Melbreeze: “Amethyst” (2016/2019) CD Review

Melbreeze is a jazz vocalist who was born in Turkey and has her own distinct approach to music. On her new album, Amethyst, she takes familiar songs and gives them a new sound, a new flavor. The first thing I noticed, however, was the album’s striking cover, with that sexy purple wig. Interestingly, the cover is basically the same as an earlier release, Turquoise, the only difference being the color of the wig and title. Amethyst follows last year’s Animazonia, on which she gave her spin to Brazilian songs like “One Note Samba” and “How Insensitive.” On this one she is joined by Scott Kinsey on keys (Kinsey is also responsible for the arrangements), Gary Novak on drums, Jimmy Haslip on bass and backing vocals (Haslip also produced the album), Arto Tuncboyaciyan on percussion and backing vocals, James Zota Baker on guitar, Oz Noy on guitar, Jeff Richman on guitar, Doug Livingston on pedal steel guitar, Larry Koonse on guitar, Brad Dutz on percussion, Judd Miller on electric valve instrument, Bob Reynolds on saxophone and clarinet, and Naina Kundu on backing vocals.

As the disc’s first track starts, I know I’m in for something unusual. The song is Gershwin’s “Summertime,” a song I’ve heard hundreds of times, but it begins with a strong and simple dance beat, already unlike other versions I’ve heard over the years. The music then has a funky, jazzy feel, with keys being the prominent instrument. And this is all before any of the lyrics are sung. Her vocals have a relaxed, alluring quality. The tune goes into this odd, dreamy segment nearly halfway through. After that, the percussion is more unleashed, getting loose. There is also some really good work on guitar on this track. Based on that first track, I was wondering how Melbreeze would handle “Sound Of Silence,” which follows it. This one begins as you would expect it to – gently, with an acoustic sound. Perhaps it is delivered just a bit faster than usual, but other than that, it is fairly standard. However, when it kicks in, it takes on an electronic sound, and a pronounced beat. Yet the vocals remain pretty. That’s followed by another Gershwin tune, “The Man I Love.” This too has a different feel from other versions I’ve heard, with a cool, cheerful rhythm. And I absolutely love the clarinet, helping to make this one of my favorite tracks. The way it combines classic and current sounds and styles is wonderful. Plus, this track features some nice work on keys. In addition to all that, Melbreeze gives us an absolutely delightful vocal performance here. The more I listen to this rendition, the more I feel it is one of the best I’ve heard. I certainly recommend checking it out. Then she gives us a nice take on “God Bless The Child.” I particularly enjoy the bass in this rendition of the classic Billie Holiday song, and there is a good little jam in the middle of the track.

These days I often find myself saying, “Everything must change.” And it must change soon. Doesn’t it feel like we’re heading straight into trouble that is so great that once we’re there it will be too late to stop it or fix it? With gun violence, and the destruction of the environment, and with an administration so corrupt that scandals sit atop other scandals and yet nothing brings it to an end. It feels like we’re rushing into an abyss from which there will be no return. Everything must change. Melbreeze’s rendition of “Everything Must Change” features more good stuff on bass, and the work on keys is again prominent. “Everything must change/Nothing stays the same/Everyone will change/No one stays the same.” There is a cool, kind of funky instrumental section toward the end. While most of the songs Melbreeze has chosen to include on this release are oft-covered tunes, there is one song I don’t believe I’d heard before, “Sailor And Widow.” It was written and originally recorded by Keren Ann Zeidel. Melbreeze’s rendition has a dance beat and an interesting vocal delivery. That’s followed by “Cry Me A River.” The first version of “Cry Me A River” I ever heard was Joe Cocker’s (from Mad Dogs & Englishmen), and so it is to this rendition that I can’t help but compare all others. This version by Melbreeze is smoother, with a decent groove, and I like the jam, which features some good work on guitar. “Greensleeves” is such a beautiful piece of music, and Melbreeze’s rendition retains that beauty, while adding modern touches, including a beat. I really like this version, and the jam toward the end kind of rocks (something you probably wouldn’t expect from this song), with some great work on electric guitar.

There were a few things that drew me to this album. The first, as I mentioned, was the cover. The second was the presence of two Gershwin songs (you can never go wrong with Gershwin). But the main reason I wanted to hear this album was the inclusion of a Leonard Cohen song. Leonard Cohen is my favorite songwriter, and I am always excited to hear an artist’s take on his material. Melbreeze chooses “Hallelujah,” and yes, that’s an obvious choice, but still a good one. This version is unlike any other I’ve heard, beginning with percussion, and developing a loose, jazzy groove. It is nearly a minute before the vocals come in. And the song is delivered at a faster clip than usual. As you probably know, there are several verses to this song, and Leonard Cohen changed them over the years. Here Melbreeze chooses four verses for her rendition. The first verse she sings is, of course, the “secret chord” verse; the second is the “Your faith was strong, but you needed proof” verse; the third is the “I used to live alone before I knew ya” verse.  She ends with the “Maybe there’s a god above” verse. This version features some really cool stuff on bass. Well, it might seem an odd choice to follow Leonard Cohen with a Dolly Parton/Kenny Rogers duet, but that is what Melbreeze does, giving us “Islands In The Stream,” a song written by the Bee Gees (who recorded their own version nearly two decades after the Dolly Parton/Kenny Rogers rendition). The country is basically gone from this rendition, but I still like it. The disc then concludes with another interesting choice, John Waite’s “Missing You,” a song you just couldn’t avoid in 1984. Melbreeze’s rendition is fairly faithful to vibe of the original.

CD Track List

1. Summertime
2. The Sound Of Silence
3. The Man I Love
4. God Bless The Child
5. Everything Must Change
6. Sailor And Widow
7. Cry Me A River
8. Friendless
9. Send In The Clowns
10. Greensleeves
11. Hallelujah
12. Islands In The Streams
13. Missing You 

Amethyst is scheduled to be released on July 26, 2019. It was released as an import a few years ago.

Mitch Ryder: “Detroit Breakout!” (2019) CD Review

A couple of years ago I saw Mitch Ryder And The Detroit Wheels at the Simi Valley Cajun And Blues Festival, and their set was a highlight of the weekend and reignited my passion for this band. Then late last year, Mitch Ryder released a Christmas record, Christmas (Take A Ride), one of the more enjoyable holiday albums of recent years. Now Mitch Ryder is rocking again, letting loose with Detroit Breakout! This album finds him covering some classic rock and soul numbers, with special guests on each track. The album’s title, of course, brings to mind the 1966 Mitch Ryder And The Detroit Wheels LP Breakout…!!! (the album that included “Devil With A Blue Dress”).

This disc opens with a new rendition of “Devil With A Blue Dress,” a song that was a huge hit for Mitch Ryder And The Detroit Wheels in the sixties. As back then, the song is paired with “Good Golly Miss Molly,” and it rocks, with a true rock and roll sound, and plenty of good guitar work from special guest James Williamson (from The Stooges). Mitch Ryder follows that with a version of “Cool Jerk,” a song that was a hit for The Capitols in 1966. This version is fairly faithful to the original, and features Wayne Kramer (of MC5) on guitar and Brian Auger on piano, and it is their work which elevates this rendition to something special.

I am from Massachusetts, so “Dirty Water” holds a special place in my heart (they still play it at Fenway). It was originally recorded by The Standells, who were from Los Angeles, not Boston, but no worries there. Mitch Ryder’s rendition here is quite a bit different from the original, apparent right from its opening, with that screaming guitar. Mitch Ryder puts his own spin on this one, with the help of Sylvain Sylvain (from the New York Dolls) on guitar and backing vocals. The guitar is certainly more prominent, wailing above that delicious rhythm. Mitch also changes the river, moving it from the Charles to the Detroit, thus taking the song away from Boston. But I still enjoy it. Another track that really rocks is “Have Love, Will Travel,” which features Paul Rudolph (of the Pink Fairies) on guitar and backing vocals. This one has a solid and glorious and raw garage rock sound, and it’s a whole hell of a lot of fun. That’s followed by “(I’m Not Your) Steppin’ Stone,” a song that was a hit for The Monkees (one of my all-time favorite bands). Of course, this song was originally done by Paul Revere And The Raiders. There have been some interesting covers of this one over the years, including versions by Sex Pistols, Minor Threat and Johnny Thunders. Mitch Ryder really sinks his teeth into it, finding the song’s pulse and ripping it open, letting the tune loose. This version owes something to the punk versions, and features Walter Lure, who played with Johnny Thunders in The Heartbreakers, on guitar and backing vocals.

Mitch Ryder delivers a cool, unusual take on “Dream Baby (How Long Must I Dream),” featuring Cherie Currie (of The Runaways) on backing vocals. This is certainly a bit of a departure from Roy Orbison’s original version, having more of a raw sound. There is even some panting audible toward the end. I really dig this version, and like it more each time I listen to it. That’s followed by “(Sittin’ On) The Dock Of A Bay,” a song I love. Mitch Ryder does a good job with it. Here he is joined by Arthur Adams on guitar and backing vocals. Arthur echoes Mitch, and adds some other vocal riffs throughout the track. Mitch Ryder offers a jumping rendition of “Bad, Bad Leroy Brown.”  He is clearly having a good time with this one, and that means a fun time for us too. This track features Joe Louis Walker on guitar and backing vocals.

Mitch Ryder gives us his takes on a couple of Sam Cooke tunes. The first, “You Send Me,” features some really nice work by Linda Gail Lewis on piano. Mitch’s vocals have a sweet, endearing quality here. The second is a fun and lively rendition of “Twistin’ The Night Away,” with Joe Louis Walker again joining Mitch on guitar and backing vocals. I particularly enjoy his guitar lead halfway through the track. Perhaps the oddest choice of songs to cover on this album is Pete Seeger’s “If I Had A Hammer,” but Mitch’s rendition fits right in with the rest of the tracks on this disc. It has a swinging soul groove, and features some wonderful work on piano by Linda Gail Lewis, who also provides backing vocals. This track is a delightful surprise. Linda Gail Lewis joins Mitch again for the album’s closing number, “Shout.”

CD Track List

1. Devil With A Blue Dress
2. Cool Jerk
3. Dirty Water
4. If I Could Turn Back The Hands Of Time
5. Have Love, Will Travel
6. (I’m Not Your) Steppin’ Stone
7. Dream Baby (How Long Must I Dream)
8. (Sittin’ On) The Dock Of The Bay
9. Just My Imagination (Running Away With Me)
10. Bad, Bad Leroy Brown
11. You Send Me
12. Twistin’ The Night Away
13. If I Had A Hammer
14. Shout

Detroit Breakout! was released on June 14, 2019 on Cleopatra Records.

Rod Picott: “Tell The Truth & Shame The Devil” (2019) CD Review

Rod Picott is a singer and songwriter from New England who is currently based in Nashville. His new album, Tell The Truth & Shame The Devil, features all original material, written or co-written by Rod Picott. If you ever needed proof that an album could have power with just a voice and a guitar (and sometimes a harmonica), here it is. Nothing else is needed here. Nothing is lacking. These songs are compelling, potent, and engaging, with lyrics that speak to the human condition, and so should speak to all of us. These songs feel both incredibly personal and universal. In addition to writing and performing the songs, Rod Picott recorded and engineered the album.

The album opens with “Ghost,” which actually begins with a rain sound effect. As always, I could do without that sound effect, and it strikes me as particularly unnecessary here on an album as stripped down as this one. Well, that being said, this is an excellent song, with some seriously good lyrics and a passionate vocal performance. Check out these lines: “I’m the punchline of my own joke” and “And the louder I yell, well, the more I’m filled with doubt” and “Now I’m alone and lonely, can’t say I’ve done my best/I could lie to myself, but I know goddamn well what comes next.” It’s a powerful and effective song. Perhaps it’s hitting me so hard because I’ve been feeling down for nearly three years now, and am not anywhere near where I expected to be at this point in my life. If you like Elliott Smith’s work, I think you’re going to love this song. I certainly do. “Ghost” is followed by “Bailing,” which paints a vivid picture of a time and place, and of a person who seems to struggle against both. “Just a poor man’s kid in a thrift store shirt/So I did what I did just to hurt.” His vocal delivery is intimate, but then I love when he suddenly raises his voice for “Route 95 shining like a diamond.” This is an album that deserves all your attention. Don’t just have this one on in the background. This track also features some good work on harmonica. Rod’s vocal delivery also has an intimate quality on “Mama’s Boy,” like he’s drawn us close to tell us a story. This song was co-written by Slaid Cleaves.

The harmonica at the beginning of “Spartan Hotel” is gorgeous and moving. This track features more beautifully intimate vocal work. There is humor to this one, with lines like “But if he could, he’d charge you twice” and “You don’t need luck to get lucky around here,” both of which made me laugh the first time I listened to this disc. “A Beautiful Light” also features some beautiful harmonica at the beginning. Something about the sound of this one makes me feel relaxed. I think it’s because of the song’s honesty. Check out these lyrics: “I guess a man will hold onto trouble when it’s all he knows” and “Now they’re a poor man’s punchline to a rich man’s joke” and “It’s a forty-hour week until you lose your heart/And you want to cut out the darkness with a knife.” But perhaps the line that pulls it all together is “There’s a thousand lousy songs that paint the hard life in a beautiful light.” “Beautiful Light” was written by Rod Picott and Ben de la Cour. That’s followed by “A 38 Special & A Hermes Purse,” another powerful song with some excellent lyrics. I am moved by these lines, which open the song: “I’ve spent half of my life fighting old ghosts/The other half trying to keep the gun out of my mouth/You wanted the truth, well, there it is.” And I love this line: “Every dream that comes true carries a curse.” If I were to quote every meaningful line from this song, I’d be writing the entire thing. These days, the depressing songs seem more appropriate, more right, more true. Don’t they?

Another highlight of this album is “Sunday Best.” This song is sweet and sad and kind of funny and human and real, everything you might want from a song. And it reminds me of my childhood, when once a week we pretended to be religious. I always suspected it was nonsense, even to my parents, particularly as there was never any joy to it for them. Here is a taste of the lyrics: “Stood in line/Crossed our hearts/And prayed that the whole thing/Didn’t come apart/The good dishes came out/And the silver did too/And everyone stopped cursing/For a couple of hours.” The album then concludes with “Folds Of Your Dress.” Check out these lines: “Wish I could find a place to hide/In the folds of your dress/Because right now I’m a goddamn mess.” Life is short, and getting shorter, and I want to just hide sometimes from whatever is coming next, to feel safe in a woman’s embrace, that place where the outside world doesn’t matter or even exist. There is a moment or two when Rod Picott’s vocal delivery reminds me of Greg Brown. This track ends with the rain sound effect again, and I can’t figure out why this would be included. Apart from these sound effects, I absolutely love this album.

CD Track List

1. Ghost
2. Bailing
3. Mama’s Boy
4. Mark
5. Spartan Hotel
6. Too Much Rain
7. A Beautiful Light
8. A 38 Special & A Hermes Purse
9. 80 John Wallace
10. A Guilty Man
11. Sunday Best
12. Folds Of Your Dress

Tell The Truth & Shame The Devil is scheduled to be released on July 19, 2019.

Russ Tolman and Dime Box Band at The Federal Bar, 7-7-19 Concert Review

Russ Tolman performing "Yuba City"

I’ve come to really love and appreciate these Sunday morning concerts at The Federal Bar, and to rely on them for an enjoyable break from the current horror show plaguing our nation. The Mimosa Music Series features not only good folks on stage, but good folks in the audience, and good folks serving the mimosas. A comfortable, friendly atmosphere is created every time. If you’ve attended any of these shows, you know exactly what I’m talking about. Today the series continued with an excellent double bill of Russ Tolman and Dime Box Band, both of whom have new releases out now.

Dime Box Band was on first. At 11:35 a.m., Mimosa Music Series host Gary Calamar introduced them, and they got right into it, kicking off their set with “All Of Nothing,” the lead-off track from their new album, Happy, which was released on July 1st. It’s a good, upbeat tune featuring some nice harmonies. After that song, lead vocalist Kristi Callan joked about the early hour, and how she knew some of the audience was out very late last night. Dime Box Band had played a late set at Cinema Bar, and several people in attendance at The Federal Bar had been at that show too. Dime Box Band’s set focused on the new album, and they followed “All Of Nothing” with “What Went Wrong,” a sweet country tune featuring some good stuff by Lyn Bertles on fiddle and by James Nolte on electric guitar, and then “As The Crow Flies,” its sound having a positive, uplifting vibe. From the new album, they also played “Keystone,” a song about the pipeline, and “Happy,” the album’s title track. In introducing “Happy,” Kristi mentioned that she appreciated the addition of planes to the pictures of the Revolutionary War, following another crazy and ignorant comment from Donald Trump. “Why not be happy, right?” And indeed, I love the humorous, playful approach in responding to and dealing with some of Donald Trump’s bullshit (but it’s difficult to maintain that positive attitude for very long). “Happy” featured a good lead on violin. And speaking of Trump, Dime Box Band also played “Everybody Lies,” with Kristi dedicating it to “those out there who tend to lie sometimes.” That one is a fun country number. They followed that with a cover of “Amanda Ruth,” a song written by Tony Kinman and Chip Kinman, and one that The Everly Brothers included on Born Yesterday, an excellent album. It’s a great rocking song, and Dime Box Band did a wonderful job with it. They concluded their set with “Cotton Pickin’,” a song from the band’s 2008 release, Five And Dime Waltz. Their set ended at 12:19 p.m.

Dime Box Band drummer Nick Vincent had mentioned that it’s Ringo Starr’s birthday, and when Gary Calamar returned to the stage to introduce Russ Tolman, he too mentioned it, saying that Ringo Starr had asked for everyone to say “Peace and love” at noon today. It was 12:32 p.m., and Gary pointed out that we missed the moment, but could say it anyway. Why not? Then Russ Tolman took the stage. “Good evening,” he said. “Or afternoon. Or morning.” He then got right to the music, opening his set with “Los Angeles,” the lead-off track from his new album, Goodbye El Dorado. This featured some nice work on accordion. “Los Angeles, I beg you please/Take care of her.” Both Dime Box Band and Russ Tolman opened their sets with the lead-off tracks from their new releases, but Russ Tolman then followed his with his album’s second track, “Kid.” “So this is the new album I have,” he said before starting that song. And indeed, his set featured the album’s music played in order. “Kid” featured some good work by Kirk Swan on electric guitar, particularly toward the end. That was followed by “North Hollywood Dream,” a sweet song that mentions Lankershim Blvd., the street The Federal Bar is on. You can’t get much more local than that, eh? But my favorite line is “You’re finally in L.A., let the dreaming begin.” The album is all about California, mostly about Los Angeles, and if there is one thing that all residents of this great city agree on, it is that driving on the 405 highway sucks. In “405,” Russ sings, “Morning noon or night/Any time you drive, the traffic’s never light/Four Oh Five, you’re really gonna piss me off.” This one featured some good work on keys. After “Goodbye El Dorado,” the title track, Russ joked, “If it was vinyl, we’d be flipping over the record.” And indeed, that was the fifth of ten tracks (not including the disc’s final three tunes, which are listed as bonus tracks). “Goodbye El Dorado” was followed by “Yuba City” and then “California Winter.” “Do You Like The Way” is a fun number. I am particularly delighted by the line “Do you like the way you look in this song.” He followed that with another of the set’s highlights, “Almost Heaven,” a pretty song. Before the last song of his set, “Take It Easy, Take It Slow,” Russ thanked the audience, saying, “It’s been fun.” He then quickly added: “For me. I don’t know about for you.” Oh yes, it was certainly fun for me. “Take It Easy, Take It Slow” is a favorite of mine. The encore was “Satellite Bar,” one of the songs listed as bonus tracks on the CD, a fun rock tune. “Good night,” Russ said afterward. He then quickly corrected himself: “Or goodbye. It’s nap time.” The show ended at 1:30 p.m.

Russ Tolman’s Set List

1. Los Angeles
2. Kid
3. North Hollywood Dream
4. 405
5. Goodbye El Dorado
6. Yuba City
7. California Winter
8. Do You Like The Way
9. Almost Heaven
10. Take It Easy, Take It Sow

Encore

1. Satellite Bar

Here are a few photos from the show:

Dime Box Band performing "What Went Wrong"

"What Went Wrong"

"Mountain"

Russ Tolman performing "Goodbye El Dorado"

"Do You Like The Way"

"Almost Heaven"

"Satellite Bar"

The Federal Bar is located at 5303 Lankershim Blvd. in North Hollywood, California.

Roy Schneider & Kim Mayfield: “Reckless Saints” (2018) CD Review

Though Roy Schneider and Kim Mayfield have been performing together for a decade, it wasn’t until 2018 that the married couple put out their first official album. Reckless Saints features mostly original material, with just one cover. Roy Schneider plays acoustic guitar, electric guitar, dobro, bass, banjo, ukulele, harmonica, and percussion. Kim Mayfield plays acoustic guitar, ukulele, mandolin, and percussion. You might think they had everything covered between the two of them, but this album features some special guests, including Gurf Morlix on one track.

The disc gets off to an energetic start with “Jump In,” and I’m totally into this song the moment it begins. It’s a fun bluesy gem with some cool work on harmonica. It moves quickly, a perfect rhythm and sound for a song about being traveling musicians out on the road. “Did we make any money/Do we know anybody/Who might let us sleep on their floor.” “Jump In” was written by Roy Schneider, and is followed by “Walkin’ On A Wire,” which has a more serious sound. “’Cause if I quit walking, I will fall.” Charlie McCoy joins them on harmonica for this one, and Keven Aland is on violin. Both deliver some wonderful work. I love the ending, with fiddle and percussion, and wish that section went on a little longer. These first two tracks also feature the work of Daniel Friedberg (known as Freebo) on bass.

Then Kim Mayfield sings lead on “If I Die Tomorrow,” which has a seriously cool and somewhat haunting country sound. Keven Aland is again violin, and I love his work here, which soars like a newly departed spirit suddenly discovering its ability to fly. This track also features some really nice stuff on electric guitar. “If I die tomorrow/Will I overcome all fears/The way I always wished I could/Through all my trials and tears.” “If I Die Tomorrow” is one of my personal favorites. That’s followed by “Subjugated Love,” a tune that seems designed to get you dancing. It has a delightful rhythm and is a lot of fun. Plus, it has some enjoyable lyrics, such as these lines: “Well, you’re giving me the creeps/And I just can’t sleep no how.” There is a cool little jam in the second half, featuring some excellent stuff on piano and fiddle. Dan Fidanze is on piano, and Keven Aland is again on fiddle. I’m guessing this tune would be a highlight of Roy Schneider and Kim Mayfield’s live performances. Then “Poison Arrow” has a pretty and engaging folk sound with some nice vocal work. This line stands out for me each time I listen to this track: “Got to shoot down anything that ain’t what we all know.”

“Ring Around The Moon” is another of my favorite tracks. I love its sweet, beautiful sound. This is the first track on the album composed by Kim Mayfield, and she also sings lead on it. “Hot summer, restless winter/We spent most of those days together.” I love the way that violin comes in, rising in a spiral up at us. J. Robert Houghtaling plays violin on this one. “I hope your life was good to you/I hope you thought about me too.” I love the way Kim pauses slightly before the second line. Then the guitar comes on strong to kick off “Angels Along The Road.” “Didn’t know which way to go/But he knew he couldn’t look back/Didn’t really understand what he’d done/But he had to hit the road alone/One eye peeled for trouble/One looking out for angels along the road.” Thomas Callahan plays bass on this track, and Roy adds some good touches on harmonica.

“Buddha Baby,” Kim Mayfield’s other composition on this release, has a comforting country sound, with Rob Pastore joining the duo on pedal steel. “My expectations got in the way.” Then “Runaway Train” comes in with a force, and features J. Robert Houghtaling on fiddle. “Let me off of this runaway train/I want off of this runaway train.” Oh yes, I think we can all relate to that need. Then “After The Storm” has a pleasant folk vibe. The line from this song that stood out for me the first time I listened to this album was “For those who go crazy right out of the gate.” There is also a bit of whistling to this one. The disc then concludes with its one cover, “Election Day,” a song written by Blaze Foley. This is a cool rendition, and it features special guest Gurf Morlix on vocals and electric guitar. Tim Coletti is on bass. “Hey, Mr. Policeman, please don’t take my stuff/It cost me too much money, and it probably ain’t enough/To get me through election day.”

CD Track List

1. Jump In
2. Walkin’ On A Wire
3. If I Die Tomorrow
4. Subjugated Love
5. Poison Arrow
6. Ring Around The Moon
7. Angels Along The Road
8. Buddha Baby
9. Runaway Train
10. After The Storm
11. Election Day 

Reckless Saints was released on November 2, 2018 on Shiny Gnu Records.

Hardcore Anxiety: A Graphic Guide To Punk Rock And Mental Health (2019) Book Review

I think everyone I know suffers from anxiety these days. It’s difficult to avoid it, what with all the gun violence and children dying in cages and a moronic racist president with dreams of dictatorship and a thoroughly corrupt political party and the destruction of our environment. Not to mention whatever personal problems one might have on top of all that. And every day it seems things are getting worse. To maintain any kind of stability, many of us turn to music. And sometimes the absolute best music to turn to in these screwed up times is punk. Punk has been there for us for decades, helping us get through those terrible Reagan years, and now it is helping us survive these dark days of Donald Trump. Hardcore Anxiety: A Graphic Guide To Punk Rock And Mental Health is a graphic novel by Reid Chancellor, tackling the subject of mental health as it relates to punk music. Well, it’s not really a novel, because it’s not fiction. This is a personal account of a musician who suffered from depression and anxiety, and works through it with the help of music.

While it is a personal story and history, it is also one that Reid Chancellor recognizes is shared by many others. In fact, he directly addresses the reader early on, saying just that: “If you are holding this book then these bands and themes are as much a part of your life as they are mine” (p. 6). The book is also offered as a helping hand, with Reid writing, “I hope this book helps you understand that no matter what you aren’t alone and you can make it out alive” (p. 7). Reid himself is a character in the story, as he finds that playing in bands wasn’t fulfilling his dreams or expectations. Interestingly, one of the first drawings of him in the book (the one in which he is identified) has him looking directly at us, as if for help. And soon we learn why. He reads this message on a bathroom wall before a gig: “If you’re in a local band you should kill yourself” (p. 18).

It is a personal history, but it is also a history of the music, the two intertwined. The book gets into some of the influential punk bands, offering bits of biographical information, particularly as it relates to the subject of mental health. For example, in the section about The Ramones, Reid focuses on a 1976 interview the band gave in which they talked about writing about mental health. In one panel, Johnny Ramone says, “It’s kinda like our therapy, you know?” (p. 11). Oh yes, we know. Listening to punk music can be like therapy too, when you allow it to move your body and release energy and emotion, whether it is anger or frustration or despair or joy or whatever. And in the section on Black Flag, Reid focuses on the song “Nervous Breakdown,” commenting, “From the beginning mental health played a strong role in punk and hardcore” (p. 27). He mentions some of the troubles certain musicians have had in relation to mental health, focusing on artists like Bad Brains and Iggy Pop and Hüsker Dü.

Reid Chancellor also addresses the question of what exactly it means to be punk rock, and the concern that many people have probably had over the years of whether they are faking it, whether they are frauds. I love that Reid imagines himself (and draws himself) as a member of the Ramones, wondering, “Do you just put on a leather jacket and then you are part of the club?” (p. 36). It is a question of identity, both as you relate to yourself, and as you relate yourself to the larger punk culture, whatever that might mean. I appreciate the humor he shows in his take on his own life. One of the bands he was in was One Step, and Reid writes: “One Step always played hard. For 2 people or 200. We never played for 200 people though. So we’ll never know” (p. 75). Another example is when his fiancée calls the wedding off, she tries to cheer him up by saying, “But hey we can still get Taco Bell tonight if you want” (p. 104). My favorite line, however – and one that I think a lot of people will be able to relate to – is, “I had spent so much of my life miserable that I had no idea what I’d be like if I wasn’t” (p. 160).

Hardcore Anxiety: A Graphic Guide To Punk Rock And Mental Health is scheduled to be published on September 10, 2019 through Microcosm Publishing. Now I want to listen to some of the bands that Reid Chancellor was in.

Eliza Neals: “Sweet Or Mean” (2019) CD Review

Things are pretty strange out there, with a third of this country still under the twisted spell of a narcissistic rapist pretending to be president. Who are these people, and why are they? The idea of running into one of them is depressing and frightening. It is a good thing we have people like Eliza Neals to raise our spirits, to keep our blood pumping, to remind us that there is actually life out there. And on her new release, an EP titled Sweet Or Mean, she is joined by fellow blues rocker Popa Chubby (Ted Horowitz) on guitar. Two incredible forces working together like this means the CD is going to have a lot of power, a lot of attitude, a lot of energy. The tracks on this EP are all originals, written or co-written by Eliza Neals. In addition to Popa Chubby, this disc features Dave Keyes on keys, Chris Gambaro-Vega on bass, and John Medeiros Jr. on drums. This release follows 2017’s 10,000 Feet Below.

The EP opens with “Pawn Shop Blues,” which comes on strong, Eliza’s vocals having a fiery energy that jumps out of your stereo speakers. This is a fun, lively tune that features a horn section. Ian Hendrickson is on saxophone, and Michael Leonhart is on trumpet. But it is that electric guitar that really soars and drives this song forward.  That’s followed by “Blackish Gray,” which describes the color of the sky. I love the worn quality of her voice when she sings of making love all night. That is undeniably sexy. This song has a strong pulse. “Bitten By The Blues” is another fun one, with some classic vibes, and a great energy. This song is about someone who is into rock and roll but falls for the blues, and enjoys both musical realms. Indeed, this feels like Eliza Neals through and through. She is rock, she is blues. “Bitten by the blues/But I still love rock and roll/Please don’t make me choose/They both saved my soul.” This track mentions some famous musicians, such as Janis Joplin and Jimi Hendrix. As it fades out, it sounds like they’re about to start the song again, you can hear it being counted off.

“Livin’ With Yo Mama” has a more traditional blues rock sound and rhythm. It seems that blues just bursts forth from within Eliza Neal, all rough and wonderful. Plus, there is plenty of great guitar work here, the track becoming a good blues jam. “Livin’ With Yo Mama” is a song that Eliza Neals had recorded before. She included a very different rendition of it on her 2012 album, Messin’ With A Fool. “Livin’ With Yo Mama” is followed by “Knock Knock Knockin’,” an acoustic track that rocks and moves and grooves just as strongly as the electric tracks. I am seriously digging this tune, and it might actually be my favorite track of the EP. “I love running naked in the night/I love skinny dipping when the moon is right.” The disc then concludes with a second rendition of “Pawn Shop Blues,” this one with a great bar band sound, as indicated by its parenthetical title, “Roadhouse.” This one is without the horn section, but is still a whole hell of a lot of fun.

CD Track List

1. Pawn Shop Blues
2. Blackish Gray
3. Bitten By The Blues
4. Livin’ With Yo Mama
5. Knock Knock Knockin’
6. Pawn Shop Blues (Roadhouse)

Sweet Or Mean is scheduled to be released on July 4, 2019.