A Wonderful Afternoon Of Music At Music Garden L.A., 1-10-26

Los Angeles has all sorts of cool little music venues, and one I had not really known about until yesterday is Music Garden L.A., an intimate outdoor spot in Highland Park, located right next to the Highland Park Brewery. Highland Park has certainly changed a lot since I first started seeing music in that neighborhood back in 2002, and I was so happy to learn that there are still cool, loose spots like this, where it is all about the music. The lineup yesterday was something special: Mini Mendez & Tom Dunne, The Smokey Lonesome, and Kenny Jamison & The Somethin' Like Thats. The venue actually has two small stages, the second of which functions (or at least it did yesterday) as a spot for the other bands to set up some equipment while one band is performing on the main stage. There are several tables and chairs, but no bathrooms or anything (you can use the bathroom at the brewery next door, and while there, check out the Good Night L.A. black IPA, it's delicious). All the artists remarked on what a beautiful day it was. Hey, where else can you catch an outdoor show in January?

Mini Mendez & Tom Dunne

Mini Mendez & Tom Dunne were up first, taking the stage just after 3 p.m. I had seen The Glimmer Stars a few times, but had never seen Mini Mendez in this context before. Never seen him on acoustic guitar instead of electric bass, never seen him seated instead of running around on stage. Hell, I'd never seen him in daylight before. He opened the set with "Friday Night I'm Wearing Blue," and right away I was struck by the fact that he still had that terrific energy to his vocal performance, even with an acoustic guitar on. After his second song, he asked if his voice was loud, saying it felt loud to him. Well, yeah, you bet! He did a song called "I'll Be Paul," in which he sang, "I'll be Paul, you'll be John," and that led straight into a bit of "Ticket To Ride." Later in the set he added a bit of "Da Doo Ron Ron" to the end of a song. And actually he and Tom ended the set with the Glimmer Stars song "Nice" leading straight into a bit of Big Star's "In The Street." The set also included "December" and "Paulina." After "Paulina," Mini joked, "I was going to do a bass solo, but I have a guitar on me." The set ended at 3:32 p.m.

The Smokey Lonesome

The Smokey Lonesome was up next. This is a band that I had tried to see twice before (after reviewing the 2024 EP Desert Run), and was excited to finally get to see perform. The band is the duo of Dave Porter and Natalie Fratino, with Dave on electric guitar and Natalie on acoustic standup bass. After their first song, Natalie asked how the balance was. The answer coming from someone in the crowd was "More bass," to which Natalie replied that was what she liked to hear. You might not expect this duo to rock, and you'd be happily surprised. Particularly on a song like "AC Breakdown," in which Dave sings, "No air conditioning, nothing on there to crank up" while they themselves were cranking up the energy. Dave was tearing into those vocals. They dedicated a song about how cannabis is legal in California to Gloria (of The Firkins, and also a member of The Somethin' Like Thats). It was a fun song, and suddenly all I could smell was pot, though I didn't see anyone smoking. Go figure. Natalie then sang lead on a cool rendition of "Besame Mucho." They also covered Tom Petty's "Ways To Be Wicked." One of the most fun numbers of the set was "Paulito's Old Lady." At times, Dave's vocal approach reminded me of some of Chris Chandler's early work. They followed that with "The Smokey Lonesome," which Dave introduced as their theme song, and which, yes, puts them in that category of bands who have a song that shares their name (along with Bad Company, I See Hawks In L.A. and They Might Be Giants, among many others). That song had a line about rays of the falling sun, and at that moment we were reaching the golden hour. They wrapped up the set with the title track from Desert Run. The set ended at 4:40 p.m.

Kenny Jamison & The Somethin' Like Thats

Kenny Jamison & The Somethin' Like Thats then took the stage. "We're gonna have a little fun," Kenny told the crowd before starting the first song. The band included Gloria Delgado and Sophia Delgado of The Firkins on bass and lap steel respectively, as well as John Harris on drums, an excellent group of musicians. And right away it was clear that one thing all three bands on the bill had in common was high-energy vocals. This was country with a bit of punk in there. You know? The song "Widow's Waltz" featured some really pretty work on lap steel. And after that song, Kenny joked "Something like that." Sophia Delgado then switched to electric guitar for the next song, a fun number with a delicious energy. Afterward Kenny again joked, "Something like that," a running gag with the band's name. I love when artists riff on those standard band comments. I remember another artist at one point introducing a song by saying, "It goes exactly like this," playing on the oft-heard, "It goes something like this." They followed that with a song I assume is titled "Smooth Motherfucker," a song that featured some great stuff on lap steel and cool work on bass. "John Harris is the smooth motherfucker of the band," Kenny said afterward. "Life's A Hangover" was another delightfully playful number, even the false start kind of fitting in with the vibe. They then ended on a softer, prettier note, "The Girl Who Stole My Heart." "Thank you very much for staying out this late," Kenny joked at the end. It was 5:34 p.m.

"Sing Me Back Home"

James, the guy who runs the venue, then got on stage and played a little of Merle Haggard's "Sing Me Back Home" with The Somethin' Like Thats backing him. That was a great song to hear in that moment because I had just learned that Bob Weir had died. "Sing Me Back Home" is a song that the Grateful Dead played several times in the early 1970s, though it was Jerry that sang lead on it, not Bob. A wonderful afternoon of music turned much sadder with the news of the end of a wild journey.

Bob Weir (1947 - 2026)

Bob Weir is gone. The last voice of the Grateful Dead. It's times like these that I wish there were something after this life. I suppose there is a slight chance that there is. No one knows for sure. Anyway, his music has played, and will continue to play, an enormously important role in my life. It was Bob's voice that I heard first. I was six or seven years old, and "I Need A Miracle" came on the radio on the school bus. I didn't know then that it was the Grateful Dead, that this was the first Grateful Dead song I was hearing. I just liked the song, that's all. And it stayed with me. Then when I was ten, my older cousin got "Skeletons From The Closet" for Christmas (or was it his birthday?), and put it on. And I was shocked to hear what I took as country music (based on the album cover, I was expecting something harder). Soon after that I was begging my parents to be allowed to go see the band. They kept saying No. Finally, when I was fifteen I stopped asking and just went ahead and bought a ticket. Exactly one month after I turned sixteen, I saw the Grateful Dead in concert for the first time. And everything changed. In the first set, the band played "Feel Like A Stranger," with Bob singing, "It's going to be long, long, crazy, crazy night." Indeed. And many more of those nights followed. I feel bad for anyone who missed out on this experience. I think they missed seeing several different colors that the rest of us saw. They missed the magic. So, while I am seriously fucking sad right now, I know how fortunate I am to have seen the Grateful Dead (and, in recent years, Dead & Company and Bob Weir & Wolf Bros.) in concert. Let there be songs to fill the air.

Dave Rudolf: "We'll Find Our Own Way" (2025) CD Review

Sometimes an album title just seems to perfectly sum up our feelings or perspective on the world. Such is the case with Dave Rudolf's new release, We'll Find Our Own Way. That feels right, doesn't it? Certainly, the powers that be are not going to offer any help, any light, any suggestions worth listening to. We have to find our own way, and we will. And we can imagine ourselves as Indiana Jones-type characters, as the album's artwork suggests, heroes of our own stories. In addition to the way Dave Rudolf's name is presented on the front, there is an old map and biplane pictured on the back, and on the inside the man is depicted holding a coiled whip. Indiana Jones is known for battling Nazis, so we could certainly use him today in this country. The album contains mostly original material, songs to aid us on this crazy and sometimes beautiful journey. Joining Dave Rudolf on this one are Jim Widlowski on drums, Felton Offard on guitar, Jack Whittle on guitar, Al Joseph on violin, Gary Victorine on pedal steel, Thomas Linsk on keyboards, Dan Lemmon on keyboards and organ, Wally Hustin on bass, Michael Hesiak on saxophone, Tim Bales on trumpet and trombone, and Harry Garner on harmonica.

The album opens with its title track, which has a cool, easygoing folk vibe and features some really nice work on guitar. The song is about how someone else's plan is handed to us, how we're expected to adopt the beliefs of those who came before us. "Don't raise your voice, don't ever shout/They told us who to hate and fear/As they whispered tales into our ears/But it never really did ring true." There are paths laid out for us by other people. But, really, what do those people know? No one has the answers, and we're all just trying to figure things out for ourselves. This song is about forging our own paths, and the song celebrates the journey. There is a funkier, livelier energy to "I Think I'm In Trouble," a song in which Dave Rudolf tells us, "She's so alluring, I think I'm in trouble now." Oh yes, that is the kind of trouble we don't necessarily mind having. There is a great vibe to this track, which features some appealing backing vocal work and some good stuff on keys. "Trouble never looked this good, it never moved this way."

All but one of the album's tracks were written by Dave Rudolf. The album's sole cover is Townes Van Zandt's "If I Needed You." Such a beautiful song, and Dave Rudolf does a great job with it. I am lucky enough to have gotten to see Townes Van Zandt perform at a small club in the 1990s, just a couple of years before he died. "And if you needed me, I would come to you/I would swim the seas for to ease your pain." We all need someone to ease our pain, don't we? May we each have that person we need. This rendition is a gorgeous duet, and features some touching work on violin. It's followed by "Excuses," a cool number featuring some good work on guitar, the song having something of a Santana vibe. "You're always looking for someone to blame," Dave sings in this one, which certainly speaks strongly to our times. Excuses are a way of life for many people these days. No one is willing to admit a fault, no one is willing to accept any blame. "Your word doesn't mean much anyhow."

Dave Rudolf changes gears then with "What You See Is What You Get," not only in the song's sound, but the idea, for here he sings, "I'm exactly like what I appear/And my meaning's always clear." Isn't that refreshing? And he admits, "I've got my flaws, I've had mishaps." And there is a joy to this one, to the vocal delivery, and to the music. And what a great choice placing this song directly after "Excuses." "So if you're searching for something that's real/Take my hand, and you know the deal." I imagine that many people are searching for something that's real, yearning for truth, for honesty, for someone they can count on. It's not yet impossible to find. Dave then enters bluesier territory with "It's Suspicious." Here he mentions excuses again: "Your excuses never seem to reconcile." While "What You See Is What You Get" is about complete trustworthiness, this one is about the opposite: "You've got secrets locked behind that door/I'm not going to ignore it anymore/It's suspicious." And the line "I'm getting real tired of your constant lies" applies to a great number of people. Isn't it interesting how any line about dishonesty immediately makes us think of the government these days? I'm looking forward to the day when that will no longer be the case, assuming that day will come.

"Sunny Side Up" is a totally fun number about things being tough, but people having the drive to keep going and to somehow remain cheerful. "Troubles gonna be there no matter what you do/So you'd better face them with a good attitude." Indeed. And the backing vocals echo, "A good attitude." Life is difficult. There is strife, there is loss, there is pain. But there is also good stuff, and that's the stuff to focus on. Good stuff, like this music. "Got a wife I love and some good kids too/That's a whole lot of riches in my point of view/Gonna keep on living with the sunny side up." This is one of my personal favorite tracks. It is followed by "When The World Made Sense." "I go to work, I do my chores/But it doesn't mean much anymore," Dave sings early in this one. I think most of us are in touch with that feeling, even if we haven't suffered a great loss. "When will the world start to make some sense again?" I don't really expect that day to arrive. There is a beautiful ache to this song. This is another of my favorites.

"In My Hometown" is song that looks back to a time when perhaps things did make sense. "We'd ride our bikes through the neighborhood/When life was simple, life was good/In my hometowhn." I've been thinking about the town where I was born lately. I was there in October, and found some positive changes, which surprised me. There is a weekly crafts fair now, with live music. There were also some negative changes. Most of the places where my friends and I played are gone. Entire streets with huge houses are now where the woods once were. I tried to not meet those changes with sadness, but failed. This is a beautiful song, featuring some wonderful work on guitar. The energy is high again for "I Ain't Buying What You're Selling" (which is misprinted on the CD case as "I Ain't Buying What Your Selling"). "Your lies are not compelling/I ain't buying what you're selling." What is endlessly depressing and infuriating is how many people did buy and continue to buy what that rapist in the White House is selling. How did this nation get so low? This song mentions those television preachers who raise money to buy private jets. I used to wonder how people could be so easily duped by them, but now I've come to the conclusion that half of this country is made up of total morons, people who are utterly incapable of distinguishing truth from lies.

The mood turns a bit darker, more somber and contemplative on "Frost On The Pane," a song featuring a moving vocal performance. "While twilight crawls across the room/Every shadow knows your name/Carved in frost on the frozen pane." This is a captivating song, leaving us with this thought: "Only memories remain." Then the horns and that funky bass line of "That's What They All Say" tell us it's time to get off our seats. This lively number contains some delicious stuff on keys too. It's a track to get us smiling. And toward the end, there is a cool lead on saxophone. The mood shifts again with "Across The Western Plains," which features some pretty work on strings and warm work on piano, as well as an engaging vocal performance. "We paid in blood and shed our tears/For this patch of earth through desperate years/We plant our hopes in this brand new land/With hardened hearts and a trembling hand."

We can always use a good love song, right? I think love songs are perhaps more necessary now than usual. Dave Rudolf offers us "Loving You Any Way I Can," a song of declaration of love. "Well, I'll be there in your darkest hours/I'll be there when you need a friend/I'm the kind of guy you want to lean on/I'm the one on whom you can depend." We all need a person who will be there for us, and when we don't have that, music like this is there for us. "And I'll be the one who lifts your spirits/I'm the one who comforts you when you're afraid/I'll love you in the good and bad times/And we'll make it through the darkest nights." That's followed by "The Wind On Clonmore Hill," which features some beautiful, moving work on strings right from the beginning. This track has a timeless vibe. "May you be blessed by hands above, and give mercy to those below." Dave Rudolf then gets into country territory with "Meet Me Halfway," a song with a positive, kind of uplifting sound. "I walked through the thunder/And I danced on through the rain." This is another of the disc's highlights. "We've been through too much to surrender the fight/We've been through the dark, now let's enter the light/All I ask is for you to meet me halfway." The album ends on a cheerful note with "See You Later." "Now don't get upset/But I can't stay that long/It's not about you/So don't you take it wrong." Yes, it's a song of goodbyes, but delivered with a good bit of pep, and featuring some really good stuff on guitar.

CD Track List

1. We'll Find Our Own Way
2. I Think I'm In Trouble
3. If I Needed You
4. Excuses
5. What You See Is What You Get
6. It's Suspicious
7. Sunny Side Up
8. When The World Made Sense
9. In My Hometown
10. I Ain't Buying What You're Selling
11. Frost On The Pane
12. That's What They All Say
13. Across The Western Plains
14. Loving You Any Way I Can
15. The Wind On Clonmore Hill
16. Meet Me Halfway
17. See You Later

We'll Find Our Own Way was released on October 15, 2025.

The Salt Collective: "A Brief History Of Blindness" (2025) CD Review

The Salt Collective began as Salt, the band releasing its first album, The Loneliness of Clouds, in 2019. Then the band's core members (Stéphane Schück, Fred Quentin and Benoit Lautridou) invited other musicians to contribute lyrics for the second album, 2023's Life, a fantastic collaborative effort that was produced by Chris Stamey, who wrote several of the tracks. Peter Holsapple, Juliana Hatfield, Matthew Sweet and Susan Cowsill, among others, all contributed to that album. Chris Stamey has returned to produce the group's new album, A Brief History Of Blindness, and he co-wrote several of its tracks. This album, like Life, features the work of many excellent musicians and songwriters, including Aimee Mann, Jason Faulkner, Mitch Easter and Mike Mills.

The album opens with its title track, "A Brief History Of Blindness," a lively pop gem featuring the vocal work of Lynn Blakey, who co-wrote the song with Stéphane Schück.  "You don't see me, I'm not looking at you/You only see what you're looking for." The line "Another step towards darkness" stands out in these questionable times when each day seems like another step toward oblivion. There is also a cool bass line from Fred Quentin that keeps things popping, and a delicious groove on drums by Benoit Lautridou. Stéphane Schück is on guitar and keys, and Wes Lachot is on organ and piano. Chris Stamey provides some additional guitar work, and Mitch Easter provides additional work on keys. Jason Falkner then sings lead on "Waiting For The End Of Time," with Lynn Blakey now providing some backing vocal work. Jason tells us, "We were circling the drain." Yup, that sounds about right these days. There is a compelling and rather dark intensity to this song, much of it coming from the intriguing rhythm. Rob Ladd is on drums, and Gene Holder (of The dB's) is on bass. That intensity is also present in Jason's vocal approach. Matt Douglas adds some good stuff on saxophone. We are all on the edge, and this music meets us there. A great rock song for how we are feeling. This song was written by Stéphane Schück, Chris Stamey, and Andy Partridge.

Matthew Caws sings lead on "Cloud To Cloud," and also plays rhythm guitar. He also wrote the song with Stéphane Schück. There is an interesting energy to this song, part of it due to the excellent string work. Jennifer Curtis is on violin, and Leah Webster is on cello, and the string arrangement is by Chris Stamey. Chris Stamey and Lynn Blakey provide backing vocals. "The whole frame around this moment is fiction/Each way I see it is a scene that I've just written/I get good questions, but don't answer/I hope I think about the ones that really matter." There is a surprising beauty to this song, and a joy. "I love to drive, when you're sitting by my side/Even when we're saying nothing/What a sky, it's a neverending show/It's reminding me of something." This track has really made a home for itself in my head, and ends up being one of my favorites of the album. Another of the disc's highlights is "You Swallowed The Sun," a song Chris Stamey wrote with Andy Partridge. Chris sings lead on it. "You swallowed the sun/You took it down whole/Now I'm the king of a world made from coal." It is a song of an ending, delivered in that special way that only Chris Stamey can do. There are lots of fascinating touches here too, like Jeff Herrick's work on trumpet. This song was also released as a single. "And all you did was put your coat on/All you did was click the door/All you did was say you're leaving." Ah, yes, that would do it.

Aimee Mann, one of my favorite songwriters, sings lead on "The Waiting Game," and of course does a phenomenal job. She is so adept at creating strong moods, the tone of her voice telling us so much in addition to the lyrics themselves. Interestingly, this song was not written or co-written by Aimee Mann; rather it was written by Stéphane Schück and Chris Stamey. The style might be a bit different from what we've heard from her in the past, but it works perfectly. "You hope to find/A crack in time/And all the while/You hide behind your smile." Fred Quentin provides some wonderful work on woodwinds, and Mitch Easter delivers a good lead on guitar. "Why do we play/The waiting game." Then Lynn Blakey and Mike Mills sing on "In The Shadow Of The Moon" "Where do you go when you want to hide, when you want to hide?" Lynn asks at the beginning of this song. Yet this song has a positive vibe and spin, apparent as soon as it kicks in. "I will hold your hand/And tell you everything's all right/Until you understand/We're turning shadows into light." Oh yes! This song works to make us all feel a bit better about the world, about our chances, about the near future. Jeff Herrick delivers some nice stuff on trumpet. I love this song. It was written by Stéphane Schück and Lynn Blakey. It was the first single released from the album.

The opening line of "So Sad (Don't Let Go)" caught me off guard and made me laugh aloud, mainly because of the truth of it: "Every day is a new disaster." This song was written by Stéphane Schück and Chris Stamey. Matthew Caws sings lead on it, with Chris and Lynn providing harmonies. "Can't let go of a thousand memories/That take root in your head/Take it slow, close your eyes as you breathe/Replay all the things you said/You're so sad, so sad." And yet this song is positive, encouraging, and it features some beautiful work on strings. Leah Webster is on cello, and Jennifer Curtis is on violin. The string arrangement is by Chris Stamey, who also plays acoustic guitar on this track. This song reminds those of us struggling with despair and dread, "You are loved." That's followed by "Ex Post Facto Kids," which was written by Stéphane Schück and Mitch Easter. Mitch sings lead on it. There is a great energy to this song. You feel it moving from that opening moment on drums. "Somehow that got me thinking about history/And if I really see what I think I see/Gotta fix it yesterday." This is such a cool song. Well, what else would we expect from the man behind Let's Active?

"How We Breathe" was written by Stéphane Schück and Lynn Blakey, and Lynn sings lead on it, with Matthew Caws providing backing vocals. It's an interesting song, with a cheerful pop sound during the verses, then getting a bit darker for the chorus. "It's really quite astounding how we breathe/I never was so sure/Why we have to take the bitter with the sweet/The problem is the cure." After the chorus, it bounces right back. "Yeah, I'm spinning miracles tonight." Kimberley Rew is on rhythm guitar for this track. Then, with "The Quickening Sky," a darker, more contemplative vibe is established during the instrumental section at the beginning. Django Haskins (of The Old Ceremony) sings lead on this one, and when he sings "Escape from the undertow," I can't help but hear "undertoad" (thanks, John Irving). This song was written by Stéphane Schück and Chris Stamey. There is a certain power to the chorus. Faith Jones provides some good backing vocal work. The album concludes with "All The Rage," which was written by Stéphane Schück and Chris Stamey. Chris sings lead on it, and Aimee Mann joins him on vocals. It's such a treat to hear two of my favorite singer/songwriters singing together. "There you are/The famous star/On center stage/You're all the rage/But that was long ago/Now memories are all you know." Jennifer Curtis delivers some excellent stuff on violin, and it is that work that helps to mark the different sections, to create the different feelings, such as the sadder moment when we are lost in memories, before the next verse starts. "You bow, but no one's there/The lights go out, the clapping fades."

CD Track List

1. A Brief History Of Blindness
2. Waiting For The End Of Time
3. Cloud To Cloud
4. You Swallowed The Sun
5. The Waiting Game
6. In The Shadow Of The Moon
7. So Sad (Don't Let Go)
8. Ex Post Facto Kids
9. How We Breathe
10. The Quickening Sky
11. All The Rage

A Brief History Of Blindness was released on November 21, 2025 through Propeller Sound Recordings.

Johnnie Johnson: "I'm Just Johnnie" (2025) CD Review

Pianist and songwriter Johnnie Johnson worked with Chuck Berry in those early days of rock and roll, and in 2001 was inducted into the Rock And Roll Hall of Fame. While having an incredible influence on the course of rock and roll, Johnnie Johnson was mainly into the blues, and played in Albert King's band. He also had his own band, releasing solo albums like Blue Hand Johnnie, on which he covered "Johnny B. Goode," re-titling it "Johnnie B. Goode" (and why not, since supposedly it was inspired, at least partially, by him anyway), and Johnnie B. Bad (and, yeah, that album's title track has something of that rock and roll thing happening). Johnnie Johnson died in 2005, but twenty years later we got a new album of his recordings, stuff he was working on in the last few years of his life, and it's excellent. The album contains both original material and covers. He has some special guests playing with him on this album, including Bruce Hornsby, Johnny Rivers, John Sebastian and Bonnie Raitt, in addition to the regular members of Johnnie's band. It's actually a two-disc set, the first disc containing music, and the second disc featuring an interview conducted by Pat St. John. The great Bonnie Raitt can be heard on both discs.

Disc One

The album opens with its title track, and right away we are treated to some delicious stuff on piano, Johnnie Johnson's work creating the kind of vibe that makes you want to get up and dance. And the horns second that almost immediately. Jim Manley is on trumpet, and Ray Vollmar is on saxophone. Johnnie Johnson also sings lead on this one, and in the main lines there is a little reference to "Johnny B. Goode": "I'm doing what I like/I'm doing what I should/I'm just Johnnie, and I'm trying to be good." He delivers a cool, straightforward vocal performance. It is in the piano work where most of the energy is. This track also contains a good lead by Tony T on electric guitar. Liz Henderson provides some wonderful backing vocal work. "I'm Just Johnnie" is followed by another original number, "I Get Weary," a great, slow blues number with that familiar sound. Johnnie Johnson is on piano, and Paul Willett is on organ, and their work is at the heart of this track. I especially love Johnnie's lead in the middle. Charles Glenn takes over lead vocal duties on this one. "I've got to be strong now/I must move on now/But I get so weary/So tired and alone." Yup, I think many of us are in touch with that. This track also contains a strong guitar lead, this time by Max Baker. As the song begins to fade out, we're treated to more great stuff on both piano and organ.

Johnnie Johnson then gives us a cover of "Every Day I Have The Blues" that is hopping. On this track, Bruce Hornsby joins Johnnie Johnson on both piano and lead vocals. Johnnie sings the first verse. Both deliver excellent leads on piano, just as you'd expect. It's such a treat to hear them exchanging solos. And there's even more talent on this track, for Bonnie Raitt is on slide guitar. Bonnie Raitt, Bruce Hornsby and Pat Liston also provide backing vocal work. Bob Hammett is on guitar, Gus Thornton is on bass, Greg Trampe is on organ, and Kenny Rice is on drums. This song was written by John Chatman (Memphis Slim). This rendition is great fun. It is followed by a cover of Johnny Rivers' "Lo Down." And Johnny Rivers is on guitar here, delivering some really good stuff. This is a song that Johnny Rivers included on his 2004 album Reinvention Highway. Henry Lawrence sings lead on this one. "I'm going down to the roadhouse/And find myself another girl/And if she gives me some good loving/I'll take her all around the world." Johnnie delivers some wonderful work on piano. Larry Smith is on baritone saxophone, Gus Thornton is on bass, and Mark Kersten is on drums.

There are several songs with the title "Let The Good Times Roll" (or some slight variation of it), and they're all good. On this album, Johnnie Johnson covers the one written by Sam Theard (misprinted as "Thread" in the disc's liner notes) and Fleecie Moore, and originally recorded by Louis Jordan. This version features Bonnie Raitt on slide guitar and backing vocals, helping to make this track stand out. "Play the blues, Bonnie," she is urged at one point, and certainly does. Kenny Rice is on lead vocals as well as drums. "Hey, everybody, let's have some fun/You only live for once, and when you're dead, you're done." Exactly. So enjoy your lives. This is it, friends. Johnnie Johnson and company give us a really good rendition here. There is plenty of great stuff on piano, and this track features the brass section of Elliot Doc Simpson on trumpet, Tom O'Brien on tenor saxophone, and Ray McAnallen on trombone. Don't be surprised if you find yourself joining the backing vocalists, echoing the song's title line, for when Kenny says, "Everybody sing," he doesn't just mean the backing vocalists on the track, he means everybody. Everybody. Then Johnnie Johnson is on lead vocals, as well as piano, for a cover of "Three Handed Woman," a song that Louis Jordan also recorded. This rendition has the band jamming a bit before Johnnie comes on vocals. We even get a cool lead by Tony T on guitar before any lines are sung. "She's right-handed, left-handed and underhanded too." There is a very cool vibe to this track.  Gus Thornton is on bass, and Richard Hunt is on drums. These guys jam again toward the end.

"Broke The Bank" is an original number, a lively and fun song featuring a brass section. Johnnie sings lead on this one too, and here he is joined on harmonica by John Sebastian, who delivers some delicious stuff, including a cool lead after a great, extended lead by Johnnie on piano. I was fortunate to get to see John Sebastian play harmonica at that Wild Honey Lovin' Spoonful show back in early 2020, just before the pandemic made live music all but impossible. Tom Maloney is guitar, Ray Vollmar is on tenor saxophone, and Bill Sextro is on trumpet. Amy Thorn, Bob Hammett and Gene Ackmann provide backing vocal work on this one. "We could have made a new start/But then she went and broke my heart." That's followed by "Blues In G," the album's first of two instrumental tracks. It's a cool, somewhat laid-back blues number, featuring Tom Maloney on guitar. Gus Thornton is on bass, and Kenny Rice plays drums. I especially like Johnnie's lead on piano in the second half of the track.

Johnnie Johnson delivers a totally enjoyable cover of "Stagger Lee." Interestingly, the liner notes credit the song to "R. Hunter - J. Hurt," but the Grateful Dead song "Stagger Lee," written by Jerry Garcia and Robert Hunter is quite a bit different from the Missisippi John Hurt song, and both of those are different from the "Stagger Lee" song that Lloyd Price recorded. And it is the Lloyd Price song that Johnnie Johnson does here. Henry Lawrence is on lead vocals. Bob Hammett is on guitar, Gus Thornton is bass, and Kenny Rice is on drums. This track also features some excellent stuff by Ray Vollmer on tenor saxophone and Bill Sextro on trumpet. Bob Hammett, Gene Ackmann, Laura Hanson, Liz Henderson and Pat Liston all contribute backing vocal work to this track. That's followed by "Johnnie Johnson Blues." What might be surprising is that a song titled "Johnnie Johnson Blues" was not written by Johnnie Johnson, but rather by Johnny Rivers. Rivers included it on that Reinvention Highway album, and on this rendition he plays guitar. Johnnie Johnson is on lead vocals and piano. "They call me Johnnie J/And I sure like to play," he sings at the beginning. Oh, that is clear from everything we're hearing. This track contains some wonderful stuff on piano. In the second half, there is a sudden change, as things take a jazzy turn, leading to a cool jam.

Charles Glenn sings lead on "Heebie Jeebies," and is also on percussion. This is an original and playful number. "I've seen a lot of people with a screw loose or two/But I ain't never seen the likes of you." Laura Hanson provides some wonderful backing vocal work, and Johnnie Johnson delivers another delightful lead on piano. The horn section is made up of Elliot Doc Simpson on trumpet, Tom O'Brien on tenor saxophone, Larry Smith on baritone saxophone and Ray McAnallen on trombone. Max Baker is on guitar, Dickie Steltenpohl is on bass, and Andy O'Connor is on drums. The album, or at least the first disc, concludes with a cover of Sonny Thompson's "Long Gone," the second instrumental track. Tom Maloney delivers some good stuff on guitar, but it is Johnnie Johnson's piano work that gives this track its delightful vibe.

Disc Two

The second disc, as already mentioned, contains an interview with Johnnie Johnson. It is divided into two tracks. On the first track, Pat St. John introduces him by saying, "He's been called the Music Man, he's been called Johnnie B. Goode, he's been called Johnnie B. Bad, he's been called Johnnie J." And Johnnie replies, "I'm just Johnnie." And we are treated then to a little work on piano, and Johnnie plays little bits on piano throughout the interview, which is cool. Pat St. John is clearly a fan of Johnnie's work, even before he says he's a fan straight out. Johnnie talks about playing the piano in his home when he was a kid, and holding a song in his head until he could sit down at the instrument. They talk about some of the many famous musicians that Johnnie Johnson has played with, including Chuck Berry (Johnnie plays the beginning of "School Days"). And he talks about not being able to read music, which is crazy. While the conversation might be focused on the blues, Johnnie Johnson does get a chance to play a bit of "Misty." And they talk about the album, about the special guest stars and the tempo. This first track is approximately twenty-four minutes.

Then for the second track, Johnnie Johnson and Pat St. John are joined by Bonnie Raitt and album producer Gene Ackmann. Bonnie starts this track: "Johnnie Johnson really is the bridge to me between what was blues and jazz and R&B and what became rock and roll." She talks about what a giant he is, regarding his influence on music. Gene talks about Bonnie's involvement in the project, and tells some cool anecdotes, as about Bonnie calling Johnnie up on stage on his birthday. He also mentions how Johnnie played in Bob Weir's band. Johnnie talks about one crazy tour he did many years ago, and about the night he was inducted into the Rock And Roll Hall of Fame. Johnny Rivers is also part of this interview, though not mentioned on the back of the CD case. This track is approximately twelve and a half minutes.

CD Track List

Disc One

1. I'm Just Johnnie
2. I Get Weary
3. Every Day I Have The Blues
4. Lo Down
5. Let The Good Times Roll
6. Three Handed Woman
7. Broke The Bank
8. Blues In G
9. Stagger Lee
10. Johnnie Johnson Blues
11. Heebie Jeebies
12. Long Gone

Disc Two

1. Johnnie And Pat In The Studio
2. Johnnie, Bonnie, Gene, And Pat

I'm Just Johnnie was released on August 29, 2025 on Missouri Morning Records. 

Françoise Hardy: "In Deutschland" (2025) CD Review

Last year, Omnivore Recordings released Françoise Hardy Blues: Complete Vogue Recordings 1962 - 1967, a massive boxed set that includes ten albums, with more than two hundred tracks, a DVD and a book. Earlier in the year, a double album compilation titled En Vogue: Best Of 1962 - 1967 was released as part of Record Store Day, and then on CD soon afterward. And seven Françoise Hardy albums that were part of the boxed set were issued individually on both vinyl and CD in the latter part of the year. In Deutschland is one of the seven that were so issued. It's an album with an interesting history, for there were several different versions of the album released in the 1960s, some with the songs in different orders, or with different songs. This re-issue contains the original twelve songs in their original order, along with two more tracks.

German is not generally known as a beautiful language, but delivered by the voice of Françoise Hardy, it loses its harsher aspects. I suppose in her hands, anything can become beautiful, and that's clear right from the album's first track, "Wenn Dieses Lied Erklingt," which has a sweet pop vibe. And that vibe is created mainly by her vocal performance. We are drawn to her voice, even comforted by it. And the album's second track, "Frag' Den Abendwind," is even prettier and more appealing. There is something gentle and soothing about her performance, and the song seems to take us into a fairy tale. Who would not be eager to follow Françoise Hardy into another realm? This is one of my personal favorite tracks.

"Dann Bist Du Verliebt" has more of a rock vibe as it starts, especially with that guitar part at the beginning. There is a brighter energy to Françoise Hardy's vocal delivery, and in the way the horn seems to respond to her at certain points. This is a fun number that sounds very much of its time. That's followed by "Ein Fenster Wird Hell," the German version of her song "Dans Le Monde Entier." And, yes, it's gorgeous. Sure, it's perhaps not quite as appealing as the original French version (how could it be?), but it is still strikingly beautiful and moving, and is another of the disc's highlights. You don't need to know what she is saying to be completely moved and captivated by her performance.

I love the way Françoise Hardy seems to completely open herself, to make herself vulnerable in her music. Her delivery is honest, in whatever language she happens to be singing, and so we are drawn to her. I think it is partly because when she opens herself up, she does the same to those who are listening. On "Er War Wie Du," there is a wonderful intimacy, and so a shared feeling, a shared experience. Then "Wer Du Bist" is a lively pop number. She is joined by backing vocalists. It's strangely catchy and fun. But in general I prefer her softer numbers, such as "Ich Hab' Das Glück," the German version of her "J'aurais Voulu." The original version was included on her 1963 self-titled album. Again, this rendition has the beauty of the original, or at least much of it. It's so easy to become immersed in her music, even when it is delivered in German.

"Ich Sag' Ja" is another fun, upbeat number that is rather adorable, a number to get you twisting and moving. This is the German rendition of her "J'suis D'accord," and this version has backing vocalists joining her. Those backing vocals are rather playful, as when singing "Nein nein." The German version is a bit longer than the original French version. That's followed by "Peter Und Lou," the German version of her "Tous Les Garçons Et Les Filles." It's interesting that her German renditions are not direct translations of the French lyrics. Anyway, this is a wonderful song, with a nice swell of strings in the middle.

Françoise Hardy's music has a great ability to transport us to another time, another place, especially a number like "Die Liebe Geht," the German version of her "L'amour S'en Va." By the way, her Italian rendition of this song is included on Canta Per Voi In Italiano, which was also re-issued by Omnivore Recordings. "Die Liebe Geht" is followed by "Ich Steige Dir Auf's Dach," an adorable, catchy number. Françoise Hardy naturally inhabits the world of this song, getting completely into it. I feel like we are at some German club of the past, and Françoise Hardy is the entertainer, welcoming us, and helping us to adapt to our new surroundings. "Oh Oh Cheri" is another adorable and fun song. Françoise Hardy recorded this song in French and Italian too. The Italian version is included on Canta Per Voi In Italiano. I can't help but smile when listening to this track.

"Ich Bin Nun Mal Ein Mädchen" is a song that was released as a single in 1965, with "Er War Wie Du." Françoise Hardy had recorded the song in French too, that version titled "Pourtant Tu M'aimes," included on a 1964 self-titled album (geez, she's like Peter Gabriel, having her first several records all self-titled). Anyway, it's an interesting song that begins with some nice work on drums. The disc then concludes with "Die Andere," the German rendition of her "Et Même." The Italian version, "I Sentimenti," is included on Canta Per Voi In Italiano. It's an enjoyable song in any language.

CD Track List

1. Wenn Dieses Lied Erklingt
2. Frag' Den Abendwind
3. Dann Bist Du Verliebt
4. Ein Fenster Wird Hell
5. Er War Wie Du
6. Wer Du Bist
7. Ich Hab' Das Glück
8. Ich Sag' Ja
9. Peter Und Lou
10. Die Liebe Geht
11. Ich Steige Dir Auf's Dach
12. Oh Oh Cheri
13. Ich Bin Nun Mal Ein Mädchen
14. Die Andere

In Deutschland was released on December 12, 2025 through Omnivore Recordings. Released on that same date was Canta Per Voi In Italiano.

The Big Ol' Nasty Getdown: "Volume 3" (2025) Vinyl Review

Let's get this new year off to a good start, a lively start. And what better way than with the recent full-length record from The Big Ol' Nasty Getdown? Titled Volume 3 (following 2012's Volume 1 and 2018's Volume 2, as well as some EPs, including last year's Repurpose Purpose Vol. 1), this album features some fantastic original music, with a great, funky atmosphere. As always, a phenomenal group of musicians was assembled for this recording, including the group's founder John Heintz on bass, Erick Walls on guitar, Tim Stewart on guitar, Bobby Easton on guitar, John-Paul Miller on guitar, Norwood Fisher on bass, Jack Irons on drums, and Stephen Perkins on drums, among many others. And the record comes in an attractive package, with a gatefold, and artwork by Jeff Wood. The record itself is on translucent grey vinyl with a cool splatter pattern (referred to as "galaxy burst").

Side A

The record's opening track, "Yoda Mode," begins with a glorious burst of horns. This is a delightful, funky number, with a very cool, soulful and energetic vocal performance by Maiya Sykes. "Don't call me up with all your problems and your plans/I need a minute, baby." I also appreciate the playfulness of this track. It was written by Maiya Sykes, Hadrien Feraud, John Heintz and Chad Smith. It's not the first song to quote Yoda, of course, but it does so with a natural joy. And there is a sort of gospel vibe, which is perfect. "I can love and I can fight/I am not afraid to face the night/Fear is the path to the dark side." This is an absolutely wonderful opening number. I especially dig that work by Ruslan Sirota on keys. Erick Walls is on guitar, Hadrien Feraud is on bass, Chad Smith is on drums, Jason Hann is on percussion, and Philip Lassiter is on horns. Then "When The Juice Ran Out" comes on with a heavier sound, a harder rock feel, with a great dose of funk too. It also has a set of lyrics I love, at the beginning mentioning, "We got too much information/So we just abbreviate." I detest most current acronyms and abbreviations, in large part because no one knows what he or she is saying anymore (we've all heard someone say "ATM machine"). There is a lot more going on here with this track, for it's about disconnecting from the internet, or rather about being disconnected from the internet. How can we function these days while being disconnected? What happens if it all shuts down? That's Angelo Moore (of Fishbone) on vocals, and at moments he shows a bit of inspiration from James Brown (exclaiming, "Good god!"). In addition to his kick-ass vocal performance, this track features a great, powerful, delicious instrumental section. Tim Stewart is on guitar, Rodney "Skeet" Curtis is on bass, and Jack Irons is on drums. This is fantastic.

Maiya Sykes then returns for vocal duties on "Ain't Nowhere To Go," delivering another excellent vocal performance. "Ain't nowhere to go but up." There is such a good, positive vibe about it. In a way, this too is about disconnecting, about finding a place elsewhere, "a place where I can breathe." I am digging that sweet guitar work during the instrumental section in the middle. Gemi Taylor, Bobby Easton and Tim Stewart all play guitar on this track. Larry Dunn is on keys, and Frank Mapstone is on organ. Norwood Fisher is on bass, Stephen Perkins is on drums, and Leon Mobley is on percussion. There is something uplifting about this song. And what a voice! The first side concludes with "Birds Of A Feather," an instrumental track that features a delicious bass line by Norwood Fisher and some excellent drumming by Lee Allen. And there is plenty of great stuff from the brass section. Greg Hollowell is on saxophone, Alex Bradley is on trumpet, and Derrick Johnson is on trombone. The horns have something to say, for sure, urging us to come together. They seem to be telling us that things are good. We can feel it throughout our bodies while this music plays. Before the end of this track, you'll likely be dancing. Mary Francis is on keys, and both Tim Stewart and Stefan Kallander play guitar on this track.

Side B

The second side opens with "Feelin' It," featuring Rev. Desmond D'Angelo on vocals and percussion. "Let's have a party," he sings early in the song. And this whole album feels like a party, and especially this song, in part because of Rev. Desmond D'Angelo's fun, wild vocal performance. And, hey, the lyrics mention 1983 and Mr. T, returning me, at least momentarily, to my youth. If you feel like getting down, this music will help; and if you don't, well, soon enough you will. John Heintz's bass line will see to it. John-Paul Miller and Bobby Easton both play guitar. Frank Mapstone is on keys, and Jack Irons is on drums. That's followed by "Crispy Chicken," a ridiculously fun instrumental track, the horns leading the way to a brighter place, and the only way of getting there is dance. Not just for us, but also animals, plants. Hell, the air itself is moving and shaking. Can't you feel it? Of course you can! John Michael Bradford is on trumpet, and Big Sam Williams is on trombone. Larry Dunn is on electric piano, Frank Mapstone is on organ, Gemi Taylor is on guitar, Bobby Easton is on guitar, Norwood Fisher is on bass, and Stephen Perkins is on drums.

Justin Poree (of Ozomatli) is on vocals for "Super Galactic," the lyrics delivered as a sort of rap. He and John Heintz wrote the lyrics for this one. "Gonna party like there's no tomorrow," Justin sings. Well, there might not be. We're not guaranteed anything. This is a song about a party that extends across the globe. And why not? Why can't this happen? Let go of politics, let go of religion, and just listen to the music. "So if you're feeling the vibe/Feeling electric and alive/Put your dancing shoes on." That guitar certainly has something to say if you just pay heed. Erick Walls is on guitar. Ulises Bella (from Ozomatli) is on saxophone, Andrew Baham is on trumpet, and Big Sam Williams is on trombone. This track features some cool work by Terence Higgins on drums. Hadrien Feraud is on bass, Todd Stoops is on keys, Jason Hann is on percussion. And Maiya Sykes provides backing vocals. Then "Joy Rider" seems to take us on some kind of magical ride through the heavens, where each star becomes a dance floor, and where space no longer is empty of life, but full of power, pulsing and shining. The track features more excellent drumming by Jack Irons, and something of a punk thing happening in the bass line at times. That's Josh Paul (of Daughtry and Suicidal Tendencies) on bass. This is the kind of energy we need to carry us into this new year, make it something wonderful, something exciting, something joyous. This track contains some seriously cool stuff by Keith Anderson on saxophone, as well as some wonderful stuff by Philip Lassiter on trumpet (you might know them from their work with Prince). Tim Stewart is on guitar, and Peter Keys is on keys. This fantastic instrumental track ends with a drum solo. What more could you want?

Record Track List

Side A

1. Yoda Mode
2. When The Juice Ran Out
3. Ain't Nowhere To Go
4. Birds Of A Feather

Side B

1. Feelin' It
2. Crispy Chicken
3. Super Galactic
4. Joy Rider

Volume 3 was released on September 19, 2025 through Org Music.