Lights Out Levine, Ape Hangers, And The Paper Hearts at Maui Sugar Mill Saloon, 8-1-26

Kim celebrates her birthday

What better way is there to celebrate a birthday than catching some great bands? Of course, it helps if you're married to one of the band members. Then you can pick the bands that play on your birthday. That's what Kim Champ Kiah did for last night's show at Maui Sugar Mill Saloon, and she chose one hell of a rocking lineup. It featured Lights Out Levine, Ape Hangers, and The Paper Hearts. A night when the energy never lagged. Before the show started, the musicians gathered on the stage with Kim for some photos to capture the moment, and even before that it felt like the party started, when Lights Out Levine played a bit of "I Like It With The Lights Out" during the soundcheck. There was a good crowd for this show, the audience including a lot of musicians, such as members of The Glimmer Stars, The Smokey Lonesome, Slamdinistas, Hollywood Sinkhole, and Karman Jeanne & The Fish. 

Lights Out Levine

Right at 8:30 p.m., Lights Out Levine took the stage, Adam sporting his sparkling gold jacket, ready to get the action started right after Kim's son introduced the band. "Happy birthday, Kim," Adam said. Then, not spotting her right away, he asked, "Is she hiding already?" The band kicked off the night with "Pervert Queen," leaping straight into some great rock and roll, this song being about "a special kind of girl," and so it seemed the right way to start things. Certainly Kim (who was not hiding) appreciated it. And the party was underway. That song led straight into "Reaper's Rodeo," shifting into different territory, where everything felt cool, especially that bass line. Nubs made a sound adjustment to get everything just right, and the band played "I Like It With The Lights Out," which was heaps of fun, a piece of rock and roll heaven. Adam then called a few guests to the stage, including Ape Hangers' Bob Kiah, for a special rendition of "Fantasy." That was followed by "Zombie March," which began on drums and featured delicious drumming throughout. And Adam howled like one possessed, which was wonderful. "We've got a fun one here for you," Adam announced, introducing the band's cover of "The Love You Save." Of course, they'd all been fun. "One good cover deserves another," Adam said after that song, and the band went into "Around The Block," another fun song, this one written by Mike Williamson. Then "Forever Filthy" featured a nice lead on guitar. "Can't Remember" was a sweet-sounding pop number featuring more wonderful guitar work. "I've been loving you so long/Can't remember a time when I didn't have you." That was followed by "Tingles," a song that is always enjoyable, and one in particular that Kim wanted to hear last night. The band wrapped up the set with "Run From The Moon," a high-energy number that began on drums. A fantastic version. The set ended at 9:17 p.m. And the night was just getting started.

Ape Hangers

Ape Hangers were up next. What a treat it was to get to see this band. These guys do not play all that often. As Bob mentioned at one point in the set, for this show, Pete flew in from Boston and Dennis flew in from Pittsburgh. Perhaps Kim should have birthdays more often. We'll ask her to look into that. Ape Hangers kicked off their set with "This Is My Life," the lead track from the band's 1995 album Ultrasounds, rocking right out of the gate. From that song, they went straight into "You Don't Know What It Takes," which also follows "This Is My Life" on that album, and is a glorious rocking number with a great driving rhythm. Nubs then made a quick sound adjustment, and Bob announced, "It's my wife's birthday." Kim at that point was standing near Nubs' sound board just off stage left, seeming as ecstatic as the rest of us taking in this fantastic band. And it just got better from there, with "Just The Way It Goes" following. The band too was having a great time, Pete going over and giving Bob a quick hug before telling the crowd, "A lot of our songs are about love and friendship, though you might not know it." And that was the feeling in the room. Love and friendship. Not just during Ape Hangers' set, but the whole night. "I Don't Mind" is the flip side to the band's new single, and that song followed "Just The Way It Goes," Bob delivering a fantastic bass line. That was followed by a cover of "I'm Gonna Miss You Someday," which was released by The Superkools as a single in 1992 and then included on the Ape Hangers' first album. "Never Learn" followed. "She Comes Again," the band's latest single, featured a great guitar lead. The band mentioned the download cards that were attached to the drink sleeves left on each of the tables, a way of accessing the new single, as well as the This Is It EP, which came out last year. It was then that Bob talked about how the other guys had to fly out for the gigs, joking that he himself simply walked there. "Happy Now" was up next, and then Bob took over lead vocal duties for "Over My Head." "When Will You Come Back" featured fantastic work on bass and an exciting guitar lead. Then "I Don't Want To Live Today," a song included on the Empire Records soundtrack, featured some excellent drumming. That led straight into "So Long," which Bob dedicated to Mini Mendez. Not seeing him, he said, "Mini, if you're in the bathroom, this song is for you." Mini then appeared near the stage, and the song was yet another of the set's highlights. That was followed by "I'm Your Man," which kicked in with a glorious, furious energy. "Let's go," indeed! That led straight into "Red Hot Rocket," which had a wild, intense energy, and led into a bit of The Buzzcocks' "I Believe" (just the line "There is no love in this world anymore"). And that is how the set ended. Kim got up on stage with the band, while the audience called out for an encore. The band delivered one last great rock song, featuring some phenomenal drumming. Gabriel Johns then got up on stage and led the crowd in singing "Happy Birthday To You" to Kim.

"Happy Birthday To You"

The Paper Hearts

But the night was not yet over. Fifteen minutes later The Paper Hearts were on stage, Mike Williamson saying, "Hey, it's Kim's birthday, and we're Paper Hearts." That was enough of an introduction, and the band ripped right into "No No No," with the line "I don't want to mess around, but baby I do." They weren't messing around last night, but rather delivering some solid, energetic rock. "Plastic Dolls" was a lot of fun, moving at a good, fast pace. After that song, Mike remarked, "Hey, how about those fucking Ape Hangers?" He then gave a shout out to Lights Out Levine. Yeah, sometimes it is only after an event that we realize how great it was, and other times we realize it as it's happening. This night was an example of the latter. Everyone in the room was quite aware of how special the show was. The band then played "Echo," and followed it with "Baby I Hate You," another totally fun number, one of my favorites of the set. "She's a little crazy, but I don't care/We're gonna have some fun tonight." That was followed by "Heartache," which featured some really good drumming. The band then mentioned that it was August first, "and that means you gotta pay the rent, motherfuckers," then launched into "Rent Party," another fun, rocking number, with a very cool bass line. After that, they mentioned the Redwood show happening the next afternoon, and went into a high-energy rendition of "Got No Heart." "No Mercy," beginning with a delicious beat, followed. The band also delivered strong renditions of "I Want More," "Sundown" and "Teenage Love," that last one coming on with a great force. The band was not holding back at all. And though that was the last song the band planned to play, the audience wanted more. And the band obliged, delivering a great cover of The Undertones' "Teenage Kicks." After that, the audience, not wanting this phenomenal night to end, called for another encore. "We don't know any more," came the response. "We're not that smart." The show ended at 11:45 p.m.

Maui Sugar Mill Saloon is located at 18389 Ventura Blvd. in Tarzana, California.

The Joymakers: "Down Where The Bluebonnets Grow" (2024) CD Review

The Joymakers are a jazz band based in Austin, Texas, focusing on music from the 1920s and early 1930s, and specifically from groups based in the southwest. The band's first album, Down Where The Bluebonnets Grow, was released in 2024, the year after the band was founded by Colin Hancock. Colin Hancock, who also produced the album and did the arrangements, plays cornet, baritone saxophone, alto saxophone, and trombone. He also provides some of the vocal work. David Jellema is on clarinet, C-melody saxophone, cornet and vocals; Lauryn Gould is alto saxophone, tenor saxophone, soprano saxophone and vocals; Dylan Blackthorn is on piano and accordion; Westen Borghesi is on tenor banjo; Shane Dickens is on piano; Ryan Gould is on bass; and Ryan Neubauer is on drums.

The album gets off to a delightful start with "Papa's Gone," a song written by Louis Andre, Glen Caraway and Bob Miller. This is a song that was popular in Austin in the 1920s, and this band delivers a wonderful rendition. "You're gonna wake up crying/Weeping and a-sighing/Yeah, you're gonna be all alone/You used to call me your little ace in the hole/But, mama, sweet, sweet mama, you're gonna miss that sweet jelly roll," Colin Hancock sings. This track features some really good work on cornet and clarinet. And check out that short lead on baritone saxophone, which goes straight into a brief lead on banjo. There is a kind of celebratory air to that jam at the end, and I'm a little sad when the track comes to a rather sudden ending. Things then get good and bluesy with "I'm A Thousand Miles From Home," this one featuring a phenomenal vocal performance by Lauryn Gould. "I'm a good gal/But I'm a thousand miles from home/I'm a good gal/But I'm in this man's town alone/No more coffee in my coffee pot/No more sugar in my bowl/Nothing but this lonesome longing/For good jelly roll." Ah, that was the time when "jelly roll" was a common expression. It seems it's time to bring that one back. "I'm a good gal/But I sure ain't understood/No one tries to do me any good."

Things then get hopping with The Joymakers' rendition of Paul Van Loan's "Crazy Quilt," a number to get you shaking your tailfeathers or whatever it is you like to shake. The track features a wonderful, and wonderfully fun, piano solo partway through. I've long been drawn to the 1920s, and listening to this music makes me feel it must have been an exciting and delightful time (at least when the music was playing). "That's A Serious Thing" follows, the horns announcing the number, calling folks together. More than a minute in, David Jellema comes in on vocals. "If your house catch on fire, and lord, there ain't no one around/That's a serious thing/So you jump out the window/Let that shack burn down." This track also features a good lead on piano. "Everybody Stomp" also features some great stuff on piano. This is a fun number, with some delicious work on bass. A catchy and lively tune, to be sure, with an undeniable appeal.

Another of my personal favorites is "Goofy Dust Rag," which I am completely enamored of right from that piano solo at the beginning. And from there, it becomes a loose dance, with its own unexpected magic, feeling improvised and spontaneous. Every moment of this track is something to take delight in. It's followed by the album's title track, "Down Where The Bluebonnets Grow," written by Phil Baxter. The bluebonnet is the state flower of Texas, and this song is a clear choice for this band to perform. This one features an accordion lead, which I love. It isn't until the second half of the song that Colin comes in on vocals. "I want to be down south with you/Down where the bluebonnets grow." There is even a little whistling, imitating a bird call. The band follows that with "Tia Juana," which has a cheerful spirit and offers an opportunity for the bass to shine.

"Wolverine Blues" is especially fun, a lively Jelly Roll Morton number that makes the whole world a dance. There is so much joy heard in the playing here, and everyone in the band gets a chance to deliver the goods. I especially enjoy the banjo work of Westen Borghesi. There are some playful moments in this rendition that are delightful. That's followed by "I Ain't Thinkin' 'Bout You," with Lauryn Gould delivering another strong vocal performance. "You talk, but don't say anything/I listen, don't hear anything/I know that I'm not blind/But I can't read what's on your mind/Don't know what you're thinkin' about." I love that moment when the song suddenly takes off, the pace increasing, the band cooking. It then returns to the slower pace of the main section. Then "Hot Aire" features some really nice work on drums, plus some wonderful work on cornet, including some playful touches. 

The band changes pace with an excellent rendition of "Kiss Me Sweet," written by Steve Lewis and Armand Piron. Colin delivers a good vocal performance. "You went away/I longed each day/To hold you closer/Press your loving lips to mine/All mine, mine, mine/I thought I'd die/I don't know why." This track ends up being another of the disc's highlights, and it features some great stuff on saxophone. I love the mood and vibe of this track. The album then concludes with "Tiger Rag," written by Mick Larocca, wrapping things up with a fast-paced gem to keep our spirits high, everyone in the band delivering some delicious and exciting work. Ah, yes, life is good.

CD Track List

1. Papa's Gone
2. I'm A Thousand Miles From Home
3. Crazy Quilt
4. That's A Serious Thing
5. Everybody Stomp
6. Goofy Dust Rag
7. Down Where The Bluebonnets Grow
8. Tia Juana
9. Wolverine Blues
10. I Ain't Thinkin' 'Bout You
11. Hot Aire
12. Kiss Me Sweet
13. Tiger Rag

Down Where The Bluebonnets Grow was released on September 20, 2024 on Turtle Bay Records. 

Bad Motivator: "The Album" (2026) Vinyl Review

There are many bands who have chosen names associated in some way with Star Wars. Bad Motivator not only has one of the best of those names, but is also one of the most fun and exciting of those bands, mixing elements of punk, garage rock and new wave. Based in Los Angeles, Bad Motivator released its first EP in 2023. That self-titled release was followed by other EPs, including Get Sprung and Summer Strangers, and some singles. There was then 2025's Not An Album, which was a collection of the singles and EPs that had previously been released digitally. Though titled Not An Album, it was released on vinyl and contains eleven tracks. But the first official full-length album from this band was released just a couple of months ago. Playfully titled The Album, it contains original material. The band is made up of Brian Von Wolfe on vocals, Javier Zuniga on guitar, David Ayon on bass, Christopher Westcott on drums, and Michael Garcia on keyboards. By the way, the album is presented on red vinyl, which, if you know Star Wars, makes complete sense. "And the red one, come on."

Side A

The band gets things started with "Chasing Truth." After a brief, strange opening moment, in which it feels like some machinery is on the verge of breaking down, it kicks in with a glorious punk force. "Chasing truth, dodging lies." Not an easy to do these days. But with this music pushing us, energizing us, we can do it. That cool work on keys gives the track a sort of 1960s thing, which is wonderful. And in the delivery of the line "Into madness we descend," there is a sort of twisted joy. It is like we hear that descent in the way the line is sung. Then "See You Again" has a somewhat more somber tone, but still with a great energy and an undeniable power. I especially love the drumming. "Will I see you in the dead of night?" Brian asks, and somehow the phrase "dead of night" seems to have two meanings, the word "dead" standing out. There is a horror element, one at least hinted at. Here the band is not chasing truth, but "chasing shadows."

"Too Much" is a lot of fun. Part of that fun vibe is in the work on keys, and part of it is in the song's guitar hook. But it is also in the vocal performance. Just listen to the way Brian delivers the word "clown" in the line "Maybe acting like a clown" the first time he sings it, for example, the waver in his voice, the tremolo. There is also some playful stuttering, "T-t-t-t-t-t too much." This song is a delight. Then "Switchblade SC" comes on as a solid rock number. Its first lines are "Writing's on the wall/End is near." And the way Brian delivers the line "End is near," it is like he is partly haunted by it, and partly amused by it, perhaps even poking fun. Very cool. "We should drink a little/Maybe dance a little." Oh yes. That's really the answer here. Let's enjoy ourselves, particularly when it seems the horror show is beyond our control. This music might be just the thing to get you to cut loose. The first side of the record ends with "Heads Up," a wild number that might have you swinging around the room, hurling yourself against walls, and bouncing off them without injury. The song contains some great stuff on guitar, a strong bass line, and an excellent beat. "Head up, we're out of luck." Yes, another glorious number about the end, about the state of things, a song for our time. "Heads up," friends.

Side B

The second side opens with "Information Overload," which starts with a delicious, fast beat. This is great rock, with that guitar work, and it's great punk, particularly the way he sings, "That's all, that's all, that's all, that's all." I also love the way he delivers the title line. There is something dramatic, almost operatic, in it, in contrast to the way the verses are delivered. This is a fantastic song, one of my personal favorites. And in this song, it is not about chasing truth or shadows, but to "chase the void." That's followed by "I Don't Think I Want To V2," and this one too comes at us at a fast clip. It all seems to scream to us that there isn't much time. A message we receive, loud and clear. This one is also a lot of fun, and it's one of the songs that take place at the magical time for music, 4 a.m. It ends playfully with the line "No more," stated simply and delivered a cappella, almost like an instruction to the band as well as to himself.

And speaking of the idea of there not being much time, we then get a song titled "Wasted Time." "Baby, don't waste my time/Gotta get out alive/Ain't got much time left/Wasting my every breath." There is some good stuff on guitar, as well as some appealing work on keys. "Swallowed up by the senseless muck" is a line that stands out for me, and which I imagine will speak to everyone who wages at least an internal battle against the current garbage of this country. Time is also mentioned in the first line of "Forgot To Die," though with a different sense to the word: "I missed my time to go." This is another delicious rock number with a great rhythm. I especially love that bass line. "Knocking on death's door/No answer, no, none at all" are interesting lines, and are the song's final lines. "Troubled Chances," the record's final track, comes on with a heavy sound. "In troubled times I take my chances." That's the first line. These are certainly troubled times. That coupled with the idea that life is short leads us to take some chances. Here the band feels nearly unhinged, understandably. The energy is high, barely contained. It is the energy of a band taking chances, an energy we may claim for our own.

Record Track List

Side A

1. Chasing Truth
2. See You Again
3. Too Much
4. Switchblade SC
5. Heads Up

Side B

1. Information Overload
2. I Don't Think I Want To V2
3. Wasted Time
4. Forgot To Die
5. Troubled Chances

The Album was released on May 8, 2026 on Wolf On A Bridge Records.

Tranquilina: "Fleeting Moments" (2026) CD Review

Those in the Los Angeles area are probably aware of The Firkins, a band that has been delivering delicious music for nearly two decades, their original material focusing on a single subject: beer. But when Gloria Delgado and Sophia Delgado are not singing about beer, they can be found performing in their other band, Tranquilina, a group that until this past week was a trio (now a quartet, having added Stu Olsen on guitar). The band just put out its debut album, Fleeting Moments, which features all original material. As with The Firkins, Sophia Delgado is the band's primary songwriter. Gloria Delgado is on lead vocals and bass; Sophia Delgado is on acoustic guitar, electric guitar, lap steel, mandolin, saxophone, keyboards and backing vocals; and Tom Dunne is on drums, percussion and backing vocals. The album also contains a special guest on two tracks. Fleeting Moments was produced by Sophia Delgado and Gloria Delgado.

The album opens with "I Know My Luck," and right away we're treated to that great southern California sound, particularly in the guitar work. And when the song moves from that introduction to its main body, there is a pleasant and welcoming atmosphere. A song whose sound makes us feel at home. "From one extreme to another/From my world to you/Whatever's in this brain of mine/Is trying to get a message through/And I'm not sure what that message is/I'm learning it as I go along." She tells us the message comes out in song, and then the backing vocalists come in with a "ba ba ba" vocal part, which is perfect. Sometimes the message can be clearer in the sound of a voice rather than the words. And we can hear the joy in those vocals. And therein is the message, right? By the way, this is one of the tracks to features the special guest, and that is Mini Mendez, of The Glimmer Stars. He provides some of the song's wonderful backing vocals. "I Know My Luck" is followed by "Shambles." This song has a delightfully cheerful and fun vibe and sound from its opening notes. Part of it is in that rhythm, and part of it is in Sophia's mandolin work. There is a youthful energy and vibe that is incredibly appealing, particularly in Gloria's vocal performance. "What are you going to do/Now that you know how I feel/It's your move." Ah, yes, what a great (and sometimes frightening) thing, putting your desires out there, making your feelings known. In that moment before the other person responds all possibilities exist, and this song exists in that moment.

"Fleeting Moment," the album's title track, has a pretty, soothing, mellow sound, featuring some beautiful work on lap steel. Its opening lines strike us especially in these uncertain times: "If I could talk to my younger self, I'd say/'Do it now, don't hesitate'/Life is ticking away." It is advice offered gently, to herself, but to us as well. This whole thing is fleeting. There is a great scene in the movie Home For The Holidays that sticks in my mind, when Henry (Charles Durning) is describing to his daughter (Holly Hunter) a moment from decades earlier, which he refers to as a "Great moment of my life, great." Thinking about it, he remarks that the whole thing lasted "Ten seconds, tops." These fleeting moments make up our lives. Perhaps the most powerful line of this song is this: "Those fleeting moments like right now." That's followed by "Apologize In Advance." This one was written by Sophia Delgado and Gloria Delgado, and is the other track to feature special guest Mini Mendez on backing vocals. This track features some wonderful vocal work, and has that great southern California vibe. "You know I never meant to hurt you/I never meant to drive you mad/I only want to make you happy." And in the second half, Gloria sings, "I want to apologize in advance/For all those times I act like an ass." The lines are funny and sweet, even endearing, and she repeats them, changing the last word the final time through, singing "asshole" instead of "ass." And it's like she's finishing the word that maybe she meant all those other times. It also might make you think of a song that Gloria and Sophia cover in The Firkins, I See Hawks In L.A.'s "Stop Driving Like An Asshole."

"Into The Clouds" begins with some cool guitar work, and then Tom brings the song into motion with some excellent drumming. "I fell into the clouds," Gloria sings. I love the poetry of that line, because it means more than the actual action of driving through fog, driving through clouds. We've all experienced something of that feeling. "We are in the clouds." There is some joy to that line, to the way it's delivered. There is a sweet jam at the end of this one. Then "Smart Phones" features the saxophone, an instrument whose presence gives this track a different sound and vibe right from the beginning, and a certain kind of excitement. Then the opening lines make me smile: "Smart phone are making you stupid/Smart phones are making you dumb/Your IQ is dipping down/Just like everyone." Indeed! We have become stupid because of these devices we all carry around. People no longer know how to read maps. People don't remember anyone's phone number. In fact, people don't remember much of anything. They don't have to. They just look it up. People suffer from cognitive atrophy. The biggest problem, however, is stated in the song's final line, "You don't care that it's making you dumb." That line is repeated for emphasis. Will people get it? Will they accept that message? Gloria's delivery has a certain amount of attitude, which I love. This song ends up being one of my favorites.

Then in "In Drastic Need," Gloria sings, "I've got to get away/My everyday routine/Is wearing me down." I think we can all relate to those lines. This track features some especially wonderful drumming, and there are some other catchy elements here. "I'm in drastic need of a change." Ah, so is this country. That's followed by "Finally Made It To Nashville," a song about a road trip from Los Angeles to Nashville, from a place that has a great music scene to a place that is known for its music scene. Nashville is a city that musicians are drawn to. "And the band started playing/And it sounded like heaven/I think I dreamt about this place/Ever since I was seven." The song describes something of that music scene, and there is more of a country vibe to this one, which of course is fitting. "I'm so glad you're experiencing this place with me." And for you Firkins fans, this song mentions beer. This song is a cheerful number, and is another of the disc's highlights.

"My Black Cloud 9" also stands out. I love the song's title, combining two opposing idiomatic expressions, "black cloud" and "cloud nine." That striking title grabs our interest even before the song starts. Then check out the opening lines: "I am standing here on my black cloud 9/Trying not to let your love pass me by." This one also contains some really good drumming, which is certainly part of its appeal. "This black cloud has followed me for such a long time/But now that you are here, I'm on cloud nine." This one too contains a sweet jam at the end, taking us to our own sort of cloud nine. Then "You Are My Favorite Flower" has a different sound, a different vibe, with a sort of 1960s thing happening, which is very cool. And it's a love song. Tranquilina wraps up the album with a lively, past-faced number titled "LAX." While LAX is not known as a fun place, this song a lot of fun. It will have listeners smiling, if not dancing, almost immediately. I love the change of pace in the middle, as well as the return to the faster pace. And at that point, the guitar takes off in a way that is much more enjoyable than any plane ride you've ever taken. Everything about this song works perfectly, and it leaves us feeling good.

CD Track List

1. I Know My Luck
2. Shambles
3. Fleeting Moments
4. Apologize In Advance
5. Into The Clouds
6. Smart Phones
7. In Drastic Need
8. Finally Made It To Nashville
9. My Black Cloud 9
10. You Are My Favorite Flower
11. LAX

Fleeting Moments was released on June 29, 2026.

Tranquilina, The Smokey Lonesome, and Old Californio Quartet at Music Garden L.A., 7-26-26

What is going on in Los Angeles? We're used to the heat, that's rarely a problem. But humidity? All of us came to this city partly to escape that sort of thing. Well, it was a hot, muggy afternoon in Highland Park yesterday, the kind of day when you sweat even when you're just seated in the shade, which I was, and which I did. But the music was so cool that everything was okay. Three great southern California bands played yesterday: Tranquilina, The Smokey Lonesome, and Old Californio Quartet. The start time was pushed back a half hour to 3:30, to see if perhaps some relief might come during that time, if the light breeze might be more welcoming. And it was. 

Tranquilina 

Tranquilina took the stage at 3:32 p.m., the band celebrating the release of the album Fleeting Moments, which just came out. The fact that all these moments are fleeting is precisely why I try to get to as many concerts as I can. Let's fill our lives with joy, for it will all be over far too soon. The band opened the set with the album's opening track, "I Know My Luck," establishing a pretty sound. The song had a totally delightful, sweet 1960s vibe, which I loved, especially in the "ba ba ba" vocal part. After that song, Gloria told the crowd, "I'd like to introduce you to our newest member, Stu Olsen." It's interesting that Stu Olsen is now in Tranquilina, for Tranquilina has been acting as his backing band at his recent shows. So now there are two different bands that are made up of all the same members. They followed "I Know My Luck" with "Shambles," which also follows it on the album. Sophia switched to mandolin for this song, delivering some lovely work, and helping to create this song's great vibe. Sophia then switched to lap steel for the album's title track, the band still following the CD's track order. Tom used mallets for just the opening moments, then switched to brushes. The band delivered a really nice rendition, which featured some beautiful work on lap steel. Sophia then went back to electric guitar for "Apologize In Advance." Everything was feeling right. That song was followed by "Into The Clouds," Tom again using mallets for the initial moment before switching to brushes. This song had a particularly cool vibe. Then "In Drastic Need" had a pleasant sound from the start. Something about the sound of this song feels like summer, and it featured some particularly good drumming. "That's the second time we've played that one," Gloria said afterward. She then mentioned that this show was Stu's debut as a member of the band, that they had only one rehearsal together. Well, we certainly wouldn't have guessed that. In introducing "Finally Made It To Nashville," Gloria mentioned that Stu hadn't played the song before. Sophia added that Stu is so good, she just assumed he could read her mind. Stu is that good. And the song was one of the set's highlights. And Stu delivered an especially strong lead on guitar on "My Black Cloud 9." The set concluded with "LAX," a rocking number with a delicious groove and energy. What a great bass line! This was a lot of fun. The set ended at 4:14p.m.

The Smokey Lonesome

Twenty minutes later The Smokey Lonesome was ready to go. The heat was still a heavy presence, and I'm guessing the several beers I drank didn't do me much good in that regard. But the duo opened the set with "Frontera," and at that point the heat was coming from the two people on stage. There was just the slightest of pauses after "Frontera" before they went into "Koa Box," keeping the energy high, keeping things moving at a fast pace, as if to outrun the heat. And speaking of that, they next played "AC Breakdown," a perfect song for the day. There was hardly a pause before that song too. I was enjoying the playful vibes, and it seemed now the band was directly confronting the heat. Then Natalie took lead vocal duties on "Ninety-Nine And A Half," even delivering a great rock and roll scream at one point. She then told the crowd, "This one I think you know when to chime in," and from the response in the crowd it was clear most people knew precisely what song was coming, and so of course when to chime in as well. The song, "Cannabis," is always fun, and folks shouted out, "California" at the right time. And when Dave sang the last line, "If that's what you like," I bet everyone there was thinking, "Oh, yes." That was followed by "Heartbroken Heartbreaker" and then a high-energy cover of "Silver Threads And Golden Needles." As Dave switched guitars, Natalie thanked everyone for coming out, adding, "I know the heat is not fun." No, it wasn't fun. But what was fun was the duo's next song, "The Smokey Lonesome," one of my favorites. Their harmonies were particularly good on that song. They followed that with "Paulito's Old Lady" and then "Desert Run," which was also great fun. They wrapped up their set with a delightful cover of Eddie Rabbitt's "Drivin' My Life Away," ensuring the song would be stuck in my head for at least a day or two.

Old Californio Quartet

Closing out the show was Old Californio Quartet, an offshoot of Old Californio made up of Rich Dembowski on guitar and lead vocals, Justin Smith on drums and backing vocals, Bob Roach on bass and backing vocals, and Dan Wistrom on pedal steel (and unmiked backing vocals). This configuration had performed as Old Californio down at DiPiazza's in May. It was still hot, but the humidity lifted as the band started, so everything felt great. Old Californio Quartet kicked off the set with "Millard Canyon Run." In introducing the song, Rich said it was about one of his favorite hiking trails, which was closed because of the fire. It's a song of the weekend, and it felt like a perfect song for the day. It featured a nice lead by Dan on pedal steel, and some good work by Rich on harmonica. That was followed by "Mother Road," always a fun one at their shows. Dan delivered some great work on pedal steel, and the song also featured some delicious stuff on bass. The line that includes "Old Californio" received some cheers from those in the crowd. The band then gave us an excellent cover of Arlo Guthrie's "Coming Into Los Angeles," jamming a bit at the beginning of it. The song featured some great drumming, which was part of what made it a highlight of the set for me. That was followed by another cover, Fred Neil's "That's The Bag I'm In," the band delivering a very cool rendition. Rich strapped on the harmonica again for "City Lines," a perfect song for that location, with the lyrics "Don't need to leave the city lines/To leave the city life behind." This venue is like a little oasis. Rich also delivered some nice work on harmonica on "Wild Horses," the Rolling Stones song. Another highlight of the show was "Lean Into It," an energetic number that featured a great jam. They finished the set with their phenomenal rendition of "Ring Of Fire." The show ended at 6:18 p.m., just as it was starting to cool.

Music Garden L.A. is located at 5133 York Blvd. in Highland Park.