Christopher Hollyday: “Telepathy” (2018) CD Review

Saxophonist Christopher Hollyday got an early start on his jazz recording career, beginning while still in his teens. He released several albums as band leader, and then after 1992’s And I’ll Sing Once More, stopped. He moved from Massachusetts to California and began teaching. Well, he is now back, with his first album as band leader in twenty-six years, and it is a gem. Titled Telepathy, this album finds him delivering his own interpretations of some well-known jazz numbers, including music by Bud Powell and Charlie Parker. Joining him on this release are Gilbert Castellanos on trumpet, Joshua White on piano, Rob Thorsen on bass, and Tyler Kreutel on drums.

Christopher Hollyday opens the album with Freddie Hubbard’s “One Of Another Kind” (for some reason listed as “One Of A Another Kind” on the CD case). It begins with that brief mellow, moody section, but once this tune kicks in, it becomes an incredible whirlwind of jazz bliss, moving at a great pace and featuring some absolutely fantastic and exciting work by Hollyday on saxophone, and then by Gilbert Castellanos on trumpet. The whole thing is kept in motion by Tyler Kreutel on drums and Rob Thorsen on bass. Then the lead by Joshua White on piano flies along beautifully. There is a tremendous amount of joy on this track. It’s followed by Bud Powell’s “Hallucinations.” This one has something of a playful, cheerful vibe, as did Powell’s original version. This is a track that makes me smile each time I listen to it, and it just builds and explodes in wonderful ways. In one section of the track toward the end, both the trumpet and sax deliver great stuff, with drummer Tyler Kreutel filling those moments in between, entering into a delightful conversation with the horns. There is also something playful about the approach to Matt Dennis’ “Everything Happens To Me” (here titled “Everything Happens”), this version much livelier than most.

Christopher Hollyday then mellows things out a bit with a sweet rendition of Vernon Duke’s “Autumn In New York,” his saxophone sounding soulful and full of life. This track also features nice work from Joshua White on piano and Rob Thorsen on bass. I love that lead on bass.  Hollyday brings a fresh, warm energy to “I’ve Got The World On A String,” written by Harold Arlen (the lyrics by Ted Koehler obviously don’t come into play in this version). This track will certainly brighten your day. The disc then concludes with Charlie Parker’s “Segment.” This is an exciting track, coming at you with an intense, bright energy from the start. It then opens up into a splendid multi-limbed dance. The pace is fast, the musicians packing a whole lot of fantastic playing into a five-minute track. A seriously fun way to wrap up the album.

CD Track List

1. One Of Another Kind
2. Hallucinations
3. Everything Happens
4. Autumn In New York
5. I’ve Got The World On A String
6. Segment

Telepathy was released on November 2, 2018. I assume we won’t have to wait another twenty-six years for his next album.

Jake Ehrenreich with The Roger Kellaway Trio: “A Treasury Of Jewish Christmas Songs” (2017/2018) CD Review

I’m always amused when reminded that much of the beloved Christmas music was composed by Jewish songwriters. It’s one of those delightful facts that make the holiday more palatable. And it is particularly significant in these days of rampant racism and anti-Semitism, bigotry that has again turned deadly. I can’t think of a better time for the release of an album titled A Treasury Of Jewish Christmas Songs. People are in need of a reminder of all we have in common, and this release should help provide that. Not that all that was necessarily the purpose in creating this album. As vocalist Jake Ehrenreich mentions in the CD’s liner notes, this project has personal importance to him. As a Jewish child (born to survivors of the Holocaust), he had a secret love affair with Christmas music, and so this project was a long time in the making. The band for this release is Jack Ehrenreich on vocals, Roger Kellaway on piano, Bruce Forman on guitar, Dan Lutz on bass, and Kevin Winard on percussion.

The album opens with “A Holly Jolly Christmas,” a song whose very title shows it to be a ridiculously happy number. There is such joy in Jake Ehrenreich’s vocal delivery; I swear, you can hear the smile on his face. Plus, this rendition has a good groove. I love that instrumental section, which features some delightful work on piano. This has to be one of the best versions of this song I’ve ever heard. “And when you walk down the street/Say hello to friends you know/And everyone you meet.” Ah, imagine if folks did that year round. That’s followed by “The Christmas Waltz,” which has a mellower, more romantic sound, and features some nice work on guitar. This is one I don’t hear as often, but is a sweet song. It was written by Julie Styne and Sammy Cahn. By the way, the liner notes make a point of listing the songwriters’ birth names, which I appreciate. For example, with this song, the liner notes credit the songwriters thus: “Music by Julie Styne (born Julius Kerwin Stein); Lyrics by Sammy Cahn (born Samuel Cohen).”

I have never cared for “Rudolph The Red-Nosed Reindeer.” I wrote a critique of the song a while ago; it was meant to be humorous, obviously, but I truly dislike the song. That being said, Jake Ehrenreich gives it a pleasant jazz groove, and the instrumental sections are kind of enjoyable. There is more joy in his rendition of “Winter Wonderland,” and I dig that bass line, which keeps it lively. This version has that added section at the beginning which was in the version by Diana Ross, but as far I know is usually not included: “Over the ground lies a mantle of white/A heaven of diamonds shine down through the night/Two hearts are thrilling/In spite of the chill in the weather/Love knows no season, love knows no clime/Romance can blossom any old time.” This version also contains a little tease of “These Boots Are Made For Walkin’” at the end.

A Charlie Brown Christmas is far and away the best Christmas television special that ever aired, and a great deal of its appeal is in Vince Guaraldi’s music. Here Jake Ehrenreich covers “Christmas Time Is Here,” with lyrics by Lee Mendelson. This is a beautiful, thoughtful rendition. That’s followed by a fun version of “Home For The Holidays,” with a strong bass line and lots of nice touches on piano. There is a laugh in Jake Ehrenreich’s voice when he sings the line about the traffic being horrific near the end. Ah, does that mean every day here in Los Angeles is a holiday? The next song, “White Christmas,” mentions Los Angeles in its lyrics, in an opening section that I don’t recall hearing in most versions: “The sun is shining, the grass is green/The orange and palm trees sway/There’s never been such a day/In Beverly Hills, L.A./But it’s December the 24th/And I am longing to be up north.” This rendition begins in a mellow place, but soon develops a nice groove. Whenever I hear this song, I can’t help but think of Vance Gilbert’s play on it, riffing “I am dreaming of a white Kwanzaa.”

“A Christmas Love Song” is a gentle, romantic number with an intimate vocal delivery. This is one I wasn’t all that familiar with. It is followed by a lively rendition of “Let It Snow!” (which is usually listed as “Let It Snow! Let It Snow! Let It Snow!”), featuring some good work on both guitar and piano. I love the joy and excitement in the vocal performance, helping to make this one of my personal favorite tracks. Then “I’ll Be Home For Christmas” has a sweet vibe. That’s followed by a really nice rendition of “Silver Bells.” Interestingly, this track too has an opening section that I don’t remember hearing before: “Christmas makes you feel emotional/It may bring parties or thoughts devotional/Whatever happens or what may be/This is what Christmas time means to me.” I love the late-night, relaxed feel of this song. Yes, it’s peaceful, it’s friendly, it’s everything that Christmas is supposed to be. And it’s another of my favorite tracks. We then get “It’s The Most Wonderful Time Of The Year,” which is certainly up for debate. “It’s the happiest season of all,” we are told. Maybe, maybe not. But this album and Jake Ehrenreich’s delivery might have you convinced. The CD concludes with “The Christmas Song,” which is listed as a bonus track. Apparently, there are two versions of this release, one with this track, the other without (though I can’t find any copies that don’t have the bonus track). Jake Ehrenreich delivers a good, cheerful rendition. “Although it’s been said many times, many ways/Merry Christmas to you.”

CD Track List

1. A Holly Jolly Christmas
2. The Christmas Waltz
3. Rudolph The Red-Nosed Reindeer
4. Winter Wonderland
5. Christmas Time Is Here
6. Home For The Holidays
7. White Christmas
8. A Christmas Love Song
9. Let It Snow!
10. I’ll Be Home For Christmas
11. Silver Bells
12. It’s The Most Wonderful Time Of The Year
13. The Christmas Song 

A Treasury Of Jewish Christmas Songs was released on November 2, 2018. But apparently it was also released in December of 2017.

Paul Oscher: “Cool Cat” (2018) CD Review

Paul Oscher has been playing the blues for several decades now, including a stint in Muddy Waters’ band. He’s the real deal, as they say, and he proves it again (not that he needs to) on his new album, Cool Cat. The album contains mostly original material, written by Paul Oscher, though the music will feel familiar to you. That’s because Paul manages to tap directly into that rich blues vein, where the heartache and bliss of the blues live. Of course, there is another reason why a couple of these songs might be familiar to you – they were included on an earlier release, 1996’s The Deep Blues Of Paul Oscher. Different versions, of course. Joining Paul Oscher on this new release are Johnny Ace on bass, Sarah Brown on bass, Chris Alcaraz on bass, Kid Anderson on bass, Russell Lee on drums, Ernie Durawa on drums, June Core on drums, Mike Schermer on guitar, Mike Keller on guitar, Eric Burnhardt on baritone saxophone, Tom Robinson on tenor saxophone, Tomas Ramirez on tenor saxophone, and some guest vocalists.

It took about three seconds before I fell in love with this album. This first track, “Money Makin’ Mama,” has a delicious classic vibe, and features some damn fun work on piano (that’s Paul Oscher on piano). “Let’s go down to New Orleans,” he says before the horns take over during a nice instrumental section. Well, that is not at all a bad idea; the thought of going to New Orleans is always attractive. This, by the way, is one of the songs that he also included on The Deep Blues Of Paul Oscher. It’s followed by “Blues And Trouble.” This one too has that timeless blues sound, which I just completely love, and more wonderful work by Paul Oscher on keys. There is also some great work on saxophone. Sure, the song is called “Blues And Trouble,” but it sounds to me like blues and joy. Some of the lyrics are familiar lines like “You know, I had the blues so bad/You know, I almost lost my mind,” but others come as wonderful surprises. Check out these lines: “She gave me a voodoo doll/Said that doll would make things right/Ward off the evil spirits/Keep me safe all through the night/But I lay down dreaming/And the demons begun to fight/One said ‘I got his soul’/The other said ‘I’ll take his life.’” Man, he works some great stories into these songs.

A good rhythm is established right at the beginning of “Hide Out Baby,” a groove seemingly designed to make you feel all right. This track also features some nice work on harmonica, as does the following tune, “Work That Stuff.” Oh man, that harmonica sounds so good right from the start, helping to create a great, laid back feel. There are some interesting and enticing women populating these songs; in this one, the woman in question can “make you really want to blow your top.” The harmonica is really a second voice on this track, and at one point Paul enters into a discussion with that instrument. With all the classic sounds and vibes on this album, it’s surprising that there is actually only one cover. It’s a cool rendition of “Rollin’ And Tumblin’,” with Sunny Lowdown and Jeremy Dowden providing some backing vocals.

“Cool Cat,” the album’s title track, is actually a few tracks. The first is listed as “Cool Cat Prologue,” and it’s a story, giving the album a live feel, like he’s introducing the song to a live audience. It’s an interesting approach, and in this prologue he introduces some of the elements of the song. Oddly, it also includes the sounds of children playing. Then the actual tune is on a separate track. This instrumental tune has a really nice vibe about it, with a friendly, cheerful sound, a positive sound, particularly in the piano. There is also a groovy section with the bass taking lead, and then some cool work on drums. As I mentioned, the title track is three tracks. The third one is an extended version of the tune, and it’s the album’s final track. Here the saxophone gets plenty of moments to shine, and the bass takes the lead twice. In the background through much of the track we hear the kids playing again. Right at the end, there are some vocals, Lisa Leuschner singing “Cool cat, cool cat, he’s a cool cat.” I feel the regular version might be a bit too short, but this extended version is definitely too long. Also, I wish we could dispense with the sound of children playing, for it actually detracts from the fun feel of the tune.

“Mississippi Poem” is just exactly what its title promises, a spoken word piece about Mississippi, another of this album’s nice surprises. It is followed by a song that mentions Mississippi in its first line, “He was born in Mississippi, raised on a cotton farm.” “Ain’t That A Man” is a song about James Cotton, and it has the feel of a loose blues number played out on the porch. Russell Lee provides the vocals. Lavelle White joins Paul Oscher on vocals on “Dirty Dealin’ Mama,” the other track that was also included on The Deep Blues Of Paul Oscher. This is an odd number about a woman who has been out all night, visiting various men. She tells us, “I went to see the butcher/He put my meat on the grill/I went down to the dentist/Because I like the way he drills.” And she just goes on from there, one serious slut, sleeping with everyone, and certainly feeling no shame about it. “Don’t you ask me where I’m going/And don’t you ask me where I’ve been.” Well, there is no need; she’s confessing all. Or is she just making this all up, offended by being asked where she was all night?

Things then get deliciously jazzy with “On The Edge,” which begins with some wonderful drumming and includes some delightful work on saxophone too. It’s a cool instrumental number, but contains a false ending. Then the drums lead back into it, if only for a brief moment. It feels like it’s not completely developed, but I wish it were longer. This is another of the album’s surprises. That’s followed by “Poor Man Blues,” a blues song touching on one of those perennial blues subjects, being broke. This has something of a standard-type blues sound, though this too is an original number. Russell Lee is on vocals on this one. “When I get my money/I like to go out and play/But I can’t do that/My check’s already spent/If I mess with that money/Then I can’t pay my rent/Because I’m a poor man.”

CD Track List

1. Money Makin’ Woman
2. Blues And Trouble
3. Hide Out Baby
4. Work That Stuff
5. Rollin’ And Tumblin’
6. Cool Cat Prologue
7. Cool Cat
8. Mississippi Poem
9. Ain’t That A Man
10. Dirty Dealin’ Mama
11. On The Edge
12. Poor Man Blues
13. Cool Cat (Long Version) 

Cool Cat was released on October 19, 2018 on Blues Fidelity Recordings.

Holland & Clark at The Mayfair Hotel, 11-1-18 Concert Review

Holland & Clark performing "As Long As I've Got You"

There are certain singers and musicians I’ve learned to rely on for a good time, folks who couldn’t let you down even if they tried. Holland & Clark are just those kinds of musicians, and their concerts are always full of positive vibes as well as absolutely fantastic music. It’s exactly the sort of thing we need these days, for our spirit, for our health, for our survival. If the world is getting you down, listen to some Holland & Clark. Seriously. Last night they played at The Mayfair Hotel, a place that has been around since the 1920s but which was recently remodeled. Just behind the lobby there is a bar called Library Bar. And yes, there are some books on its shelves. Enough to call it a library? No, not by a long shot, though there is a nice two-volume set of Proust. It was in this bar that Holland & Clark played.

Cole Lumpkin did a nice opening set on the bar’s piano, playing original material. He finished just before 10:15 p.m., and there was no pause before Holland & Clark began their first set. The band is a seven-piece band, and last night featured a new guy named Josh on trombone, a welcome addition (he is a member of Mexico68 Afrobeat Orchestra). They kicked off the show with “I Found Fun,” a song they recently put out a video for. (The video is playful, silly and a whole lot of fun, just like the song.) Before starting the song, Holland told the crowd: “We are Holland & Clark, and we’re going to declare that we have indeed found fun. I hope you too will find it tonight. I feel confident that you will.” Absolutely! And it didn’t take long. This tune has a delicious groove, just the thing to get your feet moving and your face smiling.

They followed that with “Too Little, Too Late,” which includes the use of the bell of an alarm clock at the beginning (a clock that briefly went missing). It also featured a nice bass line by Clark, and of course a strong and beautiful vocal performance by Holland. This was a new one for me, and I loved it immediately. Clark then switched to electric guitar, with Erika switching to bass, and Holland playing electric ukulele as they launched into “Guilty Pleasure Zone,” an audience favorite. They followed that with an old gem, “Flashback.”

Holland then mentioned that since they were doing two sets, they had time to do some covers, “Some songs that we like, some songs that have influenced us.” The first was Michael Jackson’s “Baby Be Mine,” a song from his ridiculously popular Thriller album (seriously, I am pretty sure everyone on the planet has owned that album). They followed that with a tremendously fun rendition of Prince’s “I Feel For You.” The horn section sat out these covers, but returned for Sia’s “Be Good To Me,” which isn’t really a cover, since Clark wrote it. I’ve heard Holland & Clark perform this one before, and I think their version is better than Sia’s. Holland then grabbed her electric ukulele again for a couple of her classic numbers – “Stuck” and “Only Up From Here.” These two songs are a lot of fun, particularly “Stuck,” which is a great tune to dance to and is guaranteed to make you feel good. And last night’s performance of it was especially good, with a great energy. For “Only Up From Here,” Clark and Erika switched instruments again. They then closed out the first set with a cover of The Charmels’ “As Long As I’ve Got You.” The two horn players sat this one out, but Allison, the keyboardist, played both keys and sax. This song featured perhaps Holland’s best vocal performance of the first set. The set ended around 11 p.m.

The set break wasn’t too long, and the band was back at 11:28, opening the second set with what Holland said is “one of my very favorite original songs,” “We Could Still Get It On.” This song has a cheerful vibe and a good groove, and featured some nice work from the horn players. Clark played bass on this one, and on the following song, “What Is Dark,” one of my favorites. This one has such a cool feel to it, and is rather catchy. Erika delivered some really nice work on guitar. Holland played tambourine on this one. Then Clark and Erika switched instruments again, and the band played “Reach For Me,” a sexy and soulful number. “Sometimes I see it as like kind of a self-love story,” Holland said in introducing it, “the way you’ve got to reach inside of yourself and bring the best out of yourself.”

The first cover of the second set was Jace Everett’s “Bad Things,” performed without the horn section. That was followed by “Surf Rider,” an instrumental featuring Allison on saxophone and Holland on electric guitar. Then, after a fun version of “Fool Around,” Holland & Clark did a bit of their Murdergram material – covering The Misfits’ “Vampira” and “Hollywood Babylon.” After all, it was Día de los Muertos. Holland totally rocked the electric ukulele on both of these songs, and afterward joked around about smashing the instrument. Yeah, it had that kind of energy. That was followed by a haunting, gorgeous rendition of Tom Waits’ “Alice.” The second set then concluded with an old favorite, the delightful “Speedway,” at the beginning of which Holland did the band introductions. There were calls for an encore (and one shout out for them to “Come to Georgia”), and for a bit it seemed like the band wasn’t going to do one. But then it was decided to do one more jam, a loose, totally enjoyable rendition of “Batman Theme,” with Holland on electric ukulele (and at one point delivering a fantastic scream). This version featured some excellent stuff from the horns, and from Caitlin on drums. The show ended at 12:16 a.m.

Set List

Set I

1. I Found Fun
2. Too Little, Too Late
3. Guilty Pleasure Zone
4. Flashback
5. Baby Be Mine
6. I Feel For You
7. Be Good To Me
8. Stuck
9. Only Up From Here
10. As Long As I’ve Got You

Set II

1. We Could Still Get It On
2. What Is Dark
3. Reach For Me
4. Bad Things
5. Surf Rider
6. Fool Around
7. Vampira
8. Hollywood Babylon
9. Alice
10. Speedway

Encore

1. Batman Theme

Here are a few photos from the show (my apologies for using the flash, but the lighting in the venue wasn’t very good):

"I Found Fun"

"I Found Fun"

"Only Up From Here"

"Bad Things"

"Surf Rider"

The Mayfair Hotel is located at 1256 W. 7 th St., in Los Angeles, California.

Mighty Quinn & The Oakland Ronin: “Mighty Quinn & The Oakland Ronin” (2018) CD Review

I’ve been trying to maintain my sanity lately by greatly limiting the amount of news I read, and refraining as much as possible from engaging in debates with the fascist morons that support that racist turd Donald Trump. It’s difficult, as you know. I am furious. I am depressed. I am worried. What helps is listening to music, and sometimes what I need more than anything is the energy and attitude of a punk record. When I put on the self-titled debut CD release from Mighty Quinn & The Oakland Ronin, all I wanted was that energy, that drive, to let out some steam, and it worked perfectly. But I got more than that. This is a really good album, featuring some great material. The band is made up of Quinn Walker on vocals, Geoff Saba on guitar and vocals, Andrew Muhoberac on bass and vocals, and Joel Davidson on drums and vocals. Though this is the debut release from this band, it is not Quinn Walker’s first release. That came eight years ago, with the My Road EP. And several other releases followed. Mighty Quinn & The Oakland Ronin are based in – can you guess? – Oakland, California.

The album opens with “The Nu Punks,” the title first making me wonder if it would be about Greek punks discussing the alphabet. It has something of a good pop flavor right at the start (with that catchy “do-do do-do-do” bit), then kicks in with an energetic force, and is exactly the kind of fun I’m looking for. And we are off to a good start. That’s followed by “Meet The Ronin,” which has a bit of a spoken word introduction: “Hey, everybody, this is Mighty Quinn and the Oakland Ronin. We’re going to show you how we get down.” And halfway through, Quinn introduces the band. It’s not a bad song, but not as interesting or exciting as what follows. “Kilt Kimono” has lyrics about troubled teen years, and a great driving beat. “And when you’re screaming and rolling on the floor/That’s punk rock for sure.” A different version of this song was made available digitally last year, and then it was titled “Kilt & Kimono.” This new version is shorter, without that extended ending.

“Headfirst” is one of my favorite tracks, coming on fast and strong. This is exactly what I’m looking for, a song to make me throw myself around the room, smiling the whole time. “Hey, you, you’re the one I want to come home at the end of the night/So come over now/Hey, you, you’re the one I’m talking to/You know I’m going to treat you right.” And these lines always make me happy: “I hope your daddy don’t mind/That I’m the best you can find.” How are those for some honest lyrics? This tune is a lot of fun. It’s followed by “BFF.” Okay, as much as I absolutely detest abbreviations like BFF, I dig this song, particularly the spoken word part: “Research suggests that individuals with less social connection have disrupted sleep patterns, altered immune systems and a thirty percent higher risk of dying in the next seven years.”

I feel that the heavy driving force of “Squash It” could push me right through a brick wall, and yeah, that’s a good thing. “And it can’t be, can’t always be about the money.” That’s followed by “Rebel,” an awesome tune with a great groove. I can’t help but enjoy lines like these: “Well, you can’t trust pigs and politicians/Government officials gonna tell you what to do/Tell them go to hell and fucking good for you/Because I’m a rebel/Yeah, I’m a fucking rebel.”  A different, shorter version of this song was previously released online. Then “Town” has a fairly serious tone and a steady beat. A different and much shorter version of this one also was previously available online.

“Love Vs. Bankers” is one of my favorites. It is a timely song about love being more important than money in a world that is run by the disgustingly rich (with some lines directed at the rich). Sure, we all need money to survive, but let’s not allow the quest for money to be our driving force.  “Well, the thing about love is you can’t control it/Love’s just too big to try to hold it.” It also has a delicious groove and tremendous energy. As with several of the other tracks, an earlier version of this song was released last year. That’s followed by “Anxiety,” another track that feels timely, and one that is in the same realm as “Love Vs. Bankers,” with lines like “Everybody’s greedy, got to get it to win/I want it, you want it, we all want it all/Just a bunch of greedy gods waiting to fall/And you think you're everything.” This one comes at us with speed and energy and attitude, and then is suddenly gone. Ah, those short, powerful punk songs, in and out, say what you need to say and then be done, no need to wrap it up in pretty ribbons and nonsense. “L’Oakland” has a heavy sound, and was previously released as “Jolly Roger.” The disc then ends with a fun rock tune titled “Mickey Got Married.” This one makes me laugh, with lines like “Mickey got married too quick/Now he’s got a little kid who’s a dick/Now what you gonna do about that?” Of course, part of it is that it feels like it could be an alternate reality of mine, had I gone down a different path and continued to go by Mickey rather than switching to Michael in my early teens.

CD Track List

1. The Nu Punks
2. Meet The Ronin
3. Kilt Kimono
4. Headfirst
5. BFF
6. Squash It
7. Rebel
8. Town
9. Love Vs. Bankers
10. Anxiety
11. L’Oakland
12. Mickey Got Married 

Mighty Quinn & The Oakland Ronin is scheduled to be released on November 2, 2018, and will be available on both CD and vinyl.

Martin Barre: “Roads Less Travelled” (2018) CD Review

Martin Barre is known for his decades of work in the band Jethro Tull, where he played multiple instruments, including guitar, mandolin and lute. On his new solo album, Roads Less Travelled, he also plays several different instruments – acoustic guitar, electric guitar, mandolin, mandola and banjo. Joining him are vocalists Dan Crisp, Becca Langsford and Alex Hart, as well as Alan Thomson on bass and Darby Todd on drums. All the tracks on this album are originals, written by Martin Barre.

The album opens with “Lone Wolf,” with Dan Crisp on lead vocals. He, by the way, sings lead on the majority of the disc’s tracks. “Let me do the talking/Don’t need another reason/Got to pay them bills.” What I especially love about this track is the way that the mandolin and banjo are used. The presence of bluegrass instruments works almost in juxtaposition to the harder progressive rock sounds, and yet the sounds mix well. The results are interesting and seriously cool. That’s followed by “Out Of Time,” which has more of a steady, straight rock sound, with a strong pulse. “We’re always out of time/We always run out of time/We always run out of time.” In general, however, I prefer the tracks that have mandolin, such as “I’m On My Way.” I found myself singing along with the title line of this one before the end. And check out these lines: “Could tomorrow bring a better day/Fill my pocket and my soul/A stubborn streak/Deep down inside/Keeps me on my feet/And off my knees.” This track also boasts some good work on electric guitar.

Josiah J joins the group on organ for “Roads Less Travelled,” the album’s title track. The phrase “road less traveled,” of course, comes from the final lines of Robert Frost’s famous poem, “The Road Not Taken”: “Two roads diverged in a wood, and I—/I took the one less traveled by,/And that has made all the difference.” And in this song, Dan Crisp sings of finding “a new way forward” and taking “no shortcuts.” But the line that stands out for me is “Break down the walls I helped build so high.” Becca Langsford then takes lead vocal duties on “Badcore Blues,” a delicious bluesy song with soul, one of my personal favorite tracks. I love Martin Barre’s work on acoustic guitar here. That’s followed by “Seattle,” which is something of a love letter to that city, with references to Jimi Hendrix and to the rain. I always enjoyed myself in Seattle, even though my van would break down every time I drove there (seriously, every time). Josiah J joins the band again on “For No Man,” this time on percussion as well as organ. “Put your head on my shoulder/We can dream ‘til the sun shines on us/I believe in my heart we can change everything.”

“(This Is) My Driving Song” comes on heavy, but this track is another that finds Martin Barre playing mandolin as well as guitar. And, as is probably clear from its title, it is a song I’ll be adding to my road trip play list. It is about the pleasure of driving with music playing. “I’ve got no map or fancy phone/Just a dream that’s in my head/Got no need for company/The music feeds my every need/This is my driving song/My symphony.” I did one solo cross-country trip, and music was definitely my company. That’s followed by “You Are An Angel,” with Alex Hart taking lead vocal duties. This song has a mellower, sweeter vibe, and her vocal delivery has a bit of a jazzy feel. Buster Cottam plays double bass on this track. Then we get the album’s sole instrumental tune, “Trinity,” which is another of my favorite tracks. It has something of a light, positive vibe, and changes direction halfway through, after the briefest of pauses. Martin Barre plays all instruments on this track. The disc concludes with another of its highlights, “And The Band Played Only For Me,” sung by Becca Langsford. I love her vocal delivery, particularly on lines like “My memories are gathering dust” and “Times have changed, but the bands still play/And the ghosts of the dancers perform.” Josiah J once again joins in on organ. I really dig the jam partway through.

CD Track List

1. Lone Wolf
2. Out Of Time
3. I’m On My Way
4. Roads Less Travelled
5. Badcore Blues
6. Seattle
7. For No Man
8. (This Is) My Driving Song
9. You Are An Angel
10. Trinity
11. And The Band Played Only For Me

Roads Less Travelled was released on October 12, 2018 on Purple Pyramid Records, a division of Cleopatra Records.

Mandy Barnett: “Strange Conversation” (2018) CD Review

Vocalist Mandy Barnett, known primarily as a country music singer, dips into some other realms on her new album, Strange Conversation. Here she proves her voice is perfect for blues, soul and pop, as well as country. She covers a wide variety of artists, from Mable John to Sonny And Cher. Joining her on this release are Doug Lancio on guitar and banjo, Tom West on keys, Rudy Copeland on organ, Viktor Krauss on bass, and Marco Giovino on drums and vibraphone. There are also guest musicians and vocalists (including John Hiatt) on certain tracks.

She opens the album with “More Lovin’,”  a cool, sweet bluesy love song that was written by Andre Williams, Gino Parks and William Stevenson, and originally recorded by Mabel John. Arnold McCuller joins Mandy Barnett on vocals for this track. The vocals are so smooth, sliding right in and making themselves at home.  And hey, we all need some “hip-shaking, earth-quaking loving.” That’s followed by a cover of The Tams’ “It’s All Right (You’re Just In Love),” and Mandy’s version has that delicious classic sound, which is wonderful, taking us back to the early 1960s. Here she is joined on vocals by Ann McCrary, Regina McCrary and Brandon Young. “Every time I see someone/They just stop and stare/I guess they think I’m crazy/But I don’t really care/I don’t know where I’m going now/Or where in the world I’ve been.” Perhaps it’s best we don’t reveal the real source of the troubles, and instead say, “It’s all right, you’re just in love.” Sounds plausible.

Mandy then moves up a few decades to give us an excellent rendition of Greg Garing’s “Dream Too Real To Hold.” Here she delivers a fantastic, gorgeous vocal performance over a simple country rhythm, and the results are beautiful and moving, one of my favorite tracks. “The feeling that’s come over me, it scares me half to death/I face my dream although I am awake/And though I’m sure to wake and find a broken heart/I know this is a chance that I must take.” That’s followed by “Strange Conversation,” the album’s title track, written and originally recorded by Ted Hawkins (it was the lead track on his 1994 release, The Next Hundred Years). This is a smooth, cool song with a lot of soul, and this rendition features a horn section, helping to make it a rather lively take. Neal Pawley is on trombone, and John Isley is on saxophone.

Sometimes I forget just how good Sonny And Cher were, and how many seriously good songs Sonny Bono wrote. If you too need some reminding, you’ll get it on this disc from Mandy Barnett. John Hiatt joins Mandy for a fantastic cover of Sonny And Cher’s “A Cowboy’s Work Is Never Done.” I love this one right from the moment it begins, with that great mean vibe taking you to another time, another world. This is one you can sink your teeth into, one that will sustain you as you’re out on this strange range. The horn section returns, and Frank Swart plays guitar, and John Deaderick plays tack piano on this track. Sam Phillips’ “All Night” also has a cool, dark edge and yet an undeniable beauty. This is another of the disc’s best tracks. I love this kind of music, and Mandy Barnett’s vocal performance is fantastic and playful, the way she hangs on certain words. Doug Lancio plays banjo on this track, and Kylie Harris is on keys.

Mandy Barnett then covers Neil Sedaka’s “My World Keeps Slipping Away,” her version mellower and prettier than the original. She’s taken a good song and made it much better, and this track features more wonderful and moving vocal work. “The world we knew is almost gone/But I keep holding on.” There is also some nice work on percussion. Billy Masters is on baritone guitar, and Sonny Barbato is on accordion. The album concludes with another excellent track, a rendition of Andre Williams’ “Put A Chain On It,” with that guitar immediately announcing this as some serious blues. The track turns out to be a whole lot of fun too. Ann McCrary and Regina McCrary provide the backing vocals, and Dennis Brennan is on harmonica. Peter Parcek plays guitar on this track. Strange Conversation is an excellent album from beginning to end.

CD Track List

1. More Lovin’
2. It’s All Right (You’re Just In Love)
3. Dream Too Real To Hold
4. Strange Conversation
5. A Cowboy’s Work Is Never Done
6. Puttin’ On The Dog
7. All Night
8. My World Keeps Slipping Away
9. The Fool
10. Put A Chain On It

Strange Conversation was released on September 21, 2018.