Françoise Hardy: "Canta Per Voi In Italiano" (2025) CD Review

Françoise Hardy, in addition to singing in French, recorded songs in English, German and Italian. In 1963, she released an album of her Italian recordings. Apparently, the original record was a self-titled album, but when it was re-issued it was called Canta Per Voi In Italiano, and the ten tracks were presented in a somewhat different order. Now the good folks at Omnivore Recordings have given this album a wonderful, expanded release. Titled Canta Per Voi In Italiano, it presents the ten tracks in their original order, along with another twelve tracks, all from the 1960s. The original liner notes are included, which of course are in Italian. I don't speak Italian (though I did purchase and read a book on learning Italian - clearly, it didn't stick), so I'm not at all certain what information the liner notes might contain.

The album opens with "L'età Dell'Amore," which has a very cool sound, like a slowed version of surf at the start, something you might hear in an early James Bond-type movie. And of course Françoise Hardy's vocal performance has that wonderful allure that all her recordings have, and there is a sort of haunting element to her delivery. Whether you understand what she's saying or not, there is a great pleasure to be had listening to her sing. And sometimes I think there is more pleasure in listening to her non-English recordings, for it is all about her voice. The tone changes then with "Il Tuo Migliore Amico," which has more of a pop feel from its opening moment, with some cute backing vocal work. There is something adorable about this song, in its rhythm, and especially in Françoise Hardy's performance.

She takes us to a different time, as well as place, with "È All'Amore Che Penso." And we are eager to travel wherever she might take us. Her voice here has an intimate sound, her vocals more prominent in the mix than the instruments. It's an interesting song, for the rhythm could be right at home in an old western number, and there is also a magical quality to the sound. That's followed by "Una Ragazza Come Le Altre." The French version of this song, "Comme Tant D'autres," was included on her 1963 French self-titled album. It has a delightful pop sound, particularly in that rhythm, which even features hand claps at the beginning and again at the end. And I like that stuff on organ, which has a hip vibe. The organ and the strings seem to want to take us in different directions, but it all works well.

I just want to get lost in Françoise Hardy's voice. On "Quelli Della Mia Età," she takes us back to the those early days of modern pop music, and takes us back to our own youth, or perhaps to how we imagine our youth might have been. There is an innocence to the music that is largely absent from more recent popular recordings. Then in "L'Amore Va," I love the way the strings take over briefly in the middle, lifting us to some heavenly realm. Her voice then brings us in close again. Françoise Hardy then changes directions with "Ci Stò," shaking loose and having a good time, the song having a cool rock and roll vibe. I imagine a club of kids dancing, all in black and white. Of course there is a saxophone, and that instrument gets a chance to shine in the second half.

"Per Tanto Tempo" features such a pretty and moving vocal performance, and includes more cool work on organ. We can feel the love in her voice, regardless of the language in which the song is delivered. That's followed by "Oh Oh Chéri," a ridiculously adorable and delightful number. Her French version of this song was included on her debut LP. Ah, life is good, this music reminds us. And why can't we move through life like the feel of this song? The final song on the original record is "Vorrei Capirti," a beautiful love song. I love that moment in the middle when the song begins to build. Her voice is like a dream of the past that we can all take part in. Her voice opens a door to a charming world. Perhaps if that door is opened wide enough, that world could become ours.

"Il Saluto Del Mattino" was released as the flip side to the Italian single of "Vorrei Capirti," and later was included on the 1967 compilation Françoise Hardy Goes Italian. Françoise Hardy delivers an absolutely beautiful vocal performance. I can't imagine anyone not being captivated by this singer. This track also features some wonderful guitar work. "Vorrei Essere Lei" was also included on the Françoise Hardy Goes Italian compilation. Her voice is gentle and loving here, with a longing. The song becomes the entire world, and so the outside world can't harm us. Also included on Françoise Hardy Goes Italian, "La Tua Mano" has a more somber, serious sound at the start. And what a gorgeous vocal performance!

"Devi Ritornare" was a hit for her in Italy in 1965. I'm honestly not sure what makes some of her tracks hits, since they are all so charming and wonderful. Is this particular track better than most of the others? No, I don't think so. But there is a certain energy to this one, which I suppose makes it appealing. It is followed by "La Notte Sulla Città," which draws me in and has a great power. When her voice has that intimate quality, as it does here, I just melt. "Parlami Di Te" is another track that was on Françoise Hardy Goes Italian, and features yet another compelling and captivating vocal performance. I also love the way the strings support her. This is a fantastic track.

"Nel Mondo Intero" was also included on Françoise Hardy Goes Italian. Many of her songs seem to offer a warm place to be, an embrace. With this song, we feel compelled to offer her a safe place. There is a sadness here, almost a defeat, an acceptance of loss as ongoing, as eternal, and yet really of just the moment. But with Françoise Hardy, the moment is everything. We live within that moment. The world exists within that moment. And there is certainly love in the moment of "Ci Sono Cose Più Grandi." Her voice seems to pull the past into the present, with an eye to the future. I love how this music connects to whatever is eternal within us, if there is anything of that sort. And if there isn't anything eternal in us, it makes us feel as if there is. I love that piano work as well.

The rhythm plays a central part in "Non Svegliarmi Mai," creating a strong base, a strong pulse. And then suddenly the song bursts to another level at key moments. That's followed by "Il Ragazzo Della Via Gluck." I am delighted when this song kicks in, approximately fifty seconds in. There is something catchy about that rhythm on guitar. And her vocal performance takes on a certain rhythm as well at times. Then "I Sentimenti" opens with hand claps. This one was a hit in Italy, and it is no surprise, for there is a great power here and a steady beat. It sounds like a hit, doesn't it? The disc concludes with "Gli Altri," the Italian version of her hit "Voilà." This version has the same power, the same ache, the same need. The world won't look upon her like again.

CD Track List

1. L'età Dell'Amore
2. Il Tuo Migliore Amico
3. È All'amore Che Penso
4. Una Ragazza Come Le Altre
5. Quelli Della Mia Età
6. L'Amore Va
7. Ci Stò
8. Per Tanto Tempo
9. Oh Oh Chéri 
10. Vorrei Capirti
11. Il Saluto Del Mattino
12. Vorrei Essere Lei
13. La Tua Mano
14. Devi Ritornare
15. La Notte Sulla Città
16. Parlami Di Te
17. Nel Mondo Intero
18. Ci Sono Cose Più Grandi
19. Non Svegliarmi Mai
20. Il Ragazzo Della Via Gluck
21. I Sentimenti
22. Gli Altri

Canta Per Voi In Italiano was released on December 12, 2025 through Omnivore Recordings. It is available on vinyl as well, as a double album (and the vinyl is green, which makes me need a copy in my collection).

Jubal Lee Young: "Squirrels" (2025) CD Review

The world is a mess, because people are a mess. People are cruel, frightened, superstitious creatures, who, while capable of kindness and beauty, often tend toward deception and devastation. But Jubal Lee Young is here to help, or at least to address this frustrating and wonderful human experience with humor and honesty, and to urge some compassion and empathy for our fellow messes as we struggle along our individual paths toward oblivion. His new album, Squirrels, contains all original material, speaking to those of us who are dismayed and discouraged by what we witness of the world and yet remain hopeful. Joining him on this album are Markus Stadler on banjo, dobro, mandolin, bouzuki, baritone guitar and backing vocals (Markus also produced the album); Christian Sedelmyer on fiddle; Charlie Pate on bass; and Jeff Taylor on accordion. (Brian Nash is credited as "Squirrel Bark," but I have no idea what that means.)

This album opens with its title track, the music swirling around us in its first moment, and then quickly becoming a cool, energetic bluegrass number. It's a playful song where squirrels are the villains, "Running through my rafters" and breaking concentration. Jubal Lee Young takes troubles and makes them amusing and fun. "I hear them up there scurrying/Meanwhile I'm just worrying/I won't complete my ponderin'/Before they interrupt again/Oh, the great things I might be/If they'd just go live in a tree." The line that makes me laugh every time I hear it is, "What was I saying? Oh yeah. Squirrels." This track features some really good stuff on fiddle. This music might set your own troubles on the run. He then slows things down for a sweet number titled "Don't Be A Dickhead," which is about how people live by, or fail to live by, the King James Bible, a song about the great hypocrisy of the so-called religious right. "It's not like much has really changed/Except what's in your heart today/You want the rewards without the works." And since those people don't bother reading the book they claim to love so much, he offers a summary: "Don't be a dickhead/That's what the good lord said/Okay, I paraphrased." I know it's been said a lot lately, that so-called Christians seem to have no idea what Christianity is supposed to be about, that these right-wing lunatics would be the very ones to kill Jesus if he showed up now, but I wish we could move beyond Christianity (and all religions) entirely. I would love to see a world without any religious texts.

"Lost In Hollywood" has a great, raw and direct energy, and offers a critique of Los Angeles: "Man, the city of angels rarely lives up to its name/It's odd how in movie town you can't see the stars" and "That the L.A. freeway/Ain't for the faint of heart." This city is so interesting, because at times it is the most wonderful place, and other times it feels cold, a place that has no interest in you unless you're successful. And here Jubal Lee Young sings, "That it can't be good to be broken down/And lost in Hollywood." Then "Weird" has a softer, more intimate sound. "Don't you think it's kind of funny/That the poor fight tooth and nail/So the rich man can keep his money/They'll carry his water uphill both ways/And hope they'll be the rich man someday." That's what it is, right there. People defend the rich, because they hope they'll be among their number someday, which is both crazy and understandable. And, as he sings here, "But it almost never works out that way." I suppose it's the world "almost" that keeps people hopeful. Jubal Lee Young goes on to address the hypocrisy of people, and in this one too he mentions the bible: "You might as well lay that bible down and let's just cut the bull/You can't believe in hope and love, and then trade in hate and fear." I love his approach here, a sort of amused look at the whole situation. "Wouldn't it be easier to be who you are?" he asks. A good question, and something I've often wondered. But I think that's the most frightening thing for some people. And I love these lines: "Isn't it uncanny/And just a bit curious/How things that don't affect their lives/Make some folks so furious/Why do you care what's in my pants/If you're really not sure, just don't ask me to dance/Instead of filming one of your video rants." That's the craziest thing to me. Life is so short, so why would anyone spend a good chunk of his or her limited time raving about things that don't even concern him or her? This song features some nice work on harmonica. 

"Hand-Painted Portuguese Punch Bowl" is a lighter, fun number featuring accordion. It's kind of wonderful to have some possession that you love that much, that you make sure to take with you whenever you move. This is also a hopeful song, about owning something that you plan to one day use. The song turns a bit serious, for just a moment, as he sings, "And some parties never get started/'Til one day we found we were gathered 'round/To honor the dearly departed." But, no worries, the humor is still there, the fun is still there. And the song's narrator inherits both the item and the hope. That's followed by "Wild Your Tamed Heart," a beautiful number featuring a passionate vocal performance. "Hearts are more resilient than you imagine/They take it and they take it/And only love more when they bleed." Then that in turn is followed by a love song, "Love Happens." We always need love songs, and these days it feels like we need them more than usual, to remind us of what is the most important element of this whole human experience. "I've heard it could happen on a night like this/I was told it could happen from just one kiss/I've even watched it happen to some friends/It often happens when you least expect it/Like two lost halves that are reconnected." Yes.

"Parts" is a light and playful number about, well, how many of us are feeling these days, eager for peace but ready to respond to provocation. "Now I'm one part peace and love and good/And one part wishing a motherfucker would/I like joy and harmony/But don't fuck with me." I've been keeping that second part in check, but there have been times when I stupidly wanted some Trump supporter to start something so I could punch the guy in the face and kick him in the groin. Again, Jubal Lee Young delivers this with some humor. When he sings, "Just know I got your back/If you're ever under attack/For being who you were born to be/You've got a friend in me," in the background we hear the added comment, "Unless you're just a fucking asshole." And the song becomes a sing-along toward the end. But, hey, you were probably singing along already, right? That's followed by "Miserable," another delightful number featuring a really nice vocal performance. "If you just get miserable/If you just get miserable/If you just get miserable/Honey, you can come on home." It is good to know there is always a place you can return to. Just knowing that helps us take chances.

"Kind All The Time" is a song about how we all have our own troubles, and sometimes we can't recognize other folk's struggles, since we're tied up in our own misery. "Just respond and don't react/They're probably hurting real bad, baby, cut 'em some slack/It's not that hard to be kind all the time." It does feel difficult these days, though, doesn't it? I love the gentle vibe of this song, and it contains some good work on fiddle. "Coffee" is a fun number that begins with the line, "I can't remember where I put my coffee," and so a song I need to remember to play for my girlfriend. It's a song that acknowledges how annoying and frustrating life can be at times: "It's a sad, old, indifferent world, I think that much is clear/What choice have you got but to try and make the best of it while you're here/Sometimes life is all elbows and assholes/One thing after another, just a hassle." He then adds, "That's why you got to be brave and find the love/Through the hate and the fear." I love this song, even how it acknowledges that its message isn't new, in these lines: "And if this is somehow familiar/You've probably heard it all before." This is a song that will have you laughing through the troubles and despair. It's a song that we need.

The music takes a more serious turn then with "World Without Light," a beautiful and moving song. "But I know your plight/Keeping hope alive in a world without light/From where I stand, I can't see you smile/But if you can, you should for a while/Because we're dying." Life is short, friends. That is followed by "IDGAF." I generally don't like abbreviations and acronyms, in part because I find that people don't know what they stand for (we've all heard someone say "PIN number"). This stands for "I Don't Give A Fuck," and as you might guess, this is another fun song, and another one that is perfect for these times. "You holler at me/Hey, what you want for dinner/I don't give a fuck/You ask me/Who's gonna be the winner/Lord, I don't give a fuck." As we get older, it's difficult to care about so many things. It's too exhausting. And there is so much stuff that people talk about these days that just doesn't seem interesting at all. How can anyone care about this shit? Who has the time? I love the song's ending, "I'd sing another verse, but I'm sick of this shit/And I'll write that one next."

"Dumb Luck" is a song about folks who maybe don't deserve the good luck they land. And Jubal Lee Young sings, "That's the kind of dumb luck I need." Interestingly, that line sort of equates the song's narrator with these less-than-deserving characters. But, seriously, it is frustrating when someone who doesn't seem to deserve such good fortune ends up with a winning hand. Just look around. I mean, if there were any sort of justice to the universe, the prick in the White House would be on a street corner offering to clean my windshield with a dirty rag. "Some people just seem to get it all handed to them by a cold and indifferent universe/Other people, like me, try so hard all their lives, but everything they do just seems to make it worse." He follows that with "It's Gonna Be All Right," a wonderful, beautiful song that ends up being one of my personal favorites. "It's gonna be all right/Everything's gonna be fine/I know it seems like the end of the world/But the world's ended thousands of times." This song offers some comfort, a friendly shoulder to rest your weary head. "I don't know who's right/And who may be wrong/But choose love and kindness as you go on/And in the darkness just look for the light/It's gonna be all right." And he reminds us, "In the end all that matters is love." It feels like this should be the album's final track, but there is one more song, "Welcome To Nashville, Asshole," ending on a somewhat lighter note. This song is about a town becoming a city. "The kind of folks I used to know/Can't afford to live here anymore/The very people that made up this town's soul." That's true, not just of Nashville, but many places, and I'm sure in each of those places, folks want to say to the newcomers, "Welcome to (name of town), asshole."

CD Track List

1. Squirrels
2. Don't Be A Dickhead
3. Lost In Hollywood
4. Weird
5. Hand-Painted Portuguese Punch Bowl
6. Wild Your Tamed Heart
7. Love Happens
8. Parts
9. Miserable
10. Kind All The Time
11. Coffee
12. World Without Light
13. IDGAF
14. Dumb Luck
15. It's Gonna Be All Right
16. Welcome To Nashville, Asshole

Squirrels was released on August 15, 2025. The album is also available on vinyl, though the vinyl version doesn't contains the final few songs.

Sandy Rogers Band at Unurban Coffee House, 12-16-25

If you've not yet heard Sandy Rogers' new album, Tingling Blue, I highly recommend picking up a copy. You definitely know Sandy Rogers, even if you think you don't. If you ever saw Reservoir Dogs (and, seriously, who hasn't?), you heard one of her songs. She also did the music for the film version of Fool For Love. But, anyway, her new album is perhaps her best, and there is a Christmas song on it, "Fun For Christmas," that should speak to just about anyone with a heart left in this country. Last night she and her band delivered two wonderful sets at Unurban Coffee House in Santa Monica. Her band, by the way, is made up of Paul Marshall on bass and backing vocals, Dan Janisch on electric guitar and backing vocals, and Victoria Jacobs on drums (and, though she didn't have a vocal microphone, we could still hear her singing backup too), a stellar band, to be sure, all great songwriters themselves.

Sandy Rogers focused on material from the new album, playing most of the tracks from it, and starting the show with the album's title track. "Lonesome Man" was particularly good. What a voice Sandy has. It's a voice of both ache and attitude, a voice I want to hear more and more of. The show also included "Fool For Love," a song written for the movie Fool For Love but heard in Reservoir Dogs, and a beautiful rendition of "Train Fare To Memphis." She also played the wonderful "Missouri Blue." As I mentioned, each of the members of Sandy Rogers' band is a talented songwriter, and to start the second set, Victoria Jacobs played a couple of her own songs. She decided we needed something positive, something optimistic after the heavy weekend, and played a song in which she sings, "You've gotta trust love to lead the way." A great song, and a good (and needed) reminder. She followed that with "Misery Loves Company," another excellent song (I am looking forward to her upcoming solo album). She then handed her guitar to Paul Marshall, who also played a couple of solo numbers. The first was a funny number about how football can draw a man's focus away from his woman, and about the woman's reaction (it is that reaction that contains much of the song's humor). The second was a sweet rendition of the title track to his Weed And Water album. Dan Janisch chose not to do any of his own songs, and as the rest of the band returned to the stage, Victoria told Paul she had assumed "Weed And Water" was about a different kind of weed. The second set included a fantastic rendition of "Why Wyoming," Sandy Rogers turning in a gorgeous vocal performance. That was followed by "Turn Around," a song from the new album. I love the cheerful vibe of that one. The moment it begins, you'll find it's difficult to keep from smiling. And of course she played the Christmas song. "I want something wonderful to happen to us all," she sang. Amen to that. We need it. The show concluded with the final track from Tingling Blue, "Run Out Of West," featuring another excellent vocal performance.

Here are a few photos (as you can see, it was a bit darker in the room than usual):

The Glenn Crytzer Orchestra: "Underneath The Mistletoe" (2019) CD Review

Glenn Crytzer just released The Songbook Sessions, the first volume in a massive project that began in that strange year of 2020 when the pandemic kept everyone from enjoying live music. That album comes from his quartet. Just before that year, The Glenn Crytzer Orchestra delivered a special holiday album, featuring, unlike most Christmas releases, quite a lot of original material. And as Christmas approaches, it seems the perfect time to dive into that 2019 release. This album is special, not just for including original holiday songs, but the way it was recorded. The entire big band was in the same room, and the album was recorded in one day. That, I'm sure, is part of what led to its delicious classic sound. The band includes Glenn Crytzer on guitar, banjo and vocals; Sam Hoyt on trumpet; Mike Davis on trumpet, cornet and backing vocals; Jason Prover on trumpet; Rob Edwards on trombone; Jim Fryer on trombone; Joe McDonough on trombone and tuba; Jay Ratman on clarinet, alto saxophone and soprano saxophone; Dennis Lichtman on clarinet, alto saxophone and banjo; Dan Block on clarinet, alto saxophone and flute; Matt Koza on clarinet and tenor saxophone; Ricky Alexander on clarinet, bass clarinet, alto saxophone, baritone saxophone and backing vocals; Meg Okura on violin; Victoria Paterson on violin; Caroline Drexler on violin; Francisco Salazar on violin; Akiko Hosoi on violin; Benni von Gutzeit on viola; Tom Valdez on cello; Kathryn Andrews on harp; Bryan Reeder on piano and celesta; Ian Hutchison on string bass; Andrew Millar on drums; Hannah Gill on vocals; and Dandy Wellington on vocals. Gabe Terracciano is the concert master.

The album opens with "Over The River And Through The Wood," a traditional number associated with Thanksgiving, not Christmas. But, hey, Thanksgiving is what kicks off this whole end-of-the-year bash, right? And the music here feels like a party, the kind of music to energize us, to give us that cheerful sense that everyone expects of us at this time of year. Dennis Lichtman's work on clarinet is an important part of the whole vibe, as is that delightful lead by Jason Prover on trumpet. This is a wonderful way to kick off the album, and to kick off the holidays. That's followed by the album's title track, "Underneath The Mistletoe," an original piece by Glenn Crytzer, and the first of the album's tracks to feature vocals. "I'm just sitting here and waiting/Underneath the mistletoe/Just anticipating/I ain't got no place to go/I don't want to miss/The chance to taste a kiss/From your sweet lips." That's Hannah Gill, who just released her own holiday album, Spooky Jazz Vol. 3 (in that case, the holiday is Halloween). And though this is an original number, it has a great, old-time sound, both in the music and the vocal performance. I love the playfulness of this song, heard in the delivery of lines like "And I want to be totally certain/This will lead to a fraternization/So I'm counting on this mistletoe to facillitate" and "Gosh it's awfully rude to make me wait/Can't you hurry up, it's getting late." This track is a total delight. With this music playing, our holidays are all but guaranteed to be wonderful.

"I'm Sorry, Santa Claus" is another original number, this one also featuring vocal work, this time by Dandy Wellington. This song swings, and we get a great instrumental introduction before the first verse is sung. The lyrics, as you've likely deduced, are addressed to Santa Claus, and we soon learn the reason for the apology: "It was late last Christmas Eve/I was so tired I fell asleep/'Til I heard your awful shout/Because I forgot to put the fire in the fireplace out." Yes, it's another fun, playful song, just the sort of thing we are in desperate need of in these twisted times. Rob Edwards delivers some really nice work on trombone, and Dandy Wellington gives us a delicious, engaging vocal performance. Then we get "Deck The Halls." Sure, it's more traditional holiday fare, but this band puts its own delightful spin and energy into it. And what makes it even better is that it's an instrumental rendition. That is often the best way to go with those older holiday songs, because the lyrics are rather weak. I love what this band does with this song, and this track features particularly good leads by Mike Davis on trumpet and by Bryan Reeder piano. It certainly makes me want to deck the halls or whatever little space I have.

Watching It's A Wonderful Life has become a holiday tradition. As noted in this album's liner notes, the movie was not a hit when it was first released, but it's a really good film and it deserves a song. Glenn Crytzer provides that song here, and provides the vocals on it. "Let us celebrate Christmas together/Friendship is our greatest treasure/In this wonderful life." Indeed. The song is a waltz, which gives it that dreamy bit of magic that is so fitting. "When you feel like hope is lost/And your world is coming to an end/Just remember this piece of advice/No man is a failure who has friends." Another of the holiday traditions is to enjoy, in some form, The Nutcracker, and here The Glenn Crytzer Orchestra gives us a delightful rendition of "Tea (Chinese Dance)," taking us to the swinging nights of the speakeasy and the flapper. What better way to enjoy it? This track features some wonderful work on piano.

"An Old Fashioned Christmas" is an original number, a new song with a classic sound. The vocals come in after about a minute: "Christmas today has lost its meaning/I long for Christmas time of yore/For what would old Granddad say/If he could see the way/We spend all season long just wandering through department stores?" With opening lines like those, you might think this was in danger of becoming a serious song. But never fear, for this song is about getting together for a drink or two or more, its main line being the playful "Oh, I'll take an old fashioned Christmas with an Old Fashioned in my hand." That's the kind of holiday I want. And this track features some nice work by Mike Davis on trumpet, and by Ricky Alexander on alto saxophone. That's followed by "Playing Santa Claus," a fun, original song about handing out gifts on Christmas morning. I like how on this track, and most of them, the music plays for a minute or so before the vocals come in, establishing a vibe. And the wonderful Hannah Gill is on vocals. "'Cause I love giving gifts, checking names off of my list/I love playing Santa Claus." Dennis Lichtman delivers some delightful stuff on clarinet.

Glenn Crytzer is based in New York, and he gives us an original song titled "Christmas In New York," about how great the holiday is in that city. He is on vocals for this one, and he certainly makes New York sound perfect. "I'd hate to choose a favorite, but if you must insist/I'll take you to the little town that tops my Christmas list/This year let's spend Christmas in Manhattan." The Glenn Crytzer Orchestra then offers a magical waltz from Babes In Toyland, "Toyland," an instrumental rendition featuring some nice work by Glenn Crytzer on banjo, as well as a good lead by Mike Davis on trumpet. They take another classic holiday number, "Jolly Old Saint Nicholas," and give it their own special treatment. Everything is feeling right, the horns letting us know things are going to be good. It's approximately halfway through the track when the vocals come in. This time it's Dandy Wellington on vocals, and of course he does an excellent job.

The Glenn Crytzer Orchestra presents a swinging rendition of "I Saw Three Ships Come Sailing In," a wonderful instrumental rendition. Joe McDonough and Jason Prover deliver some great, exciting stuff on trombone and trumpet respectively, and toward the end, there is a delightful, though short, lead by Dennis Lichtman on clarinet. This track has a fun ending. It is followed by a sweet rendition of "Silent Night," one of the best of the traditional Christmas numbers. The vocals are provided by Glenn Crytzer, Mike Davis and Ricky Alexander. The music is a dreamlike dance, a magical waltz that captures some of what people claim the holiday is about. A wonderful rendition. The band turns playful again then with its rendition of "Up On The Housetop." It's instrumental rendition, a good choice for this song, for its lyrics are not all that interesting. It isn't long before this track starts swinging, and it features some wonderful leads, including one on violin.

Then we get back to original material with "Hey, Mister Snowflake." There is a really nice joy to the music; it makes you want to go out and dance in the lightly falling snow. Hannah Gill is on vocals. I love the lyrics' play on the idea of no two snowflakes being alike: "You're so individual, there'll never be another like you." This is a totally delightful number. Dandy Wellington joins Glenn Crytzer on vocals for "All I Want For Christmas Is Food," the two of them engaging in a little spoken word section at the beginning, talking about how food is the best part of the holiday. And then Dandy takes lead vocal duties: "Hand me the eggnog, pass me the pie/Give me the stuffing and a turkey thigh/I might even fry the gizzard if I'm in the mood/All I want for Christmas is food." I should have been expecting something fun like this, but when I first glanced at the track list, I imagined this song might be about homeless people who are hungry. Then we are treated to "The Krampus," an original number about the darker aspect of the holiday. It's a playful number, with some totally delicious vocal work by Glenn Crytzer, Mike Davis and Ricky Alexander. The song might seem to combine Halloween and Christmas themes, but really this is a traditional Christmas thing, just one that folks generally ignore, especially in this country. "Something evil's lurking/Come to take your little soul/Watch out for the Krampus/He's an evil man/He comes on Saint Nick's day/To take away the naughty children/Better mind your manners/Better not talk back/Don't make a peep, or when you sleep/He'll stuff you in his sack." This is one of my personal favorite tracks. Everything about this is just perfect.

"The Little Tree," or at least its title, makes me think of the Charlie Brown Christmas television special's tree. It's a song that looks back to that first holiday in a relationship when a couple was too poor to purchase gifts to put beneath the tree. Glenn Crytzer is on vocals for this rather sweet number. That's followed by an instrumental rendition of "The Dreidel Song." Honestly, I think I first became aware of this song when watching South Park. Anyway, as with the other holiday songs, this band makes this song swing, putting their own sort of magic to it, creating a lively celebration. I especially love the clarinet. The album concludes with an original number, "Keep A Little Christmas In Your Heart," a slower, pretty song featuring a gorgeous vocal performance by Hannah Gill. The song is about extending the holiday feeling throughout the year. "If you want the world to be/A place that lives in harmony/For more than just December/Here's what you must remember/If you keep a little Christmas in your heart all year/You'll find that your worries all will disappear." A hopeful number to wrap things up beautifully.

CD Track List

1. Over The River And Through The Wood
2. Underneath The Mistletoe
3. I'm Sorry, Santa Claus
4. Deck The Halls
5. It's A Wonderful Life
6. Tea (Chinese Dance)
7. An Old Fashioned Christmas
8. Playing Santa Claus
9. Christmas In New York
10. Toyland
11. Jolly Old Saint Nicholas
12. I Saw Three Ships Come Sailing In
13. Silent Night
14. Up On The Housetop
15. Hey, Mister Snowflake
16. All I Want For Christmas Is Food
17. The Krampus
18. The Little Tree
19. The Dreidel Song
20. Keep A Little Christmas In Your Heart

Underneath The Mistletoe was released on December 6, 2019.

Kelly's Lot Delivers A Fantastic Set At Roar Room, 12-14-25

Kelly's Lot returned to the Roar Room last night for a little blues therapy, which we are all in great need of. It was the four-piece version of the band, and these guys delivered a phenomenal set of music. They kicked things off with "Mr. Chairman," a song from the band's 2017 album Bittersweet, and almost immediately Perry Robertson delivered a delicious lead on electric guitar, doing some impressive work and making it look easy. By the way, this four-piece version of Kelly's Lot will be on tour in January, with gigs in Texas, New Mexico, Nevada and Arizona, so if you live in one of those states, get ready for some great blues. And for those of us in Los Angeles, at the end of that month they will be back at the Roar Room. 

They followed "Mr. Chairman" with "Black And Blue," a song from fairly early in the band's career, and one featuring some very cool stuff by Matt McFadden on bass. Perry switched to acoustic guitar for "Colours Of December," the first song of the set related to the upcoming holiday, this one about families who learn they've lost someone in active military duty. It's a pretty song. Perry went back to electric guitar for "Nobody Here But Me," which featured more great stuff on bass. That was followed by "All Hope Ain't Lost," after a false start. This band, though living mainly in the blues and singing of troubles, is one of the most hopeful bands I know. And that is one of its greatly appealing qualities, the way that characteristic informs its music and connects to listeners in a refreshingly positive and true way. I love how Kelly can bring us in close, soothing us with her voice when she desires, and then energize us by belting out certain lines, all of it working to create a hopeful view of the present and near future.

In introducing "Come To This," Kelly Zirbes said it was a song about marriage, and added, "Perry always says this isn't about him." As the song began, Perry was laughing. And soon he was delivering some excellent stuff on guitar. That song has a great rhythm, thanks to Mike Sauer's work on drums. "Taking Time" then featured an excellent lead on bass. Another of the set's highlights was "This Time," a song from the band's new album, Late Bloomer. It's a beautiful, uplifting song, and though Perry was on acoustic guitar, his lead was like that on an electric guitar, which was interesting. This is a song we need, both as individuals and collectively. "We'll make it this time," Kelly sings. These are dark times, no question, but we have to remain hopeful. 

For "Happy Girl," Perry was back on the electric guitar, and during the song's introduction, he began playing the slow version, while Kelly mentioned that was how the song was originally intended. And then, bam, they kicked it into gear, and we were treated to a good ol' boogie. Perry's guitar work was fantastic, even leading Kelly to comment on his playing. They then slowed things down with "Woman's Love," a song that featured both a beautiful vocal performance and some beautiful work on guitar. "It's time for you to close your eyes and look inside." I'm afraid that a large number of people these days never take that critical look inward. That was followed by "Boogie Bus," the energy high again, calling everyone on board.

"It Ain't Always" was, for a brief time, performed by a trio as Perry tuned his guitar. But once things were right, he delivered an excellent lead. The band followed that with "Drive," a rocking number that contained some seriously cool stuff on bass. Kelly's Lot plays mostly original material, but these guys will toss in a cover or two, and last night they gave us a good blues rock rendition of Melanie Safka's "Brand New Key," which was a lot of fun. The fun increased on "Reason For The Blues," the band delivering an especially good rendition last night, that song being another of the set's highlights. "When crazy comes knocking, I'll answer that door." Oh yes!

There was another cover in the set, this one in honor of the holiday, Robert Earl Keen's "Merry Christmas From The Family." If you haven't heard this song, you should make it a point to listen to it. It's hilarious, and the band members themselves were lauging on certain lines, such as the motor home line. Before starting the song, Kelly left the stage to get her sheet of hand-written lyrics, and handed extra sheets to some folks in the audience so they could sing along. "Make Bloody Marys because we all want one." They followed that with an original Christmas song, "Christmas Is Calling," from the band's 2020 album, Another Sky. "My heart is aching since you went away/And my heart is lonely on a cold and cloudy day." Perry played acoustic guitar on this one, and remained on acoustic guitar for the final two songs of the show, "Hush Up" and "Right Now." In "Hush Up," Kelly sings, "When I get down, I always get up," and that is a key line about this band, about what their music conveys. "Right Now" found Perry rocking the acoustic guitar like it was an electric, and featured some great stuff on drums. The show ended at 8:54 p.m.

Set List

1. Mr. Chairman
2. Black And Blue
3. Colours Of December
4. Nobody Here But Me
5. All Hope Ain't Lost
6. Come To This
7. Taking Time
8. This Time
9. Happy Girl
10. Woman's Love
11. Boogie Bus
12. It Ain't Always
13. Drive
14. Brand New Key
15. Reason For The Blues
16. Merry Christmas From The Family
17. Christmas Is Calling
18. Hush Up
19. Right Now

Here are a few more photos:

Pat Todd & The Rankoutsiders Headline A Great Night Of Rock And Roll, 12-13-25: Photos

Pat Todd

We're near the end of a year that's been rather stressful for a lot of people. The holidays are often yet another source of stress. So it's a good time to take a break, catch some live rock and roll music, have a few drinks, meet some good folks, shake off the tension. Let the music work its magic. Last night Pat Todd & The Rankoutsiders headlined a particularly good show of rock music that also featured The Glimmer Stars, Drool Brothers and Richard Duguay & The Beautiful Decline. 

The Glimmer Stars kicked things off just after 8 p.m., playing a fun, fast-paced set. For the first several numbers, there was barely a pause for a breath between songs. There was a nod to Cheap Trick's "Surrender" at the end of one song. "I Need It Now," the band's new single, had a great energy, and was a highlight. And was that a 16 Magazine shirt Mini Mendez was sporting under his jacket? Indeed it was. Paula Tiberius (vocalist with Richard Duguay & The Beautiful Decline) joined the band on "Feel It."

The Glimmer Stars

Drool Brothers were up next. They were scheduled to go on at 9 p.m., but at 8:55 they were ready to go, and introduced themselves as the Amish Disco Band. "Enjoy the show," they sang to us during their opening number, "Kaleidoscope." Not a difficult thing for the audience to do, for the band delivered some excellent rock and roll with a dash of funk, a bit of punk, some pop elements and a heavy dose of fun. I was especially digging the bass line in "Psychology," the title track of the band's new album. And their song "Alice" contains a reference to Jefferson Airplane's "White Rabbit." But probably the set's most delightful number was the song about Fullerton. "Lots and lots of RV parking." And to my ear, their "Fame Whore" song had a little bit of "(I'm Not Your) Steppin' Stone" to it. I should have picked up a copy of their new album last night.

Drool Brothers

Richard Duguay & The Beautiful Decline were likewise ready five minutes before their scheduled start time. A rock concert running ahead of schedule, imagine that. They kidded about spending those five minutes doing a round of jokes, but then launched into their set with "Rebel Kind," and then right into "Second Prize." Some great hard rocking music. Drool Brothers' "Fame Whore" was inspired by Richard Duguay's "Fuck You Fame Whore," so we were treated to two fame whore songs last night. They mentioned that while they didn't have copies of that particular CD for sale, they did have T-shirts that said "Fuck You Fame Whore" at the merchandise table. Sometimes you just want a band to rock you with abandon, and these guys did just that.

Richard Duguay And The Beautiful Decline

Patt Todd & The Rankoutsiders also started their set early. Seven minutes early in fact, so somehow the show was picking up time. There was a great burst of energy, a fantastic swell to announce the set was beginning, a wall of energy that immediately captured the audience. And from that moment, Pat Todd did not slow down, but rather delivered a fantastic, gloriously raw set, letting loose and delighting the crowd. He delivered some good stuff on harmonica, then jokingly thanked the other bands for writing a song about him, "Fame Whore." Pat Todd was rocking so hard, and with such abandon, that at one point he accidentally knocked a monitor and a microphone stand off the stage, and of course kept going. He dedicated "Beyond The County Line" to Steve Cropper, and then delivered some great honest rock and roll with "Hell's Half Acre." But probably the most incredible moment of the set was when the band gave us a rock and roll rendition of Leonard Cohen's "Tower Of Song," a song that featured plenty of delicious surprises, including a bit of The Rolling Stones' "Hang Fire." Crazy and wonderful!

Pat Todd And The Rankoutsiders