Ben Vaughn Hosts An Incredible Night Of Music At Unurban Coffee House, 9-9-25

Ben Vaughn

It was a truly special evening of music last night at the Unurban Coffee House in Santa Monica, part of the Night Of A Thousand Stars series hosted by Ben Vaughn. I've said this before, but the Los Angeles area has probably the best music scene in the entire country. On any night, you can catch stellar musicians in intimate settings. I'm not sure the capacity at Unurban, but it can't be more than fifty or sixty people. And the lineup was the Ben Vaughn Duo, Ruthann Friedman and Paul Marshall. Holy moly! And there was no cover.

There was a strange thing happening with the stage lights, as Ben Vaughn quickly discovered while setting up. The lights reacted to sounds, only turning on when Ben tested the vocal microphone or stomped his foot. Very weird. What lunatic desired that? So part of the soundcheck was used disabling that odd lighting effect and in the process providing a bit of comedy before the show. Then at 7:10 p.m., Ben Vaughn Duo (Ben Vaughn and Teresa Cowles) started the evening off with a short set that featured them doing their vocal horns on the very first song, "Looking For A Friend." And Ben got the audience singing along to "Apropos Of Nothing." They wrapped up this incredibly brief but wonderful set with "When Losers Rule The World." A three-song, twelve-minute set. Crazy. But that was just to get things going; they would do a full set later in the evening.

Paul Marshall

Paul Marshall was up next, and when introducing him, Ben mentioned that he was thrilled to have him perform at the show. And it was soon very clear just why. You all likely know Paul Marshall from his work in I See Hawks In L.A., and maybe also for his work with Fur Dixon & Steve Werner and The Strawberry Alarm Clock. Last night he treated the audience to a rare solo set. Paul said he would "try a few new things and a few old things, and we'll see how it goes." Well, it went great. He opened his set with "Love Works," in which he sang, "When it feels like/There ain't no hope left on Earth/We can keep on going strong/Because, baby, the love works." Now that is something to keep in mind in these days when it seems the people of this country are embracing and celebrating their worst qualities. It's a beautiful song. Paul then picked up the energy with "Sifting Through The Ashes," a song from his excellent Weed And Water album. It's a fun number, and the line "But don't you be surprised when love knocks you on your ashes" got a big and deserved laugh from the crowd.

One of my favorite Hawks songs is "If You Lead I Will Follow," from New Kind Of Lonely, a song which Paul Marshall wrote with Rob Waller. And it was wonderful to get to hear Paul perform his own version of that song last night. It was a particularly moving rendition. That was followed by "If I Had You," the lead song from Weed And Water, which had a positive vibe. But it was probably the next song that most of the crowd would pick as the favorite of the set, "Talking To The Dog," which Paul introduced as a relatively new song. It was hilarious. Seriously, the audience was laughing out loud through basically the entire song. I was laughing too hard to write down any of the lyrics, so you'll just have to seek Paul out yourself and get him to play it for you. I hope he does more solo sets soon. And that wasn't the final song of the set. He followed that with "Truth Is I Lied," a song that he sometimes plays with the Hawks, and one that was included in the film Grace Of My Heart, where it is performed by Jill Sobule. It's still hard to accept that Jill is gone, and in the introduction to the song, Paul mentioned how some of the online tributes posted by fans included her doing this song. Paul delivered an excellent and touching rendition last night. He then ended the set with another song that was included in a movie, "Light Of A New Day," which was in Man Of The Year. An excellent song to wrap up the set. "And I'll leave the past behind."

Ruthann Friedman

Ruthann Friedman then took the stage, backed by Kaitlin Wolfberg on violin and backing vocals, and David Jenkins on bass. It was my first time seeing her perform. She is a singer and songwriter, known for writing "Windy," which was a big hit for The Association. She didn't play that song last night, and there was no need, for it was quickly apparent that she'd written even better material in the meantime. She opened her set with "Spending Time," which she performed solo. That led straight into "That's What I Remember," with Kaitlin and David then joining her. "That's What I Remember" is a totally delightful song, one that made me completely fall for her, and it includes some lines about Hollywood that stood out: "I got screwed up and I got turned down/I wrote a hit song, it was not what I planned/So I ran away and joined a rock and roll band." She followed that with "Chinatown," first saying that she usually does a long introduction to it, but would keep it short for this show: "It's Jewish guilt and opium." It was another excellent song. Then "Get Out Of Here" included the line, or phrase, "Above the clouds," which of course reminded me of "Windy."

Ruthann then switched guitars for "The Tides" in order to not waste time tuning, but ended up having to tune anyway. During that time, Kaitlin told a knock-knock joke, but got it wrong, which was even funnier. Ruthann introduced "The Tides" as a political song, and the line "In the land of the free" carries different meanings these days for sure. "I was born in '44/Near the end of a war," she sings in this one. The line that especially grabbed me was, "'Til the tide carries them away." She then mentioned how the current political landscape is depressing, but she was going to do a hopeful song. Interestingly, she then couldn't recall the song. I think that might say more about the political landscape than about her memory. So instead she played a song she had written for her husband, one that was sweet, with her singing "I want to be with you every single day," and also funny, with her singing, "You know I'm always right." She followed that with "Monster Love," which she introduced as a depressing song about her childhood. "Monster love/Better than no love at all." That song featured some particularly good work on bass. She then delivered a cool number that reminded us there's "no need to hurry at all," and then wrapped up the set with "What A Joy," a song she wrote for her daughter when she was far away at school. I am so glad I got the chance to see her perform.

Ben Vaughn Duo returned to the stage for the final set of the night, a set that focused on music from Ben's album The World Of Ben Vaughn. Apparently, when he had the original album release party for that disc, it ended up being a super spreader event, something he mentioned early in the set. The first two songs of the set were the first two tracks from the album: "In My Own Reality" and "Wayne Fontana Was Wrong." "It's a beautiful day today/And tomorrow's gonna be the same way/There ain't nothing bothering me/Now that I'm living in my own reality," Ben sang at the beginning of "In My Own Reality." And, yes, living in our own reality is especially appealing these days. Since the election, I have avoided the news, instead filling my reality with good music. At the end of that song, Teresa had a chance to lead on bass, which was cool. "Wayne Fontana Was Wrong" had a "Louie Louie" ending. Ben followed that with the last track on the album, "Nobody Likes A Showoff," at the end of which he playfully showed off on guitar. Like I said, I'm doing my best to avoid whatever it is that passes for politics these days, but these lines from "No Count" reminded me of a certain conman/convicted felon/rapist that half this country wanted back in the White House: "You're no good, you're no good/You never do what you should even when you could/You're no good/You're a liar and a cheat/Stepping on people's feet/Up and down the street/Hustling everybody you meet."

"Too Sensitive For This World"

"Asking For A Friend" is a rather pretty, gentle and sad number that I love. "Why do we fall in love?/Please remind me once again/Asking, asking for a friend." Then Ben put down his guitar for "Blind Alley," a cool number that featured Teresa's bass work. Folks in the audience snapped their fingers in time with the beat and echoed the line "Looking for love." Ben delivered some nice stuff on harmonica, and this song ended up being a highlight of the set. He then took out his notes for "You're Gonna Wish Love Was Never Invented," a song with these lines: "Take it from me/Someday you'll see/What a mess love can be." Maybe, maybe, but we're all going to fall in love anyway. All seven of those songs are from The World Of Ben Vaughn. He then strayed from that album for "Pièce de Résistance," a totally fun number, before returning for "Feet" and "You." He followed those with a song I believe is titled "When The Paragons Meet The Jesters," and then said he enjoyed the knock-knock joke during Ruthann's set, which itself was funny. "New Jersey Rock 'N' Roll" was the final song of the evening to come from The World Of Ben Vaughn. So he played all but one track at the show. He wrapped up the set, and the night, with "Where Did You Go, Greta Garbo?" and "Too Sensitive For This World." Ruthann Friedman joined the Ben Vaughn Duo on backing vocals for "Too Sensitive For This World," helping to make it a fantastic rendition. It was a great way to conclude the night.

Unurban Coffee House is located at 3301 Pico Blvd. in Santa Monica, California. 

Chris Stamey: "Anything Is Possible" (2025) CD Review

What a great time it is for fans of The dB's. Late last year the first couple of albums were re-issued and the original band got back together for some stellar shows (I saw a fantastic show at Zebulon, and there was word it might get a CD release, and I still really hope that happens). Then on Record Store Day this year, a new Peter Holsapple album, The Face Of 68, was released. And now we have a new Chris Stamey album. Sure, the country is a mess, but in the realm of music, the stars seem perfectly aligned, and it is in that realm where I choose to live. This new album, Anything Is Possible, features mostly original material written by Chris Stamey, along with a cool cover of a Beach Boys song. Here he takes inspiration from some of the music he heard growing up, capturing the feel of that time and creating his own great songs. Joining him on this release are Charles Cleaver on piano and organ, Jason Foureman on acoustic bass, and Dan Davis on drums, along with special contributions by Mitch Easter, Marshall Crenshaw, Brett Harris, Wes Lachot, Matt McMichaels, Matt Douglas, Rob Ladd, Kelly Pratt, Pat Sanson, Robert Sledge, Brian D'Addario, Michael D'Addario, Probyn Gregory, Laura Thomas, Jennifer Curtis, Josh Starmer, Leah Gibson, Rachel Kiel, and Don Dixon.

Chris Stamey kicks off the album with "I'd Be Lost Without You," which has an interesting opening moment, like the tape being quickly rewound through the machine and an announcement that "Okay, we're rolling." The song is then counted off and quickly proves itself a wonderful, earnest pop number. Here Chris sings, "If you ever leave me, don't know what I'd do/I'd be lost without you." Sure, those might seem simple lines, but if you are completely in love with someone, you know exactly the feeling expressed here. And besides, that's the point, a return to some of the innocent-sounding music of the past. And the track features excellent vocal work that might make you think of the Beach Boys. "What would tomorrow be/Without you here with me?" Probyn Gregory adds some really nice touches. Then "Anything Is Possible," the album's title track, begins with a bright burst of energy and touches on the idea of life on Mars. I remember reading about possible evidence that there once had been life on the red planet. Will we ever find life on other planets? It seems likely at some point, doesn't it? Otherwise, what a great waste of space the universe is. Check out these lines: "If you look closely at the edge of time/The fabric of the day-to-day/You'll find it's almost never/Moving in a straight line/And anything is possible, anything is possible, anything is possible." I find that thought positive, even comforting, though I suppose that's just how I choose to take it. For if anything is possible, that means all sorts of terrible things are possible too. But this song certainly has a wonderfully positive bent, as heard in these lines: "You tell me everything is so unclear/That you don't know why we are here/But I say that's the beauty of this life, my dear." Yes, yes, yes! And no one knows why we're here. In fact, I believe there is no why to the matter at all. This is one of my personal favorite tracks.

Then we are treated to a beautiful number titled "After All This Time," setting the tone and mood with its opening lines: "I don't know why I should think of you, but I do/It catches me by surprise, out of the blue." This song feels like one of those beloved numbers from the Great American Songbook. Really, it could become a standard, should become one. And it features an excellent vocal performance. This track features Probyn Gregory on flugelhorn, and also contains some wonderful stuff on strings. But it is perhaps that guitar lead in the middle that really makes this track stand out. That's followed by "Meet Me In Midtown," a fun, light song of the city. "Every morning, taxis parade but can't get through/Sidewalks so crowded, hidden beneath the pounding shoes/But when the sun sets, we can do just as we choose." The taxis and crowded sidewalks are elements of New York, but not Los Angeles, though those lyrics still speak to us here in L.A. There is a cool bit on saxophone in the middle (that's Matt Douglas), which adds another delicious layer. At the end of this track, there are sounds of traffic, including a couple of honking horns, but they are incorporated into a sort of rhythm, which is great.

The album's sole cover is "Don't Talk (Put Your Head On My Shoulder)," a song written by Tony Asher and Brian Wilson and included on the Beach Boys' celebrated Pet Sounds album. Chris Stamey delivers an outstanding rendition. As you'd expect, there is some excellent vocal work here. There is a lot to latch onto here, right from that great opening on strings. This song was not my favorite track from Pet Sounds, but this version is giving me a stronger appreciation of this number. That's followed by "When My Ship Comes In," a song that is pretty and moving right from that wonderful instrumental intro. "One day, I'll be back again/Until then, we'll have to pretend/Till my ship comes in/Hold fast to these memories/Please say that you'll wait for me." This is a song for anyone who has had to be separated from his or love. I did the long-distance thing for a while, and there is a chance that I will have to again soon, and this song is hitting exactly the right spots. It's beautiful. Chris Stamey plays piano on this track, delivering some really nice, tender work.

"In A Lonely Place" is named after the Humphrey Bogart movie, and it has something of a late 1950s, early 1960s vibe, particularly in the percussion. "I live in a lonely place/With memories I can't erase/The sun rises and it sets/But time won't let me forget." I love that guitar part in the second half. That's followed by "Once, On A Summer's Day." The music so perfectly gives us a sense of place at the very beginning. We hear seagulls. We feel that great sense of memory even before those first lines, "Did we love, once on a summer's day?/Did we kiss, as the waves washed our thoughts away?" I love how our own memories become part of the song as we listen. There is a touch of melancholy, as what seems to be left are memories, and even they are framed as questions. So it's like we are in danger of losing them too, or perhaps already have, at least to some extent. "Did we walk, hand in hand, on an empty beach?/Did we talk of a life just beyond our reach?" This is another of my personal favorites.

When I first glanced at the CD's track list, "Done With Love" stood out, for the title could be taken two ways. My first thought was that it would be about someone doing things with love in his heart, a positive thing. But then it hit me the other way, about someone who is through with love. It is the latter meaning, it turns out, here. Chris sings, "I'll never give my heart away/I'll let the doorbell ring and hide my face/I'll let the mail pile up outside." And I love these lines: "Who is the author of this one-act play?/Who signals when the curtain falls?" This track features some nice work by Charles Cleaver on keys. Then, as "Au Revoir And Goodbye" begins, there is a sense of walking into a magical realm. That brief intro on the cymbal accomplishes that, and then Chris' vocal approach and the lyrics themselves add to that feeling. "I didn't know that the night could be so entrancing/I didn't know that the stars could so fill the sky/I didn't notice the rest of the world was sleeping." Then there is a moment when it feels that the magic has died, when he sings, "I thought that you still loved me so." We hear a desire to remain in that magical realm. And just as quickly the strings take us farther inside it, creating a dance, a waltz. What a wonderful moment. Don't we all want to live within moments like that? This song is yet another of the disc's highlights. The album concludes with "Leaves In The Wind." It opens with the lines "I count the days, leaves in the wind/Until I will see you again," reminding us of the theme of "When My Ship Comes In," but this one has a more haunted feel. It features some wonderful work by Probyn Gregory in the middle. "So I wait here, and watch the sky/And think of you, and days gone by."

CD Track List

1. I'd Be Lost Without You
2. Anything Is Possible
3. After All This Time
4. Meet Me In Midtown
5. Don't Talk (Put Your Head On My Shoulder)
6. When My Ship Comes In
7. In A Lonely Place
8. Once, On A Summer's Day
9. Done With Love
10. Au Revoir And Goodbye
11. Leaves In The Wind

Anything Is Possible was released on July 11, 2025, and is available on vinyl as well as CD.

The Minus 5: "Oar On, Penelope!" (2025) CD Review

It wasn't through Young Fresh Fellows or R.E.M. that I came to The Minus 5 (though I do love both those bands), but through The Monkees. The Monkees were my first favorite band (I started listening to them when I was four), and as I grew older, my appreciation for them only grew. In 2016, The Minus 5 released an album titled Of Monkees And Men. What was especially interesting was that it was not a traditional tribute album. They weren't covering their favorite Monkees songs, but rather singing about The Monkees, with original numbers like "Davy Gets The Girl" and "Micky's A Cool Drummer." I was intrigued, and quickly fell in love with the group, led by Scott McCaughey along with Joe Adragna, Peter Buck and other excellent musicians. The lineup has remained somewhat loose, and the band, for its new album, Oar On, Penelope!, includes Scott McCaughey on vocals, guitar, piano, organ and bass; Peter Buck on bass; Linda Pitmon on drums; Kurt Bloch on lead guitar; and Debbi Peterson on vocals. What a lineup! Heavy hitters, all! Joining them are guests Spencer Tweedy, Patterson Hood and Ed Stasium. The album features all original material, written by Scott McCaughey, who also produced the album. By the way, the back of the CD case includes a few lines from Lawrence Ferlinghetti ("Let us not sit upon the ground/And tell sad stories/Of the death of sanity"), themselves being a play on lines from William Shakespeare's Richard II ("let us sit upon the ground/And tell sad stories of the death of kings"), and which also speak pretty clearly about the current state of things.

The album opens with "Words & Birds," which was also the first single released from this disc. Linda kicks it off, establishing a fun power pop beat. And then check out the first few lines: "They can fly, it's true/That's not all they can do/We try to identify/Quantify the sky." The vocals have a delicious energy, which drive the song forward as much as that beat does. This song also provides the album with its title, in the lines "Inexplicable songs/Purple twilight and dawn/Oh, oar on, Penelope!/Sands of mystery/It's all too beautiful, man/Too beautiful to stand." There is a great joy to this song's delivery. That's followed by "Death The Bludgeoner," which comes on hard and glorious, no introductions needed, the vocals having a bit of a punk energy. It's a song I love from those first two lines: "Eats like a horse, drinks like a camel/A lying sack of shit on every channel." Ah, who can watch anymore? I can't. I stopped after the election. "There's never a break, a pausing for breath." Nope. And check out that cool guitar work toward the end.

"Let The Rope Hold, Cassie Lee" is a lot of fun, with a certain 1960s influence and sound, particularly in that work on keys, which is so appealing. The title line, which is the track's chorus, is totally catchy. I found myself singing along by the second time it came around. Patterson Hood (of Drive-By Truckers) provides some backing vocal work on this one. "Grab a harpoon and plunge into the breach." Ah, yes, once more unto the breach, dear friends! Then "I Don't Want To Hate Anyone" has a sweet vibe. When I first glanced at the track list on the back of the CD case, this is one title that stood out, probably in part because I am so tired of hating half the country. Hating those people doesn't make me feel any better (though I can't stop thinking they deserve our hatred). "I don't want to hate you anymore/Your greedy candle's exploding/A fistful of face won't make me feel better," Scott sings here. This track also contains some nice backing vocal work, and on the line "The piano quit drinking on its own," there is a cool moment on keys. I'm also really fond of the drum work here. And at the very end, it all falls apart. I imagine that is as honest an ending as any we're likely to see in this world.

"The Garden Of Arden" has a harder, heavier sound at the start. When I think of Arden, I think of Shakespeare, and specifically As You Like It, but this song was inspired by Eve Arden. "Since the invention of eternity" is a line that stands out to me. I love lines like that, lines that suggest different avenues of thought, lyrics you can ponder for a while. Ah, without that invention, would any of us be depressed? I'm not sure. "She colorizes all of my dreams/A golden voice from a silver machine." This track also features a strong lead on guitar. That's followed by "Last Hotel." There is a sweeter vibe to this one, though its first line creates a strangely, almost playfully dark image: "In the realm of sinking ferries." But the backing vocals sing, "Here we are, here we are," and we are somehow soothed by this. For, yes, here we are. Other interesting, unusual lines include: "Sailors strapped with yards of floss" and "Petrified like wounded penguins." Yeah, these songs are certainly not your typical pop numbers.

There is a darker vibe at the start of "Bison Queen," a captivating instrumental section to set this one in motion. Yet the lyrics are even more captivating, and they are especially appealing as sounds. Reading them doesn't work nearly as well as listening to them, so I hesitate to quote any of them here. But here are a few lines from the end of the song: "Lousy limousine, shout out to the maimed/Deadman call her pilot, his bay is unclaimed/Lay me down or suit me up, she dares to give us health care." Spencer Tweedy plays drums on this one. Spencer also plays drums on "Falling Like Jets." There is an interesting energy to this song, somewhere between punk and pop, where things become quite catchy. "All things are stolen/Or borrowed at best/Nothing is broken/Nothing is broken/Just falling like jets/Falling like jets." That last line is one I don't want to have in my head when I head east soon, but this is a really good song.

"Burgundy Suit" is a totally delightful number. Seriously, it's a song that gives me great joy every time I listen to it. Here are the opening lines: "I'm gonna take a stroll/Eat a piece of fruit/Believe in rock 'n' roll/Buy a burgundy suit." Oh yes! We need this. And maybe we all could use a burgundy suit. Wearing one might cheer us up. "The world is sucking hard/Our future looking grim/My feathers may be tarred/I'll still be your Sunny Jim." Those backing vocals add a lot to the playful vibe of this song, and there are even hand claps. Well, I may not be able to afford a burgundy suit, but this song has perhaps the same effect. "Blow In My Bag" contains another wonderful and interesting set of lyrics. Check out these lines, for example: "Go steam yourself, flat fork relay/Napoleon rowboat/Back and forth across the bay/Yeah, it's pretty hard to breathe/Blow in my bag." I've never tried blowing in a paper bag. Does it work? We all have anxiety at this point. I can imagine crowds of people on city streets breathing into paper bags while marching to work, and even more fun is imagining them blowing into each other's bags. Patterson Hood provides backing vocal work on this track.

The first line of "Sharktooth," "There was a cosmos," is another that gets me thinking, mainly because of its past tense. It feels like much of life is in the past at this point. There is a bit of a David Bowie flavor to the delivery of the first couple of lines. Anyway, there is something unsettling about this track, in its sound, which grabs us. "They ran across red plains/Swam through the sand/The hourglass was shattered/Just like the band." The album then concludes with "We Shall Not Be Released," the title feeling like a response to Bob Dylan's song, though its sound is nothing like that earlier number. There is a new wave feel at the start, and there is a playful reference to a Moody Blues album in its first line: "The days of future pastel/They were not invited here/Leave them in the roadway/Like a twisted deer/There's a cloud inside me/When it rains, it pours." While those lyrics might have a darkness about them, this track actually has a fun feel to it, a sort of positive, empowering vibe, and the guitar work during that instrumental section is exciting.

CD Track List

1. Words & Birds
2. Death The Bludgeoner
3. Let The Rope Hold, Cassie Lee
4. I Don't Want To Hate Anyone
5. The Garden Of Arden
6. Last Hotel
7. Bison Queen
8. Falling Like Jets
9. Burgundy Suit
10. Blow In My Bag
11. Sharktooth
12. We Shall Not Be Released

Oar On, Penelope! was released on May 30, 2025 on Yep Roc Records.

Betty Bryant at Sunday Night Jazz Salon, 9-7-25 Concert Review

I've long heard and dismissed such platitudes as "Age is just a number" and "You're only as old as you feel," but these seem to be true of jazz vocalist and pianist Betty Bryant, who, in her mid-nineties, has the presence and pizzazz of someone much younger, or of someone for whom age just doesn't matter. It is always a treat to see her perform. She has a somewhat regular gig at the Sunday Night Jazz Salon, in the Invention room at the Los Angeles Athletics Club. Last night Betty, supported by an excellent band, delivered two wonderful sets of music. The band was made up of Rob Kyle on saxophone and flute, Dave Ross on standup bass, and Judd Pillot on drums.

At 6 p.m., Betty took her spot at the piano, wearing a black sparkling top. Her cane also sparkled. But what sparkled the most was Betty herself. Dave Ross gave a brief introduction, mentioning how important music has become in these days of challenges. That is something I've certainly noticed myself. He urged folks to "listen to great jazz and forget all your troubles," at least for a little while. And right from the band's first number, Betty Bryant was delivering some great stuff on keys, her first lead of the night getting deserved applause from the crowd (as would every lead she delivered throughout the show). Rob also delivered a delicious lead on saxophone, and there was a seriously cool section featuring bass and drums. Then on "Just Squeeze Me," Betty added some wonderful vocal comments and reactions. That song also featured some sweet stuff on sax. "Please say you love me too," Betty sang, and it was clear that everyone in the room loved her.

"I remember you/You're the one who made my dreams come true," Betty sang in "I Remember You." And yes, that's what life is all about. Love and music, what else is there that you're going to remember at the end? Or at least, what else is there worth mentioning? The band then delivered a very cool rendition of "Summertime," which was kind of hopping, featuring some great stuff on drums. Seriously, I was digging that rhythm. "Autumn Leaves" began with a gorgeous piano solo, and later in the song, Dave used a bow on his bass, delivering some beautiful work. Betty then got the crowd singing the title line of "Exactly Like You," and when everyone got into the spirit of the song, she seemed pleased. But of course it was a joy to be part of the evening's magic. The first set ended with a fun rendition of "He May Be Your Man (But He Comes To See Me Sometimes)," with Betty delivering a nice long lead on piano.

Before the second set, Dave talked about how he still gets scared before each gig, because there are no rehearsals. He said each show is a bit of a magic act. Indeed! And the magic was certainly working its stuff last night. Betty opened the second set with "I Got Rhythm." I've said it before, but you can never go wrong with Gershwin. And the group delivered a really good rendition. "Thank you again, Mr. Gershwin," Betty said after that song. She followed that with "I Can't See For Looking," and then sang happy birthday to someone in the audience who was celebrating her birthday with some excellent music. I know I've said this before, but Los Angeles is a fantastic city for music. If you live here, I highly recommend checking out Betty Bryant when you have a chance (she is playing that same club on November 2nd). The second set also included "Stormy Monday," which featured a fantastic saxophone lead, and "A Lot Of Livin' To Do," which Betty included on her 2024 album Lotta Livin'. "There's such a lot of livin' to do," she sang, and we all felt the truth of that. She wrapped up the evening with "It's Hard To Say Goodbye," an original number that is also referred to as "The Goodbye Song." It is a delightful number, and it was included on Betty's her 2019 album Project 88. The show ended at 8:30 p.m.

The Pretty Things: "The Pretty Things" (1965/2025) Vinyl Review

The 1960s were perhaps the most exciting time in modern music. So many great bands took rock and popular music in new directions, writing excellent material and seeing what boundaries could be pierced or destroyed, while also exploring the blues roots of rock. The music from that period is vibrant and wild and real. The self-titled debut full-length album from The Pretty Things, released in 1965, has now been reissued on vinyl. Clear red vinyl, at that. And this special reissue includes a second record, Live At The 100 Club, which was originally released in 2014, and is now on clear yellow vinyl. By the way, the labels - at least on the copy I have - are reversed, so the label for the studio recording is on the yellow record, and vice versa. The music itself is wonderful blues rock, a mix of covers and original material. The band is made up of Phil May, Dick Taylor, John Stax, Brian Pendelton and Viv Prince.

Side A

The album opens with a cover of Bo Diddley's "Road Runner," which features some great howling vocals and wild guitar work, along with some raw and powerful stuff on harmonica. The band seems ready to tear right through your speakers, delivering a gloriously unhinged performance. "I'm a road runner, honey, but you just can't keep up with me." That line certainly rings true here. That's followed by "Judgement Day," a delicious blues number that has a great energy of its own. It was written by Bryan Morrison, who co-produced the original record with Jimmy Duncan. Sure, the music is familiar, but these guys give it a fresh spin. There is a fiery spirit to the performance. It must have been something to have been around in 1965 to catch this when it first hit the scene. Then we get an original composition by the band, "13 Chester Street," a song inspired by the place where the band lived for a time. This is a fun, kind of loose track with a good rhythm, featuring some interesting use of percussion. "Quit teasing me, baby/Quit teasing me, baby/We'll rock all the while/Yeah, rock all the while."

"Big City" is another fun one. It was written by Jimmy Duncan and Alan Klein. It was covered by other bands, but apparently this version by the Pretty Things is the song's first recording. "Big city, big city/Yeah, you ain't quite big enough for me." There is some delicious stuff on guitar here. They slow things down with "Unknown Blues," an original number that has more of a classic, mean blues vibe, the song driven by voice, guitar and harmonica. There is a bit of percussion, but not any traditional drum kit. According to the notes on the back of the record jacket, Viv Prince is playing a chair.  That is part of what makes this track stand out, but it's also just an overall cool tune. The first side concludes as it began, with a cover of a Bo Diddley song, this time "Mama, Keep Your Big Mouth Shut." As you might guess from its title, this track is a whole lot of fun. There is certainly something playful about it. It's a song addressed to the mother of the girl he is dating: "I'm in love with your little girl/And your little girl is in love with me/I'm so happy most all the time/And that's how we are gonna be." These guys let loose here, rocking the place, particularly during that jam in the middle.

Side B

The record's second side opens with "Honey, I Need," a song that was also released as a single. It too has a delicious rhythm and contains some great stuff on lead guitar. It is catchy and sounds like a good time. That's followed by a cover of Chuck Berry's "Oh Baby Doll." This is one of those fast-paced numbers that make you want to get on your feet and cut loose. And lyrics about being in school take us right back to when life seemed simpler, when the most important things were good music and getting together with that special someone. Wait, now that I think about it, that hasn't changed. I am digging the raw energy of this rendition, and wanting some of that energy for myself. "She's Fine She's Mine" is a slower number, a cool blues stroll through the neighborhood, led by that wonderful harmonica work. Yeah, we'll follow that instrument up any avenue, down any alley. "Yeah, I love you, baby/And I'm never gonna let you go." He sounds sincere, and yet almost threatening, at least looking through today's weird lens. But then after a cool instrumental section, he tells us, "You've been running, baby/Running round all over town," so perhaps he has reason to be a little on edge. This song was written by Bo Diddley, the album's third Bo Diddley cover.

The band delivers a cover of Tampa Red's "Don't You Lie To Me," a song that Chuck Berry also recorded, here titled "Don't Lie To Me." These guys deliver an excellent rendition, featuring more good stuff on harmonica. Damn, this music is good. I love how it washes over me like the result of some glorious blues heaven colliding with Earth. That's followed by a cover of Jimmy Reed's "The Moon Is Rising," a seriously cool song, here sounding like a blues number from the darkest hours of night, but still with sparkling light showering us from that guitar. And the harmonica wails from its own proper spot in the night. This track also features a particularly good vocal performance. I wish it did not fade out so soon; that final section seems to be leading us in a different direction. The album concludes with "Pretty Thing," a song that was written by Willie Dixon and Bo Diddley, and which was recorded by Bo Diddley. This one has that wonderful Bo Diddley beat. It is a short track, fading out much too soon. "We thank you, Bo, for the name," they sing here, the band having taken its name from this song. 

Side C

The second record, Live At The 100 Club, is a live version of the first record, recorded in 2010. Artists have been doing this quite a bit in recent years, revisiting an album and playing all the songs in order. The first track contains a brief introduction: "Ladies and gentlemen, please put your hands together for the irrepressible Pretty Things and their first album." The band delivers a rocking rendition of "Road Runner," featuring some great drumming and a vocal performance with a fantastic no-holds-barred kind of energy. There is also some great stuff on harmonica. The band mentions the name of the venue at the end of song. There is a brief introduction for the next song, "Judgement Day," and the band tears into a seriously good rendition. "What are you gonna do on Judgment Day?" the audience is asked.  I love the thought of this music being played at the end of the world, as we all dance our way into oblivion. I hope that's what we'd do if things went that direction. "When I'm dead, bury me deep." Ah yes, otherwise these guys will easily escape the cold arms of the beyond. Just check out that great energy.

Before starting "13 Chester Street," there is a brief introduction about how the song is about a place where the band lived when they were making the original album. Here they are right on the edge, where the blues can take you, and where the blues can save you. "I love your smile, I love your smile." Yes, what is better than a beautiful woman smiling? That can make it all worth it. It seems the band could spiral into chaos, but manages to hold it together, making for an exciting rendition. That's followed by "Big City," the guitar seeming able to create its own city, its own realm, a place I want to dwell. The energy here is fantastic, and that guitar seems to be the key. 

"We were very new to the game when we made this album, so we knocked something out, Dick and I," the crowd is told in the introduction to "Unknown Blues," an original composition. That is not a chair that's being played on this live rendition. Still, there is something really special about this song, and it is one of my favorites on this live album as well on the original record. It has a great, raw vibe, and features some wonderful work on harmonica. Then "Mama, Keep Your Big Mouth Shut" is introduced as just "Keep Your Big Mouth Shut." It is great fun, the band clearly having a fantastic time playing it. And the instrumental section takes off with a frantic and glorious energy, before the band returns to the main theme of the song. This is so good. It has a sudden ending.

Side D

There is a great joy to the delivery of "Honey, I Need," particularly in that guitar work, but also in the vocal performance. The band is not holding back. And neither should any of us. "Oh, honey, I need your love/All the time, all the time." This track is another highlight of this concert recording. Then "Oh Baby Doll" drives forward with energy and speed. Nothing can get in the way of the song's progress; anything stepping in front of it will be flattened. "We used to have so much fun/When we were going to school." And the line "Think of things that used to be" stands out to me, for this music has me thinking of how things used to be. Or how they must have been. And it must have been something to be in that audience. "She's Fine She's Mine" has a cool vibe. I love how that harmonica spins its spell before those first lines are sung. There is a raw power to the vocal performance. And there is danger of lunacy for him, for us all, should she leave. This track eases out at end.

"Don't you lie to me," Phil sings in "Don't Lie To Me," and it is a demand. In these days of rampant dishonesty, this recording feels like a dagger in the side of those mendacious con artists in government. And so I love it. This track contains some really nice guitar work. That's followed by "The Moon Is Rising." "The moon is rising/The sun is going down." Oh yes, it feels like the light is disappearing from this world sometimes, except when I'm enjoying music. In music, even music from the past, is the real hope for any sort of future, and we feel it here. "Then the two of us can be married/And go through life hand in hand." This version, being a live performance, does not fade out like the album version did. In the introduction to "Pretty Thing," they talk about the band's debt to Bo Diddley: "It probably wasn't the most appropriate way to end the album, but for us it was important." I think it's a fun way to end things. And here the song is allowed to go on a bit longer than on the studio version.

Record Track List

Side A

1. Road Runner
2. Judgement Day
3. 13 Chester Street
4. Big City
5. Unknown Blues
6. Mama, Keep Your Big Mouth Shut

Side B

1. Honey, I Need
2. Oh Baby Doll
3. She's Fine She's Mine
4. Don't Lie To Me
5. The Moon Is Rising
6. Pretty Thing

Side C

1. Road Rummer
2. Judgement Day
3. 13 Chester Street
4. Big City
5. Unknown Blues
6. Mama, Keep Your Big Mouth Shut

Side D

1. Honey, I Need
2. Oh Baby Doll
3. She's Fine She's Mine
4. Don't Lie To Me
5. The Moon Is Rising
6. Pretty Thing

This special double album version of The Pretty Things/Live At The 100 Club was released on August 1, 2025 through Madfish.

Steve Tintweiss And The Purple Why: "Live In Tompkins Square Park 1967" (2025) CD Review

A few years ago, The Purple Why's MarksTown was released, the album featuring live recordings from 1968. Since my childhood, I'd been drawn to music from the 1960s (especially the late 1960s), and was surprised and delighted to learn there were still albums and bands from that time that I hadn't yet heard. I loved MarksTown and was eager to hear more. There was a hint at the time, which I took as a promise, that there would be more releases coming. And now we have Live In Tompkins Square Park 1967, a previously unreleased concert recording from August 7, 1967. It features all original material, most of which was composed by Steve Tintweiss. Much of the music flows from one track to the next. The band is made up of Steve Tintweiss on double bass and percussion, Jacques Coursil on trumpet, Perry Robinson on clarinet, Joel Peskin on tenor saxophone and bass clarinet, Randy Kaye on drums and piano, and Laurence Cook on drums, with guest James DuBoise on trumpet. 

There is a short track at the beginning with a bit of tuning and audience noise, and then the band gets right into it with a wild track titled "Water," featuring some great, loose percussion, which becomes insistent, demanding, bringing a glorious chaos to some order. The horns respond with their own needs and desires, singing them, shouting them. And the band rolls straight into "Land," with many excited voices seeming to celebrate the very ability to raise those voices, sound almost for its own sake, and it begins to be organized around the drums as they march forward up the field, up the street, up the very side of the buildings lining the street to the rooftops from where they can shout to the sun. It is an unleashed joy. Then something within begins to settle, to ease back, even as the drums begin to make new demands, create new avenues. new strides forward, and the audience responds enthusiastically.

"Land" leads straight into "N.E.S.W Up/Down," and now we are back on the city streets, a dance of hundreds of cheerful people making its way up a main avenue, the building and the street itself changing colors in response to the sound. Brighter colors are spattered upon each edifice, and the buildings lean into the music, showing appreciation for the new life given them. The movement, the motion verges on the chaotic again, but with no sense of danger, and the multi-armed creature reaches out in all directions, grabbing hold of the taller structures as if to bring them to orgasm. There is then a pause, a breath, and one voice remains, maybe unsure, reborn, stepping into a world that starts to come alive again itself, welcoming, and the march down the street resumes with renewed vigor and joy. As that piece concludes, "Are You Lonely?" emerges, driven by percussion. I think the answer to the question in the song's title must be No. This track features some cool work on bass, taking this into darker, stranger territory that is also more personal, more intimate. The bass then leads the group into "Waltz Of Eternity," and the joyful spirit returns, even if there is a sense of death beneath it, like a strangely joyful dirge. A funeral procession where Death itself leads the fun, his baton pointing the direction to oblivion, which startlingly has a great light at its center. Who would have thought it? But no one has the opportunity to stop and think, the momentum of the sound carries them along on its great current, a tangled mass of arms and legs and hair and bricks and street signs and brass. We are all in there somewhere. And someone is creating a solid form from it all, molding it into something tangible, recognizable, heavy. Then the horns take us out of it and remind us again of the end to which we are all dancing or stumbling, each at our own pace.

We are ushered into unusual territory with "Space Rocks," which has an uneasy beginning. Watch your step, for the spot you next plan to plant your foot might disappear before you're able to put your weight down. Things are sliding slowly to the side, and a very cool atmosphere is created, coming in from a new center. Various creatures join in, announcing their presence to the skies and to each other, a delicious orgy of animals and monsters bumping into each other. The crowd loves it, understandably. "California Sandra" then has a light, playful vibe at its start, like we're about to go to some sporting event, though first having a drink with friends, getting ready, you understand. But then it becomes a dance, and any thought of competition is gone. If there were two teams, there is now one, and the goal is not to win anything, but to change the disposition, the mood of the surrounding place, to get people shaking and smiling. And it seems they are successful. This is a fun track. The energy increases, and the tone becomes more insistent. Then, the demands met, the music pulls back slightly for a moment, before howling joyfully again. Then a smooth, cool section emerges, led by the bass, and it feels we are in a different place, sipping a strong drink at a night club.

"To Angel With Love" is the album's only track not composed by Steve Tintweiss. This one was written by Randy Kaye. Here we enter more romantic territory, and thus more recognizable, familiar territory. And so we relax a bit, letting our bodies ease into the piece's mood. And it is over all too soon. We are then led into what promises to be a similar mood at the start, a piece titled "Ramona, I Love You," but which quickly adds darker, dramatic elements. The percussion seems to take over, driving things forward with more force, sometimes feeling everything all at once, which is overwhelming and delicious. Don't we all want to experience that? And then there is a moment to catch one's breath. That track leads straight into "D-Drone," a short piece that feels like connective tissue, taking us to "Y Interlude," which soon gathers a joyous energy over a grand hum. It then starts to get into stranger places, seeing where various voices might take us, seeing which, if any, will become dominant, as they swirl around, each with its own exclamations. The drums attempt to organize them, get them all in line, but abandon that endeavor after a moment, and instead become part of the general sound. But it's the drums that begin to emerge, and for a moment I think there'll be a drum solo. Interestingly, soon things grow softer, more thoughtful, and then the horns seem to welcome the sun, or some such important presence, dancing around in excitement. That leads straight into "The Purple Why," putting this band into the category of groups who have a song sharing their name (on MarksTown, it was titled "The Purple Why Theme"). This piece slowly and playfully sneaks up on us and grabs us, then eases back to do so again, a mischievous creature that finds delight in the odd step, in the unusual motion.

CD Track List

1. Warm-up And Announcement
2. Water
3. Land
4. N.E.S.W. Up/Down
5. Are You Lonely?
6. Waltz Of Eternity
7. Space Rocks
8. California Sandra
9. To Angel With Love
10. Ramona, I Love You
11. D-Drone
12. Y Interlude
13. The Purple Why

Live In Tompkins Square Park 1967 was released on August 7, 2025 through Inky Dot Media.

Mark Winkler: "Hold On" (2025) CD Review

Last year jazz vocalist and composer Mark Winkler released an album titled The Rules Don't Apply, a title which seemed to perfectly capture the country's political landscape, for, as it turned out, the rules did not apply, and a convicted felon took control of the government. Mark's new album is titled Hold On, and that also seems a perfect title for these days when half the country has embraced fascism, and the rest of us are unsure how to proceed. It's a message for us. Hold on, folks. The album features mostly original material, along with some great choices of covers, music that offers some comfort, some joy. Joining Mark Winkler on this release are George Doering on guitar, Grant Geissmann on guitar, Gabe Davis on bass, Christian Euman on drums, Bob Sheppard on saxophone, and Brian Swartz on trumpet, along with several guests on various tracks. The album was produced by Barbara Brighton.

Hold On opens with its title track, an original composition with lyrics by Mark Winkler and music by Greg Gordon Smith. It establishes a cool groove and mood with its opening instrumental section, featuring saxophone. And check out these first lines: "When your world is turning crazy/And there's dragons at the gate/When your yesses turn to maybes/And your dreams are keeping you awake." Those are lines I bet most people can relate to. Soon he tells us, "It's going to be okay." And, for whatever reason, when we hear that in song, we believe it. We need to believe it. This song reaches out to us, telling us to hold on. If the outside world is a mess, and our own personal worlds are also messy, it's difficult to know just what to hold onto. But music provides something of an answer. It is within music that we find humanity, that we hear its soul. This track features a wonderful rhythm, and an excellent lead by John Beasley on piano. That piano seems able to hold us up, and then the saxophone lead seems to give us a reason to keep going. That's followed by "A Little Taste," a song written by Johnny Hodges and Dave Frishberg. This track has a cool, delightful vibe from its start, and there is a sense of fun in Mark's vocal delivery. "A little taste might hit the spot/A little taste might help a lot." I love the drumming here too. The percussion is like a character itself, and the instrumental section, with its leads by Eric Reed on piano and Grant Geissmann on guitar, has such a cheerful vibe. "A little taste might break the ice/And make the naughty seem like nice."

Mark Winkler delivers an excellent rendition of "If I Were A Bell," a song about how great it feels to be in love. What an incredible feeling. It is something that fills us and spills over to the outside, and the band captures that so well here, expressing it perfectly. The line from this song that especially makes me smile is "If I were a salad, I know I'd be splashing my dressing." If everyone could feel that, wouldn't most of the world's problems disappear? That's followed by "Cat Women On The Moon," an original number with lyrics by Mark Winkler and music by Jamieson Trotter. This track has a wonderful joy too. with a great groove and a weird otherworldly element that is just completely delightful. It's like a great jazz band colliding with one of those early low budget science fiction films. It's silly and fun and wonderful. "Maybe there's a monster lurking here/Dressed up in a rubber suit/Maybe there's an evil queen or two." I don't see how anyone could keep from totally falling for this number. This song contains nods to "Come Fly With Me" and "Do Wah Diddy," and the track's bright work on trumpet contains a cool nod to "Rhapsody In Blue." And check out that drumming! Joey De Leon is on percussion here. And if you want even more from this track, it has a cha-cha-cha ending. So there.

Mark Winkler's cover of "It Was A Very Good Year" begins with some really nice work by Jamison Trotter on piano. At first, that is the only instrument that supports Mark's voice. Soon guitar, bass and percussion are added (that's Joey De Leon on percussion again). And the track features some lovely work on trumpet. Yet remaining at the heart of this piece, along with the vocal performance, is the piano. This song means more and more to me as I get older, and it is clear the same is true for Mark Winkler, who delivers an excellent performance. He follows that with "My Future's Just A Memory," an original number that very quickly begins to swing. "And time is short/So before it's gone/Let's not brood on what's already done." Those lines grab me. I'm sure I'm not the only one these days to constantly reflect on how short our time is. It is why I frequently marvel at the ways folks choose to use this finite amount of time. But this song is about the joy of it all, the joy of the moment, of making memories, even as everything passes, including one's future. It all is okay, so long as we can be with that special someone. After all, that's what it is all about. "These moments I thought had disappeared/Are coming back strong, the sky is clear." This track contains a strong lead by Tamir Hendelman on piano. "Let's make a memory," Mark repeats at the end, bringing those of us listening into his embrace.

Billy Joel has been coming up a lot lately in conversations, leading me to want to revisit his 1970s output, especially Turnstiles and The Stranger.  He wrote some great songs, including "Vienna," a song from The Stranger that Mark Winkler covers here. This song has something of a similar theme, about the passing of time, about not rushing through life. "You've got so much to do, and only so many hours in a day/But you know when the truth is told/That you can get what you want or you can just get old/You're gonna kick off before you even get halfway through." Mark Winkler delivers a touching rendition. This line stands out for me: "Take the phone off the hook and disappear for a while." These days it's impossible to take the phone off the hook, but it's probably even more important to occasionally detach oneself from that constant stream of information and images. We all need to turn that machine off and give ourselves a day or two, or more. Then "Train In The Desert" begins with spoken word, supported by drumming that creates the motion of a train. That narration is done by Greg Gordon Smith, who also plays piano on this track and co-wrote the song with Mark. This track has a darker vibe, and it tells a tale, feeling like a short story (the spoken word narration at the beginning of course helps set up that sense). "There was something in her hand, and she hid it from the dim light/It could free her from the regret and the pain." This track features some wonderful stuff on piano, and also some really good guitar work toward the end. It concludes with more spoken word, this time just a single line.

"I want someone crazy to ruin my life," Mark sings at the beginning of "The Devil Don't Want A Saint." That opening line had me laughing out loud the first time I listened to this disc. This song is all about how we tell ourselves we want someone sane and sweet and normal, but end up going for someone a bit less stable. "Someone with problems that can't be fixed/Who'll leave me begging for mercy and writing  bad checks." It's a fun song with a very playful sense about it. This track contains great stuff on saxophone, particularly during that intriguing instrumental section, which also features some cool work on piano by Rich Eames. This track is another of the disc's highlights. Everything about it works perfectly. "Nice people scare me, so pour the vermouth." That's followed by "My Electric Car." The lyrics to this one describe a world that is shining and clean. A friend has an electric car, and he loves it, but the time he has to spend at charging stations would drive me insane. I am hoping they'll improve soon, and the world of this song can become the real world. This track contains nice stuff on piano by Greg Gordon Smith, who co-wrote the song. Plus, this one features Lemar Guillary on trombone, as well as Bob Sheppard on saxophone and Brian Swartz on trumpet. The trumpet then helps set the great late-night tone of "I Dream Of You Each Night," the album's final track. Eric Reed's piano work also does a lot to create the mood. Mark's voice seems to come to us from the moments deep in the night when time has little meaning, or, rather, the hour has little meaning, and time has a fluid character, the past and imagination colliding with the present. His voice perfectly conveys that sense. It is a song of desire, and it is beautiful.

CD Track List

1. Hold On
2. A Little Taste
3. If I Were A Bell
4. Cat Women On The Moon
5. It Was A Very Good Year
6. My Future's Just A Memory
7. Vienna
8. Train In The Desert
9. The Devil Don't Want A Saint
10. My Electric Car
11. I Dream Of You Each Night

Hold On was released on August 1, 2025.