Cal Everett The Weight Of Early Promise 2026

This record apparently took ten years to record, and forty years to write. Boy, it better be good. And if you like a well-crafted piano-centric pop record, it's a darn fine one.

Older Now kicks things off in style, a piano-led pop rocker in the Billy Joel vein that builds into an expansive instrumental with a chorus of voices. Gimme Some Time features another chorus of layered vocals on top of a McCartney-esque melody. The rocking Teenager's Belief brings some nice hooks and another chorus of well-arranged vocals. The baroque-like Lover's Hollow Promise features piano and string quartet and has shades of the Left Banke. The Sloan-like Communication is the first guitar rocker and that's good, but it could use a hot lead break that's missing. Wake Up To The Nightmare rocks and features two different voices playing off each other to good effect.

The smart lyrical twists of Old Enough would be plenty, but they are laid on top of a melody that sounds like Paul McCartney and Brendon Benson woven together. Compromises is another solid pop tune with a fine lyric. The big production of I'll Never Go To Africa and brilliant vocal arrangement of Never Change My Mind show off Everett's skills in musical design and flourish. We finally get a guitar break on Help Is On The Way, a solid mid-tempo rocker. Then Epilogue ends the record with a big love song, a 30 second silent break, and then a bigger love song/come-together call for humanity. It's Big.

There's four I left off, and they are all good, just not as good as the rest. Summer Girls In Their Cars isn't the catchiest melody, and More To Love is saved by an interesting baroque string quartet. A couple near the end, Won't It, Wendy and Emily are just a bit too saccharine for my taste, like when Paul McCartney gets all twee. Along the way, there are six little less-than-one-minute interludes.

The artist suggests listening to the record as a whole, and I did that the first couple of times, and that works. But that takes an hour. Without the little interludes and maybe four of the songs, it would be a perfect 45 minute record, and that's a big deal. Perfect is a high bar. 

I hear echos of Billy Joel, Paul McCartney, Brendon Benson, ELO, Left Banke, Beach Boys and Sloan. Everett is a skilled songwriter, a talented multi-instrumentalist, and a fine singer. But his greatest skill seems to be in the arrangements. The instrumental flourishes and the multi-part vocals really stand out. It's worth going out of your way to hear it. 

Lemon Twigs Look For Your Mind 2026

The Lemon Twigs have been at this gig for ten years, and it seems they just get better. Their last record, A Dream Is All We Know, was outstanding and made my best of 2024 list. This one might even be better. They get labeled power pop, glam rock (they're not really that very often), jangle pop, and several other labels. They define their influences as Beatles and Beach Boys, and bands that were influenced by Beatles and Beach Boys. That sounds about right, and if I needed an easy label, it would still be power pop.

How do you make a Lemon Twigs record? Take portions of several of these bands: Beatles, Beach Boys, Searchers, Byrds, Raspberries, Left Banke, Todd Rundgren, Badfinger, Big Star, Matthew Sweet, Greg Kihn, Rubinoos, Sloan, and Hollies. Mix well, add new lyrics. Next, pick a different three from the list and do it again. Rinse and repeat.

That sounds easy enough, but it's much harder than it sounds. There are plenty of bands that have done this before, but not many have done it as consistently well as the Lemon Twigs. It's actually shocking how well they pull it off. Can you listen carefully and find chord progressions and bits of melody and identify the source? Absolutely. If you want to play that game, you'll have fun. But it won't work all the time. Sometimes you'll just hear those influences blended into something new that can't be referenced, and it's still great. And that's the difference between these guys and Records, Shoes, Spongtones, et.al. They are just plain better at it than the bands that have done this before. Plus, they've got that sibling vocal harmony thing that is clearly genetic and inimitable. Oh, and they have a killer drummer.

I'd do a track-by-track review, but all I really want to do is get you to listen to it. Go listen to it. If you like half the bands in the list above, I'd be stunned to find out you don't like Lemon Twigs. It's just like listening to those bands, but newer.

Taj Mahal Time 2026

Taj Mahal and the Phantom Blues Band recorded this record in 2010. How a record this good sat unreleased for sixteen years is a mystery. Since this recording, Mahal has released several live and studio projects that were recorded many years ago, two recent live records, a Christmas record with The Blind Boys of Alabama, a record of great American songbook covers, a tribute to Sonny Terry and Brownie McGhee with Ry Cooder, and two records of contemporary blues with Keb' Mo', and it's still surprising this one sat around without release. 

I haven't followed Taj Mahal's career as he collected five Grammys and several other awards. I have loved the one Taj Mahal record in my collection, 1977's Music Keeps Me Together since it was released. His mix of traditional roots blues, Brazilian, African and Caribbean influences, and his skill on vocals, guitar and harmonica plus an all-star cast of supporting musicians make it just a great record. I'm embarrassed that I didn't pursue more of his music after loving that one so much.

Of his more recent ones that I have heard, Get On Board with Ry Cooder was a just a bit too acoustic traditional blues for me (it's very good), and TajMo with Keb' Mo' was too MOR blues-pop for my taste, as is much of Keb' Mo's more recent work.

But this record is pretty great. Life of Love kicks it off with an upbeat blues celebration. Wild About My Lovin' is a good time with an island rhythm. Crazy About A Jukebox is New Orleans swing featuring Jon Cleary's piano and wonderful horn charts. The title track is a lost Bill Withers song that is nice R&B. You Put The Whammy On Me is just OK but a hot Johnny Lee Schell guitar break saves it. Ziggy Marley guests on his father's Talkin' Blues, and Taj does reggae proud every time, so it's solid. The Chicago blues of Sweet Lorene is good R&B. 

Taj's take on Ask Me 'Bout Nothing (But The Blues) is a highlight, and Taj gives it the best vocal performance on the record. It's a great song, and Taj nails it. The fast blues of It's Your Voodoo Working rocks. The funky down home blues of Rowdy Blues is killer, and Cleary again stars on piano. The record could have featured a few more in this vein.

There's a few weak lyrics on a couple songs, but that's nitpicking. The Phantom Blues Band is more than capable, and with Cleary on piano and Mick Weaver on organ the instrumentation is excellent. 

Recommended. Now I have to go spend some time with fifty years of Taj Mahal's back catalog to hear what I've been missing.

Donovan

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Donovan Leitch is little more than a footnote today, but in the mid-sixties the names Donovan and Dylan often showed up in print together when the nascent folk music scene was emerging. The Scottish Donovan initially leaned heavily on traditional Scottish folk music while incorporating pop, psychedelia, jazz, Eastern music, and music for children. His work became synonymous with the flower power movement of the sixties.

His first two records, Catch The Wind 1965, and Fairytale 1965 were heavy on the folk and contained his early hits Catch the Wind, Colours, and Buffy Sainte-Marie's Universal Soldier. Sunshine Superman 1966 gave birth to psychedelia with the title track, and also included the oft-covered Season Of The Witch, and strong songs Ferris Wheel and The Trip. 1967's Mellow Yellow featured the title track, further pushing the psychedelia and flower power themes. The stand alone single Epistle To Dippy was released one month prior to Mellow Yellow.

A Gift from a Flower to a Garden 1967, (a double album also released separately as Wear Your Love Like Heaven and For Little Ones) contained the title hit, and was well received in the press. The Wear Your Love Like Heaven record verges on twee, but Donovan's heartfelt delivery and a plethora of fine melodies saves it. The second record of children's songs is a lovely collection of lullabies heavy on fables  and fairy tales, but plays well enough to enjoy as an adult of the flower power persuasion. The Hurdy Gurdy Man 1968 continued the hits with the title track and the lilting Jennifer Juniper. 

Donovan's Greatest Hits 1969 is the record most likely to be found in any record collection with a focus on the sixties. It collects his hit singles, including three singles that had not ever been issued on LP, Epistle to Dippy, There Is a Mountain (the melody was used by Allman Brothers for their Mountain Jam), and the lovely Laléna. It's a classic of the era, and a stellar collection. If you want to know how a talented artist and a golden touch producer can turn disparate influences into radio gold, Donovan and producer Mickie Most give a class A example right here. Later CD reissues included Riki Tiki Tavi from Open Road 1970 and three fine singles from Barabajagal 1969; the title track, To Susan On The West Coast Waiting (an unusually sweet anti-war song), and Atlantis. The addition of those four singles makes this the essential Donovan, as no singles released after Barabajagal ever charted.

Not that Barabajagal is any slouch. A mix of his fey innocence, some classic singles, two songs with the Jeff Beck Group (Barabajagal and Trudi) and heartfelt love songs, it is one of his most successful single albums for a reason. Open Road followed and sold well on the heels of Barabajagal, but didn't deliver the chart singles so important to his work. It is telling that it is the first Donovan record without Mickie Most since the first two records.

That's the end of the story for most listeners. Cosmic Wheels 1973 attempted unsuccessfully to align Donovan with glam rock, and several other attempts at commercialization in the seventies just didn't get it done. Times and tastes change, and Donovan's association with the naivety of the flower power sixties didn't translate to the times. He continued to release music (sometimes without US release), and his last record, Gaelia (The Sulan Sessions), Celtic folk music, was issued in 2023. Several of the "invisible" releases over the years are available for streaming, and some are worth a listen. Try Sutras 1991, a spare production by Rick Rubin, or Beat Cafe from 2004. 

Anouar Brahem The Astounding Eyes Of Rita 2009

There's almost no world music mentioned here. There are occasional jazz reviews, most of them quite mainstream popular. No free jazz or fusion. Nothing terribly challenging. This record by Anouar Brahem, a Tunisian oud (think eleven-string lute) player is a breathtakingly lovely blend of jazz with Arabic classical and folk music that is quietly intimate and deeply satisfying. It is a true amalgam of styles, creating something unique.

Brahem is accompanied here by German Klaus Gesing on bass clarinet, Swedish bassist Björn Meyer, and Lebanese percussionist Khaled Yassine. The music is quiet, etherial, and beautiful. This is not the music you hear at the masseuse, although that would be nice. It is very much more than that. The interplay of Brahem and Meyer is particularly special. They have that "two minds thinking together" thing that marks many of the best musical collaborations, whatever the style. Gesing mostly provides atmosphere, and Yassine's percussion is perfect for the setting. 

Describing the music is difficult. It is the opposite of frenetic. But it is not in any way boring, or "background music". It is serene, but there is a lot going on. Brahem's compositions unfold slowly, revealing themselves as they go. The musicians are working to complement and expand these works, always listening to each other as much as playing. 

If any of that sounds interesting, I highly recommend giving it a listen.

I listened to several other of Brahem's records, often with ensembles that include saxophone, piano, and/or accordion, and those instruments seem to overwhelm Brahem's oud more than the combination here. Maybe you'll like them as much as this one, but check this out first. It really is special.

Joan Jett and the Blackhearts Live At The Ritz NYC 1981 2026, Profesor Longhair Mardi Gras In Baton Rouge 2026

Record Store Day always comes with some mixed feelings. What once was great has been diminished somewhat by greed. The first store I went to opened fifteen minutes earlier and had a line of about eighty people waiting to get in. No way. Second store was small, two minute line, and pretty good supply of RSD product. Third store was new, small, no line, and had a very good supply of RSD releases, more than I'd seen in one place in several years (I'm never the first one through the door). That's where I picked up these two very different records.

The Joan Jett is big fun. Kinda like the Ramones, everything is fast, loud and buzzsaw simple. Recorded New Year's Eve 1981, it's a fine show. This single disc LP is almost an hour long, although there is a digital version on Spotify that is about twice as long with many more songs. This one has the highlights, and it's good. I'm not sure that the sonic quality of vinyl is needed for this music, but who cares? Ricky Byrd rocks on lead guitar.

Professor Longhair's Mardi Gras In Baton Rouge was released on CD in 1991. It was recorded in 1971 and 1972 in Baton Rouge and Memphis, and is from the same sessions as House Party New Orleans Style: The Lost Sessions, 1971–1972 from 1987. That CD highlighted less familiar Professor Longhair songs, while this one has a bunch that show up on several other releases. It's a good recording, there's a horn section on some of the songs, and while the piano and Fess's voice are the stars, the bands on these recordings are stellar. Snooks Eaglin's guitar is crazy good, and half the record also features the great Zigaboo Modiste (from the Meters) on drums. While I am not all that familiar with Professor Longhair's records in general, this is a good recording and sounds great. Longhair's 2 CD Anthology on Rhino seems like everyone's go-to Fess record, but this is no slouch. The Professor is the man most responsible for the piano stylings we have come to associate with New Orleans as he influenced Alan Toussaint, Dr. John, Harry Connick, Jr., Jon Cleary and every other recent NOLA piano star.

Joe Jackson Hope And Fury 2026

Jackson is often called a stylistic chameleon, and indeed he has dabbled in jazz, jazz-pop, classical, jump blues, English music hall, and movie soundtracks. But the vast majority of his work has been his bread and butter, pop-rock. He rode in on the new wave with his 1979 debut Look Sharp!, and he has produced some 28 studio and live albums in the last four and a half decades. His Steely Dan-esque jazz-pop Night And Day from 1982 was his biggest hit. He has toured regularly behind almost every release, always puts on a good live show, and is generally well-received in the press. Why he hasn't sold more records is beyond me, but every one of his stylistic diversions most likely turned off a portion of his audience.

This one is not a diversion, it is straight up pop-rock with smart lyrics, solid tunes, a crack ace band, and Jackson's solid vocals. I'm Not Sorry, Made God Laugh, Fabulous People, After All This Time and End Of The Pier are all highlights, but the whole record is a good listen straight through. It compares well to Big World, Blaze Of Glory, Laughter And Lust, and Volume 4. 

If you haven't heard those, where have you been? Maybe you gave up after his late-nineties non-pop outings. Check this new one out, and when you realize you gave up on Jackson too soon, go back to his catalog. There's plenty of smart song craft available there.

This One's For Him: A Tribute To Guy Clark 2011

 

If you were to ask around Nashville who the greatest songwriters are, most everyone would name Guy Clark before they got to number five. He's written songs performed by almost every roots-based Country/Americana artist, and he produced thirteen studio and four live records under his own name. His records were made almost entirely with acoustic instruments, simple and effective arrangements, and Clark's wonderfully expressive voice. And great songs. Exceptional songs.

Since everyone seemed to love Clark and revere his songs, it was no problem to gather the cream of the Country/Americana A-listers to perform on this record. There are no new untested artists that the record company wanted to promote thrown in, as is often the case. There's just Rodney Crowell, Vince Gill, Lyle Lovett, Willie Nelson, Kris Kristofferson, Rosanne Cash, Ramblin' Jack Elliot, Joe Ely, Emmylou Harris, Robert Earl Keen, Steve Earle, Radney Foster, Jerry Jeff Walker, and many more. The 2 CD set has thirty songs and thirty artists. 

The performances honor Clark's own recordings by presenting the songs the way Clark played them himself, with simple arrangements and acoustic instrumentation. There might be a couple of electric guitars, but maybe not. Verlon Thompson, Clark's longtime recording, performing and songwriting partner plays guitar on almost all of the songs.

Often with tributes such as this, the original recordings are hard to beat, and the versions presented pale by comparison. As great as Guy Clark's records are, his songs are so amazing that they transcend even his own fine renditions. If you're not familiar with Clark, go check out Boats To Build or Sometimes The Song Writes You. If you already enjoy Clark, here's another way to appreciate his art.

The Double Album, Edited

 

There have been some great double albums, even some that play well from beginning to end. Layla is difficult to edit. XTC's English Settlement needs no editing, even if some listeners prefer the single disc version with five less tracks. There is an occasional exception for greatest hits records and compilations. Chuck Berry's The Great Twenty-eight is pretty much perfect. The Kink's Kronikles is also hard to mess with. 

Most double albums need some editing to approach perfection, and turning them into a single record of 45-50 minutes almost always makes them better. So making a playlist of an edited down single disc record can enhance the enjoyment of these often bloated double albums.

Then there's double CD releases that often run 140-150 minutes. They all need the work of a hatchet. 

So here's a few personal edits of double albums. I'll start right out with the sacrilege of reducing The White Album. Here's the improved Beatles White Album:
Back In The U.S.S.R.
Glass Onion
While My Guitar Gently Weeps
Happiness Is A Warm Gun
I'm So Tired
Blackbird
Yer Blues
Everybody's Got Something To Hide Except For Me And My Monkey
Helter Skelter
Revolution 1
Savoy Truffle
Dear Prudence

Grateful Dead Grateful Dead (Skull And Crossbones):
Bertha 
Mama Tried
Big Railroad Blues 
Playin' In The Band
Me And My Uncle
Big Boss Man
Me And Bobby McGee
Johnny B. Goode  

See what I did there? It's side 1 and side 3. Anybody that says you can't possibly exclude The Other One (there are 50 other versions) is obsessed about The Dead. Don't bother to argue with them. Sides 1 and 3 of Allman Brothers At The Fillmore is another easy edit.

The Who Quadrophenia:

The Real Me 

Quadrophenia

The Punk And The Godfather

I'm One

5:15

Sea And Sand

Drowned

Doctor Jimmy

Love, Reign O'er Me

The Byrds (Untitled):

Lover Of The Bayou

Positively 4th Street

Nashville West

So You Want To Be A Rock 'n' Roll Star

Mr. Spaceman

Chestnut Mare

Truck Stop Girl

All Good Things

Yesterday's Train

Just A Season

Cream Wheels Of Fire:

White Room

Sitting On Top Of The World

Politician

Those Were The Days

Born Under A Bad Sign

Crossroads

Spoonful

The Kinks Everybody's In Showbiz:

Sides 1 and 2 (Just remove sides 3 and 4, the live material.)

The same can be said of The Rascal's Freedom Suite (Removing the boring jams on sides 3 and 4).

And again for Moby Grape's Wow/Grape Jam (Skip the jams again.)

Todd Rundgren Something/Anything?:

I Saw The Light

It Wouldn't Have Made Any Difference

Sweeter Memories

Breathless

The Night The Carousel Burned Down

Saving Grace

Marlene

Black Maria

One More Day (No Word)

Couldn't I Just Tell You

Dust In The Wind

Hello It's Me

Bruce Springsteen The River:

The Ties That Bind

Sherry Darling

Independence Day

Hungry Heart

Out In The Street

Crush On You

You Can Look (But You Better Not Touch)

I Wanna Marry You

The River

Fade Away

The Price You Pay

Drive-By Truckers Southern Rock Opera:

Ronnie And Neil

72 (This Highway's Mean)

The Southern Thing

The Three Great Alabama Icons

Wallace

Zip City

Let There Be Rock

Women Without Whiskey

Shut Up And Get On The Plane

Prince Sign 'O' The Times:

Sign 'O' The Times

The Ballad Of Dorothy Parker

Housequake

U Got The Look

If I Was Your Girlfriend

Strange Relationship

I Could Never Take The Place Of Your Man

The Cross

Adore

I know, I left off the best song. How could I? Feel free to tell me about it in comments or propose your own edited version of one of these or any other double LP that needs editing. It's a fun and rewarding exercise.

Robert Palmer Anthology

Robert Palmer is one of my very favorite artists. While his work in the 1970s is my preference, I like everything he ever did, with a small caveat for the second Power Station record, and even that has a few killer tracks. I discussed his catalog several times. Those posts are here.

Back in the pre-streaming days, when I owned a CD recorder that allowed me to record CDs from CD and vinyl sources (I still miss that device), I recorded lots of personal Best Of and Anthology CDs. Palmer got the full Anthology treatment, with a three-CD set assembled chronologically.  

Today of course you can just go to your streaming service and assemble a playlist for your listening pleasure. Neither Qobuz or Spotify have Living In Fear, the second Power Station release, but everything else is available. To replace the two from Living In Fear, you could throw in All Shook Up, a 1991 B-side, and It Hurts Me Too, a bonus track on the reissued Drive.  So if you'd like to take the deep dive into Palmer's catalog, curated by a serious Palmerophile, here's your playlist. (Addendum: I just discovered that Qobuz does not have Rhythm and Blues or Live at the Apollo. Spotify has them both.)

CD #1
from Sneakin’ Sally Through The Alley 1974:
1. Sailing Shoes
2. Hey Julia
3. Sneakin’ Sally Through The Alley

from Pressure Drop 1975:
4. Give Me An Inch
5. Back In My Arms
6. Here With You Tonight
7. Trouble
8. Fine Time
9. Which Of Us Is The Fool

from Some People Can Do What They Like 1976:
10. One Last Look
11. Man Smart, Woman Smarter
12. Some People Can Do What They Like

from Double Fun 1978:
13. Best Of Both Worlds
14. Night People
15. You Overwhelm Me
16. You’re Gonna Get What’s Coming

from Secrets 1979:
17. Too Good To Be True
18. In Walks Love Again
19. Mean Old World
20. What’s It Take?
21. Remember To Remember

CD#2

from Clues 1980:
1. Looking For Clues
2. Johnny And Mary
3. Woke Up Laughing

from Maybe It’s Live 1982:
4. Some Guys Have All The Luck

from Pride 1983:
5. Pride
6. You Are In My System
7. You Can Have It (Take My Heart)
8. What You Waiting For

from The Power Station 1985:
9. Some Like It Hot
10. Lonely Tonight
11. Harvest For The World

from Riptide 1985:
12. Hyperactive
13. Addicted To Love
14. Trick Bag
15. I Didn’t Mean To Turn You On

from Heavy Nova 1988:
16. Simply Irresistible
17. Change His Ways
18. She Makes My Day

from Sweet Lies movie soundtrack 1988 and Addictions Volume 1 1989:
19. Sweet Lies

CD#3
from Don’t Explain 1990:
1. Dreams To Remember
2. History
3. I’ll Be your Baby Tonight
4. Mercy Mercy Me / I Want You
5. Top 40

Option to replace Living In Fear tracks:

All Shook Up 1991 Happiness (from Don't Explain) B-side

from Ridin’ High 1992:
6. Aeroplane
7. Do Nothin’ Till You Hear From Me

from Honey 1994:
8. Honey B
9. Know By Now
10. Honeymoon
11. You Blow Me Away

from Living In Fear by The Power Station 1996:
12. Scared
13. Taxman

from Rhythm & Blues 1999:
14. True Love 

15. No Problem
16. Let’s Get It On 99
17. Stone Cold
18. Twenty Million Things

from Live At The Apollo 2001:
19. Riptide

from Drive 2003:

Option to replace Living In Fear tracks:

It Hurts Me Too, bonus track on expanded Drive 

20. Why Get Up?
21. I Need Your Love So Bad

Take Me To The River: A Southern Soul Story 1961-1977 2008

The Kent label, a subsidiary of Ace Records in England, has produced some of the best reissue box sets/series exploring the finest Southern "deep" soul music. No Motown, no Philly, just Memphis, Muscle Shoals, Miami and several other deep south locations. The pinnacle of their success in this vein is probably the Dave Godin's Deep Soul Treasures series, which is rife with great songs and artists you've never heard.

This 3 CD set mixes big hits with lesser-knowns. So there's Sam and Dave, Otis Redding, Wilson Pickett, Aretha Franklin and Al Green, but also Eddy Giles, O V Wright, Jimmy Braswell, Bobby Newsome, and Denise LaSalle. In that sense it is a bit like a smaller version of the Beg, Scream and Shout box that Rhino did in 1997. There is plenty to discover here.

The booklet has a nice introduction essay, and then discusses each song with a reasonable level of detail, not just a two-sentence blurb. The book/disc holder format is the same one used for The Fame Studio Story, also a Kent release that focuses on similar material all produced in Rick Hall's famous studio in Muscle Shoals.

I remember my trip to Columbus, Georgia in 1966, and how amazed I was with all the incredible soul music that was absent from radio airplay north of the Mason-Dixon line. Motown was big in the north, but many of the artists on this and other deep Southern soul compilations will be new to many listeners. New, and excellent, music to your ears from a mere 70 years ago.

Ronnie Lane 1946-1997

Ronnie Lane was one talented guy. A fine singer, a skilled bass player, and one heck of a songwriter. And generally considered a very nice chap to boot. He died an early death in 1997 at age 51 from multiple sclerosis. His medical bills were paid by Ronnie Wood, Jimmy Page, and Rod Stewart because he needed help and was a great friend.

If you're old enough, you are probably more familiar with his work than you realize, especially his songwriting. In the Small Faces, he co-wrote most of the band's material with Steve Marriot, including Tin Soldier, Itchycoo Park, All or Nothing, My Way of Giving, and Lazy Sunday. With the Faces, he wrote or co-wrote Had Me A Real Good Time, Last Orders Please, Debris, If I'm On The Late Side, and Ooh La La. After leaving Faces in 1973, he made four solo records (three with his band Slim Chance), a soundtrack record with his old Faces buddy Ronnie Wood, and the classic Rough Mix with Pete Townsend. 

He played bass, wrote, and sang on two of the best records made in the 1970s, the Faces A Nod Is As Good As A Wink...To A Blind Horse and Rough Mix.

His solo records show off his rock writing and singing as well as his interest in English folk music. His singing is heartfelt and charming. His solo output is collected on a six-CD box set titled Just for a Moment: Music 1973–1997 from 2019 that includes all of his solo releases, bonus tracks, and quite a bit of live material from his time living in Austin in the 1980s. There's also a single CD Just For a Moment (The Best Of) from 2006 that is a fine introduction to his solo work, and a great place to go after A Nod Is As Good As A Wink and Rough Mix.

A great unheralded sideman? No, a great unheralded primary contributor to two great bands, and a woefully neglected solo artist.

Joni Mitchell Joni's Jazz 2025

In the last five years, Joni Mitchell's original work has been reissued in multiple box sets, and expanded in multiple box sets of live and previously unreleased material. Eight multi-disc sets have been issued as well as several single discs illuminating individual classic releases. The five Archive sets have presented 26 discs of live and previously unreleased material. It's a lot.

Joni's Jazz is a compilation 4-CD set that samples Mitchell's jazzier side, with only five tracks from before 1975's The Hissing of Summer Lawns, and with half of the tracks from 1994's Turbulent Indigo or later. If you're not fond of Mitchell's work in the nineties and oughts, this isn't the set for you. Or you might be surprised. 

Technically not everything is jazz, but close enough. Mitchell of course famously alienated her folk audience when she branched out into jazz and jazz-influenced styles in the late seventies. But the retrospective evaluations of her later works have been very complementary, and her singing shows that she is the real deal as a jazz singer. She also made most of this music with some of the finest jazz musicians in the business.

The music presented here is very good. Mitchell's later work holds up well. But what is most impressive about this set is the sequencing. It's not chronological. It's not consistently thematic. It took me several days to listen to the whole of it, and every time I restarted listening, I was taken aback at how well the songs sounded in the order they are presented. It would be a real shame to hit shuffle.

If you already own much of Mitchell's later work, this might be an unnecessary expense. But if that is you, I might suggest that you assemble a playlist of the songs in this order, and maybe purchase the individual tracks to fill the holes in your collection. There are only three songs which were released on other artists records, and only two that were previously unreleased.  

It is a wonderful set, artfully assembled with great care.

Always On My Mind

 

I'm a big fan of greeting cards. Birthdays, Valentine's Day, Christmas, sometimes just for the heck of it. I'm particular when I'm looking for a good one. If I open the card and there's a lot of words, I put it back. If there's a lot of words, I know some of them won't express my sentiment. I like the succinct card that has a brief but effective message. Sweet, funny or punny are my favorites.

My least favorite is the apology card. There's a ton of them, and for all the aforementioned occasions. These cards are from a man to his sweetheart/wife/significant other. They start with a line like "I know I don't say it enough" or "I'm not the guy that does that thing you really want from me". I'm not perfect, but when I know something my wife wants from me, she's going to get it. I say I love you every day. I do things that I know will make my wife happy. And I never need to buy a card that starts with something I haven't done that I know I should have done.

The guys that buy these cards are assholes. Their wives should not forgive them for being a jerk (or worse) because they bought an apology card. And when it comes to expressing love for someone, starting with what is wrong with you is just stupid. Don't apologize. Stop being a jerk. Change.

Which brings us to Always On My Mind. It is a lovely song, a great melody that enhances the melancholy with some minor chords and sevenths. Just beautiful. But the lyrics are straight out of an apology card, and just godawful. I didn't tell you how happy you make me, I didn't treat you well, I didn't love you often enough, I didn't hold you when you needed me, and little things I should have said and done, I never took the time. Well, that's because I'm a shithead that doesn't deserve you. 

But you were always on my mind. Bullshit. If you were thinking of her and didn't do anything to express it, it doesn't count.

And when he finally says " Tell me that your sweet love hasn't died, and give me one more chance to keep you satisfied", she should be calling an attorney and filing for divorce. You can do better, and if not, you're still better off without this guy who does not deserve your love. 

Elvis Presley Sunset Boulevard 2025

Oh boy, another Elvis Presley release. According to Wikipedia, there have been 840 Elvis Presley releases:

Studio albums 24

EPs 38

Soundtrack albums 17

Live albums 8

Compilation albums 21

Budget albums 19

Box sets 81

Posthumous compilations 334

Remix albums 23

Follow That Dream albums/EPs  275

If we stick to original, non-compilation, material released during his lifetime, and ignore the EPs (most of that material is duplicated elsewhere), we get 49 records. Still a pretty good sized stack, although most of the soundtrack records were 1 or maybe 2 hits plus filler, so 32 without the soundtracks.

This set of five CDs includes one CD of songs recorded in 1972 and 1975 at RCA's Sunset Boulevard studio C in LA. The 1975 recordings were Presley's last studio recordings. The songs are remixed and stripped of overdubs, which gives them a more immediate sound than the previous releases of the material. The songs were originally released on Elvis (The Fool album) 1973 (two songs) and Today 1975 (all ten songs). The second CD is outtakes and alternate takes from the same sessions, also with the new mix applied. 

The last three CDs consist of in-studio rehearsals for live tours recorded on July 24, 1970 and August 16, 1974. There's some good stuff there, but the recording isn't particularly great, and Presley is rehearsing. Sometimes he sounds fully invested, sometimes he's just walking through.

So why would anyone, other than the obsessed, need this release? No reason, really. But if you're streaming, the first CD is quite good. It's well worth a listen, and the stripped back mix removes a layer of muck that makes the songs sound better than the original releases. Presley was still a powerful singer even if not all the material was deserving of his voice, which is the common complaint for his 70s output.

As for actually purchasing this set, see "the obsessed" above. But the best of the first two CDs is also available on a 2 LP set, and that might make a nice gift for a vinyl-loving Elvis fan.

Lance Cohen Against The Grain 2025

I raved about Lance Cowen's debut So Far, So Good from 2024. As Country/Folk/Americana music goes it doesn't get any better. Ditto this sophomore effort. This record is equally ideal. And beautiful.

Excellently recorded mostly acoustic music, the warm and cozy voice, and exceptional writing both melodically and lyrically.

Beautiful melancholic love songs One More Chance, Will Belinda, Love Anyway, and More or Less. The story of growing up in a coal town that is Old King Coal. Prayer For a Child expresses the hopeful sentiment of every parent. The sensitive character pieces that are Against the Grain and Going South. The downright rocking near desperation of Ragged Edge of Nothing, and the self explanatory sense of loss that is I Can't Stand the Winter. Ten songs, every one poignant and true.

Cowen writes and sings these lovely compositions and gets help from A-list Nashville musicians including Vinnie Santoro (drums), Jay Turner (bass), Todd Smith (piano), Dan Dugmore (pedal steel, dobro), Pat Flynn (guitar), and Chip and Billy Davis (harmonies).

Words can't do it justice. Find a way to hear it.

Van Morrison Somebody Tried To Sell Me A Bridge 2025

Van just keeps cranking them out. This one is mostly blues covers with four Morrison originals, including the title track. There's twenty tracks, and while most of them are good, 80 minutes is too long. You can see it as value for your dollar, or you might think Van needs a producer that would cut the chaff. I'm leaning towards the later opinion.

At 81, Morrison is in excellent voice. He has a highly skilled band behind him as usual, and there are several guests, including Elvin Bishop, Taj Mahal, and Buddy Guy.

Tempos are perhaps too similar throughout. But then there's an unusually slow version of Fats Domino's Ain't That A Shame that transforms the song in an interesting way. 

Song selection is just fine. It's a who's who of classic blues composers.

Taj Mahal plays harmonica and sings along on four tracks. He's good, and a better harmonica player than Van. Elvin Bishop plays guitar on five songs, and he's a hot guitarist, but Anthony Paule in Morison's band is no slouch and plays plenty of good leads. Bishop's fills and leads on Loving Memories and You're The One are pretty special. John Allair plays Hammond organ and piano throughout, and also gives a featured boogie-woogie piano break on his own (Go To The) High Place In Your Mind. 

But the guest star that makes the most impact is Buddy Guy on the last two tracks. Guy's idiosyncratic guitar playing is nothing short of amazing, and the two tracks he plays on own the record.

So I could do with 4 or 5 less songs, as several seem interchangeable, and eighty minutes is too long. It could have been compressed into a stone classic. With too many songs, it plays like the 30th anniversary version with the songs that were rightfully cut added to a perfectly fine record. As it is, it's good. 

Play On: A Raspberries Tribute 2025

 

Here's a fine idea. Get a bunch of pop and power pop bands and artists to cover Raspberries songs from their four LPs, which were released between 1972-1974. 2 CDs, 37 songs, only two artists get more than one song. Lemon Twigs get two, and author and musician Ken Sharp gets two. Sharp also plays on and produces many of the recordings. Usually these things stick mostly to the hits, but there's plenty of deep cuts here. In fact, those four original records contain a total of 39 tracks, so all but three songs are represented here. That math doesn't work, but there is also a cover of Please Let Me Come Back Home, a demo that was only included on the Raspberries - Greatest Hits Columbia CD from 2000.

Plenty of big names contribute, but so do some less well known bands and artists, as well as a few names I didn't think were still recording (Shoes, Spongetones). Almost everyone does a fine job. In fact, the quality of these covers is consistently very good compared to how discs like this usually go. That may be due to the level of respect that The Raspberries have achieved, or maybe the songs are just that good. Spending time with those four originals certainly supports the later theory. 

I could nitpick and point out the three or four efforts that are inferior. But four out of 37 is darn good for a various artists tribute record. So this is one great tribute to one great band, who deserve the adulation they have belatedly achieved.

There is only one better way to listen to these songs. I made a playlist of the originals in the same order as this set. You can do a good job of covering The Raspberries, but you can't really improve on the originals. 

Carl Perkins Some Things Never Change 2025

I need an editor. If I had one, she would have told me some time ago to stop using the phrase "there's not a weak track". I'll be working on that, but this new Carl Perkins record is going to test my resolve.

Recorded in 1990 and produced by the talented Bill Lloyd, the recording was lost until Lloyd found it in his archives in 2024. It is essential Perkins. It sounds like the follow-up to Perkin's debut, the wonderful Dance Album of Carl Perkins from 1958, which was a collection of singles released on Sun Records between 1955-1958. 

It is 33 minutes long. Lots of artists make records that are too long in this CD era. This one leaves you wanting more. 

The record kicks off with Perkins' Baby, Bye Bye, a classic rockabilly stomper, followed by Don't Cha Know I Love You, a fine mid-tempo rocker with Perkins' southern drawl and sweet pedal steel guitar from Pete Finney. Then it's on to John Hiatt's great Memphis In The Meantime, and Perkins does it even better than the original and gives it a hot lead guitar break. Messin' Around With Rock and Roll tells the story of a young man in love with country and blues who discovers that his rockabilly is indeed rock and roll, and Perkins lays down some serious chicken-pickin' leads and fills.

The title track is a sweet love ballad about love that lasts, and is enhanced by Joe Schenk's piano. Miss Muddy is a piano-led boogie-woogie blast of an ode to the Mississippi river with more hot guitar in Perkin's inimitable style. The country-folk of Where Does Love Go makes heartache sound fresh, and again Carl adds a simple yet perfect lead. Since Carl played lead guitar in Johnny Cash's band for a decade he has the right to do a cover of Get Rhythm, and while nothing new, it's a fine version again with Carl's guitar featured. Finally Heart Of My Heart is pure stomping rockabilly with more guitar and steel guitar.

Every song is an opportunity for Perkins' country twang of a voice to light up the room. He's a fine singer, a great songwriter, and a killer guitarist. His sons make up the rhythm section, and they are competent professionals. In addition to the aforementioned sidemen, Jerry Douglas helps out too.

Perkins made five or six more records after this before his passing in 1998. But like that Jerry Lee Lewis record I reviewed recently, this is a late career masterpiece. Available for streaming and on all physical formats, including vinyl. 

Rod Stewart Every Picture Tells a Story 1971

It's a classic, and it sat idle in the stacks for years until a few days ago when I gave it a spin and was reminded of how great it is. Like Stewart's previous two solo outings, it is a mix of rock, folk, blues and soul. Those first two, An Old Raincoat Won't Ever Let You Down (The Rod Stewart Album in the US) 1969 and Gasoline Alley 1970 are both solid. The third time was the charm. 

Maggie May was the B side of the cover of Tim Hardin's Reason to Believe, but DJs flipped the record and that B side became a #1 hit on both sides of the pond. Rockers That's All Right, (I Know) I'm Losing You and the title track are all great in that loose Faces way. The folk numbers Seems Like a Long Time, Tomorrow Is a Long Time, Reason to Believe, and Stewart's own Mandolin Wind are a fine song selection and are presented in lovely arrangements. Stewart sings everything with as much bravado or sensitivity as the tune requires. As great as the cover songs are, the three from Stewart's pen are all highlights. There isn't a weak track.

There is a lot of good music on Stewart's early solo work; the seven records from 1969-1976 all contain some great songs, and 1976's A Night on the Town closes Stewart's early career on a high note. Remarkably the five Faces records were all released during the same period. That's a whole career for anyone, but Stewart has soldiered on and continues to this day. That voice is a rare gift, and Rod has never let it rest very long. 

Nuggets: Original Artyfacts from the First Psychedelic Era, 1965–1968 1998, Nuggets II: Original Artyfacts from the British Empire and Beyond, 1964–1969 2001

 

The original Nuggets double LP, compiled by Lenny Kaye, was released in 1972. It was an important seed for punk rock in the seventies, and frankly a whole lot of fun. Then in 1999, at the height of Rhino's compilation fever, comes this four CD box set. The first CD includes the same 27 tracks that were on the original LP. You might think that the quality would sag a bit to fill three more CDs, but alas you would be wrong.

Kaye's original concept was to focus on what he termed Garage Rock, a simple, bash-it-out aggressive style often featuring relatively primitive recording techniques. The psychedelic and poppier sounds included weren't exactly what Kaye was looking for, but the set achieves it's goal. Many of the songs made the charts although quite a few languished in the higher numbered positions. Quite a few didn't chart and will be new to many listeners. Some were regional hits that weren't as successful nationally. That was a thing in the 60s before corporate radio owned every station.

The box set was a big hit for Rhino, and for good reason. The song list is excellent. Songs you've heard if you were around in the 60s plus similar and only slightly weirder or more challenging songs from the period, many of which listeners haven't heard. The box is well curated, well sequenced, and the music is well documented in the accompanying book.

Three years later they couldn't resist a Volume 2. But they didn't try to dig up more similar material from the US. Instead they went international, collecting songs from the British Isles, Australia, New Zealand, Canada, Japan, Iceland, Peru, and Brazil. This time, there are not many that you've heard. That means that this is a big old box of garage rock exploration. Approach with open mind and ears, and you're in for a treat. While the band names may not ring a bell, a lot of the artists in those bands became familiar names a few years later. Again, well assembled material and another informative book.

Two great box sets. One a classic, the other a wild deep dive.

Loud, Fast, and Out of Control: The Wild Sounds of 50s Rock 1999, Rockin' Bones: 1950s Punk and Rockabilly 2006

Here's two four-CD box sets that both cover the rocking 1950s, but they are certainly not the same product. Both are from Rhino Records. Both feature 50s music that parents of the day would not appreciate. Given that those parents were raised on The Andrews Sisters and Benny Goodman this should come as no surprise. Loud, Fast and Out of Control covers a broader range of sounds and hits a few more of the big name artists that anyone (over 60) will recognize. Rockin' Bones focuses more on rockabilly, and as such includes a few more artists and songs that will be unfamiliar to most listeners.

As an introduction to what made early rock and roll sound dangerous to adult ears, either will help a young person today in an academic study of the era. For the older music fan that wants to dive deep into 50s rock, both are almost indispensable.  

Several writers have complained that the two sets have too much overlap, and I have thought that myself. So I did the dull work of actually finding out how many songs they share. Both sets have just over 100 songs. There are fifteen identical songs that are included on both sets. There are also four songs that are included on both, but in versions by different artists. So there is less that a CD's worth of duplication. It could (and should) have been avoided by Rhino without significant loss to either set, but it isn't as big of a deal as I thought it was.

I think Loud, Fast and Out of Control is the better all-rounder. It's got more familiar material and still throws enough lesser-knowns into the mix to keep things interesting. But Rockin' Bones, with it's focus on rockabilly, has more to offer someone already tuned into the early days of rock and roll. If you already have some early rock compilations, Rockin' Bones will have more new material you haven't heard.

I'm happy to have them both. Neither appear to be available through streaming, a situation that applies to many great compilations. Both are available used at reasonable prices well below their original cost. As usual with Rhino, the booklets that come with the sets are well done and discuss each song individually.