Christopher Cross: "Christopher Cross" (1979/2025) CD Review

Christopher Cross started his career with a pair of hits, "Ride Like The Wind" and "Sailing," both of which are also on his self-titled debut album (though apparently there was one single released before those, on a small label). From there, his fame increased in the next few years with "Best That You Can Do," the theme from the movie Arthur (a movie I've been wanting to revisit) and then "All Right" and "Think Of Laura," the latter a huge hit. His unmistakable voice was everywhere in the early 1980s. Omnivore Recordings has now released an expanded edition of that first album, with eleven bonus tracks, including several previously unreleased demos. By the way, there are some talented musicians backing Christopher Cross on this album, including Michael McDonald, Valerie Carter, Nicolette Larson, Don Henley and JD Souther, all of whom providing backing vocal work here. The album also features Michael Omartian on piano, Rob Meurer on keys, Andy Salmon on bass, Tommy Taylor on drums, and Lenny Castro on percussion. This expanded edition contains new liner notes by Gene Sculatti.

The album opens with a bright, cheerful number, "Say You'll Be Mine," a song that has such a good feel about it, a song that comes from a better world. "Won't you say you'll be mine/Say you'll be mine until the sun shines/Say you'll be mine/And bring me the dream of a lifetime." It features a nice lead on electric guitar in the middle. That's Jay Graydon  on guitar. And the song features Nicolette Larson on backing vocals. Interestingly, she too would end up having a song on the Arthur soundtrack. Michael McDonald then lends his vocal support to "I Really Don't Know Anymore," echoing Christopher Cross on the chorus. There is more of an urgent feel as this one begins. "What do you think about love/Is it a way to be saved." The chorus then has a certain beauty. This track too features some good work on electric guitar, this time by Larry Carlton. You probably know him from his work with Joni Mitchell and Steely Dan, among many others.

"Spinning" features Valerie Carter joining Christopher Cross on vocals. She is known for her work with Jackson Browne and Little Feat, as well as for her solo work, and she gives a wonderful performance here. This track also contains some good stuff on keys. In addition to Michael Omartian's work on piano, this one features Rob Meurer on electric piano, synthesizer and celeste. And Chuck Findley plays flugelhorn, delivering some nice work, particularly in the second half. His playing lifts the song to another level, and is my favorite element of the track. That's followed by "Never Be The Same." I've always liked Lenny Castro's percussion on this track. And of course it features an excellent vocal performance by Christopher Cross. "Just one thing that you've got to know/No one will ever touch me that way/The way that you did that very first day/And I will never be the same without you here/I'll live alone and hide myself behind my tears." Here he is joined by Stormie Omartian, Myrna Matthews and Marty McCall on backing vocals. Jay Graydon delivers another strong lead on electric guitar.

The first side of the original record ended with one of the album's most interesting songs, "Poor Shirley." It has a kind of vibrant pop feel for much of it, then a mellower, more contemplative feel for certain parts, like when he sings, "Dearly held are the friends/Left in the years and lost in the war/Dearly held are the loves/Save for the ones you lose on your own." And toward the end, there is the repeated line, "Save ourselves from all of the pain," and as it repeats we begin to internalize the line. And that cool guitar part at the end is by Christopher Cross himself. This ends up being one of my favorite tracks. The second side of the original release opens with "Ride Like The Wind," the first single released. This is a lively, kind of exciting number, and Lenny Castro's percussion plays a prominent role on it. "I'm on the run, no time to sleep/I've got to ride, ride like the wind." Christopher's voice has more of an edge on this one, fitting with the character of the song. Michael McDonald provides backing vocals on this track. This is a song that Christopher Cross dedicated to Lowell George, who died in the summer of 1979.

"The Light Is On" is the track to feature Don Henley and JD Souther on backing vocals. There is something catchy about this one, particularly in its chorus: "But it's all right, the light is on/The darkness has run to hide/It's all right, the light is on/But the darkness is just outside." Both Victor Feldman and Lenny Castro are on percussion. Then we get the album's biggest hit, the absolutely beautiful "Sailing," which reached number one on the Billboard chart. The moment it starts, this song takes me back to my childhood. Isn't it wonderful when a song can do that? My brain is fighting to remain there in the past, to not face the horrors of the present day. And isn't there always something appealing about sailing, about being out on the water away from it all? "Just a dream and the wind to carry me/Soon I will be free/Fantasy/It gets the best of me/When I'm sailing." This track contains some nice work on keys. The original album concludes with "Minstrel Gigolo," which was the flip side to the "Ride Like The Wind" single, though there it was a shortened version. "And when you start to sing/You will be their everything/And when you start to sing/Every woman will open up her heart and let you in." This is a soft rock song that goes right to the edge of hard rock at moments, then pulls back. It contains a cool lead on guitar by Eric Johnson, as well as some nice stuff by Tomas Ramirez on saxophone at the end.

Bonus Tracks

This special expanded version of the album contains eleven bonus tracks. The first is "Mary Ann," a song released as a single in Japan in 1980. "Say goodbye to Mary Ann/Tell her I've gone to the promised land/To make my way in the world as a music man." The song has that great youthful and hopeful energy, and the presence of saxophone adds to its appeal. The rest of the bonus tracks are demos, the first of which is "Say You'll Be Mine." This version is a bit rawer, as you'd imagine, but it is a full-band affair, not a solo demo. Such is the case with all these demos. This version has a different guitar part in the middle. This track was previously unreleased. That's followed by the demo of "I Really Don't Know Anymore," which also was previously unreleased. It has a somewhat different tone from the album version, with different stuff on keys near the beginning. It's an excellent version.

The demo of "Parade" was previously released, included in a giant boxed set titled The Complete Works, which was released in 2020 and included thirteen CDs and one record. This song has a sweet, relaxed vibe, a song about going downtown to watch a parade. This song is much more appealing than actually going to a parade. That's followed by a demo of "Smiles Of Angels." The sound quality here is not perfect, and there is a note in the liner notes about that, how the song is included "for historical purposes." Well, let's not get carried away, the sound isn't that bad. Believe me, I have heard much worse, and I think it's great that we are treated to rarities like this song.

The demo of "What Am I Supposed To Believe" is also included here. "What Am I Supposed To Believe" is a song that was included on Christopher Cross' next LP, Another Page (the album that includes "Think Of Laura"). This is a really nice rendition. There are some obvious differences from the version that would be on that record, probably most notably the lack of Karla Bonoff, who joined Christopher Cross on vocals on the album. So this version features Christopher Cross on lead vocals throughout. It too was previously unreleased. That's followed by a demo of "Ride Like The Wind." This one was released earlier, included on The Complete Works. It's a cool version, with a much shorter introduction. Then the demo of "The Light Is On" fades in. This is a seriously good rendition. Strangely, I think I might actually prefer this demo version. As it faded in, it likewise fades out.

Another bonus track that stands out is the demo of  "Passengers," a song I don't think I had heard before. "Passengers, passengers, pick up your tickets/If you want to ride on that train/The train that's going home/It's going home." There is a dreamlike quality to this song, both to his vocal delivery and to the music. There is always something appealing about going home in song. "Everything still looks the same," he sings. But something in the town has changed, as we learn. This track features some nice work on piano. That's followed by the demo of "Mary Ann," titled "Say Goodbye To Mary Ann." There is a different feel to the song's opening in this version. The disc concludes with the demo of "Sailing," which does not have that strings introduction. This one was previously included on The Complete Works. I love both versions of this song.

CD Track List

1. Say You'll Be Mine
2. I Really Don't Know Anymore
3. Spinning
4. Never Be The Same
5. Poor Shirley
6. Ride Like The Wind
7. The Light Is On
8. Sailing
9. Minstrel Gigolo
10. Mary Ann
11. Say You'll Be Mine (Demo)
12. I Really Don't Know Anymore (Demo)
13. Parade (Demo)
14. Smiles Of Angels (Demo)
15. What Am I Supposed To Believe (Demo)
16. Ride Like The Wind (Demo)
17. The Light Is On (Demo)
18. Passengers (Demo)
19. Say Goodbye To Mary Ann (Demo)
20. Sailing (Demo)

This expanded edition of Christopher Cross was released on June 20, 2025 through Omnivore Recordings (it was released digitally on May 2nd).

Juliet Ewing: "Simply 'S Wonderful: The Magic Of Gershwin" (2025) CD Review

I've said it before, but you can never go wrong with Gershwin. And an entire album dedicated to Gershwin material? Well, that simply is wonderful. And that's what vocalist Juliet Ewing gives us as her new release. Simply 'S Wonderful: The Magic Of Gershwin contains some of the best songs written by George Gershwin and Ira Gershwin. Juliet Ewing has something of a history with Gershwin tunes, as she was part of a production of Crazy For You, a musical that is based on Girl Crazy, and contains Gershwin music. And then she developed her own show, Rise Up Singing, which celebrated the music of Gershwin. Joining her on this album are Ron Drotos on piano, David Finck on bass, and Mark McLean on drums, with Tedd Firth playing piano on two tracks. Tedd Firth also produced the album. Most of the arrangements are by Ron Drotos.

Juliet Ewing opens the album with "'S Wonderful," a song from Funny Face, delivering a snappy rendition to get things in motion. Wouldn't it be wonderful for this music to guide the world for a while? This version even includes drum solos, punctuated by delightful bits of scat. And when Juliet tells us, "My dear, it's four-leaf clover time" near the end, it feels like she is ushering us all into a wonderful dream. Is wonderful, indeed! That's followed by a medley of "Love Is Here To Stay" and "They Can't Take That Away From Me." "Love Is Here To Stay" feels perfect for these insane days, with its opening lines, "The more I read the papers/The less I comprehend/The world and all its capers/And how it all will end." It is the song's next couple of lines that especially speak to me: "Nothing seems to be lasting/But that isn't our affair." Everything is so brief, so fleeting, and so I've decided to focus on my own sweet love. A brief drum interlude leads into "They Can't Take That Away From Me." These two songs, from different movies, work quite well together. This track contains some really nice work on piano. And there is actually some defiance in the latter song, heard in these days when our poor country has embraced fascism, and freedoms and rights are being taken away. I'd love to see people dance right over the prone bodies of ICE agents.

It's funny how "I've Got A Crush On You" opens with a brazen bit of bragging: "How glad the many millions/Of Timothys and Williams would be/To capture me." It then focuses on the man, but even then there is a sense she might think she is better than him, with a line like "It's not that you're attractive." There is a reference to Romeo And Juliet in that first section. I love then when it gets into the main body of the song, how it takes on a beautiful late-night vibe, featuring some gorgeous and gentle work on piano. The mood gets lighter then on "Lady, Be Good," her version beginning with the chorus, cutting out that whole bit about the "tale of woe." No tale of woe here; instead, there is some delightful scat and a short drum solo. Yup, it's a cheerful rendition. Then "Slap That Bass" begins with bass, with Juliet soon coming in on vocals. These early lines make this song feel particularly timely: "The world is in a mess/With politics and taxes/And people grinding axes/There's no happiness." And, yes, music, can help, particularly a good bass line, as we get here. This rendition is just vocals and bass,and we are treated to a wonderful bass solo. "Misery, you've got to go," Juliet sings. And it seems that perhaps her voice might help usher that misery out of our lives. "Slap That Bass" was included in Crazy For You.

"But Not For Me" is a song from Girl Crazy, and was also included in Crazy For You. "They're writing songs of love," she sings at the beginning, and there is then a slight change in her voice as she finishes the line, "But not for me." This track features cheerful scat. I like how she creates her own joyful world with scat. There are some other playful touches, such as how she delivers the phrase "than any boring Russian play" toward the end. That's followed by "The Man I Love," which begins with some lovely work on piano. This is one of the tracks to feature Tedd Firth on piano. Tedd Firth also did the arrangement. "Someday he'll come along/The man I love." We can hear the yearning in her voice, the hope, and the certainty. What a wonderful and captivating vocal performance. We are carried along by her voice, joining her in her world, in her longing. The power in her voice as the song approaches its conclusion is remarkable. This track features just piano and vocals. "A Foggy Day" then begins with just piano and vocals. "The outlook was decidedly blue/But as I walked through the foggy streets alone/It turned out to be the luckiest day I've known." And then the song kicks in. "But the age of miracles hadn't passed/For suddenly I saw you there." Ah yes, meeting that one special person can change an entire city, an entire world. This track contains a cool instrumental section, and I'm especially digging that bass line.

"The Lorelei" is a playful one, and I love the way she adjusts her voice for it. There is certainly the actor in her voice, which is perfect, taking on the character of each song, heard especially in a song like this one. "And I can guarantee I'm full of passion/Like the Lorelei." Yes, no question. And she is adorable when she tells us, "I'm treacherous, yeah yeah/Oh, I just can't hold myself in check/I'm lecherous, yeah yeah/I want to bite my initials on a sailor's neck." This is the other track to feature Tedd Firth on piano. Then Juliet Ewing gives us "Embraceable You," another song from Girl Crazy that was also in Crazy For You. it's a beautiful song, and she does an excellent job with it. "Don't be a naughty baby/Come to mama, come to mama, do/My sweet embraceable you." I love that gentle work on piano, and when Juliet comes in with some soft "ooh" vocals. What a gorgeous section! And then they allow it to build, and it just gets better and better. This is one of my personal favorite tracks. It is followed by "Naughty Baby," a song that Juliet Ewing sang in that production of Crazy For You. She is absolutely delightful here, as she sings "Naughty baby, naughty baby, who will tease you/I can show the way, I know the way to please you" and "I can make a saint a sinner when I want to." I also like that she chose to follow a song with the line "Don't be a naughty baby" with the song "Naughty Baby." The two songs originally were in different musicals, though both ended up in Crazy For You.

This rendition of "I Got Rhythm" has a fun intro that begins on drums. This is another song that was in both Girl Crazy and Crazy For You. "I got my man/Who could ask for anything more?" I try to keep that in mind when I look around at all the things that I lack, try to keep that sort of attitude. This track features some good stuff on drums, as well as more scat. And there is a wonderful section toward the end where she sings, "I got drums," leading to a drum solo; and then "I got bass," leading to a cool lead on bass, backed by light touches on drums; and then "I got the keys," leading to some fantastic stuff on piano, backed by bass and drums. Oh man, I love this! What a great touch! She then wraps up the album with "Summertime," which begins with a rather somber tone, creating a dark atmosphere. Juliet comes in on vocals before beginning to deliver the lyrics, that vocal work adding to the atmosphere. And when she does begin to sing the lyrics, it is interesting, because the first word seems to come naturally from that atmosphere, a perfect segue. For the briefest of moments, we don't realize there is now an actual word. It is remarkable how she is able to do that. This is a beautiful, haunting rendition. She repeats "Don't you cry," and the power begins to build. And when she repeats, "You'll rise up singing," the music itself rises, and we feel ourselves likewise lifted by it, by her voice. This is an incredible rendition, another of the album's highlights.
 
CD Track List

1. 'S Wonderful
2. Love Is Here To Stay/They Can't Take That Away From Me
3. I've Got A Crush On You
4. Oh, Lady Be Good
5. Slap That Bass
6. But Not For Me
7. The Man I Love
8. A Foggy Day
9. The Lorelei
10. Embraceable You
11. Naughty Baby
12. I Got Rhythm
13. Summertime

Simple 'S Wonderful: The Magic Of Gershwin is scheduled to be released September 12, 2025 through Honey Diva Music and Lexicon Classics.

Randall Lamb: "High Hopes And Low Expectations" (2025) CD Review

High Hopes And Low Expectations, the title of the new album from singer and songwriter Randall Lamb, has got to be the most apt description of our outlook on things these days. It describes perfectly my state of mind, anyway, my strategy for dealing with the world. I can't help but remain hopeful, despite all the evidence suggesting that things are only going to get worse out there. And, hey, the lowest of expectations are being met daily by this nation's so-called leadership. Still, we have to keep going, don't we? Randall Lamb is a songwriter that I got turned onto back in the glory days of Fur Dixon & Steve Werner. They had quite a talented group of musicians in their circle. Randall Lamb is one of those great voices of southern California, a voice that is honest and true, and one I wish we'd hear from more often. As far as I'm aware, High Hopes And Low Expectations is his first release since 2017's Songs Of Freedom. This album contains all original material, and it is performed solo. That's right, friends, a real folk album, just vocals and guitar. It was produced and recorded by Ed Tree, whom you likely know from his work in the Tall Men Group, and with folks like David Serby and Mike Berman.

The album opens with its title track, "High Hopes And Low Expectations." This song begins with a question: "What can I say/That's not a worn-out cliche/In such a way/As to make it my own?" It's an interesting thought with which to begin an album, suggesting that all that follows is the answer. When I think of low expectations, I am generally expressing an attitude toward the population at large, but here he talks about low expectations regarding his own life and career, which is perhaps more doleful. Yet he actually makes it something positive, even spinning it with some humor. "Filled with doubt/Avoiding imitation/I got high hopes/Low expectations." This song is a few years old, Randall having introduced it online in January of 2022. "I try to be grateful/For what I got/I don't want to be/A big sensation/But I got high hopes/And low expectations." So, yeah, the song has a personal feel to it, and is about a songwriter's circumstances, but that doesn't mean it's not applicable to whatever we have going on in our own lives. "Keep an open mind/To what I hear and see/There might be a song/Out there looking for me."

He follows that with the playfully titled "Robert Frost And Yogi Berra Walking Down The Road/Life Goes On." The first lines of Robert Frost's most famous poem are "Two roads diverged in a yellow wood,/And sorry I could not travel both," while Yogi Berra is quoted as once having said, "When you come to a fork in the road, take it." So it is a joy to imagine these two walking along a road together. And, yes, they soon come to a fork in the road in this song. "And to this very day/History still remembers what they had to say." Randall Lamb offers several of those great Yogi Berra gems in this song. There is a sweet, innocent vibe to this song, just as there was an innocence to much of what Yogi had to say. Randall then begins "The Hudson River Song" with these lines: "On a train by the Hudson River/Tracks and river running side by side." That's a great image, isn't it? Two methods of travel, one man-made, one natural, both going in the same direction. This is a song about heading into nature, with him declaring he will not return to New York City, an idea which works so well with the pleasant, natural, and friendly folk vibe of this song. This track features some really nice work on guitar. This music makes me feel good, hopeful.

The first half of the title of "Singing Songs Around The Campfire Across The River From Mexico" reminds me of those back yard parties with Fur Dixon & Steve Werner, when folks would gather around the fire and trade songs. But that was in Van Nuys, and this song, the opening licks on guitar assure us, takes place some distance from there. "We drifted down to the Rio Grande/To watch the waters flow/We sang songs around the campfire/Across the river from Mexico." This song mentions Townes Van Zandt in its lyrics. Randall Lamb fits in that tradition with folks like Townes Van Zandt and Woody Guthrie and John Prine and Dave Van Ronk. "Trying to keep it all together/After so much time alone/Down below these canyon walls/I let my worries go/Singing songs around the campfire/Across the river from Mexico." Close your eyes, and let his voice and guitar take you there. That's followed by "Dust Devils Dancing By The Side Of The Road, " a song of the road, one with a lonesome vibe. "I like the way the light looks/As the sun goes down/Been a long time coming/I had to get away/I followed my loneliness/Down the lost highway." You can picture a man seated on some rocky outcrop, seen in silhouette as the earth darkens, looking out at the last light. The song has that feeling, and there is something so appealing in that. Then he sings, "Sometimes I just need to roam/Under open skies on an open road/'Til my mind gets right/And then I go back home." I assume we all need those moments. And maybe a lot of our unhappiness comes from us not getting them. So we turn to music as a way of being there without being there.

There is a lighter, more cheerful sound and attitude to "Plug Nickel." "Life is funny and life is fickle/I haven't done nothing worth a plug nickel/Sometimes I just sit around, waiting for rain," he sings at the beginning. It is a song about being a songwriter, at least partly. But it is about a lot more than that. Check out these lines: "Sometimes life lets you choose/Sometimes it's over before you get the news/I guess that's what they mean by 'That's how it goes'/You got your future, and you got your past/None of them are meant to last/And the here and now go by in the blink of an eye." Indeed. This song came out of the pandemic, about a year after it started. "Put your head out the window, let me tell you the news/Everybody's walking around with the blues/A heart full of soul, and a head full of pain." Ah, those lines ring true now too. This is one of my favorites. It's followed by "Thoughts And Prayers." Whenever I hear someone offer thoughts and prayers to the families of victims of gun violence, I want to tear that person to pieces. Guns are the problem, and anyone who says otherwise is part of that problem. There will always be crazy people, depressed people, unhinged people. We have to keep the guns out of their hands. We have to make guns incredibly difficult to obtain. Of course another problem is a lack of true compassion among the nation's leadership. Didn't you think after the first group of school children were killed that strict new laws would be implemented immediately? I did. I was so wrong. Now I have low expectations. "Thoughts and prayers/That's what you give/Make 'em think you care/When there's nothing there/You give thoughts and prayers." This song states its case gently and simply, without screaming, without swearing, something that is tough to do, I think.

"Ghosts And Memories" is also about songwriting, and not doing it for money or fame. "I'm writing to have a song to sing/A song with something to say/Something that's been on my mind/Try to get it before it slips away." I don't think Randall Lamb ever lacks something important to say. We hear it in the songs of this album. Just take the previous track, for example. This song's final lines are particularly striking: "I'm writing for the ghosts and the memories/That we meet as we're passing through." The album concludes with "So Far So Good," a song with an uplifting sound, with a playful bent. "I was driving/Just to get away/To get away from what/I cannot say." I think most of us can relate to those lines. "I thought I left my troubles/So far behind/But I was too busy leaving/To care what I would find." He then changes from "I" to "we": "We're on a road that has no beginning and no end." Yes, we are all involved in this thing. I love how Randall Lamb ends this album with a hopeful song. We still have to have those high hopes, right? "Nothing ever turns out like I thought it would/But so far so good."

CD Track List

1. High Hopes And Low Expectations
2. Robert Frost And Yogi Berra Walking Down The Road/Life Goes On
3. The Hudson River Song
4. Singing Songs Around The Campfire Across The River From Mexico
5. Dust Devils Dancing By The Side Of The Road
6. Plug Nickel
7. Thoughts And Prayers
8. Ghosts And Memories
9. So Far So Good

High Hopes And Low Expectations was released on July 1, 2025.

Henhouse Prowlers: "Unravel" (2025) CD Review

Henhouse Prowlers have been together for a couple of decades now, delivering delicious bluegrass music to not only enthusiastic audiences in this country, but to folks around the world. Having begun the Bluegrass Ambassadors project in 2013, this group fosters cultural exchanges between the U.S. and other nations. This is probably even more important now, when our own country has earned the distrust and enmity of other nations because of its dubious, twisted, criminal leadership. Our music might just be what reminds other countries that we're not all horrible people here. The band's new album, Unravel, contains mostly original material, along with one cover (an interesting and well-timed choice), with each of the four musicians contributing material. The band is made up of Ben Wright on banjo and vocals, Jon Goldfine on bass and vocals, Chris Dollar on guitar and vocals, and Jake Howard on mandolin and vocals. The album was produced, engineered and mixed by Stephen Mougin.

"I don't know what comes after this" is the first line of "Look Up To The Sky." It's an interesting opening line, and an honest one."In my life, anyway," Chris Dollar then adds, moving it to a more personal level. Ah, but does any of us? The older I get, the more I'm convinced that no one knows anything. "All I know is I want you here," he then sings, another line we can relate to. He then adds, "For the duration, anyway." I love those little additions, those added thoughts. Chris Dollar wrote this song. It's a sweet number featuring some nice work on banjo, and a really good, though also really short, lead on guitar near the end. "That sun will arise/That fire will subside." The second track, "Palomino," also mentions fire: "These days the California highways are always on fire." Lyrics about fire probably stand out even more to those of us living in the Los Angeles area than usual. "I've got to get out of here, I've got to get out of here/The smoke's making it harder to breathe." Fire weighs heavily on the minds of many people in this area, and I hope as the 4th of July approaches that people will be smart regarding the use of fireworks (but I'm not optimistic about that). This is a pretty song that gently grabs us, and features moving vocal work. It was written by Jake Howard and Carolyn Brittin Kendrick.

Ben Wright wrote "Line The Avenues," and sings lead on it. Check out these lyrics: "All the training in the world/Won't shake off the impending dread/The old fan on the ceiling/Is nothing to fight the heat/And the sweat rolls down their faces/As they're given the morning brief." The verses introduce us to different characters of different times, all times of war. And then, after an excellent instrumental section, the song switches to the first person, but still talks about the past, which is interesting. I suppose there will always be wars, because humanity has really not progressed much at all. The feelings are always the same. And so it is the song's final lines that are the most striking: "So I see things different now/When I read the headline news/Every time they say we won/I wonder what we lose." Then "Headin' For A Heartache" has a somewhat lighter, more fun vibe from the start, though the lyrics are about a man "heading for a heartache." It was written by Jon Goldfine and Rick Lang, and Jon takes lead vocals duties (no, it is not a cover of the Juice Newton song). This song gives the album its title in the lines, "It's about to unravel/More than he can handle." There is a bluesy element to this song. The band then gets further into the blues with "Too Little, Too Late," which begins with these lines: "I'm sad, I'm blue/I don't know what to do/You've gone away/To where, I've no clue." This one was written by Chris Dollar, who also sings lead. This track features a particularly good vocal performance, along with some great harmonies. The vocal work is a large part of this track's appeal, helping to make it one of the disc's highlights.

"Love And War" is an intriguing song, the unusual sound and vibe in that first section drawing us in. The track then takes on more of a normal feel for the chorus, which is the repeated line "All is fair in love and war," a line that comes from an 1850 novel, but in a slightly different form was written by a poet nearly three hundred years earlier. This song was written by Jake Howard and Brenna Carroll. That's followed by "Three Seasons," written by Chris Dollar. At the beginning of the album's first track, Chris sang, "I don't know what comes after this," and this one he begins by singing, "Shadows come and go/Don't nobody know just where they go/I wish I knew." Uncertainty is certainly in the air these days. What does any of us really know? "Help me see where the lines are drawn." There is a bright energy to this track, and it contains a wonderful lead on mandolin. That is then followed by a song titled "Space Man." I guess it's clear where my mind is, because I expected this song to be about Red Sox pitcher Bill Lee. Well, it's a fun, playful number, its playfulness apparent from the start, with those vocals shouting "Huh." This one is sung from the perspective of a "man on a mission to outer space." "I've got a one-way ticket on this rocket/On this rocket I ride." And here some certainty is expressed: "When I'm floating through the spaceship/I never know my way around/But there's one thing I'm certain of/And that's how to get down." Wonderful! This one was written by Jake Howard and Brenna Carroll, and is another highlight.

"Poor Boy Like Me" is a love song, written by Jon Goldfine and Rick Lang. Here Jon sings, "I still find it hard to believe/That she could ever fall for/A poor boy like me." But interestingly, before that, he sings, "There's no telling what lies in store," another line expressing uncertainty, clearly a theme of sorts, not just on this album, but in all our lives. And check out that guitar work. So good! The band follows that with "Climb The Mountain." Right at the start, you can sense that this one is going to build up into something special, with strength, with passion, with power. Sure, danger might lie ahead, but there is a sense of resilience here, which is something we need. "Clouds are darkening in the distance/Lightning splits the night to day." This is one of my personal favorites. It was written by Chris Dollar. "Time will pass, whatever happens."

"Honey Will You Be Mine" is the album's final original composition, written by Jon Goldfine and Rick Lang. It's a love song, telling the story of a couple, the first verse relating the beginning of their relationship. The chorus has a wonderfully cheerful vibe. The second verse then jumps ahead many years: "They tried to make each moment last/As their hair turned shades of grey." Things get sadder from there, detailing the end, and not one you'd might expect, with one holding the other's hand. "His true love in the hospital/Didn't make it there on time/Didn't get to say goodbye." Oh man, that is heartrending. But the song doesn't end there, and there is a positive feel at the end. The album then concludes with its sole cover, "Land Of Confusion." Yes, the Genesis song. While at first, that might seem a strange choice, once you begin paying attention to its lyrics (it had been so long since I last heard it), it makes total sense. "Now did you read the news today/They say the danger's gone away/But I can see the fires still alight/They're burning into the night." Yes, fire is mentioned again. "And not much love to go round/Can't you see this is the land of confusion." Yup, that right there is the long and the short of it. I wasn't a big fan of this song when it first came out, but this rendition is making me appreciate it more. "Use them, and let's start trying/To make this a place worth living in."

CD Track List

1. Look Up To The Sky
2. Palomino
3. Line The Avenues
4. Headin' For A Heartache
5. Too Little, Too Late
6. Love And War
7. Three Seasons
8. Space Man
9. Poor Boy Like Me
10. Climb The Mountain
11. Honey Will You Be Mine
12. Land Of Confusion

Unravel was released on April 18, 2025 through Dark Shadow Recording.

Willie Nelson, Merle Haggard, Ray Price: "Big Hits Live" (2021/2025) Vinyl Review

One of the special records released on Black Friday in 2021 was a live album by Willie Nelson, Merle Haggard and Ray Price titled Big Hits Live. This record contains music from the final stop of their "Last of the Breed" tour, that tour named for the double album they had released in March of 2007. And it was in March 2007 that this live recording was made. Only 1,400 copies of Big Hits Live were released in 2021, so not a lot of folks were able to get a copy. I did not get one then. But now it is getting a wider release, giving everyone a chance to add this record to his or her collection. And it is certainly worth owning.

Side A

The album kicks off with "Miles And Miles Of Texas," a fun, energetic number done by Asleep At The Wheel, with Ray Benson on lead vocals. Asleep At The Wheel released this song as a single in 1976, fifteen years after the original version by Jim McGraw And The Western Sundowners, and had a hit with it. This version features some nice work on pedal steel, and has such a cheerful vibe. Then Ray Price sings "Make The World Go Away," a song he released as a single in 1963. The crowd reacts with excitement when it starts, but then the audience noise fades from the mix so that we can hear the performance. This is a sweet rendition, featuring strings. "Say the things you used to say/And make the world go away." Oh yes! That's followed by "For The Good Times." The audience cheers on the song's first line, "Don't look sad," the moment folks recognize the song. It was written by Kris Kristofferson, but Ray Price had a huge hit with it. "But life goes on and this old world will keep on turning/Let's just be glad we had some time to spend together." Lines like that make me think of the brevity of this whole experience, something that's been on my mind a lot lately anyway. Ray Price delivers a strong vocal performance here. Hold that special someone close while you can, friends. It will be over before we know it, before we're ready.

Merle Haggard then gives us "Silver Wings," a song from his A Portrait Of Merle Haggard album. I wish I'd seen him in concert. The world lost him in that foul year of 2016, a year that took many great musicians from us and elected a rapist to lead this country. It's a year we're somehow still trapped within. Anyway, this track features some really nice work on harmonica. It's a beautiful song. That's followed by "That's The Way Love Goes," a sweet number from Merle Haggard. I love his delivery of the line "You say, honey, now don't worry so much," almost like spoken word. The warmth, the compassion, the honesty in his voice are wonderful and striking. This track also features some good stuff on guitar. The first side then concludes with Merle Haggard and Willie Nelson performing Haggard's "Okie From Muskogee." Some lines are humorous with Willie Nelson being involved, lines such as "We don't smoke marijuana" and "And we don't let our hair grow long and shaggy." It is after that line that Willie Nelson comes in. It must have been something to be at this show, to get to see all three of these folks. The only one I've had the privilege of seeing is Willie Nelson, who delivered an excellent set last year at the Hollywood Bowl.

Side B

The second side of the record opens with Willie Nelson and Merle Haggard covering Townes Van Zandt's "Pancho And Lefty." While I was not fortunate enough to see Merle Haggard in concert, I did see Townes Van Zandt once at a small club, and that was a treat. Merle and Willie released their own studio version of this on a 1983 album, this being its title track. And on this live album they deliver a really good rendition. The crowd responds with much deserved applause at the end. That's followed by "Always On My Mind," one of those songs that never fail to affect me. "Little things I should have said and done/I just never took the time." Regrets are terrible, particularly regarding love. "Tell me, tell me that your sweet love hasn't died." Maybe there are second chances. Certainly there are in the land of song. Willie Nelson is just so damn wonderful, and we believe him when he promises, "I'll keep you satisfied."

"Mama Tried" is a song I first heard done by the Grateful Dead. You know, that band turned me on to a lot of great music and great artists, including Merle Haggard. "Mama Tried" wasn't the only Haggard song they covered. It's such an excellent song, and this is a really good rendition, with the right amount of energy and featuring some nice stuff on pedal steel. Then all three singers perform "I Gotta Have My Baby Back," a wonderful song that is one of the record's highlights. "Oh baby, come on home/Without my baby, I just can't go on." And this track features saxophone, including a nice lead. That's followed by "Sing Me Back Home," another Merle Haggard song that the Grateful Dead covered. Those old tapes often had me in tears. This is one of Haggard's best songs, and he delivers an excellent rendition here. It is so moving. "Make my old memories come alive." Oh yes, this music does that, doesn't it? So many songs the Grateful Dead performed dealt with death in one way or another. Getting us prepared, I suppose, or taming the beast before we had to face him.

"Crazy" is one of Willie Nelson's most well-known songs, though it is the Patsy Cline rendition that most people know. Here is a great chance to hear Willie perform it, along with Ray Price. "Worry, why do I let myself worry?" The record then concludes with another great Willie Nelson tune, "On The Road Again," and the line "making music with my friends" stands out perhaps more than usual. Merle Haggard delivers a good lead on electric guitar on this one. The song has such a great feel about it, doesn't it? And, despite how terrible and distracted drivers have become, it makes me want to get out on the road again.

Record Track List

Side A

1. Miles And Miles Of Texas - Asleep At The Wheel
2. Make The World Go Away - Ray Price
3. For The Good Times - Ray Price
4. Silver Wings - Merle Haggard
5. That's The Way Love Goes - Merle Haggard
6. Okie From Muskogee - Merle Haggard/Willie Nelson

Side B

1. Pancho And Lefty - Willie Nelson/Merle Haggard
2. Always On My Mind - Willie Nelson
3. Mama Tried - Merle Haggard
4. I Gotta Have My Baby Back - Willie Nelson/Merle Haggard/Ray Price
5. Sing Me Back Home - Merle Haggard
6. Crazy - Willie Nelson/Ray Price
7. On The Road Again - Willie Nelson

This vinyl reissue of Big Hits Live is scheduled to be released on July 11, 2025 through Top Hat Tunes and MVD Audio. And apparently, a DVD of the concert was released through MVD in 2023 (I need to get a copy of that at some point).

I See Hawks In L.A. at Harmony Room, 6-27-25 Concert Review

I See Hawks In L.A. playing "White Cross"

There were several indications that last night's Hawks show at the Harmony Room was going to be something special. First off, it was held at a cool, rather unusual venue, one that was started in 2020 (yes, a venue that actually opened during the pandemic rather than closed - imagine that). I hadn't been there before, but I'd heard some good things about it prior to last night's show. It was a decent-sized hall, part of a church, located upstairs, and had an inviting, laid-back vibe. A friendly staff, and - this is particularly unusual - the place actually encouraged folks to bring their own snacks and drinks if they wished. Otherwise, there were concessions, including wine and beer (Rob Waller would comment on that during the show). I got there early and went right in to grab a seat up front, then went outside to hang out in the courtyard while the band finished its soundcheck. It was not long before other Hawks fans started showing up. We're an early bunch. Another indication that it was going to be a special night was the scheduled opening set by Victoria Jacobs. She has been writing and recording new material, some of which she performed solo at a house concert back in September, and we were eager to hear more of it.

"Without You"

At 8:11 p.m., while the house lights and music were still on, Victoria Jacobs took the stage. While her set in September had been a solo affair, this time she was billed as Victoria In The Jimsonweed and was joined by Aaron Bakker on electric guitar. The stage, by the way, had some green glittery strips as part of its backdrop. There were also strings of vinyl records hanging next to the speakers on both sides of the stage. And, partially because it was attached to a church, the place reminded me of some of the folk venues I used to frequent back east in the late 1980s and early 1990s, and that is part of what gave it a welcoming air for me. The house lights soon dimmed and the music was shut off, and Victoria was introduced. She and Aaron opened the set with "Without You," a song in which she sings, "Trying to live my life without you/It's not easy to do." For those who don't know, Victoria was married to Paul Lacques, who died in January of 2024. Her new songs are paths through grief and memory, songs of love, of loss, of moving forward without letting go of the past. These are excellent and tender songs. Interestingly, Aaron Bakker's electric guitar gave that opening number more energy, a sort of rock and roll energy. "Without You" was followed by "Santa Fe," a beautiful song. "Just two lonely souls howling at the moon." Paul Lacques is still a tremendous presence at Hawks shows, and obviously also during Victoria's set, and probably everyone in the room had known him. After that song, Victoria introduced Aaron Bakker, and said he was on the first recording she did after Paul's death.

"Shed Those Tears"

Her set also included "Sympathy," "Shed Those Tears," "Star-Filled Night" and "Misery." In "Shed Those Tears," just before the end she repeats, "It's okay, it's okay," before concluding the line, "to cry," which is the last line of the song. And that's something about these songs, the way they are so life-affirming and surprisingly positive. "Star-Filled Night" had a particularly cheerful sound. And in "Misery," she sang, "Misery loves company/Go love someone else." There was a strong energy to that song, and Aaron delivered some great stuff on electric guitar. Then in "Winding Stream," she sang, "You gotta trust love will find a way." And in "Forever Shine," she sang, "Grateful for all our moments together/Grateful for all the love we knew." This is music to pull us all through our personal and collective troubles and put things into perspective. For the final song of her set, Aaron left the stage, and Victoria performed it solo. A beautiful conclusion to a wonderful set of music. Her set ended at 9:07 p.m.

"Live And Never Learn"

Less than fifteen minutes later, she was behind the drum kit, and I See Hawks In L.A. kicked off the set with "Live And Never Learn," a perfect choice in these strange times. And for a Friday, with its lines, "I try so hard to do what's right/That won't get me through Friday night." Dan Wistrom was kind of in the dark in his spot stage right, but delivered some really nice work on pedal steel from there in the shadows. Rob Waller then remarked about Victoria's ability to just switch to drums after such a great set, and mentioned the venue. "Dan says this is the closest he's ever played to his house," Rob told the crowd. And that was part of it too. It was a neighborhood thing, another reason folks felt so at home at this venue. They then followed "Live And Never Learn" with "White Cross," which also follows it on the band's 2018 album. Dan switched to electric guitar, delivering a very cool lead. After that lead, Rob Waller introduced Dan as "The pride of Glendale, California."

"My Parka Saved Me"

One of the many treats of the set was "To The Snow," a song from the band's first album, and one they don't play very often. I can't recall the last time I saw them do it. It's been years. It was great to hear it again. "That song's about twenty-five years old," Rob said afterward. Dan then switched back to pedal steel for "Might've Been Me," a fun song from the band's 2021 album On Our Way. There was a good amount of joy on the stage, and after that song Rob talked a bit about what he loves about the venue. That was followed by another song from the first album, "A Dog Can Break Your Heart Too," one that highlights the band's excellent harmonies. Some folks were really tickled by this one, laughing a lot during the song's first section. Rob then playfully asked Victoria if she had any good Chicago stories, leading into "My Parka Saved Me." This one also had folks laughing out loud, especially on "It was my brother's parka," when the backing vocals make that adjustment following Victoria's clarification. It's a song I love, and part of its great appeal is the way the lead vocals and backing vocals interact, and when the backing vocals go rogue, "And we drank for free all through high school/All the booze I could ever drink."

"Poour Me"

Another treat was "Jug Of Misery," a song that Rob performed at a solo show last September and which has not yet been included on any official release. (If you want to hear it, Rob performed it at the end of an episode of my podcast.) The band delivered a really nice rendition last night. After it, Rob commented, "That's the thing about misery - it goes on a little longer than you want it to." That was followed by a particularly good and fun version of "Ohio." "I was poisoned by the California dream." It was then that Rob commented on the venue serving alcohol, saying he'd sung in a lot of churches and he'd sung in a lot of bars, and that this place was kind of both. Paul Marshall then sang lead on "Salvation," and the first time in the song that he sang the word "salvation," he gave a look up at his surroundings. This is a song that was great from the time the band introduced it in concert, but it has really come into its own lately, with the last couple of times they've played it being the best. It's reached a different level. That was followed by "Poour Me," which featured some excellent stuff on pedal steel.

"Raised By Hippies"

If you drive in Los Angeles (and probably anywhere these days), honking and swearing at other drivers is part of the experience. Lately, I've been trying to refrain from honking, challenging myself to see if I can get anywhere without becoming infuriated. Twice I've been able to do it. Last night was not one of those times, though on the way to the show, I blasted my horn at only one guy. He was getting off at an exit, and at the last second cut back in front of me, forcing me to slam on my brakes (no one in Los Angeles has any idea what a solid white line means). The point is there are a lot of assholes out there, and every time I'm on the road, a certain I See Hawks In L.A. song gets in my head. That's "Stop Driving Like An Asshole." I wasn't sure if the show being at a church would keep them from playing that one, but I was hoping to hear it. And, yes, they did it, and it was delightful, as always. They followed that with another fun number, "Raised By Hippies," and then "California Country." The line "The traffic jam started down in Glendale" received a cheer from someone in the audience, which made Rob smile. They wrapped up the set with "Hippie On The Road." What a great bass line. This was a fun, high-energy rendition, and at the end, the audience was eager for more. But there was no encore last night. The show ended at 10:29 p.m.

I See Hawks In L.A. Set List

1. Live And Never Learn
2. White Cross
3. To The Snow
4. Might've Been Me
5. A Dog Can Break Your Heart Too
6. My Parka Saved Me
7. Jug Of Misery
8. Ohio
9. Salvation
10. Poour Me
11. Stop Driving Like An Asshole
12. Raised By Hippies
13. California Country
14. Hippie On The Road

"Without You"

"Live And Never Learn"

"My Parka Saved Me"

Harmony Room is located upstairs at St. Barnabas Episcopal Church, 2109 Chickasaw Ave., in Eagle Rock, California. The next scheduled Hawks show is on August 23rd at McCabe's in Santa Monica. See you there!

J. Edmond: "Isolated Dew" (2025) CD Review

Jeremy Edmond was performing and recording as Jebb, and in the spring of 2020 he released a song titled "Isolated Dew." You remember that time. It was when the pandemic was hitting hard, and isolation was the name of  the game. We were all going a little mad, understandably. Now it's five years later, and apparently the pandemic is over. Jeremy, now recording under the name J. Edmond, has revisited the song, now titled "Some Way," on an EP titled Isolated Dew. Joining J. Edmond on this disc is A. Michael Collins on drums, bass and backing vocals. There are also special guests on various tracks.

The EP opens with "Some Way," which eases in. Many of the lines are the same as the song "Isolated Dew," but there are some changes too, some rearrangement of lyrics and a different vibe. Perhaps the biggest change is the loss of that section where he sang, "Hey, I'm losing it/Hey, I'm fine/Hey, I'm losing it/My Mind." Because now we've gone through that, and there is a more positive bent, at least regarding that subject. Another major difference is in the musicians who join him on this rendition. Paul Chastain (of Velvet Crush) plays bass on this track, Danny Henry is on keyboard, and Fernando Perdomo is on slide guitar. If you're familiar with Fernando Perdomo's work, you might be wondering where he found the time to take part in the recording of this song, since he's in the middle of a year-long project, releasing an album of new original material every month, and also recorded a new album with Matt Tecu. I've come to the conclusion that there are just more hours in his days than in the days of everyone else. Another difference in this version is in the vocal approach to the song's final lines. Tommy Hayes then joins J. Edmond on saxophone on "Search Lights," making his presence appreciated from the beginning, delivering some nice work that helps set the track's cool tone. There is something of an early 1980s rock vibe to this track. "Man, I'm not sure if I'm glad to meet you/Work's hard, quitting's easy." A. Michael Collins plays both bass and drums on this one. The second half features an excellent, energetic saxophone lead. The overall feel of this track takes me back to my youth.

J. Edmond slows things down a bit then with "City Walk." This track contains a passionate vocal performance, and much of this track's power is within that performance. Some lines stand out for me, such as "You poison me with pictures" and "Life hits harder/When you're alone" and "Starting to hate the game." I love the way it builds in power. This is a song with a yearning, and with hope, but also with darkness. Stephen Peter Rogers plays lap steel on this track. This song was released as a single in 2024, the first to be delivered under the name J. Edmond. Released with "City Walk" was "M. Paserebye," and that song is included here too. This one is all about the vocals and guitars, and contains some really nice guitar work. "Do you ever just let life pass you by?" The EP then concludes with an instrumental version of "Some Way," with all the same musicians as on the first track. Actually, it's not fully an instrumental version. There are vocals in that section in the second half, the "Learn a new skill/Get up that ladder" part.

CD Track List

1. Some Way
2. Search Lights
3. City Walk
4. M. Paserebye
5. Some Way (Instrumental)

Isolated Dew was released on June 26, 2025.

Couldn't Be Happiers: "Couple(t)s" (2025) CD Review

"So long as men can breathe or eyes can see,
 So long lives this, and this gives life to thee."

That is the rhyming couplet that concludes Shakespeare's famous Sonnet 18 (you know, the one that begins "Shall I compare thee to a summer's day?"), those lines being about the sonnet itself, and how it will continue to keep that person alive so long as people read it. Songs can do the same thing. Couple(t)s is the playfully titled new album from Couldn't Be Happiers, that title a combination of the words couplets and couples, the band being led by the married couple of Jodi Hildebran and Jordan Crosby Lee. The album is also organized by couples, with two songs sharing a common theme or style paired together. The album contains all original material. Both Jodi and Jordan provide vocals on this album, and Jordan plays acoustic guitar and electric guitar, while Jodi plays drums and acoustic guitar. They are joined by Doug Davis, who plays a wide range of instruments, including electric guitar, acoustic guitar, bass, mandolin, organ, piano, melodica, Mellotron, omnichord, drums, and percussion, and also provides some backing vocals. There are other guests on various tracks.

The album opens with a sweet, cheerful love song titled "Come Back Tomorrow," its rhythm being a big part of its positive vibe. Corky McClellan plays drums on this track. There is the joy of New Orleans in the sound, and this track features the horn section of Kenny Butler on trumpet, Rob Yingling on saxophone, Bernie Hall on trombone, and Urshawn Matthews on sousaphone. And the chorus likewise has a bright sound, and feels familiar. There is a good chance you'll be singing along before the end: "Come back tomorrow, baby/Come back tomorrow, baby/Come back tomorrow if you can." This is a song of summer, of freedom, of those youthful moments when the world seems to open before you. There are times when we can relive those feelings, and music like this certainly helps. "Baby, let's go somewhere new." Jodi sings lead on this one. Jordan then sings lead on "When I Die," a song that looks forward to looking back, opening with these lines: "When I die/I hope the tally shows/That I had more friends/Than I had foes." Yes, it's about death, sort of, but it's really more about life, and there is a light feel to it, with lines such as "That I gave more pennies/Than I ever took away" and "I hope I let more folks change lanes/Than I cut off." This song is a good reminder to be decent to folks, at least as often as possible, hoping the world will be a little better for your having been in it. And it too is a love song, with Jordan singing, "I hope that I made you laugh/More than I made you cuss/When I die/And you think back on me/I hope that I made you happy/More than I made you crazy." If we can't make the world a better place, we can at least make that one special person's world better. Right? This track is one of my personal favorites.

A decade or so ago, there was a bill on the ballot here in California that was purported to ban the plastic bag. Of course, it did nothing of the kind. And anyone who was paying attention knew that ahead of time, for the bill was supported by grocery chains and the like. What actually resulted was thicker bags that the grocery stores charge customers for. It was a way to make money, not to save the environment. And now thicker plastic bags end up in the trash, which means more plastic, not less (please read the damn bills before voting, folks). On this album, Couldn't Be Happiers give us "Plastic Bag Odyssey (I'll Never Die)," a song from the perspective of a plastic bag, with Jodi on lead vocals. "I'll never die, I'll never die/I'll be here long after you're gone/Watch the world burn/See what else goes wrong/I'll never die." There is something strangely adorable about this song, even as it describes the trouble the bag seemingly joyfully causes. Jodi also sings lead on "Tear It Down,"  a song with an especially lively and powerful chorus. This is another one you might sing (or shout) along to. This track features good work by Jack Gorham on accordion, that instrument helping set the song's atmosphere. "There may be no happy beginning/And the ending won't be a happy one/So while we're here, let's cause a scene/Might as well, 'cause no one cares." "Plastic Bag Odyssey" and "Tear It Down" are a pair of protest songs. "Well, let us eat, sleep, work, drink/Eat, sleep, work, drink/Eat, sleep, work, drink/Eat, sleep, work, drink/'Til we die, die, die, die, die."

Jordan sings lead on "Devil's Tramping Ground," a pleasant-sounding pop-folk number that looks back to a time when he danced "'til the break of day." There is something unexpectedly playful about this song. "I'm going round, round, round in my tramping ground/Thinking of those I dragged down, down, down/Kicking beer cans and rubber wrappers out of my way." Probably the line that will stand out for many people is this: "My job is so exhausting." It's a line a lot of folks will immediately relate to, though their work is likely different from that of the character in this song. Corky McClellan plays drums on this track. That song is coupled with "Pretty Polly," which features Jodi on lead vocals. This one has a more somber sound and atmosphere, and includes some nice stuff by Rick Nathey on pedal steel. After a minute or so, it kicks in, and it too contains lines about doing down. "You took me down this road/Down a deep dark hole/That deep dark hole/Ain't black as your soul." This one also contains a reference to Macbeth: "Pretty Polly, Pretty Polly, something wicked this way comes," referring to a line one of the witches delivers just before Macbeth enters the scene. And the song ends with a variation of that line: "Something wicked down there lies." Both songs are character songs, songs that tell a story.

The second half of the album progresses in a similar way to the first half, beginning with a couple of love songs of sorts, both of which feature Jordan on lead vocals. The first of the two, "King Of Austin," has some early lines that stand out: "The rent was high/So were you/And the dishes in the kitchen sink/But you rose higher than the market." This track also contains some strong harmonies. "Only one of us could do the driving/All hail the king of Austin." This is also some good work on acoustic guitar. "Don't talk as much/We've both grown soft/And we've lost some hair/But if I ever need/Help to hide a body/I know who would be there." Ah yes, important information to have. The second of the two love songs, "Wherever You  Go," contains the word "love" in its opening line: "I fell in love on a weekend getaway." The song's main line is one that I remember from The Adventures Of Buckaroo Banzai Across The Eighth Dimension, but which predates that film by quite a lot: "Wherever you go, there you are." In the film it was "No matter where you go, there you are." Anyway, this is a totally catchy and sweet song. It features some really good vocal work, and ends up being another of my personal favorites. "Or lying with your head upon my chest/Or standing in aisle three, obsessing on your grocery list/I'll love you wherever you go."

Jodi sings lead on "Weatherman," a song that features some great stuff from Rick Nathey on pedal steel. "I've been working twice as hard/For nearly twice as long/But I've gotten half as far/Told I don't belong." The song is about inequality between the sexes in career advancement, focusing on one particular woman. And there is some humor in its chorus: "I'm just waiting on the weather/I'm just waiting on a sign/I'm just waiting on the weather/Man to die." Dustin Foley plays drums on this one. "They say life's not fair/Neither is the weather." That's followed by "I Got You," a fun song about doing what makes you happy, what makes you feel good, what feels right to you, in spite of bigoted attacks from right-wing imbeciles. I love that it opens with lines about crossdressing: "You just found out that it feels pretty nice/Wearing the clothes of your wife/Some say you're confused." This is a song that offers support and friendship. "Life is hard enough out there/Without the need to go and get wound up/Over all the little things/And now you've found as part of growing up/It's all small stuff." Oh yes! That's it exactly. Jodi delivers some nice work on harmonica on this track, and then sings lead on the next verse, a pro-choice verse. I also appreciate that there is a plea for people to put down their guns.

"Brown Mountain Lights" is a song that first seems to fit in that great tradition of folk songs about people who struggle to make a better life, including lines about working in a mine, but there is also a mysterious element to this one, or an explanation for a mystery. On this one too, the two take turns singing lead on different verses. "You can bet/That soon you and I/Will dance through the night/Light up the mountain side." This is such a pretty song. It includes nice work on mandolin, and a beautiful vocal section near the end. That's followed by "Lydia's Bridge," another ghost story that immediately gets us thinking of work, with the percussion like hammering on metal, creating an interesting atmosphere. It's a slow number, with Jordan singing lead, and is another of the album's highlights. Pete Pawsey plays banjo and lap steel, and adds ambient noises. "We're all doing the best we can/Trying to make it through in a life that we don't understand/Terrified of watching it all slip right through our hands."

CD Track List

1. Come Back Tomorrow
2. When I Die
3. Plastic Bag Odyssey (I'll Never Die)
4. Tear It Down
5. Devil's Tramping Ground
6. Pretty Polly
7. King Of Austin
8. Wherever You Go
9. Weatherman
   
10. I Got You
    
11. Brown Mountain Lights
12. Lydia's Bridge

Couple(t)s was released on June 13, 2025.

Jim Self: "My America 3: My Country" (2025) CD Review

Jim Self is a tuba player who has played on hundreds of movie soundtracks. Perhaps he is most beloved for his work as the musical voice of the spaceship at the end of Close Encounters Of The Third Kind. He has also put out many albums as band leader. He released his first My America album back in 2003, when we still had a country that we could recognize. Sure, the inarticulate George W. Bush was president then, but we had no idea that things could get much, much worse. The second volume, My America 2: Destinations, was released twenty years later. Joe Biden was president then, but we were still somehow in the grip of the guy who occupied the White House before him. Things were weird, for sure. But, holy moly, a year later this country decided to re-elect a rapist who had been convicted on thirty-four felony charges. Sounds preposterous, doesn't it? But in office right now is a criminal. It no longer feels like my America, except of course when I'm listening to music. Now Jim Self has released his third volume in the My America series. No waiting two decades this time around. Titled My America 3: My Country, this album features music from the country realm, but done in Jim Self's special way. People might not think of the tuba as a country music instrument, but those people haven't yet heard this album. Joining Jim Self on this release are Kye Palmer on trumpet and flugelhorn, Bill Booth on trombone and euphonium, Phil Feather on saxophone and flute, Steve Marsh on tenor saxophone and clarinet, Chis Woods on fiddle, Doug Livingston on pedal steel, John Chiodini on guitar, Steve Fister on dobro and slide guitar, Bill Cunliffe on piano, Mike Valerio on bass, Ken Wild on bass, Joe La Barbera on drums, and Brian Kilgore on percussion. Kim Scharnberg did the arrangements.

Though this album is almost entirely made of covers, Jim Self opens it with an original composition titled "Chompin' At The Bit." Yup, he's written a country song. As you might guess from its title, there is a playful, light vibe to this piece, with Jim Self's fluba as the lead voice. It features some good work by Doug Livingston on pedal steel, and by Chris Woods on fiddle. There is some lively work by Steve Fister on electric guitar, and a wonderful lead on fluba, a special instrument that Jim Self invented. Also, there is the sound of a horse at the beginning, as well as partway through the track and at the very end. That's followed by a track titled "Wabashed," an interesting combination of "Wabash Cannonball" and "Orange Blossom Special," two songs named after trains. As it starts, it is like a train slowly moving out of a station, the tuba and drums setting it in motion. And soon we get the familiar theme of "Wabash Cannonball," and everything feels right. Then we find ourselves switching trains, for the musicians begin to pick up steam as they go into "Orange Blossom Special." This is so much fun. There is plenty of great stuff on fiddle. Where it gets even more interesting is when the saxophone takes over, and we are more firmly in jazz territory. The train is now swinging and grooving, and we get some delicious stuff on piano. We are even treated to a drum solo. What more could you want? Well, how about a delightful section where the tuba and fiddle interact? There is a big finish to this track, because it completely deserves it.

I doubt there is a single person out there who doesn't like Dolly Parton. And if there is, I don't want to meet him. On this album, Jim Self performs one of her best songs, "Jolene," with a gentle, thoughtful delivery on fluba of what would be the vocal line. And to make sure things don't get too serious, he throws in a bit of  The Bee Gees' "Stayin' Alive" at the end. On My America 2: Destinations, Jim Self covered Jimmy Webb's "By The Time I Get To Phoenix," and here he gives us Webb's "Wichita Lineman." This is a pretty and earnest rendition featuring some really nice work by Kye Palmer on flugelhorn. Things then get fun again on "Rocky Top," a song I love. When I was in high school, I dated a girl whose parents had a bluegrass band, and this was a song that they turned me onto. Jim Self delivers a lively rendition, one to get your fingers snapping and your toes tapping. There are wonderful, playful little touches throughout the track, and there is a good lead on bass.

"Crazy" is one of Willie Nelson's most well-known compositions, famously done by Patsy Cline. Jim Self delivers a gentle, easygoing, beautiful rendition. On this track, he is joined just by John Chiodini on guitar, and the two give a memorable and wonderful version of the song. Then we get "The Devil Went Down...," a version of Charlie Daniels Band's "The Devil Went Down To Georgia" that is combined with "Sweet Georgia Brown." The musicians are clearly having a good time here. There is some strong work on fiddle, as you'd expect, and also some really nice stuff on saxophone, which you might not expect. And of course there is plenty of great stuff on tuba. It is a lively and exciting and fun recording. This is one of my favorite tracks.

If you're going to do an album of country songs, there has to be at least one Hank Williams song. Jim Self chooses "Your Cheatin' Heart." And he delivers an interesting rendition, its first section slowed down and delivered with a compelling darkness. It then takes on a Latin dance rhythm, before returning to that darker region. Who would have guessed where this track would take us? What a wonderful ride, leading up to a playful final moment. Another artist who has to be represented on an album of great country material is Johnny Cash, and Jim Self delivers "Folsom Prison Line," a combination of "Folsom Prison Blues" and "I Walk The Line." There is also a little nod to "These Boots Are Made For Walkin'" in there. This track is a lot of fun, and features some really wonderful work on piano. I love Jim Self's work, particularly near the end. Why didn't the aliens in Close Encounters deliver a bit of "I Walk The Line"? And check out that crazy ending.

"Sixteen Tons" was written by Merle Travis, and is always a delightful number to cover. Jim Self delivers a cool rendition, the album's only track to feature vocals. Not all the lyrics, mind you, but just the line "Sixteen tons." There are some other playful touches here too, and the whole thing begins to feel like a party of some sort. We can certainly use a celebration in this country. Jim Self and company then wrap things up with a cover of Don Gibson's "I Can't Stop Loving You," a song that Ray Charles had a big hit with. This rendition features some really nice work on piano, in addition to Jim Self's moving work on tuba. What a sweet way to conclude the album.

CD Track List

1. Chompin' At The Bit
2. Wabashed
3. Jolene
4. Wichita Lineman
5. Rocky Top
6. Crazy
7. The Devil Went Down....
8. Your Cheatin' Heart
9. Folsom Prison Line
10. Sixteen Tons
11. I Can't Stop Loving You

My America 3: My Country was released on June 13, 2025 on Basset Hound Records.

Missy Raines & Allegheny: "Love & Trouble" (2025) CD Review

Missy Raines is an accomplished and celebrated singer, songwriter and bass player from West Virginia, working in the bluegrass realm. She was the first woman to win the International Bluegrass Music Award for best bass player. That was in 1998, the year she released her first album, My Place In The Sun. Since then, she's received the award another nine times, and has gained other accolades for her work. Her new album, Love & Trouble, features a mix of covers and original material. Her band, Allegheny, is made up of Ellie Hakanson on fiddle and vocals; Tristan Scroggins on mandolin, tenor guitar and vocals; Ben Garnett on guitar and vocals; and Eli Gilbert on banjo. There are also a few guests on certain tracks.

The album opens with an original number titled "Yanceyville Jail." Though it is an original composition, the song has the feel of a traditional tune, opening with these lines: "I've been in hard liquor and soft red clay/And I've been in some trouble here today/Roll and tumble, tooth and nail/I ain't going to the Yanceyville jail." Soon the song kicks in, and features some nice work on banjo. I also love these lines: "Well, I've been hog-tied and upside down/And I've had a nice tour of your quaint little town." This track has a delicious, energetic instrumental ending. Missy Raines follows that with a traditional number, "Claude Allen," one of those classic bluegrass numbers about death. This is a track that features some fantastic vocal work, wonderful and appealing harmonies. There is also good stuff on mandolin. And perhaps we find ourselves traveling to a different time with that fiddle, and mourning for our own time.

"Cold Wind" is a song written by Roy McMillan and included on the 1973 Roy McMillan And The High Country Boys album High Country. The song opens with these lines: "Who's that knockin' at my door/Hard times, hard times, hard times." Oh yes, this is a song that feels perfect for our strange and ugly times, not just because of its lyrics, but because it is delivered with great joy and energy. We need that. "Let the cold winds blow and the hard times go/And I ain't gonna worry no more." It's difficult to let go of the worry, but avoiding the news has certainly helped me these days. Of course, whenever a bluegrass number sings of the end of worry, we can't help but think of death. Anyway, this is a really wonderful rendition. It's followed by a cover of Nathan Bell's "Coal Black Water," which has a more somber sound, though not as raw as Nathan's original recording. "This world isn't fit for beast or human/But we live like men and work like women/And hope for better for our sons and our daughters/Who are born just to drown in coal black water." There is a great section toward the end, where the vocals are layered on that chorus. There is a power to this recording. I sometimes wonder if it's too late to turn things around, but music is what gives me hope that we can do it.

"Anywhere The Wind Blows" was written by Kathy Kallick, and was the title track of The Good Ol Persons' 1989 album. Kathy Kallick and Laurie Lewis join Missy Raines on vocals for this one. They and Ellie Hakanson take turns at lead vocals, helping to make this track stand out. The banjo work also helps in that regard. "What if someone faced you every day/Took the best and worst and still she stayed/Would you tend that garden come what may/Or would you still find something wrong." That's followed by "Stop 88," an original composition. It feels like the motion of a great vehicle moving uphill, an encouraging sound. "Can't run too fast, might leave the track/Get tangled up in the switchback." Tristan Scroggins takes over lead vocal duties on "Future On Ice," a song written by Jerry Crutchfield and Edria Humphrey, and originally recorded by Jimmy Martin. He does a great job with it. Deanie Richardson plays fiddle on this track.

"Scraps From Your Table" was written by Hazel Dickens, who included it on her 1980 album, Hard Hitting Songs For Hard Hit People (a great title). The version included here is wonderful, moving at a good pace, and featuring Ellie Hakanson on vocals. That's followed by "Eula Dorsey," an original song written by Missy Raines and Tony Rackley. It relates the tale of an immigrant to the United States, working in a strange land. I wonder, does anyone even want to come to this country anymore? Once upon a time, this country welcomed people to its shores, or at least claimed to. Now it sends out its own version of the Gestapo to round up people who even look like immigrants. Well, this song's story turns violent, its lyrics delivered with a striking passion. "Another morning came and went/One more bruise upon her face/She walked softly in his presence/But could not still his rage." The album then concludes with a good rendition of Earl Klugh's "Vonetta," the only instrumental track, taking us into jazzy territory and featuring some excellent work on fiddle as well as some seriously cool work on bass.

CD Track List

1. Yanceyville Jail
2. Claude Allen
3. Cold Wind
4. Coal Black Water
5. Anywhere The Wind Blows
6. Stop 88
7. Future On Ice
8. Scraps From Your Table
9. Eula Dorsey
10. Vonetta

Love & Trouble was released on May 16, 2025 on Compass Records.

Lisa Mann's Northwestern All-Stars: "The Great Women In Blues" (2025) CD Review

Groove Now is a special concert series held in Basel, Switzerland, focusing on the blues. In 2023, bass player and singer Lisa Mann put together a great group of musicians from the Pacific Northwest to perform at that concert series, the theme of their show being "The Great Women In Blues." The group included Louis Pain on organ, Ben Rice on guitar, Jason Thomas on guitar, and Jimi Bott on drums. Joining that group was the incredible vocalist Terrie Odabi, based in Oakland. And now that show has been released as The Great Women In Blues. The disc contains just over an hour of music, so I'm guessing it's not the complete show. But I don't know. I also don't know if the songs have been rearranged at all, as the tracks fade out at the end, making that a possibility. What I do is the music on this disc is absolutely fantastic.

The album opens with "Wade In The Water," delivered a cappella by Terrie Odabi. She gives us just a brief, but wonderful and captivating, taste of the song, then tells the audience a bit about the music. She also sings a bit of "Swing Low Sweet Chariot," and talks about what those songs meant to the people singing them originally, how those songs helped. This track functions as an introduction to the night. Terrie Odabi then leads the band in a strong rendition of "I Sing The Blues," a song written by Earl Bridgeman and Philip Wootten, and performed by the great Etta James. The band jams here, and that jam features some particularly good work on guitar. It's great that the band gets opportunities to stretch out on several of the songs during the set. While there is a lot of wonderful stuff on guitar, it is Terrie's powerful, passionate vocal performance that is the driving force of this rendition. "I want to sing the blues for you, baby, all night long." And that leads to a bit of "Wang Dang Doodle," just the repetition of the words "All night long," which are included in the Etta James rendition, but here delivered in the way those words are sung in that Willie Dixon number. She ends by telling the crowd, "I want to sing the low-down, the low-down, the dirty, filthy, nasty, dirty blues for you." Oh yes!

"I Don't Hurt Anymore" was written by Donald Robertson and Jack Rollins, and recorded by country singer Hank Snow. That same year, it was recorded by Dinah Washington, who took it in a different direction and had a rhythm and blues hit with it. The version here was inspired by that Dinah Washington rendition, and features Lisa Mann on vocals. She delivers some excellent work, with a couple of playful touches. This track also contains some delicious work on organ, as well as some really nice stuff on guitar. That's followed by The Staple Singers' "Why? (Am I Treated So Bad)," which was the lead track from that group's 1966 album Why. These guys ease into it with a nice instrumental section, that spoken word part about trouble on the bus from the original recording being cut here. What we get instead is some captivating work on guitar, and then Terrie Odabi comes in, singing the title line. This is a very cool rendition.

Next up is Sister Rosetta Tharpe's "That's All," which was an adaptation of Washington Phillips' "Denomination Blues." These guys deliver an excellent rendition. "We gotta get more love and understanding/Every day of our lives/And that's all." No argument from me! This track contains some outstanding work on guitar, and another passionate vocal performance. That's followed by "Let The Juke Joint Jump," a song written by Vasti Johnson, and covered by Koko Taylor on her Force Of Nature album. "Say you want to party, have a good time." Oh yes, we do. And this song ought to be of some help in that endeavor, with its groove, and with its energetic vocal performance. Approximately halfway through the track, they bring things down. "I came to have a good time," Terrie tells the crowd. She gets the audience engaged, though it takes a bit of teasing and cajoling and prompting. Soon those folks are singing, "Let the juke, juke joint jump."

The song "5-10-15 Hours" was written by Rudolph Toombs, and originally recorded by Ruth Brown. Lisa Mann gets this one started on bass, and right away it's clear this band is going to have some fun with this song. The track features a delicious, sexy, raw vocal performance by Lisa Mann, and a wonderful lead by Jason Thomas on guitar. There is a playful spoken word section in the middle, in which Lisa tells the crowd, "I like the idea of making love for five, ten or fifteen hours, but you know what, it's just not practical." And then she sings, "Wont you give me five, ten, fifteen minutes of your love." That's followed by "Ball And Chain," which was written and recorded by Big Mama Thornton. The first version of this song that I heard was that by Janis Joplin, which was probably the same for a good number of people who are reading this. This rendition begins with some strong, expressive guitar work. And oo-wee, what a vocal performance! "Why you want to do these mean things to me/You know, you know I love you, baby/And I'm sick and tired of being in misery." The guitar is unleashed, allowed to fly and soar and tear into the fabric of our shared reality. This is a tremendous rendition.

"So Good To My Baby" was written by Rose Marie McCoy and Leroy Kirkland, and recorded by Big Maybelle. The band is swinging here, delivering a totally delightful version of the song. Things then get a bit mellower at the beginning of the Etta James song "I'd Rather Go Blind," a wonderfully soulful number. These guys give us such a great, powerful, moving rendition, certainly a highlight of the disc. The album concludes with Willie Dixon's "Wang Dang Doodle," which was teased a bit earlier. A lot of folks have covered this one, including Koko Taylor. The first version I heard was performed by the Grateful Dead. And like the Dead, the band jams here. "Did you have fun? Did you have a good time?" she asks the crowd. And she gets the audience singing "Pitch a wang dang," while she sings "All night long." That's a cool section. And the energy is fantastic after that. At the end, there are band introductions.

CD Track List

1. Wade In The Water
2. I Sing The Blues
3. I Don't Hurt Anymore
4. Why? (Am I Treated So Bad)
5. That's All
6. Let The Juke Joint Jump
7. 5-10-15 Hours
8. Ball And Chain
9. So Good To My Baby
10. I'd Rather Go Blind
11. Wang Dang Doodle

The Great Women In Blues was released on May 23, 2025 on Jay Ray Records.