Minot: "Walls/People Pleaser" (2025) Record Review

Minot is a fairly new band based in Missoula, Montana, a trio made up of Flora Holland on guitar and vocals, Alex Molica (of KP & Me, Towner, The Brown Bottle Flu, Seattle Stomp) on guitar and vocals, and Noah MacKinnon on drums. These guys released their first album, And You're Not, in April of this year (that release is on cassette, though it is also available to download online). That album features some fun and cool original garage punk music, with some darker elements to certain tracks. They've now followed it with a single, this one released on vinyl, a seven-inch. This record was mixed and mastered by Hunter Jones.

The A-side song is "Walls," which was available to stream starting in early June. The song begins with a sort of frantic count in, and then kicks in to become an absolutely delicious number, with something of a classic vibe. "Flip a switch right there and it's light, light, light." It's so good to know bands are still delivering this sort of thing. This music will take you back, for sure, but is not immitative. It is familiar, and yet fresh. In the middle, there is a sudden break in the music. "Wish I could be happy." And then it begins to build again, and interestingly there is another frantic counting off. After that, the guitar takes over for a bit, a cool instrumental section. There is an ache, a sort of haunted aspect to the vocal delivery from Alex. "The walls are closing in on me, and I can't see the sun." 

The flip side is "People Pleaser," which was previously unreleased. This one is also counted in, but in French. It immediately sets itself apart from "Walls," having a sweeter vibe, sort of like a bit of the paisley underground scene meets the garage scene. Yeah, it's wonderful and catchy. There is something cheerful to the guitar work. This one features Flora on lead vocals, and she has her own great style, her own delivery (with maybe a bit of a Nico influence). "People pleaser, gonna squeeze ya/Make us love you, we're in charge of you." 

Record Track List

Side A

1. Walls

Side B

1. People Pleaser

Walls/People Pleaser was released on September 19, 2025, pressed on traditional black vinyl.

Fernando Perdomo: "Waves 9" (2025) CD Review

Fernando Perdomo is one of the busiest musicians and songwriters out there. If you've been reading my blog this year, you've come across his name many times, because he's involved in so many projects. One of those projects is his Waves series, in which he has been releasing an album of new material on the first of every month. Ten new songs, not only written by him, but on which he plays all the instruments. What's especially remarkable about this project is that all the material is excellent. In fact, the music seems to have gotten even better as the year has progressed. Waves 9 contains some fantastic and captivating tracks. The cover photo by Joe Galdo is also interesting, with the beach and sky close to the same color, the distinction between land and sky almost completely blurred if it weren't for the waves in the middle.

"Are You Out There?" has an interesting opening, with a haunting, contemplative, almost spiritual bent, a surprising way to kick off the album. And then the guitar begins to sing, reaching out to the skies. This piece grows in beauty, both of this earth and of some place beyond it, where hopes and memories meet. In a way, this music feels like the album's cover, where boundaries become hazy. Take your loved one's hand and step into the unknown, which either of you might recall. That's followed by "Possibly The First Progressive Rock Song Directly Influenced By The Village People." That's an incredibly playful title, which I appreciate. Of course, now I want to dig into the history of progressive rock and find out if any other songs were directly influenced by the Village People. That's just the kind of project I enjoy, but I probably shouldn't waste too much time doing that. For now, I'll just dig this track, which has a good, funky foundation. The guitar work has a strong late 1970s, early 1980s vibe, a rocking kind of thing. No, this isn't disco, for this track was influenced specifically by the album Renaissance, released in 1981 and a bit different from earlier records by the Village People (if you haven't heard it, check out "Food Fight" from that album, which is unlike anything else you've heard from the Village People). Anyway, Fernando is clearly having a good time here, having fun riffing over the groove.

Fernando Perdomo takes us into stranger territory with "Emotion Attains Physical Form," a track sounding like it was orchestrated by an immortal carnival barker who has some darker tendencies after all these years. Melancholy has seeped into his act. But the show still holds some intrigue for us all. I love the different elements, different voices to this piece, all part of the act. This is certainly an interesting ride, leading to a definite conclusion. That's followed by "Desolation Desperation." The guitar sings upon a hazy landscape, unsure who will be receiving its message, but needing to send it all the same, if only to retain its own sanity. We hear love in its notes, and need, desire. Sometimes the reaching out is enough. The air moves around the notes, allowing itself to be shaped by them, and so there is the sense that we can effect some change in our surroundings. The guitar work toward the end is particularly good, and we feel that someone will respond. Someone somewhere.

"Digital Raindrops" is an odd track, the sound fractured, hopeful but hesitant, with a desire to pull things together and reach some place of beauty, yet caught in a temperamental machine. Then we get a track titled "To Infinity." And yes, when I read that title, I heard "and beyond" in my head, and I don't even care all that much for animated films. Anyway, this track takes us into a strange space, the cosmos populated by creatures that sing like whales, a place where ancient knowledge has its own motions, its own coordinates, and where we could, if we desired, swim within that knowledge, despite the dangers. The guitar pushes forward, while also reaching back to us, to beckon us onward, reminding us we can persevere. And then it lets us go.

The guitar work at the beginning of "Rays Of Life" is like sparks of light in a deep blue ocean. Then a groove is found, and it is like suddenly everything around us is engaged in a pleasant dance. Everything feels good, feels right. The guitar work is what we focus on, but there is some delicious stuff on bass too. I just wish this track went on quite a bit longer. It seems to conclude prematurely. We are then in darker, uncertain territory with "Riptide." Nature is in control, but not in a hurry. Soon we become part of it, engaged in a section of an eternal dance as we are swept along by currents beyond our control. Yet there are plenty of spots to grab hold, if we have that need. The inclination, however, is to see where this will take us. And it seems to continue, even as the track fades out.

There is a delicate beauty as "Lady Lake" begins, magical and gentle. We feel safe in the arms of this music. Close our eyes and let go. A thousand hands will catch us, guide us, if we need them, but we find we can swim through air, breathe in water. What a great feeling. And then with the album's final track, "The Lighthouse," we are in another interesting space, where melancholy has beauty, where an old despair has things to teach us, and yet where worries disappear, evaporate under their own weight. The guitar leads us into a restful ease. Memories play at the edges, but cannot harm us. And the future seems to be a shared memory, something we agreed upon without desiring it. Hold onto each other before the end so that we can face it together.
 
CD Track List

1. Are You Out There?
2. Possibly The First Progressive Rock Song Directly Influenced By The Village People
3. Emotion Attains Physical Form
4. Desolation Desperation
5. Digital Raindrops
6. To Infinity
7. Rays Of Life
8. Riptide
9. Lady Lake
10. The Lighthouse

Waves 9 was released on September 1, 2025. By the way, the disc itself has a cool picture of Fernando.

Joselyn & Don: "Lost And Found Highway" (2025) CD Review

Joselyn & Don are a duo from Montana, now based in Los Angeles, creating music in the folk realm, with some strong blues and soul influences. Joselyn Wilkinson and Don Barrozo released their first album, Soar, in 2020, following it with the EP Seeds & Bones in 2022. Now they have a new full-length disc. Titled Lost And Found Highway, it features mostly original material. Joselyn is on lead vocals and ukulele, while Don plays guitar and provides harmony vocals. The musicians backing them include Bob Glaub on bass, Mauricio Lewak on drums and percussion, Greg Leisz on pedal steel, Tom Freund on upright bass, and Graham Richman on keyboards and synthesizer. These tracks also feature some talented guests, including Chris Pierce and Abby Posner.

The album opens with "Right On Through," which begins with some pretty guitar work and soon some gorgeous vocal work. Cristina Vane joins the duo on harmony vocals, adding another beautiful layer. This song takes us to an event in 1989, a train accident in Montana. "That sound was so loud, it shook the whole town/The end of the world coming true/When that winter wind comes, there's nowhere to run/She'll do what she's gonna do." These lines also stand out: "When that wind of change comes, she don't let you run/Until she's done breaking your heart." Greg Leisz provides some really nice work on pedal steel, helping to create the song's compelling and appealing atmosphere. Daniel Kleederman joins them on electric guitar. Then at the beginning of "Golden Hill," Joselyn sings, "I need a town with mystery/Aging ways that speak to me/Stories in bricks that I can read." I think all towns can hold some mystery, but I understand the allure of a place with history as well as mystery. And there is something appealing about a brick structure, something that draws me back east. Then she asks, "How could that be anywhere but Golden Hill?" At a time when I'm wondering if I'll be able to stay in Los Angeles, and considering what elements would be important to me when choosing another home, this song grabs me. This song features a string section, adding to its warmth. Mica Nafshun-Bone is on violin, Kate Brown is on violin, Jason Polychronakos is on viola, and Judah Groveman is on cello. And just when I'm thinking I could be happy elsewhere, in the next song, Joselyn sings, "But I know I've got to get back to L.A.," and I think about all the wonderful benefits of living in this city. The "doo-doo" vocal part reminds me just a bit of The Kinks' "Waterloo Sunset."

Chris Pierce joins them on "Choose Love," not only adding his great voice to this track, but also playing harmonica. I love the whole vibe of this song, a song ready to sink its fangs into any obstacle. There is something of the blues here, and certainly some darker elements, yet it's a song about choosing love, something that is more and more of a challenge these days. And there is a great, positive energy to this song. Bridget Graham provides some backing vocal work to this one. That's followed by the album's only cover, "Seminole Wind," a song that Jon Langford and Sally Timms sometimes cover. It was written by John Anderson. These guys deliver a good rendition, featuring some wonderful work by Mica Mafshun-Bone on fiddle. Liz Irons provides backing vocals here.

It's interesting to me how many songs take place at 4 a.m., certainly more than any other time. It's a time of darkness, a time just before the new day begins, the last hour when you might still be able to hold onto the previous day. And on this album, Joselyn and Don give us a song titled "4 AM." "Four AM feels like a drug/Waking me up with everything that I'm scared of." Those are some good opening lines. For months, I had a strange, recurring nightmare about a spider (I'm not even afraid of spiders, but the dream was strange for other reasons), and it would wake me at exactly 4 a.m. each night. "The world keeps on spinning no matter how you fret/So hush-a-bye, my dear, the night ain't over yet." There is an interesting beauty to this song, particularly in Joselyn's vocal performance. That's followed by "What Are We Doing Here." "But she's got dreams and a guitar, gonna take 'em on the road/'Cause nothing in this whole wide world can settle a restless soul." These lines speak to us, no matter what our specific dreams might be. This is a song for all of us who've asked ourselves, "What are we doing here?" Greg Leisz delivers strong work on pedal steel.

"Workin' The Hi-Line" is a song about an immigrant, sung from that person's perspective, not taking place in our current, ugly times, but rather in the early nineteen hundreds. It's about settling in, working, and making this country one's own. "This country is my home now and this is where I'll die/Under the big Montana sky." I wonder how immigrants feel these days. It seems that others make it impossible for them to embrace this country as their own, which is so sad. This track features some good work on guitar. That's followed by the album's title track, "Lost & Found Highway," which begins with these lines: "Somewhere on these roads I could lose myself a little/Somewhere on these roads I'll make it right/I could drive right through the night if I keep it in the middle/Chasing down a peace I'll never find." There is usually something quite appealing about being on the road in song, but here it is questionable. It could go either way. And while traveling is appealing, so is going home. "I guess I'm always leaving 'cause it's easier to do/I never stick around to do the hard work/To see it through." And she asks, "How does it feel to know your place?" Joselyn and Don wrap up the album with "Rock And Roll Heart," an original song, not to be confused with the Eric Clapton number, and featuring Abby Posner on harmony vocals and guitar. The song's first stanza stands out to me: "I heard it on the news this morning/Another legend passed away/And I was struck with the memory/Of the last time I ever saw him play/So I put those records on, I'm wrapped up in a song/In my mind he's never truly gone." The year 2016 was the worst in that regard; it seemed every day we lost an important musician (including Leonard Cohen, Leon Russell, David Bowie, Merle Haggard, Paul Kantner, Guy Clark). But since then, so many more have been taken from us. This song is needed for all of us who find ourselves missing certain artists who have been important in our lives. "From Amy to Zevon, from Aretha to the Ramones/I just need to hear that first note, and I feel like I'm coming home." The music lives on.

CD Track List

1. Right On Through
2. Golden Hill
3. Girl From The Mountain
4. Choose Love
5. Seminole Wind
6. Four AM
7. What Are We Doing Here
8. Workin' The Hi-Line
9. Lost & Found Highway
10. Rock And Roll Heart

Lost And Found Highway was released on October 3, 2025 on Paintbrush Records.

Karney: "One True Song" (2025) CD Review

Anna Karney is a singer and songwriter based in San Francisco, creating music that is generally in the rock realm, sometimes drawing on folk influences as well. She released her first album in 1999, and has followed it with several other albums, EPs and singles. Her new album, One True Song, features original material, more in the folk realm than some earlier releases. Anna Karney plays electric guitar, acoustic guitar, piano and keyboards on this album. She is joined by James Deprato on electric guitar and acoustic guitar, Kevin T. White on bass, Uriah Duffy on bass, Kyle Caprista on drums and percussion, and Phil Bennet on organ and keyboards, along with a few guests on certain tracks.

One True Song opens with its title track, which has kind of a sweet, pretty sound, while Anna's voice has a glorious rock edge. "From the cold, hard city streets/To the houses where all good people meet/I won't do wrong/With my one true song/Come on, come on now, sing along." And when she sings the line about love, the song has the feel of an anthem. It is easy to picture an audience singing along. Love is what it's all about, this whole experiment we're a part of. "We will all come out together for love, love, love." And it is love that also will be the engine. It has to be. Politics have completely failed us. This track also features some really nice guitar work. "I gave my guitar away/To someone on the street," Anna tells us at the beginning of the next track, "Gave My Guitar Away." "Try to brighten  up somebody's day." There is a wonderful rock energy to her vocal performance, with hints of blues. It's a song of connecting with others through an act of kindness, but also through music. And of course that's what this song does too. It can connect us, unite us. This track features some good stuff on electric guitar. Erik Smyth joins the band on guitar on this one. Toward the end, Anna addresses us directly, passing the music to us, the ability to make music. No passive audience, us. Imagine if everyone had a musical instrument. Wouldn't it be great if people focused on music rather than politics or religion or whatever. "Just think of all the good things to be done."

"Suspended" eases in beautifully, creating an appealing atmosphere. "Soft breezes/Upon my face/Whisper through the trees/And through the spaces/Through the spaces." The song itself seems to move through the trees, to come like a wind to our ears. This is a beautiful song, one of my personal favorites. I love it more each time I hear it. There is a bit of Chrissie Hynde vibe to Anna Karney's voice at times. "Suspended/For a moment in time/For a moment in time/Where there is peace and quiet/Where there is peace/And quiet." That's followed by "Freedom Summer." "This is a story of heroes/Andrew, Michael and James," Anna sings at the beginning. It's a song of the fight for civil rights and the folks who were killed in Mississippi in 1964 - Andrew Goodman, Michael Schwerner and James Chaney. "That was the end of the road/The end of the road." I wish those crimes were firmly in our past, but look where our country is now, fully embracing racism and fascism, with half the population under the thrall of a bigot, a convicted felon, a rapist, a creep who was sued for not allowing black tenants in his buildings. Anthony Blea joins the group on violin, delivering some especially moving work, adding a lot to this powerful track. "Remember their names/Andrew, Michael and James."

"Out Of Body 2025" opens with some wonderful guitar work, then kicks in with an unexpected force. "Put the makeup on my face/And I disappear without a trace." This track features some great percussion and a harder edge. Faisal Zedan plays derbekki drum, Arabic riqq and frame drum on this track. It's an exciting and wild ride, another of the disc's highlights, with vocals that seem to surround us. It's an outstanding and astounding vocal performance. "I am someone I don't know." There is excellent stuff on guitar too. Faisal Zedan also contributes some superb work on percussion to "Eos," a song about the Greek goddess of the dawn. I love the way Anna delivers the title line, like she is able to summon the heavens, invoke the spirits, and move with them through the trees to us. "She wakes us to the dawn of possibility."

Interestingly, the album concludes with acoustic versions of three tracks, starting with "Gave My Guitar Away." There is a bit of a Kelly Zirbes sound to her delivery, particularly in those first few lines. Though this is the acoustic version, that great lead on electric guitar is still present. "Let your inner child come shining through." Then we get "Freedom Summer." That incredible work on violin stands out even more here. I love that percussion too, which has its own power. By the way, this song mentions how several people involved in the crime were able to walk away, not facing any consequences. That is true today too, for the most part, especially when a convicted felon not only avoids prison, but becomes the president. Sick. There is no justice in this country. The album ends where it began, with "One True Song." It's a beautiful way to wrap things up, concluding on a positive, hopeful, even empowering note.

CD Track List

1. One True Song
2. Gave My Guitar Away
3. Suspended
4. Freedom Summer
5. Out Of Body 2025
6. Eos
7. Gave My Guitar Away (Acoustic Version)
8. Freedom Summer (Acoustic Version)
9. One True Song (Acoustic Version)

One True Song was released on July 18, 2025.

Jim Patton & Sherry Brokus: "Two True Loves" (2025) CD Review

Jim Patton & Sherry Brokus are an Austin-based duo known for crafting meaningful and engaging songs in the folk-rock realm. On their new album, Two True Loves, they deliver some excellent new material and also re-work a few older songs, songs from the 1980s. All tracks were written or co-written by Jim Patton. Backing the duo on these tracks are Ron Flynt on bass, keyboards, acoustic guitar and backing vocals; Scrappy Jud Newcomb on lead guitar; John Chipman on drums; and BettySoo on backing vocals. 

This disc gets off to a good start with "I Want It All." You might think solely from that title that this song is about a particularly selfish person, but that is not the case at all, for the things this person wants are things everyone should have. "I want a job that I care about/A club nearby where we can twist and shout/And a few good songs on the radio/And someone to hold me when I feel alone." What's particularly brilliant about these lyrics is the effect they then have on the song's main line, a line you've likely heard said throughout your life, "They tell me that you can't have everything." In the past the "they" in a sentence like this is essentially everyone, and so there is no judgment made, but here the "they" of the line becomes a sort of adversary, someone positioned above, in an oppressive sort of context. "Every step up the ladder, they care about you less/And less/And less." I love that delivery, for each "And less" feels like another step downward. That's followed by the album's title track, "Two True Loves." There is a great 1960s feel to the guitar work from the beginning, part of what makes the song so appealing. But part of it is the song's theme. Most of us have at least two things we are passionate about, two true loves, often a person and an artistic endeavor. I certainly wouldn't want to be without my girlfriend, but I also couldn't exist very well without music. "You said, 'Why don't you love me like you love your rock and roll?'" The song is also about how we have things to prove, maybe to others, the world, but mainly to ourselves, and while time is slipping by, we have to make the time for both our passions.

Jim Patton and Sherry Brokus slow things down then with "Nothing At All," a song that is more contemplative. A song of reflection, with an air of melancholy. Check out these lines, which open the track: "Everybody I know has been saying they just can't take this pain/They're looking through their past for a place to hide." I love that idea of hiding in their past, or rather wanting to hide in the past. It seems these days that a lot of folks would like to reside in some place in the past, a spot they can't quite locate. This song is full of excellent lyrics, such as this line: "You know that life's so different from your dreams." I can feel that line like a blade pressing against my side. This track is one of my personal favorites. The energy increases again with "Annabelle Lee," though there is some reflection here too. "But everybody knew what I was looking for/Because they were all looking too." Oh yes, we all desire some of the same things, something that is often forgotten these days. He tells a girl she reminds him of someone he used to know. Isn't it interesting how the past keeps poking its head into the present? "She must have thought I was going to be a star/She latched onto me like an unemployment check/And we walked outside this bar."

"Everybody's angry, saying things I can't forgive/I have a wife who loves me, responsibilities/But I still have these dreams exploding deep inside of me/You'd better leave me alone/Can't you see that I don't want to talk about it anymore." In those lines of "Leave Me Alone," they are revisiting that theme of a person's dreams not being fulfilled. But there is still hope. We can hear it in the guitar work. And as the line "Leave me alone" is repeated toward the end, Jim adds, "Don't want to be like you" and then "And I'm not going to," defiantly, determinedly. That's followed by "Laurence Beall," about a musician and friend who had dreams of his own. There is the question of whether those dreams have been realized, a recurring idea on this album, and one that will speak strongly to a lot of folks.

"Why Did You Leave Me For Him?" is a country number, with a subject perfect for the country realm. Heck, even that title seems to cry country. It's difficult to keep from dwelling on such questions, such matters, because it's all about your view of yourself, how you measure up, how you are perceived. "Was he your one true love, or was it just a whim/Did you drink too much, did you think too little/Did he play your heart like a Cajun fiddle/Oh, baby, why did you leave me for him?" This one was written by Jim Patton and Steve Brooks. It contains some really nice work on guitar. "That Cup Of Coffee We Never Had," also written by Jim Patton and Steve Books, has a sweeter vibe. "When I think of you I think of all those poems/Written just for you in my room alone/I was seventeen, watching from afar/Like I was your planet, and you were my star." This song looks back to youth and to missed opportunities. We all have those lost chances, when our lives might have changed. But, as mentioned here, it's impossible to know whether the changes would have been better or worse than what we got.

There is a bit of a 1960s flavor to "She Doesn't Want To See You Anymore." Here are the song's opening lines: "Somehow she didn't fit your dream/Some scenes did not ring true/You took her love for granted/That's an easy thing to do." There is a sadness to this one, heard mainly in the vocal performance. "Nothing ever hurts you like the slamming of a door/When she doesn't want to see you/She says she doesn't want to see you/No, she doesn't want to see you anymore." This one was written by Jim Patton and Mookie Siegel. It's followed by "Caught In The Headlights," which has a harder edge. There is a bit of a Tom Petty flavor. "A future once so bright/Flashed before our eyes/We were caught/Caught in the headlights." It's a song about greed. The line "What's in it for me?" is echoed. This song was written by Jim Patton and Steve Brooks. Then "Local Yokels" is a kind of playful song, playful even in just the use of the word "yokel" and that interior rhyme in the title. Here are a couple of lines that stand out: "They look at life as a conspiracy/The world is flat as far as they can see." It's crazy, but some people really believe the earth is flat. People that stupid should not be allowed to vote or operate motor vehicles. "Local yokels everywhere I go/Local yokels think they're in the know." And that's it: local yokels are everywhere, and they shun education and information because they're convinced they already know everything. Somehow these imbeciles took control of this country. It's frightening. This is another of my personal favorites.

"What If You're Fooling Me Now" is a softer number. "You tell me you're sorry, you made a mistake/You swear it won't happen again/Wish you could turn back that part of the past, or at least try to pretend/You sound so sincere when you tell me we'll make it somehow/But I look in your eyes and I can't help but think, what if you're fooling me now." Wow, those are really good opening lines, and delivered with the right amount of ache. And soon he sings, "You swear forever, the rest of your life/Just like when you told me, 'I do.'" Ouch. That is wonderfully harsh. I love the way the lyrics grab us. This is another of the disc's highlights. It was written by Jim Patton and Rob Lytle. It's followed by "Hard Times," one of the songs from the 1980s. Of course, hard times persist, and the song still feels timely. Things are bad out there, as they always will be when people elect Republicans (now known as the Fascist Party) to lead the nation. There is a bluesy edge to this song, which is fitting, and the track contains some excellent vocal work, as well as some cool stuff on guitar. "Everybody's asking, 'Which way to the top'/Somebody always wants what somebody else has got/Some guy is dressed up in red, white and blue/He's lying to me, who's lying to you too." This one was written by Jim Patton and Lew Morris. The album concludes with "One More Song," a song about musicians, about playing various smaller venues, again touching on that theme of dreams not yet realized, Jim's vocals supported by keyboard. "Something inside that never quite died/And he's always got one more song."

CD Track List

1. I Want It All
2. Two True Loves
3. Nothing At All
4. Annabelle Lee
5. Leave Me Alone
6. Laurence Beall
7. Why Did You Leave Me For Him?
8. That Cup Of Coffee We Never Had
9. She Doesn't Want To See You Anymore
10. Caught In The Headlights
11. Local Yokels
12. What If You're Fooling Me Now
13. Hard Times
14. One More Song

Two True Loves was released on September 12, 2025 on Berkalin Records. 

Saint Pierre's Album Release Party At The Trip, 10-18-25: Photos

Saint Pierre celebrated the release of Luck And Gravity last night at The Trip in Santa Monica. The album came out on Friday, the band's first full-length disc of original material, and it played over the venue's sound system as folks were coming in. There was a good energy in the room, the kind of joy and excitement you hope will be there for a record release party. At 8:03 p.m., the band took the stage. Saint Pierre is the husband-and-wife duo of Danny and Julia St. Pierre, and they had a fantastic band backing them, which included Ed Tree on guitar (Ed Tree produced the album), Severo Jornacion on bass, and Rusty Squeezebox (David Ramsey) on drums. Danny didn't wait until the end of the set to introduce those guys, but rather introduced them before even the first song. The band played the album in order, and there was a great energy right from the first song, "Wish You'd Said." Julia and Danny offered some insights into each of the numbers, including how "Luck And Gravity," the title track, might have originally been "Luck And Chemistry," but that title didn't sound as good. Introducing "You Steady Me," Julia said, "This is the first song we recorded for the record." It is one of my personal favorites, and if you haven't yet heard it, I recommend checking it out. The album concludes with a Tom Petty song, "Keeping Me Alive," which Danny mentioned was in a documentary in the 1980s. Julia and Danny are in a Tom Petty tribute band called Petty Theft, and after playing all the songs on the new album, they concluded the set with a few more Tom Petty songs: "You Wreck Me," "Mary Jane's Last Dance" and "I Won't Back Down," the last song going out to everyone who was at the No Kings rally, and one that had a lot of folks dancing.

Here are some photos from the show:

The Trip is located at 2101 Lincoln Blvd. in Santa Monica, California.

Bruce Gertz Quintet: "Octopus Dreams" (2025) CD Review

Bruce Gertz is a bass player and composer with an impressive resume that not only includes work as a bandleader and performances with such artists as Dave Brubeck and Larry Coryell, but also as an author of several books and a contributing editor of Bass World, a magazine for bass players. His new album, Octopus Dreams, features all original material. The Bruce Gertz Quintet is made up of Bruce Gertz on double bass, Phil Grenadier on trumpet and flugelhorn, Rick DiMuzio on tenor saxophone, Gilson Schachnik on piano, and Gary Fieldman on drums.

The album opens with "Power Walk," which has a strangely unsettling sound or tone, keeping us from immediately settling into it but also keeping us intrigued. It is the bass lead that gives us a greater access point, and that comes along fairly soon, approximately a minute in. Bruce delivers some really cool work here, and that bass lead is what gets me loving this track. Phil Grenadier then takes over, and there is a joy, an excitement to his work. That is in turn followed by a saxophone lead by Rick DiMuzio, over a good groove that may get you tapping your feet. There is some warmth to the saxophone lead. The track returns to that somewhat dissonant sound before the end. "Power Walk" is followed by the album's title track, "Octopus Dreams." I've always found octopuses to be fascinating creatures, and the album's title and cover are part of what initially drew me to this release. This track creates an interesting mood. Phil Grenadier's flugelhorn playing has something of a fluid feel, gliding and moving over the rhythm, and I can imagine an octopus dancing, its partner the water itself, the motion of the sea determining the direction of the dance. This track also features some wonderful work by Gilson Schachnik on piano. There is a lively aspect to it at times, the energy seeming to build, and then suddenly relaxing as Bruce Gertz steps forward on bass. There is an almost magical sense to that lead on bass, taking us through an unfamiliar but beautiful underwater realm. 

The ocean remains in our thoughts then as "Sea Worthy" begins, and it feels we are casting off, setting off on a possible adventure in that opening section. There is nothing ominous about it, but rather there is a joyful sort of excitement. And less than a minute in, Bruce takes a lead spot on bass, captaining the ship and keeping things moving. Rick then takes over with his saxophone, and it is then that we begin to feel we are dancing on the waves, Gary Fieldman's drumming giving us a sense of waves splashing against the boat. Phil then raises things a notch or two during his lead. None of this track's leads is all that long. There is a special energy to Gilson's lead on piano, driving things forward for a time, before then pulling back, once again relaxing. Toward the end the drums emerge, the first drum solo of the album, and interestingly the track ends with that solo. Then "Mr. Z" takes us into mellower, soothing, contemplative territory, yet with a lightness at times, particularly in Phil's work, which is wonderful. There is a touch of the magical realm in Gilson's lead on piano, particularly at the start, pushing back the veils. Rick's lead then dances upon the flowers, upon the air, and Bruce takes us into the evening with his brief lead.

The quintet changes gears then with "I'm Busy," which has a livelier, more cheerful sense to it. There is a sense of motion, of action, though not necessarily haste. Rather the rhythm speaks of a population with things to do. The drumming maintains that feeling, even as the saxophone digs in and seems eager to push on to another level. The horn then rises, ready to lead us to some special place of its own creation, and we have no doubts that it is able to do so. The piano, as its lead emerges, is dancing, which is delightful, and that instrument still has things to say when Bruce takes his spot leading on bass. His is a short lead, and soon we are treated to a drum solo, broken into short sections. Everything comes together at the end, a warm dance. That's followed by "Redacted," which has quite a welcoming opening moment, perhaps surprising for a piece with that title. I suppose I'm not alone in thinking of subterfuge and dishonesty when reading that word, or at least a lack of openness. But this music doesn't feel that it is hiding anything. In fact, there seems to be an eagerness to share, especially heard in Phil's work. That's followed by "Opening," the album's final track. I appreciate the album closing with a track titled "Opening." What is it they say, one door opens as another closes? There is a sweet vibe to this piece, leaving us feeling good. What more can we ask?

CD Track List

1. Power Walk
2. Octopus Dreams
3. Sea Worthy
4. Mr. Z
5. I'm Busy
6. Redacted
7. Opening

Octopus Dreams was released on August 15, 2025.