Kristina Koller: "Walk On By" (2025) CD Review

Kristina Koller is a jazz vocalist and composer from New York. She released her first album, Perception, in 2018, that disc containing a mix of original material and covers. That was followed by Stronger and Get Out Of Town, the latter featuring her own takes on Cole Porter tunes. On her latest album, Walk On By, she turns to the music of Burt Bacharach and Hal David. And as she did with the Cole Porter material, Kristina Koller puts her own special touch on these well-known songs. Joining her are Fima Chupakhin on piano, James Robbins on bass, and Cory Cox on drums. The album was produced by Kristina Koller, with arrangements by Kristina Koller and James Robbins.

The album opens with "I'll Never Fall In Love Again," a song that was a big hit for Dionne Warwick. This track contains really nice touches on piano even before Kristina's voice comes in. There is an interesting and good groove to this rendition, and Kristina has her own special delivery, which works perfectly with the song's lyrics. Check out the way she sings those lines about pneumonia, for example. And on "That's what you get, a heart that's shattered," we hear something of that experience in her voice. This track also contains a cool instrumental section, with the focus on some strong drumming by Cory Cox. I love what Kristina Koller does with this song, giving it a fresh life, a life it deserves. That's followed by "Close To You," a song also known as "(They Long To Be) Close To You" and which was a hit for The Carpenters. Kristina Koller's rendition has a warm, romantic atmosphere, the piano setting the tone at the start. Yet it also has a good energy, particularly in the drumming, and also in her delivery of a line like "So they sprinkled moon dust in your hair of gold and starlight in your eyes of blue." This track also features an excellent piano lead, and it's during that lead actually that it is most apparent what James Robbins is contributing on bass. This rendition has a gentle ending.

"A House Is Not A Home" features a gorgeous, passionate vocal performance, one of the album's best. "I'm not meant to live alone/Turn this house into a home/When I climb the stairs and turn the key/Please be there, still in love with me." Fima Chupakhin is on electric piano for this one, delivering a nice lead. Dionne Warwick recorded this song, but it was Luther Vandross who had the bigger hit with it. Kristina then gives us "That's What Friends Are For," another of Burt Bacharach's famous compositions, and another that Dionne Warwick recorded (with Stevie Wonder, Elton John and Gladys Knight). It's such a positive song, which we certainly need in these days of hatred and anger. Rosemary Minkler joins Kristina on vocals for this one. "And if I should ever go away/Well, then close your eyes and try to feel the way we do today." It's important to have at least one person you can count on, and the music expresses that sense so well. I especially love Fima's work on piano, which has a great cheer to it. I also love the way the music builds toward the end, that section where the line "I'll be on your side" is repeated.

There was a cute moment in My Best Friend's Wedding that features "Say A Little Prayer." That's not a great movie, but I find that scene rather delightful, and it reignited my appreciation of the song. That was many years ago now, and it's time for folks to again recall how good this song is, and this rendition should do the trick. In addition to Kristina's wonderful and vibrant vocal performance, this track features excellent and lively stuff on piano. And what a great rhythm too. "To live without you would only mean heartbreak for me." That's followed by "Don't Make Me Over." It's interesting how many of these songs were hits for Dionne Warwick. "Just love me with all my faults/The way that I love you." That's true love, and Kristina's delivery expresses that as eloquently and plainly as the words themselves. "I wouldn't change one thing about you." This track also contains some really nice work on bass. "Accept me for what I am/Accept me for the things I do."

"Walk On By" is the song Kristina Koller chose to be the title track of the album, and it is one of the disc's highlights. An interesting tone is established at the beginning, different from what we're used to with this song, but completely effective. "I just can't get over losing you/And so if I seem broken and blue/Walk on by, walk on by." Her delivery of those lines is perfect. Here we really get the impression of someone who has been broken and blue and is trying to get on. Plus, this track features some delicious work on bass. It's a phenomenal rendition. That's followed by "Reach Out For Me," a song that speaks of friendship, of comfort, of being there for someone. Again, we need these songs today. There is so much animosity and antagonism out there, from this country's dubious leadership and on down. We need songs that work as remedies to this, or at least that remind us of our better qualities. "Don't you worry, I'll see you through/You just have to reach out for me/I'll be there, and I'll comfort you/Oh, yes I will." And this version has a catchy rhythm.

"Loving Is A Way Of Living" begins with some pretty work on piano, and there is also a wonderful intimacy to Kristina's vocal performance, immediately distinguishing this rendition from that of Steve Lawrence. "Loving is a way of living/All the dreams you've ever known/Knowing you won't have to dream alone/Is wonderful, they say." Oh yes, what is better? This is a gorgeous, soulful track, one of the disc's highlights, Kristina's voice supported only by Fima on piano. The album then concludes with "What The World Needs Now." And here too Kristina's rendition right away sets itself apart from other versions, this time with its beat. "What the world needs now is love, sweet love/It's the only thing that there's just too little of." Indeed. Several artists are covering this song these days, and with good reason. People are more divided in this country than at any other point in my lifetime. There is hatred, distrust, anger, fear, violence, when what is needed is compassion and understanding and sympathy and love.

CD Track List

1. I'll Never Fall In Love Again
2. Close To You
3. A House Is Not A Home
4. That's What Friends Are For
5. Say A Little Prayer
6. Don't Make Me Over
7. Walk On By
8. Reach Out For Me
9. Loving Is A Way Of Living
10. What The World Needs Now

Walk On By was released on May 16, 2025. 

Saint Pierre: "Luck And Gravity" (2025) CD Review

Saint Pierre is a duo made up of husband-and-wife team Danny St. Pierre and Julia St. Pierre. The couple, based in Santa Monica, has long played music together, but Luck And Gravity marks the first full-length release of original material. And this original material tells something of the story of the couple's relationship. They married, divorced and remarried. While it is a personal album, relationship songs and love songs have a way of striking us as being universal, even if the specifics might be particular to certain people. The album was produced by Ed Tree, who also plays guitar and bass. Scott Babcock is on drums and percussion. Both Danny St. Pierre and Julia St. Pierre sing on these tracks. Danny also plays guitar and bass, and Julia is on keyboards. It was recorded and mixed at The Treehouse in San Gabriel.

The album opens with "Wish You'd Said," a lively number with a good energy, its first verse taking us back to youth. "You were the hippest kid in school/I can picture the place, I remember the time/You weren't who I thought you were, 'cause I caught you in a lie." This song was written by Julia St. Pierre, who sings lead on it. "The thoughts that circle round my mind/Become conversations in my head/Of all the things I wished you'd said/All the things I wish you said to me." Isn't that interesting? Usually when I play fanciful conversations in my head, they usually focus on things I could have said, things I maybe should have said myself. This track features a good, though short, lead on electric guitar in the second half. The song concludes with the lines with which it began. That's followed by "Fine Ride West," also written by Julia, who sings lead. This song puts us on the I-10 from Texas to California. "Fell in love with the music scene/No idea where life would lead back then." Ah, I still am unsure where life is going to lead, and that is partly what the song is about, being unsure of your direction but trusting the road. By the way, the photo of the couple on the inside of the CD cover shows them next to an Interstate 10 highway sign. "Where we'll end up, who can guess/But I love where I lay my head to rest/I've lived my life with no regrets/All in all, it's been a fine ride west." Ah, yes!

"Takin' Me Back" has a pretty opening section, then kicks in, taking on a good country vibe. This song also mentions Texas in its first lines. "And I can't believe that I'm leaving again/Been doing things these days that don't make much sense/And now I'm living with the consequence." This song was written by Danny, and on this one he has lead vocal duties. It's a song of leaving home, chasing dreams, and finding that they lead him back. "Back to the faces of the people I knew/It's taking me back to you." Going home always has great appeal in song, maybe especially for those of us who are torn between two very different places, two distant places. This is one of my favorite tracks. It's followed by the album's title track, "Luck And Gravity," a country rock gem written by Julia. It's about wishing someone would feel the way he or she used to feel. "You've got to wake up and know it's true/That you can't make somebody care about you." And she tells us, "Love's just luck and gravity." This track also contains some really nice work on guitar.

"Love Who You Love" is a song that shouldn't be needed at this point, but still is very much needed. Wouldn't it be great if people would simply mind their own damn business? How can anyone be against gay marriage? Why should anyone care about other people's relationships? That's what this song is about. "Real love is no small thing, you know how it makes you feel/When somebody makes your heart sing, others don't get to decide if it's real." Exaclty. And love is what this whole thing is about, this entire existence, in all its delightful absurdity and brevity. I like that the band has made this a rather joyous song. It was written by Julia St. Pierre. That's followed by another song of love, "Meant To Be," this one written by Danny St. Pierre. "You helped me realize that true love lasts, it can't be torn apart." They go on to sing, "We were meant to be." Sometimes it feels that way, doesn't it? When it is so right that there is no way that it couldn't be. "This life is short, and it's just hard to know/We found each other, and we won't let go." That is the best any of us can do in this strange and short and incredible life.

"All I Ever Wanted" is a relationship song written by Julia St. Pierre, with a sweet vibe. "All I ever wanted/It's simpler than you think," Julia sings. And she soon clarifies, "All I ever wanted was someone to hold my hand/When we walk down the street." I still get a little thrill when my girlfriend takes my hand when we go for a walk. What a wonderful feeling. So simple, yet perfect. That's followed by "Pretty Is As Pretty Does." In this one, Julia sings, "You want folks to think you care/That there's no one you'd ever hurt/There's some nice people out there/You'd just as soon see in the dirt." I find that people who are awful inside can't help but let that ugliness show on the outside too (take Melania Trump, for example; a brief glance her way might lead you to think she was pretty, but a slightly longer look reveals her horrid, soulless interior). "You're not so pretty." Then "You Know Where To Find Me" has a bright, friendly vibe, fitting for the lyrics. "Right when you think that all is lost, just know I'll see you through/It's time to leave sadness behind and move in toward the light." We all need one person who will always be there for us. And what a great feeling when we do! This song captures and conveys that feeling.

"Coming Around" is a good, lively number about meeting that special someone and knowing she's the right one. Maybe comes off a bit cocky, sure, but it works because "She's coming around, coming around/Coming around to me." This one was written by Danny, who sings lead. It features a really good guitar part, and even includes hand claps. That's followed by "You Steady Me," a wonderful, uplifting song with Julia on lead vocals. "In the morning when we wake, you steady me/At the end of a long day, you steady me/In an unexpected year, every day it's oh so clear." This is especially important in these unsteady times. Things are mad out there, and we all need a special someone to keep us from going mad ourselves. This is another of my personal favorite tracks, and the line "When I miss my daddy, you steady me" had me in sudden tears. The album concludes with its sole cover, Tom Petty's "Keeping Me Alive." Julia and Danny perform in Petty Theft, a Tom Petty tribute band, so this is not such a surprising choice. By the way, Petty Theft is the perfect name for a Tom Petty tribute band, and it turns out at least two other bands landed upon it; there is one in San Francisco, another in Dallas. This song was intended to be included on Tom Petty's Long After Dark, and eventually ended up on the Playback boxed set. These guys deliver a excellent rendition, each of them taking turns on lead vocals. "These days money don't go very far/It's hard enough keeping gas in the car/But sometimes we ride around/We play the radio up loud/If I was sad, well, I'm happy now."

CD Track List

1. Wish You'd Said
2. Fine Ride West
3. Takin' Me Back
4. Luck And Gravity
5. Love Who You Love
6. Meant To Be
7. All I Ever Wanted
8. Pretty Is As Pretty Does
9. You Know Where To Find Me
10. Coming Around
11. You Steady Me
12. Keeping Me Alive

Luck And Gravity is scheduled to be released on October 17, 2025.

The Soul Of John Black: "Soul Salvation" (2025) CD Review

The Soul Of John Black is the project of John Arthur Bigham, a musician and songwriter currently working in the blues and soul realms. His list of accomplishments is impressive, both in and out of the blues, having played with Miles Davis and also having been a member of Fishbone. And he's gained acclaim for his recent work, The Soul Of John Black having been nominated for several Independent Music Awards, and his song "My Brother" winning the award for Best Blues Song. His new album, Soul Salvation, is nearly a true solo effort, with John Bigham singing and playing all of the instruments except drums. Oliver Charles joins him on drums, and Christine Rosander provides some backing vocal work. John Bigham also wrote all the album's material and produced the album.

The album kicks off with "Begging You Baby," a slow, funky blues number with a strong vocal performance. The lyrics are fairly simple: "I'm begging you baby, sweet baby/Please don't go/I'm begging you, baby, sweet baby/Let me love you some more/I'm begging you, baby, sweet baby/Oh, please don't go." That's basically it, and that's enough. It's more about the feel of the music, the sound, than its message, although each of us has had a moment when we've begged, or wanted to otherwise convince someone to stay with us. This is a fairly short song. It's followed by "Georgia Peaches," which quickly establishes a cool atmosphere, featuring some really nice touches on guitar. "When I first came down to the south," he begins this one, and there is a good rhythm to the vocal delivery, a large part of this track's appeal. "I love the girls from the south," he tells us. Oh yes. These days, the south has a terrible reputation, with the sense that that area is largely responsible for putting a convicted felon and rapist back into the White House. But this song reminds us of the better attributes. Who among us hasn't at one time or another fallen for a woman from Georgia? Well, there must be a reason for that, right?

"Take Your Time" begins with a good beat, and then almost immediately John Bigham sings, "Take your time, take your time/Get it right." It's a handy message, particularly in these days when everything feels rushed, when it seems that time is flying by. And especially when it comes to relationships, to love. "You know it ain't easy," he reminds us. This track has a great, classic Memphis vibe, and it features some good work on guitar. Then "Come And Get It" has a nice, relaxed, but very cool and smooth feel. There is a whole lot of soul to this track, a timeless kind of thing. "Baby, I'm just here for you/Oh, anything you want to do/Oh baby, come and get it/Come and get it." Ah, who could resist? There is certainly something sexy about this song, about its atmosphere. "I just want to make you smile/Can I hold you for a while?" And we know that holding her will make him smile too. There is an easygoing blues groove to "Been Gone Too Long." "Time keeps on creeping," John Bigham sings at the beginning of this one, but it feels that he has control of time here, and can bend it to his will, can tame it. This song has such a cool vibe. There is no rush here, no hurry. He can strut about at his own pace, and time itself will slow to let him do his thing. He delivers a sexy, captivating vocal performance. And, yes, there is some delicious work on guitar too. This track is one of my personal favorites.

John  Bigham then takes us down to New Orleans with "That Thang." There is always something so appealing about this sound, and we all love that city as a result, even those who've never been there. This is another song with lyrics that don't really matter all that much, are largely inconsequential. It's about the groove, the rhythm, and the feel of the vocals. "Everybody say oooh/Ooh, that thang, that thang/When you move it like that/It looks like trouble." Then at the beginning of "Right Now," he sings, "If there ever was a time to say that you love me, baby/It would be right now/Right now." Indeed. Why wait? Life is short. And love is what it's all about. "At a time like this/It's crucial." This is another delicious, cool number, dripping with soul.

"Don't you want to get closer, baby?" John asks at the beginning of "Get Closer." Now that you've told that person that you love her or him, it's time to get closer, to hold each other. This is a good slow dance, as the rest of the world slips away into shadow and meaninglessness. Sometimes the world is all about two people, and that's what this song is about. Then keep that special someone in your arms as "The First Time" plays, and everything will be right. "The first time I saw you/When you walked in/How could I forget you/You were all I could see/A vision in front of me." I remember that moment so clearly, the woman in sharp focus, the entire universe working to put her in a sort of magical spotlight. This track features a particularly good vocal performance. Then "Saving It All For You" is about those details, those things we all do, like cooking for that special someone. It's more about the day-to-day magic than about that initial wave of magic that knocks us off our feet. And the day-to-day stuff is where most of the action is, isn't it? Life is so good when you have that special person to share these moments with, and even better when you have this music playing.

CD Track List

1. Begging You Baby
2. Georgia Peaches
3. Take Your Time
4. Come And Get It
5. Been Gone Too Long
6. That Thang
7. Right Now
8. Get Closer
9. The First Time
10. Saving It All For You

Soul Salvation was released on October 10, 2025 on Yellow Dog Records.

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'