Paul Winter: "Horn Of Plenty" (2025) CD Review

Paul Winter is an accomplished, celebrated and influential saxophone player and composer. He released his first album, a self-titled record by the Paul Winter Sextet, in 1961, and the next year his band became the first jazz group to play inside the White House. He won his first Grammy for his 1993 album Spanish Angel, and has won several more in the years since then. His new album, Horn Of Plenty, came about initially through a request to create music for a Thanksgiving program in 2024. That radio program, titled "Horn Of Plenty," was put on through NPR. After the program aired, Paul Winter decided to create more music and expand it to an album. The resulting album is full of beautiful music that celebrates life on this little world of ours, and features the work of some outstanding musicians, including Paul Halley, Eugene Friesen, Jordan Rudess, Glen Velez and Mickey Hart.

The album opens with "Dolphin Morning," a beautiful piece with a cheerful, welcoming beginning. There is also a peaceful vibe to this music, a reminder of the glorious possibilities of life, of this planet. Perhaps we could step from this morning into a world that follows it, a better world. Paul Winter composed this track with Paul Halley, who plays piano and organ on it. Then we are in a different part of nature at the beginning of "The Well-Tempered Wood Thrush," and we hear the sounds of birds. The world is busy with life, and yet the sounds put us immediately at ease. Paul Winter soon adds his own voice to that of the birds; that is, the voice of his soprano saxophone. And it sounds just as natural, reminding us that we are a natural part of this planet, rather than apart from it, or presiding over it in some manner. This track also features some gorgeous work by Eugene Friesen on cello, the cello part inspired by Bach's "The Well-Tempered Clavier." Henrique Eisenmann is on fortepiano, Peter Slavov is on bass, and Rogerio Boccato is on drums. This track is so beautiful and warm, with a sense of joy. I think basically everyone in this country, probably the world, needs this now.

"Grand Canyon Sunrise" begins with some work on percussion. That's Glen Velez playing a bendir, a type of frame drum. Glen also co-wrote this piece with Paul Winter and Paul Halley. Paul Halley plays organ on this track. There is something spiritual about this music, in the sense that it touches upon something greater that is both within us and around us, and the music seems to communicate with it. And even in those moments of darkness, the steady work on the drum helps to pull us through. Soon the light grows, suddenly breaking across the landscape. A soothing sensation immediately follows, the soprano saxophone seeming to both speak for us and to us. Then Mickey Hart, of the Grateful Dead, joins Paul Winter on "Caravan At Dawn," playing the RAMU, which stands for Random Access Musical Universe, something Mickey had been building for a while. Mickey Hart released an album titled RAMU in 2017. Mickey also co-wrote this piece with Paul Winter, Arto Tuncboyaciyan and Jordan Rudess. Arto provides the vocals and plays percussion. Jordan is on keyboards. Also performing on this track is Vardan Grigoryan on zurna. As the track begins, there is a somewhat lonesome sense, or, rather, a solitary sense, in the morning, when voice meets light and the rest of the world has not yet risen. It is interesting how many of these early tracks take place at morning, a time of promise and hope and joy. Then the song takes on a beat, and it feels that all of the universe is now joining in a celebration, in a movement, perhaps matching that of the stars. This is fantastic. And what a vocal performance, which seems to speak on behalf of all of humanity. Life is fleeting, but this music touches upon something eternal as well.

We return to the ocean then for "Blues Cathedral," a piece written by Paul Winter and Paul Halley. This track uses a recording of a blue whale, sped up. There is a wonderfully meditative vibe to this one, and it feels like we're engaging in a great, slow dance with the world's largest animal. There is some gorgeous work by Paul Winter on soprano saxophone. That's followed by the album's first cover, a wonderful rendition of "Primavera," written by Carlos Lyra and Vinicius de Moraes. It begins with some sweet, tender guitar work by Oscar Castro-Neves. Paul's saxophone work here is incredibly pretty and gentle. Paul Halley adds some nice work on organ, helping to create the gorgeous atmosphere of this track.

Paul Winter goes in a different direction with "Land Of The Pipers," presenting some traditional Irish music. I suppose I have a natural affinity for this music, but it never fails to move me. Jerry O' Sullivan plays Uilleann pipes on this one, delivering some excellent work. Eugene Friesen is on cello, Zan McLeod is on guitar, Jim Beard is on keyboards, Dorothy Papadakos is on pipe organ, Eliot Wadopian is on bass, and Arto Tuncboyaciyan is on percussion. I love this music, particularly those uplifting and joyous moments, and Paul Winter adds his own special touches, taking the music in some glorious directions. That's followed by "Song To Roger." The Roger of the song's title is Dr. Roger Payne, the biologist and environmentalist who was responsible for documenting and recording humpback whale songs. Dr. Roger Payne died in 2023, and this piece is an elegy in his honor. It was composed by Henrique Eisenmann, who plays piano on it. Eugene Friesen is on cello. This is a moving and beautiful track. There is a moment when I imagine letting go, drifting away into the darkest depths of the ocean. But then the light finds us again. It always finds us again, doesn't it?

"Wolf Eyes" begins with the sound of a wolf in the night, offering its own sort of lonesome song. And Paul Winter's saxophone responds. This song too reminds us of our place within the natural realm. We do not hold dominion over the animals, over the planet. We haven't even been here all that long. There is something sad and pensive heard here, a sort of longing. Paul is joined by Eugene Friesen on cello, Warren Bernhardt on piano, Jeff Holmes on piano, Oscar Castro-Neves on guitar and synthesizer, and Dave Carpenter on bass. The wolf speaks again at the end. That's followed by "Garden Of The Earth," a traditional Russian song, and on it Paul Winter is joined by The Dmitri Pokrovsky Singers, whose great work is at the fore here. This track also features Eugene Friesen on cello, Paul Halley on piano, Russ Landau on bass, and Ted Moore on drums. Partway through, the vocalists drop out, and Paul Winter delivers a gorgeous lead on saxophone. When the singers return, they sing in English: "There's a garden of the earth/There's a home beneath the sun/In the beauty of this garden/We will hear a thousand songs."

"Triumph" is another beautiful and moving piece, this one composed by Paul Winter, Paul Halley and Davy Spillane. Paul Winter is on soprano saxophone, Paul Halley is on pipe organ, and Davy Spillane plays Uilleann pipes. I love how this music causes all distractions to fade away. All the noise, the busy aspects of whatever it is we normally call life, they seem rather pointless when faced with such beauty. This is what we should be focused on, this is what we should be coming together to do. As this piece grows, it encourages us, says it is possible. And then it soothes us. Davy Spillane also plays Uilleann pipes on "Harvest Faire," which has a very different vibe. There is a light, playful feel to this track, like a group dance outdoors in daylight. Eugene Friesen is on cello, Damish Draghici is on pan flute, Zan McLeod is on guitar, Paul Halley is on piano, Jordan Rudess is on keyboards, Eliot Wadopian is on bass, and Arto Tuncboyaciyan is on percussion. I love the cheer of this piece. And Davy Spillane's work on pipes is particularly wonderful. The album concludes with "Icarus," a song that's been in Paul Winter's repertoire now for several decades. It was written by Ralph Towner, and was the title track to a 1972 album by Paul Winter/Winter Consort. It was also included on Paul's 1978 album Common Ground. This version features Paul Winter on soprano saxophone, Jeff Boratko on bassoon, Eugene Friesen on cello, and Henrique Eisenmann on piano, with vocal work by Theresa Thomason. It is an uplifting and thoughtful piece, a perfect song to wrap things up. 

CD Track List

1. Dolphin Morning
2. The Well-Tempered Wood Thrush
3. Grand Canyon Sunrise
4. Caravan At Dawn
5. Blues Cathedral
6. Primavera (Spring)
7. Land Of The Pipers
8. Song To Roger
9. Wolf Eyes
10. Garden Of The Earth
11. Triumph
12. Harvest Faire
13. Icarus

Horn Of Plenty was released on November 21, 2025.

The Dave Wilson Quartet: "When Even Goes East" (2026) CD Review

Dave Wilson is a saxophone player, composer and band leader. His quartet's recent albums have all been live recordings –  One Night At Chris' in 2019, Stretching Supreme in 2021, and 2024's Live At Silvana. The quartet's last studio album, There Never Was, was released more than a decade ago. But Dave Wilson and his group have finally returned to the studio, resulting in an excellent new album titled When Even Goes East. The disc contains a mix of covers and original material. On this release, The Dave Wilson Quartet is made up of Dave Wilson on tenor saxophone and soprano saxophone, Jesse Green on piano, Evan Gregor on bass, and Daniel Gonzalez on drums. They are also joined by Lenny Castro on percussion on half the tracks. The album was produced by Dave Wilson, and co-produced by Mike Hurzon.

This album opens with an original number, "Let's Go," and when it begins, it feels like things are already in motion. This one is all about movement. Let's go, indeed. Check out that fantastic piano lead early in the track. It has an unusual approach, particularly at the beginning, with brief thoughts and pauses, trying things, and then really going for it, with unflagging support on drums and bass. There is a loose and wild vibe to that piano work. Then, halfway through the track, Dave Wilson's saxophone takes over, announcing itself almost like an alarm, and there are some totally delicious moments when Dave raises the energy in great spirals. There is then an urgency heard. And then we are treated to a brief drum solo, so all is right with the world. That's followed by "These Days," a song written by Jackson Browne when he was a teenager and first recorded by Nico. It's a wonderful song. Dave Wilson delivers what would be the vocal line, and there is a gentle vibe here, the music soothing us. Jesse Green again takes the first lead on piano, delivering some pretty work. It begins to build in energy, though never losing that pleasant vibe. Dave's lead on soprano sax continues that wonderful feeling, the music like a dance within light. He then returns to the main line or theme of the song. This is the first of the disc's tracks to feature Lenny Castro on percussion, and the percussion plays an important role. I really like what Dave Wilson has done with this song.

On There Was Never, The Dave Wilson Quartet covered the Grateful Dead's "Cassidy," one of my favorite Dead songs, and on One Night At Chris' covered "Friend Of The Devil." "Friend Of The Devil" was also included on Live At Silvana. On this new album, the band covers "Eyes Of The World," another of my favorite Dead songs. It's a song the Dead played at my very first show. It's also the Dead song that most folks have heard with saxophone, because of the album Without A Net, released in 1990. That was a live album containing songs taken from several different Grateful Dead concerts, and that particular "Eyes Of The World" comes from the March 29, 1990 show that featured Branford Marsalis on sax. The presence of saxophone added another great texture to the song, so I was especially excited to hear what Dave Wilson would do with it. This is one of my favorite Dead songs to dance to, and that delicious groove is present in this rendition, and so is the song's cheerful, uplifting feel. At first Dave takes on what would be the vocal line, and Jesse delivers what would be the guitar line. But of course, as with the Dead, it is what happens between the verses that really counts, and that's when Dave especially shines here, leading us to some beautiful, lively and joyful places. It's a fairly short "Eyes," only seven minutes, but is a really good rendition, and features some excellent work on piano in the second half.

Dave Wilson covers two Jimmy Webb songs on this album. The first is "Adios," a song that Jimmy Webb included on his 1993 album Suspending Disbelief. Dave Wilson gives us a pretty rendition. This track features Lenny Castro on percussion, and it is the percussion on this track that gives this version a little more pep. Dave Wilson then returns to original material with "When Even Goes East," the album's title track, which has a seriously cool vibe right from its opening. What a great rhythm! And Dave's work on saxophone immediately grabs us, creating an alluring atmosphere and taking us in some interesting directions. Basically his saxophone creates a world I want to check out, want to live in for a while. It promises some excitement, some unusual characters, some fun. And Evan Gregor's bass line says, absolutely. It is this track's groove that has me feeling so damn good. Daniel Gonzalez's drumming is fantastic. This is my personal favorite track of the album. I highly recommend checking it out.

Things then slow down, and turn a somewhat darker and more mysterious corner with "Slow Freeze," another original composition, this one by Dave Wilson and Kirk Reese. Dave's sax work has a beautiful air of melancholy to it at moments, sometimes reaching out, sometimes turning inward. This is an intriguing piece, in large part because of that work on sax. And Jesse's piano lead takes us farther inward, visiting some forgotten corners. Lenny Castro again joins the group on percussion. And at times there is an almost magical sense to things. That is followed by "Intergalactic Sunset," the album's final original piece. Here it is the bass line that we first latch onto. It takes us into the world of the song. There is a sense of cool here too, a somewhat laid-back atmosphere, in which Dave's saxophone can soar at times. There is then a lively aspect to the piano lead. That's when things begin to pop. And Dave's saxophone work toward the end also has a wonderful energy.

On One Night At Chris', Dave Wilson covered "Norwegian Wood," and then on Live At Silvana, he chose The Beatles' "The Fool On The Hill." Now on this new album, he gives us a studio version of the latter. This one eases in and has a soothing effect. There are moments when I feel like I could just float away on this track. What a wonderful sensation. Lenny Castro is on percussion. Dave Wilson then delivers a hopping rendition of Jimi Hendrix's "Fire." It begins with that great beat, and it isn't long at all before we are treated to some really nice, energetic stuff on piano. Later, there are sections in this track that are certainly mellower than anything on the Jimi Hendrix recording, but I love the journey. And there is a good drum solo near the end. The album then concludes with its second Jimmy Webb song, and, yes, of course it's "Wichita Lineman." The Dave Wilson Quartet does an excellent job with this beloved song. The work on saxophone is particularly moving, and the piano lead has a great vibe about it. Plus, the band jams a bit at the end. It all adds up to a excellent rendition.

CD Track List

1. Let's Go
2. These Days
3. Eyes Of The World
4. Adios
5. When Even Goes East
6. Slow Freeze
7. Intergalactic Sunset
8. The Fool On The Hill
9. Fire
10. Wichita Lineman

When Even Goes East is scheduled to be released on January 30, 2026.

Beyond Graceland: Ladysmith Black Mambazo DVD Review

In 1986, the vocal group Ladysmith Black Mambazo backed Paul Simon on his Graceland album, and suddenly became known to the world. They again joined Paul Simon on his next album, 1990's Rhythm Of The Saints. That year I was lucky enough to get to see Ladysmith Black Mambazo and Paul Simon perform at a special concert in Boston celebrating the release of Nelson Mandela, and became completely enamored of their voices, their talent, their spirit. The documentary film Beyond Graceland: Ladysmith Black Mambazo celebrates those voices, that talent and that spirit. Directed by Mpumi "Supa" Mbele, this documentary presents information on what led to the group, on that group's leader Joseph Shabalala, and what happened within the group as well as the impact the group has had on music and on the world. And, as you might expect, the documentary contains a lot of wonderful music. It is time to fall in love with those beautiful voices again.

A news clip early in the film introduces the group as "Nelson Mandela's favorite band," and the opening sequence also contains short moments from interviews with Oprah Winfrey, Dolly Parton, Whoopi Goldberg and Paul Simon, a good way to lead us back into the music, from a place of familiarity. Once the film is past the introduction, it focuses on the origins of the type of music the group sang and on the music itself, pointing out how there were some jazz influences heard in it. The film then focuses on interviews with the musicians and those who worked with them. Ladysmith, by the way, is the name of the town where they were born and raised. Some of those interviewed talk about how there was always a message of hope in the songs, even if the musicians couldn't tackle certain subjects overtly. The film includes footage of the group recording, and there is an interview with John Lindemann, recording engineer, who talks about how the problem he had was in relation to their singing so softly. 

The group was already beginning to be known in other countries even before Paul Simon reached out to them. The film mentions a performance in Germany in 1981. But of course the impact their appearance on Graceland had on their popularity is critical, and the film does get into that. I love the footage of Joseph Shabalala talking about getting the call and being surprised that the group had any fans in the United States, and recalls Paul Simon saying he was the only one. There is a good deal of old footage of Paul Simon too, and plenty of information on the writing and recording of "Homeless." The film also includes an interview with Dolly Parton, who talks about her recordings of "Peace Train" and "Knockin' On Heaven's Door" with the group. Somehow I still have neither of those albums in my collection; I need to see about fixing that soon.

I suppose it wouldn't be a proper music documentary if there weren't some tragedies and hardships along the way, and the film includes news footage related to the murder of band member Headman Shabalala in 1991. Joseph says the rest of the group didn't want to continue singing after that, which is understandable. And a decade later, Joseph's wife Nellie was shot and killed too. But the focus is on the music. One person interviewed says: "One amazing thing about Black Mambazo, it sounds like a ball of energy. There are so many different parts and so many different voices and timbres, but they manage to give a blend like one sound. It's just about unity." He goes on to say that a lesson is there to be learned from the sound of the group, one that "could resolve problems in society." Indeed. And there is so much hope in the music, in their sound.

The one big problem is not with the film itself, but with its presentation. No English subtitles are provided for the interviews conducted in the Zulu language. Usually those are provided without the viewer having to make any adjustments on the DVD player. But even when I added the English subtitles from the DVD's menu, those only worked for the dialogue that was in English. So we're missing quite a lot of information that is being presented. There are entire interviews where not one word is understood by those of us not fluent in the Zulu language. I was surprised that no translations were provided. 

But again, the documentary contains so much beautiful music. While I was frustated that I was missing the information on, say, Joseph's last marriage and his death, I was still left with a positive and hopeful feeling. And isn't that what most of us are in need of these days? As for special features, the DVD contains just the film's trailer.

Beyond Graceland: Ladysmith Black Mambazo was released on DVD on January 20, 2026 through MVD Visual.

The James Hunter Six: "Off The Fence" (2026) CD Review

James Hunter is a singer, guitarist and songwriter who's been releasing great music for four decades now. In 1986, using the name Howlin' Wilf, he and his group Howlin' Wilf & The Vee-Jays released their first album, Cry Wilf. Howlin' Wilf, by the way, several years later released one of the coolest, silliest Christmas songs, "Bugger My Buttocks For Christmas." How has that one not yet become a holiday standard? Anyway, ten years after that first album, James Hunter, under his own name this time, released Believe What I Say, an album that featured a special guest appearance by Van Morrison on a couple of tracks, including a delicious rendition of "Turn On Your Lovelight." Van Morrison is again joining James Hunter on his new album, Off The Fence. This album features all original material, written or co-written by James Hunter. The James Hunter Six is made up of James Hunter on vocals, guitar and harmonica; Myles Weeks on double bass; Rudy Albin Petschauer on drums; Andrew Kingslow on keyboards and percussion; Michael Buckley on baritone saxophone; and Drew Vanderwinckel on tenor saxophone. The album was produced by Bosco Mann (Gabriel Roth).

The album's first track, "Two Birds One Stone," begins with a drum roll, like a classic introduction to an act, perhaps a death-defying stunt, and soon takes on a cool rhythm. "You never know when the wrong that you've done will backfire/I can't forget it, I'll regret it 'til the day I die/With just one word, I broke her heart as well as my own." James Hunter delivers a wonderful, soulful vocal performance that could fit right in with some of the great performances of the 1960s. This is a song of regret, of wanting to take back whatever he said. "You know I would have stopped myself if only I'd known/That'd be the day I got two birds with one stone." What a damn good song to start things off. "I've had enough, let me out of this love right now," he then sings at the beginning of "Let Me Out Of This Love," but, oh so gently, so smoothly. This one too has a great classic vibe. This music will transport you from these current days to another time. And has that ever been more appealing? I'm particularly digging the work on keys. "I've got to be free from this misery/And face the unknown/Whatever it brings, I know there's worse things than being alone." What's interesting is how relaxed he sounds. There is no urgency to the music, to his voice.

There is a delightful innocence to "Gun Shy," as he tells us, "Because I'm gun shy whenever you're around/Tongue-tied, like a lovesick clown." There is also a delicious rhythm. I love the drumming here. You might find yourself moving, shaking. And this one really features saxophone, and that lead in the second half is part of what makes this track so appealing. Hell, even the sudden ending of this one is a delight. "Believe It When I See It" also has a really nice rhythm. I love the feel of this music. It comes to us from another time. It's great that folks are still recording music like this, writing new songs in this vein. "Now I've opened my eyes/They do a whole lot more than cry." Ah yes, it's so good to make that discovery. There is something particularly fun about this one. And I love the way it builds toward the end, as he repeats the title line.

There is a more intimate quality to James Hunter's vocal performance on "Here And Now." And it's a love song. Check out the opening lines: "Try to sell that dream to me/How fine can heaven be/Could it ever live up to/This moment here with you." I think we've all experienced something like that, and the answer is No, heaven could never be as good as those moments. This track features a sweet and cool guitar lead in the middle, one that is allowed to breathe, to take its time. "I don't need eternity/Just this memory." That's followed by the album's title track, "Off The Fence," a lively number, the rhythm having a good deal of pep. "Come off the fence and tell me if you love me," James sings at the beginning of this song about needing a decision. "Now if my love is unrequited/I'll take my chances someplace else," he sings. And you can bet the saxophone has something to say about it.

"Ain't That A Trip" is the song that features Van Morrison joining James Hunter on vocals, and it is certainly a highlight of the album. They are clearly having a good time, and you will almost undoubtedly have a good time listening. "Ain't that a trip," indeed! "Shows you what your heart is for/Well now, baby, that's a trip for sure." This track also features some excellent stuff on harmonica, and that lead on harmonica is followed by a cool lead on guitar. Everything is working so well. If you need a reminder that life is good (and I think we all do these days), listen to this music. Then "One For Ripley" has a softer, gentler sound. "Brought my sorrow home with me/Hoping you forgive me/Now there's one for Ripley/'Cause I can't believe it myself." The "Ripley" of the song's title is Robert Ripley of Ripley's Believe It Or Not. Remember that show? I never saw the original series, just the later one with Jack Palance. Ah, who can believe anything at this point?

At the beginning of "Trouble Comes Calling," James Hunter sings, "Don't you worry, baby, if your wishin' well runs dry." These days, it seems all of our wishing wells have run dry. What the hell is going on out there? I tell you what I wish - I wish music like this could determine the course of events. Maybe I'm wrong, but I can't imagine people doing such terrible things to each other while they're enjoying good music. But for now trouble is going to keep calling. "When every dream that you've ever known/Falls and bites the dust/And your life's a bowl of cherry stones/Because somebody got there first." Then I love the way "Particular" eases in, gently but with confidence. And its first line makes me laugh out loud: "It's a lovely day if you're not particular." I am completely in love with this song from that moment. "Remember first it could always be worse/And it's beginning to look like it will." This is my personal favorite track. James Hunter's vocal delivery is perfect, and there is a nice lead on keys. This is a song that should speak to basically everyone. Check it out as soon as you have a chance.

The energy then increases on "A Sure Thing," another track to feature a great groove. "I had luck before it up and wandered/But you'll soon see love can't outrun me much longer." This song uses the gambling analogy throughout, as he declares he's sticking with a sure thing. And something about this song leads me to believe in his sure thing. The album then ends with a pretty song, "Only A Fool," in which James Hunter sings, "Only a fool knows how to say goodbye." He draws us in closer with his vocal performance, the vocals being the focus, the backing instruments kept relatively low. This track contains one of the album's best and moving vocal performances. "What heart of stone turns its own blessed home to a barren land?"

CD Track List

1. Two Birds One Stone
2. Let Me Out Of This Love
3. Gun Shy
4. Believe It When I See It
5. Here And Now
6. Off The Fence
7. Ain't That A Trip
8. One For Ripley
9. Trouble Comes Calling
10. Particular
11. A Sure Thing
12. Only A Fool

Off The Fence was released on January 16, 2026, and is available on both CD and vinyl. This seems like a good one to own on vinyl.

Jackdawg: "Jackdawg" (2009/2025) CD Review

In 1983, Keith Knudsen and John McFee, both of The Doobie Brothers, formed the band Southern Pacific, along with several other musicians. Stu Cook, of Creedence Clearwater Revival, joined that group a few years later, replacing the original bass player. Those three then went on to become Jackdawg. If you haven't heard of that band, don't feel bad. Jackdawg recorded only one album, which wasn't released until 2009 on Sonic Past Music. It received a deserved re-issue last fall, on both CD and vinyl, through Liberation Hall, so folks can get a second chance to dig into this music. And there are certainly reasons to do so, the three main reasons being the three musicians involved. In addition to his work in the Doobie Brothers, John McFee was a member of Clover, a band that also featured Huey Lewis before The News. John McFee will also be familiar to Grateful Dead fans as the pedal steel player on "Pride Of Cucamonga," a song on the From The Mars Hotel record (and one the band never performed in concert, though Phil Lesh did later perform it with Phil And Friends). And he played on Van Morrison's Tupelo Honey album, and worked with Elvis Costello. Keith Knudsen joined The Doobie Brothers in 1974 as drummer and backing vocalist (and occasional lead vocalist). He co-wrote some songs with the Doobies, and several with Southern Pacific. He also played drums on Emmy Lou Harris' "Shores Of White Sand." Keith died in 2005, before this album was released. And Stu Cook is of course known for his fantastic work in Creedence Clearwater Revival. That would be enough, but he was also a member of The Don Harrison Band in the 1970s (they had a hit with their cover of "Sixteen Tons"), and then produced albums by Roky Erickson And The Aliens, before joining Southern Pacific. All three of these guys are in the Rock And Roll Hall of Fame. In addition to all that, the music is good. This album features mostly original material. By the way, that new cover art was created by John and Stu.

The album kicks off with "Bayou Rebel," which has a cool bluesy and swampy rock sound, with a raw edge to the vocals. It was written by John McFee and Stu Cook, and it features some cool stuff by John on both harmonica and guitar during that instrumental section in the middle. "Now you don't have to look for trouble/Trouble's going to come and go." Oh, yes, that is true. That's followed by "When The Sun Don't Shine," which features some strong work on guitar right from the start, along with a steady beat. The song has intriguing opening lines, "There's a shadow here/Moving down from the sky," and the way John delivers those lines, it's like he's part of the shadow, or in touch with it. "We'll see what we want to see/When the sun don't shine." There is a great driving power to this number, and also a weight which we can feel in our chest. It's a really good rock song written by John McFee, Stu Cook and Keith Knudsen. "The Men Who Would Be King" was likewise written by all three band members. There is a 1980s feel to this track, and something catchy about it. 

"Hunger" grabs us with that brief guitar solo at the beginning, and then takes on a solid rhythm. "I can look but I'm out of luck when I want your touch/Just a glance and a word, then you're gone/And it's not enough." Soon he says, "You won't mistake my meaning," and the way he delivers and repeats the word "Hunger," I don't think anyone could mistake his meaning. This song feels like it could have been a rock hit in the 1980s. "Ghost Dance" also begins with a brief moment on guitar, but it is the drumming that really grabs us, that exciting rhythm that keeps us on the edge. This is a very cool track, and it features some excellent work on guitar as well, and a terrific energy. This is one of my personal favorite tracks. It was written by John McFee and Keith Knudsen. "Take It Off" is another song that feels like a hit to me. It has such obvious appeal. It's a lot of fun, with a delicious bass line. "But who cares what anybody's thinking/Nothing can come between us/Take it off, take it off." And I love that instrumental section in the second half.

"Kisses In The Rain" has kind of a sweeter vibe as it starts, especially with that backing vocal work. "This time it's right/Kisses in the rain out in the night/It's right this time/I can put the top down, you can drive." There is something wonderfully catchy about this one. Part of it is the rhythm of the vocal line, but there is something kind of timeless about it, like some of the best songs of Huey Lewis And The News. How can you help but love this song? "Kisses in the rain still on my mind." Then "I Couldn't Help Myself" begins with the lines "Back in the past/The future was a blast," which I love. And this song takes us back, to high school and then moving forward from there. It features another wonderful bass line, and a cool vocal line. "I burned out my credentials for the unemployment line/Then I set my sights/I had to specialize." And the line "I only took his Jaguar on a trial run" makes me smile every time I hear it.

"Quicksand" has a steady rock rhythm, and features a strong vocal performance. "If I could have seen it coming/I would have just stayed away/But now as I get in deeper/I see there's no escape." Yeah, sometimes there's no fighting it. "But, oh, what a way to go," he tells us. In the second half of this track, there is a good lead on guitar that I wish went on a bit longer. Then "Lookin' For Trouble" comes on with a great hard rock urgency, reminding me a bit of Sammy Hagar's "The Girl Gets Around" at the beginning, and at a few other moments. And perhaps trouble is right around the corner. The music seems to suggest it. This is another track to have a great rhythm to the vocal delivery. "Light entertainment/Stars in the pavement/Don't know where the night went/Victim of Sunset/Illegal tender/Casually misspent." That's followed by "Relentless." When this one kicks in, it has a great rhythm. This one, like "Quicksand," mentions a lack of escape: "Even if I wanted, I couldn't escape."

"I tried to give you an education, but you've given me my own/Young ones taking on the world/Young ones waiting your turn/Young ones, I know what you're going through/I was once a young one too," John sings in "Young Ones." Isn't it funny how that message never seems to get through? Not when we were kids, and not to those who are kids now. And, man, it goes so quickly. That's something else you can never tell them. But perhaps they'll get the message in this song that reaches across generations. "Young Ones" is followed by "The Girl From Oz," a fun track that moves at a good clip. "Down below, a place I want to be/Does she know what she does to guys like me?" This song features some excellent guitar work, and some cool stuff on drums too.

The disc's final two songs are covers. Both are songs that these guys have some history with. The first of those is "Cold Night For Alligators," which was written by Roky Erickson, and originally included on the Roky Erickson And The Aliens' self-titled 1980 album, which Stu Cook produced. They deliver a good rendition, putting their own spin on it, the vocals having a great edge. "It's a cold night for alligators/It's a cold night for dogs." There is something of a CCR feel to this track. And the second is Van Morrison's "Wild Night." John McFee played on the original recording of this song, which was the lead track on Tupelo Honey. This is heavier rendition, more of a hard rock song than the original, which is apparent right from its opening moments. On the original version, John played pedal steel, while here he plays electric guitar.

CD Track List

1. Bayou Rebel
2. When The Sun Don't Shine
3. The Men Who Would Be King
4. Hunger
5. Ghost Dance
6. Take It Off
7. Kisses In The Rain
8. I Couldn't Help Myself
9. Quicksand
10. Lookin' For Trouble
11. Relentless
12. Young Ones
13. The Girl From Oz
14. Cold Night For Alligators
15. Wild Night

This re-issue of Jackdawg was released on October 24, 2025. By the way, the vinyl version has five fewer songs than the CD version.

Corinne: "Stories In Pink" (2025) CD Review

Corinne Mammana, now going by simply Corinne, is a talented jazz vocalist who released her debut EP, Under An August Moon, a decade ago. She followed that with Yes, No, Next, a full-length album released in 2020, and In The Christmas City, a holiday EP, in 2022. Her new album, Stories In Pink, is something different, a sort of romantic fairy tale concept album, the result of a collaboration with producer and composer Eric Todd. It also features different musicians from her previous releases. Eric Todd, who wrote much of the album's material, plays bass, vibes, keyboards, drums and percussion. Also joining her on this album are Matt Gordeuk on guitar, Kellen Pisani on guitar, Patrick Kerssen on piano, Vernon J. Mobley on drums and percussion, and Clayton Reilly on trumpet.

The album opens with "Scrambled Eggs For Two," which immediately establishes a cool Brazilian rhythm. Corinne offers a sweet vocal approach with certain pop sensibilities, the lyrics describing the end of a romantic night. This song takes place at three in the morning, rather than the traditional four. There is a playful element too, heard in a line like "And I'm not quite done with you." The guitar part in the middle has a Beatles flavor, this track having an interesting mix of sounds and influences, the overall vibe being kind of delightful. "A nibble, a bite/A scandalous night." Indeed, and quite a bit of cheer as well. Ah, but then something has changed by the second song, "I Can't Believe My Eyes," with Corinne asking, "Where the hell are you?" But before she gets there, she sings, "You're the sun in my eyes/The song in my head/You're my heart in disguise/The ghosts in my bed," which sort of sets us up for that line without us being aware of it. Those are interesting lines, for there are positive and negative aspects to them. "You're the sun" certainly sounds positive, like a supreme compliment, but "sun in my eyes" is a potentially dangerous thing, or at the least is a distraction. And a "song in my head" could be a wonderful thing, unless it's a song stuck in your head. These lines set us up for her frustration. "I can't believe my eyes, my eyes, my eyes/'Cause I don't believe your lips, your lips, but those lips." This track features a really nice guitar lead in the second half.

"Tickled Pink" also has a bossa nova groove, and acually mentions that in its first line: "In a bossa nova groove/A little samba sets the mood." There is a wonderful, dreamlike atmosphere to this song, as Corinne sings, "Come with me." Soon she sings, "That twinkle in your eye/And that devil of a smile/I know what's on your mind." Well, it's likely on all our minds as we listen to Corinne's seductive vocal performance. And I love those touches on horn. Corinne takes the song to another level in the second half. This song, by the way, was also released as a single on pink vinyl, with an extended version as its flip side. I need to add that record to my collection at some point. That's followed by "Requiem For A Daydream," its title a play on the film Requiem For A Dream. As this one begins, it sounds like a slightly slowed down version of Steely Dan's "Rikki Don't Lose That Number," but as soon as Corinne's vocals come in, I'm no longer thinking of that song. This track has one of the album's most captivating vocal performances. "I'm not your lover, I'm a stranger/We might get caught, you like the danger/I have to miss you when I'm with you/She gets to have you and dismiss you." And the lines "Life is short/Shorter than you think" of course stand out. I'm sure I'm not the only one who's been thinking lately of the brevity of this whole thing. This track features some cool stuff on keys.

"Kiss Kiss Kiss" has a fun vibe right from the start. "Sway me all around the room/Swing me underneath the perfect moon." Yes, that great otherworldly feel of romance is present, celebrated here. There is also a playfulness, which is fitting, and heard especially on "Boom boom boom/Come dance a little," and also in that delightful pause after "drink it all in." "Kiss me like you mean it" is an interesting line, because there is the implication that the person doesn't mean it, and perhaps that it doesn't matter if he means it or not, as long as the kiss has the impression of sincerity. This is one of my favorites. And it's followed by another of the disc's highlights, "Fa La La." The first line of this song, "You don't really want to hear another song about Christmas," made me smile because Corinne's previous release was an EP of Christmas songs. So perhaps she's poking just a bit of fun of herself there. I also love the mood of this song. Just listen to the way she delivers a line like, "I know you've had it up to here with all this Christmas cheer." The song just gets cooler and cooler. Her delivery is exquisite. Seriously, do yourself a favor, and listen to her vocal performance here. There is certainly a dramatic element to it. She does a phenomenal job of getting into the character of the song, and getting it across. And there is some great work on guitar and keys. I especially love that lead on keys toward the end.

"I Taste Forever In Your Kiss" begins with some warm work on keys that has a classic vibe, setting up the tone, the atmosphere. And then Corinne's vocal approach has a gentle, romantic feel: "I love the way you kiss goodnight/The way your lips melt into mine." The song then becomes a sort of fanciful, dreamlike waltz, which is wonderful. Isn't it great when romance feels like this music? "I still taste you on my lips and my tongue." We know we're in fairy tale land in "Once Upon A Time In Central Park," for the lyrics begin with the phrase "Once upon a time." Soon the song kicks in, right as Corinne describes the boy sweeping the girl off her feet. And the music takes up that motion, and pulls us right into it as well, all of us caught up in a delightful dance. Corinne then wraps up the album with a beautiful and touching rendition of "La Vie En Rose," her vocals supported by piano. What a wonderful way to finish this excellent album, leaving us in a gorgeous dreamlike realm, enchanted and moved.

CD Track List

1. Scrambled Eggs For Two
2. I Can't Believe My Eyes
3. Tickled Pink
4. Requiem For A Daydream
5. Kiss Kiss Kiss
6. Fa La La
7. I Taste Forever In Your Kiss
8. Once Upon A Time In Central Park
9. La Vie En Rose

Stories In Pink was released on November 1, 2025. 

Judy Wexler Delivers Two Wonderful Sets At The Famous, 1-21-26

Jazz vocalist Judy Wexler performed last night at The Famous in Glendale. It's a cool spot, with a nice, relaxed vibe. There is no elevated stage, but a carpet is placed in front of the far wall, acting as a stage. There are no stage lights either, but I suppose that adds to the cozy atmosphere of the club. The staff is friendly, the bartender telling me how the previous owner of the club had given the place a Godfather decor, with murals depicting the film on the walls. There is now white brick along one of the walls. There are several tables, and it's a place where you can actually have a conversation before the show starts, the house music kept fairly low. The show was part of the venue's Jazz Wave's Jazz Night music series, and it was Judy Wexler's first time playing there. Backing the vocalist were Jeff Colella on piano, Gabe Davis on bass, and Kendall Kay on drums.

Just after 8:30 p.m., Judy Wexler kicked off the first set with "A Weaver Of Dreams," a song she included on her most recent album, last year's No Wonder. She delivered a strong vocal performance that received applause from the crowd after the first section of the song, leading to a nice, warm lead on piano, and then a good lead on bass. That song was followed by Carole King's "Up On The Roof," a song Judy covered on her 2021 album Back To The Garden. Those opening lines about the world getting us down and people being too much to face are certainly relevant these days, and Judy was able to help us escape the world with her rendition last night. And the band began to take off during that great lead by Jeff Colella on piano. Then Gabe Davis delivered some seriously cool work on bass on "But Not For Me," and "Wish You Were Here" featured some delicious drumming from Kendall Kay.

"Make This City Ours Tonight" featured one of the first set's most captivating vocal performances. "Step into my fantasy and, baby, don't let me go." Judy followed that song with "It's You I Like," written by Fred Rogers (yes, that Fred Rogers). "The more you connect with people, the happier you'll be," she said in introducing that one. I imagine Fred Rogers would agree. I still need to see the documentary about his life. Judy's voice was supported by just piano for the first section of that song. Then she gave us an excellent rendition of "Crowded Heart," a song written by Sinne Eeg and Mads Mathias. Sinne Eeg was in the audience, the Danish vocalist having recently performed at Vibrato here in Los Angeles. "Once In A While" featured a cool section of back-and-forth action between bass and drums. Judy closed out the first set with "Laughing At Life," reminding folks during the song's introduction to laugh as much as humanly possible when dealing with the difficult state of the world. "Start now and cheer up," she sang, and the music certainly helped folks do just that. The set ended at 9:29 p.m.

Twenty minutes later she and the band opened the second set with "American Tune." "This is the saddest song in my repertoire," Judy said in introducing the Paul Simon song, which she had included on Back To The Garden. It is a sad song, to be sure, but her wonderful rendition still had the ability to make us feel a little better about the world. "And I dreamed I was flying." That was followed by "Pretty World" and "A Kiss To Build A Dream On." This music had me feeling so damn good. I especially loved that lead on piano during "A Kiss To Build A Dream On." And for the first section of "They Say It's Spring," Judy's voice was supported by just piano. That song also featured a good bass solo. 

The next two songs she chose were probably the coolest numbers of the night: "The Lonely One" and "Tomorrow Is Another Day." When introducing "The Lonely One," Judy mentioned how she liked Nat King Cole's song selections. Her rendition of the song featured an outstanding vocal performance. And "Tomorrow Is Another Day," a song she included on her 2015 album What I See, contained some great bass and drum exchanges, which I loved. She then wrapped up the show with a beautiful and soothing rendition of "Sack Full Of Dreams," a song she had included on her 2011 album Under A Painted Sky. The show ended at 10:33 p.m.

Set List

Set I

1. A Weaver Of Dreams
2. Up On The Roof
3. But Not For Me
4. Wish You Were Here
5. Make This City Ours Again
6. It's You I Like
7. Crowded Heart
8. Once In A While
9. Laughing At Life

Set II

1. American Tune
2. Pretty World
3. A Kiss To Build A Dream On
4. They Say It's Spring
5. The Lonely One
6. Tomorrow Is Another Day
7. Sack Full Of Dreams

The Famous is located at 154 S. Brand Blvd. in Glendale, California.

Fernando Perdomo: "Clouds" (2026) CD Review

Last year, Fernando Perdomo embarked on an incredible musical project, releasing an album of new material every month, each disc containing ten tracks that he not only composed but on which he played every instrument. That project was called Waves. You'd think that upon completing such a colossal undertaking, he might take some time off, some time to relax. You'd be wrong. On the first of this year, Fernando Perdomo released Clouds, the first volume in a new year-long project. Last year he looked out at the ocean; this year he is looking up at the sky, and finding inspiration there. As with last year's Waves albums, Fernando Perdomo wrote all the material and plays all the instruments on this new disc. And as on the Waves albums, Joe Galdo is again providing the photographs for the album covers, which gives the series a sense of continuation from the previous series.

The album's first track, "Clouds All Around Us," begins with what could be a celestial voice, a ray of light breaking through and hitting us. The music then gently invites us to its realm, welcoming us, the guitar work soothing us. And in the current madness of the world, we could all use exactly this sort of thing. We could all use a moment to breathe, a moment to cast our gaze away from strife and troubles. There is a beauty here, and an overall meditative feeling which I appreciate. "Perfect View" also has a soothing aspect from its start, the music telling us it's all right to take a break, and reminding us to accept our small place in this great universe. We exist for but an instant, so let's not rush it. This is music that slows our breath, re-aligns our pulse with a rhythm outside of us. 

There is a different sense at the beginning of "Vast And Bulbous," something like an air of mystery, of the unknown, though without any fear, without any sharp sensation of danger. It just that we are faced with something new, something unknown. And it soon becomes clear that we are within this mystery, within this new realm. We can feel the air swirling around us, moving steadily past, circling us, with lights twinkling, perhaps communicating. And if we could just access a certain part of our brains, we could understand what is being expressed. And then there is a joy promised, isn't there? Then, in "Astrolab," there is a light, like the sun beginning to rise from around the moon. And here we find ourselves farther out there, though possibly with each step outward we are also moving inward. For in space, what is louder than our own thoughts? Our thoughts seem to take form, and move out from us, become their own light, and it seems we are obtaining knowledge that approaches us in near-solid form. This one has a more electronic sound, with synthesizer rather than guitar dominating the track. And it is from that instrument that the track gets its title, the Arturia AstroLab synthesizer. Though of course the title also gets us thinking of the exploration of the moon and of other planets, and of lunar terrain vehicles. This track soothes us in its own way.

"Euphoria" seems to tell us that happiness can be found in letting go, in opening ourselves up to the greater cosmos and finding our place within that. And in leaving echoes behind, for the movement creates these waves that spread out behind us, as we hear from the guitar. Our lives touch other lives, and our actions, our movements are felt by the universe. Isn't there joy in that? Even if there is a hint of darkness at the very end of this track. That's followed by "Beyond The Blue," which has a full sound that seems to indicate our voices are not alone, that we are not alone. It expresses this appealing idea of exploring the universe with joy, of approaching new situations with joy and wonder, something we should take into our everyday lives. Like bright vessels that remain so even in the darkest of corridors. The final section of the track brings us in contact with an otherworldly intelligence, as we step into a new place.

There is an excitement, a readiness at the beginning of "Moving Through The Sky," an eagerness for exploration, for knowledge. It's interesting the way the track then breathes just as it's beginning to build in intensity. And perhaps there is a lesson there too, for pulling back is not stopping, it's not retreating. But it does give us the chance to appreciate the beauty around us, for this track certainly has a beautiful aspect to it - in its sound, and in its attitude, its approach. And then toward the end it begins to build again, before slowing and easing to its conclusion. That's followed by "Circles Above." When I glanced at the CD track list for the first time, this title reminded me of The Monkees' "Circle Sky." But the feeling of this song is much more peaceful, relaxing, with some really pretty guitar work. We might be put in mind of celestial orbits, or the orbs themselves, and soothed by the natural rhythms of the universe. Partway through this track, things bcome a little darker, or more somber, but that doesn't stop the motion. It simply changes the way we interpret it somewhat, the way we feel.

"Heaven" at the start offers a gentle, almost tentative embrace or welcoming, like fingers causing ripples in the cosmos. And then the sound begins to grow, to swell, as if the voices are becoming more confident. Then it relaxes somewhat, or we do, as we become accustomed to our surroundings, to this reality. The welcoming is repeated until we are certain, until we are secure. The album concludes with "Oneness," a beautiful look at our world, like light dancing down upon us, descending from the heavens in steams that we can see and perhaps even grab hold of, and use to swing ourselves up out of our normal surroundings to explore things from a different perspective, a different angle, taking it all in. Yes, life is so good. Isn't it incredible that we are here at all? If only for a glorious moment.

CD Track List

1. Clouds All Around Us
2. Perfect View
3. Vast And Bulbous
4. Astrolab
5. Euphoria
6. Beyond The Blue
7. Moving Through The Sky
8. Circles Above
9. Heaven
10. Oneness

Clouds was released on January 1, 2026.

Jennie Arnau: "A Rising Tide" (2025) CD Review

Jennie Arnau is a singer and songwriter originally from South Carolina and now based in New York, She released several albums between 2000 and 2010, and then took a break, at least from recording. Now she has returned with a new album, featuring all original material. Titled A Rising Tide, this album feels personal, these songs resulting from experiences and a life lived in the fifteen years since her last release. But the emotions, the needs expressed in these songs are known to all of us, regardless of how our own experiences may or may not differ. Joining her on this album are Alan Lerner (of The Zen Tricksters) on drums, Pete Levin on keyboards, Binky Griptite on electric guitar, Brett Bass on bass, Skip Ward on bass, Greg McMullen on pedal steel, Jacob Joliff (who was a member of Yonder Mountain String Band for a while) on mandolin, Mike Savino on banjo and tenor guitar, and Kendall Sherman on backing vocals. The album was produced by Phil Palazzolo and Jennie Arnau.

The album begins with "Oceans Rise."A kind of soulful vibe is created in the song's opening moment, with that cool work on keys. And then Jennie Arnau comes in on vocals: "You say you got scars/I can't see/They hold you at night/Whisper lies about me." This track contains some interesting and prominent work on electric guitar, acting almost like a response to what she is telling us. "I'm a better man in my head/Than in my heart/And every time I try/To turn this wreck around/The oceans rise up/And drag me back down." Those lines stand out, grabbing us, in part, undoubtedly, because of our own struggles, and in part because of her passionate delivery. "Oceans Rise" is followed by "Countryman." Some nice work on mandolin helps give this song a pleasant, cheerful sound at the beginning. "Scared of the sunset, scared of the dawn/But my heart needs a break/A weekend or a holiday." Oh, yes, we could all use a vacation. The song speaks of traveling this great land, something that is almost always appealing, though these days there are many places I have no interest in going because of the people who are there. And that makes me sad. This music urges joy.

Jennie Arnau changes gears with "Sail Away," which has a sadder, more contemplative sound from its start, particularly in that work on keys. This track features a good bass line and a pretty vocal performance. Interestingly this one begins with the lines "Sunset says/You're gonna be all right," when just the previous song mentioned being afraid of the sunset. But, as she then tells us, "You've got to sail away/Sail away from the past." There is a 1970s influence heard on this track. And check out these lines: "You've got to learn, you've got to learn/How to leave trouble behind/Don't you know tomorrows/Never last." That's followed by "Mabel." I'm not sure exactly why, but the first couple of lines make me smile every time I hear them: "Oh, everyone loves Mabel/Nobody loves me." This one has a sweet and soulful vibe, and features some good work on guitar. "There are storms in the desert/There are monsters in the sea/But they all fade away when I look in her eyes." I hope everyone knows exactly what she's talking about. And I love the way this song builds in joyous power toward the end.

There is a soft, pretty, innocent vibe to Jennie's vocal delivery as "Young & Alone" starts. "I move to the left/You move to the right/We think we're dancing/But there is no dancing tonight." And the softness, the innocence is in contrast to the world being described, the reality being lived. "The news on the TV is so devastating/I think I might vomit/The newscaster's fainting." And the innocence of childhood is gone from the world. The softness is from despair. This song is striking, one of the album's best. "That child is so young and alone." There is more joy then to "The King," a song with a gentle, welcoming and uplifting feel.  "Softly I cry/Please show a little kindness/Just a glimmer of light." That's followed by "Hold On." "You thought you could hold on/One more day," Jennie sings at the beginning of this one, and immediately I find myself in tears. There is a heartrending intimacy to this song. And when she repeats, "Your heart will break," we can feel it, in her voice and in ourselves. Interestingly, the song then kicks in and she repeats those opening lines. The feel of those lines is a little different, with the drums and keyboards and so on, and maybe that helps us lift ourselves from the pain and sorrow and despair. "Desperate as she slowly drifts away/And there's nothing you can do to save her." That's what is so infuriating, watching someone we love leaving and not being able to do a damn thing about it. This is one of my personal favorite songs on this album.

Then "Simple Man" seems to offer some encouragement. "I never look back," Jennie sings here. "I'd rather see the light/From the sun in the morning 'til the moon at night." There is so much beauty in this world, and so much beauty in this song. If only more people would focus on that, find the beauty without and within. This track also features some nice work on mandolin. As I get older, I find that lyrics about time passing hit me harder. Check out these lines: "In the blink of an eye/Our children will grow/Just when I get used to holding her hand/She lets go." Wow. That song ends with the line, "You will see the most wonderful things," and then "One If By Land" begins with the line, "I see you," and I can't help but connect them, and feel a sudden rush of love. "I see you/In everything/I do." Beautiful. This one also kicks in, with a glorious power to the vocals. Here she begs the universe, "Please let me be the one/To save you," and I can't help but think back to "Hold On," when she sang "And there's nothing you can do to save her." Even when we know, we still try, we still crave, we still need to have that ability. This is a powerful and moving song.

There is always something appealing about going home in song, isn't there? In "Back To Carolina," Jennie sings, "Going back to Carolina/I've been gone too long/Tried my best to love this place/But it just ain't my home." Sometimes our hearts are in two places at once, and wherever we are, something is missing. This song features an excellent bass line, and also some really good stuff on drums, in addition to another strong vocal performance. Then "Heaven In Her Eyes" is a song of finding love, but not just that; it's a song of wanting our loved ones to know that we've found love, that we are all right. "I don't need to climb another mountain/Searching for some stairway to the sky." I love the way the backing vocals build there. "Better Luck Next Time" also features some excellent vocal work, plus great stuff on pedal steel.

The beauty of "Every Raindrop" grabs us immediately, first that work on keys, and then the vocals, when they come in, repeating "Every raindrop" like a mantra. "We're all lost in the dark, yeah/We're all scared of goodbye/We all run for cover in a storm/We all need a little warmth." We have so much in common, yet there are people who dedicate their short time of existence to making other people miserable. I will never understand that. "Catch a little light in your hands." The album concludes with "Sunshine," another pretty song featuring some wonderful guitar work. "It's been a long winter/And I'm weary to the bone." In the second half of the track, there is a shift, as the drums come in, moving things in a new direction. "Gonna take my little ships/Sail far, far away."

CD Track List

1. Oceans Rise
2. Countryman
3. Sail Away
4. Mabel
5. Young & Alone
6. The King
7. Hold On
8. Simple Man
9. One If By Land
10. Back To Carolina
11. Heaven In Her Eyes
12. Better Luck Next Time
13. Every Raindrop
14. Sunshine

A Rising Tide was released on November 7, 2025.

Legendary Swagger, Roman's Weirdos, Drool Brothers at Maui Sugar Mill Saloon, 1-17-26: Photos

It was another fantastic show last night at Maui Sugar Mill Saloon. I had been listening to Drool Brothers music most of the day, and was excited to see them again. That band alone would have made it a great night. But in addition, we got a special acoustic duo version of Legendary Swagger, something that hadn't happened before, and, according to the musicians themselves, won't happen again. And on top of that, we were treated to a set by The Weirdos, or Roman's Weirdos, a band that wasn't originally on the bill. It was supposed to be The Furys, but that band's bass player had a medical emergency, and The Weirdos filled in. That was three excellent performances, and with no cover charge. Have I mentioned how great this city is for music fans?

Legendary Swagger

The night kicked off just after 9 p.m. with the acoustic set by two members of Legendary Swagger, Dino Everett (whom you might also know for his work in Streetwalkin' Cheetahs) and Skot Pollock, referring to themselves as Leg Swag for the purposes of this particular show. "We're going to stumble through some acoustic songs before the real musicians get up here," Dino joked at the start of their set. They played a few songs written by Dino's friend John David Baldridge, a songwriter from Florida, including his "Cocaine, Marijuana And Alcohol," which had a great raw edge. They also covered The Ramones' "I Just Want To Have Something To Do" and The Dogmatics' "Thayer St." Perhaps the most surprising cover was Cat Stevens' "The First Cut Is The Deepest," delivered as sort of punk folk. "Okay, we've got one more, then we're gonna break up," Dino told the crowd before the final song, "Is It Ever Over." The set, and the duo's career, ended at 9:40 p.m.

Roman's Weirdos

The Weirdos (or, Roman's Weirdos) were up next. Before they started, Jeff Wolfe, who is also lead singer of The Furys, mentioned how that band's bass player was rushed to the hospital, and that's why the night's lineup was changed. The Weirdos focused on songs from early in the punk band's career, opening the set with "Happy People," which had a delicious energy, and following that with "Life Of Crime," which rocked. Cliff Roman mentioned in the introduction to "Destroy All Music" how the song was recorded the day that Elvis Presley died, and was the band's first single on Bomp. That was followed by "Solitary Confinement," a song that is slower at the start before kicking in with a wonderful punk force. They also did three of the four songs from the Action-Design EP, including the cover of The Doors' "Break On Through," which always felt like a punk song anyway. "Helium Bar" came on at a gloriously furious pace. They wrapped up the set with the great "We Got The Neutron Bomb" and "Fallout." Their set ended at 10:28 p.m.

Drool Brothers

Drool Brothers closed out the night, Tom Slik sporting a cool Slade T-shirt, and Chuck Mancillas wearing his "Fuck You Fame Whore" shirt, which, if I recall correctly, was for sale at Richard Duguay's merchandise table the first time I saw Drool Brothers perform. Anyway, the band was ready like fifteen minutes before they were scheduled to start, and didn't bother waiting around for those minutes to pass before kicking things into gear. They opened with a couple of songs from their new Psychology album, "Have Fuzz Will Travel" straight into "Kaleidoscope." "Enjoy the show," indeed. I especially loved that bass line to "Kaleidoscope." That was followed by "It's A Drag," which featured a cool lead on guitar. Chuck introduced "Psychology" as a disco song, adding, "Disco is the new punk." This was another song with a totally delicious bass line, and the guys threw in a bit of "Get Off Your Ass And Jam" in the middle. And why not? In introducing "Frat Boy," Chuck mentioned, "We have a Supreme Justice that is a frat boy." Indeed, a frat boy and rapist, but those seem like prerequisites for advancement in the country's Fascist Party these days. Drool Brothers then played one of my personal favorites, "Fullerton," a song from the band's debut full-length album. It has a delicious groove, and is a total delight. That was followed by "Alice," a song that is like a great carnival ride, a roller coaster through California darkness and light. "Go ask Alice, she knows everything," Chuck added at the end. The band was then cooking on "Fame Whore," which was a lot of fun. They wrapped up the set with "Get Drunk Talk Shit," from Mondo Electra. "All right, we want to hear you on this one," Chuck told the crowd, reminding them they only had to sing four words. The show ended at 11:25 p.m.

The Drool Brothers: "Mondo Electra" (2023) CD Review

In December, Drool Brothers released a great new album titled Psychology. That album followed the group's 2023 release, Mondo Electra, a six-song EP. As with the new album, this EP contains all original material, written by Chuck Mancillas. Unlike the new album, for this release the group was a trio. Natalie Mancillas hadn't yet joined the band (though she does sing on one track). At this point, the band was made up of Chuck Mancillas on lead vocals, synthesizers, guitar and drums; Tom Slik on bass and backing vocals; and Dan Marfisi on organ, bongos, percussion and backing vocals.

"All I want is a quiet vacation," Chuck Mancillas sings at the beginning of the disc's first track, "Quiet Vacation," speaking for all of us, I suppose. I think we all want to get away. From the news, from this country, from this reality. And he promises himself, "I'll bring some medication/Little high on the recreation." Yup, that's necessary, for sure. The "ba ba-ba ba" backing vocals have something of a 1960s thing happening, and there are some cool, psychedelic elements too. And the very end seems to contain a nod to "Gloria," a song the group's "Freak Out" (a track on the new album) also reminds me of at one point. "I will be in isolation/California is my destination." "Get Drunk Talk Shit" seems to pick up something of that "Gloria" rhythm too, as they repeat, "Get drunk, talk shit/Get drunk, talk shit." Then the verses have more of a pop appeal. "You don't hear a word I say/But you just keep on talking." And there is some really nice guitar work, particularly toward the end.

"We won't follow protocol," Chuck sings at the beginning of "Underground." A good first line, with a punk attitude, helping to establish the tone, the vibe. There is a harder edge to this song, except on its title line. That's when the song has more of a pop feel. There has always been something appealing about underground music, underground journals and the like. These days, with the internet, it might not be quite as clear what classifies as underground, but no matter. Check out your local scene, support your local artists. That's where most of the real action is. And who doesn't want to step away from the mainstream world these days anyway? That's followed by "Sophisticated Twist," a playful number, particularly in the vocal approach. If you dig Devo, you'll probably love this. It's a whole lot of fun, totally catchy, and suddenly over. This track is less than two minutes long.

"Maybe" is another unusual song. You might not think it at the beginning, that guitar seeming to promise a more conventional rock number. And, sure, there is a bit of that in this track, but there are other things at work here, including a varied vocal performance that keeps us engaged. "What did you mean when you said/I don't know, maybe." It's a song that asks for a little clarification. Is that too much to ask? There is certainly something playful too. "The echoes laugh and cry/Haunting endlessly/A third grade spelling word is testing me." There is a cool, fuzzy guitar lead toward the end of the track. The EP then concludes with its title track, "Mondo Electra," and it is this song that features Natalie Mancillas on vocals. It is another fun one, a dance song, with some cool stuff on drums. This song feels like a weird sort of party, one foot in the 1960s, one foot in some electronic realm. But that is what this group is so damned good at doing.

CD Track List

1. Quiet Vacation
2. Get Drunk Talk Shit
3. Underground
4. Sophisticated Twist
5. Maybe
6. Mondo Electra

Mondo Electra was released on September 20, 2023.