Deb Bowman: "Reflection" (2025) CD Review

Deb Bowman is a singer working in the jazz realm. Earlier this year she released Reflection, an album featuring covers of material from some of her favorite composers. Many of these songs are from musicals, an area she is quite at home in, for in addition to her career in music, Deb Bowman is an actor who has performed in many stage musicals, including Chicago and Cabaret. And she does a tremendous job with this material, often providing fresh perspectives and spins on these familiar and beloved numbers. Joining her on this album are Dean Fransen on piano and organ, Jim Donica on bass, Jakubu Griffin on drums, Joel Mateo on percussion, Tom McCaffrey on guitar, Kurt Bacher on woodwinds, Bruce Harris on trumpet, and Rashaan Salaam on trombone, with a few different musicians on a couple of tracks.

She opens the album with Stephen Sondheim's "Send In The Clowns," which is one of Sondheim's best and most popular songs. Her rendition has an unusual and striking arrangement, featuring interesting use of percussion which gives the song a fresh vibe. There is also a somewhat dreamy aspect to the song at times. And interestingly, she doesn't punch up the "Don't bother, they're here" line. After that line, there is a nice instrumental section, containing some wonderful work on piano. That is followed by Henry Mancini's "Moon River," from the Breakfast At Tiffany's film. This one begins on piano, and then on the first line, Deb Bowman really displays her vocal talent. She delivers a tremendous and captivating performance. There is some interesting percussion on this track too, and also some good work on bass, but it is Deb's voice that is the real jewel here. It's a gorgeous performance. There is an ethereal quality to the vocal section in the middle, and it is that section that really makes this rendition stand out and makes this track one of the album's highlights. This track features Tim Aucoin on bass, Jared Lanham on drums, and Marla Feeney on woodwinds.

"Somewhere Over The Rainbow" begins with a rain sound effect, which I can always do without. Still, there is more to that opening section than just the rain effect, and the rest of it grabs us. Here she delivers those opening stanzas that are not often included, and does so as if from some distance. While on a more intimate level, other lines are delivered, "Hold onto your breath" and "Hold onto your heart" and "Hold onto your hope," which are from "Optimistic Voices." I've never heard an introduction to this song quite like this, the lyrics feeling like fragments of some larger tapestry. Then when the song begins in earnest, it moves at a somewhat faster pace than many versions, with a Latin vibe. There is more joy and cheer to this rendition, to the vocal performance. The song becomes a dance. And I like the extended ending. That's followed by an absolutely wonderful rendition of "This Girl's In Love." I love the way it begins, with some cool work on bass, which sets the tone. And for the first several lines, Deb's voice is supported just by bass. It sounds so damn good. This song was written by Burt Bacharach and Hal David, and was a hit for Dionne Warwick. Deb Bowman delivers a passionate and delightful vocal performance. I also appreciate that work on organ, even before the lead. This is one of the best renditions I've heard, and is another of this disc's highlights.

Deb Bowman then turns to Richard Rodgers and Lorenz Hart for "He Was Too Good To Me," delivering another excellent and emotional vocal performance, Here her voice is supported by some excellent work by Dean Fransen on piano. "It's only natural/I'm so blue/He was too good to be true." There is a touching lead on piano in the second half. This song was written for the musical Simple Simon, but dropped before the show opened. Little Shop Of Horrors was probably the first musical that I saw that I really loved, back in the 1980s. From that play, Deb chooses Audrey's "Somewhere That's Green." She cuts the first several lines, which are the humorous and somewhat twisted lines. You know, like the one where Audrey admits she's dating "a semi-sadist" and the one where she says she has "a black eye." Without those lines, the song has quite a different tone. It becomes a much sweeter, more earnest love song, which I have mixed feelings about. This track features a nice lead on guitar.

"How Do You Keep The Music Playing" is a song from the movie Best Friends, starring Burt Reynolds and Goldie Hawn. I had forgotten about this film. Maybe I should revisit it. I love Goldie Hawn, especially her 1970s and 1980s work. Anyway, Deb Bowman puts her own spin on it. At first her voice is supported just by piano, a pretty performance. Then a third of the way into the track, it takes on a Latin rhythm, which is a bit different from the original version by James Ingram and Patti Austin. But it works well. "If we can be the best of lovers/Yet be the best of friends/If we can try with every day/To make it better as it grows/With any luck then I suppose/The music never ends." Amen to that. And following that line about the music never ending, there is a wonderful lead on piano. Deb Bowman also puts her own spin on "Till There Was You," which is apparent right from the start.This rendition has an odd, sort of dark opening, mimicking that familiar bell sequence, leading to the first line "There were bells on the hill." It's a dramatic beginning. It then lifts us up on the line, "Then there was music," which seems perfect. I've never heard a rendition quite like this one. It becomes like a delightful dream. This is the other track to feature Tim Aucoin on bass, Jared Lanham on drums, and Marla Feeney on woodwinds. Deb then wraps up the album with a song from the animated film Dumbo, "Baby Mine," a lullaby, her voice supported by piano. "Rest your head close to my heart/Never to part/Baby of mine."

CD Track List

1. Send In The Clowns
2. Moon River
3. Somewhere Over The Rainbow
4. This Girl's In Love
5. He Was Too Good To Me
6. Somewhere That's Green
7. How Do You Keep The Music Playing
8. Till There Was You
9. Baby Mine

Reflection was released on April 11, 2025 on Mama Bama Records.

Fernando Perdomo: "Waves 12" (2025) CD Review

This is it, Waves 12, the final volume in Fernando Perdomo's year-long Waves project. For those who don't already know, this year Fernando Perdomo released an album of new material on the first of every month. There were ten new songs on each album, and he didn't just write the songs, but also played all of the instruments on every track. You'd think after a project like that, he might want to relax, reflect, and maybe even boast a bit. But no, Fernando Perdomo has already announced that next year he'll be tackling a similar project, this one titled Clouds. That's right, clearly he's insane. But we are the beneficiaries of that insanity, for the music he releases is excellent. So, yes, may he give us more and more of it. And this final volume is one of the longer Waves installments, clocking in at fifty minutes. And it might also be the best of the series, the music taking us places that hadn't yet been explored.

Waves 12 opens with a beautiful breath of life from the gods, a welcoming. Titled "The First Light Of Dawn," this track has, and also creates, a feeling of joy, of being happy to even exist, to get a chance to marvel at the world's beauty and pleasures. The music here has the ability to both energize and soothe us. What a wonderful way to begin things! That is followed by "Chimes In The Fog," and this track too seems to welcome us, to open up before us, lighting a way through whatever haze may be attempting to impede our forward motion. It is like a dance through a dream, one of those dreams you can recollect almost in its entirety upon waking. It begins to build in the second half, as that dream and our waking state combine. Where one ends and the other begins no longer matters. It's the wonder of the journey that is expressed, that is felt.

The music goes in a different direction with "Denny's Magic Numbers," its rhythm, the beat, being at the fore at the beginning, creating a kind of tension, promising some sort of answer or revelation. The guitar works both within and above that rhythm, and I especially love those moments when it rises, for it lifts us up with it. In the second half, the guitar gets looser, as if it now wishes to take hold of the reins and drive us into another realm, though interestingly, the beat holds strong, never relinquishing its own sort of control over the course of things. Then as "Frozen Oceans" fades in, this track's own steady rhythm quickly makes itself felt. And there are exciting bursts of energy. I love how we don't know exactly where this track will take us, but that there is a great, spirited confidence at its heart. We feel it can drive us across any landscape safely and show us sights we've not yet encountered. There is an interesting moment in the second half, where the music seems to reach a calmer state, and then quickly takes on more power again before fading out.

"Reflections" comes to us like a voice from under the oceans, or from the outer reaches of space. The two still hold mysteries, and while we look outward, we find that simultaneously we learn something about our own inner lives. There is still much to fathom within. Somehow it all seems to add up to a great interconnectedness, and that leaves us feeling relaxed, peaceful. That's followed by "Fudgie Goes To The Circus," which has a delightful vibe, moving with some weight, some mass, through this crazy carnival. Here the games have unexpected prizes, as portals open in the sky above us, shedding eerily conscious light upon us. And it is like we shed some of that weight, some of that mass, and step up into the air, and engage in a sort of dance with that light. Then toward the end, things become stranger, reminding us we really don't have control. Once we accept that, there is a gentle ending.

"Land Ho/Sea Hag" has a kind of eerie opening moment, before its groove is established. Then it feels like something strange is moving below us, beneath the surface, below the sand, while sea gulls watch from above. There is a slow, kind of funky feel to this piece. Yet we are a bit on edge, for this is unfamiliar. The music begins to slow more, while still forging ahead. It's a very cool track. Then "Pillows" has a prettier sound from the start, with some really nice, pleasant work on guitar that gives us a joyful feeling of being at ease. The music still goes in some interesting directions, keeping us attentive, bright yellows and greens bursting across the landscape. It feels like the entire universe is one of beauty and joy. This track features gorgeous guitar work. Fernando Perdomo then takes us into more of a rock territory with "EZ," with its delicious bass line. We are on more solid ground with this track, on more familiar ground. Then nearly halfway through, it takes something of a turn, with darker streaks flying above us, before returning us to that rock vibe, the bass line now encouraging dancing. We've come through something and are now back in familiar territory, and there is a sense of fun about it. Listen to that guitar sing.

The album, and thus the series, comes to a close with a track titled, appropriately, "The Final Wave." This is a glorious, epic piece, nearly thirteen minutes long. It eases in, there is no rush, seeming to speak to us both from below and above. Soon we are at home here, the music surrounding us, giving us the feeling that the universe is a place of beautiful light and sound, warm and accepting, rather than a vast, cold emptiness. And, again, what is out there is also within us, as the music washes over us and through us. Halfway through, things begin to get a little odder, as the universe twists in on itself, reversing even as it moves forward. It is like time ceases to have meaning, and we find ourselves floating, seeing the past and the future as just the Now. Heavier elements take hold, and space narrows, like all of existence is funneled through a portal, condensed, and then, once through, suddenly freed, ribbons of light unfurling. Scores of beings march through the darkness and over and into volcanoes, and ultimately to a place of peace. What a ride!

CD Track List

1. The First Light Of Dawn
2. Chimes In The Fog
3. Denny's Magic Numbers
4. Frozen Oceans
5. Reflections
6. Fudgie Goes To The Circus
7. Land Ho/Sea Hag
8. Pillows
9. EZ
10. The Final Wave

Waves 12 was released on December 1, 2025.

Chris Rawlins: "Flyover" (2025) CD Review

Chris Rawlins is a singer and songwriter based in Chicago. He released his first album, Bring On The Rain, in 2019. In 2022, he followed that with Static, though that album was released under the name Stanhope. Now he's put out his third full-length album, Flyover, featuring all original material, beautiful songs that have a personal and intimate vibe, delivered with a voice that is true, a voice with a desire to make sense of experience, a voice that is easy to connect to. In addition to writing all the songs, Chris Rawlins plays many of the instruments, including acoustic guitar, electric guitar, synthesizer, organ and piano. He is joined by John Abbey on bass and electric guitar, Gerald Dowd on drums, Matthew Pittman on electric guitar, and Brian Wilkie on pedal steel.

The album opens with "After Dark," which has a gentle vibe, aided by Brian Wilkie's work on pedal steel (Brian had also played on Bring On The Rain). Chris creates a vivid picture with the song's opening lines: "After dark and your lights are low/The TV's on, something you know/The wind, an old familiar song/The grass is waving, nights go on and on." And then he tells us, "I dreamed this place up in my sleep." There is a lonesome feel to the music and the vocal performance, a sense of solitary reflection. "I cried the day I had to leave/I'll cry the day when you are all I need." This song has a striking final line, "I'm holding out for God I don't know what." It's an excellent opening track, setting the mood and place. The area that, as the album's title says, most of us fly over on our way from one coast to another. And even if we don't live in that area, many of us still have the sense of life moving past us without any consideration of our concerns. "What have I been doing here?/What have I done wrong?" he asks at the beginning of "You Were Young." And just as we're relating our own lives and situations to those lines, he then sings, "Seems like if you have to ask, you've known it all along." That is sometimes a difficult lesson, but, yes, those answers are within us, if only we have the courage to face them. It is a song of some longing, as well as of memory. "I miss you like perfume in the wind and rainy night/Seems like every darkened corner's helpless in the light." I love this song. I highly recommend checking it out.

"Like A Bird, Like A Sound" is a beautifully sad song. This album is one for reflection on our own lives, these songs speaking to us on an incredibly intimate level. This is certainly a time for looking inward, and seeing what can be done there, for looking outward only brings anxiety and loathing. "I'll see you around/I'll be around/Like a bird, like a sound/Like the dirt on the ground." The pedal steel helps create the atmosphere. And I think most folks will relate to these lines: "Try to sleep the whole night through/What are you and I gonna do?" That's followed by "Firefly," a really pretty song. "I need someone to make me cry before I fall off the end of the bed/I need someone to dry my eyes before they lose sight again/Lose sight of you/Like a firefly." Everything is so brief, like the flicker of a firefly. We see it for a moment before darkness takes over once again. "You need someone to pick you up from the end of town, the end of the world/You need someone to find you out, to wonder where you were." This is an album you want to listen to alone, when you can give it your focus, when you can let it give you access to your own memories and longings, when your emotions can run, unimpeded and unabashed.

The drums give "Break Even" a more cheerful, inviting vibe. "A genius at killing time/Waiting for the time of your life." Those lines also speak to all of us who are understanding the brevity of this entire thing and maybe reflecting on time that was wasted, and, worse, the time we know we will still waste, as well as the sense that we may never succeed. "All the little things you lose/To break even." This track features some nice work on pedal steel, and a good bass line. That's followed by "More Perfect." Of course the word "perfect" is an absolute adjective, so there are no degrees of "perfect," just as there are no degrees of "unique" (the founding fathers weren't as bright as people think, as there is no such thing as a "more perfect union"). This is another beautiful and tender song. "Cry like you mean it, our lives are in our hands/You don't know what to think or what to understand/Build me up from ashes and burn me to the ground/Return to everything you'd ever want around/I'm coming back, I'm coming back, I'm coming back/More perfect again." This one also features some wonderful stuff on pedal steel, as well as a really good guitar line, one that soon feels familiar, like an old friend. "Wrap your arms around me/And tell me what you think/Hold me around my shoulders/And I won't need a thing."

"Flyover," the album's title track, is another of the disc's highlights. "You're screaming like a car alarm/Wake me up and grab my arm/Is it over yet?" This is a touching and completely effective song, with a tender vocal performance. "Come to me when you don't know why/What doesn't kill you makes you cry/Or leaves you be." It's like a great, intimate scene in a much wider expanse. That's followed by "Nondescript." David Prusina plays drums on this one. "It seems I'm the last one to leave/Am I doing it wrong?" Soon he sings, "You're doing it fine, you're gonna be all right/Maybe that's just something you have to tell yourself/You're doing it fine, you're gonna be all right/Everything you did, you did by yourself/So you'll never know if you're doing it right." The way he sings those lines, we feel some encouragement, some support. It's a dubious declaration, yet we hold onto those words, those lines, because of the way they are delivered. We're gonna be all right. We tell ourselves that, don't we? The song ends with the line, "And we'll never know if we're doing this right." And he seems to be telling us that that is okay; after all, no one knows. The album concludes with "Anywhere," another beautiful number. "I would love it not to care/I'd go anywhere/With you." Oh yes. 

CD Track List

1. After Dark
2. You Were Young
3. Like A Bird, Like A Sound
4. Firefly
5. Break Even
6. More Perfect
7. Flyover
8. Nondescript
9. Anywhere

Flyover was released on October 24, 2025.

Tom Ciurczak's "Yorick" Is Now On Vinyl

Some albums need to be released on vinyl. Something about the sound seems to demand a vinyl release. Such was the case with Tom Ciurczak's Yorick. The CD came out in June (check out my review here), and even then we knew there would also be a vinyl release. And that made total sense to me, as there are some delicious 1970s rock elements to the album's sound, making it a natural choice for a record release. And when I learned that it would be on clear blue vinyl, I knew I'd have to add that record to my collection. Yes, I have a weakness for vinyl of various colors. Well, I got it. It not only sounds great, but looks great. And because of the size of the record, in comparison to the CD, we get an even better appreciation of the album artwork by Camille Woods. Remember when we were kids and we'd hold the album jacket on our laps and just take in all the great details while we listened to the record? Well, we can enjoy that again here. And the inner sleeve contains some good photos from the studio. If you haven't yet added this album to your collection, now is the perfect time.

Sandy Rogers Band at Jeweled Universe, 12-7-25 Concert Review

Sandy Rogers

It was a lovely warm December Sunday in South Pasadena, a perfect day for a little afternoon music magic at Jeweled Universe, with the great Sandy Rogers headlining. The Acoustic Jewels music series is hosted by Mike Berman, who put out two new excellent releases this year, and who opened the show. Both Sandy Rogers and Mike Berman were backed by the same stellar group of musicians, including I See Hawks In L.A. members Paul Marshall and Victoria Jacobs on bass and drums respectively, along with Dan Janisch on electric guitar. If you haven't yet visited Jeweled Universe, it's a cool venue that is also a store selling handmade jewelry and other interesting artwork. The idea of a jeweled universe informs much of the look of the venue, with a starry sky backdrop on the stage, a giant full moon in the center, with a couple of stars hanging above the stage along with an interesting Saturn-like lit-up  ornament. Even the tables have sparkling blues positioned within otherwise black tops. And there is a warm, inviting air about the place.

Mike Berman

Mike Berman started the show at 2:36 p.m. with "It Should Be Raining Today," a song from his Where I'm From album. "And the way that I'm feeling/It should be raining today." It seems almost cruel when the weather is at odds with what is happening in your life, especially when tragedy and despair are met with a beautiful, sunny day. "This is the Sandy Rogers Band minus Sandy Rogers," Mike told the audience after that first song. He followed that with a new song, "Good Luck Story." It begins with the line, "I've had my share of hard times," but then changes, as Mike sings, "Darling, you're my good luck story now." This was the first time he performed the song in concert. "It was kind of my attempt to write a Merle Haggard song," he said about it afterward. That was followed by a different luck song, "No Luck At All," from Ghosts, the first of his two 2025 releases. This song featured a especially wonderful vocal performance from Mike. And the song's main line, "There's no luck in these stars at all," is particularly striking at that venue. Mike then chose another song from Ghosts, "In The Clear Morning," and then wrapped up the set with "Farthest Thing From The Blues," a delicious blues number that even opens with the phrase "Well, I woke up this morning." Dan delivered a great lead on electric guitar. The set finished at 2:59 p.m.

"Tingling Blue"

Ten minutes later, Sandy Rogers was ready to go. Mike Berman introduced her, and Sandy mentioned her new album, Tingling Blue. She then opened her set with that album's title track, a totally fun, energetic number that is certain to make you feel good. Dan delivered a nice lead on electric guitar, and at the end of the song, Sandy told the audience, "And if you don't know what that means, figure it out." That was followed by "One Of Those Kind," which also follows "Tingling Blue" on the album. It sounded so good, so sweet. Sandy followed that with "Fool For Love." "This is the song that got me started, 'Fool For Love,' in music," she said in introducing the song. For those who don't know, Sandy Rogers is the sister of playwright and actor Sam Shepard, and she wrote several songs for Robert Altman's film version of her brother's play Fool For Love. Interestingly, the title song she wrote for it was not included in the film, though it was later used in the film Reservoir Dogs. There was a bit of trouble with her guitar during this song today, but it was still a wonderful rendition.

"In Her Auto-Mobile"

Sandy introduced "Train Fare To Memphis" as one of the first songs she ever wrote. It's a beautiful song. "And that is not a true story," she said afterward. "I would not be that stupid." That was followed by "Lonesome Man," which featured a fantastic vocal performance. I especially loved her delivery of the line "You're gonna be crying all night." After the song, she told the audience, "That's my favorite one from the new record." That was in turn followed by another highlight, "Missouri Blue," a song from her Wonderin' album. I love the whole vibe of this song. "Who's ending this?" she playfully asked her band mates during the song's final section. Sandy then returned to her new album for "In Her Auto-Mobile" and "Wild Bill," the latter of which was written by Paul Lacques. "And we all miss that guy," Sandy said of Paul afterward. She wrapped up the first set with "Trailer Up On A Hill" from Green Moon. The set ended at 3:54 p.m.

"Fun For Christmas"

Fifteen minutes later the band was back on stage, and Sandy opened the second set with "Let's Ride," a song from the Fool For Love film, the song used for the title sequence. That was followed by another song written for Fool  For Love, "Why Wyoming." After that one, Sandy mentioned that the version heard in the movie was the demo, not the version she considered the better one. She then played "Turn Around," another of the highlights from the new album. I love this song. It makes me feel good every time I hear it. "Everybody doesn't have a clue/Nobody knows what to do." She reached back to a song from much earlier in her career, "No Antidote" before wrapping up the show with two more from the new album, "Fun For Christmas" and "Run Out Of West." "Fun For Christmas," as I mentioned in my review of the album, is that rarity, a Christmas song you can listen to the whole year round. And it is a perfect song for the holiday season this year. If you haven't yet heard it, I highly recommend checking it out. Sandy got the whole audience singing along. And "Run Out Of West," which closes the new album, was a great choice to end the afternoon. The show ended at 4:39 p.m.

Sandy Rogers Band Set List

Set I

1. Tingling Blue
2. One Of Those Kind
3. Fool For Love
4. Train Fare To Memphis
5. Lonesome Man
6. Missouri Blue
7. In Her Auto-Mobile
8. Wild Bill
9. Trailer Up On A Hill

Set II

1. Let's Ride
2. Why Wyoming
3. Turn Around
4. No Antidote
5. Fun For Christmas
6. Run Out Of West

Here are a few more photos:

"It Should Be Raining Today"

"It Should Be Raining Today"

"No Luck At All"

"In The Clear Morning"

"One Of Those Kind"

"Lonesome Man"

"Missouri Blue"

"Fun For Christmas"

Jeweled Universe is located at 1017 Mission St. in South Pasadena, California. Tickets for the show were $20. Sandy Rogers' next show is December 16th at Unurban Coffee House in Santa Monica.

Rock The Plaza: Concert To Save The Historic Plaza Theatre In Palm Springs (2025) CD Review

The Plaza Theatre opened in Palm Springs in 1936, its first event being the film premiere of Camille, the George Cukor film starring Greta Garbo and Robert Taylor. And that was just the beginning of its storied existence. But of course no matter how much history a building has, at some point it will require renovations. On November 11, 2022, a special concert was held to raise money to fund the needed renovations for the Plaza Theatre. That concert featured Alice Cooper, Joshua Homme and Paul Rogers, among other artists. And now, renovations completed and the venue back in business (Lily Tomlin and John Waters will be there this week), an album of that concert is being released. A double album on vinyl was released as part of Black Friday Record Store Day, and the CD is coming out December 5th. The house band for the event included Spike Edney on keyboards and vocals, Brian Ray on guitar and vocals, Pete Thorn on guitar and vocals, Jon Button on bass, Matt Sorum on drums and vocals, Teddy Andreadis on keyboards and vocals, Eric Singer on drums and vocals, Sheryl Cooper on backing vocals, and Vanessa Amoros on backing vocals.

The album kicks off with Alice Cooper performing "No More Mr. Nice Guy," a song from the 1973 record Billion Dollar Babies. He delivers a good rendition, even if his vocals are a bit rough at moments. The lyrics that always stand out to me are these: "I went to church incognito/When everybody rose/The reverend Smith, he recognized me/He punched me in the nose/He said, 'No more Mr. Nice Guy.'" Alice Cooper follows that with "I'm Eighteen," from the 1971 album Love It To Death. "Well, I've got a baby's brain, I've got an old man's heart." I loved this song when I heard it growing up, but it is somehow even more powerful now, more meaningful hearing it from a different perspective, and I hope that teenagers and people in their early twenties are still getting exposed to it now, reminding them that their brains are not quite fully developed (something it seems they are unaware of). "I'm eighteen/I get confused every day." At the end of the song, he jokes, or clarifies, "Now, I was singing 'eighteen,' not 'eighty.'" It's crazy that Alice Cooper isn't all that far from eighty now. 

Alice Cooper next gives us "Under My Wheels," a song from Killer. It's interesting that he chose all early 1970s songs. This one is probably the wildest, most exciting of the songs he plays here, and it features some excellent guitar work and some good backing vocals. "Okay, this is a sing-along," he then says in introducing "School's Out." "If you don't know this song, you never went to school." Indeed. Who didn't love this song? It was the title track to Alice Cooper's 1972 record. That was the year I was born, and when I was in high school, we were still blasting it and shouting it. And he delivers a strong rendition here, with some outstanding stuff on guitar. Toward the end, the song segues into Pink Floyd's "Another Brick In The Wall, Part 2." You know, the "We don't need no education" song. On the CD case, it is listed as "Another Brick In The Wall." And then he goes back into "School's Out." There is some fantastic energy here. "Thank you," he says at the end. "Let's save this theatre."

Joshua Homme, from Queens Of The Stone Age, delivers a fun rendition of David Bowie's "Let's Dance," the title track to his 1983 record (what a good year that was for pop music, the year of Syncronicity, War, She's So Unusual, Sports, Rebel Yell, Colour By Numbers and Murmur). Joshua does a great job with the song. He certainly has the vocal chops for it. Joshua, by the way, was born in Palm Springs. He then takes things in quite a different direction, covering "Somethin' Stupid," a song recorded by Frank Sinatra. Nancy Sinatra had joined Frank on his 1967 recording of the song, and here Joshua Homme is joined by Orianthi. They give us a wonderful rendition. Matt McKenna joins the group on acoustic guitar, delivering some excellent work.

Orianthi performs a cool rendition of "These Boots Are Made For Walkin'," her voice containing all the necessary attitude. Orianthi is then joined by Brian Ray on vocals for the duet of Sonny & Cher's "I Got You Babe." It might seem an odd choice, but remember, Sonny Bono was the mayor of Palm Springs for four years. And, besides, it's a wonderful song. Who can dislike this song? The crowd is clearly digging it. That's followed by Joshua Homme covering Gerry Rafferty's "Right Down The Line," this track featuring some nice work on both keys and guitar, as well as a good, prominent bass line. That in turn is followed by "I Sat By The Ocean," a Queens Of The Stone Age song from that band's 2013 album, ...Like Clockwork. It was also released as a single. This one too includes a strong bass line, which is part of the song's appeal.

Paul Rodgers is introduced as "One of the greatest throats in all of rock and roll," which is wonderful. He starts with an excellent rendition of "Can't Get Enough," which was Bad Company's first single and the lead track on the band's self-titled debut LP. I need to revisit those Bad Company albums. I listened to this music a whole lot when I was growing up. And listening to this song now, I find it totally holds up. After the song, Paul tells the crowd, "We all love Palm Springs, and we all love this particular theatre." He follows that with a cover of Sam & Dave's "I Thank You." I especially like the second half of this rendition, when things get looser. That's followed by "Feel Like Makin' Love," a single from Bad Company's second LP, 1975's Straight Shooter (which was the first Bad Company album that I got). This is a really nice rendition, and I love his vocal work here. Plus, the song still has the power during the chorus that I recall from my childhood. "Yeah, nice singing," he tells the crowd just before the end of the song. But what is particularly impressive is Paul Rodgers' singing on this one. This track is one of the disc's highlights for me.

Then, interestingly, we get the second David Bowie cover of the album, "Rebel Rebel," here performed by Jay Nailor. He is backed by Joby Pritzker on acoustic guitar, Bernt Bodal on bass, and Eric Singer on drums. Jay delivers a good, energetic rendition. Alice Cooper then covers The Who's "My Generation," doing the stutter and all. This song still totally rocks, which, of course, you'd expect anyway in Alice Cooper's hands. This is a very cool rendition. The disc concludes with Paul Rodgers singing "All Right Now," Free's big hit, and another excellent rock song. For those who might not recall, Free was the band Paul Rodgers was in before Bad Company. This song was a staple of the Massachusetts rock radio stations I listened to while growing up, and it always hit me just the right way. I'm glad to find it still does. There is a section toward the end with vocals over a steady pounding on the drums. This is a great way to wrap up the album.

CD Track List

1. No More Mr. Nice Guy - Alice Cooper
2. I'm Eighteen - Alice Cooper
3. Under My Wheels - Alice Cooper
4. School's Out/Another Brick In The Wall, Part 2 - Alice Cooper
5. Let's Dance - Joshua Homme
6. Somethin' Stupid - Joshua Homme and Orianthi
7. These Boots Are Made For Walkin' - Orianthi
8. I Got You Babe - Orianthi and Brian Ray
9. Right Down The Line - Joshua Homme
10. I Sat By The Ocean - Joshua Homme
11. Can't Get Enough - Paul Rodgers
12. I Thank You - Paul Rodgers
13. Feel Like Makin' Love - Paul Rodgers
14. Rebel Rebel - Jay Nailor
15. My Generation - Alice Cooper
16. All Right Now - Paul Rodgers

Rock The Plaza: Concert To Save The Historic Plaza Theatre In Palm Springs was released on vinyl on November 28, 2025, and is scheduled to be released on CD on December 5, 2025 through Omnivore Recordings.

Ronnie D'Addario: "Written By" (2025) CD Review

Ronnie D'Addario is a songwriter and musician who is known for his solo work (he started recording in the 1970s) and also for his work with Tommy Makem. It's on the Tommy Makem albums that I first heard his playing when I was a teenager getting into the folk scene. At this point, Ronnie is also known because of the work of his sons, Brian and Michael, better known as The Lemon Twigs. The new album, Written By, features The Lemon Twigs (they also produced the album). It was put out on vinyl as a limited release on Black Friday (as part of Black Friday Record Store Day), and will receive a CD release in early December. In addition to The Lemon Twigs, this album features some special guest artists, including Todd Rundgren and Sean Ono Lennon. As the album's title promises, all the songs were written by Ronnie D'Addario. Some of the songs are ones that Ronnie had recorded and released on earlier discs and is now revisiting, while other songs had never been recorded before. By the way, Ronnie D'Addario also has a song on the new two-disc Raspberries tribute, Play On.

The album opens with "Intromental," and as its title suggests, this track is an instrumental intro, featuring some sweet guitar work by both Ronnie D'Addario and Brian D'Addario. Brian also plays both bass and mandolin, and Michael is on drums. There is a pleasant, uplifting folk vibe to this piece. Michael D'Addario then sings lead on "A Very Short Dream." Ronnie and Brian provide backing vocals, and the harmonies are a big part of the track's appeal. Also, Kaitlin Wolfberg plays violin on this track, adding to the song's beauty. "Some days you feel as though/You've been 'round forever/Other times it seems/Like a very short dream." Oh yes, and sometimes it somehow feels like both simultaneously, though mostly it is like a very short dream, much too short. Why do we waste so much of our little time? These lines, in particular, stand out: "One day you're mapping out/Big plans for the future/Next you're thinking about/Dreams that didn't work out." This song, by the way, was the title track to an earlier Ronnie D'Addario album, released in 2015.

Darian Sahanaja (of the Wondermints and Brian Wilson's band) sings lead on "Be Like Him," while Ronnie provides backing vocal work. Brian plays several instruments on this track, including electric piano, organ, marimba, bass, guitar, chimes and drums. Probyn Gregory plays trumpet. This is a totally catchy song. "If you want to help somebody else/Don't forget to first work on yourself." That's followed by "Not Today." There is a certain Beatles influence heard on this track. Michael sings lead on this one, and plays drums. I especially like the drumming on this one. Brian is on piano, guitar, bass and synthesizer. No one other than the brothers performs on this track. "I gave it everything I had/You let it end/Now you feel bad."

Special guest Todd Rundgren sings lead on "I See The Patterns," with Ronnie on backing vocals and organ. Kaitlin Wolfberg joins again on violin, and Cameron Carrella plays trumpet. The track begins with some nice work by Brian on piano. It's a song about a problematic relationship, which the guy is now bringing to a close. "One defining day/You're gonna say to yourself/Why am I alone/Without the only good thing that I had/Why? Where was I when it went bad?" And it's about hoping that she'll one day understand just what her behavior has cost her. I suppose everyone is in that position at some point, though I wonder if any of us actually learns if that moment arrives for the other person. This song was on Ronnie's A Very Short Dream album. That's followed by "5th Of July." Like "Not Today," this track is all Lemon Twigs. No one other than brothers Brian and Michael performs on this one. And it is another strangely catchy song. "No light in the sky/I sit and cry/5th of July." This track features some nice moments on guitar. And that "sha la-la la-la" vocal part at the end is wonderful.

Mac DeMarco joins The Lemon Twigs on lead vocals for "Love's Won Me Over," a thoughtful, slower number. Ah, may love win everyone over before too long. "I'm at a loss in this world alone/I'm at a loss goin' it on my own/So at a loss - that was me before/Felt like a loser, but not anymore." This track contains some soothing harmonies. Then Matt Jardine joins Ronnie on vocals on "Don't Wait For Yesterday," a song that was the lead track on Ronnie's Time Will Tell On You. "Don't hold out hope that/He'll return/Don't you ever learn/He took all you had to give/Forget him. Start to live." And the song's narrator offers his own love. This is a sweet, gentle pop song (it feels like something The Beach Boys could have recorded). Ronnie delivers some nice work on organ. And actually he plays all the instruments on this track.

Brian sings lead on "My Old Self Again," a song I'm guessing a lot of folks will be able to relate to, especially in this time of anxiety and depression. It's about looking at yourself and suddenly not recognizing yourself, and wondering just how the darkness took over. "Who is this dark stranger/Consumed with gloom and anger." There is also the question of how related a certain amount of madness can be to one's creativity. "Who is that old tired/Lost soul once so inspired/It might have been there lurking/Inside my head just waiting/When something bad set it off." This is a fascinating and fantastic song, one of my personal favorites. Ronnie had included it on A Very Short Dream. Kaitlin Wolfberg is on violin on this track, and Cameron Carrella is on trumpet. Then special guest Sean Ono Lennon sings lead on "So That's How It Is." He is a perfect choice of vocalists, for there is something of a Beatles vibe to this song. Ronnie is on backing vocals, and also plays guitar, bass and organ. "So that's how it is/I can't believe it's come to this/You're not saying, 'Stay. Don't go'/Nothing so/That's how it is." Both Kaitlin Wolfberg and Cameron Carrella play on this track too. And, yes, it is another of the disc's highlights. I love that guitar work at the end.

Ronnie is on lead vocals for "Tree Stumps," and also plays guitar and bass. The song begins with some really nice work by Brian on piano. This track also features guest Katie Sheele on oboe, that instrument giving this song a delightful, timeless sound and helping to make this track yet another highlight. "Tree stumps lined along the ground/Look like tombstones all around." That's followed by "Heavenly Night." This track is all Lemon Twigs, all the instruments played by Brian and Michael. It kind of eases in, and then picks up a wonderful energy on the chorus. "Got a heavenly night/It's a night to be shared/And the setting is right/Love's in the air." It all comes down to love, doesn't it? Why else are we here? That chorus makes me happy. The album wraps up with a good, delicious rock song, "If I Were You," with Ronnie on lead vocals. Both Ronnie and Brian play guitar on this one, and there is some excellent guitar work here. I'm digging Brian's work on bass too. "Man, if you're asking me to tell you true/I'd keep her away from me if I were you/But since you asked what I would do/That's what I would do." A fun way to end the album.

CD Track List

1. Intromental
2. A Very Short Dream
3. Be Like Him
4. Not Today
5. I See The Patterns
6. 5th Of July
7. Love's Won Me Over
8. Don't Wait For Yesterday
9. My Old Self Again
10. So That's How It Is
11. Tree Stumps
12. Heavenly Night
13. If I Were You

Written By was released on vinyl on November 28, 2025, and is scheduled to be released on CD on December 5, 2025 through Omnivore Recordings.