Bombadil: “Fences” (2017) CD Review

Yes, I first became curious about Bombadil because of the band’s name, I admit it. I’m a fan of the Lord Of The Rings books (and films, even though that character was cut from them). The first album of theirs that I heard was 2013’s Metrics Of Affection, and I became a fan of the band immediately, enjoying their catchy blend of pop and folk, and particularly their vocals. The band has gone through some changes since then. Bryan Rahija left the band, and then, after their 2015 release, Hold On, Stuart Robinson also left. Later that year, Stacy Harden joined, and so the band now consists of James Phillips, Daniel Michalak and Stacy Harden. As perhaps a result of these changes, the band’s new release, Fences, has something of a different sound, though this is also a result of the different approach the band took to this material. Also, Bryan Rahija returned to play guitar on this release. There is a sweeter, pretty folk feel to much of this material, a sound that I love. All tracks on this CD are originals.

The CD opens with “What’s So Great About You.” I can’t help but think this song is about Donald Trump. Perhaps I’m reading something into it that isn’t there, but the lyrics certainly fit. Here are the first several lines: “The thing about you/Only you think you’re special/What’s a person to do/When there’s no room on the pedestal/What’s so great about you.” There is a soft beauty to this song, and the harmonies rise gloriously above the instruments at moments. That’s followed by “Not Those Kind Of People,” which reminds me a bit of Cat Stevens, particularly in the vocal line. And check out these lyrics: “And if you looked in our basket/We’ve got hate that’s just fantastic/Funny how well we’ve masked it/Living so long/And even if we were/Bred for jubilation/Like a peacock in fur/I believe/We’ve been led to temptation/Washed down the river/And hooked on the lure.” There is a strange joy in the approach, and even hand-claps, helping make this one of my favorite tracks.

Even though this album has more of a folk feel, it certainly does not feel like anything traditional. This band continues to create its own way, its own sound, delivering songs with its own particular perspective. And even with the changes in the band’s lineup, that is something that remains constant. Take “Binoculars,” for example (though, really, you could take any of these tracks as an example), with its deceptively simple folk sound on acoustic guitar at the beginning. The vocal line also begins with an easy, direct sound. But then the harmonies come in, and the song is taken to a different level. “I raise up my binoculars/And I see everything everywhere/I see detail, of that I’m sure/But I don’t see me/And that hurts/The most.” And you realize that the song has completely pulled you in, immersed you in its beautiful vocals, in its world. And this band is able to do that with every damn song. It’s remarkable.

“Perfect” seems the perfect song for Valentine’s Day, a sweet tune that looks forward to a long life together, but still with the band’s delightfully quirky vibe. Take these lines, for example: “What would be the name of our first kid?/I know you like Emma Jean, but I can’t stand it.”  Here are the song’s opening lines: “What would be the color of our first house/Would we have two bedrooms if we can’t work it out.” Yes, it is a love song, a song that is making me feel pretty good. “And I would kiss you/And you would like that/And you said/And you said/You said everything was perfect.”

That’s followed by a different sort of relationship song, “Fence.” Check out these lines: “I am a fence/In your back yard/Why is it so hard/And it’s hardly love/If I can’t let you run/Down to the gate/The latch is undone.” “I Could Make You So Happy” also reminds me a bit of Cat Stevens at the beginning. This is another sweet song. Here is a taste of the lyrics: “Oh, I tried to let you let yourself go, but then my arms won’t let you/Oh, I tried to hold you hold yourself up, but then my arms always caught you/Let’s put our fingers in our fingers and oh my what are those brown eyes that look back at me/If I’m a singer you’re a singer, we’re a duet of those low and highs that make harmony/I could make you so happy.” And that one is followed by “Long Life,” which is incredibly pretty and sweet. This actually might be my favorite track on this CD, in part because lines like these hit me so hard and bring me to tears: “So I hope you can believe in me even though it’s gotten so damn hard/To be counting down the days until we get to wake up in each other’s arms/I’m hoping for a long life/Yeah, a long life/A long life for you and me.”

CD Track List

1. What’s So Great About You
2. Not Those Kind Of People
3. Binoculars
4. Math And Love
5. Perfect
6. Fence
7. Good News Sadie
8. I Could Make You So Happy
9. Long Life
10. Is This Danger
11. No Snow In The Valley 

Fences is scheduled to be released on March 3, 2017 on Ramseur Records.

Scott Nolan: “Silverhill” (2017) CD Review

Friends, as you know, the world has gone sideways, and sometimes it can be too much to handle. We try to find that balance of being informed without being overwhelmed, without succumbing to anger and despair, and it’s difficult. Music is the one reliable antidote to the lunacy perpetrated by our current administration and a significant (though dwindling) segment of the population. It’s a good idea to take a break from the news reports of Donald Trump’s latest lies, and put on a good CD. We need this to retain our health, our sanity. One disc that will help in this regard is Scott Nolan’s Silverhill. I sometimes think if it weren’t for the calming, friendly, honest sound of songs like these, I would completely lose it. The best writing, whether it be in songwriting or novels or whatever, succeeds in doing one thing – letting us know we are not alone. Sounds simple, but this message is extremely important for us to hear regularly, perhaps especially now. And this album does it well. On this disc, Scott Nolan is joined by the group Willie Sugarcapps (Will Kimbrough, Anthony Crawford, Savana Lee, Grayson Capps and Corky Hughes). All tracks are originals, written or co-written by Scott Nolan.

Scott Nolan opens the album with “Forever Is A Long Time,” a beautiful, mellow tune. The first lines are: “The highway’s a ghost that you can see/Hey, don’t forget about me/Freezing rain, Texas to Tennessee/Slept right through Arkansas/In the back seat.” Hey, don’t worry about sleeping through Arkansas. You didn’t miss anything, trust me. I’m going to add this song to my road trip play list. It’s followed by “The Last One,” which might also work on a road trip mix CD. The line that always stands out for me is “Saying my prayers through a bullhorn.” Not bad, eh?

“Shake It Loose” is a fun, bluesy tune, with the backing vocalists providing that needed humorous, delightful element as they repeat “Shake it loose, shake it loose.” How can you help but smile? And check out these lines: “My heart strings fall out of tune/The house is on fire, baby, dinner was ruined.” That is followed by one of the album’s most beautiful and moving songs, “Trouble & Love.” This one was written by Scott Nolan and Mary Gauthier. “Blizzard outside, blizzard in your heart/Lonely travelers and cheap motel art/Snow’s falling on snow that fell on snow/I said hold on, baby, please don’t let go.”

“When Can I See You Again” is another highlight, with its sweet sound. And with my girlfriend at the other end of the country, the question “When can I see you again?” feels rather pertinent and personal. This song works to bring us closer, like a shared mental caress, which will have to suffice until we get that next physical one. “Can’t stop thinking about you/You’re always on my mind/Starting over now/Going to get it right this time/When I get that sinking feeling/I can’t drown the pain/When can I see you again.” And I love that fiddle toward the end. Then in “Curls & Curves,” Scott sings, “Love’s a crazy game, sometimes you get what you deserve.”

“Silverhill,” the album’s title track, is an interesting track in as much as it seems to be about the very writing and recording of the album. The song’s lyrics mention some of the other musicians: “Kimbrough’s cracking jokes,” “Grayson Capps is tops,” “Corky’s steel guitar moans.” My favorite line, however, is, “And me here trying to type poetry into a cellular phone.” Though he is based in Winnipeg, Scott Nolan recorded this album in Loxley, Alabama, near Silverhill. The title track is followed by “Twister,” a playful country number to lift your spirits. It’s a song about playing Twister, with lines like “Right hand red, my left foot blue/I got myself all tangled up in you.” Hey, red and blue – is this song really about our nation getting twisted, or am I reading too much into the choice of colors? That line also strikes me as a play on Bob Dylan’s “Tangled Up In Blue.”

The album concludes with “Leave It Alone,” which was written by Scott Nolan and Hayes Carll, and features some beautiful playing. “With no plans worth making/All the good dreams were taken/When you leave this world/You leave it alone.”

CD Track List

1. Forever Is A Long Time
2. The Last One
3. Fire Up
4. Shake It Loose
5. Trouble & Love
6. When Can I see You Again
7. Curls & Curves
8. One Little Spark
9. Silverhill
10. Twister
11. Little Dreamer
12. Easter At The Waffle House
13. You Leave Alone 

Silverhill was released on February 10, 2017, though it seems it was released with a different cover a year ago.

Grateful Dead: “Capitol Theatre Passaic NJ ‘78” (2016) CD Review

There are suddenly a lot of these concert radio broadcasts seeing unofficial CD releases. I’m not sure exactly why that is, but I am happy to take whatever Grateful Dead I can get, particularly these days when I want to escape to a better time. And really, there was no better time than a Grateful Dead concert. Capitol Theatre Passaic NJ ’78 is a three-disc set containing nearly the entire concert the Grateful Dead performed on November 24, 1978 (it is missing one song from the first set). The show was broadcast on WNEW, and apparently some interviews with band members were included in the original broadcast, though those are not included here. This three-disc set does include a booklet with notes from the original concert program.

The first disc starts with a radio introduction which actually ends up going over the band introduction from the stage. Then the band opens with “Jack Straw,” with Donna Jean’s vocals fairly prominent in the mix at the beginning. Bob tells the crowd the band is going to take a moment to adjust things, “And take pause to wonder what we’re doing here.” And they go into “Sugaree,” which the crowd welcomes with a whole lot of cheering and applause. Jerry’s voice is straining a bit, but this is still a really good version. That’s followed by “Me And My Uncle” going straight into “Big River,” with Keith providing some nice stuff on keys.

Bob addresses the radio audience: “And a big hello to all you radio listeners who are listening out there. We certainly hope you’re enjoying the show as much as we are. I just wish they’d get these elephants off the stage.” Jerry’s voice strains again during “Stagger Lee,” a song included on Shakedown Street, which was released just before this concert. Jerry was sick during the show, and the next show was actually canceled due to his illness. Bob then jokes with the radio audience again before the band goes into “Passenger,” a song the Dead played for only a few years. It has a bit of an awkward ending.

After a nice “Candyman,” Bob says they’re going to take a little break for the radio stations to identify themselves, and we do hear a brief radio announcement. Bob then jokes about deciding what they want to do next. And what we hear is “From The Heart Of Me,” a song featuring Donna Jean Godchaux on lead vocals. This song was also included on Shakedown Street. But what’s missing here is “New Minglewood Blues,” which the band played before “From The Heart Of Me.” It’s unclear why it’s not included. It’s not due to time constraints, because this first disc is only an hour long. Interestingly, this very version of “New Minglewood Blues” was included on the extended version of Shakedown Street released more than a decade ago, so if you have that, then you have the complete show.

The second disc then starts with the final two songs of the first set – a good version of “Loser” followed by “Promised Land.” And then at the start of the second set, Bob again addresses the radio listeners before the band launches into “I Need A Miracle,” which I believe is the first Grateful Dead song I ever heard. I remember it got airplay on the local rock station at the time, and specifically I recall hearing it on the school bus radio on my way home from school when I was really young. Of course, I had no idea that it was the Grateful Dead. I just really liked the song, and still do. That leads straight to a fun cover of “Good Lovin’,” a song which the Dead included on Shakedown Street. Actually, the Dead played most of the songs from Shakedown Street at this show, the only exceptions being “France,” “Serengetti” and “If I Had The World To Give.” Bob mentions the presence of cameras (the show was filmed as well as broadcast on radio), and the band goes into a really nice rendition of “Friend Of The Devil,” which is the final song of the second disc.

The third disc contains the rest of the second set and the encore. There is a brief radio announcement as the band tunes for “Estimated Prophet.” “Estimated” is, for me, one of the highlights of the show, with a good jam. This is where things start getting interesting, and the jam leads into “Shakedown Street,” which gets a little wild and messy toward the end, but has me dancing around. The drum solo follows, and then Hamza El Din joins them for “Ollin Arageed.” Just a couple of months before this show, the Dead performed in Egypt, where they were joined on stage by Hamza El Din. They performed this song at each of those three shows by the pyramids. Hamza El Din then joined the Dead in the U.S. a few times for this song. The Dead follow that with “Fire On The Mountain.” Jerry’s voice again strains, but it’s still a good version, and it leads directly to “Sugar Magnolia” to close out the second set. The encore is Chuck Berry’s “Johnny B. Goode.”

CD Track List

Disc One

1. Jack Straw
2. Sugaree
3. Me And My Uncle
4. Big River
5. Stagger Lee
6. Passenger
7. Candyman
8. From The Heart Of Me

Disc Two

1. Loser
2. The Promised Land
3. I Need A Miracle
4. Good Lovin’
5. Friend Of The Devil 

Disc Three

1. Estimated Prophet
2. Shakedown Street
3. Drums
4. Ollin Arageed
5. Fire On The Mountain
6. Sugar Magnolia
7. Johnny B. Goode 

Capitol Theatre Passaic NJ ‘78 was released on July 15, 2016 though Air Cuts.

Ned Luberecki: “Take Five” (2017) CD Review

The current political and social landscape is disgusting and depressing, but one thing I’ve learned is that it’s difficult to remain depressed when you can hear the sound of a banjo. It’s such a light, happy sound, a sound that says, “Come over here and let’s be friends.” So yes, it’s a sound that I’m turning to today to lift my spirits and remind me that this presidential horror is a passing thing. Ned Luberecki is an accomplished banjo player who plays with The Becky Buller Band and in the duo Nedski & Mojo. On his new CD, Take Five, he presents some traditional banjo and fiddle tunes, as well as some not-so-traditional songs. Yeah, there are some real surprises on here. Also, there is some original material. Most of the tracks are instrumentals, but vocalists join him on certain tunes.

Ned Luberecki kicks off the CD with an original instrumental tune, “Night Driver,” which features Chris Jones on guitar, Mark Stoffel on mandolin, Jon Weisberger on bass and Jeremy Garrett on fiddle. This is a lively bluegrass number to get things off to a good start. It’s followed by “Higher Ground,” which features Dale Ann Bradley on lead vocals, with Becky Buller on harmony vocals. It was written by Kelley Luberecki and Dale Ann Bradley. Here is a taste of the lyrics: “Other places I’ve seen have taught me many things/Some of them I’ve tried to call my home/No matter where I dwell/I come back to the well/As higher ground, my mountain stands alone.”

Becky Buller then joins Ned on fiddle for “Cleveland Park,” an instrumental with a mellower, more serious vibe. This is a duet of banjo and fiddle. Things then kick back into that high gear with a great cover of “Adams County Breakdown,” a fun, breezy instrumental number written by Tom Adams and recorded by The Lynn Morris Band. On this track, Ned Luberecki is joined by Shad Cobb on fiddle, Mike Compton on mandolin, David Grier on guitar, Missy Raines on bass and Rob Ickes on dobro, and all the musicians gets a chance to shine in traditional bluegrass style.

Amanda Smith provides lead vocals on “We’ll Put Out The Fire,” a sweet dance number. “He’s the one, the one for me/All that I desire/I’ve been waiting/When he comes/We’ll put out the fire.” That’s followed by “B-Flat Medley,” one of my favorites, a fun little instrumental number with some cool changes. And then “Fiddlin’ Dan,” another favorite, follows, this one featuring Becky Buller on both vocals and fiddle. I love songs with that great Irish folk feel. (Hey, St. Paddy’s Day will be here before we know it.)

But probably my favorite track on this disc is its title track, “Take Five.” Oh yes, this is absolutely fantastic. Banjo jazz. “Take Five” is already one of my favorite tunes anyway, written by Paul Desmond, and made famous by Dave Brubeck’s original recording. By the way, the cover artwork for this CD reminds me of the artwork for Time Out, the 1959 Dave Brubeck Quartet album to feature “Take Five.” I could listen to this track for hours, just as I could spend hours listening to Dave Brubeck’s rendition (and have done, actually). Joining Ned Luberecki on this track are Missy Raines on bass, Ethan Ballinger on guitar, Casey Campbell on mandolin and Cody Martin on drums. And that remains the band’s lineup for the next several tracks.

After “Take Five,” the group dips into bossa nova with an instrumental version of Antonio Carlos Jobim’s “Girl From Ipanema,” then follows that with a good original tune, “Earl’s Court,” written by Ned Luberecki. One of the other main highlights of this CD, however, is another jazz cover, an absolutely delightful rendition of “Blue Monk.” It has kind of a laid back country jazz feel that is wonderful, and I love Ethan Ballinger’s work on guitar. It also includes a cool bass solo by Missy Raines. I definitely recommend checking it out.

“Kitchen Squirrel Medley” is another instrumental with just banjo and fiddle. That’s Becky Buller on fiddle there. That’s followed by “Buck Owens Medley,” the only track on this disc to feature male vocals. That’s Stephen Mougin on vocals and guitar (he’s the other half of the duo Nedski & Mojo). The medley includes “Before You Go” and “Let The World Keep On Turnin’.” The CD then concludes with perhaps its biggest surprise, the Star Trek theme, including the voice-over narration (that’s Ned Luberecki doing the narration). Yup, we’re boldly going where no man has gone before, and with a banjo this time.

CD Track List

1. Night Driver
2. Higher Ground
3. Cleveland Park
4. Adams County Breakdown
5. We’ll Put Out The Fire
6. B-Flat Medley
7. Fiddlin’ Dan
8. Take Five
9. Girl From Ipanema
10. Earl’s Court
11. Blue Monk
12. Kitchen Squirrel Medley
13. Buck Owens Medley
14. Where No Man Has Gone Before (Star Trek Theme)

Take Five is scheduled to be released on March 31, 2017.

Grateful Dead: “Live In Stanford CA, ‘88” (2015) CD Review

Perhaps it’s because the present fills us with dread, but, whatever the reason, I’ve been reaching back to earlier years, and specifically to 1988 this week. I listened to a Grateful Dead show from April 8th at the Worcester Centrum, and am following that up with another Grateful Dead show from that same month, but at the other end of the country. Live In Stanford, CA ’88 contains nearly the complete show the Grateful Dead did on April 30, 1988 at the Frost Amphitheatre in Stanford, California (it’s missing part of one song from the second set). This is another of those releases based on a radio broadcast, this time from KZSU, but this one contains no audio indication of such. We never hear anyone from the station introduce or interrupt the music. There are no station identifications whatsoever.

There are some sound issues at the start of the first disc, but they’re quickly settled as the band launches into a sweet version of “Let The Good Times Roll.” “It might be six o’clock and it might be eight/It doesn’t matter if it’s getting late.” The band then goes right into “Feel Like A Stranger,” featuring a good jam with a groove that has me dancing. A somewhat pretty “Row Jimmy” follows, and then Bobby dips into the blues with “Walkin’ Blues,” with Brent delivering some interesting stuff on keys. There’s a pause after that, while the band chooses its next song. “Next tune is a drummer’s choice,” Bobby announces, and the band goes into “Hey Pocky Way,” with Brent on lead vocals. I recently read Bill Kreutzmann’s memoir, Deal, and in it he does mention his love for New Orleans-flavored music, and “Hey Pocky Way” certainly fits the bill. It’s a fun song, and Brent, of course, delivers the vocals with a palpable energy. The beat should have you on your feet immediately. Ah yes, have a little post-apocalyptic dance party right in your living room, or wherever you might be listening. The band keeps the good vibes going with “Ramble On Rose,” and then concludes the first set with “Let It Grow,” which feels a bit rushed. Right? The pace seems faster than usual, and the jam also has a kind of intense feel to it.

The first disc also contains the beginning of the second set, which kicks off with “Shakedown Street.” As always, I dig the vocal jam toward the end, though this time that section of the song is relatively brief. But the jam continues after that part, and then, surprise, they go back into a bit of the vocal jam. Sure, it’s short, but it’s great, and the band then goes into “Man Smart, Woman Smarter,” a song that seems just perfect these days, and the tune which ends the first disc.

The second disc then picks up where the first disc left off, with “Ship Of Fools” followed by “Playing In The Band.” This isn’t a complete “Playing,” and the jam leads to the “Drums/Space” segment. Contrary to what the CD case indicates, “Drums/Space” is presented as a single track, the third track of the disc. This is a pretty wild “Space,” like a group of dosed whales making contact with the outer reaches of our galaxy, or at least trying. It seems they’re successful, the answer coming from a distance in the form of “Going Down The Road Feeling Bad,” which eases in and then is suddenly there, a bright, happy force. And here we go. For me, this part of the show is one of its highlights.

Bobby sings Dylan’s “All Along The Watchtower,” and then that’s where I expected there to be a song missing. After all, it’s not listed on the CD case. But “Black Peter” is there, though a large chunk of it (approximately five minutes) is cut. It’s the only major glitch of this disc. The Grateful Dead wrap up the second set with “Sugar Magnolia.”

It is rare (at that time, anyway) for the Dead to play more than one song in the encore, and at this show they play three songs. They do “China Cat Sunflower” into “I Know You Rider.” When they start “China Cat,” the crowd understandably goes a little nuts. But the band isn’t done even after an excellent “I Know You Rider.” After all, this show was on a Saturday, and you couldn’t escape a Saturday show without hearing “One More Saturday Night.” In 1995, I was working on designing a T-shirt. On the front was to be a close-up of Jerry’s face, with his index finger over his lips, indicating Sshh, and on the back it was going to say, “Don’t tell Bob it’s Saturday.” I think that would have sold, and I would have given one to Bobby – I’m pretty sure he’d appreciate the joke. Anyway, the band ends the show with a high-energy rendition of “One More Saturday Night.”

CD Track List

Disc One

1. Let The Good Times Roll
2. Feel Like A Stranger
3. Row Jimmy
4. Walkin’ Blues
5. Hey Pocky Way
6. Ramble On Rose
7. Let It Grow
8. Shakedown Street
9. Man Smart, Woman Smarter 

Disc Two

1. Ship Of Fools
2. Playing In The Band
3. Drums/Space
4. Going Down The Road Feeling Bad
5. All Along The Watchtower
6. Black Peter
7. Sugar Magnolia
8. China Cat Sunflower
9. I Know You Rider
10. One More Saturday Night

Live In Sanford, CA ’88 was released on October 2, 2015 through Rox Vox.

Destroying Donald Trump In Song

As much as I would love to see Donald Trump physically removed from the planet, it doesn’t seem like that’s going to happen anytime soon. I was hoping he would suffer a heart attack, but the trouble with that is he doesn’t have a heart. However, musicians have been releasing songs ridiculing him. And I believe this is a man who can be ridiculed out of existence. He has the thinnest skin of anyone to ever walk upright. Here are a few songs that are worth checking out. And why not share them with Donald?

“Can’t You Tell?” by Aimee Mann

The first song against Trump that I heard was Aimee Mann’s “Can’t You Tell?” A friend sent me the link on January 10th. In this song, Aimee Mann sings from Donald Trump’s perspective, portraying him as a frightened, unstable lunatic. “Isn’t anybody going to stop me now?/I don’t want this job/I can’t do this job/My god, can’t you tell/I’m unwell.” And she plays with his name on the lines, “I throw out any shit I want/And no one trumps that card.” I love these lines too: “To wind up all the tops and watch the others keep the spin/You handing me grenades is just compelling me/To pull the pin.”

Click here to watch the lyric video of the song.

“The Stammering Yam” by Jim Infantino 

Then on January 18th, I heard this great song from Jim Infantino (of Jim’s Big Ego and End Construction), offering some truths about the president (originally titled “Unbelievable”). “He’s a racist fascist/broke misogynist hateful vengeful/leering lecherous friendless narcissist/treacherous villainous bogus ghastly/stammering yam.” And check out these lines: “He's a thin-skinned tangerine/Who’s compulsively mean/To protect his self-esteem/Believe me.”

Click here to watch the video of Jim performing it.

“Not Gonna Say Your Name” by Entrance

“Not Gonna Say Your Name” is one I first listened to on January 22nd. It opens with some beautiful vocals, delivered a cappella: “There are people who say we ought to give you a chance/But there’s not a chance in hell/That we’ll sit back and watch you try to turn back the clock/And just sigh and say ‘oh well.’” This is a passionate and excellent song. “I’m sick of your name/I’ve heard it enough/I’d rather not hear it anymore.” And here are some lines I think a lot of folks will appreciate: “Tell me, don’t you have a mother?/A daughter, a wife?/Man, you really ought to be ashamed/The way you brag about grabbing what gave you your life/You must really think life is a game.” The video has footage from the protests. By the way, this song is a benefit for Planned Parenthood.

Click here to watch the video.

“Evil Baby” by Mercy Weiss

On February 1st, I was sent a link to the music video for “Evil Baby” by Mercy Weiss. This is a fun, playful and still poignant song, with a good groove. “I know what you are/Get out of the house/You’re evil, baby.” I’ve already listened to this song several times. This video also has footage from protests.

Click here to watch the music video.

“Mr. No. 1” by Carolina Mae And The 21st Century

I also first heard this one on February 1st, though it was actually released before the election. It plays on Trump’s vanity, even including a reference to Carly Simon’s “You’re So Vain.” Here is a taste of the lyrics: “You think we’d let a fool into Air Force One?/You think you’d make America great again?/Man, you’re the worst fuck-up since Vietnam.”

Click here to watch the music video.

“Piñata Trump” by The Krayolas

Sung in Spanish, “Piñata Trump” is a delightful tune about hitting Trump with a stick (something we all want to do at least ten or twenty times a day). “La Piñata Trump/Por favor, dejame pegarle/Con el palo de la escoba.” The music video includes an English translation of the lyrics for those folks who don’t speak Spanish.

Click here to watch the video.

“Hey God, I’ll Trade You Donald Trump For Leonard Cohen” by Steve Poltz

Well, this one obviously speaks strongly to me. And I’m already a big fan of Steve Poltz’s work. But it’s a seriously excellent song, and one you’ll probably be singing along with soon enough. “Hey God, I’ll trade you Donald Trump for Leonard Cohen/Come on, God, you know which the way the winds are blowin’/The climb, it is so high, and then it starts a-snowin’/What do you say, God, Donald Trump for Leonard Cohen.” And if God won’t go for it, Steve offers to trade Donald for other folks we lost in 2016, like Muhammad Ali, Carrie Fisher (“We don’t need some swindler, pussy grabber and a kisser/What do you say, God, Donald Trump for Princess Leia”), David Bowie, Harper Lee, and Prince.

Click here for the video.

“Talking Bowling Green Massacre Blues” by Jim Infantino 

This is another hilarious song from Jim Infantino. The only downside to Donald Trump being forcibly removed from office would be an end to these Jim songs. This one tells the story of the frightening events that occurred in Lizard Woman Kellyanne Conway’s brain. It is done in the talking folk song style that Woody Guthrie developed and that Bob Dylan used in some of his early work. “Chaos wasn't everywhere/Screams did not fill the air/Black smoke failed to cloud the sky/Lots of people did not die/It was carnage/American carnage.” And check out these lines: “So a lot of time passed/Now it seems everybody remembers Bowling Green/When Frederick Douglass and Schwarzenegger fought side by side.”

Click here to listen to this song on SoundCloud.

“Dump Trump” by Melissa Cox

This is a fun and passionate (and not at all subtle) folk tune about the “sexist racist orangutan.” Check out these lines: “Thank the GOP for this monstrosity/And the media for giving him his press for free/Yeah, we all say that he'll just go away/If we ignore the stupid shit he says every day.” Yes, this song was recorded before the lunatic was actually elected. “It’s easy to be wealthy when your daddy is rich/Now he’s taking your donations in a bait and switch/Why do the poor like Trump despite/The fact he hasn’t been poor a day in his life?”

Click here to watch the video.

“The Manchurian Candidate” by Not The Good China

This is a song with the punk energy that we need to combat this mendacious bastard. And it presents a great idea: “Let’s build a wall/Around that liar.” Build a wall around Trump? Perfect! Hey, I bet Mexico would gladly pay for that wall. Turn this one up and sing along. Here is a taste of the lyrics: “Let’s box him in/Let’s build a wall/To save our children/Let’s keep the Donald hidden/Make America great again.” This one is also known as “An American Song,” and indeed it is.

Click here to watch the video.

Keep those songs coming, friends!

Grateful Dead: “WCUW Worcester Massachusetts April 8th 1988” (2014) CD Review

My first Grateful Dead concert was at the Worcester Centrum on April 7, 1988. The next day or so at school, I was handed a tape of the show, and it had all sorts of horrible sound defects, noise that hadn’t been present at the actual show. I never quite knew what the deal was with that cassette, but it might have been taped from the radio. WCUW broadcast all three shows of that run (which turned out to be the final Worcester run, though no one knew that at the time). A lot of radio broadcasts have been popping up lately as unofficial CD releases, and the second night in Worcester, April 8th, has seen such a release. Simply titled WCUW Worcester Massachusetts April 8th 1988, it is a two-disc set containing the entire show.

It opens with some radio banter, mentioning the crowd and asking for donations to the station. I’m not sure I listened to this broadcast at the time. I’m not sure I was even aware that the three nights were being broadcast. But they mention that they’ve worked things out, and say that they hope they’ll have a good-sounding broadcast tonight, which leads me to believe all the sound defects on my tape of the night before were due to problems with the radio broadcast. They seem to be indicating as much. Well, the radio folks stop talking before the show actually gets going. And the band kicks off the night with a version of “Jack Straw” that becomes seriously energetic in the jam toward the end. And the sound is pretty good. They follow that with “West LA Fadeaway,” which is a lot of fun. I sometimes forget how good this song can be. After a pause as the band presumably decides what to do next, they go in a bluesy direction with “Little Red Rooster.” But that doesn’t mean things are about to get mellow. Brent certainly isn’t about to let that happen, not yet. And the crowd howls like the hounds Bob sings of.

The first set also includes good versions of “Stagger Lee” and Bob Dylan’s “Queen Jane Approximately” (the latter seeming to end somewhat abruptly), and then ends with a passionate, if somewhat rough “Loser” leading straight into “Let It Grow.” Bob then tells the crowd they’ll be back in a little bit. The first disc ends with a bit more radio banter, but they do not interrupt the music at all, not to do station identification or anything, not even during tuning between songs. There’s just the bit at the beginning and now at the end of the set.

I should have been at this show, but at that point in my life I hadn’t ever been to two concerts in a row. In fact, at that time the only band I had seen more than once was Aerosmith (I saw them in 1986, and again in 1987), and I just don’t think it occurred to me to get tickets to more than one show. I was thrilled just to be at one. That one show certainly changed things for me, and my expectations for live shows were raised significantly higher than they had been (many bands would not meet these new expectations).

The second disc begins with just a bit of radio banter. “See you on the other side.” Oh yes. It sounds like an “Iko Iko” tease or something before they settle on “Playing In The Band,” which of course gets the crowd excited. It’s a bit messy at points, but is still a great way to get the second set started. It’s an incomplete “Playing,” suddenly giving way to “Crazy Fingers.” The following year, my second Grateful Dead show would open with this pairing of “Playing” into “Crazy Fingers,” and we’re talking first set. “Gone are the days we stopped to decide/Where we should go, we just ride.” Though Jerry’s voice struggles a bit, this is a really good version, with a beautiful ending.

That leads to “Uncle John’s Band,” with a good jam that features an odd electronic sound a few times. There is also a bit of a “Playing In The Band” tease, as if the band might finish that song. But instead the jam leads into the “Drums/Space” segment. “Space” is short, and it leads to a strange, interesting version of “The Other One,” one of the show’s highlights. Though this is fairly short too, and soon gives way to “Black Peter,” a song that Jerry had sung the previous night too. They didn’t often play the same song two nights in a row, but Jerry wasn’t feeling all that good at these shows, and this song might have spoken to him particularly because of that. Or maybe he just forgot. The band then wraps up the second set with “Turn On Your Lovelight.”

The encore is “Black Muddy River,” a pretty song that I don’t think I ever got to see the Dead perform live. There is just a bit of radio banter right at the very end of the disc. It’s a short show. The second disc, which contains the entire second set and encore, is only sixty-four minutes.

CD Track List

Disc 1

1. Radio Intro
2. Jack Straw
3. West LA Fadeaway
4. Little Red Rooster
5. Stagger Lee
6. Queen Jane Approximately
7. Loser
8. Let It Grow
9. Radio Jabber 

Disc 2

1. Radio Intro
2. Playin’ In The Band
3. Crazy Fingers
4. Uncle John’s Band
5. Drums
6. Space
7. The Other One
8. Black Peter
9. Turn On Your Lovelight
10. Black Muddy River

WCUW Worcester Massachusetts April 8th 1988 was released on September 15, 2014 through Klondike Records. By the way, the photo on the CD cover is not from this show, or even from this venue.