrolled By Radar Be Happy album, released in 2011. "I sat and cried last night/Before the stone that bears her name/I planted a flower in the rain/Now I'm waiting for the sun." "So generally someone dies in every song," Jay said afterward. "Generally." About the next song, he then said, "I wrote this one for my dad when he was on his death bed." That song, "Fast Life Slow Death," is another of his best, and is another that is included on Be Happy. That is an album that should be in every music fan's collection. And I don't mean streaming; buy the CD.

RJ Bloke

"Better Than Then" followed, with the line "Mother Earth does not love us anymore." Ah, can you blame the ol' gal? He then played "God Is A Scarecrow," afterward saying, "Someone dies in that song somewhere, probably in the fire." When he asked the audience, "Do you want to hear a Beatles song?" someone called out, "As long as someone dies, Jay." "It's implied," Jay replied, and played "She Said She Said." And, indeed, it is, for this song has the line, "She said, 'I know what it's like to be dead.'" That was followed by "A Sailor's Mind," a song from the RJ Bloke solo album Hold Drugs Dear, released in 2023. "Fill me up with/Beer and liquor." That line seemed appropriate. When introducing "El Norte," Jay said, "I wrote this when Bush was president." He added: "And nothing has changed. It's just gotten worse." After the song, he casually gave a deserved Fuck You to ICE (not that any of those bastards were in the audience, of course; fascists don't listen to good music), and then said playfully, "Anyway, I'm here to distract you from your troubles." The next couple of songs were included on Hold Drugs Dear: "I Feel Found" and "All You Need Is Enough." "This is the closest thing to a true love song that I've ever written," he said when introducing "I Feel Found," and then mentioned the plastic picnic tables, saying such things aren't allowed in the Portland area. The line from "All You Need That Is Enough" that stood out last night was "Children singing without fear." He wrapped up his set with a great, raw rendition of "Widow Next Door." His set ended at 9:11 p.m.

Rob Faucette

Six minutes later Rob Faucette was back on stage for the final set of the evening, opening it with "Permanent Kisses." "I have another accidental Halloween song," he told the crowd after that one, introducing a song he wrote after his dog died and he wanted his dog to haunt him. And when he momentarily forgot the lyrics, he said he was convinced that's how he's being haunted. He followed that with "Everything I've Got Is A Bad Idea" and then "Higher Than I Want To Be," the latter, he said, being based on a true story. Oh yes, we've all been there, right? I suspect some of us will be there again soon. "Back Step" was a really sweet song. "Watch the stars and breathe." Rob followed that with a nice rendition of "Can't Forget," the Yo La Tengo song. He introduced "Sadness Of The Suburbs" as his mother's favorite song, a song he wrote in his twenties. And, yes, it's a good song, with some catchy elements, particularly in the vocal line. That was followed by "Great Golden Lounge In The Sky" and then "Costume Cowboy." "This is a Halloween song," he said when introducing "Costume Cowboy." The song is a play on "Rhinestone Cowboy," with the first line being "I've been trick-or-treating so long" instead of "I've been walking these street so long." After that song, he asked if there were any requests, and someone shouted out "M-R Ducks." And so that became the final song of the night. It's the title track to an album by Rob Faucette And The C-Words, an album he happened to have for sale on vinyl. Now if you'd ever had the misfortune of stepping foot in my cramped apartment, you'd say that the last thing I needed to do was buy more records. But I enjoyed Rob Faucette's set and wanted to take some of the music home with me. And when I was informed the record was on blue vinyl, well, there was no chance I wasn't buying a copy. Th show ended at 9:51 p.m.

Audio Graph Beer Co. is located at 1203 S. Olive St. in Los Angeles, California.

Kristina Koller: "Walk On By" (2025) CD Review

Kristina Koller is a jazz vocalist and composer from New York. She released her first album, Perception, in 2018, that disc containing a mix of original material and covers. That was followed by Stronger and Get Out Of Town, the latter featuring her own takes on Cole Porter tunes. On her latest album, Walk On By, she turns to the music of Burt Bacharach and Hal David. And as she did with the Cole Porter material, Kristina Koller puts her own special touch on these well-known songs. Joining her are Fima Chupakhin on piano, James Robbins on bass, and Cory Cox on drums. The album was produced by Kristina Koller, with arrangements by Kristina Koller and James Robbins.

The album opens with "I'll Never Fall In Love Again," a song that was a big hit for Dionne Warwick. This track contains really nice touches on piano even before Kristina's voice comes in. There is an interesting and good groove to this rendition, and Kristina has her own special delivery, which works perfectly with the song's lyrics. Check out the way she sings those lines about pneumonia, for example. And on "That's what you get, a heart that's shattered," we hear something of that experience in her voice. This track also contains a cool instrumental section, with the focus on some strong drumming by Cory Cox. I love what Kristina Koller does with this song, giving it a fresh life, a life it deserves. That's followed by "Close To You," a song also known as "(They Long To Be) Close To You" and which was a hit for The Carpenters. Kristina Koller's rendition has a warm, romantic atmosphere, the piano setting the tone at the start. Yet it also has a good energy, particularly in the drumming, and also in her delivery of a line like "So they sprinkled moon dust in your hair of gold and starlight in your eyes of blue." This track also features an excellent piano lead, and it's during that lead actually that it is most apparent what James Robbins is contributing on bass. This rendition has a gentle ending.

"A House Is Not A Home" features a gorgeous, passionate vocal performance, one of the album's best. "I'm not meant to live alone/Turn this house into a home/When I climb the stairs and turn the key/Please be there, still in love with me." Fima Chupakhin is on electric piano for this one, delivering a nice lead. Dionne Warwick recorded this song, but it was Luther Vandross who had the bigger hit with it. Kristina then gives us "That's What Friends Are For," another of Burt Bacharach's famous compositions, and another that Dionne Warwick recorded (with Stevie Wonder, Elton John and Gladys Knight). It's such a positive song, which we certainly need in these days of hatred and anger. Rosemary Minkler joins Kristina on vocals for this one. "And if I should ever go away/Well, then close your eyes and try to feel the way we do today." It's important to have at least one person you can count on, and the music expresses that sense so well. I especially love Fima's work on piano, which has a great cheer to it. I also love the way the music builds toward the end, that section where the line "I'll be on your side" is repeated.

There was a cute moment in My Best Friend's Wedding that features "Say A Little Prayer." That's not a great movie, but I find that scene rather delightful, and it reignited my appreciation of the song. That was many years ago now, and it's time for folks to again recall how good this song is, and this rendition should do the trick. In addition to Kristina's wonderful and vibrant vocal performance, this track features excellent and lively stuff on piano. And what a great rhythm too. "To live without you would only mean heartbreak for me." That's followed by "Don't Make Me Over." It's interesting how many of these songs were hits for Dionne Warwick. "Just love me with all my faults/The way that I love you." That's true love, and Kristina's delivery expresses that as eloquently and plainly as the words themselves. "I wouldn't change one thing about you." This track also contains some really nice work on bass. "Accept me for what I am/Accept me for the things I do."

"Walk On By" is the song Kristina Koller chose to be the title track of the album, and it is one of the disc's highlights. An interesting tone is established at the beginning, different from what we're used to with this song, but completely effective. "I just can't get over losing you/And so if I seem broken and blue/Walk on by, walk on by." Her delivery of those lines is perfect. Here we really get the impression of someone who has been broken and blue and is trying to get on. Plus, this track features some delicious work on bass. It's a phenomenal rendition. That's followed by "Reach Out For Me," a song that speaks of friendship, of comfort, of being there for someone. Again, we need these songs today. There is so much animosity and antagonism out there, from this country's dubious leadership and on down. We need songs that work as remedies to this, or at least that remind us of our better qualities. "Don't you worry, I'll see you through/You just have to reach out for me/I'll be there, and I'll comfort you/Oh, yes I will." And this version has a catchy rhythm.

"Loving Is A Way Of Living" begins with some pretty work on piano, and there is also a wonderful intimacy to Kristina's vocal performance, immediately distinguishing this rendition from that of Steve Lawrence. "Loving is a way of living/All the dreams you've ever known/Knowing you won't have to dream alone/Is wonderful, they say." Oh yes, what is better? This is a gorgeous, soulful track, one of the disc's highlights, Kristina's voice supported only by Fima on piano. The album then concludes with "What The World Needs Now." And here too Kristina's rendition right away sets itself apart from other versions, this time with its beat. "What the world needs now is love, sweet love/It's the only thing that there's just too little of." Indeed. Several artists are covering this song these days, and with good reason. People are more divided in this country than at any other point in my lifetime. There is hatred, distrust, anger, fear, violence, when what is needed is compassion and understanding and sympathy and love.

CD Track List

1. I'll Never Fall In Love Again
2. Close To You
3. A House Is Not A Home
4. That's What Friends Are For
5. Say A Little Prayer
6. Don't Make Me Over
7. Walk On By
8. Reach Out For Me
9. Loving Is A Way Of Living
10. What The World Needs Now

Walk On By was released on May 16, 2025.