James Houlahan: "On A Wing" (2026) CD Review

James Houlahan is a talented songwriter based in Los Angeles, and originally from Boston. Each album he releases is something special. His new album, On A Wing, contains mostly original material, along with a few covers. It's his first new album in nearly three and a half years, following Beyond The Borders. As on that album and previous albums, he gets some help from Fernando Perdomo, who co-produced the album with him and plays keyboards. Danny Frankel again joins him on drums and percussion, and Esther Houlahan again joins him on vocals. This time he also has the great Feef Mooney joining him on backing vocals. And the incredibly accomplished Greg Cohen plays both electric and acoustic bass on this album. John Kruth plays a great variety of instruments, including mandolin, flute, Irish whistle, harmonica, mandocello, bulbul tarang, arghul, electric sitar, and autoharp. And Tim O' Gara plays jaw harp and provides vocal work. It's an impressive group of musicians performing on an excellent group of songs. The album's title, by the way, is interesting, for the phrase suggests a bird in flight, generally a beautiful and graceful thing, while also (because that phrase is usually "On the wing" rather than "On a wing") reminding us of the saying "On a wing and a prayer," which is hopeful but not optimistic. And I suppose that's how many of us feel these days.

The album opens with "These Changes." Sometimes I just want a song to make me feel better, feel better about the world, feel better about myself, just feel better. You know? This song does that even before the vocals come in. That guitar work at the beginning sets a beautiful, positive tone. And then when the vocals do come in, we find it's a love song, and not only that, but about starting a family. "Now these changes are coming/They turn two to three." And by the time James sings, "Our love is a light that sets us free," I am smiling, and the horrors of the world have slipped away. This track features some really nice work on flute. "Dressed up in the beauty of all that you are." Yes, yes, yes! Here is a song I think we can all appreciate, and it's over much too soon. It's followed by "Chariot Song." Here are the opening lines: "Chariot of the sun/Take me to that star/A road that goes through justice." Oh yes, I seem to recall something called justice. I'm pretty sure that no longer exists, but it's nice to hear the word again. This track features some good guitar work, and cool stuff on harmonica. "She'll take my hand and lead me/Out into the world at last." I also love the backing vocal work here. There is a kind of loose vibe here that is really appealing. The song returns to those first lines again before the end. But before that, the song's lyrics mention a bird: "I long to be the bird/Who's landed free from harm/Rescued from delusions/Of what we think we are." Bird imagery is encountered throughout the album.

And speaking of bird imagery, the first of three covers on the album is "The Cuckoo Bird." James Houlahan puts his own spin on this traditional number. That's apparent from the track's opening moments, with a great acoustic base and these bright lights flashing across the horizon. I've heard many versions of this song, but I don't think I've ever heard one quite like this. There are some cool, surprising touches that keep us totally engaged, including the use of a jaw harp. And James Houlahan adds some lyrics to it. I love this rendition. It does owe something to some of the great 1960s recordings I've heard; there is a psychedelic element to the song. Then there is some really nice percussion from the start of "All Night." The song does a superb job of establishing the mood, the atmosphere, before James comes in on vocals, the percussion being part of it. "All mixed up, feeling confused/Breaking down, untying my shoes." When a friend arrives with a bottle of gin, maybe things are going to be better. Interestingly, we are then given a part in the song, a character, as James sings, "We stayed up all night/Didn't talk about you." This is a particularly interesting vocal performance, a different approach that is captivating. And though this song employs the dreaded "self"/"shelf" rhyme, it kind of works here, since the bottle that ends up on the shelf has been established. There is some excellent guitar work in the middle, the flute seeming to dance with it briefly. The repetition of the lines "We stayed up all night/Didn't talk about you" have an interesting effect; because on one hand, there is something triumphant about it, like he is over whatever it is he feels he should be over; on the other hand, by repeating "Didn't talk about you" he is talking about that person. I love that vocal section at the end.

The album cover's artwork is by Hieronymous Bosch, the bottom left portion of "The Garden Of Earthly Delights." It features many birds, fitting with the album's title and some of the imagery in the songs. "That Bird & I" is the second song to have a bird in its title. "Before I slept, I took a walk/Through a dark silent canyon wood/There I heard a lone mocking bird/Who was singing a song that I understood." There are some deep tones that reverberate in our chests and echo in our minds, in places we don't often go. In some contrast to that, there is the lighter sound of the mandolin. "Songs of love and songs of pain/Songs of sweet and dark mystery/Our old tunes from voices past/They echo in a grand symphony." After a brief pause, he encourages us, "So let us sing on," and creatures from all around answer the call. What a wonderful effect. This is one of my personal favorite tracks. I love, love, love this song. It's about being a singer, but that includes all of us who, sometimes without apparent reason, find ourselves singing.

A pleasant and pleasing vibe is established right at the beginning of "I Believe In You." There is a nice groove, and I'm digging that beat. There is a joy from the start. "Someday I'm going to rise up singing," James then sings, conjuring Gershwin, and making me think briefly of Janis Joplin ("Summertime" is one of my favorite songs, actually), but also continuing the imagery of the previous song, likening a solitary singer to a bird. "Every sound plays a part," he sings here, which also makes us think of the previous song. We all have a part. "I believe in you/I believe in you." May we all have that special someone in our lives, that person who believes in us, that person we believe in. There is a bit of a Bob Dylan thing happening here, just at certain moments, like on the line "Coming through." This track makes great use of the flute, and I love when the flute and guitar work together. And again I am feeling good about the world, feeling good about being alive. "Maybe we can find a song/That we all can sing along." That's the trick, right? I believe in the power of music, where everything else fails (and everything else has failed, hasn't it?).

The second of the album's covers is Willy Mason's "Carry On," the title track of his 2012 album. James Houlahan delivers an excellent, touching rendition. "I just watch and wonder how we carry on" is one line in particular that stands out in this rendition. How do we? Life is so brief, death taking all of us into oblivion before too long. And before that inevitable end, there is pain. That's followed by "Hurriquake." This one creates an unusual vibe at the start, like a strange siren in nature, some sort of alarm. "I felt an earthquake/In a hurricane," James then sings, and the first time I heard those lines I found myself laughing. If you live in Los Angeles, you most certainly remember this. It wasn't all that long ago (summer of 2023) when we had a hurricane, and in the middle of it, there was an earthquake. Insane, right? The world was laughing at us, and so we had to laugh back. "A strange twist of fate/That you can't explain." This is a wonderful, unusual song, featuring some good percussion. I also love the psychedelic aspect of that instrumental section. "I think I'll sing along/In the pouring rain." Perfect.

"Lucinda" has a surprisingly cheerful, sweet vibe, considering it's about a love's gravesite. "The storm that blew through summer/Knocked down that old oak tree/Upset the grave of Lucinda/I've got no more tears to cry." When there are no more tears, are there smiles? Maybe. This music seems to say so. This is a wonderful folk song, one that could become a standard folk number in years to come. And speaking of folk songs, James Houlahan decides to wrap up this excellent new album with a cover of Richard Fariña's "Joy 'Round My Brain." This song also mentions birds, by the way: "Yeah, those hummingbirds, they were flying upside down." This song also puts politicians in the trees. And why not? This song is a great choice, actually, to end things, with both male and female vocals. We hear the joy of the song, in that vocal work, but also in all the instruments, even the percussion. Hell, there is even some laughter heard during the song. "I'm so happy I could die/I don't know the reason why."

CD Track List

1. These Changes
2. Chariot Song
3. The Cuckoo Bird
4. All Night
5. That Bird & I
6. I Believe In You
7. Carry On
8. Hurriquake
9. Lucinda
10. Joy 'Round My Brain

On A Wing was releaed on February 25, 2026.

Turn Turn Turn: "All Hat No Cattle" (2026) CD Review

Turn Turn Turn has a new album out, All Hat No Cattle. First of all, the album's title made me laugh out loud, especially living in the city as I do, where there are cowboy hats but no cows. When I was living in Oregon, I had a band, and the first song we wrote together was "Cowboy Hats," a short punk number that went "Cowboy hats/In the city/Look silly." I no longer think they look silly, but I do still find that funny. Of course, the title carries the meaning of talking a big game but not following through, but to me it also means assuming the trappings of a thing without being the thing. Anyway, this album features all original material, with all three band members contributing. Adam Levy is on vocals, acoustic guitar, electric guitar, bass, mandolin, banjo, keyboards and percussion; Barb Brynstad is on vocals and bass; Savannah Smith is on vocals and acoustic guitar. All Hat No Cattle follows the group's 2023 album New Rays From An Old Sun. It was produced by Adam Levy.

The album opens with "Antietam." Adam Levy, who wrote this one, begins it a cappella. "Please come in closer/I'll tell a story/Of how the strong are sometimes weak/We are here briefly." The song is about a battle during the Civil War. The others soon come in on vocals, and there are beautiful harmonies. "Well, our great country was torn asunder/Two years of bloodshed, a death toll large." Those lines strike us in these days when another civil war seems possible, when half the country has turned to fascism. The instruments come in after those lines. And in the second half, there is a wonderful, rousing instrumental section. This song ends with its last several lines delivered a cappella. Then "Last Drink" has a lighter, fun vibe. Here are the opening lines: "It's time to go home/The party is over/Just put on your coat/And take your things when you go." Until that fourth line, we might be thinking they were singing of an actual party. But on that line, things turn. What's interesting is that the sound makes us think of something lighter, like the end of a party, and that seems to inform how the guy of this song is taking it, for he sings, "When you leave don't let the door hit your rear end." There is nothing sad or despondent here, no regret or yearning. There is some nice work on guitar. It sounds like the guy of this song will be okay. "You helped me forget/But I'm thinking clear again."

"Cities" comes on with some energetic work on guitar, and takes on a rhythm like a delightful dance. "Cities are flesh and cities are smoke/Cities are noise and cities are bones." To me the most interesting line is "Blame the cities for the change we allow." Perhaps it is because of these strange times we find ourselves in, when no one accepts responsibility or blame for anything, but that line stands out. I love the guitar work in the second half of this track. Scott Wenum adds some wonderful work on percussion. That's followed by "Magnolia Tree," which was written by Savannah Smith. Check out these lyrics: "It's a worn-out story takes the air out of my lungs/I'll explain away my days when loneliness became my drug." Wow, those are good lines. This song has a sweet, pretty sound, with some gorgeous harmonies. It's a positive and encouraging number, one that looks to a bright future. Joe Savage joins the trio on dobro, delivering some excellent stuff.

"Trouble" is a fun, lively number, moving at a good clip, making us feel like we're on the run. Peter J. Sands delivers some delicious work on organ on this one, and Josh Kaplan is on drums, that rhythm driving everything forward. "Somehow I'm in trouble now/Well, it may not be a sin/But I found hell again/I'm in trouble, I'm in trouble now." And as in any good country tale, someone's going to die here. But there is a playful aspect to it, all the same. This one was written by Barb Brynstad and Adam Levy. That's followed by "Hand-Me-Down Sadness." My girlfriend had read that stress suffered by someone can be inherited by that person's children, and actually stay in the family for three generations. I was thinking of this when I read this song's title. Could sadness work that way as well? If so, some folks I know are really up against it. "All the years of hand-me-down sadness/From one generation to the next/You try to move beyond it, kick it to the curb/But it's got its claws in you like a hex." This song also mentions a party having to end. That idea is certainly in the air these days, isn't it? I think this country's party has ended. This song was written by Adam Levy.

"Serious," which was written by Adam and Barb, is about that time when a relationship suddenly proves itself to be more serious than intended. The line that grabbed me the first time I listened to this song is "I know this ain't my stop, but I want to get off." This is a fun track. Some of the vocal work kind of reminds me of the best of the late-1970s Fleetwood Mac output (you know, once the girls joined the band). Peter J. Sands plays piano on this track, delivering some delicious work, especially that brief lead in the middle. "Why can't we go back to being friends?" That can work, you know. It did once for me, anyway. I also love these lines: "Don't need astrology to sort it out/I just need a parachute and I'll jump out." Then "Manitowoc" begins with some really nice guitar work that grabs us immediately. There is a sweet vibe to this song that is incredibly appealing. "Waiting for the end to start/Fever dreams on these concrete shores." Joe Savage adds some excellent stuff on pedal steel, that work contributing greatly to this song's overall sound and effect.

There is some interesting percussion to "When Love Reigns," Josh Kaplan on drums and percussion. "I've been around a long time, baby/Fires die, and hearts rearrange/All is fair game when love reigns." And after those lines there is a little rock and roll thing happening, something we might here from Roy Orbison, which is wonderful. These lines surprised me: "Machines will beat us at our games/They'll try to learn the secrets, but some things can't be explained." They surprised me because of the atmosphere of this song, which feels like it comes out of some wonderful past. Adam Schmidt plays pedal steel, and Peter J. Sands is on organ. That's followed by "Hungry Ghosts." There is a glorious intensity to its opening instrumental section. Then it shifts as the vocals come in. There is something of a 1960s influence heard here, especially to some of the guitar work. "We're hungry ghosts singing our sad love songs/We go remote when the connection is too strong/You went out lookin' for what we had all along/And I'll breathe a little lighter when you're gone." And I love this line: "Before we got all tangled in each other's strings." This song features a good bass line, and also some nice work on pedal steel by Adam Schmidt. It has a strong ending. This song, written by Barb Brynstad and Adam Levy, ended up being one of my favorites.

The disc's final listed track is "Solid State," a delicious country number. "This world is run on greed, mountains of corn/Factory machines, palm oil and soy beans/We got lost somewhere between the vaccum tubes and the slot machines." We got lost, indeed. But everything feels in its right place when I hear some wonderful guitar work like this. And the way their voices blend, you'll want to add your own voice. Don't be shy. Life's too short for that. There is a delightfully loose vibe to this one. The song ends, but there is still more than a minute to go on the track. After a bit of silence, we get a very short hidden track (actually hidden song, same track), which is the title track. Who hides the title track? Actually, I'm only assuming that's the title, for here are some of the lyrics: "Cowgirls and boys with no saddle/From New York City to Seattle/Looking good is half the battle/All hat, no cattle." It's a nice, lo-fi gem.

CD Track List

1. Antietam
2. Last Drink
3. Cities
4. Magnolia Tree
5. Trouble
6. Hand-Me-Down Sadness
7. Serious
8. Manitowoc
9. When Love Reigns
10. Hungry Ghosts
11. Solid State

All Hat No Cattle was released on March 6, 2026.

Fasby Barnes & Fernando Perdomo: "Starmen: A Tribute To David Bowie" (2026) CD Review

Last year while Fernando Perdomo was working on his Waves series, an album of new material released every month, he somehow managed to find time to work on several other projects. And this year, while working on Clouds, a similar monthly release, it is clear he will not be limited to just that one feat. In February, he teamed up with vocalist Fasby Barnes to release Starmen: A Tribute To David Bowie. Fernando plays most of the instruments on this release, but gets help from Robbie Gennet and Kaitlin Wolfberg on certain tracks. By the way, you won't find any information on vocalist Fasby Barnes, because it's not the singer's real name. Whatever his real name might be, he delivers some excellent work here.

David Bowie created an incredible body of work. With so many great songs to choose from, where would one even start on a tribute album? Fernando Perdomo and Fasby Barnes pick "Ashes To Ashes," a song from Bowie's 1980 record Scary Monsters. It's a cool, fun, kind of quirky number, and one that speaks to us pretty strongly today. The message received, "I'm happy, hope you're happy too," is one that I can respond to, when listening to this music, with a "Sure thing." Even if everything has gone to hell, as it most certainly has. Just listen to these lyrics, which deal with addiction and whatnot. Anyway, Fasby Barnes and Fernando Perdomo deliver a strong rendition here. That's followed by "Golden Years," from Bowie's Station To Station album. It's a good song, though certainly not the most interesting track from that album. Fernando Perdomo and Fasby Barnes deliver a cool rendition, seeming to slow it down just a bit, which gives it a more thoughtful vibe. When Fasby sings, "Run for the shadows, run for the shadows, run for the shadows," I feel like maybe it's a good idea.

Fasby and Fernando then get into more interesting fare with "Life On Mars?" (here listed as "Life On Mars"). This is one of the tracks to feature Robbie Gennet on piano. Here's an interesting (and completey crazy) side note: like Fernando Perdomo, Robbie Gennet released an album of new material every month last year. What the hell? There are days when I feel productive if I've managed to get to the grocery store. Anyway, "Life On Mars?" is from the wonderful Hunky Dory album, and is the first of two songs from that record to be included here. The piano work is a big part of the song, and Robbie Gennet does a great job. This track also features some beautiful guitar work, as well as a great vocal performance. "It's the freakiest show." Ah yes, and we're all in the middle of it now, aren't we? We all need some means of escape. That's followed by the fantastic "Moonage Daydream," the first of three songs from The Rise And Fall Of Ziggy Stardust And The Spiders From Mars. So, yeah, there is life on Mars, after all. This has always been one of my favorite David Bowie songs, and Fasby and Fernando give us an excellent, energetic rendition. "Don't fake it, baby, lay the real thing down on me." That instrumental section in the middle is a total delight. By the way, another cover of this song you should check out is the one by Ann Magnuson.

"Oh You Pretty Things" is the second song from Hunky Dory to be included here, and also the second track to feature Robbie Gennet on piano. The piano starts this one, and plays a prominent part throughout the track. "All the nightmares came today/And it looks as though they're here to stay/What are we coming to/No room for me, no fun for you." Yet the song is is own sort of fun, isn't it? Particularly during the chorus. "Homo sapiens have outgrown their use." Looking around today, it's kind of difficult to argue with that sentiment. That's followed by a very cool, haunting rendition of "Space Oddity." That first section is kind of frightening, and the takeoff is powerful. These guys really dig into this one. "Now it's time to leave the capsule if you dare." Oh man, in this version, I'm not sure I would dare. This is wild. And Fernando Perdomo gets to spin his magic on guitar during that instrumental section in the middle. Fasby repeats "There's nothing I can do" near the end, a wonderful touch, and just before the music fades out, he repeats, "Planet Earth is blue." This is one of the album's best tracks, and I wish they let this one go for another three or four minutes. It feels like there is more happening there as it fades out.

They then treat us to the second of three songs from Ziggy Stardust, "Starman," which was used, sort of, as the title of this release. This one has a different feel from the start, using elements of disco. I like how these guys are getting a little looser with the material at this point, putting their own touches to it, their own spin to it. This is a fun rendition. But don't worry, it doesn't go too far afield. I'm especially digging that bass work. Then both Robbie Gennet and violinist Kaitlin Wolfberg join Fasby Barnes and Fernando Perdomo on "Young Americans." Obviously, the presence of violin instead of saxophone gives the song quite a different feel. I'm always happy to hear Kaitlin's work, and she does an excellent job here. This is a delightful rendition, with a bit of a barn dance vibe. There is something in its rhythm that makes you want to take a partner out onto the dance floor, you know? Well, you'll know when you hear it, and you should definitely hear it. Kaitlin gets another chance to shine in the middle. I love these musicians' approach to this song.

The third song chosen from the Ziggy Stardust album is "Ziggy Stardust." How could you not choose that one? Fernando Perdomo puts his own touch on that great opening. The energy to this rendition has this song sounding fresh and exciting, tearing a large hole in our reality and letting in all the delicious monsters. Fasby Barnes and Fernando Perdomo wrap up this tribute with a cool rendition of "Heroes." It's a positive number to keep our spirits up in these uncertain and ugly times. And it features a passionate, powerful vocal performance. "I, I will be king/And you, you will be queen/Though nothing will drive them away/We can beat them, if just for one day."

CD Track List

1. Ashes To Ashes
2. Golden Years
3. Life On Mars
4. Moonage Daydream
5. Oh You Pretty Things
6. Space Oddity
7. Starman
8. Young Americans
9. Ziggy Stardust
10. Heroes

Starmen: A Tribute To David Bowie was released on February 5, 2026.

Mark Knight & The Unsung Heroes: "Sixth Time's The Charm" (2025) CD Review

Recently, I had the pleasure of seeing Mark Knight & The Unsung Heroes at Maui Sugar Mill Saloon, on a night of great rock music that also included Cruzados and The Blessings. They were the first band on the bill that night, setting the tone and delivering some delicious and fun rock music, including a few songs from their most recent album, last year's Sixth Time's The Charm. The album features all original material, written by Mark Knight, with many of the songs having a somewhat different vibe from what we heard at that concert. These songs feel more intimate, more personal, with folk and country elements as well as rock. So, basically, the album is even better and more engaging than I expected (and my expectations were fairly high). The band is made up of Mark Knight on vocals and guitar, Tigg Ketler on drums, Damian Valentine on bass, and Charles Cicirello on guitar and backing vocals, with Adam Hamilton on drums, percussion, bass and piano. The album was produced by Mark Knight.

The album opens with "Best That We Can," which has a kind of sweet acoustic country sound at the start. Like I said, it's a bit different from what we heard at that rock show, but great, and the song features some really nice work on guitar. Check out these lyrics: "Repeated patterns/Important matters/They all get washed away/Denial sets in/And thoughts get scrambled/And time just slips away." There is a certain pain in his delivery, and that works to draw us in further. These lines also stand out: "Was I too hard on you/Was I not hard enough/Was it all just out of love?" I suppose we all question things we've done, and whether we could have done more, and we replay moments in our heads, and that has to be all the more poignant when you have children. Toward the end of the song, we suddenly get a good lead on electric guitar, raising the energy of the track, which feels right for that moment. But I also love the raw country rock vibe of this song.

"Been around the block a couple times/Up in the clouds and down in the dust," Mark sings in "Back Out On The Run," and we hear the experience in his voice. This is a song about being a traveling musician, with nights of "Empty tip jars and broken hearts." And then the song addresses a specific person, asking, "Would you stick around if I went back out on the run?/Would you stick around, or join me in the fun?" Ah, the road always calls, doesn't it? But maybe at a certain point you don't want to give up time with that special someone. As we get older, life gets shorter and shorter, and time spent away from that special someone becomes less and less attractive. But the desire persists. This track contains some excellent guitar work. "The dreams faded, so did the luck/And I don't really know any other way/It's just who I am, and these things I need to say." That's followed by "11:11," one of the songs the band performed at that recent show. Here it begins rather softly, with some nice work on guitar, and then soon kicks in to become a heavier rock number, with prominent guitar work. This track's steady rhythm reminds me of some of the rock music I grew up with. This song taps into those same places, you know? "Do you ever wonder why/The stars don't align." It is interesting how this song begins to build and to dig its way into our brains, and before we know it, the song has us. And then that guitar soars above us.

"Right My Wrongs" begins on acoustic guitar. I love how this album often combines a great rock voice with a sort of folk vibe. "Well, I'll wait while you sleep/And I promise I will be there when you wake." There is a wonderful rock energy to the delivery at certain moments. "No, it won't be long/If we could just hold on." And as we do hold on, the guitar sings for us, letting us know things will be okay. This is one of my personal favorite tracks. Then "Might Be Lonely" is more in that rock vein, and is another that Mark Knight & The Unsung Heroes played at that recent show. "Well, I wonder/Why am I feeling lonely/Every day's like a Monday/I'm waiting for the week to end." While we can relate to those lines, they also bother us, this idea of waiting for a week to end. We only get so much time here, and the thought of waiting for some of it to be over is troubling, but this thought only nags at us somewhere in the back of our minds. Mostly we're enjoying the guitars, particularly that lead in the middle. And when the pounding of the drum returns, steady, building, we think, hey, things are going to be all right. Maybe we can even seize that time back from whatever creatures were making it unenjoyable. Even as Mark sings, "Getting old's funny/Your circle of friends grows small."

"Someplace Better" contains some really pretty guitar work at the start. I love it, connecting with it immediately. The song soon kicks in, though remains largely in that folk realm. "Some days the colors are a deeper shade/All dark and grey/No shimmering rays." Mark Knight delivers a passionate vocal performance that is excellent. And don't we all think about going "someplace better than here"? Sometimes that thought is related to the actual physical space, and sometimes it is more about the emotional space we occupy or find ourselves in. These days it's probably both. "It's been one hell of a year/Headed out to Colorado/Maybe it'll do me good/A little cooler weather." Several friends have found better places outside of the country altogether, moving to Portugal, Spain, Australia and other lands. As far as I know, not one of them has regretted the move. This song is another of the disc's highlights. "For what it's worth, I will do my best," Mark sings, reminding us of the album's opening track.

"Triple 3S" opens with these lines: "Take a deep breath/Looks like it's June again/You say I'm dying/But you're the one hiding." This is an interesting song. I found myself oddly captivated by it. It's a song that had my thoughts racing in different directions, making me think of some troubled people that I've known, mixed with my own worries. "I've never been here before/Might need a lesson." It's a song you're going to want to pay attention to. Then "Truth Always Rises" is a solid rock number, coming at us at a fairly fast clip. And, yes, if you've picked up on the pattern, this is one of the songs the band played at the bar that night. It is a fun, delicious rock number. "Keep your head above water/And those thoughts out of your mind/Because in time, it's gonna shake loose/The truth always rises." These days, I'm not sure. The truth is there for all to see, but so many idiots refuse to believe it. Did you ever suspect that this country housed so many morons? Anyway, this song is yet another highlight of the album.

"Stranger Of The Night" begins kind of quietly on guitar, though its first line mentions a rock and roll show: "All dressed up for the rock and roll show." Again, I love when a powerful rock and roll voice is used in a more intimate setting, as on this song. Then halfway through, the song takes on a different energy, going into an instrumental section that features some really good stuff on guitar, that instrument addressing the skies, looking for answers there. "Where do we go from here?" Mark then asks. "A moment in time/A time in the moment/Then gone." That's followed by "The Angels Cast A Light," which has an electric sound, though moving at a slower pace. "Kiss me now, am I alive or dead/Wasn't this hard in my younger years/Turn back the clock, erase the fear." This one has a darker vibe. "Still I notice nothing's changed at all." The album concludes with "Yaamava." This track features some different musicians: Wayne Lothian is on bass, and Brian Forsythe provides the great guitar solo. The song is about an odd gig, and it has a great beat. "The wind is blowing/But the air is still as ice."

CD Track List

1. Best That We Can
2. Back Out On The Run
3. 11:11
4. Right My Wrongs
5. Might Be Lonely
6. Someplace Better
7. Triple 3S
8. Truth Always Rises
9. Stranger Of The Night
10. The Angels Cast A Light
11. Yaamava

Sixth Time's The Charm was released on July 15, 2025.

Paul Kaplan: "King Of Hearts" (1985/2026) CD Review

Singer and songwriter Paul Kaplan released his first album, Life On This Planet, in 1982. And then he decided to make his second album, King Of Hearts, a live album, an interesting choice, especially as how the album includes all different material from the first album. But, as he describes in the liner notes of the new CD edition, he wanted the sound of an audience singing along. And when you listen to the album, that makes complete sense. It was recorded on February 8, 1985 at Speakeasy in Greenwich Village. It features mostly original material written by Paul Kaplan, who plays guitar and harmonica, and provides lead vocals on these tracks. He is joined by Mark Dann on bass, Kenny Kosek on fiddle, Robin Greenstein on vocals and banjo, Ed Baker on piano and synthesizer, and Larry Cole on bagpipes.

The first track gets right into the music. There is no introduction or anything, no immediate indication that it is a live recording. Yet soon we hear folks singing along, so this must have been a song Paul had been playing out for a while, so that the audience would be familiar with it. The song, "I Will Keep You Warm," is exactly the kind of song we need in these rough days. "I will keep you warm/I'll keep the fire burning/Keep you dry in the storm/When winter is returning true to form/I will keep you warm." Robin Greenstein provides some excellent backing vocal work. And this track includes some really nice work on harmonica. "Let me take your cup and I will fill it/With as much as it can hold." Look out for each other, friends. Keep each other safe in these unsavory times. There is applause at the end of the track. "I Will Keep You Warm" is followed by "Blow, Winds, Blow," the title of this one making me think of King Lear on the heath ("Blow winds and crack your cheeks! Rage, blow!"). But this song has a decidely different vibe. The family of this song is certainly more functional than that of Lear. It's a sweet song full of love for a couple getting married, told from the perspective of their parents. I love the way the song urges them to experience life. "So blow, winds, blow/Flow, rivers, flow/Grow, children, grow." Kenny Kosek delivers some uplifting work on fiddle.

"I'm Feeling Blue" has a delightful, fun, light, jazzy vibe. "I'm not looking for someone else/I don't want to live by myself/But I'm feeling blue lately when I'm with you," Paul sings at the beginning. But we get the feeling, or at least the hope, that these guys will work it out, especially when he sings, "No one but you can make me sigh/No one but you can make me high." This track features a particularly wonderful vocal performance, and some excellent work on fiddle, those elements making this track one of my personal favorites. It is followed by the album's title track, "The King Of Hearts." Paul introduces this one, and it begins with some good work on guitar. There is some humor to this one, as he sings, "He's a royal pain in the neck," a wonderful nod to the fact that the king holds a sword just behind his head in the picture on the playing card. Will a pain in his own neck result? This song has a great classic folk feel, as it tells a timeless story. "I ran out into the road/But all that I could find/Was a golden band from her left hand/That she had left behind, that she had left behind."

While the title of "Blow, Winds, Blow" had me briefly thinking of King Lear, "Take Out The Garbage When You Go" actually does mention a Shakespeare play in its first lines: "You tell me that you're leaving/That our love has lost its glow/Though you were once my Juliet/And I your Romeo." Soon it becomes a delightful, humorous song, as he asks her to please take out the garbage when she goes. This is another song that benefits from an audience singing along. I wonder if he taught the audience the song in an introduction, which was then cut from the final recording, or if the folks already knew their part. This is one you might also find yourself singing along to before very long. Or at least laughing. There is audible laughter from the audience at certain points, as in reaction to the line "My house is filled with smells." And your laughter will likely join that on the recording. This track features some nice work on fiddle. Then "Orphans Of The Storm" has a more somber, serious sound. It's a song about this country, and though it was written many decades ago, it speaks to us right now. "America the beautiful/Certainly has changed/She wears a lot of makeup/But she'll never be the same." The chorus is delivered with a certain power, and it's easy to imagine, say, David Crosby singing it: "We are orphans of the storm/With no father and no mother/We are orphans of the storm/With no home to go to/We are orphans of the storm/With nobody but each other."

Paul Kaplan then gives us a drinking and dancing song, "Wedding In The Village." Amen to that. "Oh ho, won't you come and join the fun/A wedding in the village/A festival for everyone/Oo-wee, the sun keeps coming up/So let's all drink another round/From the loving cup." It's a song that sounds like a celebration, a song that makes us want to introduce ourselves to strangers, and think of everyone as a friend (it's hard to remember that feeling these days, but music is what can help). And I love the traditional folk dance at the end, this song coupled with "Rondeau From Gascony," a traditional song. It feels perfect. Lisa Roth joins the band on tambourine on this track. That's followed by another traditional number, "Heather On The Moor." Paul Kaplan is a perfect voice to deliver it, for he has the ability to tap into that timeless something. He has that quality in his voice. Not everyone does. He delivers a wonderful rendition, inviting us to step into another place outside of the now.

"I Had An Old Coat" feels like a traditional folk song. It has that kind of vibe. Part of it is the audience singing along, making us feel that the song has been around for a long time. And, actually, the story behind this song has apparently been around a long time, even if this specific song hasn't. Again, you'll likely find yourself singing along too. I certainly do each time I listen to this song. "And I sing every day of my life." This track includes some good work on fiddle. That's followed by a traditional number, "The Greenwood Lassie," an Irish song, usually presented as "Greenwood Laddie." This one has a different vibe, for Paul Kaplan plays the cuatro on it, immediately transporting us. The focus then is on his voice, on the lyrics, and he gives us a beautiful rendition. That is followed by "Money," a funny number that had me laughing out loud almost immediately. "Well, here's a tip for you: make money," he sings. Remember, this was the 1980s, that awful time of Reagan, a time of greed. The nation is still suffering because of that despicable person's time in office, and now we have an even worse person in the White House. There are a lot of laughs here. Part of the humor is the way he delivers it, and part of it is a line like "No matter how you get it, they call it legal tender," which is brilliant. And there is a reference to The Merchant Of Venice: "What buys flesh by the pound?" Paul delivers some good work on harmonica too. This song is delightful.

"Phil (For Phil Ochs)" is a pretty, tender song, opening with the line, "Phil, what went wrong? Why are you quiet now?" Phil Ochs was an excellent and influential songwriter who killed himself in 1976. He wrote about the events of his day, songs that were seen as protest songs. We could use his songwriting now, don't you agree? And in this song, Paul sings, "Phil, where's your song? I really need it now." I suppose we'll always need those songs. The album concludes with another somber number, "Just Another War." And, guess what, this country is now involved in another war, this time purely to distract a stupid population from the fact that the president raped children. Yeah, we're in seriously ugly territory now, the country hitting a shocking new low. And that, of course, is not the only war going on. Russia is still involved in its depraved activity, and Israel seems to have gone completely nuts in Gaza. As far as countries go, I've always appreciated Maude's take: "What sense in borders and nations and patriotism?" Here Paul sings, "Governments, flags/Borders all are fleeting/In an hour they disappear/But somehow the drums of war/Never stop their beating/Year after bloody year."

CD Track List

1. I Will Keep You Warm
2. Blow, Winds, Blow
3. I'm Feeling Blue
4. The King Of Hearts
5. Take Out The Garbage When You Go
6. Orphans Of The Storm
7. Wedding In The Village/Rondeau From Gascony
8. Heather On The Moor
9. I Had An Old Coat
10. The Greenwood Lassie
11. Money
12. Phil (For Phil Ochs)
13. Just Another War

This special reissue of King Of Hearts was released on February 1, 2026. This is the first time the album has been made available on CD.

Rick Shea & The Losin' End and Sandy Rogers Band at Maui Sugar Mill Saloon, 3-18-26

"Happy Hangover Day," one guy at the bar said soon after I arrived at the Maui Sugar Mill Saloon last night. Ah, if only. But the venue where I caught music on St. Patrick's Day did not serve alcohol, so I was in no danger of a hangover yesterday. I decided to make up for that during this show, and got there early to get a head start on my drinking. There is always a good selection of beer at this place (for my second beer, I had a green-tinted IPA that was delicious), and that's one good reason to visit this venue. But mainly I was there for the music, of course. It was a phenomenal double bill: Rick Shea & The Losin' End and Sandy Rogers Band. This is the kind of music to help you get back in touch with the best parts of humanity, with the best parts of yourself.

"Mexicali Train"

Rick Shea & The Losin' End opened the show, taking the stage just after 8:30 p.m. Rick mentioned his new album, Smoke Tree Road, saying the band was going to play a few songs from it, including the one Rick chose to begin the night, "Guardian Angel," a sweet number to get things going. By the way, Tony Gilkyson was back on guitar last night. The last few times I saw The Losin' End, Rick had other guitarists sitting in with him. Rick then led the band into "Mexicali Train," a song with a rhythm like a friendly train coming from the past. We wouldn't be surprised if Kerouac stepped off that train and greeted us. Or, more likely, the ghosts of our own pasts. Tony delivered a really nice lead on guitar. That was followed by one of my favorites, "Mariachi Hotel," with a cool vibe, a sound that feels both haunted and wise, and featuring some excellent guitar work from Rick. The band then played another song from the new album, "A Week In Winnemucca." There is such a good feel to this song, and it featured some wonderful work from Tony on guitar.

"Papa Don't Sleep"

"Shelter Valley Blues" is another of my personal favorites, a song I love more each time I hear it. If you haven't yet heard this song, take a few minutes and check it out. You will not be disappointed. The band then dipped into Tony's material with "Papa Don't Sleep," an instrumental number that was a whole lot of fun last night. I especially enjoyed that bit on bass. Rick returned to the new album for "An Irishman's A Laborer At Heart," which was fitting for the day after St. Patrick's Day. Rick mentioned in his introduction to the song that he didn't get anywhere on the holiday except his couch. The song is beautiful, and it gets to me every time I hear it, reminding me of my dad. Jeff Turmes then took a turn at lead vocals, choosing "Don't The Moon Look Real" from his Five Horses, Four Riders album. It's a cool, jazzy number, and Tony's guitar lead last night was something special. "Midnight Shift" is another song that Rick included on his new album, and last night it was dedicated to a woman named Annie in the audience. It was a particularly fun rendition, and afterward Rick said, "That's 'Shift,' it's hard to get that 'f' in there." Rick wrapped up the set with another song from the new album, "One More Night," which is one of my favorites from the disc. Apparently this was the first time the song was played live, and it was wonderful hearing it. "I'm no closer to that dream." Ah, yes. I hope this song finds a regular spot in the band's set lists. The set ended at 9:21 p.m.

"Tingling Blue"

Fifteen minutes later, Sandy Rogers Band was on stage, and Sandy started by introducing the band before then kicking things off with the title track from her newest album, Tingling Blue. The energy was great, seeming higher than usual. There was perhaps a bit more volume too. When she sang, "feel it, feel it," we certainly did. She mentioned how it's been a year since the album came out. Is that possible? Well, not quite, but nearly a year. Still, time is flying. There was a bit of tuning, and once everything was right, the band started "One Of Those Kind," both Dan Janisch and Paul Marshall counting it off together, which was actually adorable. "It's not my song, but it feels like my song," Sandy said afterward. It certainly does! That was followed by "Fool For Love," which had a bright energy, and then "Turn Around," a song that will make anyone happy basically the moment it starts. And don't we all need this sort of thing these days? "Don't know who to trust." Well, we can trust these musicians, this music.

"Run Out Of West"

"This is my favorite song on the new record," Sandy said in introducing "Lonesome Man." "I waited so long/For you to really love me." Those are such beautiful, heartbreaking opening lines. Sandy and her band mates delivered a great rendition of the song last night. They followed that with the always-fun "In Her Auto-mobile," and then "No Antidote." A bit of tuning was necessary before "No Antidote," Sandy saying it was the stage lights knocking the guitar out of tune. Paul joked that the cause was Sandy's body heat. There was that kind of delightful, loose vibe, an undeniable joy, to the set. Some songs always hit the right spot, and "Missouri Blue" is one of those songs, and it was great hearing it last night. It's always great hearing it. Sandy introduced "Let's Ride" by saying she had written it for the film version of Fool For Love, had sent the demo to Altman, who began cutting the film to the demo rather than waiting for the final version of the song. So what we hear in that movie is the demo version. Anyway, last night the song featured one of the set's best vocal performances. Another of the best vocal performances was in "Why Wyoming," a highlight of the set. In "You Lied Your Way," Sandy's matter-of-fact delivery of "And I am madly in love with you" stood out. That was followed by a beautiful rendition of "Wild Bill," a song written by Paul Lacques. Afterward Sandy said, "He wrote that for a play called...," and turned back to Victoria Jacobs, who completed the sentence, "The Curse of Bigness." Some information just refuses to stay with me, so I can relate when Sandy has to turn to Victoria for the title every time she mentions that play. The set concluded with "Run Out Of West," featuring a wonderful, passionate vocal performance. The set ended at 10:43 p.m.

"The Town Where I Live"

Within ten minutes, Rick Shea & The Losin' End were kicking off the final set of the night with "The Starkville Blues," a good, mean tune. Rick followed that with "The Town Where I Live." When he introduced it, he said he could tell the story of the song, "But it's a long story, so I think I'll just play it." Again, it was that kind of a loose, fun night. Tony then sang lead on his "Man About Town," which is such a cool tune featuring delicious, expressive guitar work. And Jeff delivered his great "Early Train." The line "Summer's coming and I love someone" grabs me every time, and last night it hit me differently, the vagueness of the word "someone" seeming darker than usual. That was followed by two songs from the new album. The first, "Georgia Bride," was a song that stood out for me the last time I saw Rick Shea perform, and I was happy to hear it again, this time with Tony Gilkyson on guitar. The second was "El Diablo Manda," and this was the first time the song was played by the band. It was a treat to get to hear this one, and, like "One More Night," it is a song that deserves a regular spot in future set lists. That was followed by a fun rendition of "Hold On Jake."

"Hold On Jake"

The fun continued wih Tony's choice of "Tear It Down," which featured some delicious guitar work and became a wonderful jam. They kept the energy up with "Juanita (Why Are You So Mean)." Then Jeff sang lead on "Things I'm Not Gonna Think About." In this one, he mentions how the news may not be good, and perhaps the trick is to avoid thinking about certain things. That's been part of my strategy for the last fifteen months. Thinking about the horror show in D.C. just makes me angry and depressed, and doesn't cause any harm to the beast in office. There are many things I don't want to think about, preferring to focus on positive things, such as good music. Rick Shea & The Losin' End wrapped up the show with a couple of covers: Hank Williams' "Honky Tonk Blues" and Chuck Berry's "Thirty Days," the latter dedicated to Nubs, the sound man, and featuring plenty of great guitar work. The show ended at 11:50 p.m.

Set List

Rick Shea & The Losin' End Set I

1. Guardian Angel
2. Mexicali Train
3. Mariachi Hotel
4. A Week In Winnemucca
5. Shelter Valley Blues
6. Papa Don't Sleep
7. An Irishman's A Laborer At Heart
8. Don't The Moon Look Real
9. Midnight Shift
10. One More Night

Sandy Rogers Band

1. Tingling Blue
2. One Of Those Kind
3. Fool For Love
4. Turn Around
5. Lonesome Man
6. In Her Auto-mobile
7. No Antidote
8. Missouri Blue
9. Let's Ride
10. Why Wyoming
11. You Lied Your Way
12. Wild Bill
13. Run Out Of West

Rick Shea & The Losin' End Set II

1. The Starkville Blues
2. The Town Where I Live
3. Man About Town
4. Early Train
5. Georgia Bride
6. El Diablo Manda
7. Hold On Jake
8. Tear It Down
9. Juanita (Why Are You So Mean)
10. Things I'm Not Gonna Think About
11. Honky Tonk Blues
12. Thirty Days

Here are a few more photos:

"Mexicali Train"

"A Week In Winnemucca"

"Don't The Moon Look Real"

"Tingling Blue"

"One Of Those Kind"

"One Of Those Kind"

"Fool For Love"

"No Antidote"

"Man About Town"

"El Diablo Manda"

Maui Sugar Mill Saloon is located 18389 Ventura Blvd. in Tarzana, California.

Ben Vaughn, Kip Boardman and Sarah Stanley at Unurban, 3-17-26

Ben Vaughn Duo

If you had told me a week ago that I'd be going out on St. Patrick's Day to see live music that's not Irish at a venue that doesn't even serve alcohol, I would have laughed in your face. But when I learned that Kip Boardman was on the bill with Ben Vaughn and Sarah Stanley at the Unurban, well, that's precisely what I did. Kip Boardman so rarely performs, and it turned out that this was Sarah Stanley's first show in two years, so it was a special evening, to be sure. Ben Vaughn Duo (that's Ben Vaughn on vocals and guitar, and Teresa Cowles on bass and vocals) started the night off, as those two are wont to do, with a short set, kicking things off with "Looking For A Friend" at 7:12 p.m. This is one of the songs that feature Ben and Teresa doing their vocal versions of horns, and this one also had them doing their own fadeout. That was followed by "Apropos Of Nothing," which included a humorous guitar intro and then more good work on guitar later, with Ben playfully indicating that applause was due. And applause was received. The audience echoed him toward the end. Ben then joked with someone in the audience who is apparently obsessed with Jerry Lewis in his introduction to "Jerry Lewis In France." And that song marked the end of the short set. Only ten minutes long, but we knew there would be more from Ben Vaughn Duo later.

Kip Boardman

Kip Boardman was up next, and this time he was on keys. The other times I've seen him perform (the last time being in April of 2024), he played guitar. So this added another layer to my excitement about his set, since whatever he did, it was going to be different from what I'd seen before. He opened the set with "Upon The Stars," the title track from his 2022 album, softly captivating the audience. "I still bear the scars/She's up there dancing upon the stars." He followed that with "Last Mistake," a song from his 2023 album The Good Leave. Such a good vocal performance. And that's one of his main draws, his delivery, which somehow seems effortlessly beautiful and tender and meaningful. "I really want to play this cover," he then told the audience, and apologized for not having it memorized, asking folks to bear with him as he played and read at the same time. That cover was "A Salty Dog," one of Procol Harum's best songs. This is the second Procol Harum song I've seen him cover. In both 2023 and 2024, I saw him play "Homburg." He stopped for a moment, then picked up where he left off, and easily brought us into the world of that song, delivering a special rendition. Kip started to play an original number, but gave up on it after a few moments. "It's going to be good, though, one day," he said, and from what we heard, that seems certain. Kip decided to go back to more familiar material, and delivered a really good rendition of The Band's "Twilight." "How much longer I got, Ben?" he then asked. "You mean in life?" Ben Vaughn replied jokingly. "Yeah," Kip said, going along with the joke. Ben said he didn't have the answer to that, but figured three more songs seemed about right for the set. One of those three was a new one, or "newish," as Kip described it. And the last song of his set was a beautiful rendition of "Waterfall."

Sarah Stanley Trio

Sarah Stanley Trio then took the stage, and it turned out this group was yet another to feature Teresa Cowles on bass. Does anyone have a comprehensive list of bands she plays with? It must be pretty long. Anyway, in this band she played standup bass, which was cool. The third member of the trio was Jay Green on guitar. The trio kicked off the set at 8:14 p.m. with "Down And Dirty," a totally fun song that at one point mentions beer, which felt a bit like a tease to me. For, again, this venue did not serve alcohol. And the beer I downed in my car before heading in wasn't nearly enough to get me where I wanted to be. Anyway, "Down And Dirty" was followed by "Tuesday Girl," and after the first time she sang the line, "She's not your Tuesday girl," Sarah said, "It's Tuesday," suddenly realizing, which was kind of adorable. Jay delivered some nice guitar work. At the end, Sarah added, "St. Patrick's Day Tuesday girl."  Teresa then laid her bass down on the stage for "Love Is For Lunatics," Sarah's voice supported by just guitar and Teresa's backing vocals on that one. "Caught up in some crazy dream/Only you can make me scream/It's undeniable/We're certifiable." Sarah has a great voice, and perhaps her best vocal performance of the set was on "Sunshine." "Sunshine, will I ever see you again/Or do I make the nighttime my new friend?" "Promises" was dedicated to the sound woman's dog, who was relaxing in front of the stage, and at the end Teresa sang the dog's name instead of "Promises." By the way, there was some excellent harmonizing during the set. The set ended with "Let Me Be Me."

Ben Vaughn Duo

Ten minutes later, Ben Vaughn Duo was back on stage, and Teresa Cowles was back on electric bass. There is something about Ben's music, his voice, his approach that makes me happy. Even when he's singing "People It's Bad," the lyrics are delivered with a wink and a smile. That song also featured some nice work on guitar last night, and after that part, he stopped the song to say, "That was the guitar solo," as if to indicate that applause would be appropriate. And the crowd applauded. Because the audience is in on the act, is in on the fun. Ben Vaughn has several songs that feature an audience vocal part, for example. Before one of those songs, "Too Sensitive For This World," Ben mentioned that Mark Fletcher was in the audience, and that the two of them were in a punk band called Sic Kidz in Philadelphia. Ben delivered a particularly good "Too Sensitive For This World" last night, and followed it with the fun "Miss Me When I'm Gone," featuring the return of the Pico Boulevard Horns. "I got high, but I'm still feeling low," he sang at the beginning of "New Jersey Rock 'N' Roll." It's a funny line, obviously, but it's also an honest line, a line many folks can relate to. And that's part of the genius of Ben Vaughn's songwriting. His material is full of lines like that, lines that simultaneously make us laugh and reflect. "That song was so heavy, we ended it on two different chords," he joked afterward. 

Ben Vaugh Duo, with Dan Marcus

"Blind Alley" had been stuck in my head for a good part of the day yesterday, and I was happy to see Ben Vaughn play it last night. There was no guitar on that song, so Teresa's bass was the driving force and heart of the number. And Ben delivered some great stuff on harmonica. "Heavy Machinery" was one of the songs given a cha-cha-cha ending, and after it, Ben mentioned that it was written by Dan Marcus, who was in the audience. He then invited Dan Marcus to come up and sing a couple of songs. Both songs were funny. The first, "The Existential Banana Peel," was dedicated, in part, to Jean-Paul Sartre. And when asking the audience to join in, instead of saying "Everybody," as is usual, he said, "Anybody," which got a big laugh. The second, "Sometimes I Feel Like Richard Nixon," featured these lines: "But you've got it all down on tape/Every little mistake that I ever made." Marcus ended with the line, "I'm going to resign," giving the crowd Nixon's odd victory sign and then walking off the stage while Ben and Teresa finished the song. Not only did he leave the stage, but the venue entirely, Teresa mentioning how she could see him through the window walking down the street. The set concluded with "Walkin' My Way (Back To Your Heart)," which featured some nice whistling by Teresa Cowles, perhaps more than she had intended to do, for Ben repeated the final section. And if you know Ben Vaughn, you know he occasionally likes to playfully milk an ending, so Teresa was in danger of having to do that whistling part multiple times. But Ben showed her a little mercy last night, having her do that final part only twice. The show ended at 9:37 p.m.

The Unurban is located at 3301 Pico Boulevard in Santa Monica, California.

Hello George (2026) Book Review

Hello George is a wonderful new novella by Jon Fried, one half of the musical duo known as The Cucumbers. The book is closely tied to The Cucumbers' new album, As You Heard Me. Though the songs came first, the music is the soundtrack to the book. Each can be enjoyed separately, but certainly you can get even more enjoyment from the book if you are familiar with the songs on the CD (and more enjoyment from the CD if you've read the book). The book tells the story of Barry, a music publisher who is sent an unusual four-song demo tape that he falls in love with. One of the songs on it becomes a hit for country music star George Krott. Yet he knows nothing about the songwriter, Daisy Steinberg, and is determined to track her down and learn all he can about this delightful voice.

It's a book for those of us who fall in love with CDs and records (as we once did with cassettes), who fall in love with a voice on a tape. And if you're the type of person who reads about music, you're exactly the kind of person this book is for. The type of person who wants to know more about music, about a song, about a singer. You might fall in love with this book the way you fall in love with a singer, with a song, with an album. The cassette pictured on the book's cover is also the one featured on the CD cover, and it is the demo tape sent to Barry (which is the music that makes up the first four tracks of the CD).

The story is told from Barry's perspective, so his excitement about these songs becomes our excitement, his journey becomes our own. And even if you are not familiar with the music on the new Cucumbers CD, your head will certainly be filled with some music that you do know. Music fans will be able to relate to many passages in this book, and have an opinion, one way or the other, on something like this: "For many, if not most, the songs that matter are the old songs, the ones that imprint in the raw mud of adolescence and remain stuck in the remnant of that pain and pleasure center. For me, there are always new ones. It comes with the dayjob. Even if I don't love them, or love them despite myself, they take over, they do the job of pushing other songs aside – especially helpful when your marriage is fading out and you're stuck on some old breakup ballad" (p. 19). The old songs certainly do matter, and often they're the ones that get stuck in my head, but for me, it's the new songs that are exciting, that take me to different places, that open up unexpected vistas before me. I assume that's the case for most people who read music blogs, that they're the people who want to hear an artist's new material, who want to hear new artists, new music. Here is another passage music fans will especially relate to: "When you play songs for people, they sound different, as if you're listening through their ears, or what you imagine their ears are hearing. A song you've loved can seem stupid, trite, annoying. This one sounded lighter than air, as if might float up into the sky and just disappear, its sweetness a fading aftertaste" (p. 21). I love turning a friend onto a song, especially when I hear something even more special in the song that I imagine that person is picking up on. But, yeah, every once in a while, I realize that person is not digging it, and the song sounds somehow weaker. That never ruins a song for me, however. I just have to give it a few days, then come at it with my own ears again.

And for music critics (a label I've never applied to myself), there is a great bit of dialogue, where Daisy asks Barry, "Are you a music writer?" Barry replies, "You mean a critic? Nah, too harsh." Daisy then tells him, "You seem like someone who would find something good to say about everything." This is Barry's reply: "If by that you mean that's why I say good things about your work, no. I can be hideously judgmental. I just wouldn't want to say it in public. I picture the poor musicians reading it, suffering from my oh-so-great opinion" (p. 16). Perhaps that's part of why I only review music I love on this blog. Mostly it's an attempt to be positive in an increasingly negative world, to let folks know about some of the excellent music that's out there to help them through the day, but I think there is a bit of not wanting to hurt people's feelings as well. Daisy calls that "sweet," while Barry says it's "cowardly." Maybe it is a bit of both. Certainly there is a lot of shitty music out there. But why focus on that? And this book feels quite positive. Sure, there is a troubled marriage in there, and the country star has a continuing problem with alcohol, but this story is about the love of music. It is a love story of two kinds, really, and it leaves us with a good feeling. 

Hello George was published on February 14, 2026, the same day that As You Heard Me was released.

The Cucumbers: "As You Heard Me" (2026) CD Review

The Cucumbers are a band that I fell in love with when I was in college. I remember going to a CD store at the edge of campus to order their Where We Sleep Tonight album, since all the store's copies had already sold and it was a disc I absolutely had to have in my collection. There was nothing else quite like it (there still isn't). They released a few more albums over the next decade, and then there was a long gap in the band's output, at least as far as new studio recordings were concerned, until 2023's Old Shoes, which was one of my favorite albums of that year. Now the duo of Deena Shoshkes and Jon Fried have a new album out, As You Heard Me. But it's not just a new album. Those who are familiar with The Cucumbers will not be surprised to find them trying something different. The new album is the soundtrack to a novella written by Jon Fried, titled Hello George. The book itself is about music, about, in part, a mysterious songwriter named Daisy Steinberg (yes, the name in blue ink on the cassette in the picture on the disc's cover), and about a music publisher who becomes obsessed with her demo. But, as Deena Shoshkes tells me, it was the music that came first. And so it is the music I'll turn to first.

The album kicks off with "Crop Circle," the first song on the demo tape mentioned in the book. The full title in the book is "There's A Crop Circle On My Daddy's Land," a song fated to become a country hit for another character in the book. Will it also be a hit for The Cucumbers? If there were any justice in the Land of Music, the answer would be a resounding Yes. But, who knows? The song is adorable, fun, a story of young love. "There's a crop circle on my daddy's land/Everybody thinks was made my aliens/Though it's nothing that Billy Joe and I had planned." Here Deena takes the part of Daisy Steinberg. That's followed by "Waiting," which is, as described in the novella, more in the singer/songwriter vein, delivered on acoustic guitar. But, you know, it's The Cucumbers, so it's not going to be as simple as that. There is a beauty to this song, and also there is a bit of a punk edge to it at certain moments. Check out these lyrics: "Autumn will take everything/When the times comes/I don't want to look it up/Or be on guard/I don't want to pull a Tarot card." By the way, in the book this song is referred to as "Impressions Of Chrysanthemums." The book is told from the perspective of a music publisher, who says, about this song, "After a hundred listens I still have no idea what it's about" (p. 5). It's an interesting, strange way for them to comment on their own songs. But don't you love songs that give you a certain something to which you then add your own feelings and experiences?

"Cut It Loose" begins with a good groove, a song more in the pop realm. It is totally delicious. I especially love that bass line. But it isn't just that groove that is so appealing. Deena's vocal performance is adorable, endearing, delightful. "You know what, you know what to do/Cut it loose, cut it loose, cut it loose." This song is ridiculously catchy, and includes finger snaps. When she sings, "let's get this party underway," it feels like the party has already started. There is certain allure in her delivery of that line. The final track of the demo of the story, "Unattainable," is a strange, short piece delivered as spoken word, with interesting pauses, her voice backed by some unusual work on piano. "Reaching for the unattainable/Falling for the unexplainable/Facing the unnameable." It has a sudden ending.

The CD's next four tracks are all songs mentioned in the book, but not as part of the original demo. The first of those, "You Are The Sweetest Dream," has a folk-pop sound. The song feels like a summer afternoon, when thoughts move at their own pace, in their own direction, perhaps to the past, perhaps to an altered version of the present. "Sometimes dreams slip away/And they don't come back." I find those lines so sad, though they're not delivered with any sort of heavy melancholy. In fact, there is positive vibe to this song, her voice even kind of comforting. And the song's guitar hook has a wonderful feel to it, something new but familiar. "You are the sweetest dream/I ever had." One thing I have long loved about this band is its playful quality, and "Delete" in particular demonstrates their humor, in a sort of punk-pop context, an empowering number. "And now there's no word that's as sweet/As delete." Oh yes, there are people and things I would like to delete from my life, or, really, from the world. How do I delete Trump and all his moronic followers? I wish I could do it with my little finger (or middle finger). I love this song. "Weeks and weeks and months of lies/You know he really made a fool of me/Now I'm cleaning my hard drive." At the end, she whispers the final word, "Delete." And he's gone. We know it.

"Only You" is a sweet number, a love song, with a delightful rhythm that will take you back. "You've seen me at your worst and you never complain/It feels so sweet and pure when your hands run down my face/You're my other half, baby/That's why I believe/I want only you to love only me." Then "Statue Of Liberty" has an electronic beat. There is an odd feel to this one, the sound reminding me of a cassette that had been played perhaps too many times, with something sort of warping the sound. But there is something catchy here too, no question about it. "Meet me at the Statue of Liberty/Meet me at the Statue of Liberty/That's where we're gonna kiss/That's where we're gonna kiss/That's where we're gonna kiss." By the way, apparently this album is also available on cassette, which is totally fitting. This song is the final song on the first side of the cassette, that side being labeled "As You Heard Me," which is also the album's title.

"Reeling Feeling" is the first song on the second side of the tape. This side is labeled "More Songs for Barry," Barry being the name of the music publisher in the book. The songs on this side are not mentioned in the book, but, I would guess, are songs that come soon after the events related in its story. This song has a fun groove, with some really nice work on keys at the start, setting the mood, establishing the vibe. And, yes, it's super catchy, particularly the way Deena delivers these lines: "There's a feeling that I'm feeling/And it's got me reeling over you." And also that rhythm. There is more great stuff on keys in the middle, dancing joyously. Ah yes, life is good. That's followed by "Counting," which has a seriously cool vibe, partly established by the work on keys. This track also features some good work on guitar, which has something of a haunted feel at times. And Deena's vocal performance has a certain sexy quality. "If the fog would lift, we could see the stars," she sings at the beginning, which is interesting, for in "Reeling Feeling" she sings, "And all I see are stars above." In the song's chorus, she sings, "I'm counting on you/I'm counting on you/I'm counting on you to count on me." This is one of my personal favorite tracks.

In "Reeling Feeling," Deena sings, "And all I sing are songs of love." Interestingly, that seems to be the case for the music in this second half of the disc. "One Valentine's Day" is a love song with a sweet sound and vibe. "Brought me down to his place the very first chance/Played me his favorite songs and we just danced." Lovely! If I were to play someone my favorite songs, you can be sure some Cucumbers numbers would be included. Things turn a little sad at the end, but she is determined to hold on to the good feelings of the relationship. I think we all need to hold onto whatever good feelings we have in these strange times. That is followed by "River Of Time," a beautiful and moving song, featuring some outstanding vocal work. Check out these lines: "You skipped a rock across its water/We touched and you went on to the other side/I know you're still dreaming/Of all there was/Once you float in heaven/There's no forgetting love." Deena's voice is supported by some seemingly simple work on guitar that is completely effective. This one might have you in tears. It is another of my personal favorites.

"Hello Rainbow" is another unusual and delightful song, which I suppose is not such an unusual thing for The Cucumbers. The echo of "Hello" is ridiculously, improbably adorable, and will help you to fall in love with this track. It's an interesting song that at first just seems kind of cute, but then begins to reveal more is happening. "Won't you rescue me from my sweet gloom/A little hope would probably do." That's followed by "You Won't Even Miss Me." That's how it's listed on the CD case (really, the cassette case pictured on the back of the CD case), though elsewhere it is listed as "You Won't Even Miss Me When I'm Gone." "You have so many girlfriends/Just take me off your list." Those opening lines actually made me laugh out loud the first time I listened to this song. But there is a certain sadness to this song, as she sings the title line. "Love can make you feel/Like the you you were meant to be/And once you made me believe/That you loved me just for me." And suddenly it's over, like she's now gone.

"I'm The Girl" also has a short title on the case, and a longer title elsewhere, the longer title being "I'm The Girl I Warned Your Mama About" (I always squeezed the entire song title onto those relative short lines on the cassette's paper insert, but I remember other people shortening some song titles, especially on Grateful Dead bootleg tapes). It's a sweet-sounding and catchy pop song, told from an unusual perspective, at least the way I hear it. To my ears, the song's narrator is older than her beau, old enough to be friends with the boy's mother. And then this strange woman somewhat perversely enjoys telling her beau, "I'm the girl I warned your mama about/I'm the one I said you're better off without." But she sounds so sweet, I can see how anyone would fall for her charms. This track includes some finger snaps. This wonderful, delightful album concludes with "Forever And Ever," another sweet love song. "All I want to do/Is share my life with you/And help to make your hopes and dreams come true." How great it is to feel that way, and to find someone else feels that way about you. This album leaves us feeling good. Yes, The Cucumbers have done it again.

CD Track List

1. Crop Circle
2. Waiting
3. Cut It Loose
4. Unattainable
5. You Are The Sweetest Dream
6. Delete
7. Only You
8. Statue Of Liberty
9. Reeling Feeling
10. Counting
11. One Valentine's Day
12. River Of Time
13. Hello Rainbow
14. You Won't Even Miss Me
15. I'm The Girl
16. Forever And Ever

As You Heard Me was released on February 14, 2026, which makes total sense.