Lights Out Levine Headlines A Glorious Night Of High-Energy Rock Music, 2-28-26

The Talent Pool

We were treated to another strong lineup last night at Maui Sugar Mill Saloon, including Lights Out Levine, The Glimmer Stars and Vanessa McNiel. Making the show even more special was The Smokey Lonesome, who did short sets throughout the night, acting as wild country punk hosts, which I'm now convinced should be present at every party. So keep that in mind if you're planning on throwing one. And last night certainly became a party, particularly as it ended with The Talent Pool, a group of musicians covering some beloved punk and rock numbers, a fun and loose set to close out the night.

The Smokey Lonesome

The Smokey Lonesome was up first, getting the night into gear with that special energy that seems a natural part of all that duo's music. During the soundcheck, sound man Nubs joked with Dave Porter about his suit, saying his jacket would make Herb Tarlek proud. Those of you who are around my age will know just what that's about. For those of you who are younger, check out the great WKRP In Cincinnati when you get a chance. Dave and Natalie were ready to start, but Nubs informed them they weren't scheduled to start until 8:30 p.m. "Really?" Dave asked. It was news to them, and to us in the audience. Soundcheck was a cover of Creedence Clearwater Revival's "Green River," and the audience was ready. A brief discussion ensued, and it was decided the show would start at 8:15. And at 8:15, it did, the duo opening their short set with "Jasmine" and following it with "Frontera," a song from 2024's Desert Run. And everything seemed to be moving in just the direction they desired, into that realm of delightful weirdness, with the right energy. Their short opening set concluded with "Koa Box." Yup, three songs in nine minutes. I remarked that it was one of the shortest sets I've seen, and Dave said their sets were to get even shorter after that.

Vanessa McNiel

Vanessa McNiel was the only artist of the night I hadn't seen before. She was in the all-woman band Glam Skanks, and now has gone solo, leading her own band. Her set included a mix of covers and original material. The first cover she did was the Deftones' "Sextape," which had an odd start, until Vanessa realized she'd forgotten her capo. Laughing at herself (which of course endeared her even more to the audience), she got the song going. I was especially digging the bass player's work, his bass at times like another lead instrument. Some very cool stuff. Her original song "Keep The Memories" she introduced by saying, "It's about not looking back." It was one of the highlights for me. "These lights, I'm already a sweaty monster," she said after that song, referring to the stage lights, Then, getting her beer, she offered a toast to "everyone in this room." Her original numbers also included "Please Don't Tell Me" and "Hey Beautiful." She ended her set with a couple of fun covers: Pretenders' "Middle Of The Road" straight into Pat Benatar's "Heartbreaker." The band's drummer was especially having a great time with "Middle Of The Road," and "Heartbreaker" featured some really good stuff on electric guitar. It was on these last two songs that Vanessa really cut loose, which was great.

"Ophelia"

The Smokey Lonesome were soon back on stage, and as Dave had indicated, this set was even shorter than the duo's first set. Only two songs: a good cover of The Band's "Ophelia," with Natalie on lead vocals, and "Cannabis," a fun and wild number about how pot is legal in this state. Yes, a song the crowd appreciated. "You're welcome to join me on the word 'California,'" Natalie told the crowd before that song.  A six-minute set, ending at 9:41 p.m. The duo then introduced The Glimmer Stars, with Dave calling Mini Menez the "Number one heartthrob in America." 

The Glimmer Stars

"Thanks so much for hanging out," Mini said at the start of The Glimmer Stars' set. And that's what folks were doing: hanging out. There was a wonderfully casual and friendly vibe to the whole night, like a group of friends hanging out and enjoying some great music. The Glimmer Stars opened with "Better Day," and it's always a better day when this band plays. That song led straight into "I Need It Now," some good, fun, loud rock and roll with a great joy, particularly from Mini. That in turn led straight into "If I Only Could." After that song, the band actually paused for a moment. "Let me tune up real quick," Mini said. They then played "Pictures Of You," a song that contains a nod to Cheap Trick's "Surrender." After "Alley Cat," Mini asked, "Is the bass too loud?" Sure, it was loud. But too loud? Nope. He then drank from the glass of beer that Vanessa had left on stage. Because, again, the night had that kind of loose vibe to it. He introduced the next song, "This is called 'Would You,'" and a guy in the audience yelled back, "Yes, I would." Because the audience was loose too, you understand. Mini mentioned that The Glimmer Stars have a new album coming out, so there is that to look forward to, and the band then played a song from that new album, "Maybe." It was totally catchy, feeling like a hit. Do rock bands still have hits? They followed that with a cover of "I Think We're Alone Now," which was a hit for Tommy James And The Shondells. They wrapped up the set with "Paulina" leading straight into "I Want You." The set ended at 10:23 p.m.

"AC Breakdown"

"We've got another two-song set for you," Dave said soon after The Glimmer Stars had left the stage. The first was "AC Breakdown." In February you might think an air conditioner breaking down would be no big deal, but many of us had ours on a couple of days last week. Crazy, right? "AC Breakdown" is another fun song. The second was a great cover of "Silver Threads And Golden Needles," with Natalie on lead vocals. 

Lights Out Levine

"Welcome to the rising-from-the-ashes kind of night," Adam Levine, sporting a gold jacket, told the eager crowd at the beginning of the Lights Out Levine set. By this point in the night, the room was packed. Adam and his band opened with "Run From The Moon," so there was a great rock energy right out of the gate, which the audience fed on. They followed that with "Crosshairs." "Too many voices inside my brain/They're all bound to drive me insane." Adam mentioned a bit about what The Talent Pool is, a group of musicians from his favorite bands coming together for a fun set. It was clear he was excited about that upcoming set, and we'd soon know just why. The band then delivered good renditions of "Forever Filthy" and "Fantasy." Adam told the audience that when ordering drinks to order them without ice, because "Fuck ICE." Indeed. Some day, I assume, that organization will be destroyed if this nation is to at least pretend to retain a bit of its ideals. And will the violent shitheads who make up its numbers simply go on with their lives as most Nazis did after World War II? "Reapers Rodeo" had a very cool vibe. When introducing "I Like It With The Lights Out," Adam said, "This is based on a true story." That was after downing a shot provided by Vanessa. Vanessa was, one way or another, providing her fellow artists with alcohol. "I Like It With The Lights Out" was such a fun number. "Breaking Point" followed, and the set wrapped up with "Tingles." The set ended at 11:41 p.m.

"Paulito's Old Lady"

At a minute before midnight, The Smokey Lonesome came out to do one last short set, opening it with "Paulito's Old Lady" and following that with "The Smokey Lonesome." I have been keeping a list of all the bands who have a song that shares the band's name, so, yeah, The Smokey Lonesome is on it. It's kind of a fun list. Here are a few of the other bands on it: 7 Walkers, Bad Company, Beastie Boys, The Big Ol' Nasty Getdown, Black Sabbath, Blue Mink, Broken Sound, Bullied By Strings, Double Naught Spy Car, Focus, General Public, I See Hawks In L.A., Kanary, Kool And The Gang, Motorhead (someone had a Motorhead T-shirt at the show, by the way), Rotondi, and They Might Be Giants. The Smokey Lonesome introduced the song as "our theme song," and it was a highlight of the set. They wrapped it up with the title track from Desert Run. Yes, three songs this time. Their longest set of the night, at twelve minutes.

The Talent Pool

The Talent Pool then took the stage, opening the set with a high-energy cover of The Ramones' "I Just Want To Have Something To Do." That was followed by "Beat On The Brat," and in fact a good chunk of the set was made up of Ramones songs. In addition to those two, the band delivered "Cretin Hop," "Do You Wanna Dance" (that one of course not originally a Ramones number, but this band was doing the Ramones version), "Danny Says" (that one with Adam Levine on lead vocals; at one point, he squeezed the lime from his drink onto his neck), "Today Your Love, Tomorrow The World," and "Why Is It Always This Way" (with Adam again on lead vocals). We were also treated to The Dictators' "Who Will Save Rock And Roll," Joan Jett's "I Hate Myself For Loving You" (with Vanessa on lead vocals), Jonathan Richman's "Pablo Picasso," and 999's "Homicide" (with Dylan Thomas on lead vocals). The set, and the night, ended with a fantastic rendition of Jim Carroll's "People Who Died," with Adam Levine on lead vocals, and a lot of folks joining in on backing vocals, both on stage and in the audience. This party came to an end at 1:11 a.m.

Here are some more photos:

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

The Big Ol' Nasty Getdown: "Volume 3" (2025) Vinyl Review

Let's get this new year off to a good start, a lively start. And what better way than with the recent full-length record from The Big Ol' Nasty Getdown? Titled Volume 3 (following 2012's Volume 1 and 2018's Volume 2, as well as some EPs, including last year's Repurpose Purpose Vol. 1), this album features some fantastic original music, with a great, funky atmosphere. As always, a phenomenal group of musicians was assembled for this recording, including the group's founder John Heintz on bass, Erick Walls on guitar, Tim Stewart on guitar, Bobby Easton on guitar, John-Paul Miller on guitar, Norwood Fisher on bass, Jack Irons on drums, and Stephen Perkins on drums, among many others. And the record comes in an attractive package, with a gatefold, and artwork by Jeff Wood. The record itself is on translucent grey vinyl with a cool splatter pattern (referred to as "galaxy burst").

Side A

The record's opening track, "Yoda Mode," begins with a glorious burst of horns. This is a delightful, funky number, with a very cool, soulful and energetic vocal performance by Maiya Sykes. "Don't call me up with all your problems and your plans/I need a minute, baby." I also appreciate the playfulness of this track. It was written by Maiya Sykes, Hadrien Feraud, John Heintz and Chad Smith. It's not the first song to quote Yoda, of course, but it does so with a natural joy. And there is a sort of gospel vibe, which is perfect. "I can love and I can fight/I am not afraid to face the night/Fear is the path to the dark side." This is an absolutely wonderful opening number. I especially dig that work by Ruslan Sirota on keys. Erick Walls is on guitar, Hadrien Feraud is on bass, Chad Smith is on drums, Jason Hann is on percussion, and Philip Lassiter is on horns. Then "When The Juice Ran Out" comes on with a heavier sound, a harder rock feel, with a great dose of funk too. It also has a set of lyrics I love, at the beginning mentioning, "We got too much information/So we just abbreviate." I detest most current acronyms and abbreviations, in large part because no one knows what he or she is saying anymore (we've all heard someone say "ATM machine"). There is a lot more going on here with this track, for it's about disconnecting from the internet, or rather about being disconnected from the internet. How can we function these days while being disconnected? What happens if it all shuts down? That's Angelo Moore (of Fishbone) on vocals, and at moments he shows a bit of inspiration from James Brown (exclaiming, "Good god!"). In addition to his kick-ass vocal performance, this track features a great, powerful, delicious instrumental section. Tim Stewart is on guitar, Rodney "Skeet" Curtis is on bass, and Jack Irons is on drums. This is fantastic.

Maiya Sykes then returns for vocal duties on "Ain't Nowhere To Go," delivering another excellent vocal performance. "Ain't nowhere to go but up." There is such a good, positive vibe about it. In a way, this too is about disconnecting, about finding a place elsewhere, "a place where I can breathe." I am digging that sweet guitar work during the instrumental section in the middle. Gemi Taylor, Bobby Easton and Tim Stewart all play guitar on this track. Larry Dunn is on keys, and Frank Mapstone is on organ. Norwood Fisher is on bass, Stephen Perkins is on drums, and Leon Mobley is on percussion. There is something uplifting about this song. And what a voice! The first side concludes with "Birds Of A Feather," an instrumental track that features a delicious bass line by Norwood Fisher and some excellent drumming by Lee Allen. And there is plenty of great stuff from the brass section. Greg Hollowell is on saxophone, Alex Bradley is on trumpet, and Derrick Johnson is on trombone. The horns have something to say, for sure, urging us to come together. They seem to be telling us that things are good. We can feel it throughout our bodies while this music plays. Before the end of this track, you'll likely be dancing. Mary Francis is on keys, and both Tim Stewart and Stefan Kallander play guitar on this track.

Side B

The second side opens with "Feelin' It," featuring Rev. Desmond D'Angelo on vocals and percussion. "Let's have a party," he sings early in the song. And this whole album feels like a party, and especially this song, in part because of Rev. Desmond D'Angelo's fun, wild vocal performance. And, hey, the lyrics mention 1983 and Mr. T, returning me, at least momentarily, to my youth. If you feel like getting down, this music will help; and if you don't, well, soon enough you will. John Heintz's bass line will see to it. John-Paul Miller and Bobby Easton both play guitar. Frank Mapstone is on keys, and Jack Irons is on drums. That's followed by "Crispy Chicken," a ridiculously fun instrumental track, the horns leading the way to a brighter place, and the only way of getting there is dance. Not just for us, but also animals, plants. Hell, the air itself is moving and shaking. Can't you feel it? Of course you can! John Michael Bradford is on trumpet, and Big Sam Williams is on trombone. Larry Dunn is on electric piano, Frank Mapstone is on organ, Gemi Taylor is on guitar, Bobby Easton is on guitar, Norwood Fisher is on bass, and Stephen Perkins is on drums.

Justin Poree (of Ozomatli) is on vocals for "Super Galactic," the lyrics delivered as a sort of rap. He and John Heintz wrote the lyrics for this one. "Gonna party like there's no tomorrow," Justin sings. Well, there might not be. We're not guaranteed anything. This is a song about a party that extends across the globe. And why not? Why can't this happen? Let go of politics, let go of religion, and just listen to the music. "So if you're feeling the vibe/Feeling electric and alive/Put your dancing shoes on." That guitar certainly has something to say if you just pay heed. Erick Walls is on guitar. Ulises Bella (from Ozomatli) is on saxophone, Andrew Baham is on trumpet, and Big Sam Williams is on trombone. This track features some cool work by Terence Higgins on drums. Hadrien Feraud is on bass, Todd Stoops is on keys, Jason Hann is on percussion. And Maiya Sykes provides backing vocals. Then "Joy Rider" seems to take us on some kind of magical ride through the heavens, where each star becomes a dance floor, and where space no longer is empty of life, but full of power, pulsing and shining. The track features more excellent drumming by Jack Irons, and something of a punk thing happening in the bass line at times. That's Josh Paul (of Daughtry and Suicidal Tendencies) on bass. This is the kind of energy we need to carry us into this new year, make it something wonderful, something exciting, something joyous. This track contains some seriously cool stuff by Keith Anderson on saxophone, as well as some wonderful stuff by Philip Lassiter on trumpet (you might know them from their work with Prince). Tim Stewart is on guitar, and Peter Keys is on keys. This fantastic instrumental track ends with a drum solo. What more could you want?

Record Track List

Side A

1. Yoda Mode
2. When The Juice Ran Out
3. Ain't Nowhere To Go
4. Birds Of A Feather

Side B

1. Feelin' It
2. Crispy Chicken
3. Super Galactic
4. Joy Rider

Volume 3 was released on September 19, 2025 through Org Music.

The Big Ol’ Nasty Getdown: “Mellow/Dream EP” (2022) Vinyl Review

The Big Ol’ Nasty Getdown is a great funky band that delivers some delicious jams and also has different vocalists join them on certain tracks. Two vocalists who joined the group on the band’s second full-length record, Volume 2, which was released in 2018, were Kendra Foster and Taylor Dayne – Kendra Foster on “Mantra,” and Taylor Dayne on “Dream.” Both of those talented singers are also featured on the band’s 2022 EP, Mellow/Dream EP, which is available on vinyl.  Here the band revisits “Dream,” this time with three different versions of the song, along with another song, “Mellow,” that one featuring Kendra Foster. And there are two versions of that song included on the EP. The music is excellent, and this EP is presented on white vinyl (yeah, I have a weakness for different colors when it comes to my vinyl collection). And actually, there is something I failed to mention in my previous reviews of releases by this band, and that’s the album cover artwork. Each of the records I’ve reviewed has had some pretty damn cool artwork, which is something you might expect from a band that thrives in a jam environment. I love an album cover that you just want to lose yourself in while listening to the music, an album cover that adds to the overall experience, and that has largely been the case with each of this band’s records. But this one in particular stands out, and is probably my favorite of the bunch. The artwork is done by James Flames, and it is beautiful. The back cover is just as cool as the front, with the artwork there inspired by the lyrics to “Dream.”

Side A

The first side of the EP is dedicated to “Mellow,” a song written by Kendra Foster, Ryan Martinie, John Heintz and Frank Mapstone. The first version presented here features Kendra Foster’s vocals. Her approach is at first kind of smooth. “Believe in my vibe/I’m worth it, honey/I know how to get some/Alleviate all my pressure from me/I know how to get some.” And she is able to build from there. I love when this one gets a bit wild, a bit heavier, as she repeats, “I just want to take you everywhere.” The song then returns to that cool groove, and features some nice stuff on keys. That’s Jamar Woods on keys. This track also features Josh Blake on guitar, Ryan Martinie on bass, Alvin Ford Jr. on drums, Cynthia Robinson on trumpet, and Jerry Martini on saxophone. You probably know Cynthia Robinson and Jerry Martini from their work in Sly And The Family Stone. This EP is dedicated to Cynthia Robinson, who died in 2015. It is believed that this is the final track she recorded, and she delivers a wonderful lead in the middle of it. The music gets heavier again as Kendra Foster repeats “Smokin’,” and I am particularly fond of this section of the track. I also love that lead on keys that follows that section. And if that isn’t enough to make this track worth listening to, there is also an excellent lead on saxophone. And if that isn’t enough for you, there is some fun scat toward the end, some great vocal play over some fantastic work on drums. Forget the song’s title at this point, for this part is certainly not mellow.

The first side of the EP also contains an instrumental version of “Mellow,” and here we can focus even more on the drum work toward the end. As much as I love Kendra Foster’s vocal work, the last section of the song is perhaps even better in this instrumental version. Certainly it’s more powerful, and takes us on a wilder journey. As for the earlier parts of the track, it is all about the groove.

Side B

The second side of the EP is “Dream.”  The first version included here is that with the Taylor Dayne vocals. I mentioned this in my review of Volume 2, but I was not all that familiar with Taylor Dayne’s work. I revisited a couple of those hits from the late 1980s, but those songs don’t really do much for me. But if this track is any indication of the direction she’s gone in since then, I need to give a listen to some of her more recent output, because she delivers one hell of a great performance here. “But the hardest part of waking up is knowing you’re not real/And the saddest thing of staying up is knowing you’re a dream, you’re just a dream.” By the way, the inside jacket contains the lyrics, and I’m noticing now whoever wrote them put “your a dream” instead of “you’re a dream.” Whoops! The musicians backing her on this track are Tori Ruffin on guitar, Ryan Martinie on bass, Ivan Neville on organ, and Jeffrey Suttles on drums. I am particularly fond of that lead on organ in the second half. “Dream” was written by Taylor Dayne, Tori Ruffin, Ryan Martinie, John Heintz and Frank Mapstone.

The second track is the instrumental version of “Dream.” With this version, I tend to focus on that great work on keys, but at moments I do find myself missing the vocals. This track also gives us a better opportunity to dig the song’s bass line. The final track on this record is “Dream (Original Recording),” a title that I found interesting, since I had just assumed that the Taylor Dayne version was the original version. There is a different intro to this version, and an added psychedelic element, which I love. This version is a couple of minutes longer than the other two, and features some really nice work on guitar. The guitar gets a chance to stretch out, with opportunity for some exploration here. It’s more of a jam than the previous track.

Record Track List

Side A

1. Mellow
2. Mellow (Instrumental)

Side B

1. Dream
2. Dream (Instrumental)
3. Dream (Original Recording)

Mellow/Dream EP was released on November 22, 2022.

The Big Ol’ Nasty Getdown: “Volume 2” (2018) Vinyl Review

The Big Ol’ Nasty Getdown, a great funky group made up of talented musicians you likely know from other bands, released its first full-length album, titled Volume 1, in 2012.  In 2018 came Volume 2, an album featuring many of the same players, such as John Paul Miller on guitar, Frank Mapstone on keys, Greg Hollowell on saxophone, Derrick Johnson on trombone, Alvin Ford Jr. on drums, Laura Reed on vocals, and Kenra Foster on vocals, along with a lot of new folks. This record contains all original material, featuring delicious jams and strong vocal work. The album was produced by John Heintz and Frank Mapstone. By the way, the packaging includes a gatefold, something that always takes me back to my childhood, which I appreciate.

Side A

The first track, “Rock It,” establishes a cool rhythm, nothing too fast or wild at the start, but rather eases in. It features Todd Thomas (known as Speech, a member of Arrested Development) on vocals. “I come to rock this party a special way/Everybody move your body without delay/‘Cause this big ol’ nasty crew ain’t here to play.” Oh, but these guys are here to play, to play some great tunes. There is a delicious and playful attitude, heard in lines like “And if you ain’t having fun, there’s nothing wrong with me, there’s something wrong with you.” This one has a mix of funk and pop elements, a light, playful number to lure folks out onto the dance floor of your party. “I won’t be happy ‘til I see you sweat,” Todd Thomas sings. He soon adds, “I know how funky this place can get.” Oh yes, that sounds like a challenge, and I think we’re all up to it, ready to strive toward that level. This track features some great stuff from the horns, and a lead on keys that comes from the outer reaches of the 1970s. Larry Dunn (of Earth, Wind & Fire), Mary Allen and Frank Mapstone are all on keys. The brass section is made up of Greg Thomas on alto saxophone, Greg Hollowell on tenor saxophone, Debrissa McKinney on tenor saxophone, Ben Hovey on trumpet, Fred Wesley on trombone, and Derrick Johnson on trombone. Tori Ruffin (from Morris Day And The Time) is on lead guitar.

“Love Somebody” comes on with a heavier force as it starts, demanding our attention. It then opens up when Laura Reed comes in on vocals. “Take a chance and give your life meaning/We may not be willing, but we are able.” She delivers a seriously cool and alluring vocal performance, sometimes smooth, sometimes powerful. It’s those powerful, forceful moments that I love most (reminding me a bit of The Peak Show). This track also features a really good lead on alto saxophone. That’s Karl Denson of Karl Denson’s Tiny Universe. Yeah, this track features a stellar lineup of musicians, including Michael Ray on trumpet, Clifford Adams on trombone, Derrick Johnson on trombone, John Paul Miller on lead guitar, Josh Blake on rhythm guitar, Ryan Martinie on bass, Jamar Woods on keys, and Alvin Ford Jr. on drums. Alvin Ford Jr. delivers some great stuff on drums, particularly at the end, helping to make this one of the record’s highlights. “All that we know is we’re here, then we go/Be sure to love somebody.” That about sums it up, doesn’t it?

Things really start to move and groove with “Groovy Nasty.” This one should get everyone else onto the floor, anyone who’d managed to hang back up to this point. I am digging that work on bass by Ryan Martinie. And RonKat Spearman (of P-Funk) is on vocals. What more could you want? How about some delicious stuff on keys too? This track certainly has that. And during that keyboard lead, we learn this party has not just a dance floor, but dance walls as well. Really, with this music playing, any surface becomes a place for dancing, with gravity working only when you really want it to. Let go of inhibitions and all outdated notions of reality. The starlight can become a dance partner. That is Jamar Woods on keys, by the way. This one was written by RonKat Spearman, John Heintz, Frank Mapstone and Ryan Martinie. The first side then ends with “Mantra,” this one sliding in, with some good work on bass. That’s Norwood Fisher, from Fishbone, on bass. This track features some really nice work by Kendra Foster on vocals. The repeated line “Breathe it out and let it flow” becomes the mantra. That works for me. There is also a rap section by Todd Thomas, also known as Speech. Foster and Thomas also had a hand in writing this one, along with Tori Ruffin, Jeffrey Suttles, John Heintz, Frank Mapstone and John Paul Miller.

Side B

The second side opens with “B4U Loved Me,” which has another good dance groove. And, yes, the title is a little annoying, but that doesn’t matter when the music is playing. Reverend Desmond D’Angelo’s smooth vocals are dripping with cool.  “If you don’t care about us no more, that’s something you should share.” And then he begins to put some power behind his delivery, and the horns respond in kind. “You loved me more before you knew me.” Such a good performance. I also love when the guitar comes on strong, a lead that commands our attention. It’s great that the guitar is given the space, the time to stretch out here, leading the group in a mighty jam. John Paul Miller is on lead guitar. Then Taylor Dayne joins the band on vocals on “Dream.” I am not all that familiar with her work, apart from a song or two in the late 1980s, but she delivers a fantastic performance here. And she wrote the lyrics. “If you don’t mean to be so cruel to me/Then let me love you/Be a flower to your honey bee.” This track also features some good stuff on keys. Ivan Neville is on organ, and Frank Mapstone is on electric piano. And I’m digging that drumming. Jeffrey Suttles, a member of Taylor Dayne’s band, plays drums on this track (and on a few other tracks).

With “Past Present Future,” the funk takes over completely, a heavy force that can’t be denied. Interestingly, this track also features the magic of the vibraphone, creating an interesting combination of sounds, of sensations, that ends up being great fun. That’s Mike Dillon on vibraphone. This instrumental track also features some great work by Leo Nocentelli on guitar. These guys do not hold back here, and the results are bloody great. Fred Wesley delivers some wonderful stuff on trombone. The record then concludes with “Creatures Of Habit,” which bursts in, the vocals part of that initial force. Angelo Moore, who co-wrote this song, is on lead vocals. “You’re pushing a dump truck up a hill with the brakes on/You should be turning it off, but you’re just turning it on.” And a whole lot of folks provide the backing vocals, so many voices that we feel we should also add our own and become part of the crowd. “We’re all creatures, creatures of habit/Don’t you like this freaky style/Come on, get it together/Come up to the front/Come up from the back/Funk, funk, funk.” And this song mentions Mr. Magoo, as if it needed another reason for us to love it. This track is so much fun, and that guitar work is outstanding. Vernon Reid (of Living Colour) joins the group on guitar for this one. The band is unstoppable here.

Record Track List

Side A

1. Rock It
2. Love Somebody
3. Groovy Nasty
4. Mantra

Side B

1. B4U Loved Me
2. Dream
3. Past Present Future
4. Creatures Of Habit

Volume 2 was released on November 27, 2018.

The Big Ol’ Nasty Getdown: “Volume 1” (2012) Vinyl Review

I’ve been seriously digging Repurpose Purpose Vol. 1, the most recent release from the great funky beast The Big Ol’ Nasty Getdown, a group founded by bass player John Heintz and featuring all sorts of accomplished musicians. And now I have the opportunity to go back to the beginning of this project and enjoy the first release, 2012’s Volume 1. This record features the talent of George Clinton, Robert Mercurio, and members of the Dirty Dozen Brass Band, among others. The music here will lift you up and get you moving, just the sort of thing you probably need in these days when all joy and humanity have been driven out of politics and social discourse.

Side A

The album kicks off with “The Big Ol’ Nasty Getdown,” thus putting this project in that category of bands who have recorded songs sharing their names, along with Bad Company, Blue Mink, Double Naught Spy Car, I See Hawks In L.A. and They Might Be Giants (among many others). This song begins with some delicious work on drums, and then a spoken word section functions as an introduction, not just to this record but to the project as a whole: “Welcome to the Big Ol’ Nasty Getdown/A plan for a band, banded together by a jam/A psychedelic sandwich of sorts/Cohorts escorted to a revelation by the members of a deeper civilization.” That’s Michael Clip Payne, of P-Funk, on vocals. All of this is great, but it is the brass section that really lifts this one several stories off the ground, propelling us all into a much better and more exciting space, shouting out into the stratosphere, carving a path outward with its sound. The musicians on this track include Roger Lewis on baritone saxophone, Kevin Harris on tenor saxophone, Greg Hollowell on tenor saxophone, Revert Andrews on trombone, Derrick Johnson on trombone, Efrem Towns on trumpet, Ian Neville on guitar, John Heintz on bass, Dave Grissom on organ, Terence Higgins on drums, Frank Mapstone on percussion, and John-Paul Miller on percussion.

The horns then get “Include Me” going, with some delightful, playful work, before that funky guitar work comes in. This tune has a great funky groove, and it features the vocal work of Belita Woods (of Brainstorm and Parliament-Funkadelic). “Hey,” she calls before that first line, demanding our attention. And then she tells us what is what. “If you just can’t do right to me/If you just can’t be right for me/If you just got to play around on me.” I love that percussion, and the energy here is fantastic. This track is great fun, just what you might need to keep your mind off the thoroughly depressing state of our nation. Things here are loose and wonderful, and that guitar is singing, spinning a tale of joy that will wrap itself around each of us, pulling us into the dance. Belita Woods died in 2012, and this record is dedicated to her memory, as well as to the memory of Garry Shider, who plays guitar on this track and who died in 2010. Frank Mapstone is on organ, Brandon Butler is on piano, and Alvin Ford Jr. is on drums.

The musicians mellow things out a bit for “I Will Wait For You,” featuring Laura Reed on vocals. “Time will feel slow/We’ll let it grow/I want you to know/I will wait for you.” She gives us a sexy vocal performance, which is the heart of this track. And everything else works to support that performance. “Well, I’m a woman who knows what she wants,” she sings, leaving no doubt in our minds. I love when she raises her voice and belts out certain lines. She also brings it down for more intimate moments. It’s a delicious, captivating performance. John-Paul Miller is on guitar, Tyler Simmons is on organ, and Robert Mercurio (of Galactic) is on bass for this one. Things then get funky again for “College Funk.” If you listen to this record a few times, you’ll certainly end up on the dean’s list and graduate with honors, with a degree in dancing that will serve you well in this odd world. This is a thumping, pumping instrumental number that will have you shaking and grooving. It’s a wonderful jam helping us to dance through whatever destruction might surround us. Just keep focusing on the groove, friends.

Side B

The second side kicks off with “Platinum,” and that bass means business. This tune has plenty of attitude. The horns feel like integral parts of the city, like its own emergency unit, traveling about and seeing to the well-being of the citizens, making sure they are at a proper level of funkiness. If that level were to drop, pump the right fluids into the body and turn up the volume. Keep an eye on things while you’re dancing, and surely everything will be okay. The sax seems to promise as much. Follow the organ lead into a land of perfect health, perfect funk. And it is then that Kendra Foster comes in on vocals, a surprise so far into the track (it’s more than six minutes in). But now we are ready for her, aren’t we? “I turn up the music in my heart/So loud that my dreams become action.” Oh yes! Now that is an example we can follow.

“Room 2012” comes bursting in with a strong force, the song’s title containing the year the album came out, a year that was supposed to signal the end of the world. Remember that? This time, the vocals come in pretty quickly, now delivered by Reverend Desmond D’Angelo. The rhythm of his delivery carries its own funky element, which is fantastic. “So promise me that you’ll meet me in room 2012/We’ll look out the window and watch the whole world burn to hell/Baby, I want to kiss you right on your apocalypse/And make the whole world crumble at our feet.” And listen to that guitar as it takes charge. This song ends with him saying to get ready to move onto room 2013. Man, that seems so long ago now. It seems now that was when things were relatively normal, relatively stable, before things went to hell in 2016. The record then concludes with “It’s Hard To Go,” a glorious, thumping funk number, the brass players gathering us in at the beginning and then driving us forward in a great burst of energy that we become part of. And when we’ve come through, and are in some other land, the vocals come in, a sort of choir, led by George Clinton. “It’s so hard to go/I wish you’d stay by my side.” And that’s how the song and the record end. Wow.

Record Track List

Side A

1. The Big Ol’ Nasty Getdown
2. Include Me
3. I Will Wait For You
4. College Funk

Side B

1. Platinum
2. Room 2012
3. It’s So Hard To Go

Volume 1 was released in 2012.