Becky Buller: "Songs That Sing Me" (2025) CD Review

Becky Buller is an award-winning fiddle player and vocalist who, in addition to her prowess on the fiddle, is known for her talent in songwriting. Songs that she has written or co-written have been recorded by Infamous Stringdusters, Ricky Skaggs, and Molly Tuttle, among others. On her new album, Songs That Sing Me, she focuses on the material of other songwriters, performing songs by Paul Simon, James Taylor, Mike Henderson and others. Becky Buller plays fiddle on most of the tracks, switching to banjo for only one song. She is joined by some outstanding musicians, including Ned Luberecki on banjo, Béla Fleck on banjo, Alison Brown on banjo, Ricky Skaggs on mandolin, Wes Lee on mandolin, Jacob Groopman on guitar, Missy Raines on bass, and Daniel Hardin on bass, among others. I like how the track list on the back of the CD case is shown as the paper insert of a mix tape. How many of those mix tapes did you make? I made dozens.

Becky Buller opens this album with Simon & Garfunkel's "A Hazy Shade Of Winter." In 1987, The Bangles delivered a fantastic cover of this song. It was used at the beginning of the film adaptation of Less Than Zero. There is a moment or two when this rendition unexpectedly reminds me of that version, but Becky Buller makes this song her own, even before singing "drinking kombucha and lime" instead of "my vodka and lime" (a line that The Bangles didn't include at all in their version). Becky delivers an excellent vocal performance, and Alan Bartrom and Stephen Mougin add some nice backing vocal work. That's followed by Michael Henderson's "Auction At The Home Place," the first line delivered a cappella. This track features a particularly strong and passionate vocal performance. "We took many years to gather the treasures that we own/And all the bits and pieces of what became our home." She puts us there, making us experience what it would be like to see all our possessions up for sale. Jacob Groopman, Daniel Hardin and Ned Luberecki all provide backing vocals on this one. "They just hauled our lives away."

"Millworker" is the first of two James Taylor songs that Becky Buller covers on this album. It's a song that mentions Massachusetts, which is where James Taylor is from. Jake Eddy plays guitar on this track, delivering some excellent work, and Dan Tyminski and Andrea Zonn provide harmony vocals. This rendition has a brighter energy than the original recording, and features some pretty work on fiddle. The first time I listened to this disc, I happened to be in my hometown in Massachusetts, and this song flooded me with memories of my childhood. It's also about our choices, the way much of our lives is given to work. "It be me and my machine for the rest of the morning/For the rest of the afternoon, oh, for the rest of my life." Then Stuart Duncan joins her on fiddle for "Wall Around Your Heart." So we have two fiddles on this one. We also have two people on lead vocals, with Jim Lauderdale joining Becky Buller for a wonderful duet. In addition, Jeremy Stephens delivers some excellent work on banjo. Stephen Mougin is on guitar, Lauren Price Napier is on mandolin, and Missy Raines is on bass. Yeah, there's a whole lot of talent on this track.

"Ride On By" has a very cool vibe, and features another fantastic vocal performance by Becky Buller. There is a great energy to this track, and spots for Jacob Groopman to shine on guitar. This is one of my personal favorite tracks. In the second half, there is some outsanding work on fiddle, and then a moment when the music takes a breath before beginning to build, led by the fiddle and with a strong pulse on bass. Wonderful stuff all around! That's followed by "The Outlaw," one of those character songs, and in this one that character turns out to be Jesus. I'm not particularly fond of Jesus songs, but there is some  beautiful vocal work here. Becky Isaacs Bowman joins Becky Buller on this one. Justin Moses is on resophonic guitar, Jeff Hyde is on guitar, and Byron House is on bass. Becky gets bluesy then with "Muddy Water" (here titled "Muddy Waters"), a song written by Phil Rosenthal and originally recorded by The Seldom Scene. Jana Mougin, Stephen Mougin and Jay Starling all provide backing vocals on this one. And there is really nice stuff by each of the musicians here. That instrumental section is so good. Casey Campbell is on mandolin, Chris Eldridge is on guitar, Jeff Picker is on bass, and Jay Starling is on resophonic guitar. 

"Camel Train" is the song where Becky Buller plays clawhammer banjo instead of fiddle, but it is her vocal performance that makes this track stand out. Cheryl White, Sharon White and Ricky Skaggs all join her on vocals. This is another song with a religious theme, but it's good. Ricky Skaggs is on mandolin, Cheryl White is on bass, and Sharon White is on guitar. That's followed by "You Can't Roll A Seven Every Time," the album's only instrumental number (except for the banter in the intro, which is an old recording of Billy Womack and Mike Smartt). It will come as no surprise, I'm sure, to learn that this track contains some excellent fiddle work. There is also some really good stuff on mandolin and banjo. Timmy George is on mandolin, Ned Luberecki is on banjo, Mickey Harris is on bass, and Jeff Haley is on guitar.

The album's second James Taylor song is "Jellyman Kelly," a playful, fun number that James performed on Sesame Street. And on this one, Becky Buller gets some help on vocals by Juno Fleck, Theo Fleck, Romy Haley and Abigail Washburn. The great Béla Fleck is on banjo, and he delivers some wonderful work (would you expect anything less?). Juno is on fiddle, so this is another track with two fiddles. This track is a total delight. Even the laughter at the end works and doesn't detract from the enjoyment. Becky Buller has another talented group of musicians join her on "Reach," the Orleans song. Alison Brown is on banjo, Sierra Hull is on mandolin and backing vocals, Missy Raines is on bass, and Molly Tuttle is on guitar and backing vocals. "My aspirations always exceed my grasp." Oh yes, I think most of us are in touch with that. This song urges us onward, the music giving us the hope and belief that we'll reach our goals. As on the original recording, the music here speeds up toward end. It's a wonderful conclusion to an excellent album. 

CD Track List

1. A Hazy Shade Of Winter
2. Auction At The Home Place
3. Millworker
4. Wall Around Your Heart
5. Ride On By
6. The Outlaw
7. Muddy Waters
8. Camel Train
9. You Can't Roll A Seven Every Time
10. Jellyman Kelly
11. Reach

Songs That Sing Me was released on September 5, 2025.

The Far West: Everything We Thought We Wanted" (2025) CD Review

The Far West is a Los Angeles-based band that thrives in that special realm where folk, country, rock and soul intersect, that place where every note must ring true and honest. Los Angeles is going through some particularly tough and trying times, and The Far West was not left unaffected. The new album, Everything We Thought We Wanted, along with some gear, was nearly lost in the recent Altadena fire, a fire that took far too much from the music community. It's a good thing for music lovers that the recordings were saved, for this is an excellent album, containing all original material. The band is made up of Lee Briante on rhythm guitar, harmonica and vocals; Aaron Bakker on lead guitar, slide guitar, acoustic guitar, Mellotron and backing vocals; Robert Black on bass and backing vocals; Brian Bachman on drums and backing vocals; and Michael Whiteside on piano, organ and backing vocals. This album also features the work of some special guests, including Dave Alvin.

The album opens with "See For Yourself," a song with a steady beat and a great rock energy, with elements of folk rock, in the same general realm as some of Bob Dylan's full-band work, perhaps heard most in that wonderful work on keys. "Well, I've been poor, but I ain't ever been rich/And I've been dug, but I ain't ever been ditched." I love that word play. Plus, this track features some really good stuff on guitar. "Been living out west too long and I've grown soft/This rolling stone is now covered in moss/You had to see, see for yourself, just like everybody else." This song was written by Lee Briante. Tyler Whiteside plays drums on this one. The band changes gears then with "Joshua Tree," which has a sweeter, gentle sound, with an intimate quality to the lead vocals, plus some really nice backing vocal work (at one point reminding me of We Are The West). "I went to the desert to be alone/Turned out that I had brought the whole world along/'Cause I've never seen anything/That didn't only take place in my brain." This is a song that celebrates that area, Twentynine Palms and Yucca Valley. I haven't yet spent any significant time out that way, through there are some well-known music venues out there. The Mekons just played a gig out there on Thursday. I mention them here because Mekons bass player Dave Trumfio mixed and mastered this album. This song is one of my personal favorite tracks. It contains a great guitar lead in the second half, and Jerry Borge provides some additional work on keys.

"In the light of the day, I will still feel okay/Pretending that everything is fine," they tell us at the beginning of "These Lies." The music tells us it might be a struggle, that things are less than fine. There is a great, sad beauty to this song, particularly to the vocal work. What a moving vocal performance! There is some really nice work on organ too. "And when the light of the day slowly gives way/I need something, I need something, I need something to call mine." This is another of the disc's highlights. It was written by Robert Black. The Hollywood Horns join the group on this track, and Andrew Smith plays drums. "I tell myself, I tell myself these lies each night to go on." Then "Hope I Don't Bleed" has something of a Dylan vibe. More recent Dylan, that is, like "Things Have Changed," that sort of vibe. It begins with a good beat, and has the feel of a dark country road, one leading us on a journey through a vast and unknown or at least unseen space, death lurking on both sides of the road, as well as ahead. "Yeah, I hope I am sleeping when I die/So I don't have to see that girl of mine crying." This is such a cool track, and it features a fantastic lead on guitar. That's Dave Alvin, so it should come as no surprise that it's fantastic. "Well, I hope I hear music when I die/Some horns, some flutes, maybe a choir." Oh yes! This is one of my favorite songs, not just of this album, but of the year.

"A Soft Place To Land" eases in, like a voice in the distance approaching, floating toward us. Then it kicks in, with a wonderful, slow folk and country sound. "If I come over tonight, tell me everything will be all right." We all need that, don't we? For we are all in the dark, trying to figure this thing out, and mostly failing. But failing together is so much better than failing alone. "If I could find my way to your front door/I wonder if you'd let me in/I know you said so many times before/I need a place where I can start again." Yes, yes, yes! We could all use a soft place to land, especially in these uncertain, unfamiliar days. "A Soft Place To Land" is followed by "Meet Me Where We Parted Last." There is a good energy to this one, with a rock vibe. And check out these lyrics: "Well, I can't recall the future, but I can predict the past/Won't you meet me where we parted last." And this track features horns. That's Nic Chaffee.

Here are the first lines of "Happy Now": "Everyone we used to know is gone/Packed it all in, and just stopped trying/Short on money, out of luck and barely hanging on/Seems like our whole damn world is dying." These opening lines really hit me, for just before I put this album on for the first time, I learned of another friend and musician deciding to leave Los Angeles for good. People are fleeing the city for one destination or another, and I'm worried I might have to go too sometime soon. We're all barely hanging on. Yet there is some determination heard here, as in these lines: "Things might be bad, but I'll find a way/To make it up to you somehow, someday/Don't know how we ever kept it together for so long/When everything I try and do is wrong." I wonder just how long it will be before we can all say, "Hey, hey, we're all happy now." And if doing it right now will change reality enough to make it true. Then "For The Birds" begins with some pretty work on guitar. "If I was a car, I would not start/Just sit on the lawn collecting leaves and missing parts/Friends and neighbors say, 'ain't that a shame'/It's the years of neglect that are to blame." Katie Stratton joins the band on vocals on the lines "Our love is a song that we no longer sing/Forgot the words and most of the melody/And if I asked you to, I bet you'd probably say/Singing's just for birds anyway," making those lines even sadder somehow. They are sadder because both people feel that way, yet still are together.

"People just want you to let them be," Lee Briante sings at the beginning of "In Your Own Time." This one has a good energy and a cheerful vibe. It's partly in that rhythm, working to raise our spirits. This is a positive, hopeful song, and it's over a little too soon. Jeffrey Howell joins the band on piano on "Better Days," delivering some wonderful work and helping to set the tone. There is a sort of honky tonk element to the work on keys. "Praying for sunshine, I only see rain/Turn on the TV, and it's bad news again/All of the good times belong in the past/Nothing today is ever meant to last." Those opening lines speak to us, uniting us in our misery. We all want to live in better days. What's also interesting is that the song looks forward to a time when perhaps we'll look back at these days, reevaluate them, and consider them the best days ever. Of course, that might mean that things are only going to get worse, and that these days will seem great by comparison. A frightening and depressing thought. But the music of this song makes me think that won't be the case. Am I foolish for holding onto some optimism? "I want to live in better days." Amen to that.

An alarm clock goes off at the beginning of "Miss Me Too." And guess what time it is in the song? "Now it's 4 a.m.," he sings, that magical time in music, a time when so many songs take place. But then he finishes that first line by singing, "Or maybe it's 3," and follows that with, "Forgot to change the clocks again/Well, shame on me," an unexpected and playful twist on that special time (seriously, 4 a.m. is mentioned more often in songs than any other time). This track has a good feel to it. "Are you dreaming?/I've been dreaming too." The alarm returns at the end. The album then concludes with "Over The Hill," which alludes to Sisyphus in its opening lines. This is a sweet number, in John Prine territory, and features some nice work on harmonica. "Over the hill doesn't seem so bad/With the hard work over, the free ride can be had/Now I'm getting on/That's just how it goes/In the evening you're young/By the morning you're old." This song is another of the disc's highlights. Yeah, songs about aging have been speaking more strongly to me in recent years. Wonder why that is. But with music like this, we can all face it, face what comes.

CD Track List

1. See For Yourself
2. Joshua Tree
3. These Lies
4. Hope I Don't Bleed
5. A Soft Place To Land
6. Meet Me Where We Parted Last
7. Happy Now
8. For The Birds
9. In Your Own Time
10. Better Days
11. Miss Me Too
12. Over The Hill

Everything We Thought We Wanted was released on September 26, 2025 on Blackbird Records.

The Mekons at Gold Diggers, 10-12-25 Concert Review

Mekons performing "Last Dance"

The weekend of Mekons concluded with an afternoon concert at Gold Diggers. Billed as "A Quiet Afternoon With The Mekons," the show featured the acoustic version of the band. That is, Jon Langford on guitar and vocals, Sally Timms on vocals and kazoo, Rico Bell on accordion and vocals, and Susie Honeyman on violin and vocals. Gold Diggers is a small, dark bar, the sort of place that invites all sorts of delightful mischief, but also has a relaxed, kind of surprisingly cheerful vibe. Jon and Sally had played a gig there in February, with Dave Trumfio (as Nervous Boy) opening. This time there was no opener. Instead, we were treated to two sets of Mekons, and were home before dark when the monsters come out.

"Abernant 1984/5"

I got there early, before doors opened, which meant I got to observe an assortment of weirdos and youthful malcontents strutting along Santa Monica Boulevard, tearing flyers from walls and seemingly unaware that they'd left the tags on their caps. I suppose it's good to know that Hollywood continues to be a bit odd. Would we want it any other way? A little after 2 p.m., the doors opened, and by 3 o'clock, the room was pretty full, a good Sunday afternoon crowd. At 3:04, the musicians made their way onto the stage. Sally thanked everyone for coming out, and Jon mentioned that this was the final show of their short tour, and explained why each of the missing Mekons couldn't be there (Dave Trumfio, for example, is at a wedding in Wisconsin). The room, including the stage, was still quite dark, until just as the band began its first number, the stage lights suddenly went on. Ah, the music brought the light! That first song was "Abernant 1984/5," from the beloved Fear And Whiskey album, released in 1985. The band leading us in a delicious waltz into oblivion. We are on the edge, aren't we? Jon told the audience that they liked to start with that song because it takes us back to a time when values and principles were under seige by the government.  And here we are again.

"Slightly South Of The Border"

Toward the end of  "Hole In The Ground," Jon requested help from the audience with the whistling part. That song also featured some great stuff on violin. After that song, Jon mentioned earlier Los Angeles Mekons concerts, like that July show at the Lodge Room, and Sally reached farther back, mentioning a show from 2016, asking if anyone in the room had been at that one. That actually had been my first Mekons show, and it was at a venue without air conditioning (perhaps the only building in Los Angeles without air conditioning). It was one hell of a hot night, and also probably the best night of that year. The band followed "Hole In The Ground" with "Last Weeks Of The War," after which Sally said they had a few surprises in store for us, including a cover of "War Pigs." One of the things I love about seeing this band in concert is the joyful joking and teasing they engage in between songs (and sometimes during songs), and yesterday's show was brimming with banter. Jon told a funny story about the beginning of the band, and how they were good friends with the Gang Of Four (last year I was fortunate enough to see the Mini-Mekons and Gang Of Four together at a show in Gloucester, Massachusetts, another incredible night of music). Sally then got out her kazoo for "Slightly South Of The Border." They sang "Small stupid children" this time, no reference to "chicken" as there had been the night before. The "Na na na na" part in this song always makes me laugh. And of course who doesn't love the kazoo? "Only four songs in, and already kazoo mayhem," Jon said.

"A Fearful Moment"

The band then switched gears with "A Fearful Moment," with Rico on lead vocals. A strangely gorgeous song with a more contemplative air. That was followed by a powerful, intense rendition of "Dickie, Chalkie And Nobby." "Don't go through this for nothing/Don't waste it all." There was a sense of urgency to that message. "Here's Sally Timms," Jon said afterward. "Here I am," Sally agreed. "Doing my big hit." That big hit was "Millionaire," certainly a crowd favorite. It featured a great vocal performance, and was a fun rendition, especially at the end when they encouraged the audience to sing along "with gusto." And everyone did. Jon then told a couple of jokes, before asking, "Is that enough filler?" The banter turned to the current state of this sad nation. "I love the Portland Frog," Sally said, and Jon mentioned how those ICE agents who tear-gassed that costumed guy should go to jail. Sally agreed, saying all of them should. I doubt there was anyone in the room who disagreed. When this madness is finally at an end (assuming it does come to an end), ICE needs to be utterly destroyed, and its agents tried for crimes against humanity. It's the only way for this country to move on with any bit of dignity and integrity.

"Hard To Be Human Again"

A fun version of "Last Dance" followed, and then Sally told the audience, "We do have luxury chickens for sale." Interestingly, there seemed to be more items for sale at the merchandise table at this show than at the previous two shows, and I picked up a few vinyl singles I hadn't seen displayed the other nights. A couple of people in the audience were celebrating birthdays, and so the Mekons sang "Happy Birthday To You" to Tom and to Peggy, before wrapping up the first set with a phenomenal version of "Hard To Be Human Again." That song came on with a fierce energy. In fact, there was so much power to this rendition that Jon broke a guitar string before even the first line was sung. Rico delivered some fantastic work on harmonica, and Sally was rocking the kazoo. Toward the end of the song, Jon again shouted out "Kazoo mayhem." And then: "Mouth piano mayhem, violin mayhem, broken guitar mayhem." The first set ended at 3:50 p.m., and Jon immediately set about replacing the guitar string.

"Sanctuary"

Twenty minutes later, the band returned to the stage. "All right, we're back," Sally said. And Jon told the crowd, "Here's Sally Timms' other greatest hit." And they played "Ghosts Of American Astronauts," from the band's So Good It Hurts album. This song featured another really nice vocal performance from Sally. Afterward Jon announced, "We can't go on a moment longer without Rico singing a Patsy Cline song." And Rico gave us a good rendition of "Sweet Dreams," not only featuring a strong vocal performance but a nice lead on accordion as well. That was followed by "Sanctuary," a song from the band's new album, Horror. This summer whenever Jon would mention the album's title, he would shout it. And he did that again last night, getting a little help from the venue's sound guy, who added an echo effect. Sally teased Susie in the introduction to the song, mentioning the favorable review Susie's vocal performance had received, and saying, "This has gone to her head." Well, the band delivered an excellent rendition night, and, yes, Susie's performance was beautiful. "Susie Honeyman!" Jon exclaimed afterward. "A star is born."

"Neglect"

"Neglect" was a whole lot of fun, especially the vocal section at the end, with everyone delivering various takes on the word "Please." Have I mentioned how funny these guys are? They kept the great fun going with "Shanty," with Jon urging the crowd, "Sing along." And that they did. This song got a huge reaction from the audience, leading Sally to comment, "A crowd pleaser." Before starting "Big Zombie," the band talked about how a zombie movie had been inspired by a Mekons song, though not this particular song. (It was "Dancing In The Head," if you're wondering.) Jon quipped about how inspiring someone doesn't pay well. "Big Zombie" was big fun, and after that, Sally teased Susie some more about her ego after that favorable review. "The next album will be just her singing and playing all the instruments." But it was Sally who then delivered a beautiful vocal performance on "Waltz," a song she introduced as being another obscure number. That was followed by a cover of "Before I Grow Too Old," which Jon introduced as "a desperate song, a desperate song." That led straight into "Keep On Hoppin'" to conclude the set. Yes, another fun number. The audience called out for an encore, and unlike the previous night, this time the band obliged. And actually, they ended up playing a couple of songs, beginning with "Fallen Leaves," a song from Horror (and yes, Jon shouted out that album title during the introduction). Rico gave us a moving and gorgeous rendition. Especially beautiful was the ending, delivered a cappella. The show concluded with "Wild & Blue," another crowd favorite, and one that got folks singing along. "We love playing Gold Diggers," Jon said afterward, joking "We'll be back Tuesday and Thursday of next week." I wish! The show ended at 4:56 p.m.

Set List

Set I

1. Abernant 1984/5
2. Hole In The Ground
3. Last Weeks Of The War
4. Slightly South Of The Border
5. A Fearful Moment
6. Dickie, Chalkie And Nobby
7. Millionaire
8. Last Dance
9. Happy Birthday To You
10. Hard To Be Human Again

Set II

1. Ghosts Of American Astronauts
2. Sweet Dreams
3. Sanctuary
4. Neglect
5. Shanty
6. Big Zombie
7. Waltz
8. Before I Grow Too Old >
9. Keep On Hoppin'

Encore

1. Fallen Leaves
2. Wild & Blue

Here are some more photos:

"Hole In The Ground"

"Last Weeks Of The War"

"Millionaire"

"Last Dance"

"Sweet Dreams"

"Keep On Hoppin'"

Gold Diggers is located at 5632 Santa Monica Blvd. in Los Angeles, California.

The Mekons Bring Their Special Magic To Sierra Madre, 10-11-25

Mekons performing "Abernant 1984/5"

I would prefer to never give another cent to the greedy monsters behind the Live Nation/Ticketmaster empire. And one delightful way to avoid funding those beasts is to attend house concerts, one area they haven't yet managed to infiltrate. There is a looseness and an intimacy at those shows that is either absent or at least not as prevalent at other types of venues. The bands tend to be more relaxed and have a better time at house concerts. There is also a greater possibility that they'll take chances in their set lists, and that's when the magic is most likely to happen. And no worries about being overcharged for a plastic cup of beer, like at House Of Blues or someplace. Hell, just bring your own cooler of beer. That's what I do. And when the band is the Mekons, and it happens to be Jon Langford's birthday, well, you know you are in for something special. Last night the Mekons (that is, half of them: Jon, Sally Timms, Susie Honeyman and Rico Bell) brought their great sense of fun and joy to the backyard of a house in Sierra Madre, California, and it ended up being one of the best shows I've ever attended. 

Sue introduced the band

Though this house concert series (Mariposa Music) has all the necessary sound equipment, the decision was made by the band to perform without any amplification, just as they had done the previous night at the art gallery, and that decision gave the show even more of an intimate vibe. These are the nights I live for. When everything is falling apart, just as it is now, we can be okay if we find the music. At just after 7 p.m., Jon Langford joked, "Check, check," without a microphone. Our host Sue Behrens introduced the band, mentioning how she got into the Mekons. I suppose we each have a story like that, those of us who have fallen in love with this band, a band that somehow remains unknown to the vast majority of people. As the first set began, Jon mentioned how they learned that their 1985 album Fear And Whiskey had sold well in San Francisco, Chicago and New York, and they opened the show with a song from that record, "Abernant 1984/5," about a miners' strike. The line "How much more is there left to lose" got a cheer from the audience, with Jon responding, "Yes." I've been largely avoiding the news since the horrible results of the 2024 election, but everything I hear is bad. Much has been lost, that's for certain. They followed that with "Hole In The Ground," and, as at the previous night's show, Jon asked for help on the whistling part. "Put your lips together and blow," he instructed, channeling Lauren Bacall. I'm not sure if folks did much better with the whistling than at the gallery show, but it didn't matter. We were all having a great time.

"Slightly South Of The Border"

Sally took over lead vocal duties at the beginning of "Last Weeks Of The War," that song coming from the band's Journey To The End Of The Night album. Susie delivered some beautiful work on violin, while Sally urged her to step forward, closer to the audience. Jon pointed out the album's producer, Ken Sluiter, who was in the audience. Sally then got out her kazoo for a totally fun rendition of "Slightly South Of The Border," with the line "Small stupid children" becoming "Small stupid chicken." The previous night the band had brought its "Luxury Chickens" exhibit to a gallery in Los Angeles, and at this house concert, behind the audience, was a cage with chickens (so far as I know, these chickens had not been taught to smoke). So a strange theme of sorts? With house concerts, there is always the danger of some loathsome neighbor summoning the authorities, and so Sally told the audience that if there were a noise complaint, it would be because of the kazoo. Fair enough. Jon joked about the carpet that had been placed on the ground for the band. "In Wales, they would call this posh," he said.

"A Fearful Moment"

An excellent rendition of "A Fearful Moment" followed, with Rico on lead vocals. This was only my second time seeing the band play this one, and it ended up being a highlight of the set. Sally then sang "Millionaire," the audience singing along. I'm always happy to hear this one, even if, as Jon said, it has been rendered meaningless by inflation. Sally joked about Susie being shy, at which point Jon strode out into the crowd and Sally commented, "He's not." "Last Dance" is another that got the audience singing along. "I wanted to say fall in love/I wanted to say fall in love with me." If the world made any sort of sense at all, everyone everywhere would fall in love with this band. They followed "Last Dance" with "Dickie, Chalkie And Nobby," a song whose lyrics I imagine would speak strongly to most people. "Treasure the memories when all else fails." They wrapped up the first set with a rousing rendition of "Hard To Be Human Again," with Sally first joking again that the police were going to show up because of the awful noise of the kazoo. Rico was on harmonica for this one, but the police are not bothered by that instrument. Jon and Sally moved through the crowd as they played this song. It was a great way to conclude the set, which ended at 7:51 p.m.

"Neglect"

When the band came back a half hour later, the second set started with a song that was a hit for Patsy Cline, "Sweet Dreams," with Rico on lead vocals. It's a song the Mekons covered on their 1986 record The Edge Of The World, and they delivered a really good rendition last night. Jon then stepped up onto a large colorful cube, leading Sally to caution him, "Don't damage yourself up there." Susie and Sally sang "Sanctuary," the only song of the night from the band's new album, Horror, and one of its best tracks. That was followed by another of the show's highlights, "Neglect," from Journey To The End Of The Night. It was particularly funny, and the audience was laughing throughout the song. "Give me ten thousand pounds, oh please." This was a total delight. "A pound of flesh," Jon commented afterward, referencing Shakespeare's The Merchant Of Venice. He then quickly taught the audience some of the lyrics to "Shanty," and everyone joyfully joined in. "With a Yo and a Ho, and there's one thing I know/We're not in the same boat at all/With a Yo and a Ho, and the wind starts to blow/As we float off the edge of the world." Again, these are the moments that make life worth the hassle. And those are lyrics we can all shout out with a certain exuberance, especially these days.

"My revenge will be swift and weird," Sally announced, and the great fun continued with "Big Zombie," which also comes from The Edge Of The World. "I'm just not human tonight," they sang. Well, as we know, it's hard to be human. The band had a guest vocalist, Tawny Newsome, join them for a wonderful rendition of "Wild & Blue," yet another highlight of the night. But really everyone in the back yard was singing along with this one. We were all guest vocalists, more or less. It was Jon Langford's birthday, as I mentioned, and after "Wild & Blue," he said, "I'm 37," reminding me of a particular moment from Monty Python And The Holy Grail. He then introduced "Before I Grow Too Old" by saying it's "about that urgency you feel later in life." Oh yes, I think most of us understand that feeling. He dedicated the song to Tony Fitzpatrick, an artist who inspired Jon's own work in the visual arts, and who died yesterday. The Mekons wrapped up the show with "Keep On Hoppin'," a song from Honky Tonkin' that has a great energy. The audience called out for an encore, but that didn't happen. Instead, the audience sang "Happy Birthday To You" to Jon, and that's how this magical evening came to a close just before 9 o'clock, though many people continued to hang out for a while, not ready for the night to be over.

Set List

Set I

1. Abernant 1984/5
2. Hole In The Ground
3. Last Weeks Of The War
4. Slightly South Of The Border
5. A Fearful Moment
6. Millionaire
7. Last Dance
8. Dickie, Chalkie And Nobby
9. Hard To Be Human Again

Set II

1. Sweet Dreams
2. Sanctuary
3. Neglect
4. Shanty
5. Big Zombie
6. Wild & Blue
7. Before I Grow Too Old
8. Keep On Hoppin'

The Mekons Pop Up at La Luz De Jesus Gallery, 10-10-25

In February, Jon Langford and Jim Sherraden's "Complicated Characters" exhibit came to Los Angeles, opening at an unusual gallery called La Luz De Jesus Gallery, which is located inside a store called Wacko on Hollywood Boulevard. Perfect, right? Sally Timms was with them that night, and, after "The Ballad Of Biscuit And Drogo," we were treated to a couple of Mekons songs. Then last night, the Mekons (half of them, anyway: Jon, Sally, Susie Honeyman, and Rico Bell) brought a different sort of exhibit to the gallery. Titled "Luxury Chickens" ("I saw a man hold a chicken to his head"), this one featured the band's hand-painted T-shirts (there were some such shirts for sale at stops along the band's summer tour). And, of course, there was music.

On the gallery's website, the evening was described as "A Night Of Serenading Under The Laundry Of Brit-Punk Band Mekons." And, yeah, the two rooms had clotheslines strung across them, with Mekons shirts of various colors and designs, each one unique, hanging from the lines. As I overheard Rico telling a patron early in the evening, there were no prints and no repeats. Each shirt was hand-painted. Lots of cool, fun designs and artwork, many related to specific songs in the Mekons catalogue. It sucks to be poor, because there were several shirts I wanted to purchase. I had to settle for just getting photos of some of them. A few folks arrived well before the 6 p.m. scheduled start time to choose their shirts before they were picked over. They made some nice choices too. They had been at the previous night's concert out at The Palms.

A little after 6 p.m., Jon wondered aloud where his band mates were. He then spotted Rico. "There's one," he said. "That's enough." But this place, not just the gallery but the store too, is full of interesting stuff to look at, so the others could have been busy in various corners. Soon, however, they were all in the gallery, and it wasn't just myself and other fans who were taking photos. The band members themselves were taking photos of their shirts. And then, to fill the gaps created when people made purchases, they began hanging more shirts. More great designs. Different band members created different designs. There was a Horror shirt that I especially liked, and I learned that one had been created by Rico. If you haven't yet added the band's new album to your collection, I highly recommend picking up a copy. It's available on both CD and vinyl (don't be one of those jerks who only stream music). There were a few other shirts with designs related to that album. Somehow I became certain that if everyone on Earth were walking around in handmade Mekons shirts, the world would immediately become a delightful place. All problems would vanish, except perhaps that of the cranky, raspy-voiced chickens. If you're wondering about the title of the exhibit, "Luxury Chickens," and why the chickens are depicted smoking cigarettes, well, it's because there was a woman who had taught her chickens to smoke and those chickens had become addicted to nicotine. Crazy, but apparently true. I think at this point, however, those chickens are probably vaping, hanging around junior high schools and thinking they're cool.

As much as I wanted one of the Mekons shirts, I know myself, and if I ever purchased a $200 T-shirt, the first day I wore it, it would end up covered in pizza sauce, even if I weren't eating pizza. But there was also Mekons underwear, which even I could afford (and which would be less likely to end up with pizza topping on it), and a hat, though someone had grabbed that right away.

"Last Dance"

A little before 7 p.m., the band gathered in a corner in the back room for the first set. They performed without microphones, with Jon on guitar and vocals, Sally on vocals and hand percussion, Rico on accordion and vocals, and Susie on violin. Folks along the walls stood, but those in the middle of the room sat on the floor, the T-shirts hanging above them (the shirts would have blocked their view had they remained on their feet). The Mekons opened this special show with "Hole In The Ground," a song from the 1987 record Honky Tonkin' and one I don't think I'd had the pleasure of seeing them perform before. The song featured a bit of whistling, and Jon asked the crowd to join in. We didn't do a very good job (we were awful, let's face it), leading Jon to say kindly, "It's hard to whistle in public." They followed that with "Last Weeks Of The War" from Journey To The End Of The Night, released in 2000, with Sally on lead vocals for the first section. The line "I'm not ruined, but I need repair" seems to describe all of us, the entire world. But last night we weren't focused on that, and rather just running with the great joy in the room. Susie delivered some beautiful work on violin, especially at the end. Jon then announced they were going to do one more, a remark met with laughter from the audience. One more? They'd only done two songs. Jon joked that the group would be abandoning music entirely at the end of the year. The last song of the set was "Last Dance," with much of the audience singing along with them. The first set ended at 7:10 p.m. "One more," someone shouted out, leading Jon to reply that they'd do more in ten minutes.

"Slightly South Of The Border"

Twenty minutes later, Jon, Susie and Rico were ready to go, and they began singing Sally's name as a way of summoning her. It worked, and Sally was soon singing "Ghosts Of American Astronauts." From the audible reaction, it was clear that this was a song several people were particularly happy to hear. Afterward Sally commented, "No one's bought the underpants." "I'm not surprised," Jon said, "Not my favorite section of the thrift store." Sally indicated that they'd been washed. Rico then took over lead vocal duties for a wonderful cover of "Sweet Dreams," which was a hit for Patsy Cline. That was followed by another song I'd never seen them perform before, "Dickie, Chalkie And Nobby," a song from the Natural album. What a treat it was to get to see them do this one. This was a special evening, indeed. Then when Jon began "Millionaire," Sally met it with, "Oh, great." "Such enthusiasm," Jon joked. The audience sang along with the song's chorus, and the song ended with the chorus sung a cappella, mainly by the audience, a wonderful moment. That was followed by a cover of "Before I Grow Too Old," also known as "Silver And Gold," a song that was recorded by Fats Domino. Sally took out her kazoo, an instrument that had been missing from the band's summer gigs in Los Angeles. "An instrument I've mastered," Sally playfully boasted. She and Jon talked about how the kazoo was invented in the United States, and thus it was an act of patriotism to play it. The song on which she played it was "Slightly South Of The Border," a song from The Edge Of The World. It contains the line "Shopping is easy and much can be bought," and on that line, Sally indicated the T-shirts hanging above the crowd, as Jon had done on that same line back in February, on that occasion motioning to the artwork on the walls. The second set ended just before 8 p.m.

"A Fearful Moment"

The Mekons did one final, short set before the evening came to a close, but first Sally had a bit of business to attend to. She had a pair of tickets for the new Paul Thomas Anderson movie at the Vista that she was not going to use, and was hoping someone in the audience might want them. Someone did. That taken care of, the band started the set with "Abernant 1984/5," a song from Fear And Whiskey. There was a great energy to the song, and afterward Jon mentioned that at the time that song was recorded the goverment was trying to destroy our lives, and now here we are again. "How much more is there left to lose?" he sings in that song. There is no question but that we are experiencing a terrible time, particularly in this nation's history. Who would have guessed that the United States would so willingly and eagerly embrace fascism? So it was fitting that the band would follow "Abernant 1984/5" with "A Fearful Moment," with Rico on lead vocals. There was a false start, as Rico and Jon got on the same page. This was another song I don't recall seeing the band perform in concert, and was another highlight of the evening for me. Susie then got a chance to sing, but not before Sally teased her about how getting a good review led her to want to sing on every song now, even Sally's parts and Jon's parts. The song, "Sanctuary," comes from the band's new album, Horror, and is one of that record's best tracks. They wrapped up the set, and the show, with "Hard To Be Human Again," with Sally again on kazoo and Rico on harmonica. It was a perfect choice to conclude things, and Jon and Sally moved among the crowd and T-shirts during part of the song. "I saw a man hold a chicken to his head." The show ended at 8:46 p.m.

Set List

Set I

1. Hole In The Ground
2. Last Weeks Of The War
3. Last Dance

Set II

1. Ghosts Of American Astronauts
2. Sweet Dreams
3. Dickie, Chalkie And Nobby
4. Millionaire
5. Before I Grow Too Old
6. Slightly South Of The Border

Set III

1. Abernant 1984/5
2. A Fearful Moment
3. Sanctuary
4. Hard To Be Human Again

Here are a few more photos from the evening:

"Hole In The Ground"

"Last Dance"

"Last Dance"

"Ghosts Of American Astronauts"

"Sweet Dreams"

deciding how to open the third set

start of "A Fearful Moment"

La Luz De Jesus Gallery is located at 4633 Hollywood Blvd. in Los Angeles, California.

Kissing Other Ppl: "Kissing Other Ppl" (2025) CD Review

Kissing Other Ppl is the new project by Vivian Leva, Riley Calcagno (those two usually performing as Viv & Riley) and Rachel Baiman. Interestingly, as these artists are known in part for their songwriting, the group's debut album, a self-titled release, contains all covers. And not all are songs you'd expect these artists to cover, and that is certainly part of the fun of the album. A glance at the cover should be a clear enough indication that this is not an overly serious endeavor. That doesn't mean, however, that they've chosen funny or silly or light songs. Quite the contrary actually, but the songs are approached with a wonderful openness, a willingness, or eagerness, to see where each number would take them, and what they might do with the songs. And the results are wonderful.

The album opens with "Kissing Other People," a pop song by Lennon Stella. I wasn't familiar with Lennon Stella, and so this was the first version of the song I heard. I've now listened to the original, and I greatly prefer this cover. It's a pretty and thoughtful rendition, more emotionally engaging than the original recording. "That's how I know that your love is gone/That's how I know I'm really moving on/'Cause I don't feel guilty kissing other people." The track features some really nice stuff on violin. They follow that with a song by Wilco, a band that is not as surprising a choice for this album. The song, "Ashes Of American Flags," was on that group's Yankee Hotel Foxtrot album, released in 2002. This track contains some wonderful vocal work and interesting touches. "I want a good life with a nose for things/A fresh wind and bright sky to enjoy my suffering." This one also contains excellent work on strings.

"Hold On Magnolia" is a song written by Jason Molina. It was the final track on the final Songs: Ohia album, The Magnolia Electric Co., released in 2003 (or that could be the first album from Jason Molina's Magnolia Electric Co. group, depending on who is talking). It's an excellent song, and these guys deliver a really good rendition, with Riley on lead vocals. "No one has to be that strong/You're stubborn like me/I know what you're trying to be." There are some beautiful harmonies here, creating a soothing effect. The first time I listened to this disc, it was a grey, rainy day and I was alone. I closed my eyes while listening, and this song felt perfect. "Hold on, Magnolia/It's almost time." This version is shorter than Jason Molina's recording, and doesn't have that long fadeout. It is followed by "Where'd All The Time Go," a song by the group Dr. Dog, included on that band's Shame, Shame album. This song was released as the first single from Kissing Other Ppl. The vocal work on this track is especially captivating. "And you know I get so forgetful when I look in your eyes." And that final line, "Somebody sinks and is gone in the blink of an eye," is one that stands out. This rendition doesn't include that final section from the original version.

The trio delivers a wonderful rendition of Joan Armatrading's "Woncha Come On Home," the lead track from her 1977 record Show Some Emotion. And these guys do indeed show some emotion. I love the harmonies. It's their vocals that really make this recording exceptional. "Oh baby, don't stay too late/You know I hate to be alone/And I'm alone/Baby, woncha come on home." They then get more into the country realm with a cover of Dottie West's "A Lesson In Leavin'," a song from her Special Delivery album. This is a song that hopes karma will do its thing. I personally don't believe in that, but the idea certainly holds its appeal, particularly if we actually get to witness the event. "And I hope that I'm around/To watch 'em knock you down."

"Born To Lose" is an excellent song from Waylon Payne. It was included on his 2020 album, Blue Eyes, The Harlot, The Queer, The Pusher & Me. Kissing Other Ppl delivers a beautiful rendition. Again, the vocal work is at the center, and here the voices seem to tell us things are okay (even if they aren't, and these days they most certainly aren't). "I went away, you swore you'd wait for me/It hurt me as bad as it must have hurt you." They wrap up this great album of covers with "Ain't No Easy Rider," a song from Dan Parsons' 2018 album Sunday Morning Cinema. "Never cared much for heaven or hell/But where I end up going, I hope I go there well." This is a beautiful and striking rendition. "I've got love and I, I've got hope/But I ain't no easy rider if you give me too much rope."

CD Track List

1. Kissing Other People
2. Ashes Of American Flags
3. Hold On Magnolia
4. Where'd All The Time Go
5. Woncha Come On Home
6. A Lesson In Leavin'
7. Born To Lose
8. Ain't No Easy Rider

Kissing Other Ppl was released on August 8, 2025 on Peacedale Records.

Emma Hedrick: "Newcomer" (2025) CD Review

Emma Hedrick is a jazz vocalist based in Indiana. She recently released her debut album, appropriately titled Newcomer. But though this is her debut album, she isn't as new to the scene as the title suggests. She has already won several awards, and this year was one of four winners of the New Works Arts Commission from Allied Solutions Center for The Performing Arts. Newcomer contains all original material. Joining her on this release are Connor Rohrer on piano, Thor Eide Johansen on bass, Anton Kot on drums, and Shane McCandless on saxophone, along with some guests on various tracks.

The album's lead track, "The Idea Of Love," eases in with some nice work on bass. And for a few lines Emma's voice is supported by just that instrument. "It's easy to fall in love/All the frills, all the flowers/Staying up for hours/It's easy to fall in love/Waiting for a phone call/Say the word and we'll be out all night." On that last line, the other instruments come in. She raises her voice on certain lines, such as "It's the staying that's the hardest part," but it is the more intimate sections that really stand out for me. And the sweet, gentle, dreamy scat is wonderful, perfectly conveying that delightful feeling of falling in love. This track also contains an excellent saxophone lead in the second half. Then "Dreamscapes" starts with drums and has a light, friendly vibe. There is a bit of a 1970s flavor to the track. "I already forgot you/I know that you moved on to/Somebody else." I like that little word play in those lines; we first hear the line as "one too" before the line moves straight into the next line, changing the meaning somewhat. This track features some nice work on drums, and Emma Hedrick delivers a section of scat, which then leads to a really good lead on trumpet. That is guest David Sneider on trumpet. I also like the funky element to this number, particularly in the work on bass and drums.

"Newcomer," the album's title track, begins gently with some pretty work on piano, setting the mood beautifully.  "I wait for the sun/I wait where no one/Even knows my name." This track features the work of a string quartet, made up of Davis Brooks on violin, Kara Day on violin, Derek Reeves on viola, and Anna Thompson-Danilova on cello. The string arrangement is by Shane McCandless. The strings and Emma's vocal performance give the piece a feeling of melancholy, of darkness, as winter approaches, and also a longing. "I watched the seasons change," Emma sings, and we do get the sense of time passing, of a world passing, things growing and dying before her eyes. before our own eyes, while we remain stationary. The piano work on this track is as moving as her vocal performance. "The newcomer's here to stay." Then there is an immediate burst of brighter energy as "In The Warmth" begins, a bit of scat right at the start. "Dreaming of you/My mind will wander/I always make a way back to find you/I know I like to be around you." And then she sings, "The stars drift by," a line that might have also been at home in the previous song, but here with a very different tone. There is energy to the rhythm of this song. Ryan Barski joins the group on percussion. That percussion and the drumming give an exciting sense to this track, particularly to the instrumental sections. And there is a section near the end when Emma repeats a couple of lines, and through that repetition her voice begins to feel a part of the rhythm. It's like we begin to focus on the sound of the words rather than their meaning. It's an interesting effect. I also love the lead on saxophone in the middle of this track, and the brief section where Emma's voice interacts with the saxophone. There is a delightful joy here, and the track will leave you feeling warm.

"I'm longing for a place I've never been/Where there's always something better, something new/But I never want to forget you," Emma sings at the beginning of "Tone Poem In Greenwich Village." This is a song of reflection. Then a minute and a half in, this track kicks in, with a classic rhythm, taking us into an old jazz club. There is no longer the sense of a lonesome late night, for a crowd has now entered. There is life in it yet, as that scat section seems to be saying. Ah yes, we can dance and shake our way through this world, she tells us without any words. Wonderful. That's followed by "Spring Haiku Collection," which begins with some pretty, contemplative work on piano. And Emma's vocal work is gorgeous and captivating. "Petals opening/Reaching for their promised light." This track features Peter Eldgridge on piano, and Alexandria DeWalt on flute. The instrumental section feels like light dancing upon a garden, upon our faces. "Wake up, sleepy head/Wake up from winter's long rest/Spring calls out your name." Those lines might remind you of  "Newcomer," the changing of seasons. There is a really nice vocal section, where both Peter Eldridge and Alexandria DeWalt join Emma on vocals, and that section helps make this track stand out.

"Inside Your Mind" is playful from the beginning, when Emma offers a little scat, and the horns each reply in turn, a follow-the-leader sort of thing in that first section. David Sneider plays trumpet on this track, and Zach McRary is on trombone. "Sometimes it's hard to uncover/Things we bury when we're younger." That section with the brass is fantastic! I love the way it begins by revisiting the opening, and then flows into different territory,  the way her voice joins them in a delicious dream. Wonderful stuff! Another return to that opening section then moves us back into the song's main section. This track is another of the disc's highlights. I like how it ends with a reverse of the opening moment, where her voice is the final one heard. That's followed by "In The Garden." "In the garden/Nothing can hurt you," Emma sings at the beginning, while the piano creates a sort of magical, dreamlike feeling. There is later a nice, warm lead on piano that grows in beauty, breathing and winding its way through an enchanting landscape.

Andrew Tinch delivers some wonderful work on guitar at the beginning of "Come On Home," backed by some equally wonderful stuff on bass. "Reading all the pages through/Nothing seems to sound like you." I love the way the drums play an important role in leading into the main body of the song. The song has some pop and rock elements. Peter Eldridge joins Emma on vocals here. "Didn't know that I could miss you quite this much." This is another of my personal favorites. The album then concludes with "Waste No More Days," which features a cool bass line with a funky vibe.  "Neither here and neither there/Wondering if I want to stay/But there's so much on the line/To just throw it all away." There is delicious bass work throughout the track, especially that lead a couple of minutes in. Amy Azzara and Faith Quashie join Emma Hedrick on vocals. And we are left with the message of the song's title, "Waste no more days/Waste no more days/Waste no more days," something that's important to keep in mind during these uncertain times.

CD Track List

1. The Idea Of Love
2. Dreamscapes
3. Newcomer
4. In The Warmth
5. Tone Poem In Greenwich Village
6. Spring Haiku Collection
7. Inside Your Mind
8. In The Garden
9. Come On Home
10. Waste No More Days

Newcomer was released on August 1, 2025.