Exit North: “Book Of Romance And Dust” (2019) CD Review

Book Of Romance And Dust, the debut release from Exit North, is an intriguing and unusual album, one you need to listen to without distraction, preferably late at night when your defenses are down and the world is quiet. It is beautiful and haunting, and moves at its own pace. I was captivated from the moment the opening track, “Bested Bones,” began. Lead vocalist Thomas Feiner has a somber and rich voice that seems to resonate in our own chests as we listen. Plus, this track features some alluring, ethereal backing vocals by Fyfe Dangerfield, Robbie Lloyd-Wilson and Hedda Älveby. “Another year/Upon the back/Bygone ghosts/Upon the shoulders.” This song builds into something gorgeous at times, aided by the presence of a string section. The band is made up of Thomas Feiner on lead vocals, trumpet, piano, guitar and harmonium; Steve Jansen on keys, drums, percussion and backing vocals; Charles Storm on synthesizers, guitar, bass; and Ulf Jansson on piano and keys. Joining them on this release are Max Wulfsson on violin, Hanna Eliasson on violin, Tuula Fleivik Nurmo on viola, Jung Hyun Byun on cello, and Hans Adler on double bass, as well as other guests on various tracks.

“Bested Bones” is followed by “Short Of One Dimension.” This music isn’t rushing anywhere. It is like a well that we willingly sink into, let its waters wrap its arms around us, envelop us, immersing us in a warm darkness. Mattias Tell adds some good work on acoustic guitar on this track, and there is also some nice percussion. “Lay your hand across/Rid this mind of thought.” Then electronic sounds mix with the trumpet to create an unusual and fascinating landscape. Hedda Älveby contributes backing vocals. “Sever Me” has a gentle feel at first, a sound tender, yet tentative, with a pain within. The vocals then rise beautifully, while the deeper tones of the strings work gorgeously in contrast. “The hurt I can disguise/The bruises hide/Far below.”

“Passenger’s Wake” begins somewhat softly, but after a minute or so suddenly kicks in with an electronic force, an unexpected change, particularly after the first three tracks. “I’ve been riding this train/And I’ve come all this way/I won’t be heading back home.” This one too then has more relaxed moments, and yet there remains this sense of something crouching and ready to spring forth. It is an exciting track. It leads straight into “North,” a rather pretty instrumental piece led by the piano. This one too moves at its own pace, pulling us into its orbit, its slow rotation. This is the album’s only instrumental piece. Richard Hauer plays guitar on this one.

In “Lessons In Doubt,” Thomas Feiner’s voice reaches out to us from some strange place that is nearby. And then when this track gets going, it becomes undeniably beautiful. “And when the bricks tumble/I’ll send it all falling/And then hope/I leave it behind me/Pray they won’t find me/After all.” This track makes interesting use of silence as well, pauses that we seem to inhabit ourselves. The work on keys is gorgeous, as is the string section. This is one of my favorite tracks. It is followed by “Spider,” which features some wonderful percussion. Then at the beginning of “Losing,” Thomas Feiner hauntingly intones, “Save the world,” and it is difficult to keep from wondering if the world is already gone. Then an angelic voice joins us, possibly to help us save the world, or to ease our passage to another world. Perhaps it is up to us. That is Anna Bylund on vocals. Halfway through this track, it drifts into another space. It is like we are standing still, mute witnesses to some irreversible change. The album concludes with “Another Chance,” which eases in, and gives us the sensation that we are hovering above the world, taking it all in one last time before the inevitable end. Yet there is hope within.

CD Track List

1. Bested Bones
2. Short Of One Dimension
3. Sever Me
4. Passenger’s Wake
5. North
6. Lessons In Doubt
7. Spider
8. Losing
9. Another Chance 

Book Of Romance And Dust was released on CD on April 12, 2019 (and appears to have been released digitally on October 1, 2018).

Doug “Cosmo” Clifford: “Magic Window” (2020) CD Review

After Creedence Clearwater Revival broke up in the early 1970s, drummer Doug “Cosmo” Clifford released a self-titled solo album, featuring music that was somewhat in the same vein as what CCR was doing. He then, along with CCR bassist Stu Cook, joined the Don Harrison Band, and seemed to abandon any sort of solo career. However, now a previously unreleased solo album is making its way into the world, and for many of us, it is our first opportunity to hear him sing. And it turns out he has a pretty damn good voice. These tracks were recorded in 1985, the same year fellow CCR member John Fogerty released Centerfield, to put things into some sort of perspective. This album has quite a different sound and vibe from that album. It features all original material, written or co-written by Doug “Cosmo” Clifford. Joining the vocalist/drummer on these tracks are Russell DaShiell on guitar, synthesizer and backing vocals; Chris Solberg on bass and keys; and – on a couple of tracks – Rob Polomsky on rhythm guitar.

The album opens with its title track, “Magic Window,” which has a strong mid-1980s rock vibe, and is about looking at the world from inside, told from the perspective of someone who seems reclusive and perhaps lonely, though hopeful, the window acting almost like a movie screen, and he being eager to see what scene it will present to him next. “Window, open up your magic/Show me who I’m gonna love/Is it someone coming from a distance/Like a shadow in the moonlight up above.” Watching the world from inside is certainly a subject that people can relate to during this pandemic. “Magic Window” was written by Doug Clifford and Rob Polomsky. Polomsky also plays rhythm on guitar on this one, and on the track that follows it, “Born On The South Side.” This song has a bit more of the sound we might expect from a member of CCR, a bit more of a country element. It’s about the effect of music on someone’s early development, leading to pursuing music as a passion and career, and being out on the road. “I loved the blues, and rock was cool/And country was so fine/I missed a lot of school/I played my records all the time.” This is a totally enjoyable song, one of my favorites. As it continues, it moves from the past to the present, with the line “I’m out on the road” repeated at the end. And as the track fades out, you hear him say, “That sounds pretty good to me.” To us, too.

“Don’t Leave Me Alone Tonight” is a love song, one of several on this album. When it gets going, it has a sweet sound, particularly on the chorus, and features a nice vocal performance. “The kind of moment that you dream about/You want to hold on forever/I fell in love, or is that obvious/I guess you don’t have to be too clever.” This one quickly grew on me. That’s followed by “Somebody Love Me Tonight” and then “Hungry For Your Love,” two tracks with a distinct 1980s sound, and for me the only two weak tracks on the album. “Somebody love me tonight/I don’t need perfection/Just treat me right with a little affection.” Those are followed by one of my favorite tracks, “Just Another Girl,” a love song with a positive, sweet and fun groove, as well as a strong vocal performance. “Suddenly you stood there/With your bright eyes right on me/Then I was your captive/And I’ll be eternally.” I wonder if this would have been a hit had this album been released back in 1985. Seems like it, but the song’s appeal is strong now too. This one was written by Doug Clifford and Rob Polomsky. Then “Love Mode” has more of a rock sound with a steady driving beat.

Love certainly plays a strong part on this album, and is the subject of many of its tracks, including “Fallin’ For You,” a fun, light pop number that is kind of catchy. There is a cheerful vibe about it. “I’m not sure I understand/But I know I want to be your man/It’s nothing that I ever planned/I’m fallin' for you.” We can certainly use more love songs these days (though I suspect that could be said of all times). “Fallin’ For You” was written by Doug Clifford and Chris Solberg. That’s followed by “Don’t Let Go,” another positive number, this one written by Doug Clifford and Russell DaShiell. This song is about holding onto one’s dreams. Check out these lines: “Now the music has changed, are we still the same?/Well, it’s hard to say/Though the years have gone by, the feelings inside haven’t gone away.” Those are lyrics I think most of us can relate to as we’re getting older, no matter what are passions are. I think it would be damn near impossible to dislike this track; the energy, the message, the beat all work to raise our spirits. The album then concludes with another song of love, “You Mean So Much To Me,” written by Doug Clifford and Chris Solberg. “Every day I spend with you is better than the one before.” When I say things like that to my girlfriend, she tells me not to be goofy. I think I’ll just play this song for her, let Doug Clifford say what I mean, though the song is a reminder to tell those we love how we feel.

CD Track List

1. Magic Window
2. Born On The South Side
3. Don’t Leave Me Alone Tonight
4. Somebody Love Me Tonight
5. Hungry For Your Love
6. Just Another Girl
7. Love Mode
8. Fallin’ For You
9. Don’t Let Go
10. You Mean So Much To Me

Magic Window is scheduled to be released on April 24, 2020.

John Allee: “Bardfly” (2019) CD Review

Apart from the people I love, the two biggest passions in my life are music and Shakespeare. And those two are combined more often than you might imagine. Music plays an important part in many of Shakespeare’s plays, particularly Twelfth Night and The Tempest. In fact, the very first line of Twelfth Night is “If music be the food of love, play on” (a line which lent itself to the title of an early Fleetwood Mac album). Several artists over the years have covered the music from Shakespeare’s plays, including Paul Kelly and Deborah Shulman. Vocalist John Allee does something rather special on Bardfly, his album of Shakespeare music. He creates a sort of Elizabethan/1950s jazz club, which is hosted by Feste, so you know there is going to be some humor in these tracks. And the music that follows is all played at this club. Joining John Allee on this album are Mahesh Balasooriya on piano, Aaron McLendon on drums, Dominic Thiroux on bass, Javier Vergara on tenor saxophone, and Matt Von Roderick on trumpet.

On the album’s first track, “Bardfly Blues/Samingo,” we are taken to the jazz club and introduced to the place, its host, the other employees and musicians. There is some vivid description, which contains plenty of humor and plenty of references to Shakespeare’s work, such as “Over on Eastcheap Blvd.” and “the back of a Dear Romeo letter” and “remnants of a forgotten Folio” (and the way he delivers the word “Folio” is delightful). This piece also contains a reference to my favorite speech from Macbeth, “Life's but a walking shadow, a poor player/That struts and frets his hour upon the stage/And then is heard no more,” with John Allee saying “The players hit the stage, ready to strut and fret for an hour’s set.” That is great, especially as this CD is approximately an hour long. Plus, there is a Tempest reference here: “Will melt into air, into thin air.” The track then segues seamlessly into the band’s first number, “Samingo” (from The Second Part Of King Henry The Fourth, which is the play I happen to be re-reading at the moment, so everything is feeling just exactly right). This track features some nice work on piano. Then John Allee delivers a gentle, cool rendition of “Until The Break Of Day,” from A Midsummer Night’s Dream. In the play, it is sung by Oberon in Act V Scene i. Here it includes some gorgeous work on saxophone. That is followed by “Tomorrow Is St. Valentine’s Day,” a song from Hamlet. It is sung from the third person, rather than from Ophelia’s perspective, so “And I a maid at your window,/To be your Valentine” becomes “And there a maid at the window/To be his Valentine.” Once this track gets going, Ophelia cuts loose and gets funky. Oh, if only the poor girl could have been swinging like this, she might have enjoyed a different fate. There is more nice work on keys, and I love that horn, particularly at the end. We return to A Midsummer Night’s Dream with a delightful, cool and loose rendition of “Philomel,” the song the Fairies sing at Titania’s request. This one contains a bit of playful scat, and is combined with “Hold Thy Peace,” from Twelfth Night. Yup, it’s a groovy medley, and it ends with John Allee saying “Hush up,” which works for both songs. After all, in A Midsummer Night’s Dream, Titania is going to sleep.

One of the most famous songs in Shakespeare’s canon is “O Mistress Mine,” here titled “Mistress Mine.” This is also from Twelfth Night, and is sung by Feste, who asks if the others would like a love song or a song of good life. Sir Toby Belch calls for a love song, with Andrew Aguecheek seconding it, saying “I care not for good life.” This rendition by John Allee has something of a beautiful late-night vibe, that horn calling out in the darkness, as the gentle work on piano eases us into a dream world. So sad, the line “Youth’s a stuff will not endure.” Indeed. Then from Much Ado About Nothing, John Allee gives us a sweet, thoughtful rendition of “Sigh No More.” Has the phrase “Hey nonny nonny” ever sounded so solemn? Here his vocals are supported by piano. Then approximately halfway through, the rest of the band comes in, the horn leading the way into a wonderful instrumental section.

One of my favorite tracks is the totally delicious and ridiculously cool rendition of “The Hungry Lion,” setting Puck’s speech from Act V of A Midsummer Night’s Dream to music, the lyrics delivered almost like spoken word, the bass setting the tone, and the horns adding some absolutely wonderful stuff to this hip and stylish take. Oh yes, you can just see Puck moving slyly along the stage, delivering his speech in such a fashion. That’s followed by a beautiful rendition of Desdemona’s song from Act IV of Othello, “Green Willow” (also known as “The Willow Song”), certainly one of the saddest and most moving of the songs from Shakespeare’s works. A sad and lonely horn sounds at the end, a perfect touch. The bass then leads us into a rather touching rendition of “Full Fathom Five” (also known as “Ariel’s Song”), from The Tempest. That’s followed by a lively version of “Heigh Ho The Holly” from As You Like It. “This life is most jolly,” indeed! This track features more wonderful stuff from the horn section, and then an excellent lead on piano.

John Allee presents another of Feste’s songs from Twelfth Night, “Come Away Death,” which is sung at Orsino’s request in Act II Scene iv. This is a pretty rendering, with a tender vocal performance. I also love the lead on bass. That’s followed by another sad song of death, “Never Come Again,” which is sung by poor Ophelia in Act IV Scene v of Hamlet. This song was recorded by Marianne Faithfull as “How Should I Your True Love Know,” and by Caroline MacPhie as “Ophelia’s Song.” In this version by John Allee, the drums at the beginning signal a death, a funeral. John’s vocals are supported mainly by gentle work on piano. The album concludes, most appropriately, with Feste’s final song from Twelfth Night, “The Wind And The Rain.” After all, he has been our host, right? Here we get a cool, stylish take on the song, with a fantastic instrumental section in the middle. This is certainly one of the disc’s best tracks. The song’s last lines get a slight change, from “But that’s all one, our play is done/And we’ll strive to please you every day” to “That’s all one, our record’s done/And we’ll strive to please you ever day.” Indeed! This album is pleasing from beginning to end.

CD Track List

1. Bardfly Blues/Samingo
2. Until The Break Of Day
3. Tomorrow Is St. Valentine’s Day
4. Philomel/Hold Thy Peace
5. Mistress Mine
6. Sigh No More
7. The Hungry Lion
8. Green Willow
9. Full Fathom Five
10. Heigh Ho The Holly
11. Come Away Death
12. Never Come Again
13. The Wind And The Rain 

Bardfly was released on October 11, 2019 on Portuguese Knees Music.

Jim Infantino at Home, 4-18-20 Concert Review

There have been some hideous rumors of late, some rumblings that live music might not get back into gear until 2021. That is some news I just can’t digest. It has been forty-two days since I last attended a concert, and I’m already sensing the first steps of a descent into madness. Who can manage the rest of the year without seeing bands perform? It is an appalling future that no amount of alcohol can make palatable, though lord knows I’m trying. However, in the meantime, I am enjoying online performances by some of my favorite artists. Today Jim Infantino continued his “Solo In Isolation” concert series with an excellent set of original material, playing mostly requests from other music fans trying to stave off the inevitable delirium. Here’s to us all!

At 4:55 p.m. east coast time, Jim did a short soundcheck, which was basically asking those of us who arrived five minutes early how the sound was. Yes, we are all sound people these days. “I am here in a quiet and secluded location,” he said. “It’s actually my office. Nobody else comes here.” He opened the show with “Red Motorcycle,” the song he chose to open the last show of his that I actually attended, back in November. The song was a request. As with previous weeks, fans sent Jim requests via Facebook. There is something delightfully sweet about the sound of this song, and it raised my spirits considerably, for which I am grateful. “Oh you ran up and kissed me/Oh you couldn’t resist me/Oh you said that you missed me.” Folks typed the word “Applause” after the song, in the comments section to the right of the video on You Tube, because that’s how it’s done these days. Weird, right? But still kind of nice, I have to say. Jim tuned a bit, to get things just exactly right for us, then played “Free (And On Our Own).” This is such a good song. “It’s not like what I thought it’d be.”  After that, Jim took things up a few notches with “Background Vocals.” It was odd hearing this one without the band, but still wonderful. “I got this gig/I like to show up late/I like to show the sound person/All my hate.” And the folks watching added the “La la la” in the comments section and probably – like me – were singing along in their respective homes. “That is a weird one to do without the band,” Jim said afterward. “I miss the band.” He then asked if fellow End Construction member Jon Svetkey was watching, and of course I looked to the comments section to see if indeed he was present. Nope. And so Jim soldiered on.

“This is an old one,” Jim said in introducing “Love Everybody.” It had certainly been quite some time since I’d heard him play that one, and it made me happy, just as it did back in the days when it was a regular part of the set list. It is hard to love everybody these days, but we probably should continue to try. Jim followed that with “The World Of Particulars,” and this was shaping up to being a beautiful and moving set. After that song, he mentioned how Dar Williams sang backing vocals on the original version of that song, and how Aimee Mann was there during the recording of the song. He then asked again if Jon Svetkey was watching, but again there was silence from Jon’s end. Today is Jon Svetkey’s birthday, and as a gift, Jim had written a song for him. “I wrote it about two hours ago,” Jim said, and then played it. It had jokes about Jon being left-handed, and also a reference to how he runs a concert series.

“All the songs requested this week were very sad,” Jim said. “With a couple of exceptions, sad songs. Maybe we’re feeling sad. This is now month two. We’re a week into month two of this craziness.” It feels like month five, at least. And like the tenth year of suffering under the dipshit administration. How much longer can we all keep it together? I don’t know. I guess we’ll see. Jim delivered a beautiful rendition of “Down Here,” and teared up while singing it. “Tomorrow morning we'll be strong/We'll be what we need to be/Until then stay/Down here/With me.” I had requested one of the exceptions to the sad songs, “Can’t Stop Fooling Around,” and Jim attempted it. “Here is one I cannot remember,” he said before the attempt. After a few lines of the song, he stopped to say that it was lifted from a children’s song. And then, well, that was that. But I imagine it will be continued in a future isolation show. Instead, this time he played another not-so-sad request, “Little Miss Communication,” which ended up being quite a lot of fun. He followed that with “Angry White Guy,” saying “Here’s one I want to play.” This one had a false start, as Jim struggled to remember the opening stanza. My brother, who was watching on the other side of the country from me, helped him out in the comments section. Once it got going, this was a really good rendition. “All things being equal/They’re not.”

“The Ballad Of Barry Allen” is one of my favorites, and Jim gave us an excellent version today. In this one, he sings “And you say that time goes rushing by/It seems so slow to me,” lyrics that more people might appreciate these days. As musicians are struggling during this time of canceled tours, Club Passim is helping out with the PEAR Fund, and Jim mentioned to those watching that twenty-five percent of any tips he received would be donated to that fund. He also said he’d love for people to read and review his novel, which led to him humorously playing a bit of The Rolling Stones’ “You Can’t Always Get What You Want.” He followed that with an energetic version of “Cheat To Lose,” one of only two songs repeated from last week’s show. “I don’t keep score/I’m not playing your way anymore/I cheat to lose.” Toward the end of this one, he sings “There’s a party at my house/And you’re all invited.” Yes! Well, sort of. He followed “Cheat To Lose” with “Stress.” This is a song that is always appreciated, but especially these days when we are all feeling stress and anxiety. As he did a couple of weeks ago, he changed some of the lyrics to fit with these bizarre times, again using the line “Sometimes I just stick my thumb in a peach and they arrest me,” and also adding “I mean, I’d love to do these things if it wasn’t for COVID-19” and “And the sand fleas don’t carry COVID-19/And the sharks don’t carry COVID-19.” And: “Everybody’s thinking about disease.” Last week Jim closed his set with “Just Like Me,” and he chose that song to end this week’s show too. And really, it is the perfect closing number, probably for any time, but especially for now. “So have a little compassion/Have a little bit of empathy.” The show ended at 6:15 p.m. eastern time.

Set List

1. Red Motorcycle
2. Free (And On Our Own)
3. Background Vocals
4. Love Everybody
5. The World Of Particulars
6. Jon Without An H
7. Down Here
8. Can’t Stop Fooling Around
9. Little Miss Communication
10. Angry White Guy
11. The Ballad Of Barry Allen
12. You Can’t Always Get What You Want
13. Cheat To Lose
14. Stress
15. Just Like Me 

If you missed the show, I believe you can still watch it on Jim Infantino’s You Tube page. Enjoy!

Grant Dermody: “My Dony” (2019/2020) CD Review

Is there anyone out there that doesn’t have the blues right now? It’s hard to imagine, what with the loneliness of isolation, and the anxiety and worry about those we love, and the fury directed at a president who cares more about his own ratings and his golf game than he does about American lives. Hang in there, folks. We will get through this, with the help of some excellent music. The blues often have that nearly magical ability to lift us from the mire by putting our troubles into song. Singing the blues is like an exorcism of sorts, expelling the demons by naming them, taking away their power through music. Grant Dermody’s new album, My Dony, should be able to push away whatever demons are plaguing you. Based in Seattle, Grant Dermody is one hell of a good harmonica player as well as vocalist. Joining him on this release are Dirk Powell on guitar, keys, mandolin, and backing vocals (Dirk also wrote a few of the tracks); Jason Sypher on bass; and Jamie Dick on drums.

This album opens with its title track, “My Dony,” which was written by Dirk Powell. This song has a good groove and some really nice work on harmonica. Throughout the song, there are certain lines that Grant Dermody stresses through repetition. One of them is “Come and see me soon,” and as he repeats that line, he raises his voice. Ah, we all feel that need, don’t we? It will likely still be a while, but this music is helping keep us company during these hard times. He also repeats “You’re all too young to know” and, at the end, “I hang my head and cry.” By the way, there is also some excellent, classic-sounding work on guitar on this track. That’s followed by a cover of Clifton Chenier’s “One Step At A Time,” a tune with a delightfully fun sound, with that great Louisiana zydeco vibe, a sound seemingly designed to ease our troubled souls. A good deal of that sound is due to the presence of Corey Ledet on accordion and rub board. “Let’s take one step at a time/Honey, don’t fall too fast/Yeah, don’t wear yourself out, woman.” And of course there is more superb work on harmonica, and I love how it comes blasting in with a great blues force. “Give me your love/That’s all I want from you.” Grant Dermody then gives us a cover of “It Hurts To Be In Love,” a song written by Julius Dixon and Rudy Toombs, and recorded by Annie Laurie back in the late 1950s. I’m digging this track’s groove. Ah, maybe love hurts at times, but none of us would trade it for anything.

This cover of Sonny Boy Williamson’s “Springtime Blues” has that great classic blues groove, and wastes no time before delivering some glorious, passionate playing on harmonica. This track’s sound, particularly that excellent guitar work, makes it feel like it could have been recorded decades ago, and its appeal is timeless. Plus, it features a really good vocal performance. This one becomes a damn fine blues jam. Just sink into this one and let it hold sway. “Maybe I might see you, baby, in the fall.” Yup, that timeline seems just about right. That’s followed by “Real Time Man,” a song written by Grant Dermody. Corey Ledet plays on this track, rocking that accordion. This track also features a nice jam, with a thumping rhythm to get you moving. “No matter where I go, sweet woman/You ain’t too far off my mind.” Then “Too Late To Change Your Mind” has a raw blues sound, and features more great work on harmonica. This one was written by Dirk Powell, who also sings on this track.

“Corner Strut,” a tune written by the full band, is some delightful funky Cajun blues. If you’re feeling down, this one will get you on your feet. Yup, this one ought to do the trick, indeed. Corey Ledet again joins the group on accordion and rub board. And the line “Wait a minute, what, hold on” is one I find myself saying quite frequently these days. That’s followed by “I Can’t Turn Back Time,” a song written by Dirk Powell, with an easygoing groove and a soulful vocal performance. Just try to remain unmoved by lines like these: “When I close my eyes/It don’t seem like you’re gone/If I don’t open them soon/I’ll never move on” and “I can’t trade all my memories for today.” Kelli Jones provides some backing vocals on this track.

We then get into a little gospel with a cover of “Great Change.” From the moment this one starts with those smooth, gorgeous backing vocals, I am crazy about it. It feels like it is reaching out, clasping our hands and easing us into some other world. Then when it suddenly kicks in, it picks up the pace to become a joyful number. Of course, the lines “People that I used to see, I don’t see no more/Places that I used to go, I don’t go no more” have a different connotation these days. Rhiannon Giddens and Allison Russell provide those excellent backing vocals. This track also features some wonderful work by Dirk Powell on mandolin. That’s followed by another traditional number, “Morning Train,” with Corey Ledet’s accordion and Grant Dermody’s harmonica sounding so good together. I love that zydeco. The group jams on this one too, picking up the pace a bit as they go, increasing the energy, and simultaneously increasing our joy.

“Come On Sunshine,” written by Grant Dermody, has a delicious, slow groove, and features good backing vocals by Kelli Jones. “The spirit keeps me moving with a brand new song/And the music shines down, guides me on my way/Takes me home.” This is one you might find yourself singing along with before the end. It is a song that I like more and more as it goes. That’s followed by “35-59,” one written by the entire band, about a relationship with something of a significant age difference (which might or might not matter). “She’s 35, I’m 59/I’m kinda hoping she don’t mind.” The album then concludes with “Hometown Blues,” another original composition by Grant Dermody, a song about how things sometimes change even when you don’t want them to. “Don’t it feel so lonesome when all you know don’t look the same.” Oh yes, I think we’ve all been in touch with that sensation at one time or another. They say you can’t go home again, but it is hard when the place you feel a strong tie to is, in one sense or another, no longer there.

CD Track List

1. My Dony
2. One Step At A Time
3. It Hurts To Be In Love
4. Springtime Blues
5. Real Time Man
6. Too Late To Change Your Mind
7. Corner Strut
8. I Can’t Turn Back Time
9. Great Change
10. Morning Train
11. Come On Sunshine
12. 35-59
13. Hometown Blues 

My Dony is scheduled to be released on May 8, 2020 on Thunder River Records, though it seems to have received at least a limited release on October 18, 2019.

Terry Klein: “Tex” (2019) CD Review

Terry Klein is a singer and songwriter based in Austin, Texas. Last year he released his second full-length album, Tex, which features all original material. Many of the songs on this album deal with themes of family and the various familial relationships. And in these days of anxiety and fear, most of us are paying a little more attention to these important relationships, and not taking anything or anyone for granted. Joining Terry Klein on this release are Bill Small on bass, John Chipman on drums, Bart De Win on keys and accordion, and Kim Deschamps on steel guitar. Jaimee Harris and Walt Wilkins provide backing vocals (Walt Wilkins also produced the album). There are also several guests on various tracks.

I can’t help but love the album’s opening track, “Sagamore Bridge,” partly because I’m from Massachusetts, and when I was growing up we would cross that bridge every summer on the way to the Cape. Wasn’t there a Friendly’s right before you’d get to it? Is that still there? Anyway, being from Austin or not, Terry Klein certainly seems to know his shit about Cape Cod, and there are some wonderful little details in this song, such as “Provincetown saltboxes shimmer” and “the rich folks from Chatham” and “And on Labor Day weekend, locals stand on the bridges/Waving goodbye at the folks on Route 6.” There is such a strong sense of place in this song, and it is taking me back to my childhood. This song features some sweet work on fiddle by Warren Hood. And John Bush adds some percussion. The first lines of the song are “Well, they took out the circle/But the traffic’s no better/Sixty millions dollars just pissed away.” Wait, did they get rid of the rotary? I didn’t even know that. I get all my news from music.

Well, Terry Klein takes us from Massachusetts to “Oklahoma,” one of the songs in which family plays a strong part. “And my sister said that Dad could use a visit/I said I don’t know what good that would do.” There are a lot of lines that stand out. “See, I’ve been drinking, depressed, and kind of useless.” Well, if that isn’t a line to perfectly describe how many of us feel these days, I don’t know what is. There are some wonderfully depressing lyrics in this song, such as “She said I need you to try and be there for your daddy/I know it’s hard for you, just do the best you can/She was gone just a few short hours later/Dad refused to let go of her hand,” lines that had me in tears. Ron Flynt plays keyboard on this track, and on the one that follows it, “Every Other Sunday,” another song in which family plays a central role.  “And I practiced feeling nothing/It worked to keep the tears out of my eyes/Every other Sunday.” There is some really moving work on fiddle on this track. This is a song that works its way straight into your heart.

Organ features prominently at the beginning of “Too Blue To Get That Far,” setting a somewhat different tone. There is also some great work on steel guitar, and I love that deliciously sad sound, fitting my mood perfectly. “If I broke every dish in the sink/Pounded my fists on the shards/There’d be blood and cracked porcelain everywhere/And I’m too blue to get that far.” Oh man, those are some great lyrics, and this song is getting right to me. “And the doctor says I don’t need medicine/But these days, honey, I ain’t so sure.” I love that he gets quieter at the end of that line, which just makes it all the more powerful, because it makes it believable, like he’s worried, and doesn’t want to worry her. What a fantastic vocal performance. This track is one of my personal favorites. It’s followed by “Anika,” and the first line of this one made me laugh aloud, which I certainly appreciated, needing a bit of a lift at that point. The first line is “If I had a wooden leg, you’d steal it.”  Another line that stands out for me is “It’s strange I have this stubborn wish you were right here with me now.” This track features some sweet backing vocals, and some nice work on accordion. Ron Flynt plays piano on this one. Then in “Andalusia,” the lines that stand out for me are “And I write for three hours every morning/You know I sit there with my hands in my lap/Just hoping I ain’t nowhere close to used up.”

“Straw Hat” has a lively groove. This is a song that makes me smile the moment it starts, something I certainly appreciate in these days of anxiety and fury, and it features some really nice work on keys. “Dark-haired beauty sitting next to me/A blue sky far as I can see/I’m a well-heeled fellow/Yeah, I’m dressed to kill.” There is something playful about this one. That’s followed by “Daddy’s Store,” which has a softer and gentler sound, the focus being on the story the lyrics tell. Again, family plays a part. “In his eyes, I see fog, fear and age/Good days, he asks me, son, how’s that store doing/Bad days, he can’t remember my name.” Yes, some heart-wrenching lyrics, those. Then “When The Ocotillo Bloom” has a pleasant vibe. There is something pretty and uplifting about it. Robert Casillas plays accordion on this track, and his work plays a central role. There is also some good stuff on steel guitar. The album concludes with “Steady Rain,” which has a kind of cool, slow, bluesy groove, the lyrics delivered almost like spoken word. The line about “Anitta” with the extra T in her name made me laugh out loud the first time I listened to this track, and then each time he revisits her as the song continues I found myself laughing more. Corby Schaub plays electric guitar on this one. There is a false ending, after which there is some spoken word by Arianne Knegt.

CD Track List

1. Sagamore Bridge
2. Oklahoma
3. Every Other Sunday
4. Too Blue To Get That Far
5. Anika
6. Andalusia
7. Straw Hat
8. Daddy’s Store
9. When The Ocotillo Bloom
10. Steady Rain

Tex was released on January 25, 2019.

Laurie Jane & The 45s: “Late Last Night – Elixir Of Sara Martin” (2018) CD Review

If you are suffering from anxiety during these frightening and infuriating times and are looking for music to make you feel like part of the human race again, one album you ought to give a listen to is Late Last Night – Elixir Of Sara Martin, the 2018 release from Laurie Jane & The 45s. The music is blues, but a fun brand of blues that features some wonderful female lead vocals. This album follows their 2017 release, Midnight Jubilee, and finds them paying tribute to Sara Martin, a tremendous voice in blues, born in Louisville, the same city that Laurie Jane & The 45s call home. Several of the tracks on this disc were written or co-written by Sara Martin, who put out a lot of great records in the 1920s.

The album opens with a grooving rendition of “Late Last Night,” the title track, a song written by Sara Martin. This version is driven by the guitar, and features some nice work on saxophone, the music having a modern feel. “Late last night when I took morphine/I took it to ease my pain/If it had not have been for the doctor, oh lord/I’d been in my grave today.” That’s followed by a seriously fun version of “Achin’ Hearted Blues,” a song written by Clarence Williams, Spencer Williams and Clarence Johnson, and recorded by Sara Martin in 1923. Laurie Jane Duggins gives a strong and totally enjoyable vocal performance. Yet, as good as that vocal performance is, it is nothing compared to what Laurie Jane gives us next on “Blind Man Blues.”  This is such a delicious track, in large part because of her fantastic vocal performance. Wow, she completely inhabits and owns this song. Plus, there is some gloriously expressive work from the horn, and it’s like a duet between Laurie Jane and the horn. And if that’s not enough for you, there is also some good work on both piano and guitar. This is my favorite track on the album.

On “Strange Lovin’ Blues,” they give the track a scratchy effect to make it sound like an old recording, like Sara Martin’s original recording from the mid-1920s. But that is so unnecessary. This band has captured the vibe and excitement and sound of the earlier times without needing to resort to this rather obvious device. Anyway, they deliver a nice raw rendition of this song, which was written by Sara Martin. That scratchy old record sound effect is used again on “Pleading Blues.” I understand the appeal and the desire to use it, but again it’s just unnecessary. Plus, I thought the idea was to bring this music to the present, to deliver it as a living thing, like it is happening right now. The effect is also used on “Atlanta Blues,” and here it seems even more dominant, making Laurie Jane’s vocals fight it for our attention. At the end, there is even the sound of the needle being lifted from the record, which is silly.

Things get popping and rocking with Laurie Jane & The 45s’ version of “Sugar Blues.” “Have you heard these blues?” she asks, and the saxophone answers for us. And when she sings that these are the sweetest blues we’ve ever heard, ain’t nobody gonna argue with her. This is a lot of fun. It’s followed by “My Man Blues.” This track has a cool, sly style and vibe, along the lines of what Sara Martin did on her original rendition. I love it, even though it contains the dreaded “self”/”shelf” rhyme. And I love that instrumental section halfway through, with some nice work on both guitar and piano. “Can’t Find Nobody To Do Like My Daddy Do” is another fun track, with a delicious rhythm. I love the drums and bass here. “Oh, how it hurts when he says goodbye,” Laurie Jane sings, and yet she has a delightful energy and joy about her. And isn’t that a great thing about the blues? You can sing of heartache, of troubles, and feel so goddamn good doing it. This track rocks and moves, one to get you on your feet, or at least dancing in your chair. The band’s rendition of “I’m Gonna Be A Lovin’ Old Soul” is a rocking blues number, another fun track featuring some good work on piano. “If you don’t like my peaches, let my peach tree be/And if you don’t like my loving, honey, stay away from me.” The album then concludes with “‘Tain’t Nobody’s Bu’ness If I Do,” which has that scratchy record effect, but fortunately only for the first few moments. After that, we are right there with the music. This rendition is a total delight. It is fun and playful, and by the end it is like a celebration. A celebration of music, of life, of freedom. I love the horns. This track fades out, giving us the impression that the celebration continues.

CD Track List

1. Late Last Night
2. Achin’ Hearted Blues
3. Blind Man Blues
4. Strange Lovin’ Blues
5. Sugar Blues
6. My Man Blues
7. Joe Turner Blues
8. Can’t Find Nobody To Do Like My Daddy Do
9. Pleading Blues
10. Atlanta Blues
11. I’m Gonna Be A Lovin’ Old Soul
12. ‘Tain’t Nobody’s Bus’ness If I Do

Late Last Night – Elixir Of Sara Martin was released on October 13, 2018.