Gyasi Here Comes The Good Part 2025

 

Maybe you are someone who loved Bowie's Ziggy Stardust, or Mott The Hoople's Mott or T Rex's Electric Warrior, or anything by Slade, and you wish that the glam era wasn't so short-lived in the seventies. Well, Gyasi (pronounced Jah-See) is here for you.

The record kicks off with the pounding Sweet Thing, big buzzsaw guitars and hooky melodies. Lightening follows, another pounding rocker that's just fine. Snake City features a nice skronky lead break and a chorus made for arena sing-alongs. Solo bass starts off She Says, and then it kicks into high gear, driving fast and hard with big guitars and another catchy chorus. Street Life is riff rock of high caliber, and then American Dream is the big ballad that sounds like a Ziggy outtake (a good one), ending the first side in fine style.

Side two comes driving out of the gate with Cheap High, a fast and furious workout with a smoking lead guitar. Big crunching guitar announces Baby Blue, with another riff supporting a catchy melody and more wailing lead guitar. Bang Bang (Runaway) rocks hard, Star starts off like a lost Led Zeppelin track and then morphs into a Mott the Hoople song. Piano is featured on 23, and it's a mid-tempo number with an interesting rhythm and yet another searing lead break. The record ends with Grand Finale, a sweet Bowie-inspired ballad with synth strings and a sentimental lyric, that turns into a big arena ballad before it ends, and closes with a hot lead guitar.

Throughout the record, Gyasi sings in an affected nasal style that is a cross between Bowie and Marc Bolin, and also employs a strong Robert Plant falsetto for the high parts. Melodies are strong, lyrics are good, and the band is tight. 

What more could a glam rock fan ask for?

The Golden Era of Rock 'n' Roll 1965-1963 2004

During the 1990s and early 2000s the reissue market took off like crazy. Motown, Stax/Volt, Atlantic and others all released box sets of their back catalog hits, usually with nice booklets with essays and track information. Rhino Records and Hip-O Records both did excellent work in the reissue field, and especially in various artist compilations. This set is a companion to The Roots of Rock 'n' Roll set I discussed way back here.  

This is one of the better compilations of it's ilk, and hits most of the highlights (with the usual licensing issues) that one might want in covering this early rock and roll era. Bill Haley, the Moonglows, Fats Domino, Gene Vincent and Carl Perkins show up on the first CD (the set is nicely chronological). The Ventures, Dion, Del Shannon and Roy Orbison populate the third CD. All the names you might remember or that you may have studied through reading about the era are here, but so are some of the lesser artists such as The Bobettes, Lee Andrews and the Hearts, The Five Satins, Shirley and Lee, and Joey Dee and the Starlighters. Their songs are more familiar than their names in most cases.

It isn't quite the revelation that the Roots of Rock 'n' Roll set was, as that one explored the era before rock really took over the airwaves, and was a deep dive into less familiar music and varied genres. But for someone born in the seventies or later, much of this material might be quite alien, and perhaps even as revelatory. And if you were listening to the oldies station in the sixties or seventies, much of this will sound pleasingly familiar, and some of it will be new. The set ends in 1963 with The Angels' My Boyfriend's Back, The Chiffons' He's So Fine, and The Beach Boys Surfin' USA. Let's just say they nailed the landing.

I've explored a number of Box Set collections in the past, and the good ones are mighty fine listening. You can check those entries out here. Additionally, most of them are available at bargain prices these days. I'm going to try to review the remainder of these sets in my collection in the near future. Stay tuned.

Lindsey Buckingham Go Insane 1984

Lindsey Buckingham seemed to relish his chances to go solo, and he makes a concerted effort not to sound like Fleetwood Mac. Which makes sense, but it also means that Mac fans would have mixed feelings about Buckingham solo. His first was very good with just a few exceptions, and I guess this one could be assessed pretty much the same way. 

The records open with the rocking I Want You, with tinny keyboards, speeded-up vocal section, and smoking hot lead guitar, with a hook for a chorus. Nice way to kick things off. The title track is next and has layered keys, layered vocals, sharp percussion, with another catchy chorus. The warbly high register that is his vocal on Slow Dancing is classic Buckingham. The pulsing beat and and complex arrangement keep a simple tune interesting. I Must Go gets a little more experimental, and that either detracts or you like it. Lots of keyboards, but it runs for a minute or two longer than it has ideas. And then Play In The Rain brings the crazy theme to the fore, with quiet vocal parts interrupted by clamorous percussion segments. Then the Indian instruments come in to raga the song out. 

Flip over to side two and Play In The Rain continues, starting with the raga, then shifting back to alternating vocal sections with percussion and big keyboard/guitar segments. It all comes together to rock out the ending. The slinky rock of Loving Cup is familiar territory for Buckingham, and rocks pretty hard. We get a hot guitar solo, and a big stadium-rock sound. It's good, but again seems to milk the motif for a few extra minutes. Bang The Drum opens without drums (of course), and the "bang the drum" chorus is catchy with  those eighties synths and layered vocal harmonies. The song ends on the banging drums (thank goodness). The D. W. Suite (honoring Dennis Wilson) is in three parts. The gentle opening section with Scottish folk overtones morphs through some cacophony into a Beach Boys inspired, harmony packed song, and then into a march of the familiar Scottish folk song "The Bonnie Banks o' Loch Lomond" (or something awfully close) that serves as a funeral march for the recently deceased Wilson. It's a bit out there.

Listening to it after a long time away made for fun and intriguing listening. I suppose if you didn't like Tusk you probably won't like his early solo work (this is his second). Side one is better than side two. The record plays for 38 minutes, and even at that, some of it feels like it's stretched out a bit. And so yes, it's very good, with a few exceptions.

Spinning Vinyl

So this session had a theme of 80s vinyl. Sometime between 1988 and 1991, new releases stopped being issued on vinyl except for mega-hits, and CDs took over. But the early and mid 80s, while crammed with terrible synthesizer pop, also saw some of my favorite artists making great records. All of these are very special to me. 

Things started with XTC's English Settlement 1982, side two with No Thugs In Our House, Yacht Dance, and All Of A Sudden (It's Too Late). I've always loved the chorus of No Thugs, "No thugs in our house, are there dear, We made that clear, We made little Graham promise us he'd be a good boy". Sure, as long as an adolescent male tells you they'll be good, it's all set. Both Yacht Dance and All Of A Sudden are also great. "Life's like a jigsaw, you get the straight bits but there's something missing in the middle". English Settlement has always been my favorite XTC, and for an unknown reason I bought the expensive two LP import version when it came out, which was vastly superior to the single disc US version that had five less songs.

Next up, The Clash London Calling 1980, also side two. Side two isn't the hit-packed side one or side four, but it's very good. Spanish Bombs, Clampdown and the call to arms of The Guns of Brixton, "When they kick at your front door, How you gonna come?, With your hands on your head, or on the trigger of your gun". Even the weak side kicks ass.

Then it was side two of Elvis Costello's Trust 1981. I typically think of Imperial Bedroom as my Costello highlight, but I may need to reconsider. With songs like New Lace Sleeves, From A Whisper To A Scream, Different Finger, and White Knuckles, the side just slaps you in the face. The Attractions were such a great band.

Next I pulled out one I hadn't listened to in I don't know how long. Talking Heads Remain In Light 1980, side one with Born Under Punches, Crosseyed and Painless, and The Great Curve. It was listed as a best of the year along side London Calling on every such list. At the time of release, Ken Tucker wrote in Rolling Stone, "Remain in Light yields scary, funny music to which you can dance and think, think and dance, dance and think, ad infinitum." It was a thrill to hear after so long a time.

Side one of Robert Palmer's Pride 1983 followed. This was Palmer's last record before the one-two punch of Power Station's 33 1/3  and Palmer's Riptide, both with Tony Thompson, Andy Taylor and Bernard Edwards and featuring Some Like It Hot and Addicted to Love. But Pride is no slouch, and side one features the title track, Want You More, Dance For Me and You Are In My System.

Finally we get to 1986 and Joe Jackson's three-sided vinyl version of Big World. Side three with Soul Kiss, Tango Atlantico, Home Town, and the snark of The Jet Set, all demonstrating Jackson's gift for skilled and varied composition. Recorded live without any overdubs or sonic trickery, Big World is an outstanding example of a super tight band firing on all cylinders. 

It was a fine, if brief, romp through the stacks, sticking to favorite records by favorite artists with the speakers singing loud and clear.

Wet Leg moisturizer 2025, Haim I Quit 2025

I'm an old guy, and while I try to listen to new music, much of it leaves me cold. The current state of hip-hop doesn't enthuse me any more than older hip-hop did. Most of the stuff on the pop charts seems to be formulaic music produced by programmed machines instead of actual musicians. The spate of trendy heart-on-the-sleeve female artists doesn't connect with me, and yes, I listen to quite a bit of it.

But these two records are both appealing to me. Both feature actual musicians, solid vocals, smart lyrics, hooky songs, and actual hot guitar breaks from time to time. 

I listened to the first Wet Leg record, and I liked it, but it didn't make me want to dive deeper. The singles sure were great. This new one has a little less of a punk sound, although there's still some razor sharp guitars. It feels like the songs are more developed, and guitarist Joshua Mobaraki has more co-writes than on the debut. More hands on deck can't hurt. Slinky opener CPR, angry Catch These Fists, dismissive Mangetout, and the comfortable You and Me At Home all stand out, but there's not a really weak one anywhere. 

I could say the same for I Quit. Again, I listened to and mostly enjoyed previous Haim material, but this one seems like a step forward to me. They continue to benefit from pop wiz Rostam Batmanglij, who's  instincts are impressive, and his production is squeaky clean. 

Lyrics lean on female empowerment. The record kicks off with Gone and All Over Me, a strong start. But the hits keep coming, and Down To Be Wrong, Everybody's Trying To Figure Me Out, Try To Feel My Pain, and Now It's Time are all strong songs. Again, there aren't any real flops. They often sound like Stevie Nick's Fleetwood Mac (without the pretense) or Sheryl Crow, in a good way.

Haim are a bit more pop than Wet Leg, so the longevity points might go Wet Leg's way. But right now I'm liking new music by contemporary artists, and that gives me hope. Old dog, new tricks. 

Van Morrison Remembering Now 2025 ...and Them 1964-1967

Van Morrison's latest is getting mostly excellent press, with several reviewers saying it's his best in three decades. I'm not sure I'd go quite that far, not because it isn't darn good, but because the last thirty years, while inconsistent, have given us several really good ones. How Long Has This Been Going On 1995, What's Wrong With This Picture? 2003, Down The Road 2002, Keep It Simple 2008, and You're Driving Me Crazy 2018 were all good Van Morrison records, and a few others came close. But since 2020, he's given us five records that range from dull to god-awful. His two lock down bitch sessions, a skiffle outing, an oldies covers record, and a back-catalog retread have kept this decade mostly disappointing.

And so Remembering Now is a strong return to form. He's never going to make music like he made in the 1970s again, and that seems an unreasonable expectation from anyone turning 80. But he still sings with soul and verve, and he's written mostly better songs this time around. The band has been around a while, and they are good. He tends to make long records, and if he'd edited out maybe three of them, it might approach perfection. You can read more detailed reviews elsewhere, but suffice it to say that if you gave up on Van Morrison a while back, now might be a good time to check out his new one.

So now lets check out Van in his youth with Them. Them made two LPs with Morrison, and this 3 CD collection The Complete Them 1964-1967 from 2015 includes those LPs, plus singles and b-sides and demos and first takes and pretty much everything that was worthy of release. And somewhat remarkably, almost everything here is worthy of release, and worth your time to hear it. Them was a blues-based rock outfit that most closely resembled The Animals in sound, although Morrison's voice and Eric Burden's are different, Morrison with a higher register than Burden, but both bluesy and soulful. 

Of course the few hits they had (Baby Please Don't Go, Here Comes The Night, Mystic Eyes) are here, and so is Gloria (a hit for The Shadows of Knight in the US). But there's a lot of fine performances, both from Morrison's pen as well as blues chestnuts Stormy Monday, Route 66, Turn On Your Lovelight, and I Put A Spell On You. The third disc is not essential, with it's demos and alternate takes, but there's six live tracks from BBC radio that are pretty cool. They had a good reputation as a live act. It could have been an excellent 2 CD set, but you really can't blame them for collecting it all in one place, and Van Morrison completists are surely happy. There's a detailed review at Everybody's Dummy here.

I also recently realized that in my quest to review all of Van Morrison's work, I skipped the work he did for Bang Records after Them and before Astral Weeks. Originally released as Blowin' Your Mind 1967, and later as T.B. Sheets and under several different names and with different song selections, I'll be brief. You can get Brown-Eyed Girl lots of other places, and unless you just have to have everything, the rest of the songs are unimportant and inferior to the work he would start to do immediately thereafter. 

Live Shows Part 2: 1980-2025

Talking Heads 1983 Blossom Music Center. The show they made the movie of, one of my all time favorites. 

The Neville Brothers/Dirty Dozen Brass Band Tipitina's 1980s. This one should be on my top ten list for sure. I always loved them, and they were amazing. Another show I didn't realize was happening in advance. Super hot on a steaming New Orleans night, well into the wee hours.

Various 80s/90s shows: 

Robert Palmer x2 at Nautica, and the Odeon. Great showman and singer. Dony Wynn, drummer extraordinaire kept time with great precision no matter who else was in the band. 

Bob Dylan/Del Amitri Nautica (I got into Del Amitri later, and only realized that I'd seen them live in retrospect). 

Santana at Nautica, Lindsey Buckingham at Peabody's Down Under (in a bar!), The Subdudes Peabody's Down Under, James Brown/Wilson Pickett at The Front Row (they were both fabulous). Peter Tosh Front Row, Bruce Cockburn, Joe Jackson/Todd Rundgren, Moody Blues, Melissa Etheridge x2 Nautica (quite the entertainer, she really rocked).

David Bowie The Coliseum, Michael Jackson The Coliseum, The Grateful Dead The Coliseum (they were terrible), Bob Dylan The Colliseum (The Budokon show, and I liked it a lot), Bob Dylan Akron Civic during his Christian phase, and he and the band were very good. 

Dwight Yoakam Blossom Music Center. k. d lang Music Hall, and again later at Cain Park.

Don Dixon and Marti Jones at least five times at Beachland, Music Box, The Empire (funky room, great show, a top ten entry). They were always excellent, especially when they had Jaime Hoover and Jim Brock with them.

Glass Harp reunion Akron Civic Theatre 1997.

Marsha Ball, Erma Thomas, Tracy Nelson 1999 on the Sing It! tour. They were wonderful. To get to see Tracey do Down So Low live took my breath away.

Lucinda Williams x2 The Odeon 2001, Nautica 2004? Smoking hot both times. 

Marti Jones/Amy Rigby as The Cynical Girls Beachland Ballroom, Cheryl Wheeler Beachland, Matthew Sweet Beachland, Marshall Crenshaw Beachland, Marsha Ball Beachland, The Proclaimers Beachland, Nick Lowe solo show Beachland.

Wilco/John Doe 2008 Lakewood Civic Auditorium. One of the loudest shows I ever heard. Fortunately I had hearing protection, but when the opener is super loud, you know you're in trouble. Wilco was great even if unnecessarily loud.

John Hiatt The Empire, rocking out with a full band. John Hiatt, Lyle Lovett, Guy Clark, Joe Ely 2007 State Theatre, John Hiatt and Lyle Lovett 2011 Akron Civic. Those last two were songwriter acoustic shows.

Fiona Apple Cain Park 2012. Oliver Mtukudzi, Cleveland Museum of Art, 2013. Pink Flamingo State Theatre. Trisha Yearwood Music Hall.

Jazz category: 

Ahmad Jamal x2 Purple Onion Toronto 1990, Jazz Alley Seattle 2006. One of my very favorite jazz artists.

Bill Frisell Jenny Scheinman, Greg Leisz 2007 Winchester. Wow. I'm so glad I got to see them in a small bar with an appreciative audience.

Pete Fountain Pete Fountain's Club 1980s, Allen Toussaint/Preservation Hall Jazz Band Music Box 2014, Preservation Hall Jazz Band Severance Hall 2000s, Diana Krall State Theatre 2012, Monty Alexander Nighttown 2010s.

The Cleveland Orchestra, Severance Hall 1995-2025, I've seen the orchestra at least 60 times. I subscribed to 4-6 concerts a year for at least ten years. Around my birthday in February each year they would have "stretch" concerts featuring new or neglected works, and things that were generally challenging. Some were good, others were pretty bad, but the good ones opened my ears to new and unique experiences. But I love Mozart, too. My most memorable series was seeing Mitsuko Uchida play and conduct Mozart piano concertos during the early-mid 2000s. Then the series was repeated from 2008-2015 and recorded for Decca. We saw the shows that were recorded, and of course I bought the CDs as they came out. Uchida's Mozart is beautiful, and her style suits the fluidity of the Cleveland Orchestra perfectly.

I know I have forgotten a lot. See also Live Shows Part 1 1966-1980.

The Beach Boys

The Beach Boys early records were all about surfing, cars and girls. The first six records fit this category, and while some may find gold digging into the album tracks, the period is best served for most listeners by the Endless Summer 1974 compilation. Today! and Summer Days (And Summer Nights!!), both from 1965, see the band's music and Brian's production getting more sophisticated and both are more than the singles and filler of their earlier work.

And then in 1966 comes Pet Sounds. Widely hailed as one of the greatest pop records ever, it is all that and more. Brian's masterpiece. Interestingly, it was met with mixed reviews on it's release in America, and Brian was deeply hurt by the rejection he felt. In England the record was met with universal acclaim. Go figure. It actually took a long time to develop it's reputation for greatness. In 1974 it was out of print and you could buy it in cut-out bins.

I'll skip over the whole Brian's breakdown and the collapse of Smile, the planned follow-up to Pet Sounds. The next ten years would be a roller coaster of quality for Beach Boys releases, some of which have received better reviews retrospectively than on their initial release. The band was trying hard to become relevant in a more grown-up album market that rejected their 60s surfer image. On the road they were becoming a nostalgia act even while they were producing some excellent work.

So I'll go ahead and tell you the ones I think are well worth hearing, and there will be plenty to disagree with. In the period from 1967-1977, I like Wild Honey 1967 (An unusual R&B outing, and fun and different because of it), Sunflower 1970 (Their last great record, and a showcase for under-appreciated Dennis), Surf's Up 1971 (Uneven, but when it's good, it's great), and Holland 1973 (Not perfect, but close, and their last really good record).

Then there's the one's that have received some good press, at least retrospectively. I don't really think they cut it for my list, but Friends 1968, 20/20 1969, and Love You 1977 all have their supporters, and they are at least interesting to hear from a historical perspective.

That leaves Smiley Smile 1967, Carl and the Passions "So Tough" 1972, 15 Big Ones 1976, and M.I.U. Album 1977, none of which deserve your time. There are good songs here and there, but they'll show up on any number of compilations. And everything after 1977 is at least as bad or worse, that is until That's Why God Made the Radio 2012, a decent stab at a reunion of what was left of the band 50 years after their debut. Better than almost anyone would have expected, but still not essential.

For all the myriad compilations, there's really not one that sums everything up. Good Vibrations: Thirty Years of the Beach Boys 1993 has all the good stuff, but also includes a lot of unreleased material related to the aborted Smile, outtakes and assorted junk in a 5-CD box set for the collector. The two-CD Fifty Big Ones 2012 comes very close, and if you didn't have any Beach Boys music, it covers everything you need (except Caroline, No, but you need Pet Sounds anyway). 

Sly and The Family Stone 1967- 1975

Sly and the Family Stone were as great a band as everything you've ever heard. They broke new ground on several levels, interracially, politically, and most of all in the pursuit of pure funk. You can argue about who invented funk, but Sly and the Family Stone moved funk forward in a seriously big way. And got white folks into it too.

The 1970 Greatest Hits is an indispensable record. Even if you have all of their studio records, you'd still need it for the three great singles that appeared new on the album. Absolutely everyone with any cool at all owned it in 1970.

Other compilations that came later and include the songs on Greatest Hits are strong contenders these days for someone new to the Family Stone, assuming such people exist. For vinyl lovers, the 2009 Music On Vinyl two-disc The Best of Sly and the Family Stone adds a few more tracks and includes a couple from Fresh, which many see as his last great record. The 2003 The Essential Sly and The Family Stone, on two CDs, is even better, as it includes a couple from the 1967 debut A Whole New Thing (Underdog is definitely essential) as well as Small Talk 1974 and one from Sly's 1975 solo debut High On You, plus lots more album tracks that deserve to be heard.

Many would argue that the best way to appreciate the band is in live performance, and there's also a couple of good ways to do just that. Woodstock: Sunday August 17, 1969 from 2019 or The Woodstock Experience from 2009 both include the whole set, and it's easy to see why they wowed the peace and love crowd in upstate New York (Experience also includes Stand! on a second CD). Live at the Fillmore East October 4th & 5th, 1968 from 2015, available as a comprehensive four CD set or a two LP edited version is also killer.

By the way, their criminally neglected debut A Whole New Thing is not a lesser record just because it sold little and didn't really sound like what was coming. It's quite good. It sounds a little like a good War record without the Latin bit.

Dance To The Music is hands down one of the greatest singles of the sixties. 

Cynthia and Jerry got a message they're sayin' All The Squares Go Home!

Live Shows Part 1: 1966-1980

I was never a frequent attendee at live shows, and I never saw any stadium shows at all. I did enjoy seeing artists in theatre-sized rooms, and occasionally in smaller venues like the Cleveland Agora or Beachland Ballroom. I started making a list a while back as a memory exercise, and it's beginning to feel about as complete as I'm ever going to achieve. I'm going to try to be chronological as best I can. Hopefully I'll get the decade right. I did a list of my favorites here if you want to check it out. So here goes:

The Rolling Stones 1966 Cleveland Arena. My older brother's date got sick last minute and my mom made him take me. It's the only time I saw the Stones, and I don't remember much, but I can see the stage in my mind from where we sat. I was 11.

Lemon Pipers, Rotary Connection 1968 Cleveland Music Hall. My brother played bass. I went with my parents. I fell in love with Rotary Connection, and the amazing voice of Minnie Ripperton.

Chambers Brothers 1968-69? Cleveland Music Hall. I loved the Chambers Brothers. They were really good live, very energetic. I think my mom took me.

The Band 1970 Cleveland Music Hall. One of my most memorable concerts. They were outstanding, doing two hours with an intermission and no opener. 

Jethro Tull, Lee Michaels, Clouds 1970 Allen Theatre. Michaels was doing the stuff from his eponymous record with just him on B3 and Frosty on drums. They were killer, and very loud. Tull was good too. The weird bit where Ian Anderson wrapped his leg around the mic stand was wacky.

Little Richard, New York Rock Ensemble, several other bands, Cleveland Public Hall 1970. I got too high at this show, and the New York Rock Ensemble got me through the worst of it and saved me from a visit to the ER. They were one hot band.

Fanny, James Gang, Glass Harp, New York Rock Ensemble, some others 1972? Edgewater Park. So I'm very shaky on this, and it may have been two different shows a year apart. Fanny was great live, and everything amazing you've heard about James Gang is true. I absolutely loved New York Rock Ensemble.

Bruce Springsteen 1975 John Carrol Fieldhouse. A top ten show. Before Born To Run was released, and they were, well, early live Springsteen when he was the only guitarist. They did lots of The Wild, the Innocent and the E Street Shuffle.

Sons of Champlin, The Tubes 1975 San Diego. I loved and still love the Sons of Champlin. I had no idea they were in town. I was in a record store and bought their new self-released album. The guy at the register asked if I was going that night to see them, and he sold me tickets. Terry Haggerty is one of my favorite guitarists ever. I liked the Tubes more than I thought I would.

Various 70s shows: Loggins and Messina/Little River Band Cleveland Music Hall (Little River band were really good), Average White Band Music Hall, Beach Boys Blossom, Jimmy Buffett (at least three times) Music Hall, Blossom, Stevie Ray Vaughn (and I think B B King on the same bill) Blossom, Boz Scaggs/Melissa Manchester John Carrol Field House, Barnstorm/Todd Rundgren, Starstruck, Kinks (on a bad night) Music Hall, Van Morrison (also a bad night) Music Hall, two bands I absolutely love, and both put on disappointing shows. Morrison was going through some kind of stage fright stage and had his back to the audience most of the night. Ray Davies was just too drunk.

Rockpile/Carlene Carter Cleveland Music Hall 1978. Rockpile were so special, with Nick Lowe, Dave Edmunds, Billy Bremner, and Terry Williams. As much talent as any other four guys. Carlene was dating or maybe married to Nick, and she was great with them behind her.

Elvis Costello/The Rubinoos The Agora 1979. Costello and The Attractions were just one of the most tight ensembles ever to plow their music into your ears. And the Rubinoos were a blast. Another of the top ten.

Music Streaming (is killing me)

I started streaming music about a year ago. I bought a Bluesound Node, hired an electrician to run an ethernet line from my router to my living/music room, and subscribed to Qobuz. I don't use the DAC in the Bluesound Node, I use the DAC in my Benchmark DAC3 HGC.

Why Qobuz? Well, Qobuz streams everything in the highest resolution available. I think high resolution audio sounds better than CD, and I find mp3 to be unlistenable. I can check something out with mp3, but it sounds like crap to me on the music room kit. I know that Tidal and some others also offer high resolution streams, but Qobuz is also the service that pays artists the highest royalty rate, although it is still too low. If you want to support artists, listen on a streamer, and then buy what you like on Bandcamp, which actually pays artists reasonably well.

But streaming is killing me because I can no longer keep up with all the music I want to hear. New music listed on Qobuz, old music by artists I've liked but not fully explored, recommendations from music blogs I read, and music reviewed in magazines (I've also started using Libby, a library app which lets me read a ton of magazines).

I have 86 records saved in Favorites in BlueOS, the software interface from Bluesound. A while back I put four that I'd like to get back to on a list on my iPad just to get them out of Favorites. That's 90 records I want to hear again, or which I haven't gotten to yet. Many of them get one listen and are then removed, but if I want to hear them again, I leave them in favorites. There might be a better way to save things or file them to a different list in Roon, I'm not sure. I tried Roon for a while but the BlueOS coupled with iTunes Remote (to listen from my iTunes library on my computer) seemed to do most of the Roon functions, and the additional info in Roon didn't seem all that much better than in BlueOS, especially given the cost of Roon, which is even more than Qobuz. If I want credits or more info, Discogs and Wikipedia do a good job with that. Liner notes would be nice, but I guess I'll get over it.

I have over 1100 vinyl records and over 1300 CDs. Over the years, and with recent purges, I have sold off at least as many vinyl records as I now own and a whole bunch of CDs. I am currently working on putting all the CDs on a hard drive accessible through iTunes. I'm about 1/4 of the way through that tedious job. I still buy vinyl occasionally. I used to take a lot of music out from our local library system to hear it, but streaming has replaced that function almost entirely.

When I want to listen to music I love in the best sound, I listen to vinyl. I know the technical arguments regarding digital music's superiority, but those arguments by themselves don't make music sound better. Maybe it's because I grew up with and never left vinyl. CDs generally sound fine to me unless they were transferred to CD in the mid-late eighties, before record companies and mastering facilities got their act together. I very rarely have bought the vinyl version after I bought the CD. For casual listening or background music (music is never really background music to me), I like the playlists I can find on Qobuz, or ones I have generated myself either in iTunes or Qobuz. Everything in my iTunes is lossless digital. I bluetooth music directly to my hearing aides from my phone at the gym. In my car, I have music on a USB flash drive.

Now I have to go work on catching up on my list of Favorites. I've never used the word "work" when discussing listening to music before now. It's killing me.

Rick Nelson Garden Party 1972

Two things made me think of this record. The first was the country rock sounds on the Peterson/Cowsill record I just reviewed, and the other was Bob Dylan's recent cover of Garden Party on YouTube. Rick Nelson was a huge hit in the late 50 and early 60s, recording a string of top 10 pop singles (several with rockabilly stylings) and successful albums. Around 1966 he began his exploration of country rock, and he made solid, if less successful records in the genre. His later sixties success was hampered by his difficulty overcoming his teen idol image. In 1969 he formed the Stone Canyon Band with Randy Meisner (bass guitarist of Poco and The Eagles), Tom Brumley (steel guitar player from Buck Owen's Buckaroos), Allen Kemp (guitar) and Patrick Shanahan (drums). They were a very talented group, and in 1972 they released Garden Party, his last chart success.

Nelson wrote six of the songs on the record, and they are all solid. The title track is the star, documenting his disappointing experience at an oldies concert at Madison Square Garden. But there isn't a weak song on the record. Rockers Let It Bring You Along, I Wanna Be With You, Chuck Berry's I'm Talking About You (with a jazz middle section!), and the honky-tonking So Long Mama all cook. The ballads are good, too, especially Nelson's Night Time Lady and the closer Palace Guard.

Most of Nelson's work is well worth exploring and available for streaming. As the pinnacle of his country rock records, Garden Party is a fine example of the genre, and just an excellent record by any standard.

Vicki Peterson and John Cowsill Long After The Fire 2025

Vicki Peterson was in the Bangles, Psycho Sisters and Continental Drifters (the last two with Susan Cowsill). She played lead guitar, wrote songs and sang with the all three bands. John Cowsill played drums in the Cowsills starting when he was ten years old. Later he played in Dwight Twilley's band (also with Susan Cowsill), and toured for twenty years with the Beach Boys, contributing vocals, keyboards and drums. The couple married in 2003.

And now we get their debut as a duo. The songs were written by Bill and Barry Cowsill, two of John's older brothers and Cowsills members, both deceased. The record was produced in Nashville by multi-instrumentalist Paul Allen, who plays guitars, bass, keyboards, and drums. Dave Pearlman adds pedal steel guitar, and Jimmy Calaire adds keyboards to two songs. Cowsill sings, plays drums, keyboards, and harmonica, and Peterson sings and plays guitar and mandolin. 

Fool Is The Last One To Know is classic country rock featuring hot lead guitar, great harmonies, and Cowsill's country twang of a voice (which he doesn't use on all songs). Vagabond is more solid country/rock with nice pedal steel guitar and verging-on-cliche lyrics that's a solid song. Peterson takes the lead and most of the glorious harmonies on Come To Me, a sweet keyboard driven rocking mid-tempo ballad. Is Anybody Here has another fine vocal from Cowsill. They actually rock out on the driving Sound On Sound with big loud guitars and a hot lead courtesy of Peterson. Peterson provides fine lead and harmony vocals on the folky acoustic Don't Look Back.

Peterson sings lead on You In My Mind, a power-pop gem that sounds like it could have a been a Bangles hit. Country sounds return for the two-step A Thousand Times with more pedal steel, a fine lyric, Cowsill's twangy lead vocal and great harmonies from Peterson. Embers is a slow country heartbreak waltz that gives the album it's title, and Cowsill blows some skillful harmonica. Downtown is a solid rocker that almost sounds like a Tom Petty song. The record ends with two ballads. When Hearts Collide sees the duo trade lead vocals, and Peterson wraps things up with the gentle acoustic of Ol' Timeless.

Cowsill gets 7 lead vocals, Peterson 4, and they share one. John Cowsill has an excellent voice, but then so does Vickie Peterson. They sound great in harmony. Some of the songs have almost cringy lyrical cliches (not many), but the melodies are strong, the musicianship is good, and the pleasure that Peterson and Cowsill share together is infectious. They're having fun and honoring John's brothers at the same time, and it works. 

The Proclaimers Live at the Belly Up 2017

 

One of the best live shows I ever enjoyed was the Proclaimers in 2008 at the 500 person capacity Beachland Ballroom in Cleveland. They were great. Hard Stop. It was one of the times that they toured America with the full band, and it was a blast. 

The Proclaimers play to huge stadiums and festivals in the UK and Europe, but they end up in much smaller venues here in the states. On this 2017 tour, they were supporting their latest, Let's Hear It For The Dogs from 2015, but they did songs from throughout their career. It is an excellent way to get to know a top-tier pop/rock band. Great songs, tight band, and those perfect harmonies that always seem best by siblings, let alone twin brothers. 

Once you realize what you've been missing, you should pick up one or two of their fine records. Persevere 2001 is my favorite, Sunshine On Leith 1988 was their biggest hit and includes their international hit single I'm Gonna Be (500 Miles) and I'm On My Way, which was featured on the Shrek soundtrack. Dentures Out 2022, their latest, is excellent. You can't go wrong with any of them as they haven't made any weak records. The Very Best Of: 25 Years 1987–2012 2013 is a solid two-disc overview. 

This live set from 2017 wasn't released in any physical formats, but is available for streaming, and the entire show is also on YouTube.

Elton John and Bradi Carlile Who Believes In Angels? 2025

I originally intended to post this along with the previous Irma Thomas and Galactic record as a comparison between two legacy artists both working in tandem with younger artists, but I decided the Irma Thomas deserved it's own feature. More people are going to hear/buy this one, and that's a real shame. In the last 25 years Elton has made five really solid studio records that restored his work to his seventies high standards. This isn't the sixth.

Not that it's all bad. In fact some of it is pretty darn good and some of it is, well, less exciting. If you're a Brandi Carlile fan it will be more exciting than it is to Elton John fans, because it mostly sounds like a Brandi Carlile recording of John/Taupin songs. Carlile performs the acoustic You Without Me essentially solo, while John finishes the record with the fine ballad When This Old World Is Done With Me solo at the piano, and is featured prominently on Little Richard's Bible. The rest of the record is duets sorta. On a few songs Elton and Brandi sing separate verses and then duet the choruses, but on most they duet the entire song. And there's the rub. When they sing together, Elton's voice is swamped in the mix by Brandi's big brassy voice. That's probably on producer Andrew Watt, but it makes Elton a background vocalist for most of the record.

The record opens with homages to Laura Nyro and Little Richard. The Rose of Laura Nyro opens with a too long overblown intro reminiscent of of Funeral For A Friend while Little Richard's Bible is another version of Crocodile Rock that's not bad, and Elton gets to sing it without Carlile drowning him out. The title track twists the piano figure from Amoreena to decent effect, but it's another duet with too much Carlile in the mix. And that's really the story of the whole rest of the record. 

There's a bunch of good songs. The production by Watt is a bit too overblown-big-pop-production on some songs, but it's mostly OK, and the band is talented. Elton's recent records have managed an organic sound that this record eschews for modern glossy pop. I can almost see why the critics have been gushing over it. Almost, but not really.

Galactic and Irma Thomas Audience With The Queen 2025

New Orleans funksters Galactic have written an entire record (there's one cover song) for the amazing, still great Irma Thomas. At 84, Thomas can still sing like she sang 40 years ago, if not better. Of course if you heard her at the Jazz and Heritage Fest or on After the Rain 2006, Simply Grand 2008, or Love Is The Foundation 2020, you already knew that. Here, her classic soul/blues/gospel style is updated both stylistically and lyrically, and she storms into 2025 backed by the members of Galactic that both revere her and refuse to take a single step back from their funky march forward.

There's new/old school soul Piece In My Heart, Be Your Lady, and People, all of them sounding a tad like the best of Sharon Jones and the Daptones. Funk oozes out of Where I Belong, Love's Gonna Find A Way, and the social message of the great first single, Lady Liberty. Over You is bluesy, and How Glad I Am and Puppet On Your String have gospel overtones. Gang backup vocals, full choir on a few, and frequently super horn charts spruce up the sound. There's hot guitar and keyboards, and the always fabulous drumming of Staton Moore. The arrangements are darn near perfect every time.

And Irma Thomas sings everything to the ground. She had her first hit in 1959, and she's as great as ever right now. She inhabits, indeed embodies, every lyric in a way only a few singers can. She is magnificent.

I thought After The Rain was her late career pinnacle. Then came Love Is The Foundation, and that raised the bar again. This time a rare, beautiful legacy artist charges into the present and gives us something so wonderful it's just hard to even believe. But here it is. Anyone Who Knows What Soul Is (Will Understand).

Van Morrison Live At Orangefield 2024, New Arrangements and Duets 2024

I'm having a real problem keeping up with Van Morrison. Every decade since the 70s, he has released 9 or 10 (that's not guessing, it's accurate) new records. Now in the 2020s, only five years in, he's released 8 records already, and another is due in June 2025. The guy is 79 years old, and clearly won't slow down. I have managed to write about each of them in my Van Morrison series, which you can read here. 

Van Morrison has made several rock solid live records. Live at Austin City Limits Festival 2006 was good, and his live reimagining of Astral Weeks Live at the Hollywood Bowl in 2009 was a blast. It's Too Late to Stop Now 1974 is just one of the best live records ever, and A Night In San Francisco 1994 was a brilliant reworking of his sleepy 80s catalog into funky R&B, and great.

So now comes Live At Orangefield 2024, documenting his live performance at his old secondary school just before it closed in 2014. It is a good selection of songs, and Van certainly seems motivated to perform in the place he gave his first live performance ever as a young school lad in a skiffle group. He can still sing today, so he certainly could do so in 2014. The band is the solid group he'd been touring with for a while, and Dave Keary shines on guitar throughout as do Paul Moran on keys and Alistair White and Chris White on horns. 

There's no surprises, but it is enjoyable almost throughout. Cleaning Windows, Moondance, Precious Time, Real Real Gone, Rough God Goes Riding, they all sound very good. The record ends by fading out during In The Garden as the "no guru, no method, no teacher" chorus is still going on. Why? Maybe he was about to walk off and let the band finish, well then lets hear that. It's not that big of a deal, but it's irritating. They could have left out the spoken word On Hyndford Street, which the crowd loves because he name checks locations throughout Belfast, but for the rest of us, it's the least interesting thing here. So it's a good one but not great one. More on that later.

Also in 2024, we get New Arrangements and Duets, an oddball mix of nine older songs rearranged and six duets, all of which were recorded between 2014 and 2019. About half of it is quite good, some is good enough, and two songs are particularly wrong. So it's a good one but not great one. More on that later.

The highlights: Kurt Elling duetting on Ain't Gonna Moan No More (scatting plus a great trumpet solo), a swinging version of Only A Dream, The Beauty of Days Gone By done up hot and jazzy with more great solos on sax and organ, a funky version of So Complicated that isn't much of a rearrangement from the original, and two fine duets with Willie Nelson(!) on What's Wrong With This Picture? and the lovely Steal My Heart Away, where Willie also contributes with his idiosyncratic guitar playing. 

The only real disappointments are a big band version of I'll Be Your Lover Too, which bulldozes the gentle original, and a duet with Joss Stone on Someone Like You that makes you want to hear Stone do the song without Van crowding her mostly out. The remaining unmentioned songs are all just fine, and some of the new arrangements are improvements, or at least interesting variations, on the originals. 

If you're a fan, both of these are well worth your time. I suppose thinking he's going to come up with one that matches his work in the seventies is a bit like thinking the Rolling Stones will give us another Sticky Fingers.

As for the "it's a good one but not a great one" line, I'll give a fellow blogger the last word. Wardo, an excellent music reviewer who blogs at Everybody's Dummy, left a comment on my most recent Van Morrison entry. He wrote "He keeps making competent, "not-bad" albums...  I will be very surprised if he gives us a modern masterpiece."

Jesse Winchester 1944-2014

This is a guest post by Steve Walmsley

I was already a huge fan of Jesse Winchester when in 1977 my then pregnant wife, Kathryn, and I went to see him in concert at Bogarts, a small venue in Cincinnati. Winchester was a draft evader that had gone to Canada in 1967. He was allowed to return to the US after Jimmy Carter’s amnesty for draft evaders in 1976. Kathryn was resplendent in a long white muslin dress with our first child inside her protruding belly. I was never prouder to be out with her.  We arrived late and it appeared every seat at every table was occupied. Undeterred, we ventured down front to discover that a small table with three chairs right in front of the middle of the stage was empty. We couldn’t believe our luck. It was one of those meant to be moments. It was like having the band in your living room. With the intimacy of the closeness to the band, it remains to this day one of my all-time favorite concert performances. 

I first became aware of Jesse Winchester when, after the breakup in 1970 of the Lemon Pipers (for whom I played bass), I moved to Wilmington Vermont with a three piece group I had formed with my best friend from high school. The band failed and I moved in with a group of hippies, one of whom became my beautiful wife. We will soon be celebrating 53 years together.  

It was there that I was turned on to Jesse’s Winchester’s self-titled classic 1970 eponymous first album. It was produced by Robbie Robertson and recorded by Todd Rundgren. It contains The Brand New Tennessee Waltz, the first song he ever wrote, Yankee Lady (a favorite), and the haunting Quiet About It. It’s the place to begin if you’re not familiar with Winchester.

His 1972 release, Third Down, 110 To Go, is my favorite of all his albums. It displays the beautiful lyrics, simple arrangements and minimal instrumentation that are typical of all his recordings. It is near perfect in it’s deceptive simplicity. Just listen to it. Bob Dylan once said, “You can’t talk about the best songwriters and not include [Jesse Winchester] ”.

The 1974 release, Learn To Love It, has the catchy and endearing Third Rate Romance written by Russell Smith, later of the Amazing Rhythm Aces. The heartfelt Mississippi You’re On My Mind shows the fondness Winchester had for his southern roots. 

In 1976 he released Let The Rough Side Drag. The title song is a lyrical expression of his philosophy of life. I find all his songs both poignant and uplifting. The album ends with a reprisal of his first song, The Brand New Tennessee Waltz. It was eventually covered, as were many of his compositions, by Joan Baez, Ralph Stanley, the Everly Brothers and Patti Paige, who had recorded the original Tennessee Waltz 50 years earlier.

Nothing But A Breeze 1978 contains Twigs and Seeds, a humorous plea for ganja legalization, and a nifty little tune titled Rhumba Man. The album features a who’s who supporting cast of Ricky Scaggs, James Burton, Emmylou Harris, Ann Murray and Nicolette Larson.

1981’s Talk Memphis showed his special affinity for Memphis, as his family moved there from Mississippi when he was six. He was influenced by the sounds of rhythm and blues and rockabilly via radio stations like WDIA and WHBQ where Dewey Phillips was playing the mixture of black and white artists that came to characterize Sun and Stax Records. The title song Talk Memphis is an homage to this early influence. This album also contains his only US Top 40 single, Say What. 

In 2007 he received a Lifetime Achievement Award from the American Society of Composers, Authors and Publishers.

In 2009 he released his tenth studio album, the well-received Love Filling Station. 

In 2012 a tribute record to Jesse, Quiet About It, was released that featured Jimmy Buffett, Elvis Costello, James Taylor, Lye Lovett, Roseanne Cash, Allen Toussaint and Lucinda Williams.

Jesse Winchester passed away in 2014. His final album titled A Reasonable Amount Of Trouble was released later that year with liner notes by his friend Jimmy Buffett, who recorded six of Winchester’s songs over the years. The record was nominated for two Grammys. Rolling Stone called it “one of the most moving, triumphant albums of Winchester’s 45 year career “ and “a gentle collection of playful songs about love, memory and gratitude”. The same could be said for most of the songs he ever wrote.

The Lemon Pipers Green Tambourine 1968 Jungle Marmalade 1968

The Lemon Pipers' story is a classic from the late sixties. Classic in that they were actually two bands. They were the hard rocking/blues/country/folk/psychedelic band from Oxford, Ohio, and they were the bubblegum pop band they were forced to be by the Kama Sutra record label they signed to, not realizing that they would have little to no control over their material. 

It is somewhat surprising then that they were allowed to record their own songs in addition to the the many bubblegum pop tunes penned by producer Paul Leka and songwriting partner Shelly Pinz. They made two records, both released in 1968, and both records included plenty of the Leka/Pinz material and a reasonably heathy dose of Lemon Pipers originals. The bubblegum fans that bought those records must have wondered what was going on when the bands' originals came out of their speakers.

The Wikipedia entry about the Lemon Pipers is mostly accurate. How do I know this? My older brother was the bass player in the Lemon Pipers, and in February 1968 when Green Tambourine hit #1, he had his fifteen minutes of fame, and then some. Gold record on the wall, all very cool. For my brother, the best moment of all was when the Lemon Pipers played the Fillmore (and Winterland) on a bill that included Spirit, Traffic, and Moby Grape.

My brother, we'll call him Steve Walmsley, since that is his name, loved Moby Grape, and admired their bass player because he was excellent. Moby Grape were standing in the wings checking out the Lemon Pipers, and Bob Mosley, bassist with Moby Grape, gave my brother the thumbs up from the wings. Of all the star moments that happened on the roller coaster of having a #1 one-hit wonder, that was the moment most cherished by Steve. And why not? Getting approval from one of your idols (when you're nineteen), well, ain't that the shit.

Here's a picture of Steve (left), Ivan Browne (vocals and guitar), and Bill Bartlett (lead guitar, vocals) from the early days of the band:

The band also included Bill Albaugh (drums) and Bob Nave (organ and vocals). And here's one of Steve in 2007 in Cincinnati at a Lemon Pipers reunion concert:

I saw them live on the Green Tambourine tour in June 1968 with my parents in Cleveland. Rotary Connection opened, with the amazing five-octive voice of Minnie Ripperton. I was 13. I also saw that 2007 reunion in Cincinnati.

I put together a playlist of the Lemon Piper originals and chosen covers from their two albums, with no Leka/Pinz songs. It is of it's time certainly, but if you want to know how very not bubblegum they were, this will do it. Each song plays in YouTube.

The Real Lemon Pipers tracklist:

Catch Me Falling (Lemon Pipers) Lead Vocal: Browne

Straglin' Behind (Albaugh/Bartlett) LV: Browne

No Help From Me (Browne) LV: Nave

    No Help was surprisingly the flip side of the Green Tambourine single, but not on the album

I Was Not Born To Follow (Goffin/King) LV: Browne

Through With You (Bartlett) LV: Browne/Bartlett

Ask Me If I Care (Eric Ehrmann) LV: Browne

Hard Core (Lemon Pipers) LV: Nave

Turn Around Take A Look (Bartlett) LV: Bartlett/Browne

Fifty Year Void (Lemon Pipers) LV: Nave

Wine And Violet (Lemon Pipers) LV: Bartlett/Browne

Dead End Street/Half Light (Lemon Pipers) LV: Nave/Browne

The Lemon Pipers split in the spring of 1970. All five members stayed active in music in one way or another. Bartlett and Nave formed Beachwood Farm. Then in 1972 Bartlett and Walmsley formed Starstruck. After Walmsley was replaced by David Goldflies (later of Allman Brothers), Starstruck recorded Bartlett's version of Leadbelly's Black Betty. The same recording would be used later when it was credited to Bartlett's Ram Jam (Interestingly, that means that Bill Bartlett was a one-hit wonder, twice). Walmsley played in Backporch Light with Kieth Sherman and Slipstream with Meg Davis, and then in the band that backed the soul vocal group The Fabulous Determinations. Walmsley and Albaugh joined Bruce Newman in Medicine Wheel. Bartlett joined and later Newman left. Walmsley, Albaugh, and Bartlett played in local bands Midnight Fire in the 80s and Mystical Presence in the 90s. Walmsley last played in Second Nature from 2003-2009. All of these bands played in the Southern Indiana/Ohio area.

Ivan Browne moved to California, became a postal carrier, played and recorded music with his wife in the Ivan and Isa Band, and carried on his minor celebrity as lead singer of Green Tambourine. Bob Nave became a financial consultant by day and a popular jazz DJ on WNOP-AM in the 70s and then at WVXU-FM from 1984 to 2005. In 2006, Nave was a founding member of Cincinnati's Blues Merchants. 

2007, 2008, and 2017 saw Lemon Pipers reunions with Browne, Walmsley and Nave in Cincinnati.

Albaugh passed away in 99, and Nave died in 2020.

There's a good article from Cincinnati Magazine in 2008 called Off The Charts. Lots of details, and all four surviving members were interviewed.

Tracy Nelson Life Don't Miss Nobody 2023

A mere sixty years after her first record, Tracey Nelson graces us with yet another fine piece of work. That 1964 debut, Deep Are The Roots, was a sparse acoustic record of blues chestnuts with vocals, guitar, harmonica and occasional piano. It was fairly ordinary for that sort of thing, but Tracey’s vocals impressed the few that heard it. Next up was the first Mother Earth record in 1968 after Tracey moved to San Francisco and founded the band. Since then she’s recorded some 20 records for at least half that many different labels. A journey woman for sure, and even if she’s not a household name, any and all of her work is well worth hearing.

It had been ten years since her last record, and fans had reason to wonder if she was done. Not nearly. She produced this new one, curated a great set of songs and wrote a couple herself, put together a killer band, and invited several big names and friends to guest star. At seventy-nine, she hasn’t lost any of the vocal strength and interpretive skill she’s famous for, and dare I say, this may well be her finest work. 

A blues singer mainly, she has recorded country, rock, R&B, gospel and soul throughout her career. Her taste in material to cover is impeccable. She's written a bunch of good ones herself, most notably her signature tune Down So Low, which has been covered by Linda Rondstadt, Etta James, Dee Dee Warwick, Ellen McIlwaine, Maria Muldaur, and Cyndi Lauper.

Strange Things Happen Every Day kicks things off rocking a blues/R&B groove, with a great piano break. Kevin McKendree tickles the ivories throughout the record, and he's consistently fabulous. Doc Pompus' There Is Always One More Time features Mickey Raphael's harmonica and a big choir on the gospel choruses. The title track, co-written by Nelson with Mike Dysinger has a latin rhythm and hot horns. Your Funeral and My Trial from Sonny Boy Williamson's pen is a walking blues with more great piano. Ma Rainey's Yonder Comes The Blues is an old-timey blues with wonderful, and apropos clarinet. Marcia Ball and Irma Thomas join Nelson for the rocking Allen Toussaint swamp rock of I Did My Part. The gospel influences return for  a stunning Hard Times, featuring piano, accordion and the big choir again. Wow.

Willie Nelson guests on Hank Williams' Honky Tonkin', with steel guitar and more fine harmonica. Charlie Musselwhite, who was featured on that 1964 debut, plays knock-out harmonica on It Don't Make Sense, a Willie Dixon blues that also has a hot guitar break. Eugene McDaniels' Compared To What features Terry Hanck on sax playing off the piano in a tight dual solo section. Nelson co-wrote Where Do You Go When You Can't Go Home with Marcia Ball, and the gospel choir again rocks the choruses. A nice rocking version of Chuck Berry's Brown-Eyed Handsome Man features a bevy of female guests vocalists and rocks like crazy. The record ends with another version of Hard Times, this time with just Tracey and guitar to wind things down with deep emotion, in the simple acoustic style of her 1964 debut, bringing things full circle.

There isn't a weak song. The record was nominated for a 2024 Best Traditional Blues Record Grammy. Tracey sings everything with the powerful voice that is her trademark. If you're a blues fan or a Tracey Nelson fan, or heck, just a good music fan, you gotta hear it.

Songbird: An Intimate Biography of Christine McVie Lesley-Ann Jones

I'll start right off with the conclusion of this review: don't bother.

Supposedly the author was a friend of Christine McVie. Clearly McVie was a very private person, and if Jones was her friend, she certainly was not an intimate one, regardless of the book's title. Just how revealing was a guarded rock star with a rock journalist "friend"? I would speculate that the answer is "not so much".

And so speculation is what Jones does repeatedly in an attempt to explain McVie's childhood, her relationships with her parents, where her talents came from, and her motivations for many decisions throughout her life. She talks in depth about McVie's phycological background and reasons for her life's pathway with a psychologist that never met Christine McVie. She uses a jealous bass player that wanted but never got John McVie's role in Fleetwood Mac like he is an expert on Christine. 

No family members contributed. No Fleetwood Mac members gave new insights (although they are often quoted from past interviews). No lifelong close friends (real ones) talked to Jones. No neighbors from  Wickhambreaux, the small country town where Christine lived for some fifteen years had anything to say.

There's scant detailed or new information on the Fleetwood Mac records to which Christine famously contributed. In fact, I thought Jones wasn't even going mention Heroes Are Hard To Find, when she went off on a multi-page tangent and discussion of Bob Welsh's departure from the band before she even mentioned Heroes, the last Fleetwood Mac album on which he was featured. She of course spends lots of pages on the famous version of the band, but skims over the 1970-1974 era, when Christine wrote many of the bands best songs during the transitional phase, and helped keep things together before Buckingham and Nicks signed on.

The book covers all the sex, drugs and rock and roll mess and excess that was the famous post 1974 band. There's nothing new here, that story has been told to death. Same with her disastrous love of Dennis Wilson, a brief period of true love for Christine that ended in heartbreak.

If Lesley-Ann Jones was actually a friend of Christine McVie, she would have never written this sham of a biography.

Donald Fagan, Michael McDonald, Boz Scaggs The New York Rock and Soul Review: Live at the Beacon 1991, The Dukes of September Live at Lincoln Center 2014

Not every release you might enjoy needs to be important. Sometimes just "fun", or "nice" or "cool" is all that's needed. That's how I feel about these releases. Neither of them is a good as a good Steely Dan, Boz Scaggs, or Michael McDonald record (Well, maybe not McDonald). But they are well worth your time to hear them.

Both feature the three stars. The New York Rock and Soul Review features additional guest stars worthy of their appearance. And both are backed up by stellar backing musicians and vocalists.

The New York Rock and Soul Review: Live at the Beacon includes Phoebe Snow, Charles Brown, and David and Eddie Brigati, covering Rascals hits, soul gems, Brown's blues, Steely Dan and Doobie Brothers hits. We get hot guitar from Jimmy Vivino and others, and great horns from Cornelius Bumpus and a great horn section. What's not to like?

Twenty years later the three got together and toured. The band included Steely Dan regulars plus all-pro horns and backup singers. Without the guests, we get that much more of Steely Dan and McDonald/Doobies, and considerably more Boz Scaggs, which can only be good. A few choice soul covers round out the set, with the Isley's Who's That Lady? being a standout.

You don't need these records, but you'll probably enjoy your time spent with them.

Dwight Yoakam Brighter Days 2024

In 1993, Dwight Yoakam made one of the best records ever, This Time. And not just country records, but best records ever, period. Every song, every note, every lyric, just about pure perfection. I followed his work for a while after that one, and I liked Gone 1995, and A Long Way Hone 1997. I even liked his covers record, Under The Covers 1997.

The ones before 1993 were all solid, and many critics and fans rave about the first three, and well, I liked those too. In this century he has made plenty of competent records, all with some great songs, but none quite reaching the perfection of his work in the mid-nineties. But they come mighty close, and he's made more solid records than most artists in any genre. His Bakersfield-inspired country/rock and his authentic vocal twang have stood the test of time, and his songwriting is impressive and mostly consistent.

Now, after an eight year hiatus comes Brighter Days, and if I may say so, it lives up to the name. The record storms out of the gate with Wide Open Heart. The lead single I'll Pay The Price is a Bakersfield beauty filled with melancholic hope. Other highlights include the sad California Sky, stomping Can't Be Wrong, hokey I Spell Love, the optimistic title track, a cover of the Byrd's Time Between (he has a knack for finding great songs to cover), a rocking version of Keep On The Sunny Side, and the "save the last dance for me" sentiment of Every Night, which rocks the record to a close. There aren't really any weak songs. With fourteen tracks, you'd almost expect some filler, but instead the songs just display all the various aspects of his talent. 

He never really went away, but he's back.