The Legendary Ten Seconds: "The Pageant Of Torbay Part One" (2020/2023) CD Review

Ian Churchward's fantastic ongoing project, The Legendary Ten Seconds, takes inspiration from the life of Richard III, many of the songs relating the story of the War of the Roses and beyond, the music a wonderful combination of classic and modern sounds. Not every song is about the often maligned king, however. The album The Pageant Of Torbay Part One is about The Torquay Pageant of 1924, which celebrated the history of that area. Ian Churchward was inspired by a lecture given by David Hinchcliffe about the pageant. The album features all original material, written or co-written by Ian Churchward. Ian Churchward plays guitar, Mellotron and mandola on this album. He is joined by Mike Zarquon (who goes by the name Lord Zarquon) on Mellotron, keyboards, bass and drums; Bridgit England on vocals, keyboards and violin; Phil Swann on guitar, 12-string guitar and slide guitar; and Elaine Churchward on vocals. There are also a couple of guests on certain tracks.

The album opens with its title track, "The Torquay Pageant Part One." The first five words of the song's first line, "A passion for the past took the counties over," seem to describe this project as a whole. Ian Churchward clearly possesses a strong passion for the past. We hear it not only in the subjects of the songs, but in the music's sound. There is a sweet joy to this track, and some beautiful vocal work by Elaine Churchward, who co-wrote the song with Ian Churchward. I love the blending of their voices. The track sets the scene, working as an introduction, welcoming us. Toward the end, Ian sings, "Now the pageant is forgotten," but this album is testament to the contrary. Then "Torre Abbey" has a more somber vibe. This one takes us back to 1196 and the founding of Torre Abbey. "Many gifts and bequests were received/And their faith in God, they truly believed." This track contains some interesting changes that stand out, especially that cool guitar work. What is also interesting is that the song moves forward several centuries at the end, to the dissolution of the monasteries by King Henry VIII in the late 1530s. Yes, this music contains history lessons.

"William Of Orange" takes us to the 1600s, when William of Orange took the crown from King James II. He and his forces landed at Torbay in 1688. This track has a wonderful, bright sound and is catchy. There is some beautiful work on violin in the second half. That's followed by "The Billy Ruffian," the song's title referring to a boat that was known by that name. Officially known as HMS Bellerophon, it is the ship that Napoleon surrendered to. The ship then landed at Torbay. Again, we can learn a lot from these songs, which is great for those of us in the U.S., where knowledge of history is probably a bit lacking. Don't let the idea of learning something turn you away from this album (or any album by The Legendary Ten Seconds, for that matter), for the music can be enjoyed apart from that. This track has a strong beat, and features some excellent guitar work. There is even a great instrumental section that includes hand claps. Sam Swann plays bass on this track.

"Riots In Torquay" opens in a darker place, the tone of its first moments captivating. And soon there is the distant sound of shouts, before a good rhythm is established. This song tells the tale of riots provoked by the high price of food, something we can certainly relate to now. Known as the Bread Riots, and also as the Food Riots, they took place in 1847 and 1867. This song is beautiful, and again there is a wonderful combination of male and female vocals. Some sound effects are used again later in the song, but they are never overwhelming, but rather in the background. The next song, "Torre Station," takes place around the same time, but this one describing a more cheerful occasion, the opening of Torre Station, which occurred in 1848. It begins with the sound of a locomotive. "The whole event was a great success/Banners proclaimed Brunel's broad gauge/Locomotives in the Victorian age." This one ends as it began, with a train leaving the station. "The Wonderful Paignton Pudding" is also related to the railway, beginning with the lines "In August 1859/They extended the Torbay railway line." This pretty number has some electronic elements, some nice work on keys, and a gorgeous vocal performance. Bridgit England co-wrote this one with Ian Churchward.

"Patent 8294" also takes place in the 1800s. This is a song about Isaac Merritt Singer and his patent for the sewing machine. The connection to the album's theme is that he had moved from New York to Paignton. This one has a somewhat different sound from the earlier tracks, the vocals supported by mainly by keys, though there is also a good lead on guitar in the second half. That's followed by "The Torquay Regatta," which begins with some excellent guitar work. This one also has it own special sound, with acoustic guitar playing an important part. This track also features a strong vocal performance. It was written by Elaine Churchward and Ian Churchward. Then "Buffalo Bill In Torquay" tells of Buffalo Bill's Wild West Show's visit to Torquay in 1904. "Riders from many a nation/Bringing great acclamation/Colonel Custer's last stand/With Buffalo Bill in command."

"Arnold's White Feather" begins with a beat. Here Ian sings, "The suffragettes are busy in the town of Torquay/Handing out white feathers to the men that they see." The white feather was a symbol of cowardice. As for the Arnold of the song's title, Ian Churchward tells us, "Arnold Ridley was a teacher at a Torquay school/Received a white feather which was rather cruel/Seen by a suffragette who wore a fox fur/His silver war badge he didn't show to her." And we learn that he had been wounded in the first World War. It was in 1917 that he was handed the feather, not long after being discharged from the service. That's followed by "Agatha Heads Off East," a song about Agatha Christie, who was born in Torquay. There is something beautiful, almost magical about the music here. It is an unexpectedly captivating number, and you might find yourself singing along with the repeated line "It healed her broken heart." This track features a really good bass line and some excellent guitar work.

Interestingly, "The Lady Cable" is another song about a boat, and, like "The Billy Ruffian," it is named after a specific boat. The Lady Cable, a passenger boat, went from Torquay to Dunkirk for the evacuation during World War II. The track begins with the sounds of war. "At Dunkirk there was danger/From the sky, stern and starboard/Called the Lady Cable/She'd sailed from Torquay's harbor." I love the whole vibe of this track, and it features another strong bass line. That's followed by "The Funk Hole Myth." The Funk Hole Myth: Torquay During World War II is the title of a book by David Scott. Apparently, there was an accusation that Torquay was a hiding spot for those who didn't want to contribute to the war effort. Yes, here we get another fascinating story from history delivered in song. One can certainly learn a lot from this album, and be inspired to learn more. And this track features one of the album's best vocal performances. The album concludes with "The Theatre Of Pain," a playful number about the Torquay United Football Club, nicknamed the Gulls. This is a song I could have related to more before 2004, for the Red Sox until that year always managed to find a way to lose (and yet we always had a good time at the park). "Another season goes down the drain/We have such fun at the theatre of pain/Come and watch the Gulls lose once again." Guy Bolt plays drums on this track.

CD Track List

1. The Torquay Pageant Part One
2. Torre Abbey
3. William Of Orange
4. The Billy Ruffian
5. Riots In Torquay
6. Torre Station
7. The Wonderful Paignton Pudding
8. Patent 8294
9. The Torquay Regatta
10. Buffalo Bill In Torquay
11. Arnold's White Feather
12. Agatha Heads Off East
13. The Lady Cable
14. The Funk Hole Myth
15. The Theatre Of Pain

The Pageant Of Torbay Part One was released on September 15, 2020, and then as a limited edition CD on November 29, 2023.

Grateful Dead: "Dave's Picks 2025 Bonus Disc" (2025) CD Review

Yesterday was Jerry Garcia's birthday. Folks are now gathered in San Francisco to celebrate that occasion and also sixty years of the best band that ever existed, the Grateful Dead. The band is long gone (thirty years now), but the music continues, and some of the spirit too (certainly not all of the spirit, as tickets for these Dead & Company shows in the park were $245, a far cry from the free shows the Dead once played there). I held my own little personal celebration here in my tiny apartment, listening to this year's Dave's Picks bonus disc, which arrived with Dave's Picks Volume 54. It contains a portion of the show the Dead did on March 31, 1973 in Buffalo, New York. The disc contains the end of the first set and most of the second set.

It begins with the final song of the first set, "Playing In The Band," and there is a great energy from the start. It isn't long into the jam before we get into some magical territory, Jerry's guitar leading the way, or perhaps creating the way. Things continue moving forward. I love the excitement of the journey. This really is about seeing where the music can go, where it can take us. It's a great dance with whatever forces might exist, meeting them on common ground. To do that, the band has to first get us there. That's the journey. And they certainly manage it here. We begin to experience new possibilities and tangible, if passing, realities, the band teasing them into different shapes, coaxing from them even an answer or two, before then returning to the song's main theme. And, hey, we're back on firm ground, though changed from the experience. Better, more aware, more open. Bob Weir then announced the short break.

The rest of the disc comes from the second set, skipping only the first three songs. Some playful tuning leads into "He's Gone." This version of "He's Gone" isn't quite as stirring, as moving, as the one from the March 26th show (on Dave's Picks Volume 54), but it's still really good. And that vocal section is gentle and sweet at the start, then becomes more energetic, even fun, like a celebration in honor of a life, rather than mourning its loss. The band then pushes into "Truckin'," everyone together driving this monster down that road regardless of obstacles. And the crowd cheers at the mention of Buffalo. There is a great power behind this rendition. It feels like it could move mountains if need be. Fantastic. The jam then gets into bluesy territory for a bit. Bill Kreutzmann is eager for a solo, you can feel it, and he soon gets it. It's not a very long drum solo, but it's good. It sort of functions as a connection between "Truckin'" and "The Other One." This "Other One" has some of the same great power and force as was propelling "Truckin'" forward. It is immediately pulsing and exploding and thumping as if determined to burst through any final wall between here and there. It then pulls starlight, bending the universe to the music's will. It seems to be able to do so with ease, charming the gods, retrieving ancient knowledge from black holes, rescuing a better reality from the darkness. While also breathing in some of that darkness, incorporating it into the dance. Then more than ten minutes into the odyssey, we get back into the main theme, and Bob delivers the song's first verse.

The band then gets into weird territory. This is listed as a separate track, "Jam," though I think back in the day our tapes didn't make such distinctions. But certainly it is a big turn from what we'd been experiencing so far. We are now in less certain territory, the farther reaches of space, where reality is more tenuous and the spaces between objects much larger. Distances change with each breath. A rhythm is created, perhaps to pull those objects together, and the band finds its way into "I Know You Rider." Yes, a rare "China"-less "Rider." And such an interesting choice out of "The Other One." "The sun will shine in my back door someday/March winds will blow all my troubles away." Being as this show was on the final day of March, this was perhaps the last chance for that to happen. It's a really nice rendition. Then after a pause, during which we hear the audience going nuts, the band wraps up the set with "Sugar Magnolia." the moment they begin it, the crowd gets excited again. It's a fun rendition, with a good, long "Sunshine Daydream." What a great way to close out the set.

CD Track List

1. Playing In The Band
2. He's Gone >
3. Truckin' >
4. Drums >
5. The Other One >
6. Jam >
7. I Know You Rider
8. Sugar Magnolia

Dave's Picks 2025 Bonus Disc was released in late April, sent with copies of Dave's Picks Volume 54 to those of us with subscriptions.

Grateful Dead: "Dave's Picks Volume 54" (2025) CD Review

The new Dave's Picks volume (Volume 55) arrived a couple of days ago, and somehow I hadn't yet enjoyed the previous volume. How did that happen? Especially as that volume, Volume 54, contains a show from what is my personal favorite year for Grateful Dead concert recordings, 1973. Well, I had to listen to that one before getting to the new one. Right? There's an order to things, isn't there? Dave's Picks Volume 54 contains the complete show the Grateful Dead performed on March 26, 1973 at Baltimore Civic Center. And it is something special.

Disc 1

The first disc contains most of the first set. That's right, it's a nice, long first set. They kick it off with a classic rock and roll number, Chuck Berry's "Promised Land," to set things in motion. The energy is good, and there is a nice moment with Keith Godchaux rocking the keys. And those final lines are belted out with a delicious power and attitude. Jerry Garcia then leads the band into "Mississippi Half-Step Uptown Toodeloo." This song really clicks when Jerry sings, "I nailed a re-tread to my feet and prayed for better weather." And from there it is a stellar rendition. Jerry is really digging in and tearing it apart vocally. So good! A jam then gets us from there to the "Across the Rio Grande-O" part perfectly. And Jerry's guitar is a great old friend, helping us carefully find our footing. There is a tremendous beauty to the last section of the song.

Bob Weir then takes the band into a fun country dance rendition of "The Race Is On," Donna Jean Godchaux's vocals figuring prominently. Keith gets a chance to cut loose on the piano. The band then finds its way into "Wave That Flag," a new song that would become "U.S. Blues." Whenever I hear one of these early recordings, the lyrics always surprise me. But whatever set of lyrics is used, this song promises a fun time. Though it is a bit odd to hear Jerry sing something as straightforward as "Feed the poor, stop the war." There is a bit of tinkering before they gently move into "Jack Straw," a song that always brought the audience together. And this is an excellent rendition, beginning in sweet territory and taking us down the road swiftly when it needs to, letting us relax when the opportunities arise. "The eagles filled the sky." Keeping things in the same general realm, Jerry starts "Sugaree," the music gently rocking us in its arms. The guitar is dancing at one point, and Phil Lesh's bass shines and smiles. Jerry's vocals become incredibly passionate toward the end, driving things forward.

Things get much lighter, more playful, with "Mexicali Blues." This is a really good rendition. Listen to the way the guitar dances here, during the lead in the second half. Phil then gets a chance to sing, the Dead following "Mexicali" with "Box Of Rain." "For this is all a dream we dreamed/One afternoon long ago." There is a rather sweet jam in the middle, and there are moments when its power swells. It's those sweeter sections that make this one special, I think. The band then eases into "Row Jimmy," featuring a soulful vocal performance from Jerry. His voice is ageless, in a way, for he could always, even when he was young, summon the sort of wisdom and experience in his voice you'd expect of someone several decades his elder. "Not too fast and not too slow." This is a really nice rendition. Then, what is that, twelve or thirteen beats, that kick off this version of "Beat It On Down The Line"? Can you tell how good a performance of that song is going to be by how many beats they choose to open it? I'm sure someone is studying this question. But as for me, I'm just thoroughly enjoying this version. Keith is again rocking the keys, and Jerry delivers some delicious work on guitar.

"Brown-Eyed Women" is one of those songs that kind of quietly grab you every single time. It gets its hooks into you. "Delilah Jones went to meet her god/And the old man never was the same again." There is a bit of stage banter afterward, with Bob saying it's getting to sound like a roller derby up there. They then glide into "El Paso," engaging us all in a dance, a dance that not all characters will survive, even as we urge them on. This is a particularly strong rendition, featuring an excellent vocal performance by Bob, and some outstanding guitar work by Jerry. That character gets to live again each time we listen to this song, and die again. Bill Kreutzmann gives us some playful stuff on drums right after that song. The first disc concludes with "China Cat Sunflower" into "I Know You Rider," and the moment they begin "China Cat" we can hear the crowd react enthusiastically. It's a joyful journey into that other realm, a fast dance through that land. The jam turns pretty, and the segue into "Rider" is smooth. This rendition of "I Know You Rider" has power in all the right places, and is another highlight of the first disc. This disc, by the way, contains more than seventy-eight minutes of music, but the first set isn't yet over.

Disc 2

The second disc contains the last three songs of the first set, as well as a good chunk of the second set. It begins with a pretty rendition of "Looks Like Rain," with a particularly touching vocal performance by Bob. "It's all right, 'cause I love you/That's not gonna change."And that guitar has a whole world of ache and hope behind it. "Whole world's turning grey/And it looks like rain." This is one of the best renditions of "Looks Like Rain" I've heard. Jerry then gets things rocking and hopping with a fun rendition of "Don't Ease Me In." You'd think that would be it for the first set, but no, the guys have a nineteen-minute "Playing In The Band" left in them. You know that means the band is about to take us into the special territory where they are always completely at home. "I don't trust to nothing/But I know it'll come out right." First we start in more grounded space. Bill is clearly eager to get moving. And it isn't all that long after that when the band begins to explore, tearing away layer after layer that separates us from the answers to all of life's most important questions. They find life pulsing all through the universe, and maybe they themselves are the cause, for even starlight responds to the music. Asteroids adjust their course to be closer to the great glow and sparkle of this band, of the notes that go spiraling off into the farther reaches of space. Jerry's guitar is found to be be fluent in every language needed for interstellar travel. All beings understand the music perfectly. Phil's bass becomes a creature's pulse, speaks directly to its source. There is an interesting section led by piano and drums. Bill is dancing at his kit. More unusual space is explored from there, and the ride becomes rather wild at times. The farther out we go, the closer to home we get. There are little hints, familiar elements of the main body of the song. And when things settle enough for us to recognize our surroundings, the band launches back into the song's main theme. And Donna gives her scream. This incredible "Playing" brings the first set to a close.

Interestingly, Woflman Jack introduces the band before the second set. "This is a great party," he says, and urges everyone to light up. While he tells folks to hold up their matches, the Dead start the set with "Ramble On Rose," a song that mentions Wolfman Jack in its lyrics. And Jerry gives that line a little more emphasis this time around. Does Jerry forget the lyrics for a moment at the beginning? No worries, this is still a really good rendition. It's followed by a fun, hopping version of "Big River" featuring an excellent lead by Keith on keys that takes the song to another level. Then we get a really good "Here Comes Sunshine," featuring some nice jamming in the middle. Some tuning follows, and then the guys go into a strong "Greatest Story Ever Told." Wow, this band seems determined to deliver the goods with every song. There is some jamming here too, with a great energy, and Donna cuts loose. The band then eases into "Candyman." Jerry might struggle to find a line at one point, but this an excellent rendition. The second disc wraps up with "Me And My Uncle" and "One More Saturday Night," the latter actually being the final song of the show, but not fitting at the end of third disc where it belongs. It's a rock and roll number to leave everyone dancing.

Disc 3

The last disc contains the rest of the second set, all eighty minutes of it. It begins with "He's Gone," a song whose meaning changed after the death of Ron "Pigpen" McKernan earlier that month. And you feel it here. There is something sad, something contemplative in the vibe, in the delivery, in the pace. The instrumental section seems to be reaching out to him, to a memory. "Going where the wind don't blow so strange." It's a moving and beautiful rendition. As always, that vocal section is wonderful. Donna plays a part in that vocal section, and the band keeps it going long enough that we all feel a part of it. It comes to feel almost spiritual, growing more and more meaningful. There is a release here. And the jam feels like it is guiding a spirit outward with a soft touch and a smile, and then letting go. It is beautiful. As it leads straight into "Truckin'," you can hear, and feel, the crowd getting excited. Everyone feels a part of the journey, a part of the ride. And there is some steam, some power behind it. The jam maintains a good groove, moving folks forward. Suddenly a new intensity comes over it, and things take on more of a blues flavor, even as they begin to stray away from the road, following the sprites into other realms, where the curtain between us and the spirits fades. As things slow, there is a darkness added, and soon the guitar leads us out of this realm and into "Weather Report Suite: Prelude," which is gorgeous. The full "Weather Report Suite" hadn't been played yet, and the band follows "Prelude" with a sweet, rather pretty jam. After a while, the music enters some sharper and more intense territory, but soon passes through to something brighter. The band does not go fully into that area, instead changing directions and beginning "Wharf Rat." They let the theme of the song run a bit before getting into the lyrics. And then listen to the way Jerry sings, "But I'll get back on my feet someday." That whole section is stunning. Then there is a great power and force to the music coming out of that section, paving the way for Jerry's "I'll get up and fly away." This is a stellar rendition, with some great stuff by Bill on drums. The song comes to a gentle ending, and as it does, "Me And Bobby McGee" begins. It does so softly, almost tenderly, and develops into a beautiful rendition that leaves me feeling good. And of course "Eyes Of The World" guarantees that that good feeling stretches out, grows stronger. Always a good song to dance to, "Eyes" has a delicious rhythm and a great vibe, one that carries optimism even in the face of decay. "The night comes so quiet, it's close on the heels of the day." I love the way things build even after the song's final lines, the jam having a structure. There is one point where it feels it might break apart, but then they're back into that rhythm. And this is an early version of "Eyes," so that other cool section in the jam is included. These are my favorite sorts of "Eyes," and this is an especially good rendition. And what an incredible segue into "Morning Dew." Right from the start, it's apparent this is a special "Dew." Just listen to Jerry's delivery of that first stanza. When he sings, "I can't walk you out in the morning dew, my honey," I just want to cry. You can feel the sorrow, and even the despair at the stupidity of mankind's demise. This is a haunting and captivating performance. The guitar too laments the unnecessary end, and screams out into the void, almost demanding a response. "I guess it doesn't matter anyway" is the depressing conclusion to our story. At the end, nothing will matter. But now there is great beauty in this song. It continues to rise defiantly, as humanity may do right to its ultimate breath. What an incredible rendition of "Morning Dew" to wrap up the disc.

CD Track List

Disc 1

1. Promised Land
2. Mississippi Half-Step Uptown Toodeloo
3. The Race Is On
4. Wave That Flag
5. Jack Straw
6. Sugaree
7. Mexicali Blues
8. Box Of Rain
9. Row Jimmy
10. Beat It On Down The Line
11. Brown-Eyed Women
12. El Paso
13. China Cat Sunflower >
14. I Know You Rider

Disc 2

1. Looks Like Rain
2. Don't Ease Me In
3. Playing In The Band
4. Wolfman Jack Introduction
5. Ramble On Rose
6. Big River
7. Here Comes Sunshine
8. Greatest Story Ever Told
9. Candyman
10. Me And My Uncle
11. One More Saturday Night

Disc 3

1. He's Gone >
2. Truckin' >
3. Weather Report Suite: Prelude >
4. Jam >
5. Wharf Rat >
6. Me And Bobby McGee >
7. Eyes Of The World >
8. Morning Dew

Dave's Picks Volume 54 was released in late April. My copy arrived April 26, 2025. This is a limited edition of 25,000 copies (my copy is number 15089). This volume came with the year's bonus disc, which I aim to listen to soon. And then I'll get to Volume 55. So much good music!

Steven Halpern: "Music For Microdosing" (2025) CD Review

Music for microdosing, what a great idea! Back when we were dosing, music always played an incredibly important role. Mostly it was the music of the Grateful Dead that we turned to, always excellent music for some exploration. But certain albums by Talking Heads (Fear Of Music) and David Bowie (Lodger) also worked well. So it makes sense that music should play a role in microdosing as well. I'm not sure how much a microdose actually is, but we also didn't really know how much a dose was. Back in my acid-eating days, we used blotter paper, and I usually took between one and three tabs, sometimes up to five or six. A friend did thirty-two one time, so I suppose for him microdosing would be two or three tabs. Of course, none of this was very scientific. We had no idea how much LSD was on a single tab. And it was likely spread unevenly on the sheet anyway, so if you got a corner piece it might not be as potent as a tab from the center. I suspect it might be a bit more scientific these days, a bit more regulated. But who knows? What concerns us here is the music to go with it. And who better to take us on that journey than Steven Halpern, who has been recording music for inward journeys for five decades. All the music on this album was composed and arranged by Steven Halpern, who plays electric piano and keyboards on these tracks. He is joined by a few guests on certain tracks. By the way, you don't need a microdose (however much that might be) to enjoy the music on this CD, just as you certainly don't need a full dose or two to enjoy the music of the Grateful Dead. The music itself works to improve mood, relax you, and get those creative juices flowing.

The album opens with its title track, "Music For Microdosing," which eases in, like a world welcoming the morning sun. The light, the breeze, the movement of trees all become one thing, and that one thing surrounds us, gently lifts us or settles us, depending on what it is we need. And as we become immersed in it, letting go of whatever stressful things are on the outside, the music feels like it is communicating to us, guiding us. That's followed by "Music Is The Bridge," a title that I love. And indeed here the music is ready to take us from one place to another. A bridge, and also a hand to hold as we cross it. There is a sweet joy to this piece, and a readiness. As Hamlet said, "The readiness is all." This music is like stepping into a waking dream, one you'll be able to remember, one that opens and opens and opens. "Timeless Truths" has a slightly darker feel in its opening moment, like now we are on more solid ground, a more defined space. That doesn't mean there isn't an ethereal quality, for there is. But now there is something nearly tangible about it, as it begins to take form. Like a heaviness to the air, though light is still able to pass through. And we have the sense of a stream toward the end.

"Whisper On The Wind" takes us into a recognizable natural landscape, with tall trees and hills, birds flying from tree to tree. Part of what gives this track that vibe is the presence of guest Jorge Alfano on Shakuhachi bamboo flute. Jorge delivers some beautiful work, and at times there is a wonderful contrast with the more electronic elements of this one, putting us in mind of two worlds combined. Then "Receiving Insights" takes us into a delicate dream, which we float through, as through a tunnel of gently swirling colors, individual lights sometimes approaching us, checking in on us, on our progress, and perhaps subtly suggesting a slight shift in course. And that shift is effortless. And the lights then engage us in dreamlike dance, before easing us out. Michael Diamond then joins Steven Halpern on synth guitar and keyboards for "Mindful Microdosing," which has quite a different feel, more in the electronic realm. Winds across an electronic landscape, or electronic lifeforms taking on the wind. The action, the creatures become captivating. That's followed by "Time Being II," a piece that Steven Halpern included on an album titled Inner Peace (an album that also included "Time Being I") and later on Crystal Bowl Healing. It glides in, feeling like it moves above us, and then through us, until it overwhelms, and we and it are now part of some new entity. And it is then we perhaps feel most calm.

More than twenty years ago, Steven Halpern recorded a piece titled "Deep Journeys." On this new album, he gives us "Deeper Journeys." As it begins, it feels like it is ushering us into our own personal journey within. Elements of the outside are present, perhaps as guides or guideposts, but this is all about a personal inward journey. Sometimes your own image comes in from without. And sometimes a darkness crouches, prepared, and we look into that. "Inner Space Outer Space" is a perfect title, because it often feels these journeys take place in both simultaneously. Rich Horowitz in responsible for the space effects on this cool track. And there is the feel here that the farther out we go, inevitably the farther in we go as well. Michael Manring then plays bass on "Root Chakra Resonance," an interesting track with a hint of melancholy, seemingly overcome by letting go. We hear ripples in the pool, along with ghosts of the past, and the sound grows toward the end. That's followed by "Transformation," which begins with a light that approaches, breathes, affects everything below it. A calm overcomes us, and we slip into a state where we are both relaxed and prepared.

"Heart Mind Coherence" is like a relaxing oasis in the middle of a busy world, as it tries to push away sirens with ocean waves and focus all thought on that calm place. And the place becomes more welcoming, prettier, as we become more and more a part of it. Then "Sonic Elevation" begins in a gorgeous place that takes deep, sonorous breaths. As we drift along, it feels like we've reached a place of acceptance. And perhaps that was inevitable in the face of such ancient magic as the building blocks of life, the tiniest particle taking on a conscience of its own. And then it all settles together, one great being, the whole cosmos. The album concludes with "At Peace In The Present Moment." And perhaps that title states the goal of this entire enterprise, not just a calmness but an ability to remain in the moment. And the music itself gets us there, centers us and soothes us, and makes us ready.

CD Track List

1. Music For Microdosing
2. Music Is The Bridge
3. Timeless Truths
4. Whisper On The Wind
5. Receiving Insights
6. Mindful Microdosing
7. Time Being II
8. Deeper Journeys
9. Inner Space Outer Space
10. Root Chakra Resonance
11. Transformation
12. Heart Mind Coherence
13. Sonic Elevation
14. At Peace In The Present Moment

Music For Microdosing was released on July 11, 2025.

Bobby Blue Bland: "His California Album" (1973/2025) Vinyl Review

Do you have the blues? Of course you do. Who doesn't? This is a perfect time to revisit the music of Bobby Blue Bland, particularly as His California Album has just been re-issued on vinyl, thanks to the good folks at Bear Family Records. Originally released in 1973, this album was the first of two that Bobby Bland released on Dunhill Records. The second, Dreamer, was re-issued by Bear Family Records in 2017. His California Record, which was recorded in Los Angeles, features some great classic blues and soul numbers, including "This Time I'm Gone For Good" and "(If Loving You Is Wrong) I Don't Want To Be Right." It has been remastered and pressed on 180-gram vinyl, and sounds fantastic. Backing Bobby Blue Bland on this album are Michael Omartian on piano and organ, Ben Benay on guitar, David Cohen on guitar, Larry Carlton on guitar, Mel Brown on guitar, Dean Parks on guitar, Ed Greene on drums, Wilton Felder on bass, and Max Bennett on bass. Chuck Findley, Paul Hubinon, Dick Hyde, Ernie Watts and Jack Kelson Jr. make up the horn section. Sid Sharp is responsible for the strings. And the backing vocals are by Ginger Blake, Julia Tillman and Maxine Willard. The album was produced by Steve Barri.

Side A

The record gets off to a great start with "This Time I'm Gone For Good," which has a delicious blues groove, an opening that sounds down and dark and mean and intimate. And then Bobby Bland's gorgeous, cool and soulful voice comes in, telling us, "I should have stayed gone." Soon he begins to raise his voice over that rhythm. "And when I leave this time/Make sure it's understood/That this time I'm gone for good." And the strings begin to rise in power too. But it is that electric guitar that offers the most intimate support. It is that instrument that will accompany him wherever he goes, if he goes. After all, he says, "It's so hard for me to leave you." What do you think, friends? Is he really gone for good? He takes things in a different direction with "Up And Down World," which features a catchy bass line. Here he tells us the woman is leaving him all alone. "But remember what goes around/Also comes around too/Because it's an up and down world/It's an up and down world." Oh, it certainly is. And now it seems mostly down, doesn't it? But as I said, I suppose that makes it a perfect time for these blues. And I am seriously digging the horns, which give the song that great, classic sound and help make us feel we'll get through the down parts. Hold on, everyone. Don't give up.

"If I ever feel the light again/Shining down on me/I don't have to tell you/How welcome it will be." Bobby Bland delivers a moving reading of those opening lines of "It's Not The Spotlight," setting the tone wonderfully. About that special light, he tells us, "I've seen it shining in your eyes." This is a hopeful song. It's when I look in my girlfriend's eyes that I feel my most optimistic about the world, about life. This track features some nice backing vocal work. Then "(If Loving You Is Wrong) I Don't Want To Be Right" seems to come from a place deep in the night, a time when things take on a special focus, and an unusual light comes into play either from within or without. Once that atmosphere is established, Bobby Bland delivers that first line, the title line, and we hear a whole history in his delivery, in his voice. There is a story that leads to that line, and we feel that even if there were no other lyrics, we'd have a pretty good idea of that story just from the way he sings that first line. But of course there is more, and this track contains one of the album's best vocal performances. There is also some cool work on keys, and more good guitar work.

The record's first side concludes with "Goin' Down Slow," a song that comes from the edge, looking into the abyss, and yet there is a delicious groove, particularly on piano. Who would have thought there'd be such a good feel there at the edge? "I've had my fun/If I don't get well no more/I said I've had my fun/If I never get well no more/Said my head is feeling kinda funny/Lord, and I'm goin' down slow." The song soon gets a bit funky, and the horns make things begin to feel like a celebration. Then the guitar begins to sing, and the band jams. Check out that work on organ. This is the way to go, if we have to go. And there is some good work from the backing vocalists at the end.

Side B

The second side opens with "The Right Place At The Right Time," which has such a good vibe from the start, sort of in the same realm as the Grateful Dead's "Eyes Of The World" in that opening section. This song offers some advice, and Bobby Blue Bland is the right one to deliver that advice. "If you want something in this ol' world/You've got to be at the right place at the right time." This is a song urging us to make something happen, to take charge of our lives. "If all you do is sleep all day/You can't expect nothing but a dream," he warns us. Bobby Bland slows things down then with "Help Me Through The Day." Right away we learn he doesn't just need help in the daytime, for he opens the song with these lines: "Help me through the day/Help me through the night, lord/Darling, your sweet loving/Will make everything all right." That's it, isn't it? It always comes back to love. We have to help each other, help those we love. "I can see so much pain/Deep inside your eyes," he sings, and we hear the truth of those words in his passionate delivery. This track also contains great stuff on strings, as well as a really good lead on guitar.

The energy is then higher on "Where My Baby Went," a track with a good funky vibe and some excellent work on horns. "Show me a woman that likes luxury/And the green grass on the other side/Show me a woman who has it all/And I'll show you one that wasn't satisfied." That's followed by a mellower number titled "Friday The 13th Child." I like the play in its title and first line, but this is a rather somber number. "Mother nearly died in pain/And you never look over your shoulder/Friends and family you'll never see again/Friends and family you'll never see again." Bobby Bland delivers a great, soulful performance, supported by the strings. The album concludes with "I've Got To Use My Imagination," which has a meaner vibe. "I've really got to use my imagination/To think of a good reason/To keep on keeping on/I've got to make the best of a bad situation." Yeah, those opening lines speak to us strongly these days, when the whole country is in a bad situation. This is a great blues number, the guitar acting as a good companion.

Record Track List

Side A

1. This Time I'm Gone For Good
2. Up And Down World
3. It's Not The Spotlight
4. (If Loving You Is Wrong) I Don't Want To Be Right
5. Goin' Down Slow

Side B

1. The Right Place At The Right Time
2. Help Me Through The Day
3. Where My Baby Went
4. Friday The 13th Child
5. I've Got To Use My Imagination

This vinyl re-issue of His California Album was released on July 11, 2025 on Bear Family Records. By the way, there is an insert included in the record sleeve, with images of other vinyl releases, records I certainly want to add to my collection, including Etta James' Tell Mama (I think I have that on CD, but it feels like one that needs to be on vinyl) and Frank Frosts's Hey Boss Man.

The Mekons at Wild Honey Backyard Amphitheater, 7-27-25 Concert Review

The Mekons performing "Millionaire"

Is there anything better than catching a full-band Mekons show at a club? Yes: catching a full-band Mekons show at the Wild Honey Backyard Amphitheater. Following the group's fantastic Saturday night concert at Lodge Room, the Mekons played a very different sort of venue Sunday afternoon. "This is not the Mekons of last night," Jon Langford said when they took the stage just after 4 p.m. "This is a different Mekons." Same folks, same instruments, some of the same songs, but a different approach, a different vibe. A looser, more relaxed vibe. "See how relaxed Sally appears," Jon said. The place has a freer atmosphere. If you attended one of the shows that Jon Langford and Sally Timms played at this location, you know just what I mean. If you live in Los Angeles, and haven't attended a Wild Honey show, I highly recommend checking these folks out. They organize spectacular concerts, and for a great cause (that is, apart from the mental well-being of Los Angeles residents, which is also an important cause).

"Lost Highway"

There was no opener at the show, and, perhaps for that reason, the Mekons played two sets. The first set focused on music from Fear And Whiskey, released in 1985 and still regarded as one of the band's best albums (as well as an influential album). Jon joked about how when the album initially sold out, the band asked who was buying it. When the answer was "People in America," the band's response was, "Oh no, we'll have to go there." Now, of course, some of the band members, including Jon, live in the United States. They kicked off the set with "Lost Highway," the only cover on Fear And Whiskey. The song was written by, and originally recorded by, Leon Payne. It is the final song on Fear And Whiskey, and also a delightful way to open a concert. The song featured a good lead by Susie Honeyman on violin, plus some nice work by Rico Bell on accordion. And the afternoon was off to a wonderful start. By the way, I'm saying it's a full-band show, but Lu Edmonds was not with them because he is on tour with his other band, Public Image Ltd., at the moment.

"Last Dance"

The band followed "Lost Highway" with another song from Fear And Whiskey, "Abernant 1984/5," a fun song, and one that it was difficult to remain seated for. Afterward Sally addressed the whole seated show thing, saying the band is used to folks being seated because they played several City Winery gigs on this tour. But here the audience was at least facing the stage. The City Winery is certainly not the best place for a concert. Years ago, it was okay, at least for folk shows. The tables were spread out, and no one hassled you about purchasing anything. At least, that was the case in Boston. But that has changed. Now it is tight quarters, the chairs face the tables (unless you move yours, as I did when I recently saw Air Traffic Controller), and there is an amount you have to spend on food and drink (in addition to the ticket price). And staff keeps serving food throughout the show, which is annoying. I heard folks at the recent Boston Mekons show found spots to dance, which is great. Anyway, the band stuck with material from Fear And Whiskey, following "Abernant 1984/5" with "Last Dance," "Flitcraft," "Chivalry" and "Hard To Be Human Again." Yes, six songs in a row from that fantastic album (which, by the way, was for sale on vinyl on the merchandise table). Before "Flitcraft," Sally talked a bit about the Flitcraft story in the book The Maltese Falcon. Jon added, "It's a waltz, if you want to." I'm not sure if anyone managed it, because I didn't turn around to check. The folks around me in the front were doing sort of solo waltzes on their chairs, which amounted to a bit of swaying, I suppose. But really, whether seated or standing, everyone is easily immersed in the music of this band. Sally introduced "Chivalry" as one of her favorite Mekons songs, and the band delivered an excellent rendition yesterday. And "Hard To Be Human Again" was just fucking great. There was no kazoo (Sally said the night before that her kazoos were packed away), but Rico delivered some excellent work on harmonica.

"Oblivion"

It was clear that the band loved this venue as much as the audience did. Sally said she wished all shows were afternoon shows, and Jon mentioned another afternoon show where they played four songs and were done by 1 p.m., that being their Tiny Desk show (which I didn't even know about, and haven't yet seen). The band then moved on from Fear And Whiskey, playing "Oblivion," which was on the band's next album, 1986's The Edge Of The World, and featuring Sally on lead vocals. It's such a good song, and I love Dave's heavy bass part. Tom then took over lead vocals on "(Sometimes I Feel Like) Fletcher Christian," a song from So Good It Hurts. Yeah, they were sticking with 1980s material during the first set. That song featured some good drumming by Steve. "This isn't the end," Jon said, when announcing the final song of the set, "Beaten And Broken." "And the halftime show's going to be amazing." That last song was originally included on the compilation Original Sin, released in 1989, so the entire first set was made of material released in the second half of the 1980s. "Beaten And Broken" was later included on Jura, which was released in 2015. "I'd love to pass out on your shoulder." That's such a great line. The first set ended at 4:51 p.m.

"Sanctuary"

At 5:12, Jon was back on stage. "Just me this time," he joked. The others soon joined him. While the first set focused on Fear And Whiskey, the second set focused on the band's new album, Horror, which was released in April. Interestingly, just as the first six songs of the first set were from that earlier album, the first six songs of the second set were from the new release. And Jon shouted the name of the album when introducing it, as he did the previous night at Lodge Room. It's a word that needs to be shouted these days, isn't it? And if anyone is not horrified by what this country is doing to itself, he or she is part of the cult responsible for the horror. The band opened the second set with "Sanctuary," one of the album's best tracks. Susie came to the front of the stage for this one, she and Sally delivering an absolutely beautiful vocal performance. That was followed by "Mudcrawlers," with Jon first telling something of the story behind the song. And then they gave us "War Economy," a song I loved when I first heard it, and which I love more each time I hear it. If you don't yet own the album, I recommend ordering yourself a copy of it. This song has a fantastic punk spirit. And even though these songs address serious topics, they were delivered with so much joy that the crowd was smiling throughout.

"Fallen Leaves"

Next up was "Fallen Leaves," a gorgeous song that features Rico on lead vocals. Sally introduced Rico as an ex-Highland Park resident. I am never sure exactly where the various neighborhoods of L.A. begin and end, but the Saturday show was in Highland Park, and that wasn't all that far from where the Wild Honey show was. So if we weren't in Highland Park yesterday, we were certainly close to it. Jon introduced the song: "This is from our latest album, Horror," again shouting the album's title. He then added, "Sorry, neighbors." That was followed by another excellent song from Horror, "The Western Design," which is the lead track on that album. This was a particularly good rendition. At that point, more of the band members got involved with Jon's play on the delivery of the album's title, and even the sound person got in on the running joke. The sixth and final song from Horror was "You're Not Singing Anymore," with Rico again on lead vocals. And, yes, it's another wonderful song. Really, this album needs to be in your music collection.

"The Curse"

Sally then announced they were then moving into the past, and that the next song was not one she approved of putting on the set list. She misspoke, first calling the set list "the guest list," which led Jon to say the song was not on the guest list, the set list or the Epstein list. The song, "Ghosts Of American Astronauts," from So Good It Hurts, featured Sally on lead vocals, and included some excellent guitar work by Jon near the end. "Here's another rarity," Sally said afterward, introducing "Only Darkness Has The Power," a song from The Mekons Rock 'N' Roll. So, yeah, they had moved back into the late 1980s. "Do you trust me to tell the truth? Do you trust me?" After that, they dipped into the 1990s with "Millionaire" from I Heart Mekons, Jon saying the song has been rendered meaningless by inflation. As at the show the night before, at the end they changed the word to "billionaire," adding "We hate them billionaires." The set ended with "The Curse," which was a whole lot of fun. "Listen to our battle cry." The set, and the show, ended at 5:57 p.m. There was no encore, though according to the set list, two songs had been planned ("Corporal Chalkie" and "The Prince Of Darkness"). It was a perfect afternoon of music. What more could we ask for?

Set List

Set I

1. Lost Highway
2. Abernant 1984/5
3. Last Dance
4. Flitcraft
5. Chivalry
6. Hard To Be Human Again
7. Oblivion
8. (Sometimes I Feel Like) Fletcher Christian
9. Beaten And Broken

Set II

1. Sanctuary
2. Mudcrawlers
3. War Economy
4. Fallen Leaves
5. The Western Design
6. You're Not Singing Anymore
7. Ghosts Of American Astronauts
8. Only Darkness Has The Power
9. Millionaire
10. The Curse

Here are a few more photos from the show:

"Lost Highway"

"Abernant 1984/5"

"Abernant 1984/5"

"Hard To Be Human Again"

"Beaten And Broken"

"Sanctuary"

"Sanctuary"

"War Economy"

"Fallen Leaves"

"Ghosts Of American Astronauts"

The Mekons at Lodge Room, 7-26-25 Concert Review

The Mekons

The nation has gotten ugly, but there is a lot of great music that will carry us through these nasty times. It feels more important than ever to gather together and celebrate. Celebrate what? you might ask. Well, this! This whole crazy thing. That we're here at all. And that we get to be here at the same time as the Mekons. They released a new album, the aptly titled Horror, and decided to go on tour with it. Yes, a full band tour. It's been several years since they've done it, so this is certainly something to celebrate. The tour started in the UK in May, then moved through Europe, with stops in Berlin, Prague, Vienna, Munich and Paris (among other cities). Then they came to the U.S. early this month, playing Minneapolis, Milwaukee, Chicago, Pittsburgh, Boston, New York, and several other places back east. The last leg of the tour is the west coast, which started with last night's show at Lodge Room in Los Angeles. The band delivered an excellent set that included several songs from the new album, as well as older gems.

Kendall Jane Meade

The concert began with an opening set by Kendall Jane Meade, who was joined by Eleanor Whitmore on violin and Mellotron. Jill Sobule had been scheduled originally to open this show and every show on the west coast part of the tour. After her shocking death in May, several fans wondered if the band would have an opener at all. It must have been difficult for Kendall Jane Meade to come in under the circumstances, but she delivered a really beautiful set. The show was scheduled to start at 8 p.m., and at 7:59 she and Eleanor took the stage so as to start promptly. Kendall opened with "The Garden," the lead track from her new album Space, an incredibly pretty song. "There's no rest for the weary/And your heart can't hear me/Wait for me." Her set focused on songs from Space, including the title track, "Off The Grid," "Solo" (which featured an excellent lead on violin), "Stereo," "I'd Like To Know Myself" and "Heaven On A Car Ride." Before that final song, she asked if someone could cue the disco ball, and then as she started the song, the ball began to spin, bathing both performers and audience in bright sparkles. Her set ended at 8:33 p.m., and Sally Timms came out to take a moment to honor Jill Sobule.

"Oblivion"

At 9 p.m., the Mekons took the stage, and you could feel the joy in the room even before they played a note. "Thank you for coming out," Sally said. Jon Langford gave the briefest of introductions: "We're the Mekons; we're from Leeds." And they launched into "Beaten And Broken," a song from Jura. There was a fantastic energy, with an enthusiastic vocal performance, right from the start. It's a great choice of opening songs. They kept the energy high with "Mudcrawlers," the first song of the night from Horror, and when Jon mentioned that, he shouted the name of the album. It was doubtful there was anyone in the room who didn't feel that what this country is doing to itself is horror, and so that shout was received with a sort of catharsis. The band then went straight into "I Heart Apple," a song from I Heart Mekons, with Tom Greenhalgh on lead vocals. Drummer Steve Goulding got "Keep On Hoppin'" started with a beat that might remind you of a certain Sweet song, leading Jon to ask, "Are you ready, Steve?" The band seemed to be flying through the set, but after "Keep On Hoppin'" there was some of that banter that we've come to love from these guys, with Jon calling Sally the "queen mother of punk rock." Sally then sang lead on "Oblivion," a wonderful song from The Edge Of The World. Afterward she thanked the folks at Lodge Room for the "beautiful Mekons cake and flowers in the dressing room." Lodge Room is a cool venue, with a nice, relaxed vibe. This was only my second time there (the first was a Yonder Mountain String Band concert a couple of years ago), and I really liked the place.

"War Economy"

Jon introduced "War Economy" as a song from the new album, once again shouting the word "Horror." This song featured a great lead vocal performance from Tom, a sort of perfect punk snarl that captures the mood of the nation, or at least of those of us who haven't succumbed to the moronic cult. "Isn't it always a war economy?" Sally commented afterward. In introducing "Sympathy For The Mekons," Jon joked about how they tried to sell their souls to the devil, but it didn't work. This song featured some great stuff by Rico Bell on harmonica. A woman named Shirley was celebrating her sixty-fourth birthday last night, and for the occasion had purchased sixty-four tickets to the show to share among friends. She was also letting the band stay in her house, and so the Mekons led the crowd in singing "Happy Birthday To You." They then played "Chivalry," and the line "Fear and whiskey kept me going" got a big cheer, in part because the line mentions the title of the one of the band's most beloved albums, 1985's Fear And Whiskey, but also because fear and whiskey probably are keeping many folks going these days. Sally then mentioned that they had vinyl copies of that album available at the merchandise table (yes, I bought one).

"Neglect"

Jon talked about how certain songs had been forgotten for a while, including the next song they were going to play, "Love Letter," from I Heart Mekons. When no one in the audience clapped at the mention of the song, Sally quipped that everyone else has forgotten this one too. Sally was on lead vocals, delivering an absolutely beautiful performance. "Offend me and you'll see/Just how much trouble I can be, my darling." They finished the song, then began it again, this time as a disco number. "Welcome to our new direction," Sally said. "What do you think?" People were into it. I think fans of this band are ready to go with them no matter the direction they choose. After all, they've gone in many different directions over the course of nearly fifty years, not steering their fans wrong yet. Well, the next song wasn't forgotten by anybody, judging by the crowd's reaction. And that was "Last Dance," from Fear And Whiskey. This song was so much fun. "I wanted to say fall in love/I wanted to say fall in love with me." Tom said the next song, "Neglect," was about money, leading Susie Honeyman to ask him (off microphone), "Is it about money?" It was another fun one, this one coming from Journey To The End Of The Night. "I can smell the truth of this lie."

"You're Not Singing Anymore"

"This is another song off our new album, Horror," Jon said, stressing the word "horror." The song, "You're Not Singing Anymore," is one of my favorites from the album, and it was fantastic to hear it last night. They followed that with "Lyric" from The Curse Of The Mekons. And then they gave us "Millionaire," first sort of joking that inflation has made this song obsolete, that all of us in the audience must have been millionaires to afford to live in this city. Perhaps to afford to live at all. Both Sally and Jon, during the introduction, mentioned the hope that the concert was a joyful experience for everyone. Like I said, that is exactly what we need, and likely the very reason people did come out for the show. We are looking for that uplifting experience, that joyful experience with others. Having a drink, dancing around to one of the world's best bands, getting to know some of the others in the audience. Yes, what the band hoped would happen is exactly what did happen. Toward the end, they swapped in the word "billionaire" for "millionaire," and at the very end sang, "We hate them billionaires/Strap them to the electric chair/We hate the billionaires." The crowd loved it. The band wrapped up the set with a couple of high-energy numbers, "The Curse" and "Hard To Be Human Again," everyone dancing with abandon, fully immersed in the great joy of the moment. Jon then introduced the band, called Dave Trumfio "Baron Von Trumfio." I thought he might call him "Nervous Boy," referring to his new solo project. Anyway, in introducing his band mates, Jon left himself out, leading Sally to ask, "Who are you?" "I'm Brad fucking Pitt," Jon answered.

"Where Were You"

A couple of minutes later the band returned for the encore. Someone in the audience shouted out, "Come on, Brad!" Jon heard him, clearly happy that someone was running with the joke. The encore began with "Fallen Leaves," a beautiful song from Horror. The fun "Big Zombie" followed, which featured some good stuff on accordion. "I'm just not human tonight." Then, when folks heard that familiar guitar part at the beginning of "Memphis, Egypt," there was a loud cheer. "Destroy your safe and happy lives before it is too late." Most people were singing along with this one. They ended the show with "Where Were You," that great punk song from the beginning of the band's career.

Set List

1. Beaten And Broken
2. Mudcrawlers
3. I Heart Apple
4. Keep On Hoppin'
5. Oblivion
6. War Economy
7. Sympathy For The Mekons
8. Happy Birthday To You
9. Chivalry
10. Love Letter
11. Last Dance
12. Neglect
13. You're Not Singing Anymore
14. Lyric
15. Millionaire
16. The Curse
17. Hard To Be Human Again

Encore

1. Fallen Leaves
2. Big Zombie
3. Memphis, Egypt
4. Where Were You

Here are a few more photos from the night:

"The Garden"

"Beaten And Broken"

"Beaten And Broken"

"Beaten And Broken"

"Mudcrawlers"

"I Heart Apple"

"Keep On Hoppin'"

"War Economy"

"Lyric"

Lodge Room is located at 104 N. Ave 56 in Los Angeles, California.