Don Dokken: “Solitary” (2020) CD Review

I was turned onto the hard rock band Dokken in the 1980s when they recorded a song for the third Nightmare On Elm Street movie. If my memory serves, I had an EP of that music on cassette, and listened to it quite a bit. Now I have to admit I have not been keeping up with whatever changes this band must have gone through over the years, and maybe if I had, the new solo album from Don Dokken wouldn’t have come as such a surprise to me. But Solitary is not at all what I was expecting from the lead singer of that rock band. This is a beautiful and passionate album, featuring music that has something of a haunting folk vibe at times. Most of the tracks are originals, written by Don Dokken. But the covers are probably what surprised me the most. But we’ll get to that in a bit. Joining Don Dokken on this release are Michael Thompson on guitar and bass, Steve Ornest on guitar, Wyn Davis on guitar and bass, Tony Franklin on bass, John Schreiner on piano and synth, John Keane on piano and synth, Frank Lentz on drums, Gary Ferguson on drums, and Vinnie Colaiuta on drums. Interestingly, this album was released earlier as a limited edition disc, with slightly different cover artwork, and three fewer tracks (the three covers). Now it is getting a proper release, as it so rightly deserves.

The album opens with “In The Meadow,” a song whose beauty is striking right from the beginning, with that nice guitar work. Don Dokken’s vocal performance is touching and moving. “By my side, you are with me/In my mind, we walk in the morning.” This song is like a folk tale, or like an Irish ballad. That’s followed by “I’ll Never Forget,’ which begins with an eerie, ethereal sound. “Never let you go/Always let you know/You’re the shadows round my soul.” Then “Where The Grass Is Green” has a bit more of a rock sound when it kicks in. Kelly Keeling provides backing vocals on this track. “Where did all the people go/That I used to know?” There is a passion behind Don Dokken’s vocal delivery, and it is that passion that we are drawn to here. Then in “Jealous,” he gives us a gorgeous vocal performance. Seriously. Here he is backed by keys. This is the first of the album’s covers, written by Josh Kear, Natalie Hemby and Timothy McKenzie, and originally recorded by Labrinth. Don Dokken delivers a moving rendition, certainly in line with the spirit of the original. “‘Cause I wish you the best of all this world could give/And I told you when you left me, there’s nothing to forgive/But I always thought you’d come back/Tell me all you found was heartbreak and misery.” This track was not included on the initial 2008 release of Solitary.

“Ship Of Fools” features some nice percussion. “Please don’t take my world/In the blink of an eye.” That’s followed by “You Are Everything,” which has a pretty and uplifting vibe right from the start, and develops a kind of sweet pop sound. “Try to understand who I am/I wish that someone would show me how/Try to escape, not accept my fate/Stop the crying/It doesn’t matter to me/What they say or believe/You are everything to me.” Then “Venice” has a bright, inspiriting sound, especially the guitar work as the track opens. This song makes Venice Beach sound like a sweet, enjoyable place to be; Don’s gentle, friendly vocal delivery certainly aids in that. I also really like the guitar work on this track. That’s followed by “Sarah,” which has an intriguing opening, a mysterious vibe and mood. “You are forever/Never be forgotten/Your wind surrounds me/Never be forsaken/The sky beneath me/I am forever.” That haunting sound pulls me in, and this song builds in intensity. “Everyone has a Sarah.” What could he mean by that, I wonder. After a couple of minutes, it takes on the sound of a hard rock song, if only momentarily.

Earlier when I mentioned the surprising choices of cover material, mainly what I was referring to was “My Heart Will Go On.” Yes, Dokken covers Celine Dion. What are we to make of this? And what’s crazy is that it is a beautiful rendition of the song from Titanic. Now, to be clear, Celine Dion didn’t write the song. It was composed by James Horner and Will Jennings, and Don Dokken was friends with James Horner, so the track is a tribute to him (James Horner died in 2015). And yes, I actually prefer this version, thinking it better than the original; it is grounded, yet magical. I am surprised by how much I like this track. That’s followed by “The Tragedy,” a strange sort of lullaby. “Go to sleep so you can fly/To that place where the children don’t cry.” This might be my favorite track, in large part because of Don Dokken’s heartfelt and passionate vocal delivery. But also the music here seems capable of transporting us to some other land, which fits so well with the lyrics. It’s a beautiful song.

A line from Steve Owen’s “Longing To Be” that has always stayed with me is “It’s a different kind of cursing, but ‘someday’ is the dirtiest word.” But “someday” is a word that also weirdly holds a lot of appeal. The original release of this album concluded with “Someday,” a song with an undeniably uplifting and comforting quality. Here is a taste of the lyrics: “Someday you will see/Deep inside of me/What could have been/How much heart I have.” Then this expanded edition concludes with a cover of “All That Love Can Be,” another song composed by James Horner and Will Jennings. This one was featured in the film A Beautiful Mind. On the soundtrack it is listed as “All Love Can Be” (rather than “All That Love Can Be”), and it is sung by Charlotte Church. As much as I am digging this Don Dokken album, he can’t complete with Charlotte Church’s vocals. Still, this is a nice take on the song. “I would watch in the night/Hold you in my arms/Give you dreams where no one would be/I would watch through the dark/‘Til the morning comes.”

CD Track List

1. In The Meadow
2. I’ll Never Forget
3. Where The Grass Is Green
4. Jealous
5. Ship Of Fools
6. You Are Everything
7. Venice
8. Sarah
9. My Heart Will Go On
10. The Tragedy
11. Someday
12. All That Love Can Be

Solitary was released on January 31, 2020 through Deadline Music, a division of Cleopatra Records. There was also a vinyl release – on bright red vinyl – but that version is missing the two James Horner compositions.

Holland Greco at The Mayfair Hotel, 2-13-20 Concert Review

It is Valentine’s Day, and to help us celebrate, Holland Greco has released a new single, “Listen For My Love,” a fun and sweet dance tune which she recorded with Funk LeBlanc. And last night she and her band (which includes a horn section) put on a totally enjoyable show at The Mayfair Hotel in downtown Los Angeles. The set featured original material, including – of course – the new tune. The venue is beautiful, by the way. Finding a parking space is a challenge, but once you’re inside, the place’s good vibes will take over, put you in the right mood. This is the spot where Holland had scheduled her previous single release party last September, but a power outage in the neighborhood that night put a halt to it. Anyway, spirits were pretty high last night, and the music got the crowd dancing. Hell, folks were dancing even during the soundcheck.

At 9:17 p.m., members of Holland’s band began taking the stage, and soon things were popping as the band opened the set with “I Found Fun,” a song with a wonderful groove. Holland opened her show at Gold Diggers last October with this one, and it’s a good choice for set opener. It gets things moving, and promises a fun set. Holland followed that with “Lovestruck,” that thumping bass keeping things in motion. This one is a disco gem. Is it any surprise that the audience was dancing? She dedicated “Toast To Life” to a guy named Mitch, then said “This is about having a good time and enjoying the moment.” In these twisted days, it is important to remember to enjoy ourselves. Life is short, and it’s not going to get longer by us dwelling on all the horrible stuff going on out there. The song’s dance beat certainly helps us have a good time. This tune also featured some nice work on guitar. Holland then picked up a tambourine for “What Is Dark,” telling the crowd the song “is a little more in the soul vein.”  As is the case with all of Holland’s material, it featured an excellent vocal performance, and this one last night also featured some nice harmonies.

“We Could Still (Get It On)” was the last single that Holland Greco released (it is available on vinyl). As they began it last night, Holland introduced the band. This tune has such a positive feel to it, and it is one of the songs that got people dancing during the soundcheck, as well as during the set. Holland followed that with an older gem, “Flashback,” with its gentle, cool groove. Then Holland played the new song, “Listen For My Love.” “It’s a song that I wrote and recorded with Funk LeBlanc, and the single is coming out tomorrow,” she told the audience, who cheered in response. “So you’re hearing it first. And, I don’t know, this is probably the first time it’s really been played in public.” I am always excited to hear new material from Holland Greco, and this song certainly has an uplifting and positive vibe. Early on in the tune, Holland sings, “When skies are grey, I’m coming in with the gift of sunrays.” Oh yes! Though this tune did not feature the horns, it still had a fun vibe. (By the way, you can check out the song here.) The horn section returned for “Real Love,” a song that kept the positive vibes going. The set then concluded with “Guilty Pleasure Zone,” an older favorite, with Holland on electric ukulele. The crowd called out for an encore, but that was it. Leave ‘em dancing and wanting more, right? 

Set List

1. I Found Fun
2. Lovestruck
3. Toast To Life
4. What Is Dark
5. We Could Still (Get It On)
6. Flashback
7. Listen For My Love
8. Real Love
9. Guilty Pleasure Zone 

Here are a few photos from the show:

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

The Coachella Valley Trio: “Mid Century Modern” (2020) CD Review

The Coachella Valley Trio consists of Doug MacDonald on guitar, Larry Holloway on bass, and Tim Pleasant on drums. The group’s new album, Mid Century Modern, contains a mix of covers and original material written by band leader Doug MacDonald. Doug MacDonald is one heck of a good guitarist. He has played in various band configurations (including quartets and big bands), and always finds a way to get things swinging, his playing having a lively and positive sound. He, Larry Holloway and Tim Pleasant have been jamming at a venue called AJ’s On The Green, located in Palm Springs, every Wednesday. And now Mid Century Modern gives those of us who don’t often out to Palm Springs a chance to enjoy a bit of the magic these three musicians create together. Joining the trio on several tracks of this album is Big Black on djembe.

The album opens with a cover of “My Shining Hour,” a song written by Harold Arden and Johnny Mercer for the film The Sky’s The Limit. This rendition has a wonderful groove, and some delicious guitar work that sounds like the instrument is dancing, and it all works to put a smile on my face, and remind me that humanity still exists in some positive form. When you get down about all the horrible things people are doing these days, it’s good to remember that people are also creating music like this. Halfway through, there is a good lead on bass. And there are also some brief drum solos, which I enjoy. But it is the guitar that really gets things moving. “My Shining Hour” is followed by an original composition, “Lance Or Lot.” Okay, yes, that’s a goofy song title, but I love the feel of this one. It has a bit of a laid-back groove and temperament, yet with also a certain confidence, creating a cool style and sound. It isn’t long before the bass takes over, and that lead section is one of my favorite parts of this track. It has this youthful, jolly kind of vibe that makes me think things are fine. You know? That’s followed by another original composition, “Cat City Samba,” which has a nice Brazilian rhythm and feel. The track’s title, I assume, is referring to Cathedral City, which is located in the Coachella Valley. This is one of the tracks to feature Big Black on djembe, and the percussion is a large part of this track’s charm, no question.

“Tram Jam” has something of an easygoing sound, particularly as it starts, like one out for a stroll. Then Doug MacDonald’s guitar takes off from there, following its own flight of fancy and taking us along with it. Things remain delightfully loose, and there is also a nice lead on bass. This is another original tune, written by Doug MacDonald. The trio then returns to cover material, beginning with a sweet rendition of “What’s New,” written by Bob Haggart and Johnny Burke. This track begins with just a bit of solo work by Doug MacDonald on guitar before the others come in. I like the charming, pleasant feel of this version. The bass and drums have a relaxed, late-night vibe, while the guitar lightly dances above them. The trio then delivers a cover of “Give Me The Simple Life,” a song written by Rube Bloom and Harry Ruby. It’s a cheerful number that features some fun, playful work on guitar. Big Black joins the group on djembe. Big Black also plays djembe on a cool rendition of “Stranger In Paradise,” a song from the musical Kismet. The rhythm created by Big Black and Tim Pleasant is largely what makes this track so enjoyable.

One of my favorite tracks is the trio’s wonderful rendition of Ray Noble’s “I Hadn’t Anyone Till You.” This one too features some really catchy work on percussion (Big Black again is on djembe), and I love that lead on bass. But it is the guitar work that really delights us on this one. The guitar has a friendly vibe, and dances about playfully. The instrument seems to have a life of its own, a personality, one you’d like to get to know. That’s followed by a version of Dizzy Gillespie’s “Woody ‘N You” that moves and swings, and features some excellent and impressive work on guitar. There are short percussion solos, which I love. Big Black is again on djembe. The song’s title is sometimes listed as “Woody ‘N’ You,” which you’d think would make more sense, but the title uses Woody Herman’s name as a sort of play on the phrase “Wouldn’t you” (and is sometimes listed as “Woody’n You”), rather than meaning “Woody and you.” The last track to feature Big Black is also the album’s final original tune, “Bossa Nueva.” This tune has a delicious rhythm, and it is this rhythm that gets the track going. The album then concludes with “The Way You Look Tonight,” a song that I love. This rendition moves at a quicker pace than usual, and swings, and features some exciting work on guitar. I also seriously dig that bass line. And with the inclusion of a short drum solo, it is no wonder that this is one of my favorite tracks. A great way to end the album.

CD Track List

1. My Shining Hour
2. Lance Or Lot
3. Cat City Samba
4. Tram Jam
5. What’s New
6. Give Me The Simple Life
7. Stranger In Paradise
8. I Hadn’t Anyone Till You
9. Woody ‘N You
10. Bossa Nueva
11. The Way You Look Tonight 

Mid Century Modern was released on January 28, 2020.

Grateful Dead: “Dave’s Picks Volume 33” (2020) CD Review

My favorite three years for Grateful Dead concert tapes are – in order – 1973, 1977, 1970. The Dave’s Picks series concluded 2019 with a fantastic show from 1973, and now has begun 2020 with an equally excellent show from 1977 (could a great 1970 show be next on the horizon?). And it is shows like the one the band played on October 29, 1977 that make that year one of the best. Dave’s Picks Volume 33 contains the complete show on three discs.

Disc 1

The first disc contains the entire first set. As the band tunes, we can hear Jerry call out “Might As Well.” And after a few more moments of tuning, the song is counted off and the band launches into the first song of a great night. And this rendition of “Might As Well” has a ton of energy right out of the gate, but somehow picks up more steam as it goes. “Never had such a good time in my life before.” And then he shouts out the line about taking the ride again, and we know we too are in on the ride, and that it’s going to be one hell of a good time. Holy moly, Jerry is electric here, with a fiery force to his vocals. Feels like they are wrapping up the first set, or even the night, when actually the band is just getting started. “Thank you very much for your kind patience,” Bob tells the crowd as the band tunes in preparation for “Jack Straw.” And what a sweet “Jack Straw.” Everything is working just right to create a truly satisfying rendition, soothing in the right places, powerful in the right places, one of the best versions I’ve heard. “Dire Wolf” is always a delight, and this is a particularly good and lighthearted rendition. That’s followed by a pretty “Looks Like Rain,” at times delicate and gentle, with some wonderful blending of Bob and Donna’s voices, and then rising gloriously in power. I love their delivery of “Run me round, make me hurt again and again.” This is one of the best renditions of “Looks Like Rain” the band ever performed. It sounds like the crowd agrees. That’s followed by an excellent version of “Loser,” with an emotionally engaging vocal performance from Jerry. This one reaches some tremendous heights toward the end, and is followed by “El Paso.” And this too is an excellent rendition. Yeah, the band tunes between songs, joking about getting their space together, but seems to be getting everything just exactly right. It’s one of those shows where the magic is happening.

They then go into “Ramble On Rose,” this version at first having an easygoing vibe, though with Jerry belting out some lines. There are then some birthday wishes for a guy on the crew, before Bob leads the band into “New Minglewood Blues,” a version with an animal’s ferocity at times, a beast that has no interest in being tamed. After that, the band eases into “It Must Have Been The Roses,” this version having a bit of a country feel at first, partly because of the rhythm. It’s a pretty rendition. Though there is some banter about playing “U.S. Blues,” the first set wraps up with “Let It Grow,” And, guess what, this too is an excellent version, with a lot of energy, a “Let It Grow” that really moves, featuring some good jamming. Bob then tells the audience they’re going to take a short break.

Disc 2

The second disc contains the first few songs of the second set, so as to not break up the flow of that main bulk. “Bertha” is off to a slightly awkward start, but then gets cooking. The “Test me, test me” section doesn’t have as much power as some versions, but this is still a cool rendition and it leads straight into a rocking and fun version of “Good Lovin’.” Those brief pauses work so damn well here, just perfect. It’s not a particularly long version – only six minutes or so – but so much energy is packed into those minutes that no more is needed. The band then follows that with a sweet rendition of “Friend Of The Devil,” which ends gently, beautifully. Before the disc ends, you can hear the band talking about what they might play, including “St. Stephen.”

Disc 3

The third disc kicks off with one of my favorites, “Estimated Prophet,” a song from Terrapin Station, which had been released just a few months earlier. The jam maintains that good groove, while Jerry’s guitar begins dipping into the ether, and soon making friends with comets and long-eared electric entities poking into our reality, drawn by the music. They travel back with us to dance as the band transitions to “Eyes Of The World,” another favorite. Jerry’s voice sounds so smooth at first, the groove so delicious, their playing jazzy, with a flow that carries us right along with it. This is a great rendition of “Eyes.” “Sometimes we ride on your horses, sometimes we walk alone/Sometimes the songs that we hear are just songs of our own.” The jam gets just a bit messy directly after that last verse, and then drifts off into stranger territory. This jam is presented as a separate track, and labeled as “Space,” though the official “Drums/Space” segment was still several months away. My memory is that my original cassette copy of this show didn’t differentiate at all, that this was still considered “Eyes.” At any rate, it is certainly a spacey jam, without the drummers. The transition into “St. Stephen” is wonderful, and of course “St. Stephen” is always a thrill to hear. Vocally, it is one of those mid-1970s smooth renditions, but musically it has power, and the jam gets exciting, sounding like it might even go into “The Eleven” at one point (it doesn’t). The drummers then seem like they’re going to lead the group directly into “Not Fade Away,” but soon Phil joins them and they jam for a bit, a cool and surprising section. Then they do go into “Not Fade Away,” which has a whole lot of energy. They jam on this one, and the jam gets a bit mellower and somehow transitions so smoothly into “Black Peter.” I love how quiet this version gets at times, drawing you closer, until you’re almost holding your breath. And then Jerry’s guitar begins to soar. It’s a beautiful rendition. “Sugar Magnolia” emerges from it to close out the second set, always a fun choice to go out on. “Sunshine Daydream” in particular has a fiery, fierce energy. The encore is “One More Saturday Night.”

CD Track List

Disc 1

1. Might As Well
2. Jack Straw
3. Dire Wolf
4. Looks Like Rain
5. Loser
6. El Paso
7. Ramble On Rose
8. New Minglewood Blues
9. It Must Have Been The Roses
10. Let It Grow

Disc 2

1. Bertha >
2. Good Lovin’
3. Friend Of The Devil

Disc 3

1. Estimated Prophet >
2. Eyes Of The World >
3. Space >
4. St. Stephen >
5. Not Fade Away >
6. Black Peter >
7. Sugar Magnolia
8. One More Saturday Night

Dave’s Picks Volume 33 was released in late January, 2020. My copy arrived on February 1st (“Cosmic Charlie” day). This three-disc set is limited to 22,000 copies (2,000 more than Volume 32).

Steven Keene: “It Is What It Is” (2020) CD Review

Steven Keene is a singer and songwriter who has a talent for storytelling as well as a talent for tapping into the hungers and longings that so many people have but perhaps don’t express. We deal with many of those feelings through drink, and his new album is, among other things, a great drinking album. Titled It Is What It Is, this CD contains all original music written by Steven Keene, songs that deal with lost love and the sometimes less-than-lofty sides of romance. By the way, this release is being referred to as an EP, but it contains thirty-four minutes of music, which qualifies it as an LP. Joining the singer and guitarist on this album are Joseph Chiarolanza on bass, Joseph Napolitano on pedal steel, Matt O’Ree on guitar, Rich Scannella on drums and Arne Wendt on keys, as well as several guests on certain tracks.

The disc opens with “Can’t See It When You’re In It,” which begins with some work on keys. Soon a strong groove is established, a groove that works to quickly pull us in. Steven Keene’s vocals have something of an intimate quality, like he is speaking directly to us, from right next to us. “Now give it to me straight/Tell me what you see/Don’t worry what you say/Just don’t lie to me/Now tell it to my face/Don’t beat around the bush/Give me the truth, friend/Give me a healthy push.” I like the way the word “friend” is delivered and used here; it’s given a different stress, so a bit of a punch; it’s like using that word makes it more of an honest entreaty, and opens him up a bit too. Then later in the song he sings, “Give me an honest friend/One that cares.” Those are depressing lines, for what they imply about the friends he has. In these days when we count online acquaintances as “friends,” it is probably no surprise that these relationships lack honesty and depth. This track also features a short, but cool jam. Lisa Testa provides some good backing vocals. That song is followed by “Far Better Friend Than Lover.” I really like those backing vocals by Michele Weir. That “Mmm-mmm” comes as the female reaction to his lines, perhaps taking a bit of the sting from them, right? Or it’s like both parties feel the same way, which is interesting. This is a cool tune. “I’m not saying, baby, that you’re not for me/Just saying, baby, you’re not my destiny.” I can’t help but think of Crispin Glover in Back To The Future when hearing that “destiny” line. This track also features some good work on guitar, particularly at the end.

In “She Used Me, I Used Her…” Steven Keene sings, “They said it’s wrong, but we didn’t care/She used me, and I used her/But no one cared.” It is interesting that this song has a loving and gentle vibe, which oddly works to give those lyrics a sweeter sense than they might otherwise have. And here again his vocal delivery has an intimate quality which adds to that feel. That pretty work on piano likewise adds to it. This track features some nice work on pedal steel. I also really like the percussion here. Toward the end, that main line changes to “She loved me, and I loved her.” Is it a realization? Or could it be that something that began without such ardor then grew deeper? And yet, the line is in the past tense, which gives it a sad quality. Could the realization have come too late? Or is it rather than he looks back at the relationship with more fondness than was present at the time? There is something beautiful about this track. It is then followed by “Don’t Blame It On The Alcohol,” which has something of a country feel, which of course is perfect for its subject. “Now I ain’t expecting any great affection/I ain’t dwelling on this deception/And I ain’t looking for any special attention/We both knew our true intentions/So don’t blame it on the alcohol/Or say that things got out of control.” These lines do seem a variation on the theme introduced in the previous track, about not looking for anything too special from a lover. This track features more nice work on pedal steel, and Michele Weir adds some pretty backing vocals. “Now why don’t we just go out for a drink/We both need one now, don’t you think?” Absolutely! I’ve been drinking steadily since November of 2016.

On the album’s title track, “It Is What It Is,” Steven offers these words: “Some things can’t be undone/Don’t get stuck on right or wrong/Don’t look back, or ask why/These few words will get you by.” The song is comforting, but I don’t believe it is encouraging complacency. I know some people hate it when someone says “It is what it is,” for they feel there is a hopelessness to the phrase. But here Steven sings, “Let go what causes pain/Find peace with this/It is what it is.” We can’t tackle everything. We can’t change everything. That doesn’t mean we shouldn’t try to effect change. But also we shouldn’t go mad in reaction to all the terrible things going on out there, even the things that are directed at us. Don’t dwell on the things that have damaged us, for then they will continue to damage us. Mike Ribler plays guitar on this track, and Steve Holley is on drums.

“Until You” is an uplifting number with a full folk sound that includes some nice work on mandolin. “I never knew what true love meant/Until you.” That’s what I’ve been saying to my girlfriend for several years. I think we need another word for everything that happens up until that special person comes into our lives, that thing we take for love until we actually find love. This track features a good bass line. I also like the harmonica. You know, this is just a really good song, feeling like a sweet celebration of love, of finding that one person. Then “By Your Side” is the song that got me interested in this album. It was released as a single back in November. It’s a beautiful song featuring a moving vocal performance, a song of heartache and longing, of lost love. His vocal delivery is what makes this song so effective. It is all there in his voice – an entire history, as well as a sadness about the present and future. It all rings true. “I can’t make this change/Too much remains/And you, is it the same for you?” This track feels even stronger in the context of the rest of the album, and is hitting me harder than it did when I first heard it several months ago. This track features some wonderful and passionate guitar playing toward the end, just before the song fades out. Layonne Holmes provides backing vocals on this track.

Steven Keene then switches gears with “Let It Be Me, Once Again,” a tune with a strong groove, though this one too deals with a lost love. “Forget the past/There’s no one to blame/Let’s put it behind/And end this foolish game/In the end, it’s all just the same.” There is an optimistic, positive sound and feel to this song. “Time will change/Time can mend/Time will bring us closer once again.” Oh yes, we can use that sort of optimism. The disc then concludes with “Head On Is Not An Angle,” a pretty and moving track. Interestingly, this one refers to the title track, “It Is What It Is.” “You took away what made me want to stay” is a beautifully sad line.

CD Track List

1. Can’t See It When You’re In It
2. Far Better Friend Than Lover
3. She Used Me, I Used Her…
4. Don’t Blame It On The Alcohol
5. It Is What It Is
6. Until You
7. By Your Side
8. Let It Be Me, Once Again
9. Head On Is Not An Angle 

It Is What It Is was released on January 10, 2020.

Mike Barnett: “Scattered Debris” (2020) CD Review

I was turned onto Mike Barnett’s music several years ago when he released Everybody Gets To Dream. One thing I loved about that album was its innocent and positive vibe, coming as a temporary relief from the troubles of the world. Well, we could all certainly use that kind of thing right now. And Mike Barnett has given us another batch of original material to help us through. Titled Scattered Debris, this new album contains music in that folk-pop realm, with some 1960s pop elements, a lot of it designed to raise our spirits, or at least ease our minds. Among those joining Mike Barnett on this release are Salim Nourallah on bass and guitar, and Dennis Gurley on guitar, both of whom co-produced the album with Barnett. Also performing on this disc are Joe Reyes on slide guitar, Erik Lewis on dobro, Kelly Matthews on drums and bass, John Dufilho on drums, Denise Risner on keys, Phil Solem (of The Rembrandts) on guitar, Jeff Grady on guitar, and Chris Holt on guitar.

There are positive vibes and sounds right from the beginning of the album’s opening track, “Nothing To Lose,” a song in that pop rock realm, with a bit of a 1960s feel. Check out these lines:  “I’ve got a right to brag a little/I won your heart, no easy task/We move along, no hesitation/We move along, nothing to lose/No way that we’re falling apart/No way we’re the losers/Let’s go back to the start/Let’s do it again.” In a time when it feels that everything is falling apart, it’s good to hear these words. We need to maintain a positive outlook, don’t we? That’s followed by “I Hope,” which is one of the album’s catchiest songs, reminding me of The Traveling Wilburys. “I hope to do/Something for you/Something that makes it better/I hope to do.” Ah yes, we need to take care of our personal relationships in these times of stress and anxiety. This is one of my personal favorites.

With a title like “Love Will Win,” you know you’re in for an uplifting and hopeful song, and Mike Barnett definitely delivers on that score. Again, there is a certain 1960s influence, particularly a George Harrison influence on this track. “It’s dark before morning/The sun will shine through/It doesn’t matter what you say or do/Hold on tight/It’s all right/And love will win.” I try to remain optimistic, which isn’t always easy these days. This music is helping. That’s followed by “The First Ten Days,” which has more of a bluesy and somber tone. “The first ten days in icy weather/The first ten days seemed such a breeze/Soon that changed, but not for better/All gone wrong, gone wrong for me.” Then “I’m Gonna Be OK” bursts in with a joyful sound to lift us up again. “Taking you to the train/Standing out in the rain/It’s driving me insane/But I’m gonna be okay/Chasing my blues away.”

“She’s A Mystery” has more of a folk sound, with harmonica and dobro, and some sweet pop elements as well. It also features probably my favorite vocal performance of the album. Plus, this one contains a nice baseball reference: “She’s a mystery to me/Like that pitch you did not see/High inside, but called strike three/She’s a mystery to me.” I love that! “I never once believed in fate/Or that love could turned to hate/Or your eyes could say ‘too late’/Never once believed in fate.” That’s followed by “Love Is Doing Alright,” in which Mike Barnett sings “You and I are only two/We can’t tell the world what to do.” Oh, but we fervently wish we could! This song has a sweet, gentle and pretty folk sound, and includes some nice whistling.

“Upstairs” is another of the album’s highlights. It has a moving and emotionally engaging sound, as well as a really good vocal performance. This is certainly one of the album’s more serious tracks. “One more hour ‘til it’s time/Take me back to face the crime/Stand me up right there in line/‘Cause it’s too late to change my mind.” The album then concludes with “Checked Out And Gone,” one of the album’s strongest tracks, this one delivered with more attitude and bite, which works well. “Love was never that strong/I don’t really care/I’m not really here/Checked out and gone/Irreplaceable/What a crock of bull/I’ve been gone so long.”

CD Track List

1. Nothing To Lose
2. I Hope
3. Love Will Win
4. The First Ten Days
5. I’m Gonna Be OK
6. Elusive Smile
7. All Fall Down
8. She’s A Mystery
9. Love Is Doing Alright
10. Wasted Wasting Time
11. Upstairs
12. Checked Out And Gone

Scattered Debris was released on January 20, 2020.

Grateful Dead: “Dave’s Picks Volume 32” (2019) CD Review

I’m far from alone in believing 1973 to be the best year for the Grateful Dead, and the Dave’s Picks series wrapped up 2019 with another offering from that stellar period – March 24, 1973 at The Spectrum in Philadelphia. Dave’s Picks Volume 32 contains the complete show on three discs.

Disc 1

The band kicks off the first set with “Bertha,” always a fun opener, and from the way Jerry delivers those opening lines, you know it’s going to be a good version, with a lot of energy. There is such a happy, excited sound to this version. Sure, there is a bit of a fuck-up at one moment toward the end, but no matter. The band is cooking, and clearly aiming to deliver the goods. And after just a bit of tuning, they follow “Bertha” with “Beat It On Down The Line,” keeping the energy high and things rocking, and then “Don’t Ease Me In,” a song that was often the Set I closer in the days when I saw the band, but here positioned early in the first set. It is interesting that they choose several short rocking tunes to start the show and get everyone loose and dancing. Bob then leads the band into “The Race Is On,” the first tune of the show to really feature Donna’s vocals. Keith gives us some nice stuff on keys. That’s followed by a delicious “Cumberland Blues,” the blood and steam really pumping now. One of the main reasons I love 1973 is the band’s propensity to get into some jazzy jamming, but here they show that they also could really groove on these shorter numbers. This “Cumberland” is a lot of fun. Then Phil leads the band in a nice “Box Of Rain.” This song always lifts my spirits; it taps into some current running through us all, you know? Then there are plenty of sweet vibes in this rendition of “Row Jimmy,” and some pretty harmonizing. That’s followed by “Jack Straw,” which is a bit messy at moments, but still pretty damn good.

Another thing I love about 1973 Dead is “They Love Each Other,” which had a great groove and a cool bridge that was later dropped. This version also features some wonderful stuff from Jerry on guitar. Oh yes, this track will put a smile on your face. Then “Mexicali Blues” is fun, as always. “Tennessee Jed” feels just a bit sluggish at first, but Jerry’s vocal delivery is fantastic, and the band does jam on this one toward the end. That’s followed by “Looks Like Rain,” which is beautiful right from the beginning, sounding gentle, like a caress in an otherwise turbulent world. “My landscape would be empty if you were gone.” The band picks things up again with “Wave That Flag,” a song that would soon become “U.S. Blues.” Hey, who doesn’t have the U.S. Blues these days? It’s still weird to hear these early lyrics. These lines are standing out this time around: “Stretch the truth, pull the tooth/Feed the poor, start a war.” That’s followed by “El Paso,” which begins somewhat softly, but soon builds from there. And that’s how the first disc ends, but not how the first set ends. Though we are nearly eighty minutes into the show, there is still plenty of music left in the first set. Ah, 1973!

Disc 2

The second disc contains the rest of the first set, and a chunk of the second set. It gets going with a seriously good version of “Here Comes Sunshine,” which was a new song at the time. The guys jam on it, getting a really nice groove going, and it is that jam that makes this rendition something special. Maybe a bit more energy than you might normally associate with this tune. That’s followed by a sweet “Me And Bobby McGee” and a powerful and moving “Loser.” But it is “Playing In The Band,” the first set closer, where things really start getting interesting. The song comes on strong, with Bobby belting out the lyrics. But within a few minutes, they are stretching out, getting into cool, jazzy, spacey territory, rolling right into it, ready to meet whatever they might found there, sounding like they might roll right over it or through it, no stopping, no hesitation, and maybe whatever is out there will make itself a part of this vessel, add to it, contribute to its voyage. For there are two choices: get with it, or get out of the way. Because this thing isn’t stopping or showing any signs of fatigue. And then, like after fourteen minutes, the band suddenly brings us back down to Earth. What a ride! And that is how the first set ends.

The second set opens with a straight rock and roll tune, Chuck Berry’s “Promised Land,” getting the set off to an energetic start, just like the first set. Does Bob forget the lyrics for a moment? No matter. That’s followed by “China Cat Sunflower,” and you can hear the crowd get excited the moment it starts. Early on, Jerry’s vocals seem a bit low in the mix, with the bass and drums being most prominent. But this is a good rendition, the jam cooking along with a delicious and delirious thumping energy. The transition into “I Know You Rider” is smooth. And wow, listen to Jerry tear into the “headlight” line. So good! Bobby keeps things hopping with “Big River.” I love Keith’s work on keys here. Jerry then eases us into a gorgeous rendition of “Stella Blue,” one of my favorite songs. This version had me close to tears. “It seems like all this life was just a dream.” The second disc ends with “Me And My Uncle.”

Disc 3

“He’s Gone” is such an interesting song because its meaning has changed over the years. And in March of 1973, the song had its first major shift in meaning, with the death of Ron “Pigpen” McKernan. After that, just a couple of weeks before this show, the song took a different tone. You can hear it clearly on the version presented here (which I believe was the first time the band played the song after Pigpen’s passing). There is just a bit of a break in Jerry’s voice as he sings “Nothing left to do but smile, smile, smile.” The extended vocal jam toward the end is particularly moving, even taking on almost a gospel feel. “Nothing’s gonna bring him back.” Then Bobby leads the group into “Truckin’” as if to say okay, we’re going to carry on. Because, hey, what else can we do? The long strange trip isn’t over yet. And you can feel the energy and relief of the crowd as they dance with abandon. The band is pushing them, pushing themselves, to go further, onward, upward, outward. Holy fuck, they just gather more energy there somehow as the jam takes off. As the jam turns a corner, it is given its own track on this disc. Seems like it’s going to go off into seriously trippy territory, like “Dark Star,” but surprisingly changes course and takes on a solid groove. Billy keeps things moving steadily forward. And Phil’s bass is a force. Ah yes, this is what it’s all about, if anyone is wondering. The jam holds more surprises, going in other directions, and what I love is that when it takes a turn, it takes it strongly. There is no hesitation, no uncertainty. Things start getting weird like eighteen or nineteen minutes into it, and soon they go into “Dark Star,” and you think, oh man, we are on our way out even farther. But this has got to be the shortest “Dark Star” ever, only one verse, and only like four minutes. Then the band moves into a beautiful and passionate version of Merle Haggard’s “Sing Me Back Home.” This might be the best version of this song I’ve heard the Dead do. They then wrap up the second set with a rousing version of “Sugar Magnolia” to get everybody dancing and feeling good. They leave a pretty long pause before “Sunshine Daydream.” The encore is a high-energy rendition of “Johnny B. Goode.”

CD Track List

Disc 1

1. Bertha
2. Beat It On Down The Line
3. Don’t Ease Me In
4. The Race Is On
5. Cumberland Blues
6. Box Of Rain
7. Row Jimmy
8. Jack Straw
9. They Love Each Other
10. Mexicali Blues
11. Tennessee Jed
12. Looks Like Rain
13. Wave That Flag
14. El Paso

Disc 2

1. Here Comes Sunshine
2. Me And Bobby McGee
3. Loser
4. Playing In The Band
5. Promised Land
6. China Cat Sunflower >
7. I Know You Rider
8. Big River
9. Stella Blue
10. Me And My Uncle

Disc 3

1. He’s Gone >
2. Truckin’ >
3. Jam >
4. Dark Star >
5. Sing Me Back Home
6. Sugar Magnolia
7. Johnny B. Goode 

Dave’s Picks Volume 32 was released in early November, 2019. My copy arrived on November 4th. This is a limited edition of 20,000 copies.