RSL: "Welcome To Keyser" (2025) Vinyl Review

RSL is the trio of Anthony W. Rogers, Jay Stickley and Bart Lay, all of whom live in Keyser, West Virginia. You might know Anthony W. Rogers from his solo albums (such as 2023's High Five) and his project Babyflow. And if you do, you've also heard Bart Lay's work, for he plays drums on One Day (A Journal) and High Five. The trio's new album, Welcome To Keyser, which was released on vinyl, looks back to a specific place at a specific time, and the tales told within these tracks are ones that many of us can relate to, even if our place might be different, and our time slightly different too. I grew up in a small town in Massachusetts, and the people and events presented here are certainly familiar. Anthony W. Rogers plays guitar, bass and keyboards, and provides vocals; Jay Stickley plays guitar, keyboards and percussion, and provides vocals; Bart Lay plays drums and percussion, as well as various electronics, and provides vocals.

Side A

This album opens with "Roll On Potomac," which has a wonderful, appealing, pleasant folk rock sound, a sound that itself takes us back to the early 1970s, particularly that great vocal performance, and the song's story takes us back even further, to the youth of the previous generation. The song tells the story of a town "halfway 'tween steel and D.C." I love the way this track grows, its sound and its passion building. I also appreciate the way the backing vocals provide support, like the people of the town joining in, perhaps representing "friends who couldn't make it to today." It ends with the line, "It's gonna be just fine," a line we need to hear and desperately want to be true these days. And, really, it's up to us. Then "Keyser Crew" has more of a rock sound, with a punk element to the vocal approach. After the line, "Cops can't see me 'cause my headlights aren't on," there is the sound of a police siren, indicating just how wrong he was. As this song looks back, there is a youthful energy, as if taking us to that time; yet simultaneously, there is within that sense of looking back a bit of distance and wisdom, so putting us in two times at once. We all did some crazy stuff back in our youth, and if we were caught, there were always other kids to blame it on. This one also ends with a line that stands out, "I'll never be through," a line that colors our experience of the rest of the song, and brings the two times together.

There is something of a 1970s rock thing happening in "Keyser Girls 2," fitting for its subject, for this one too is about the past. Its first lines take us back to high school: "I walked 'cross the playground/High school began." And I love these lines: "Back in the days when we made it all up/Like a radio signal to a mountain top." Then after a fun instrumental section (that even includes hand claps), the line changes to the present: "Now it's today and we make it all up" (the lyrics sheet has that line as "when we make it all up," but I've listened to it several times, and I'm pretty sure he is singing "and" there). That's followed by "Summersong," which starts with some dark whispering. That odd beginning sets the tone for the track, for this one doesn't then settle into any normal realm. And that whispering occurs again later in the song, then with references to The Beatles: "Here comes the sun, little darling." This song ends rather suddenly with a depressing final line, "As my dreams of tomorrow extinguish today."

"The Playground Stage (Ass Kick Tag Song)" has an ominous vibe, which is interesting, because it's about kids on a playground. But that is a part we tend not to think of too much in our reminiscing of youth, how kids could be awful to each other, how games got violent sometimes. "'Cause they're teaching/Learning the sadistic ways/To enjoy it/The suffering." I can't help but assume the kids that were assholes on the playground have grown up to be Trump cult members and ICE agents. There is a heavy edge to this one. The first side then concludes with "Coming Undone." Here is a taste of the lyrics: "Coming undone/He comes riding the blue unicorn/Orange barrels in a rounded form/Trying to grab as much of himself/Before he comes back down." Coincidentally, a topic at work two days ago was our old acid days (well, perhaps not so old for some involved in the conversation), and how music always played an important role in those trips. But "Gone are the days I could go so far/Responsibility keeps my feet on the ground." Things begin to fall apart, and time unravels, that final section featuring some good work on drums.

Side B

The second side opens with an instrumental piece titled "Potomac Valley Jecho (Interlude)," which has a somewhat contemplative air, lost in thoughts or memories, or rather one persistent memory, presented in striking colors, like the golds of a bell ringing or leaves falling. That's followed by "Somebody Someday," its first lines being "If somebody wants to be somebody/Somebody's got to pay." This song, especially the vocal work, takes me back to some of the music I heard while growing up in the 1970s, which is the point. When growing up, we all talked of leaving, and most of us did. But I am surprised by just how many people remained. "They're mapping out tomorrow/But way back home/They're not looking for tomorrow." That leads straight into "Never Before (The Legend Of Roy Plummer)," which has a harder sound, coming on with a jarring force. There is more of a raw edge to this one. "People are never who you think they are/Like you've never seen them before." We probably all know some people who went wrong and came to bad ends. I do. Not a close friend, mind you, but a kid who lived down the street from me, who ended up getting stabbed to death. By the way, a special insert is included in the record's liner notes, a copy of a newspaper article about Roy Plummer, who shot himself following a standoff with the police. He is a guy that both Jay Stickley and Anthony W. Rogers knew when they were young; apparently Jay was friends with him. There is a wild energy to this song, and within this song is the idea that anyone in those circumstances could have gone in that direction.

"Always The Same" tells the story of a different character, one most of us can likely recall from early in our lives. "Then Johnny got older/And he became cooler/With every beer he pulled from the case/We all laughed/But no one seemed to notice/The times he fell down on his face." And the backing vocals singing "Everybody knows everybody" is great because of the two meanings: "Everybody knows, everybody" and "Everybody knows everybody." Both are true to a certain extent in a small town. This is another song to end with a memorable line: "Things don't change." I'm beginning to think that they really don't. That's followed by "Sad Song In Your Heart," a track with an unusual vibe, an electronic sound combined with vocal work that has a 1970s feel. "I got out at 25, realized I wasn't going to die/So that's when I came alive." Ah, I suppose a sad song in one's heart is much better than no song at all.

"Floating Down" opens with these lines: "Back in the daze of disconnection/We'd make our own days fun/Be talking face to face/Or call me on the telephone" (you see, kids, when we were growing up, we'd talk to someone face to face, which is not the same thing as Face Time on your mobile phone). This track has some good rock elements, and then a smoother, softer sound for the chorus, which works with the word and idea of "floating." It is a song that celebrates one's friends, those special folks who were with us in the beginning and are still with us. The record concludes with "Keyser Girls 1." Interestingly, "Keyster Girl 1" acts as a sort of reprise of "Keyser Girls 2." Go figure. It's a different version of the song, and there is a feeling of celebration here too, celebrating the girls and their memories. We probably all have specific girls in mind as we listen to this track, and in listening and remembering, we are also celebrating our own youth.

Record Track List

Side A

1. Roll On Potomac
2. Keyser Crew
3. Keyser Girls 2
4. Summersong
5. The Playground Stage (Ass Kick Tag Song)
6. Coming Undone

Side B

1. Potomac Valley Jecho (Interlude)
2. Somebody Someday
3. Never Before (The Legend Of Roy Plummer)
4. Always The Same
5. Sad Song In Your Heart
6. Floating Down
7. Keyser Girls 1

Welcome To Keyser was released on May 10, 2025 on Wildflow Records.

Benjamin Koppel, Kenny Werner, Scott Colley, Jack DeJohnette: "The Art Of The Quartet Volume 1" (2025) Vinyl Review

In 2020, saxophone player Benjamin Koppel, pianist Kenny Werner, bass player Scott Colley and drummer Jack DeJohnette combined their considerable talents on a two-disc release titled The Art Of The Quartet, on which they performed some delicious improvised pieces as well as some excellent original material composed by the four musicians. Now the first section of that fantastic two-CD set has been issued on vinyl in a remastered version. Titled The Art Of The Quartet Volume 1, it contains the first four tracks, for a total approximately forty-two minutes of music (which means there should be two more volumes coming).

Side A

The album opens with "Free One," a great improvised piece that begins on some unsettling, eerie ground, as people meeting in the darkness, in a fog, uncertain about each other's motives, and perhaps about their own as well. But soon it becomes clear the chance of danger is much slimmer than they'd first imagined, as the footing becomes more sure, and they are more willing to express their own desires. And then there is a lively beauty to the music, a vibrant call cast out into the night. Still, there is some mystery and some concern, expressed by the saxophone and then by the piano. There is a tension, and things start to cook, the sax and piano recreating reality in a delirious and delightful fit. Whatever it is they need, they need it now, everyone rushing toward the same end, to meet the same goal, bouncing over obstacles, dancing around them, and maintaining a focus, as the city pops and sparkles around them, more welcoming now. Yes, there is free progress. The forces, the drums, they tell us to enjoy ourselves but be somewhere before dawn.

The bells at the beginning of "Bells Of Beliefs," a piece composed by Benjamin Koppel, call us to settle into some place within us, to let go of the outside world, to find a new focus. There might be something spiritual here, but with a darkness that mixes with the light, for one cannot be summoned without the other. We are led downward. And then a new place is opened within. There is a lonesome feel here, as if our thoughts echo in a vast chamber built ages ago and now occupied only by ourselves and ghosts. Then it feels as if the ghosts themselves are communicating with us, as the sax swells, which somehow actually relaxes us, for we are not alone after all. Though it is still up to us which direction we wish to move. There is soon a sense of urgency, as sounds splash upon the rock walls, soak our clothes with sweat, rush forward and upward into the farthest corners. A larger power lifts its hands as if to call us to order. Soon the drums take over, dancing this way and that, preparing us for something. Then we relax, lean against the wall, inhale our own memories and let go.

Side B

"Night Seeing," the second side's opening track, eases in. Lights in the distance are not easy to make out, and a feeling of melancholy comes over us as memory mixes with the hazy images before us. Are we having trouble looking ahead, or looking behind? We take tentative steps into patches of light as we find them. Perhaps those bits of lights are leading us somewhere deliberately, perhaps to understanding, the cheerful tones indicate, and we are hopeful, trusting. We are then alone for a moment, making us wonder, had we somehow gotten it wrong, strayed in some way? If we close our eyes, it all seems a dream. We can dance forward, the piano solo encourages us, and takes our hand then when we hesitate. Then the saxophone calls to us - from our left, our right, then above us, and soon all around us - and we spin, trying to follow, trying to understand. And somehow we find ourselves on a lower level, in darker spaces, and we want to cry out. But who would answer? Before we dare cry out, the bass answers with a voice more certain,  and we move forward again, now eagerly along our way. There is a splattering of light, but that too is fleeting, as we find ourselves again in darkness. There is something solemn about it, something final.

As Jack DeJohnette's "Ahmad The Terrible" begins, it is like a creature stretching and walking about, strutting. There is an unusual vibe to this one, its different sections like beginning different dances, trying them on for size, like fresh skins. The drums roll us forward over the landscape, while the saxophone makes strong declarations of self, of place. There is an excitement, though perhaps an unspoken question remains underneath. The bass introduces us to another character who has some knowledge to impart, but who will not do it directly. Follow me over hills, through twisted paths, it seems to say, and watch your step. A sprite curious if you'll be able to follow along, to keep up without getting tied up. The piano seems to indicate some measure of success, because now we've arrived at a gathering, a hall where there is a feast, where there is dancing. Women in great dresses spin past, a wind of perfume and promises, all fleeting, intangible, yet also eternal, if forever out of reach. Things begin to spin faster, to swirl, a repeated dance. We are caught in its motion, a glorious ride. The dance slows in the end.

Record Track List

Side A

1. Free I
2. Bells Of Beliefs

Side B

1. Night Seeing
2. Ahmad The Terrible

The Art Of The Quartet Volume 1 was released on May 15, 2025 through Cowbell Music.

DoubleVee: "Periscope At Midnight" (2025) CD Review

DoubleVee is the duo of Allan Vest and Barb Vest, a married couple based in Oklahoma. You might know Allan Vest from his work in Starlight Mints. DoubleVee released their first full-length album, The Moonlight Fables Of Jack Rider, in 2017, and followed that with an EP titled Songs For Birds And Bats, and then Treat Her Strangely (a title I love) in 2022. The duo's new release is an EP titled Periscope At Midnight, featuring mostly new original material, along with two songs that Allan is revisiting from his Starlight Mints days. Allan plays guitar, bass, cello and drums; Barb is on synths. Both provide vocals. And they have a couple of guests joining them on this disc.

The EP opens with "Submarine Number Three Vee," one of the songs that Allan Vest is revisiting. It was the lead track to The Dream That Stuff Was Made Of, the first Starlight Mints album (that title, by the way, is a play on a misreading of a line from William Shakespeare's The Tempest; Prospero says, "We are such stuff/As dreams are made on," but people remember it as "are made of"). On that album the song was listed as "Submarine #3." This is an absolutely wonderful and completely catchy song, with some delightful and unusual lyrics. Take these opening lines, for example: "You got me rollin’ around/Frog on my hand/Holy shazam/I see you on a submarine/You're the fishy queen/If you pull me apart don't swallow my heart." I like both versions of this song, but if forced to pick one, it would be this new version. I love the combination of their voices here. It's a bit longer than the original, and it features special guest Brent Williams on violin. This song was released as the EP's first single. "Diamond Thumb" is also catchy, particularly in its rhythm. If only all pop music could be this good! This music is making me happy, but there is more happening here than just its cheerful rhythm. This one also uses the word "heart" in its opening lines: "I've got a hole in my heart/A little glitter in my dreams."  Another line that stands out to me each time I listen is, "Wide awake and fast asleep." Yes, it's a glorious pop dream.

"Maybe Tonight (What's Inside Of Me?)" is the other song that Allan Vest is revisiting on the EP. It was originally included on the Starlight Mints album Drowaton, which was released in 2006. On that album it was titled "Inside Of Me." "Well, I don't need your sympathy/But I could use your company/Crawl into a mystery/And I call you." This version feels fairly faithful to the original. "If I could sleep tonight," Allan sings. Oh yes, if only. "We could fall on through." What would each of us find inside our skin and bones? Sometimes I worry that it is all physical, all chemical, that there is nothing more to us than that. It's less poetic that way, isn't it? But probably the truth. Anyway, that's followed by "Modern Times," a seriously cool tune that feels fresh, yet also reminds me of some of the music I grew up loving. It seems to take inspiration from the best places. "I lost my thrill/I caught the chills/I couldn't take it any other way/Look what's behind/What would I find/I nearly slipped into the modern times." Adding to this track's great appeal is some excellent work on guitar.

The duo changes gears then with "Natural Selection," which has a smoother feel, with a jazzy vibe and a sweet aspect. Christi Wans joins the duo on trumpet for this song, delivering some really nice stuff. There is a lot to love about DoubleVee's music, and one key element is the duo's memorable and remarkable lyrics. This line in particular from "Natural Selection" stands out for me: "She brings me my reflection." The EP then concludes with "Everyone's Lonely Under The Sea," which has more of a rock sound, and features some cool work on bass. Barb sings lead on this one. "Hold your head above the water/Keep your toes out of the sand/Peel your eyes with clementines/Now it’s time to descend." This song was released as a single, and it is just completely wonderful. The idea of escaping into the deep dark blue has its appeal, particularly in these days when much of the public discourse is ugly and negative. If we can't rise above, perhaps we can sink below. But down there, while we will escape all that negative input, we'll also lose whatever might be positive in human conversation and interaction. We are completely within our own heads, especially with "Vision darkening," and it sounds like a movement toward oblivion, secrets and all.

CD Track List

1. Submarine Number Three Vee
2. Diamond Thumb
3. Maybe Tonight (What's Inside Of Me?)
4. Modern Times
5. Natural Selection
6. Everyone's Lonely Under The Sea

Periscope At Midnight is scheduled to be released on July 25, 2025.

Fernando Perdomo: "Waves 6" (2025) CD Review

Fernando Perdomo's impressive 2025 project, Waves, continues with its sixth volume. As with previous entries in the series, Waves 6 contains all original material, composed and performed by Fernando Perdomo. Yup, he not only wrote all the tracks, but plays all the instruments on them. This one has some rather playfully titled songs, including "Bob Dyan's 115th Tweet" and "Lick My Pumps Luv." But that isn't to say that the music doesn't take us on some wonderful and unusual journeys, for it certainly does, especially tracks like "Heavenly Rainbow" and "Oscillations."

The album cover photo, taken by Joe Galdo, shows a rainbow over the ocean, and the album opens with "Heavenly Rainbow," which has a soothing vibe. I love how this album opens with a reminder of the beauty of the world, something we need especially these days. Take a break from the chaos, from the ugliness of human folly and bigotry, the music seems to suggest, and use the moment to appreciate the world. A rainbow is something that lasts only a very short time, and the same goes for all of us, so in appreciating a fleeting beauty above us, we can also acknowledge a similar thing within ourselves. And both the rainbow and we ourselves are part of the larger picture, which also is felt in this music. The tone then changes with "Magic Alex," which grabs us with its forceful opening moment, and with its beat. This one has a stronger rock vibe, and features hypnotic elements within the guitar work, the guitar line almost like a strange, dark mantra at times.

The music dips into stranger territory with "Oscillations," with its delightful electronic, ghostly sounds, like some alien form inviting us into its home, engaging us in conversation, in dance. The electric guitar offers a response, joins in that dance, even taking over. Soon a dark wind sweeps across us, across the landscape, and the guitar faces the onslaught. It seems the guitar will prevail, but suddenly the instrument drops out, and the track ends. This is one of my personal favorites. It is followed by "Bob Dylan's 115th Tweet," one of the songs to sport a playful title, riffing on "Bob Dylan's 115th Dream," from Dylan's great Bringing It All Back Home album. Does Bob Dylan have a Twitter account? I don't know. I stopped using that site after it was purchased by a twisted Nazi. But now I'm curious what Bob Dylan's 115th post on that site might be (though not curious enough to return to the site). Anyway, this is a fun track, with something of a raw southern rock vibe and a dose of blues, featuring some excellent guitar work. It feels like a great jam, though the music is performed by one person. It is a track that ought to get you moving. By the way, the CD case lists "Bob Dylan's 115th Tweet" as coming after "The Deep," when actually it comes before it. As for "The Deep," there is something soothing to this track, particularly in that call and response, the music responding to itself, like whales engaged in a duet. It makes us feel like we might be able to communicate with other creatures of this world. Wouldn't that be something? To be an active part of nature rather than the thing that brings about its destruction.

I thought "Theme From The Unpopular Prog Show" was another playful title, until I realized that there actually is a podcast titled "The Unpopular Prog Show." Fernando Perdomo was a guest on the show, and then composed this theme. This track is like a wild progressive rock carnival ride, delivered with an intensity that causes us to get swept up in its motion. "Mustangs In The Wild" is another progressive rock number to have a strength and intensity, though quite a different mood from the previous track. Even if it is a somewhat slower number, there is an excitement to its progress, to its movement, and a full sound that is overwhelming at moments. That's followed by "Utopians," which is an interesting track, especially once it gets into the main body, the way the guitar soars above that repeated theme. That theme feels like a march of workers, and the guitar flies overhead, escaping the drudgery, the repeated motion. Then it becomes a bubbling cauldron, the guitar perhaps a sorcerer determining the ingredients to be added, willing the magic into being.

I love the opening to "Variations On A Dream," the way it builds. It reminds me of some of the music I listened to growing up in the 1970s and early 1980s. The rhythm here plays a prominent role, and the guitar acts like several voices, playing on a theme, seeing where it can be taken, building on it, then letting it to, then building again. This is wonderful. The album then concludes with "Lick My Pumps Luv." Though this track has an amusing title, the music is actually rather somber and moving. It is a slow, introspective number that features some beautifully expressive guitar work, and ends up being another of my favorites. At some point, there is a subtle switch, and the music seems to look outward more than inward, reaching out to us and connecting with us. I absolutely love the guitar work on this track, but there is also some good stuff on keys and bass.

CD Track List

1. Heavenly Rainbow
2. Magic Alex
3. Oscillations
4. Bob Dylan's 115th Tweet
5. The Deep
6. Theme From The Unpopular Prog Show
7. Mustangs In The Wild
8. Utopians
9. Variations On A Dream
10. Lick My Pumps Luv

Waves 6 was released on June 1, 2025.

Dave Rudolf: "Time Does Fly" (2025) CD Review

Dave Rudolf is a singer and songwriter who seems to be completely at home in every genre of music he explores, and he explores quite a few. His new album, Time Does Fly, features mostly original material, songs in the rock, pop, and country realms, songs delivered with passion and joy. Joining the singer and guitarist on this release are JimWidlowski on drums, Felton Offard on guitar, Jack Whittle on guitar, Mark Evans on guitar, Wally Hustin on bass, Al Joseph on violin, Gary Victorine on pedal steel,Thomas Linsk on keyboards, John Chorney on keyboards and organ, Michael Hesiak on saxophone, Tim Bales on trumpet and trombone, and Marsha Lynne Smith on backing vocals.

Dave Rudolf opens the new album with "Find Some Common Ground," a cool, soulful, bluesy number about the divisive state of things in this country, about the atmosphere of rampant racism and sexism inflamed by the rapist in the White House. "We must stand against the forces," Dave sings here. People all over this country are doing just that. While it seems that much of our common ground has disappeared in recent years, we all have common needs, as Dave mentions: "We all want to feed our families/We all want to live in peace." People need to remember and recognize those common needs, though I doubt a significant portion of the population will be able to do that until the current administration is completely destroyed. Some really nice backing vocal work adds to the track's great soulful sound. Plus, this track contains some good stuff from the horns. Dave Rudolf then turns to a gentle country vibe with "Calico And Shanna," a love song, and actually a love story song. The excellent pedal steel work helps set the mood, and it is Dave's strong vocal performance that drives the track.

Things become more energetic with "There's Enough Of Me To Go Around," which has a delicious, jazzy rock sound. This track features some wonderful stuff on guitar, keys and horns, as well as a fun, raw vocal performance, with just the right amount of attitude for the character of the song, a man who thinks quite highly of himself. There is a lot of bragging in songs, and Dave Rudolf is kind of poking fun at that sort of thing, while simultaneously turning in a great tune in that realm. It features some really good drumming too, and the band gets a chance to jam at the end, helping to make this track one of my favorites. That's followed by the album's sole cover, Guy Clark's "Tornado Time In Texas." This is another fun song, and Dave Rudolf does a wonderful job with it. There is a cheerful, jazzy element to this rendition, and I am especially drawn to that lead on guitar. The lines I've always loved from this song are: "Now when pigs can fly/No, I mean really fly/You can bet that it's blowing hard/Uncle Clarence was sitting in the outhouse/Now he's sitting in the yard." Who doesn't love Guy Clark? It's clear that Dave Rudolf loves this song, and is enjoying delivering this excellent rendition to us.

Check out the opening lines to "I've Got No Time For That": "I've got my hopes, I've got my plans/I'm not afraid to work hard with my hands/I can't listen to the doubts and fears/Of those who whisper in my ear/But I've got no time for that/There's too much left to do/Don't try to slow me down/Because there's dreams I must pursue." Oh yes, those lines contain a message that I appreciate. Life is too short to listen to those who tend to quash our dreams. We mustn't let them persuade us to give up on our dreams, no matter how old we are. I like that steady work on keys, putting it in the same realm as some of the music from Harry Nilsson. This is another of the disc's highlights. It is followed by "We Just Fit," a love song with a romantic bent, offering us this beautiful line: "And in her eyes lies my entire world." I hope everyone gets a chance to feel exactly what that line expresses. This track contains some pretty guitar work. It's funny, because at the beginning Dave sings, "She's not the kind they write songs about," a line he repeats at the end, yet here is a song about her. So, no, they did not write a song about her, but he did. Your special someone is a person that only you can write about, right? Therein is the beauty of it, the wonder of it.

"She's Got Me Addled" is a different sort of love song, a fun pop rock number, kind of in the same realm as Elvis Costello. These lines made me burst out laughing: "I'd watch some football, have a couple of beers/Now I watch Hallmark and I burst into tears." My girlfriend enjoys those Hallmark Christmas movies (there are so many of them, more than I ever could have imagined), and so I watch them with her. I have to remember to play this song for her. She'll also appreciate the line about yoga. Though, unlike the woman of this song, my girlfriend isn't really "changing me into something I'm not." Things start swinging with "My, Time Does Fly," this delicious rockabilly track featuring some excellent guitar work. Time certainly flies, and the older I get, the faster it goes. The music here flies too, moving at a good clip. This is a fun track. Then "Let The Healing Begin" has more of a reggae sound and rhythm, which is fitting for its subject, its lyrics. "It's time to rise up, let the healing begin." It's going to take a lot of work. Somehow humanity has gone the wrong way again, embracing fascism and greed, and ignoring the damage to our environment, repeating its old mistakes. "The Earth cries out from the poison we spread."

There is a nice humor to "That Can't Be Me." At the beginning, he's looking back at his photo from his high school yearbook. Maybe I was smart to toss that thing in the trash within a year after graduating, so there is no looking back for me, at least not in that way. But I do look back, of course. How can any of us help it? "It's still a mystery/It seems like those old times are history." And the lines about looking in the mirror and seeing an older stranger are ones to which many of us can relate. Dave then goes back to a country flavor with "We Got Everything We Need." In this one he sings, "Everybody's in a hurry these days/They're going somewhere and they can't be late." Indeed. This is a song that urges us to appreciate what we have, and to take the time to do so. After all, we'll be dead before too long. It is difficult to keep from wanting more and sometimes feeling like a loser for our position in life. But we have great music and friends and love. "We ain't got much, but it's more than enough."

"I have so many flaws/I've done things I'm not proud of," Dave Rudolf sings in "Don't Follow In My Footsteps," a song in which he urges someone to avoid making those same mistakes. This track features a passionate vocal performance, aided by some nice backing vocal work. That's followed by "Desperado For Love," which has a soft country rock flavor, which you might expect from its title. "For without you, my soul is lost," he declares at the end. The fiddle then sets the tone immediately on "On The Way Home," this song having a delicious Cajun flavor. It's a fun number. "I'm heading toward my home at last." I've said this before, but somehow going home always sounds appealing in song; interestingly, so does hitting the road. This track is a delight. A sweet and pretty country sound is established at the beginning of "I Used To Have A Heart" before Dave comes in on vocals. "I used to have a heart/Before she ripped it from my chest," he then sings. Wonderful! And yet he still longs for her. This is another of the disc's highlights.

The saxophone helps set the tone of "The Wreckage Of Love Spent," a slow number that looks back to when a relationship was better. There is good work on sax throughout the track, and another passionate, strong vocal performance. That's followed by "These Are The Things," an unabashed, unequivocal love song, featuring some beautiful work on violin. "Everything that I am, every vision or sound/They only have meaning when you are around/And through every misstep when I suffer defeat/Yours are the hands that lift me to my feet." Life is not easy, but having that special someone by your side makes all the difference. And that's what this song is about. There is a really nice lead on guitar in the second half. Dave Rudolf then wraps up the album with "The Promise Of Your Love," a fun, lively number, the horns creating a celebratory air. "It's the hope that keeps us going through the darkest hours." Yes, yes, yes. "We don't have a lot of money, no mansion on a hill/But when we are together we still feel that same old thrill/With the chaos all around us, we will always rise above." Those are good lines to keep in mind during these stressful, uncertain times.

CD Track List

1. Find Some Common Ground
2. Calico And Shanna
3. There's Enough Of Me To Go Around
4. Tornado Time In Texas
5. I've Got No Time For That
6. We Just Fit
7. She's Got Me Addled
8. My, Time Does Fly
9. Let The Healing Begin
10. That Can't Be Me
11. We Got Everything We Need
12. Don't Follow In My Footsteps
13. Desperado For Love
14. On The Way Home
15. I Used To Have A Heart
16. The Wreckage Of Love Spent
17. These Are The Things
18. The Promise Of Your Love

Time Does Fly was released on April 2, 2025.

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

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

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

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

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

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

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

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

CD Track List

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

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

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

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

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

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

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

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

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

CD Track List

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

Fire Signs was released on May 20, 2025.

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

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

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

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

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

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

CD Track List

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

Surviving The Dream was released on October 11, 2024.

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

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

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

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

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

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

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

CD Track List

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

Waves 5 was released on May 1, 2025.

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

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

Side A

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

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

Side B

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

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

Record Track List

Side A

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

Side B

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

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

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

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

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

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

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

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

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

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

"Raised By Hippies"

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

"Live And Never Learn"

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

"The River Knows"

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

I See Hawks In L.A. Set List

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

Encore

1. Good And Foolish Times

Here are some more photos from the show:

"Big Red Six"

"Mariachi Hotel"

"Grapevine"

 

"Hills On Fire"

"The River Knows"

"Humboldt"

 

"Humboldt"

 

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