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

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

Side A

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

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

Side B

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

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

Record Track List

Side A

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

Side B

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

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

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

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

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

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

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

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

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

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

"Raised By Hippies"

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

"Live And Never Learn"

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

"The River Knows"

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

I See Hawks In L.A. Set List

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

Encore

1. Good And Foolish Times

Here are some more photos from the show:

"Big Red Six"

"Mariachi Hotel"

"Grapevine"

 

"Hills On Fire"

"The River Knows"

"Humboldt"

 

"Humboldt"

 

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

Fernando Perdomo: "Waves 4" (2025) CD Review

Fernando Perdomo's impressive year-long project continues with Waves 4, which was released at the beginning of April. For those who don't yet know, Fernando Perdomo is releasing an album of new material at the beginning of each month this year. He not only composed all the tracks on Waves 4 (and each of the other volumes in the series), but plays all the instruments, and produced the album. One thing he did not do is take the album cover photo. Each volume has featured a different shoreline photo by Joe Galdo, and Waves 4 has my favorite of the photos thus far. I love that dramatic sky and those incredible blues. The tracks on this album are instrumentals, the music itself sometimes featuring dramatic colors and moments, other times having a soothing effect, and always engaging.

The album opens with "Pulled In," which immediately catches us in its grip, the sound rolling over us, a series of sharp waves seeming to slice the air above us. After a minute or so, the track takes a sudden and surprising turn, sounding like it is being shut down, like someone pulled the plug on it. Then another surprise comes right on top of that one, the track kicking in with a great and positive force. And soon we are treated to some bright guitar work. There is a weight to this song, which is part of its power. Halfway through, it begins to build, and we realize we are still under its force. That slicing sound recurs, but with a different feel this time, like moments shifting backward past us, things we can't hold onto. And now we've entered some sort of other realm, a place of beauty, of magnificent sea creatures. This is such an intriguing track to kick things off. Fernando Perdomo switches directions then with "The Tunnel," which has an unusual meditative vibe at the start. This one also takes us into another place. We feel focused on our immediate surroundings, but sense other action all around us, just beyond our grasp, just beyond our line of vision. The guitar acts as our guide, showing us wonders of this space, and even singing to us in its own particular language, a language capable of spinning magic.

"The Thunder, The Rain, The Clouds" opens dramatically, like a streak of lightning. There is a sense of danger in those first few seconds, and then the guitar work has more of a calming effect, like a pleasant rain, as if the violence of a storm quickly gave way to a more soothing shower. Yet there still are hints of darkness. Interestingly, on the streaming site, the song has a slightly different title, "The Thunder, The Rain, The Mist." There is some excellent guitar work on this track. The storm has not left us, but it need not frighten us or keep us immobile. "Soaked" has a dramatic sense about it too. It feels like a storm as well, though one that is more consistent. The light that reaches us through this storm is artificial, pointed, like sharp streaks in this city landscape.

"Brighton" eases in, like steps in the darkness, like we deliberately want to slow things down, to get a better look at them, to get a better grasp on the evening, on the experience. Perhaps it's all in the past already, and we are looking back, or even stepping back. These memories have a power and a life of their own, even if there is a haze cast over them. We walk into a dream, into a memory, and it seems we could remain there if we wish. Then "The Most Beautiful Giant (TallGirlKatie)" kicks in with a glorious force, and soon takes on a somewhat more laid-back attitude, becoming a tune to sway to, before it then builds again, taking on more power. There are other interesting turns, like that pause nearly halfway through, with an interesting call-and-response that reminds me of Close Encounters Of The Third Kind. That moment quickly passes, and things begin to build again. This track takes us on quite a ride. It is followed by "Beauty," a nice contemplative guitar piece that opens into a special place that feels both like dawn and dusk, where there are possibilities and promises and, yes, beauty.

The guitar work on "Find Me" is touching, moving, feeling like it desires to physically enter into memory and hold someone, or to bring someone out of memory into an embrace. This is one of my personal favorites. The guitar work is so expressive and beautiful. There is sadness, and also hope. There are a couple of moments that remind me a bit of "In My Life," just for a second or two. That's followed by "The Most Mysterious Man," which has an odd beginning. What sort of realm are we being ushered into here? But then it soon becomes rather gorgeous, though with a haunting sort of element, like from dreamlike carnival. This is another of my favorites. Apparently, this one is also called "The Most Mysterious Man In Tarzana," a more humorous title. To write ten new songs each month is impressive enough, but when they are as good and interesting as this track, that is something else again. The album concludes with "The West Bay," which is dedicated to the memory of David Westbay. It is thoughtful and pretty, and becomes more beautiful and engaging as it progresses.

CD Track List

1. Pulled In
2. The Tunnel
3. The Thunder, The Rain, The Clouds
4. Soaked
5. Brighton
6. The Most Beautiful Giant (TallGirlKatie)
7. Beauty
8. Find Me
9. The Most Mysterious Man
10. The West Bay

Waves 4 was released on April 1, 2025.

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.