Steve Goodman: “Live ‘69” (2020) CD Review

Most of us know Steve Goodman as the songwriter who composed “City Of New Orleans,” which was a hit for Arlo Guthrie and has been covered by a lot of other artists. He was also responsible for “You Never Even Call Me By My Name,” which was a hit for David Allan Coe (under the title “You Never Even Called Me By My Name”). So it might come as a surprise to find that the new live album, Live ’69, finds him covering other artists’ material. What we get on this disc is some great material, music in the folk, country and blues realms, performed by an excellent and talented artist. This recording is from November 10, 1969, before Steve Goodman had even put out his first studio album, so it provides a document of the performer at the beginning of his career. He is joined by Bob Hoban on bass, violin and backing vocals. The man who recorded the performance provides the disc’s liner notes.

The album opens with a cover of “You Can’t Just A Book By Its Cover,” which was written by Willie Dixon and originally recorded by Bo Diddley. The first version I recall hearing was by The Monkees, a concert recording from 1967. Steve Goodman delivers a good, energetic rendition. “Can’t you see/That you all misjudged me?” That’s followed by “Ballad Of Spiro Agnew,” one of the shortest songs ever recorded. It was written by Tom Paxton and also covered by John Denver. Steve Goodman sings, “I will sing you the ballad of Spiro Agnew/And all of the things he has done.” The song ends there. Perfect. You have to love Tom Paxton. And remember, this was in 1969, a few years before the slimy bastard resigned in disgrace. Of course, you could substitute some current politicians’ names for Spiro Agnew, and this song would work just as well. Spiro Agnew was under the impression that a vice president could not be indicted. Seems I’ve heard something like that recently.

There is some stage banter at the end of that track, leading into “Bullfrog Blues,” which begins with some nice guitar work. On this blues track, Steve Goodman shows his sense of humor, even then poking fun at that humor (“A little humor there, sorta crept up on us, goodnight,” he says). Also, we get a sense of him as a storyteller. And when he has his audience in his grasp, he teases them a bit, repeating “She says” each time followed by a lengthy pause, then telling them “If it doesn’t mean that much to you, I won’t tell you.” That’s followed by “Fast Freight,” with a bit of stage banter before this track in which Steve introduces Bob Hoban. This song was written by Terry Gilkyson, and has been recorded The Kingston Trio, as well as by Eliza Gilkyson (Terry’s daughter). Steve Goodman delivers an excellent rendition, getting really immersed in the story and feel of the song. “Well, I wouldn’t give you a nickel for the bum I used to be/I work as hard now as any man in town/And I’ve got me a pretty little girl, and she thinks the world of me/My god, I’d be a fool to let her down.”

There is some more stage banter before “Byker Hill,” in which he mentions The Beatles and Bach. He performs this traditional tune basically a cappella, using his guitar as a percussion instrument, which ends up getting the audience clapping along. At the end of this track, there is more stage banter in which he talks a bit about the following song, “John Barleycorn,” another traditional number. This one is also performed a cappella, without any tapping on his guitar. It’s a captivating performance. That’s followed by a cover of Bob Dylan’s “Country Pie,” which has quite a different feel from Dylan’s original version on Nashville Skyline. Even without a band backing him, Steve’s version somehow ends up being a bit more wild and loose. Bob Hoban plays violin on this one. Steve follows that with a cover of Merle Haggard’s “Mama Tried,” a song I learned from Grateful Dead concert tapes when I was growing up. Steve Goodman’s version seems a bit slower at first, but I dig it. Bob Hoban provides backing vocals on this one. Then there is an excitement, and a delicious energy to the guitar at the start of “Truck Drivin’ Man,” more in line with Terry Fell’s original rendition rather than Buck Owens’ version. This is a fun rendition, featuring playful touches, particularly vocally, such as Steve’s asides, “Come here, Mabel” and “con leche.” That’s followed by another playful song, “Wonderful World Of Sex,” written by Mike Smith. The way Steve Goodman delivers the line “I sure dig sex” makes me laugh aloud every time. This track is a goofy delight. “Well, you can get love from your mama or your poppa/You can get steam from a Turkish or a sauna/You can get hot from tortillas or lasagna/But you get all three when you make it with me, baby.”

Steve Goodman gives us one hell of a medley toward the end of the album, an interesting grouping of songs. It starts with “Where Are You Going.” In the introduction, he says he wrote that one (so it’s the sole original song on the album). “It’s about the just-plain folks on Wells Street in Chicago. Aside from the cops and the freaks, I figured there were some just plain folks who deserve some time, you know, in a song. So here’s a song about the junkies on Wells Street.” In this one, he sings, “‘Where are you going, mister?’/Sings a lonesome sidewalk sister.” His work on guitar then takes us from that song to The Beatles’ “Eleanor Rigby.” Steve Goodman riffs on the line “All the lonely people” for a bit. Then the guitar work shifts as he segues into “Drifter,” a song written by Travis Edmonson. “I’m a drifter and a loner,” he sings here. And then the music becomes more powerful, tenser as he goes into “Somebody To Love,” delivering a seriously good and earnest rendition of the Jefferson Airplane song (actually, it was a Great Society song first). He then returns to “Eleanor Rigby” before the end, again digging into the line about “lonely people,” that clearly being the theme of the medley. The track is nearly twenty minutes. The album then concludes with a song by Leroy Van Dyke, “The Auctioneer,” a track that calls for a rapid delivery at moments. It’s a fun and light number to wrap things up.

CD Track List

1. You Can’t Judge A Book By Its Cover
2. Ballad Of Spiro Agnew
3. Bullfrog Blues
4. Fast Freight
5. Byker Hill
6. John Barleycorn
7. Country Pie
8. Mama Tried
9. Truck Drivin’ Man
10. Wonderful World Of Sex
11. Medley: Where Are You Going/Eleanor Rigby/Drifter/Somebody To Love
12. The Auctioneer

Live ’69 is scheduled to be released on April 3, 2020 through Omnivore Recordings.

John Di Martino: “Passion Flower: The Music Of Billy Strayhorn” (2020) CD Review

Billy Strayhorn was a composer known for his work with Duke Ellington and for writing several numbers that have become jazz standards. Jazz pianist John Di Martino pays tribute to the composer on his new release, Passion Flower: The Music Of Billy Strayhorn, offering fresh takes on some of those classics such as “Lush Life” and “Take The A Train.” Joining him on this album are Eric Alexander on tenor saxophone, Boris Kozlov on bass, and Lewis Nash on drums.

From the moment the disc’s first track opens with that groovy bass line, I am on hooked. This rendition of “Johnny Come Lately” moves and shakes, and features some excellent work on piano. Then when Eric Alexander takes his lead spot, his saxophone blows freely, like a call to everyone in earshot to come on out. And, as if we needed any other reason to love this track, there is a cool drum solo toward the end. Yup, this is a strong opening to the album. Raul Midón then joins the band on vocals for an intimate rendition of “Lush Life,” his vocals supported mainly by John Di Martino on piano. This track has a wonderful late-night vibe. That’s followed by “Rain Check.” The saxophone really cuts loose and flies at moments on this track.  I love that joyous, unrestrained playing. John Di Martino’s playing has some delightfully light touches, likely to make you smile. This track includes a drum solo near the end.

I am obsessed with all things Shakespeare, and so the track that initially drew me to this album is “Star-Crossed Lovers (Pretty Girl).” This piece of music was written for the Duke Ellington record Such Sweet Thunder, the title a play on Romeo’s line “Parting is such sweet sorrow” (yes, Juliet says the line in most productions, but it is only in Q1 that she is given that line; the Q2 and the First Folio assign the line to Romeo). This is a beautiful track, with something of a slow Brazilian rhythm. I just want to get lost in this one sometimes, you know? That’s followed by another composition co-written by Duke Ellington, “Isfahan,” also known as “Elf.” This track features some wonderful work on bass. Then we get a really nice rendition of “Chelsea Bridge,” with its engaging romantic sound, that sound created partly by that work on saxophone. But it is John Di Martino’s sometimes delicate work on piano that is at the heart of this track. That lead section partway through is beautiful. Then toward the end, there is a gorgeous and cool sax solo.

John Di Martino offers a cheerful rendition of “Day Dream” (listed as “Daydream” on the CD case), which draws us in and then gets more exciting as it goes, and has a powerful conclusion. That’s followed by “Passion Flower,” the album’s title track, a beautiful and interesting piece, featuring some moving work on saxophone. I also really like Lewis Nash’s work on drums, which is engaging, particularly as it is perhaps different from what you might expect. Things then get popping and rolling again with “U.M.M.G.” (which stands for Upper Manhattan Medical Group), a song that was included on Duke Ellington’s Jazz Party LP. And this rendition certainly sounds like a party. There is a great energy and joy to the playing, and a delightful momentum. John Di Martino follows that with a gorgeous and compelling rendition of “Blood Count,” performed as a duet of piano and saxophone. This is one of my personal favorite tracks, and apparently was Billy Strayhorn’s final composition, completed while he was in the hospital.

Another of the album’s highlights for me is “Take The A Train.” It sounds like a train approaching at the start, and then gets cooking. I love Lewis Nash’s work on drums throughout this track, and Boris Kozlov’s bass line is just completely bloody great. John Di Martino delivers some exciting work on piano, propelling the track forward and upward, like this train is winding its way up some glorious mountain, flying a few inches above the track. But perhaps my favorite part of this track is that bass solo. Delicious! John Di Martino turns to a more thoughtful number next, “A Flower Is A Lovesome Thing,” which is delivered as a gorgeous piano solo. Then “Absinthe (Lament For An Orchid)” features a prominent bass line that I totally dig. The saxophone blows sweetly above that. John Di Martino concludes this album with another pretty solo piece on piano, “Lotus Blossom.”

CD Track List

1. Johnny Come Lately
2. Lush Life
3. Rain Check
4. Star-Crossed Lovers (Pretty Girl)
5. Isfahan (Elf)
6. Chelsea Bridge
7. Day Dream
8. Passion Flower
9. U.M.M.G.
10. Blood Count
11. Take The A Train
12. A Flower Is A Lovesome Thing
13. Absinthe (Lament For An Orchid)
14. Lotus Blossom

Passion Flower: The Music Of Billy Strayhorn is scheduled to be released on April 10, 2020.

Matty T. Wall: “Transpacific Blues Vol. 1” (2019) CD Review

On Matty T. Wall’s latest release, Transpacific Blues Vol. 1, the Australian blues vocalist and guitarist offers good, vibrant renditions of some well-known blues numbers, and is joined on most tracks by special blues guests, including folks like Eric Gales and Kid Ramos. The band backing Matty is made up of Ric Whittle on drums, and Stephen Walker on bass. In the disc’s liner notes, Matty T. Wall provides some brief notes on why each song was chosen. These are songs you most likely are familiar with, as they’ve been covered a lot, but here they are given a fresh energy. And the album features a whole lot of great guitar work.

The disc opens with a good, pulsing rendition of John Lee Hooker’s “Boom Boom,” this track featuring Dave Hole. My friends and I first learned about John Lee Hooker through his appearance in The Blues Brothers, where he performs this song. I love the way Matty T. Wall approaches this song, with an enthusiasm you feel shooting out of the stereo speakers. The guitars shine, for sure, but I am also really fond of Ric Whittle’s work on drums, which gives the song something of a lighter vibe and keeps it moving forward. That’s followed by “Hi-Heel Sneakers,” a song written and originally recorded by Robert Higgenbotham (though under the name Tommy Tucker). This version by Matty T. Wall features a damn good groove, different from other versions I’ve heard, with more nice stuff on drums. This is a version that might get you dancing. Eric Gales joins him on guitar on this one, and the guitar has a joyful sound. The guys jam a bit on this track, helping to give it a party-like atmosphere and vibe.

Kid Ramos, whom you probably know from his work in The Fabulous Thunderbirds, joins Matty T. Wall on “Quicksand,” a song recorded by Guitar Slim in the 1950s and by Albert Collins in the 1980s. It is one of those classic blues songs about being treated poorly by a woman. The guitar feels like it’s hopping at times on this track, and shouting at other times, wonderful stuff. Of course, that cool bass line sets the tone. This is one of my favorite tracks. “They tell me love is like quicksand/Can’t stop when you’re sinking down.” That’s followed by another song that was recorded by Albert Collins, “She’s Into Something,” though more famously recorded by Muddy Waters. It was written by Carl Wright. There is plenty of exciting work on guitar on this track, as Walter Trout (whom you might know from his work in John Mayall’s Bluesbreakers) joins the band. There is also a lively vocal performance. This is a seriously enjoyable track.

“Stormy Monday” is the album’s first track to not feature a special guest. But that doesn’t make the track any less special, as Matty T. Wall delivers a fine rendition of the T-Bone Walker song, his guitar humming with passion and soul. And what a vocal performance! Listen to him hold onto the word “Lord” in the line “Lord have mercy.” That moment ought to grab you by the throat and make you pay attention. And Stephen Walker’s bass is holding court in a land so deep, you feel no one could reach up to taste sunlight from there. So delicious. And then that guitar work is just fantastic. This is a track that just gets better and better. You should definitely make a point of checking it out. That’s followed by “Born Under A Bad Sign,” a song I’ve been digging since I heard the Cream version when I was in junior high. Kirk Fletcher joins Matty T. Wall on this track, and there is a lot of excellent guitar work. But for me the bass is at the heart of this version. Then we get a strong take on “I’m Tore Down,” this track featuring the trio without any special guest musicians. The album concludes with “Crossroads,” another song that I first heard done by Cream. This version certainly owes something to that recording, but Matty T. Wall puts his own spin and touches on it. There are no special guests on this track.

CD Track List

1. Boom Boom
2. Hi-Heel Sneakers
3. Quicksand
4. She’s Into Something
5. Stormy Monday
6. Born Under A Bad Sign
7. I’m Tore Down
8. Crossroads

Transpacific Blues Vol. 1 was released on October 18, 2019. I am looking forward to hearing Vol. 2.

The Wild Honey Orchestra at Alex Theatre, 2-29-20 Concert Review

Wild Honey Orchestra performing "Do You Believe In Magic"

I had been hearing about these Wild Honey Orchestra shows for several years, where a group of incredibly talented musicians gather to celebrate the music of a particular band. In 2018, it was Buffalo Springfield. Last year it was The Kinks. The concerts are benefits for The Autism Think Tank, with all the musicians donating their time, so in addition to these shows being good times, they are also for a good cause. So what’s not to love about these events? I had intended to go the last couple of years, but one thing or another kept me from attending. When it was announced that this year’s concert would be a celebration of The Lovin’ Spoonful, I got excited, but was busy and kept putting off purchasing tickets. Until suddenly it became clear that The Lovin’ Spoonful themselves would be performing at the gig. How could I miss such a rare treat as a Lovin’ Spoonful reunion (though they kept calling it a “get together”)? By the time I bought tickets, the orchestra section was completely sold out. Gone also were all the tickets for the terrace section, and in fact most of the balcony seats had been claimed. We ended up in the last row of the center section of the balcony, directly in front of the lighting booth. But no matter. I was just happy to be in the room, and figured being in the last row would allow me space to dance without bothering anyone.

They were a little delayed in opening the doors for the show, and so a fairly large crowd had gathered on the sidewalk in front of the venue, most of the people being my age or older. It was a little after 7:30 p.m. when the doors finally opened, for a show scheduled to start at 8. A merchandise booth sold T-shirts and posters for the event. Upstairs were tables with signed records up for auction, helping to raise even more money for The Autism Think Tank. By the way, if you have trouble walking or tend to lose your balance, the balcony is not for you. At 8 p.m., it was announced that the show would start in a few minutes because there had been an accident and they were awaiting the arrival of paramedics. No further word was given on that, and a few minutes later a video was shown explaining what The Autism Think Tank is all about.

John Sebastian was the first musician to take the stage, followed by several others. “So we’ve got to start this at the beginning,” John told the crowd, and led the musicians in a cool rendition of Mississippi John Hurt’s “Coffee Blues,” the song that gave The Lovin’ Spoonful their name. Then more musicians came out for the second song, “Lovin’ You.” Throughout the show, there were so many changes, with musicians coming and going, that it was damn near impossible to keep track of who was on the stage at any given moment. Steve Boone and Joe Butler performed on several songs at the beginning of the show, and then would return for certain songs. John Sebastian played on the majority of the tunes performed at the show, which was great. He seemed to be having a blast. Joe Butler sang lead on “Full Measure,” a song from Hums Of The Lovin’ Spoonful (the album that also contains “Lovin’ You”). It was after that song that Steve and Joe left the stage, and Dennis Diken (drummer for The Smithereens) then sang lead on “Butchie’s Tune.” That was followed by “It’s Not Time Now,” sung by Iain Matthews, and “Fishin’ Blues.” Then John Sebastian talked about getting a gig in Nashville, which led of course to “Nashville Cats,” featuring some nice work by Dave Pearlman on pedal steel. Nick Guzman sang “There She Is,” with The Muffs’ Ronnie Barnett and Roy McDonald on bass and drums respectively.

As you’ve likely gleaned by now, this was not just a greatest hits type of affair. I knew that going in, but was still delightfully surprised by some of the song choices. One of those surprises was “Pow!” I didn’t expect to hear anything from the What’s Up, Tiger Lilly? soundtrack (except “Fishin’ Blues,” which was also on Do You Believe In Magic). John Sebastian played harmonica on that one. That was followed by “Darlin’ Companion,” with Bill Mumy on vocals, and Elliot Easton (from The Cars) on guitar. This song had a false start, as they were still working things out. But that was certainly part of the charm of the night. Though there had been a couple of nights of rehearsals, the whole feel of the show was still pretty loose, which I appreciated. Cindy Lee Berryhill delivered a wonderful rendition of “Money,” which featured no fewer than three banjo players, as well as a typewriter. This show was full of highlights, and this song was certainly among them. Marshall Crenshaw then came out to perform “Rain On The Roof,” another surprise. It wasn’t a surprise that he performed, but his choice of songs certainly surprised and delighted me. He was accompanied by a harpist. Thomas Walsh (from Pugwash) gave us a really good rendition of “Coconut Grove.” Then Mark Eitzel sang “Didn’t Want To Have To Do It.”

In addition to What’s Up, Tiger Lilly, The Lovin’ Spoonful did the soundtrack for You’re A Big Boy Now, directed by Francis Ford Coppola. And actually the only song that I hoped to hear last night which wasn’t played was “Girl, Beautiful Girl,” from that soundtrack. However, Skylar Gudasz gave us a wonderful take on that album’s title track, backed by Elliott Easton on guitar and John Sebastian on guitar. We then were treated to a second song from What’s Up, Tiger Lilly, “Respoken,” performed by Marti Jones and Don Dixon. David Goodstein sang and played drums on “Warm Baby.” Then Peter Lewis (of Moby Grape) performed “Other Side Of This Life,” a song written by Fred Neil and also recorded by Jefferson Airplane. John Sebastian gave us the story behind the writing of “Summer In The City,” and his brother Mark Sebastian joined him on guitar, the two of them walking us through the song’s creation. Joe Butler and Steve Boone also played on that one. It was certainly another highlight of the first set, and was the song chosen to close the set. The first set ended at 9:50 p.m., and the audience was told in no uncertain terms that the set break would be only fifteen minutes. During the break, a slideshow was shown.

Twenty minutes later, it was announced that the set break was over, though many people had still not managed to get back from the bathrooms. Hey, it was an older crowd, you understand. Some folks need a little more time. Anyway, starting off the second set was another surprise. John Sebastian joked about sometimes being out of fashion, and talked about at one point being in need of a job. It was then he was called to write a theme song for a television program. And, yes, John sang “Welcome Back,” the theme to Welcome Back, Kotter (a show I absolutely loved as a child). This song came as a surprise because it’s from John’s solo career, and is not a Lovin’ Spoonful song. It was such a treat. John was supported by several backing vocalists. That was followed by another track from the You’re A Big Boy Now soundtrack, “Lonely (Amy’s Theme).” John told a funny anecdote about the writing of this tune, and then played harmonica on this instrumental number. The entire orchestra backed him, and, yes, it was another of the show’s highlights. Then John Sebastian left the stage, and The Three O’ Clock performed “She Is Still A Mystery.”

My personal favorite Lovin’ Spoonful song is “Darling Be Home Soon.” It is a beautiful song, and I often tear up a bit when I hear it.  Last night Rob Laufer, the musical director of the show, performed it. He delayed the start of the song while waiting for Elliot Easton to join him on stage, but eventually gave up and began playing it. Elliott Easton finally did join him after the first verse. It was an excellent rendition, complete with horns and a string section. Afterward, Elliott explained that he’d been downstairs doing an interview about The Lovin’ Spoonful. That was followed by “Six O’ Clock” and then “Never Going Back.” John Sebastian played autoharp on “You Baby,” which was sung by the glorious Claudia Lennear. Steve Stanley sang “Younger Girl,” and then we got another song from John Sebastian’s solo career, “Stories We Could Tell,” with John on vocals and guitar, and joined by Carla Olson, also on vocals and guitar. That was followed by “Younger Generation,” sung by Kathy McCarty backed by two guitarists. Another of the show’s highlights was Dead Rock West’s absolutely beautiful rendition of “How Have You Been,” a song from John Sebastian’s 1970 solo album. Micky Dolenz then delivered an excellent version of “Daydream,” his voice sounding as good as ever. That song is a perfect choice for Micky. Alex Jules did the whistling.

Perhaps the most powerful and exciting moment of the second set came when Dave Alvin and John Sebastian jammed on that great blues instrumental, “Night Owl Blues,” along with Steve Boone on bass. Before launching into the tune, Dave Alvin told the story of his first rock concert, the lineup of which included The Lovin’ Spoonful. Someone in the audience gleefully shouted out, “I was there!” Anyway, this tune was just fucking great. John Sebastian is a fantastic harmonica player, a fact I sometimes forget, and he and Dave were ripping into this tune. Then Peter Case came onto the stage to perform a couple of songs, “Blues In The Bottle” and “4 Eyes,” keeping the energy high. Before “Blues In The Bottle,” Peter asked the crowd, “Are there any questions or anything so far?” There weren’t. Carnie Wilson and Rob Bonfiglio performed “Did You Ever Have To Make Up Your Mind?” They were joined by John Sebastian and Steve Boone. Carnie Wilson, for anyone who might not know, is the daughter of Brian Wilson of The Beach Boys, and the Wild Honey Orchestra actually takes its name from a Beach Boys song. Then Susan Cowsill sang “You Didn’t Have To Be So Nice,” which was followed by John Sebastian playing “Jug Band Music,” a totally fun song. The entire group of musicians then filled the stage for “Do You Believe In Magic,” the set’s closing number. John Sebastian played autoharp on this one. The second set ended precisely at midnight.

But the show was not over. John Sebastian, Steve Boone and Joe Butler decided to remain on the stage and do one last number together. First, of course, John told a story about opening for The Supremes. The song they chose to do was “Daydream,” with John doing the whistling. They were not backed by any members of the Wild Honey Orchestra, but performed as The Lovin’ Spoonful. It was the perfect ending to a magical night. The show concluded at 12:07 a.m.

Set List

Set I

1. Coffee Blues
2. Lovin’ You
3. Full Measure
4. Butchie’s Tune
5. It’s Not Time Now
6. Fishin’ Blues
7. Nashville Cats
8. There She Is
9. Pow!
10. Darlin’ Companion
11. Money
12. Rain On The Roof
13. Coconut Grove
14. Didn’t Want To Have To Do It
15. You’re A Big Boy Now
16. Respoken
17. Warm Baby
18. Other Side Of This Life
19. Summer In The City 

Set II

1. Welcome Back
2. Lonely (Amy’s Theme)
3. She Is Still A Mystery
4. Darling Be Home Soon
5. Six O’ Clock
6. Never Going Back
7. You Baby
8. Younger Girl
9. Stories We Could Tell
10. Younger Generation
11. How Have You Been
12. Daydream
13. Night Owl Blues
14. Blues In The Bottle
15. 4 Eyes
16. Did You Ever Have To Make Up Your Mind?
17. You Didn’t Have To Be So Nice
18. Jug Band Music
19. Do You Believe In Magic 

Encore

1. Daydream

Here are a few photos from the show:

"Full Measure"

"Fishin' Blues"

"Darlin' Companion"

"Lonely"

 

"Lonely"

 

"Daydream"

 

"Night Owl Blues"

"Do You Believe In Magic"

"Daydream"

 

Alex Theatre is located at 216 N. Brand, in Glendale, California.

Michael Doucet: “Lâcher Prise” (2020) CD Review

Michael Doucet, founding member of the excellent Cajun band BeauSoleil, has now released a new solo album. Titled Lâcher Prise, which translates to “Let Go,” this disc contains a mix of covers and original material. Much of this music is designed to push away your cares and get you dancing. But it is the album’s more serious-sounding tracks that move me most. In keeping with the theme of the album’s title, there is a delicious freedom to this music, and it is different from what you hear Doucet do in BeauSoleil. Joining the vocalist and fiddle player on this album are Chad Viator on guitar, Sarah Quintana on guitar and vocals, Chris French on bass, and Jim Kolacek on drums. There are also several special guests on various tracks, including Reese Wynans on keys and Jim Hoke on saxophone and pedal steel.

This is Louisiana music, so it might not come as a surprise to anyone that it opens with a song about floods, “Water, Water.” This original number has a delightful Cajun vibe, but also a good solid country rock sound. Yeah, it’s a fun track, and features – as you’d expect – some nice work on fiddle. “Water here, water there/Water, water, water everywhere/No land here, no land there.” Chad Huval plays accordion on this track. Sarah Dugas and Andrina Turenne provide some backing vocals. That’s followed by a cover of Boozoo Chavis’ “Lula Lula Don’t You Go To Bingo.” Michael Doucet’s rendition has a strong beat that I love, and also something of a southern rock style. I also really like Sarah Quintana’s vocal work. Chad Huval contributes some wonderful work on accordion. In addition to all that, this track includes horns. So, yeah, this is a fun version. Then “Dites Moi Pas” has a sweeter, pretty sound right from the start, with that nice work on fiddle. This is an original song, sung in French, and having a comforting, beautiful, friendly vibe. It features some wonderful work on fiddle, especially during that lead section halfway through. Following that section, Sarah Quintana takes over on lead vocals, and the song somehow becomes even prettier.

Can a Louisiana album exist without at least some mention of Mardi Gras? I’m not sure. On this disc, Michael Doucet gives us “Walking On A Mardi Gras Day,” which is certainly not your typical Mardi Gras song. This is a slower, moodier, darker, more somber song than you’d expect, and it’s pretty damn cool. “Listening to that brass band, they sure can play.” This one was written by Michael Doucet and Susan Werner. “Abandonne” also has a more solemn feel, with some gorgeous and moving work on fiddle. The vocals don’t come in until more than halfway through, and then when they do, they have a haunting and deep sound, the lyrics sung in French. This is an excellent and engaging vocal performance. And then when Sarah’s gorgeous vocals join the violin toward the end, I am mesmerized. It is like a beckoning to the other side. This is a tremendous piece of music, one of my favorite tracks. That’s followed by a cover of “Bad Woman,” a track with a totally cool vibe, a gypsy sound that I love. “That bad woman, that bad woman, that bad woman took my heart and she threw the pieces away.”

Michael Doucet then returns to more upbeat Cajun fare with “Marie Catin,” an original song to get you on the dance floor, the delicious fiddle work prominent. That’s followed by a cover of Bobby Charles’ “He’s Got All The Whiskey,” which has a nice, dark, bluesy sound from the start. Then the fiddle rises above that cool bluesy base. The backing vocals echoing “He’s got all the power” give the track a bit of a gospel vibe. Then Michael Doucet delivers a wonderful cover of “Chere Emelie” that features some great percussion. Michael Doucet plays mandolin on this track. That’s followed by “Cajun Gypsy,” which begins with a beautiful string section performed by Turtle Island Quartet (David Balakrishnan on violin, Alex Hargreaves on violin, Benjamin von Gutzeit on viola, and Malcolm Parson on cello). This instrumental track takes a turn nearly halfway through toward gypsy jazz, and then more toward country for a moment. The disc then concludes with an extended version of “Lula Lula Don’t You Go To Bingo,” approximately a minute longer than the first version.

CD Track List

1. Water, Water
2. Lula Lula Don’t You Go To Bingo
3. Dites Moi Pas
4. Walking On A Mardi Gras Day
5. Abandonne
6. Bad Woman
7. Marie Catin
8. He’s Got All The Whiskey
9. Chere Emelie
10. Cajun Gypsy
11. Lula Lula Don’t You Go To Bingo (Extended Version) 

Lâcher Prise was released on both CD and vinyl on February 14, 2020 through Compass Records (the vinyl version does not include the extended version of “Lula Lula Don’t You Go To Bingo”).

Sarah Morris: “All Mine” (2020) CD Review

Sarah Morris is a singer and songwriter based in Minneapolis. She’s been performing and recording for nearly a decade, and her new release, All Mine, features all original material. The songs of this album show her talent for writing excellent lyrics, lyrics that she delivers with a voice that is appealing and strong and honest. Joining her on this album are Thomas Nordlund on guitar, Andrew Foreman on bass, and Lars-Erik Larson on drums and piano (the three collectively known as The Sometimes Guys). There are also several special guests on various tracks.

The album opens with its title track, “All Mine,” and about ten seconds into it, Sarah is already offering us some gems in the lyrics. “A whisper that the cards I need are already in my hand” is a really good line. I appreciate its optimistic bent, something most of us need these days. Sarah’s voice here is like a companion, or even guide, on this journey we’re on, as we each stumble. “I get lost, but I don’t mind/As long as the story I find/Is all mine.” This track features several special guests, including Joe Peterson on organ, Shane Akers on lap steel, and Haley Rydell on violin. This song deals with being a songwriter: “If I’m lucky the words will come out right/In phrases at once simple and sublime/And as long as they are true I don’t care if they rhyme.” Yeah, I think she’s succeeded there.

“Stir Me Up” begins with a cool rhythm, one that immediately works its magic on me. And soon Sarah’s voice comes in with a style to match it, and it’s clear from those opening moments that this song is going to be something special. It builds in energy as it goes, gathering others up in the process so that soon we have some wonderful backing vocals. “You look like the kind of trouble I could use/So won’t you stir me up and shake me loose.” Oh yes! Tommy Barbarella is on organ. That’s followed by “Mendocino,” a pretty song, her vocals having a more intimate quality. “Even when you’re nowhere near me/You always find a way to mess me up/And no matter where I run/It’s never far enough.” This is one I like more and more. “Their tiny hearts beating/So fast, trying to be free/Is that how you see me?” Joe Peterson is on organ, and Matthew French provides backing vocals on this track.

“Don’t Come Clean” also has an intimate sound to her vocal delivery. This is a beautiful and honest song, my personal favorite of the album, and one of the best songs I’ve heard so far this year.  Here is a taste of the lyrics: “Don’t come clean, don’t come perfect/Don’t come shiny and new/I want to see behind the curtain/Show me every speck of dust that makes up the whole of you/Come a little messed up, come broken.” And Haley Rydell’s work on violin adds to this song’s beauty. At one point in the song Sarah sings that she is “wide open,” and that is exactly how it sounds, that she has opened herself up here in a completely engaging and wonderful way, a way in which we all hope to open ourselves to someone. This is an excellent song.

There is a sweet quality to “There, There.” I love the lines “Once again your heart is haunted/By the ghost of a dream that might have been” and “Certain no one knows how lost you feel/‘Cause if they did, wouldn’t somebody be looking for you.” Annie Fitzgerald provides backing vocals on this one. As I mentioned, Sarah Morris can really write a lyric. Every song has lines that stand out, lines I want to remember. From “The Promise Of Maybe,” one line that stands out for me is “Don’t stop when you get dizzy, that’s a sign you’re almost there.” Joe Peterson adds some nice work on organ to this track, and to the track that follows it, “Two Circles On The Kitchen Table,” with the line “I wish I didn’t wish that you were still here” standing out for me. This is another pretty song with a passionate and moving vocal performance. She opens herself up here too. “Please don’t ask how I’m doing/When you know damn well.” That’s followed by “How I Want To Love You,” which has a sweet, adorable vibe and sound. I kind of melt when she sings the song’s title line, “That’s how I want to love you.” And of course the line “Building walls – I’d rather watch them fall” stands out. Later in the song, Sarah sings “I remember, do you remember/When time and energy weren’t such commodities/I know you’re tired ‘cause baby I am tired.” Those lines certainly strike a chord with me. This is another of my favorite tracks, and it features Shane Akers on lap steel, and David Feily on mandolin.

There is a bit of a bluesy edge to “I’m A Wreck,” aided by Joe Peterson’s work on organ. I love Sarah’s vocal performance here, which is captivating. “I don’t like being so exposed/Raw nerves under useless clothes/I’ve whispered secrets you shouldn’t know/In hopes you’d just leave me alone.” Jasper Nephew plays electric guitar on this track. That’s followed by “Things You Can’t Tell By Looking At A Picture,” which draws us in almost immediately, her vocals clearly the focus here. And what a wonderful and engaging vocal performance, the lyrics coming at us almost like a poetry reading at moments, then her voice rising in glory. And that guitar work below her voice adds to the song’s gripping quality. The album then concludes with “Higher,” another beautiful song featuring some nice work by Shake Akers on lap steel. Eric Mayson adds some good work on piano. “And oh, there’s the sweetest moment/When I don’t know where I’m going/Then gravity pulls me back down.” The backing vocals by Annie Fitzgerald seem to lift her up, and gently bring her down, as if accompanying her and keeping her safe, and thus keeping us safe too. The song ends with “Higher and higher,” a line offering seemingly limitless possibilities, a good place to leave us, so we remain positive, optimistic.

CD Track List

1. All Mine
2. Stir Me Up
3. Mendocino
4. Don’t Come Clean
5. There, There
6. The Promise Of Maybe
7. Two Circles On A Kitchen Table
8. How I Want To Love You
9. I’m A Wreck
10. Things You Can’t Tell By Looking At A Picture
11. Higher 

All Mine was released on February 21, 2020.

Val Starr & The Blues Rocket: “Lighter Side Of The Blues” (2020) CD Review

Val Starr & The Blues Rocket are a fun, energetic blues band based in the Sacramento area, performing original blues. Their new album, Lighter Side Of The Blues, features mostly original material, written by Val Starr (with just one exception), blues designed to lift our spirits. The band is made up of Val Starr on vocals and rhythm guitar, John Ellis on bass and slide guitar, Timothy Brisson on lead guitar, Frankie Munz on harmonica, and Paul Farman on drums. This release features some special guests, including saxophone players on a few tracks.

The disc kicks off with “Say Goodbye To The Blues (Like You Mean It),” an upbeat, fun, positive blues tune. I’m guessing we could all use something like this right now, and I’m hoping the country’s blues will be lifted after the next election. This track features some wonderful stuff on saxophone. Danny Sandoval and Saxophone Zot play sax on this track. Plus, there is some nice work on keys. This song is largely a jam, and a damn fine jam at that. It also includes an earnest vocal performance that makes me believe it’s possible to say goodbye to these blues. “Don’t waste today and tomorrow away.” Yeah, I need this sort of reminder, and this sort of optimism, particularly now when the country is falling to tyranny and morons are cheering the destruction of democracy. “Leave your troubles behind.” That’s followed by “Sactown Heat,” a playful tune, certainly on the lighter side, with lyrics about high temperatures, nothing too serious, and a groove that adds to its appeal. “My poor dog’s a-hiding, he won’t even go out and play.” Hmm, a song about high temperatures and traffic that isn’t about Los Angeles? Crazy. “I’m counting the days ‘til the end of September.” I like the guitar work during the instrumental sections.

“If She Can Get A Man (Anyone Can)” is a song about a flawed woman, told from the perspective of another woman who offers her own attributes as contrast. She begins, “I always try to treat my man with honor and respect/I let him think that he’s the boss and tell him he’s the best.” She then describes the other woman: “She’s never really happy, and mostly just unkind/She treats her man like dirt and gets away with hell/Her man still thinks she’s quite a catch.” It’s interesting, because it’s almost as if she is upset at herself for being good to her man when clearly it’s not necessary. Then “Lighter Side Of The Blues,” the album’s title track, is a seriously fun tune, with that great harmonica blowing right from the beginning. This song has a good groove, one designed to get you on your feet. Dance away those blues. It’s a song about not suffering for the blues, about a life that isn’t all that hard, pointedly quite a bit different from a lot of blues tunes. What is also cool is that the song seems to offer a hand to others who might not have it so easy. I really dig this track.

Val Starr And The Blues Rocket slow things down a bit with “All Or Nuthin’ Man.” “You want me to change, baby/But I’ve changed enough for you.” Those are the opening lines, and from those you might think here is a woman who has been wronged in some way by a man who doesn’t appreciate her for who she is. But then she sings, “You know, I’ve given up my evil ways and I’ve made you happy too,” an unexpected and interesting twist. This track features some nice work by Todd Morgan on keys, plus more good stuff by Frankie Munz on harmonica. Then “Can’t Get Sad Tonight” comes thumping in with a beat to keep you from slipping into despair. No one will get sad tonight if this tune is playing. “I can’t get sad tonight/The blues make me smile/I can’t get sad tonight/So won’t you stay awhile?” “Lift A Finger” has a heavier blues vibe with some delicious work on guitar. What I love most about this track is Val Starr’s vocal performance, which is just dripping cool from the moment she starts. Though it has a heavier sound, its subject is still light, about a woman tired of her man not helping out at home. “If you ever lift a finger/To help clean up at home/I’ll have to take a picture/And make damn sure it’s shown/Because, baby, I’m so tired/Of doing it on my own/Now won’t you be the man/That every woman wants to clone.”

“Mister Bassman” is a love song to bass players everywhere, and is certain to have a lot of appeal among that strange group of people. That’s followed by “Movin’ On,” which features some more excellent work on saxophone from special guest Danny Sandoval. This one has something of a 1960s pop vibe. In “24 Hours Blues,” Val Star sings about being a mess and being depressed, and sounds happy doing it. This is another tune you can move and dance to, and features some nice stuff on both guitar and keys. That’s followed by “Big Boss Man,” the one song on this album that is not original. However, Val Starr has added her own original lyrics to it: “Big boss man/Keep your big hands off of me/I’m so tired of all your groping/And your infidelity.” This is a song we can get dedicate to Donald Trump (except for the “big hands” bit), Harvey Weinstein and other assholes who use their positions of power and wealth to attack women and girls. Turn it up! I love that harmonica. Then “Shame On You” is a rocking and thumping blues number, a track I am seriously digging. The album then ends with “The Blues Doesn’t Pick Or Choose,” another lively tune featuring more great work on harmonica and guitar. Plus, Danny Sandoval contributes delicious stuff on saxophone.

CD Track List

1. Say Goodbye To The Blues (Like You Mean It)
2. Sactown Heat
3. If She Can Get A Man (Anyone Can)
4. Lighter Side Of The Blues
5. All Or Nuthin’ Man
6. Can’t Get Sad Tonight
7. Lift A Finger
8. Mister Bassman
9. Movin’ On
10. 24 Hour Blues
11. Big Boss Man (#MeToo)
12. Shame On You
13. The Blues Doesn’t Pick Or Choose 

Lighter Side Of The Blues was released on January 2, 2020.