Benjamin Jayne: “Broken” (2023) CD Review

Perhaps it is because of the current insanity in our country, or maybe it is simply a natural part of aging and would happen regardless of the world’s present nuttiness, but many people are looking inward, trying to figure out just what went wrong in their own lives and whether it’s too late to get back on track. Somewhere along the journey, certain dreams and goals vanished, and the course was altered. What happened? And how did people get wrapped up in all the outside garbage and nonsense, and lose sight of who they were? The future is getting smaller, and the past is growing, and neither seems all that enticing. On his new album, Broken, Benjamin Jayne addresses these ideas, these fears, this concern, this dread, and does so with some excellent songwriting. Benjamin Jayne is the name that Vermont-based psychiatrist Benjamin Wright uses for his artistic endeavors. Broken is his third solo album, following 2021’s Theater.

The album opens with “A Million Miles,” which has a dark and ominous electronic vibe as it starts before the vocals come in. Interestingly, the vocals have a softer, but somewhat eerie sound, and then there is a positive feel to a line like “I’m just trying to find my way.” But right after that, there is a pause, and we feel like we are surrounded by dark winds, and otherwise alone, before the music comes back. “My body’s filled with fear/I don’t know which way to go/A million miles from home.” We feel that fear as we listen. We experience it, feeling so far from who we were, who we thought ourselves to be. Yet there is hope there, even as he tells us, “Hey, it’s all over.” Perhaps the hope is created more in our minds than in the song itself, as a necessary reaction. A different sound greets us as the second track, “Give Up, Don’t Give Up,” begins, powered by acoustic guitar. This is some pretty work, though there is a sense of nervousness too. Sometimes I think it would be easier to give up on my goals and my dreams, rather than work toward them and possibly face disappointment and failure, particularly at this relatively late date. But it’s not easy to give up, at least not as easy as it sounds. “Peace and tranquility/We’re floating out in the sea/The salt covers the wound.” And the swirling power of the electric guitar overtakes us toward the end.

“Wake up, the buildings are dancing/City silhouette is swaying/I hear people praying,” Benjamin Jayne sings in “Shoot Through The Wire.” What a striking image. Because of course dancing is generally a very positive and joyful thing, but when buildings are moving, no good can come of it, and nothing good can cause it. This one has a surprisingly catchy rhythm in the guitar, and makes use of some interesting electronic effects. The song ends up as kind of a nightmare, where things are out of our control, a dream or fantasy gone wrong, with children playing but sounding like they’ve already passed from this world. That’s followed by “Somewhere Far Away,” which begins with an electronic beat, a pulse. And maybe this is just a dream, just a thought, something far off. “Let his mind take flight, uh-huh/Somewhere far away/On a great escape, uh-huh.” And suddenly it becomes a positive thing, letting go of pain, letting go of the struggles, at least in one’s thoughts. And perhaps taking on the electronic pulse is a way of casting aside human frailties and adopting a different mental state. Then that electric guitar part in the middle has a mournful quality, like it is calling out into the darkness, remembering and asking. “We all have dreams to chase/And ourselves to save, uh-huh.” This song is more and more appealing to me as it progresses. And here Benjamin Jayne visits an idea from Shakespeare’s work, singing “And the world is a stage.”

In “Love,” he asks, “Is this really happening to me?” That’s something all of us ask at one point or another. Sometimes it is in disbelief, sometimes in anger at what seems unfair. But sometimes it is in wonder, like we don’t deserve something so good, and we are surprised to find ourselves in such a great position. “We all want to find love, don’t we?” That’s followed by “(Numb) I Can’t Feel A Thing.” Dark waves at the beginning give way to some nice work on guitar, and this track features one of the album’s best vocal performances. “And I thumb through memories I’ve had/Life’s not the same/It’s not the same/And I can’t feel a thing.” This is another of the disc’s highlights for me, a fantastic song.

“Broken,” the album’s title track, likewise begins with a dark rumbling. “Noise all around, noise all around/I think I’m broken, I think I’m broken.” I guess we all have those thoughts from time to time, though lately it is more often that I feel other people are broken. Broken and unaware, and not contemplating their state. “And I need something to go my way/This time/And I need someone to walk by side/This last mile.” That quick addition of “This last mile” is striking, for before that, the line has kind of a sweet sense about it. “And I’m dying/And I’m dying,” he sings. And then do we actually hear the end? There is a rupture, a rumbling, and then the track fades out. Is that what it will be like? That’s followed by “The Symbol.” Early in this one, he sings, “Corrupted, and spreading/Like a cancer through the body.” Yes, we again are in a dark land. But then interestingly he sounds more certain as he sings, “We will take, we will take, we will take back what’s ours,” his voice closer to us there, and so we believe him. Soon he sings, “The glass is half full,” the line expressing an optimistic outlook. But that outlook doesn’t necessarily change the reality of the situation, as he sings, “I can’t see anything other than the darkness in front of me.” After that he sings about a symbol in the sky, and it becomes clear this song is about Batman. The electronic landscape doesn’t offer much comfort or support, but he repeats those lines about taking back what’s ours again just before the end, and there is strength and determination in his delivery.

He mentions darkness in “A Familiar Face” too, in the song’s first lines: “I open my door, let the darkness in/Give it a warm place by the fire to sit.” Those first lines do remind me of “Dire Wolf,” though this song has a much different feel than that song. This track has a rather frightening vibe. After a brief pause in the second half (and he makes such great use of those sorts of pauses throughout the material on this album), the song overwhelms us, envelops us. This is another of my personal favorites. The album’s final track, “Good Night, Good Bye,” has a surprisingly sweet and positive sound at the start, as if determined to leave us in a better place. “Sleep tight by my side.” Perhaps with that special person by our side, the nightmares won’t reach us. That seems right to me. “Don’t get carried away/I want you to stay/Don’t go away.” There is a beauty to this song, and yet he says goodbye here. “Don’t fight, don’t cry/Good night, good bye.” This song has a longer pause than the other tracks, and there is a change after that, for that final instrumental section.

CD Track List

1. A Million Miles
2. Give Up, Don’t Give Up
3. Shoot Through The Wire
4. Somewhere Far Away
5. Love
6. (Numb) I Can’t Feel A Thing
7. Broken
8. The Symbol
9. A Familiar Face
10. Good Night, Good Bye

Broken was released on October 13, 2023.

We Are The West at 701 Santa Monica Blvd., 1-20-24 Concert Review

We Are The West performing "Open Water"

It had been a hard week for music lovers in Los Angeles, as we learned of the death of guitarist and lap steel player Paul Lacques, an integral member of I See Hawks In L.A. and Double Naught Spy Car. What was needed was a great night of music to raise our spirits. And one of We Are The West’s magical parking garage shows was just the ticket. These shows used to be monthly, but in recent times have become a bit more sporadic (singer and guitarist Brett Hool refers to them as seasonal now). This time, true to form, there was original art as backdrops to the performance area, adding more beauty and warmth to the space on what was a cool, rainy night. And there were smaller pieces for sale at the merchandise table, some really nice work by David Soto and Janel Raihl of Art Wavy.  The DJ streamed from his home this time (recovering from a trip to the hospital, as I understand), and, as usual, chose some great songs to play before the bands performed, including a good cover of “Trouble” by Father John Misty.

At 8:36 p.m., DT/IG started the show. This is a duo made up of Drew Taubenfeld on guitar and Isaiah Gage on cello, offering beautiful original instrumental music. They were also quite personable, and had a sense of humor. When a siren blared outside during their first number, they incorporated it into their music, which got the audience laughing. They focused on music from their debut album, Some Day, which was released in October and is available on vinyl (I bought a copy, but haven’t yet had a chance to listen to it). Some pieces were soothing, others dramatic, but all had beauty. Their set did include a couple of new tunes, including a solo guitar piece, and they wrapped up the set appropriately with “Rainy Day.” Their set ended at 9:11 p.m.

At 9:38 p.m., We Are The West took the stage, Brett Hool and John Kibler performing the first song, “Lights,” as a duo. “If you are searching, you will arrive,” they sang at one point in the song. And it felt like we had arrived. The music welcomed us, as their music always does, with warmth and humanity and joy. The rest of the band then joined them for the next song, “A New Haven,” one from the group’s first EP. Sylvain Carton was on saxophone, Paul Cox was on keys, and Will Van Satten was on drums. This was Will Van Satten’s first show with the band, and he did a great job. The song included a nice instrumental introduction. I love the way this music transports me. After that song Brett said: “That’s an old song. Here’s a new song.” And they went into “Open Water,” with Sylvain Carton switching from saxophone to both mandolin and flute for this one. This song had such a sweet vibe, and I loved it immediately.

Sylvain Carton switched back to saxophone for “The Watchers,” the band easing into this one. The vocals are always a big part of the group’s appeal, but Brett’s vocal performance on this song was particularly special. And the way the song built was exciting. “We’re on a mission.” Oh yes, this was one of the set’s highlights. “Here’s another new one,” Brett said after that song, and they went into “I Feel Good Today,” a song I first heard them play in September. It has a pleasant vibe, and features a catchy part on keys. That was followed by “Don’t Worry About It,” a song that was included on the band’s 2021 record Only One Us. Its hook reminds me a bit of The Cars. I love the energy of this song. Sylvain switched to clarinet for “The Golden Shore,” delivering some really nice work as that song began and then again later in the song. This song, which was the title track to the band’s debut full-length album, also featured some seriously cool by John on bass, and was another highlight of the set. That was followed by the title track to Only One Us, with Sylvain then on mandolin. This song always makes me happy, and this rendition featured some great stuff on keys near the end.

Brett dedicated “Sea Of Light (Dirty Ditty)” to driving on the Pacific Coast Highway in the wintertime, something I want to do more of. This song included a wonderful saxophone part. That was followed by “Good Luck (And All That Stuff),” one I always appreciate. They wrapped up the show with “Steps To Nowhere,” a song from Only One Us. There is so much joy in this piece, and there was a lot of joy in the room as a result. Once again, a parking garage had been transformed into a beautiful little haven, and folks didn’t even mind that it was raining as they headed out into the night afterward. The show ended at 10:33 p.m.

Set List

1. Lights
2. A New Haven
3. Open Water
4. The Watchers
5. I Feel Good Today
6. Don’t Worry About It
7. The Golden Shore
8. Only One Us
9. Sea Of Light (Dirty Ditty)
10. Good Luck (And All That Stuff)
11. Steps To Nowhere

Here are a few photos from the show:

DT/IG

 

 

"A New Haven"

"Open Water"

"Only One Us"

"Steps To Nowhere"

Cactus Lee: “Caravan” (2023) Vinyl Review

Cactus Lee is a band started by singer and songwriter Kevin Dehan. In a relatively short time, Cactus Lee has released a lot of excellent music. The band got off to a strong start in May of 2019, when it released not one debut album, but two simultaneously – a self-titled album and one titled Texas Yard Sale. Those were followed by two more albums in 2020 – Tarantula and Live From The Dry Creek Café – and then Texas Music Forever in 2021 (Dehan is based in Austin) and Perfect Middle Hall in 2022. In the autumn of 2023, Cactus Lee released Caravan, which features all original material written by Kevin Dehan. The album, available on vinyl and in digital format, was produced and recorded by Kyle Crusham, who has worked with Paul Simon and Edie Brickell, and who plays guitar and keys and did some of the arrangements. Also playing on this record are Joe Roddy on organ, piano, electric piano and trumpet; Anthony Farrell on keys and synthesizer; Jack Montesinos on bass; Conrad Chouchroun on drums and percussion; and John Bush on percussion.

Side A

The album opens with “East & West,” which has a bit of a 1970s flavor as it begins. “Gonna get to my own destination/Gonna dance off the deck of the pier.” Wonderful lines. Then Kevin Dehan sings, “Sadness is here to stay.” But soon the song kicks in, and sadness, at least for those of us listening, seems to be on the way out. This song has a soft, rather thoughtful vocal approach, backed by strong percussion and some nice touches on keys. While several Cactus Lee songs (and even album titles) mention Texas, here Kevin Dehan gives us a song titled “Lowell Mass.” I’m always surprised when an artist sings about Lowell, though I can’t explain exactly why. There is something pretty in this song’s sound, much prettier than Lowell has been historically. “I’m not going to stay here, not for very long.” This one too kicks in, and he repeats, “Stay here, but not too long.” And, yeah, that line makes total sense regarding Lowell. There is also something catchy about this song, particularly in his vocal approach on lines like “Tears fall on me/Tears gonna fall on me/Tears fall on me/Soon they’re gonna fall away/The bell rings slowly/The bell’s gonna ring slowly/The bell rings slowly/Soon the bell rings for me.” It is ultimately a positive and hopeful song.

In “Southwestern Bell,” Kevin Dehan sings, “But when it feels so far/I want to shine like a steel guitar.” I love that second line, in part because it comes as a surprise. We expect the word “star” to finish the line, not “steel guitar.” This track has a pop flavor mixed in with that great folk and country sound, and it features some good work on keys. Certain phrases catch my ear each time listen to this track, such as “A terrible waste of sunlight.” The first side of the record concludes with “Olympic,” which has a darker, more somber vibe as it begins, making good use of pauses that have a dramatic effect and help draw us in. “We left it with the wind/We thought she’d be a friend/It wasn’t for the better/Jump in the water and drown/Dive into the sound, you’re sinking.” Another line that stands out is “A flower in the vase you’re drinking.” And this one: “But memory still holds on.” And then there is some gorgeous trumpet work, which feels like memory, coming from the past, rising from memory, and taking us back. I wish that jam at the end went on a little longer. It seems to end prematurely.

Side B

The album’s second side opens with its title track, “Caravan,” which begins as an excellent folk song featuring one of the album’s most arresting vocal performances, backed by some strong work on acoustic guitar. “The love between me and you/Is gone, it’s through/You made that clear, so I will too/Go on, disappear/I knew not to trust you, dear/Get you to the airport and drop you off right here.” It then kicks in with a wonderful force, featuring some good work on keys. “Never again will I write/Out of love or out of spite/Follow the river, lead the way back home.” This track also features some great percussion. The musicians get a chance to jam toward the end. That’s followed by “River Rhone,” the guitar work at the beginning reminding me a bit of Leonard Cohen’s “Lover Lover Lover.” Then as the vocals come in, there is a bit of a Paul Simon thing happening for a short time, with the percussion and keys supporting his voice. “Hit the road by candle light/Another morning turns to night/Clear the tables, fold the chairs.” There is also something of a CSNY influence heard at certain moments. “Through the wind, and through the past/Through the barley grass.” This is one of the record’s most interesting songs and it contains some excellent bass work, particularly during that instrumental section. Plus, I dig that organ. The record concludes with “Pale Rider.” “Early this morning,” Kevin Dehan sings as it begins, and it feels like that moment before the dawn, before the darkness breaks, when there is pain and loneliness. “So hold your breath, dear.” Interestingly, approximately three minutes into the track it returns to the beginning with him again singing, “Early this morning,” this time with a stark delivery. It’s a strong moment that quietly grabs us, and also gives the song the opportunity to burst to another level again, which it does, becoming powerful. And I love that work on keys at the end.

Record Track List

Side A

1. East & West
2. Lowell Mass
3. Southwestern Bell
4. Olympic

Side B

1. Caravan
2. River Rhone
3. Pale Rider

Caravan was released on October 23, 2023 through Aquarium Drunkard and Org Music.

The Babys: “Live At The Bottom Line, 1979” (2024) CD Review

British rock group The Babys put out their first album in 1976, featuring the single “If You’ve Got The Time.” At the time, the band was made up of John Waite on lead vocals and bass, Wally Stocker on guitar, Michael Corby on keyboards and guitar, and Tony Brock on drums. By 1979, with The Babys then based in Los Angeles, Corby had left the band, replaced by Jonathan Cain, and Ricky Phillips had joined on bass, allowing John Waite to focus on the vocals. With that lineup, they put out two albums: Union Jacks and On The Edge. By the end of 1980, the band had broken up, with Jonathan Cain joining Journey, and John Waite starting a successful solo career (his 1984 single “Missing You” was a huge hit). But in 1979, they were still going strong. It was kind of an exciting time for music, with wildly diverse acts all finding popularity, as Gregg Bendian mentions in the liner notes to Live At The Bottom Line, 1979. It seemed that everything was possible then. This album, featuring previous unreleased tracks, finds the band rocking at that famous New York club on March 23, 1979.

The first track includes a brief introduction: “All right, hello, New York. We are very pleased to be here. Ladies and gentlemen, please welcome The Babys.” And the band jumps into “Head First,” the title track from the 1978 LP, which was at the time of this show was the group’s most recent album. It’s a good, solid rock song, with some pop elements. This is the kind of thing I grew up on, and it’s great to revisit it now. This song was written by John Waite and Wally Stocker. There is a bit of stage banter at the end of the track, and then they play “Give Me Your Love,” a song from band’s second record, Broken Heart, released in 1977. This song has a great beat, a strong groove, and its first line is a demand: “Give me your love, babe.” And there seems to be no question but that he’ll get it. It’s in the sound, it’s in the air. This music encourages it, you understand. This is how we grew up. And maybe some of our expectations were not met. But returning to this music puts us right back in that place, when things were exciting. John Waite delivers a good, raw vocal performance. “Give me your love/Ah, there’s nothing left to say.” This track features some really good guitar work.

John Waite then introduces “Run To Mexico,” another song from Head First, and another delicious rock song heading straight at you with energy and attitude, and with a driving beat. For some reason the lines “Ain’t talking about Chicago/I’m talking about Mexico” make me smile. These lines also stand out: “I don’t want to hear the stories about your mama and poppa/Or hear you cry/For me, there’s no second chance no more/It’s The F.B. fucking I.” I love it. And I love that work on keys. “Here’s a number about L.A.,” John Waite says before the band goes into “California,” another song from Head First. This one has something of a sweeter pop vibe. It was written by John Waite. Here is a taste of the lyrics: “Here I am on this side of the stars/Livin’ in California/And sometimes I get out of reach in the bars/Dreamin’ about my life/Maybe one day I’ll take a wife/Though I spent some time on the evil road/I’ve done things that I'm ashamed of/Oh man, it’s such a heavy load.” But the song’s best lines are these: “You are the love of my life/But I could be your biggest mistake.” Wow.

“Every Time I Think Of You” is introduced as the band’s new single. This one was written by Jack Conrad and Ray Kennedy, the team responsible for writing the band’s 1977 hit “Isn’t It Time.” And this one too became a hit. It’s a soulful number. “Seasons come and seasons go/But our love will never die/Let me hold you, darling/So you won’t cry/Because people say our love affair/Will surely pass.” I like the way this one builds toward an energetic and powerful conclusion. That’s followed by “Stick To Your Guns,” which is introduced as a new song. As it opens, it has a darker, more somber vibe. This song, for whatever reason, was not included on a studio release. Apparently it was recorded during the Union Jacks sessions, but not issued on that record. So this live album provides an opportunity to hear this intriguing song, which is actually one of my favorites. The crowd seems to dig it too. The band follows that with another new song, introduced as “Crystal Ball.” This one was also recorded for Union Jacks, but unlike “Stick To Your Guns,” it would find a place on that release, though under a different title, “Anytime.”  This song features a pounding beat. Interestingly, its lyrics differ somewhat from those of “Anytime.” For example, the line “Think about you day and night” from “Anytime” here is “You’re a vision that’s about to unfold.”  And “Anytime” doesn’t actually mention a crystal ball in its lyrics. “Anytime you want at all/Anytime, just gaze into the crystal ball.” “Crystal Ball” leads straight into “Isn’t It Time,” which features some delicious work on keys, particularly during that added intro. The crowd applauds as folks begin to recognize the song after that cool introduction. This song, as I mentioned, was a hit for the band, and was included on the Broken Heart album, and it’s another highlight of this disc. This rendition has a great energy, and some wonderful guitar work. At one point, John Waite adds a nod to “(I Can’t Get No) Satisfaction,” and the guitar responds in kind.

“Lookin’ For Love” is the lead track from the band’s self-titled debut album, where it is listed as “Looking For Love.” I love that intro on drums (which is also on the studio version), and that great bass line. This is another of my personal favorites. It has everything you could want from a 1970s rock song, and it’s about needing love, so everyone on the planet can relate to it. “Day after day/The need in me grows/The more that I need/The more that it shows.” This version is much better than the original studio version. There is even a drum solo in the middle of it, so, yeah, it just gets better and better. That is followed by the disc’s only cover, a seriously rocking rendition of “Money (That’s What I Want),” written by Janie Bradford and Berry Gordy, and released as a single by Barrett Strong. The band is having fun with this song, each member getting moments to shine, with John Waite introducing them one at a time. That bass lead is great. And John Waite delivers a good lead on harmonica. This rousing rendition is apparently the last song of the set. The encore then is “Loaded,” another song that did not make it onto a studio release. It is introduced a new number “about the shape I’m in right now.” It’s a strong, driving rock song, a good way to wrap up the show.

CD Track List

1. Head First
2. Give Me Your Love
3. Run To Mexico
4. California
5. Every Time I Think Of You
6. Stick To Your Guns
7. Crystal Ball
8. Isn’t It Time
9. Lookin’ For Love
10. Money (That’s What I Want)
11. Loaded

Live At The Bottom Line, 1979 was released on January 5, 2024 through Omnivore Recordings.