Fernando Perdomo: "Waves 3" (2025) CD Review

At the beginning of the year Fernando Perdomo embarked on a special project, a series of albums titled Waves, a new one released on the first day of each month. A new album of original material, that is. And so far each release has had ten tracks. That's a heck of a lot of new material to be composing and recording every month. He also plays all the instruments on these albums. If this is making you feel that maybe you haven't been using your time productively, join the club. Fernando Perdomo makes the rest of us look like lazy oafs. So be it. At least we get to listen to the music while we're lying about, accomplishing little. And the music is wonderful. These instrumental tracks take us on individual journeys.

There is a dreamlike atmosphere to the opening track, "True Passion Is Like A Storm," from the beginning, even in its pace. There is no hurry here. There are moments in this track when I think of a stylized love scene from some late 1980s movie, where it's done as a montage and there is smoke and unusual lighting, there is that sort of vibe. And then the guitar really takes off. That lead in the middle is exciting, the kind of thing that shifts worlds, just as true passion does. That's followed by "Lifeline." An interesting atmosphere is established early on, with spirits or creatures marching out of the mists to that beat. And there are things falling from the sky, streaking down around us, burning bright, but these obstacles do not impede the forward movement. And the guitar feels like it is somehow reaching across that barrier between life and death, between now and then, with a timeless strength and knowledge, announcing it is here to help. This track also features a really good bass part, particularly that section in the middle. At the end, the music seems to be charging up for another journey, another challenge.

Fernando Perdomo switches to a pretty acoustic sound, a more natural vibe for "The Mayan." This song is dedicated to David Crosby (he owned a boat called The Mayan). It's difficult to believe that more than two years have passed since the world lost him. I am fortunate that I got to see David Crosby in concert several times: in CSN, in CPR and solo. This track features some wonderful guitar work. It gives the sensation of being out in nature, a space and time for reflection, that impression aided by the sound of water running, like a stream. "Safe Harbor" also has a beauty and warmth, with a vibe that is both loving and friendly, comforting, something that makes us feel good. In the second half, it takes us into a more magical land, and we find ourselves at home there. I love the way this music transports us. There is an undeniable passion to "Anything For You,"  perhaps even a sense of urgency felt at the beginning, like how we feel when a person we love is in need, and we are eager to help, to find a solution, to make everything better right away. It seems that perhaps this guitar can take care of all of us.

The music goes in a different direction with "Dos Mutantes," the title a play on the name of that great Brazilian band Os Mutantes. And, yes, this track certainly has something of an Os Mutantes sound, particularly in the guitar work. This is a very cool and fun track. Fernando Perdomo is having a good time with this one. Fans of Os Mutantes will undoubtedly appreciate this, and for everyone else, this track will probably get you curious about that band, and that's a good thing. "Dos Mutantes" is followed by "The Fifth," which has a kind of cool, somewhat laid-back 1970s vibe with progressive elements, the kind of tune that makes us feel not completely tethered to this planet at times, like we are finding ourselves as parts of constellations, encountering other lifeforms, and then relaxing again. The universe is fine, isn't it?

"The Gulf" makes me think of being at the beach, for it has both that sense of excitement of the ocean along with some soothing elements. There is an energetic pulse running through it. Then "Heaven Appears Before You" is like a delicate dream, a flower opening, having a beauty that is both eternal and ephemeral. Sometimes it seems like all of eternity can exist in a single moment. I suppose it is fitting that this is one of the album's shortest tracks. The album then ends with a rock song, "Pacific Coast Highway," a high-energy, exciting number. The guitar rocks and soars, and at times is quite uplifting. There are some interesting twists and turns here, but at heart this is solid rock number, a delicious jam. When it begins to fade out, you get the feeling this one could have delivered another few minutes of greatness.

CD Track List

1. True Passion Is Like A Storm
2. Lifeline
3. The Mayan
4. Safe Harbor
5. Anything For You
6. Dos Mutantes
7. The Fifth
8. The Gulf
9. Heaven Appears Before You
10. Pacific Coast Highway

Waves 3 was released on March 1, 2025.

Vince Santoro: "Exposed" (2025) CD Review

The list of artists that drummer Vince Santoro has played with is fairly impressive, and includes such folks as Edgar Winter, John Prine, Roseanne Cash, Mary Chapin Carpenter, Julian Dawson, and Carlene Carter. Now after decades of supporting other artists he is releasing his first solo album. Titled Exposed, it features all original material, written or co-written by Vince Santoro. And this time Vince Santoro is the one getting some support, and he does so principally from the talented and accomplished George Marinelli, who knows a thing or two about solo albums, having played all the instruments on his own recent release, Except Always. Here he plays electric guitar, acoustic guitar, slide guitar, bass guitar, keyboards, harmonica and percussion, and produced the album. By the way, Vince Santoro, in addition to the drums, plays guitar and bass on this album, and sings lead. He is also joined by Barbara Santoro on backing vocals and piano, and by a few special guests on certain tracks.

The album opens with its title track, "Exposed," which has a great, solid rock vibe and a strong beat, as you'd expect. But what really stands out is his vocal performance. There is a delicious energy to his approach. This is a sort of love song that is all about willingly, even eagerly being vulnerable. "I'm exposed/And I don't care/My heart's parading through the street/Without its clothes/My love laid bare/For all to see/My masquerade has come/Crashing to a close." And I love the word play in the lines "She may not be in my future/But if I can get past that/I know I can face/Whatever happens," that great play on "future"/"past." What a good opening number. Then Jim Hoke joins Vince Santoro on horns for "Rec Room," a song with a ska flavor. This one will take many of us back to our childhoods, when we were learning to play instruments, making a great deal of noise, as Vince mentions in the first stanza. It's a song about all the glorious goings-on in the rec room. Do people still refer to that room as a "rec room"? We heard that phrase all the time when growing up, but I haven't heard it much since then. The song takes us from childhood to the adult years when he's the one dealing with the noise, but doing so joyfully. There are some delightful touches to this track, such as the backing vocals echoing the word "romance." And of course Jim Hoke's contributions are a large part of the track's appeal.

Vince Santoro changes gears with "For Adeline," a song of loss and perseverance. There is a contemplative air to this one, and also a warmth. "A day will come when I'm alone/And life is feeling somewhat normal/No longer holding back." It's a pretty song, with a heartfelt vocal performance. "I'll beg the clouds to block the sun/A welcome rain will mark the day when/I'll get my crying done." I'm not sure the crying is ever done, but it comes less frequently. There is a dreamlike quality to this one, sort of outside of time, and the track contains some nice work by Barbara Santoro on piano. And then the rain comes in the next track, "Long Slow Rain." This one features a cool vocal performance, especially on the chorus. "All my troubles seem to fall away/Time don't mean a thing/In a long, slow rain." I love the way he delivers those lines. This is about how time and everything can slip away when you're fishing, and how pleasant that feeling is. This is the track to feature George Marinelli on harmonica, that instrument really helping to set the tone. Also adding to the sweet vibe of this track is the whistling at the end.

The track list on the back of the CD case indicates that "Everything" is next, but actually it's "I'd Be Dancing Too," which is a cool, kind of slow rock number with a bit of that country rock thing reminiscent of some of the early 1970s Rolling Stones output. This song celebrates the power of music for each of us, how a song can stay with us throughout a day. "She's got a song going on in her head/That's what's it's gotta be/A song goin' on in her head/Wish that we could hear it/If only we could hear it/Maybe we'd be dancin'/We'd be dancin' too/Yeah, maybe we'd all be dancing." Jonell Mosser joins Vince Santoro on vocals. This is one of my personal favorites. Then we get "Everything," a fun song with a delicious beat and with something to say, something we can embrace and enjoy, particularly in these days when so many people frustrate and irritate us with their garbage. "I can't digest your word salad/And it isn't just one thing here/Or one thing there/It's everything - every word of/Every sentence that you said/There's every chance that I'm dumber/Having let you in my head." I feel like we all get a little dumber with each minute that we spend on social media sites, and certainly every moment we listen to any nonsense from those currently in power. This is another of my favorite tracks. It's one you might want to play at loud volume and sing along to. I love this song.

The first line of "Too Familiar Sight" makes me smile each time I listen to this album: "You don't have friends - I can see why." At that point, I'm still within the mindset of the previous song, and applying that line to the people I was thinking of before, which works just fine. But very quickly this song sets itself apart. And it is a fun one, a look at one's self from an interesting perspective. Benny Harrison joins him on keyboards and backing vocals. Then "What's That Like" is told from the perspective of a homeless person. There is the sound of rain at the beginning, what the person is experiencing being in contrast to what he is describing in the first lines: "Warm and cozy in your house at night/Plenty to eat/Family beside you/What's that like? What's that like?" This one was written by Vince Santoro and Barbara Santoro. The album concludes with "Shade Tree." Most of us have, at least at some time, the urge to wander, but this song is about making a permanent home, putting down roots and enjoying the place where you are, which also certainly has its appeal. As the song progresses, it has a good amount of soul, featuring some wonderful backing vocal work. This track also features a really good lead on guitar.

CD Track List

1. Exposed
2. Rec Room
3. For Adeline
4. Long Slow Rain
5. I'd Be Dancing
6. Everything
7. Too Familiar Sight
8. What's That Like
9. Shade Tree

Exposed is scheduled to be released on June 6, 2025.

Emma Wilson: "A Spoonful Of Willie Dixon" (2025) CD Review

Emma Wilson is a singer and songwriter working in the blues realm. She released her first full-length album, Wish Her Well, in 2022, and then won the "Emerging Blues Artist Of The Year" award at the UK Blues Awards. She followed that with Memphis Calling in 2023, that album containing a mix of original material and covers. One of the covers on that album is Willie Dixon's "I'm Your Hoochie Coochie Man," which she retitled "Hoochie Coochie Mama" for her version. And now she has released an album of Willie Dixon songs. Playfully titled A Spoonful Of Willie Dixon, it contains excellent renditions of some of his well-known tunes. Willie Dixon was an incredibly influential blues musician and songwriter. Even if you haven't listened to any Willie Dixon records (and if you haven't, you've been missing out), you have heard his material. Lots of artists have covered his songs, including The Rolling Stones, The Paul Butterfield Blues Band, Etta James, Cream, Led Zeppelin, Grateful Dead, and Tom Petty & The Heartbreakers. So these songs (or at least most of them) will likely be familiar to you. Emma Wilson is backed by Mark Barrett on drums, Ian Leese on bass, Nik Svarc on guitar, and Bennett Holland on organ and piano.

Emma Wilson opens the album with "Spoonful," a song that Willie Dixon wrote, but one that Howlin' Wolf recorded. This is one of the first Willie Dixon songs I heard when I was a kid, but it was the Cream version that I first heard. And then I heard the Grateful Dead cover it before ever hearing the original recording. I love the way Emma Wilson tackles it. Her delivery has attitude. There is something deliciously dirty about it. She teases out some of the words, dragging them along the floor, having her way with each syllable before letting it go. There is also some fantastic stuff on guitar. And check out that work on keys. The band gets a chance to jam a bit here. This is a phenomenal rendition, and a great way to kick off the album. Things then get fun on "Good To The Last Drop." This track has a delightful groove, the band getting loose here, having a good time. I am particularly fond of the work on keys. It seems Emma Wilson is too, for during that lead, she exclaims, "Wooo!" and then "Yeah!" You too might find yourself shouting and hollering in response. This track feels like a celebration. This song was written by Willie Dixon, Buster Benton and Marie Booker.

Emma then delivers a seriously cool rendition of "I Can't Quit You Baby." This is a song that Led Zeppelin covered, one that the band actually gave Willie Dixon credit for on the record (those guys weren't always good about that, the little thieves). This track features some outstanding guitar work and, yes, more great stuff on keys. And I love the way Emma draws us in closer with her vocal performance, and then once she has us, she raises her voice, tearing into us. "When you hear me howling, baby." Oh yes, yes, yes! That's followed by "Wang Dang Doodle," a song I first heard done by the Grateful Dead. Emma Wilson's rendition moves a good clip. The Dead did a slower, meaner version. This version almost swings. That doesn't mean it's devoid of attitude. Emma is clearly having fun with this song, and this track contains more great stuff on guitar. Bennett Holland is rocking those keys in the second half. You can almost hear applause when he finishes, as you would if this were a live performance. And just when you have come to realize that this version is a little party, there are hand claps to confirm it.

"I Want To Be Loved" is a song that the Rolling Stones covered early in their career. Emma Wilson offers a cool rendition that struts about. And how can you not love the way she delivers the song's title line? So good, so delicious. The song takes off from there, with another impressive guitar lead that feels just right. She closes out the album with "It Don't Make Sense (You Can't Make Peace)," a song from much later in Willie Dixon's career. This one was included on his 1984 album Mighty Earthquake And Hurricane. I need to add that album to my collection, because this is a fantastic song. The song is about how with all of humanity's accomplishes, it is ridiculous that one thing we can't do is stop fighting each other. This version by Emma Wilson eases in, setting the mood and taking its time, which is wonderful. She and the other musicians take the opportunity to stretch out a bit here, this version nearly twice the length of Willie Dixon's original recording. Emma really does a phenomenal job with this one, delivering a captivating performance. This track is haunting and hypnotic at moments, and engaging the whole way through.

CD Track List

1. Spoonful
2. Good To The Last Drop
3. I Can't Quit You Baby
4. Wang Dang Doodle
5. I Want To Be Loved
6. It Don't Make Sense (You Can't Make Peace)

A Spoonful Of Willie Dixon was released on May 2, 2025.

Dashdown: "Jaguar" (2025) CD Review

In late January, singer and songwriter Dave Ashdown released a book of his lyrics titled Lyrics From The Heartland, that book featuring lyrics from his work in the band Waiting For Henry as well as his solo output, which he records under the name Dashdown (usually written as dASHDOWN these days). The four songs of his new EP, Jaguar, are included in that book, so folks were able to read the lyrics before hearing those songs, and perhaps develop their own ideas of how the songs might sound. The EP has since been released, so now those folks have a chance to discover if their own ideas were close to what was recorded. As for me, in some cases, different lines stood out while listening to these songs than when reading the book. Dave Ashdown plays guitar, bass and drums on these tracks. Rich Ashdown is on lead guitar.

The EP opens with "Rock & Roll Healer." We hear a single bell sound at the beginning, and then the song kicks in, quickly becoming a good, raw rock number, and we hear that bell once again in the background. "There you go, you're a dreamer/Bustin' loose from a parking meter/Set your intentions and hit the road." There is a straight-ahead movement to this song, a rock song without adornment, but with some strong work on electric guitar. That's followed by "Capes." When I was reading the lyrics, the nod to Chuck Berry stood out for me, the line "Go ahead, tell Tchaikovsky the news," and I wondered if this one might have that kind of early rock and roll vibe. And while there is a definite rock thing involved here, particularly in its driving beat and some of the guitar work, the vocal approach is actually more relaxed, even warm. And it is that vocal performance that really pull us into this one. That Chuck Berry line passes, and other lines stand out for me. "We all been fakes/And we all been flakes/And we all wear capes," he sings. Interestingly, the lines in the book are "We all been flakes/We all been fakes/But we all wear capes." This track ends up being my personal favorite.

"Holograms" comes on with a much heavier vibe at the start, and features a raw vocal performance. This one too has some variations from what is presented in the book, a re-ordering of some lines. "All you devils/looking at me/Gypsy eyes/Don't want to believe." And a line that jumps out at me each time I listen to this track is "Don't know what I'm gonna do." That might be a sign of our times as much as the power of the song. Does any of us know what he or she is going to do? This track contains a nice guitar lead just before the end. The end then seems to come rather suddenly. The EP concludes with "Shiny Things." There is a delicious rock and roll excitement to this song, and certainly something of that garage rock appeal. It has the raw power of a live track. And check out these lyrics: "Planets go round constantly/Stardust smile, yeah, wouldn't you agree/It's wishful, it's so serene/Checking out my new machine/Planets collide eventually."

CD Track List

1. Rock & Roll Healer
2. Capes
3. Holograms
4. Shiny Things

Jaguar was released on March 13, 2025.

Tom Ciurczak: "Yorick" (2025) CD Review

Yes, I admit it: what initially drew me to Tom Ciurczak's new album Yorick was its title. An album, or at least a song, about a character from Shakespeare's Hamlet?  Yes, that is enough to intrigue me. Yorick was King Hamlet's jester, a character that Hamlet remembers fondly from his childhood, but who now is only bones, appearing in the play as simply a skull (check out the cool album cover art here, which was done by Camille Woods). My two biggest passions are music and Shakespeare, and it's wonderful when they overlap, as they do here. Tom Ciurczak is a singer and songwriter based in Los Angeles. He released his first album, Call Me Ishmael (yes, another literary reference, which I appreciate), in 2020, and followed that with two volumes of I Ain't Ever Growing Up, the first released in 2023, the second last summer. This new album contains all original material, written by Tom Ciurczak. As with his earlier releases, some certain 1970s rock influences can be heard here. Backing him are Matt Hornbeck on electric guitar, Travis Carlton on bass, and Stephen Haaker on drums and percussion, along with several guests on various tracks.

The album opens with an unusual song titled "The Watcher." It has a solid rock sound, feeling like it takes place somewhere in the middle of this country, but the lyrics indicate that the song's central character is an alien, and a rather old one at that. Here are the first lines: "A couple thousand years ago/I came down here to carve the Nazca lines/They said they're coming back for me/They planned to get me home by supper time."  I'm reading a book of early 1950s short science fiction stories, and this song reminds me of at least one of those stories, of an alien left behind. The song is directed at the human race as much as at his own people, as he has watched the species progress. We get the feeling that perhaps the song has this particular sound because he's become so acclimated. This is now his home, whether he likes it or not. But he has a warning for people: "I've seen lots of planets born and die/Better fasten your seat belt/It's gonna be a bumpy ride when the ice caps melt." And yet he still, after all this time, claims to feel a distance from the events taking place here. "But watching it all going to hell just ain't my concern," he sings. Does he mean it? And we can't help but think those words could be spoken by many people of our own race, particularly those in charge at the moment. What will happen to this character? What will happen to us? As the song reaches its conclusion, it seems that life as we know it does too. Unless that sound is him finally leaving. Billy Diisko plays bass on this track, and Valerie Chaikin is on keyboards. Tita Hutchison provides backing vocals.

"Wild One" is a song of youthful outlaw activity, with a driving beat. There is an innocent, harmless feel to much of what is described early on, but it's also nothing to be proud of, and we get the sense things are not going to turn out well for this character. "Your favorite film was Rebel Without A Cause/Living on the edge, ignoring all the laws/Leaving everybody else back in your dust/You always sang along with 'Thunder Road'/Said everyone buckle up and better grab hold." It's interesting that Tom mentions a Bruce Springsteen song here, because the Boss clearly has influenced his sound. This track also features some really good stuff on electric guitar. Jimena Fosado and Oscar Jesus Bugarin play guitar on this track, and Sean Sobash is on bass. Melissa Robin provides backing vocals. "Yorick," the title track, has quite a different sound, a different vibe from the start. Its first lines are delivered by Yorick after he's been decapitated: "I'm coming down/From the steeple 'til I hit the ground/'Cause I'm the guillotined jester's head." What an unusual opening. Also, it's interesting that he indicates Yorick was executed, for there is nothing in Shakespeare's text to suggest that. This song also mentions Shakespeare by name: "The king and queen are mesmerized/By the poet Shakespeare plays." This track features a strong vocal performance, along with some pretty backing vocal work by Tita Hutchison and Eli Arnold. Dylan Tirapelli-Jamail plays electric guitar, and Angela Petrilli plays acoustic guitar. Neara Russell is on keyboards. The song ends as it began, with those first few lines repeated.

"You're Next" is a good rock song, its guitar work especially reminding me of some of that stuff I grew up with in the late 1970s and early 1980s. The lyrics come at us in quick succession: "But democracy is in bigger trouble/There are no winners, just survivors/Governments are bigger liars." His vocal delivery at times makes me think of John Mellencamp, even before he sings the line, "Stand for nothing, fall for anything" (remember that song, "You've Got To Stand For Something"?). The chorus has a different feel, with something of a late 1980s rock feel. Possibly the coolest thing is that delicious bass work in the second half. Holy moly! That's Brandon Washington. Then "Where Do I Belong" addresses the homeless problem from the perspective of someone on the street, yet has a strangely positive vibe to it, with lines like "I know it's going to be all right" and "But it's okay, I'm tired of the non-stop/If things go my way, I'll be back on top" as he tries to talk himself into believing those things. I suppose we all tell ourselves things in order to keep going, and so this is a song everyone can relate to in some way. I love the energy and vibe of this song. This track contains some good hard rock guitar at key moments. Rob Reischak plays electric guitar on this one, and Bobby "Bundst" Victor is on keyboards.

"Chameleon" is about another character on the street, someone else you might not notice, but for a different reason. "I'm watching everything you do/You won't see me, but I'll see you." Yes, this character is a private eye who brags about being the best at what he does. This song also contains this scary line: "I know everything about your private life." That line stands out for me perhaps because of the attacks on privacy happening all the time these days, attacks which many people don't even seem to care about. Jimena Fosado plays electric guitar, and Oscar Jesus Bugarin plays acoustic guitar on this one, and Sean Sobash is on bass. That's followed by "Top Of The Rainbow," which has a cool vibe right from the start, in part because of the presence of a horn section. Jon Manness is on trumpet, and Lasim Richards is on trombone. This one has more of a laid back feel, with a gentler, soulful vocal approach, which helps it stand out. "And after you left, I had a hard time accepting that you'd gone/I wondered if I let you down." There is an unmistakable 1970s influence heard on this track.

Then Matt Lomeo joins Tom Ciurczak on harmonica on "A.L.T.O.W.D.," delivering some wonderful work (as he always does). The song's title stands for "Another Long Typical Ordinary Working Day," and this a song of international intrigue. In addition to the harmonica, this track features some nice work on keys. That's Bobby "Bundst" Victor on keyboards. "Malleus Maleficarum" also deals with international troubles, this time about the Russian invasion of Ukraine. "Grab what you can/Head on out 'cause the city's on fire/Tanks keep rolling in/Ain't sticking around to greet some new messiah." This track packs a punch and features a passionate vocal performance and some really good work on drums. The album then concludes with "Am I MIA," this one more in the folk and country rock vein, featuring some wonderful vocal work, particularly the blending of voices. Tita Hutchinson is on backing vocals. I also appreciate the play on words and sounds in its title line, "Am I MIA or am I in Miami?" There is also some excellent stuff on guitar. Dylan Tirapelli-Jamail is on electric guitar, and Angela Petrilli is on acoustic guitar.

CD Track List

1. The Watcher
2. Wild One
3. Yorick
4. You're Next
5. Where Do I Belong
6. Chameleon
7. Top Of The Rainbow
8. A.L.T.O.W.D.
9. Malleus Maleficarum
10. Am I MIA

Yorick is scheduled to be released on June 27, 2025, and will be available on both CD and vinyl (and I hear the vinyl is going to be clear blue, so, yes, I want to get a copy of this album on vinyl too).

Murray Attaway: "Tense Music Plays" (2025) CD Review

Murray Attaway is known for his work as singer and guitarist in Guadalcanal Diary, a seriously cool band from the 1980s (if you are unfamiliar with that band, do yourself a favor and start digging into the catalogue). After that band broke up, he released his first solo album, In Thrall, in 1993. He then recorded a second solo album a year or two later, which was to be titled Delirium, Or How I Spent My Thirties, but it was never released. And now, thirty years later, he has released a new solo album. Fans of Guadalcanal Diary and his first solo album are going to love this new disc. And it should bring in a whole lot of new fans as well. It features all original material, written by Murray Attaway.

"I'm a lost soul from another time," he sings on the album's opening track, "Breath." Maybe so, and I bet enough people feel that way that a large audience can relate. The music is in the pop rock realm, featuring some strong guitar work and an appealing vocal performance. It's a song of pain and struggle, with some striking lines, such as "I try to wear a halo/But it just passes through me." There is an interesting play on lines from "Amazing Grace," with him singing, "I once was lost, but never found/Was blind but cannot see." Robert Schmid plays bass and drums on this track. That's followed by "Stars Behind The Moon," which has an acoustic, softer sound, but a somewhat darker vibe, as he sings of "pain and violence." It features some wonderful work by Ana Balka on violin. Check out these lyrics: "Cry from the heart of an earthbound soul/That could chase the devil to the deepest hole/I thought it was stars behind the moon/But it was just someone in a lonely room." This is one of my personal favorite tracks. It brings me to the edge of tears, and I can't even explain why. Something about the picture it paints, something about the way it places us inside it, I suspect. And of course it could be that violin work. Then in the second half, the energy suddenly increases, as does the passion of his vocal performance. It's a powerful moment in a captivating song.

Murray Attaway returns to a rock vibe with "Hole In The Ground." There is an alluring darkness to this track too, with a raw delivery full of attitude. This one too has lyrics that stand out, such as these: "Listen while I tell you about a dream you had/It was midnight on a frozen lake/The ice gave way and you fell in and drowned/Cry like a killer, smile like a clown/Might as well jump in a hole in the ground." And his voice is reaching us from the edge of that hole. We hear the difference between what is inside someone and what is shown, and we wonder if either is real. He then goes back to an acoustic sound on "Better Days," a folk sound. On this song, these lines stand out: "Close your eyes and we'll pretend/That we can still be all we've been/And we can stay always in better days." I love lyrics that are somehow simultaneously cheerful and depressing, as those are. This is another of my favorites. In addition to excellent lyrics, it contains some really good guitar work. "One more time/We'll dance and shout/Before the lights/Have flickered out." We are all on the edge, aren't we? Let's dance and shout while we can, before the end. "And we'll say, 'I'll see you in better days.'" I love this song. It's one I can listen to several times in a row, one I can turn to for some kind of comfort. It was written by Murray Attaway and Layla Attaway.

"I guess I dream too much/That's what people say/But even when I'm dreaming/I'm never far away," Murray Attaway sings in "Never Far Away." This one kind of quietly grabs me. There is something wonderfully raw and immediate about its delivery, probably in the fact that the guitar and vocals do all the work here, like a demo, or like some of Billy Bragg's work. "And if I go walking off alone/It's 'cause I'm worried something's wrong/And I'm just trying to get back home." That's followed by "Old Christmas," which has a cool, menacing rhythm. "Silky voice says, now you're mine/Deep in the dirt/In jars of clay/Lost in the earth/Hidden from the day." Wow, this album is captivating, but this track especially is, the way it feels like it's stalking you, playing with you, knowing it has you the whole time. There is some particularly good percussion here. This song contains a nod to "Swing Low Sweet Chariot." "Please let me stay alive/Woman in the back seat screaming drive, drive, drive."

"Stranger" contains a vocal performance that commands our attention, supported by some good guitar work. "And every day's a long, hard ride/Miracles are dreams and water/Rumor has it just inside/Is a stranger." Dreams are a recurring idea on this album. This track also has a surprising nod to "Hey Ho Nobody Home." The album then concludes with "You Were There," which comes on strong, a good rock song. "Nothing to fear, no cause for alarm/Well, I didn't know how blind I was/Wrapped in shades of arrogance/Barely struggling to breathe." This one might remind you a bit of R.E.M. "Doors are closing in your face/You got to get out of this awful place/I don't have an answer/Only thing I found/Was when I was down/You were there."

CD Track List

1. Breath
2. Stars Behind The Moon
3. Hole In The Ground
4. Better Days
5. Never Far Away
6. Old Christmas
7. Stranger
8. You Were There

Tense Music Plays was released on May 9, 2025. I hope this album signals a new beginning for Murray Attaway's music career, and that we won't have to wait too long before he records another album.

Willie Nile: "The Great Yellow Light" (2025) CD Review

I was thrilled that Willie Nile scheduled a concert on my birthday this year. What better way is there to celebrate? It was one hell of a great show, which I suppose will come as no surprise to anyone who has ever seen him in concert. At that show, Willie Nile played some new material, and those songs were among the best of the night. Now those songs are among those included on Willie Nile's fantastic new album, The Great Yellow Light. The album features all original material, written or co-written by Willie Nile. Willie plays both electric guitar and piano on this release. Joining him are Jimi Bones on electric guitar, acoustic guitar, and backing vocals; Johnny Pisano on bass and backing vocals; Jon Weber on drums; Rob Hyman (of The Hooters) on organ, accordion, piano and backing vocals; and James Frazee on percussion. Paul Brady, Steve Earle and James Maddock join him on vocals on certain tracks, and there are other guests on various tracks throughout the album.

A cool surf guitar intro leads into the energetic opening number, "Wild Wild World." It does feel like we are dancing toward oblivion these days, doesn't it? And this song has that exact vibe; it is a whole lot of fun, feeling like a party, while the lyrics are about some of the crazy stuff happening, natural and otherwise. It certainly is a wild, wild world. And so what do we do? My selfish inclination is to enjoy myself as much as possible. We get only one shot at this thing. So who the hell wants to spend what little time he or she has all stressed out and miserable? This music encourages us to dance, to throw ourselves about in delightful abandon, and that is just what I aim to do. "Laughter in the Kremlin, chuckles in Versailles/Big guffaws in Washington, and I think I know why/'Cause it's a wild, wild, wild, wild world." It's a great, positive celebration to kick off the album. Then "We Are, We Are" has a harder rock vibe from the beginning, a sort of rock anthem. "We're young and strong, we are we are/We're righting wrongs, we are we are/We're heading for the stars." Yes, so positive here too, and we need that. Don't be surprised if you find yourself singing along with this track. And though Willie Nile is about to be 77, he is not fooling you with that "We're young and strong" line. His energy is tremendous. If you get the chance, I highly recommend seeing him in concert. You'll get a sense of what his live shows are about when listening to this track.

"Electrify Me" is another energetic rock number. I've heard people say things like fifty is the new forty, that sort of idea, but when Willie Nile is the subject, seventy-six is the new twenty-one. This song seriously rocks. We need this music. Our bodies, our souls are eager for it, for its taste, for its spirit. "You look like water but you taste like wine/Your touch sends shivers up and down my spine/Electrify me." That's followed by "An Irish Goodbye," one of the songs he played at that show on my birthday. That night he talked a bit about what people mean by an Irish goodbye. Basically, it's when you leave a party, or any sort of gathering I suppose, without any kind of formal farewell, just slipping out without a word. And the song is about that final goodbye. Most of us slip out without proclaiming our exits, without any special final words. This track has something of a different sound from the previous tracks. That is in part due to the presence of Chris Byrne (of Black 47) on uilleann pipes and bodhran, Fred Parcells (of Black 47) on tin whistle and trombone, and David Mansfield (who has played with Bob Dylan and Bruce Hornsby) on mandolin. Yeah, there is a wonderful Celtic vibe to this track. At the concert, Willie had the audience singing along to this song: "An Irish goodbye, an Irish goodbye/Here's fire in your whiskey, here's mud in your eye/It's high time to leave here, the angels know why/I'll just say an Irish goodbye." Paul Brady joins Willie on vocals on this track, and Larry Kirwan (of Black 47) is on backing vocals. This is a wonderful and uplifting song about death, featuring some delicious percussion.

The album's title track, "The Great Yellow Light," is another highlight. I love the way it builds at the beginning as he describes that magical moment. And what a fantastic vocal performance. "I was dreaming of a girl/With wonder in her eyes and thunder in her heart." Then it suddenly kicks in. We feel we are experiencing that joy, that wonder, that magic ourselves. Willie Nile is able to tap into our own memories of great joy, to reshape our memories, make them shine brighter, make them even more momentous, more meaningful, more powerful. The music and our pasts combine, along with our own desires for the present. This track returns us to the beginning at the end. Andy Burton is on keys for this one. That's followed by "Tryin' To Make A Livin' In The U.S.A.," another song that he played at that concert on my birthday. It's a playful number about the good a hit record would do for his bank account, and also about the fun of being a musician. We can feel that fun in every beat, every note, particularly in his vocal performance. "The bums I used to know now can sleep in satin sheets/All the people that I owe will be dancin' in the streets/They're gonna put my face on the hundred dollar bill/Open tab at the bar, gonna drink my fill." I love Rob Ryman's work on accordion. And I love the line, "If this is all a dream, don't wake me up."

"Fall On Me" has a sweeter vibe, its opening lines being, "If you're gonna fall, fall on me/If you're gonna cry, cry to me/When you think you've seen it all/When your back's against the wall/If you think you're gonna fall, fall on me." This one will likely speak to most of us, with lines like "When all your dreams just won't come true/And you can't take it like you could before." Don't we all feel a bit sad, a bit broken? We all need a special someone who will be there when we crumble, and crumbling feels inevitable these days. But, maybe, just maybe, with music like this, we'll manage to avoid it. This music catches us even before we fall. Isn't it wonderful how music can do that? This song was written by Willie Nile and Frankie Lee. "What Color Is Love" was also written by Willie Nile and Frankie Lee. This is a pretty song with a passionate, moving vocal performance. "So far have I traveled, so much have I seen/How long must I wonder is it all a dream."

"Wake up America, red white and blue/You used to be great, what happened to you?" Willie Nile sings in "Wake Up America," addressing the country as a whole. I'm not sure exactly when this nation was great, but we all know it really did try to live up to its ideals until very recently. We all know that something went horribly wrong in 2016 and even worse in 2024, that things were much better before the fascist morons took over. This country has lost nearly all the things that were good about it. Actually, it didn't lose them so much as deliberately jettison them. Is it too late to get them back? Listening to Willie Nile, the answer seems to be no. Hope still lives here. And Steve Earle joins him on vocals for this one. "Sometimes you get it right, sometimes you get it wrong/I know you're not perfect, sometimes you break down," Steve sings. And Waddy Wachtel is on electric guitar for this one. "Wake up America, do you know who I am/I'm one of the millions, do you even give a damn/I'm the son of immigrants, I'm a daughter of slaves." What is sad to me is that the people who need to hear this song will certainly not hear it. Yet the music is still hopeful. We are better than everything that is happening now. I hope that's true. "Wake up America before it's too late." The album concludes with another hopeful song, "Washington's Day," in which Willie sings, "Now when this world and that world collide/And the powers that be hit you low/When you're feelin' so small in the face of it all." Eric Bazilian (of The Hooters) plays mandola on this track, and co-wrote the song with Rob Hyman, Rick Chertoff and Willie Nile. It's a song of compassion and the promise of a better, more humane tomorrow. It is a song that feels like a great embrace, a song that pulls everyone in, a song we need.

CD Track List

1. Wild Wild World
2. We Are, We Are
3. Electrify Me
4. An Irish Goodbye
5. The Great Yellow Light
6. Tryin' To Make A Livin' In The U.S.A.
7. Fall On Me
8. What Color Is Love
9. Wake Up America
10. Washington's Day

The Great Yellow Light is scheduled to be released on June 20, 2025 on River House Records.