Rock and Roll Call by Bill Locey

Paul Filipowicz’s 11th album is `Pier 43,’ out since 10 January Big Jake Records. You’re going to have to invent some new adjectives to describe his latest bluesy masterpiece. The title tunes tells us all we need to know – it starts out slow and builds into something overwhelming - a primal and powerful instrumental that could be the soundtrack for Smaug crawling out of his cave to plan his next depredation. Mr. F has decades of experience and it shows – his version of `Hip Shake’ is the best I’ve heard since Love Sculpture back in those silly ‘60s. His guitar pyrotechnics on `When I Get To Town’ almost precludes such an eventuality as he’ll likely set the town aflame even before he gets to the city limits. `Cut You Loose’ has that cool groove and look out for Miss Take - `the only time you’re nice is when I’m cashing my check.’ Almost Dave Hole, Filipowicz plays with Jack The Ripper intensity - if he had found a more suitable line of work. (1/19/23).

The twelfth and latest from Belle And Sebastian is `Late Developers,’ out since 13 January on mighty, mighty Matador Records. The title implies a smarmy cement lover tardy to the city council meeting, having misplaced his carpetbag, but it’s not about that – here’s more pretty pop from Scotland from a band that has carved out their musical niche. `So In The Moment’ is a perfect example of folk rock at its best as is `I Don’t Know What You See In Me.’ Most of the others, while nice on the surface, lack any staying power in your musical memory. (1/17/23).

The 13th and latest from the obviously prolific Mick Kolassa is `For The Feral Heart,’ out since 2 December on Endless Blues Records. This one is all love songs (or why there are the blues in the first place) and kicks it off rockin’ with `Running To You.’ There’s a dozen tunes on this one – just two covers, including a very soulful rendition of the Dave Mason biggie, `Feeling Alright.’ Note to Dave: All right is two words. Anyway, yes, so it’s all about love songs, mostly love lousy songs – and it’s not all blues. `Hold On’ is a reggae song with that irresistible beat to most feet. And Kolassa does it nice cuz he does it twice – it’s he and his pal, Jeff Jensen – proving that two guitars are better than one. Another keeper is `Love In My Size;’ and yup, The One is out there, you just gotta find him/her, and likely they’re further away than your couch. The coolest Mick since Cronin (go, Bruins), Kolassa is a blues guy that knows what he’s doing and always worth checking out. (1/17/23).

The Menzingers have re-issued their third album, `On The Possible Past,’ out since again 22 November on Epitaph Records – originally inflicted on us back in 2012. Much like Uncle Joe, the Menzingers are out of Scranton, doing the screamy punk rock thing with vein popping intensity vocals since 2006. Your cats won’t like them but the dogs, typically, will remain indifferent. He who controls the past, controls the future and the winners write history which is why we need Howard Zinn more than ever. (1/14/23).

`Always The Outsider,’ is the latest from Stacy Antonel, out since last summer and she did it herself. It’s straight up country rock – Antonel has a great voice and the band kicks ass but I shoot people that listen to stuff like this at Civil War re-enactments. `Heartbroken Tomorrow’ rocks best even though that ain’t the point. (1/13/23).

The latest from Mura Masa is `Demon Time,’ out since 8 June on mighty, mighty Interscope Records. MM knows who he is (Alexander Crossan) and he knows what he’s doing (he won a Grammy back in 2019) and is a sought after electronic music producer, songwriter and multi-instrumentalist. There’s a variety of guest vocalists – many of which come off as distorted cartoon voices, while the drum machine works overtime on many of the songs trying to make a compelling argument for a late night horizontal audience of one. `2Gether’ could get C3PO spun up enough to think about a dream date with one of the Transformers; and `Tonto’ has nothing to do with the Masked Man’s stoic sidekick. MM will be at Coachella this year. Not me – I did 11 in a row and times change – I don’t care about any of the bands this time. (1/13/23).

The eleventh and latest from those wackos in Bowling For Soup is `Pop Drunk Snot Bread,’ out since spring on Brando Records. Hey, so it’s old and the title is seriously gross, but BFS is one of my favorite bands and I just got access to this one. Much like my Top Cat, Big Scrawny, these guys always make me smile but frequently outdo my feline friend when they make me laugh out loud. A lot. Out of Wichita Falls, Texas, and often melding sad and funny sings with four-part harmonies, BFS are peerless purveyors of their craft – creating what they decide is `a pop punk masterpiece,’ with their can’t-take-him-anywhere frantic frontman, Jaret Reddick. This one has a dozen songs, including a pair of public service announcements – one, a pee break, and the other, an invitation to be nice. Best here is `I Wanna Be Brad Pitt’ because…`…it would be the shit to be Brad Pitt,’ and `…even Brad Pitt wants to be Brad Pitt…’ On `Wouldn’t Change A Thing,’ Reddick admits the obvious: `I love being me.’ To everyone: How could you not? There’s waffle room on `Getting Old Sucks’ when we realize the truth that `everyone is doing it.’

I was lucky enough to see BFS at one of the last Ventura Warped tours – naturally, I bought a shirt. I have a tape I play in my old beater truck with lotsa BFS tunes such as `1985,’ `Life After Lisa,’ `Ohio,’ and so many more. There’s not that many bands that have been so consistently hilarious – NOFX, Hamell On Trial, Mojo Nixon and the Reverend Billy C. Wirtz – we need more. (1/13/23).

`Let It All Lay Bare’ is the fifth and latest from Scott Clay, out since 23 September, and he did it himself. It’s 10 songs in 36 minutes from this Seattle-based singer/songwriter who is inspired if not inspirational. Too many of the songs are of the slo-mo persuasion – thoughtful if not that musical. `Open Country’ describes eastern Washington where there’s rolling hills and grassland for daze. `Chief Joseph’ is a song about another noble native American – a chief of the Nez Perce - who got jacked by the US Government. `It’s Easy’ is the rocker here featuring some cool piano playing – otherwise? Not much to get excited about. (1/9/23).

Lainey Wilson’s fourth and latest is `Bell Bottom Country,’ out since 21 November on Broken Bow Records. Straight up country with a little rock from Wilson, out of Nashville (from the same state that still has a Nathan Bedford Day every July) hit it big on her last album with `Things A Man Oughta Know.’ She covers the bases with songs about moonshine, trucks and Jesus – there is a church every block in the South or so it seems, making it difficult to attract a herd of loyal suckers. On `Heart Like A Truck,’ Wilson ends that one with a long, long note that would melt all the F-150s within a 13-block radius. Somehow, this reminds me of a joke: What are three lies every redneck tells? Honey, the pick-up truck is paid for. Honey, I quit drinking. Honey, I was just helping that sheep over the fence. Wilson has a great voice which you’ll want to hear again and again. (1/6/23).

The debut from Zzzahara is `Liminal Spaces,’ out since 21 October on Lex Records. Perhaps learning his spelling skills by driving too many times past Zyzzyx Road out in the Mojave Desert in California, the artist is, in fact, one Zahara Jaime out of Highland Park down in Hell-A. Many of his peppy pop songs such as `Get Out Of L.A.’ are confessional and conflicted about being a weirdo in town. Guess what? It’s easier to be weird in a big town than it is in a small town. Also, when too many succeed in getting out of El Lay, they move up one county – to Ventura, where I live – then drive like idiots in front of me, and telling anyone who’ll listen that the traffic isn’t so bad. When I went to high school, there were 30,000 people in Ventura – now there’s 110,000. Stay home and fix your own ‘hood before you screw up ours. With that said, the Z-Man has a cool and haunting voice on pleasing songs such as `At It Again.’ (1/6/23).

`Hold On Baby’ is the sophomore effort from King Princess, out since last summer on Zelig Records. KP is actually Mikaela Mullaney Straus out of Brooklyn, and wow – whatta cool voice, especially when she does that swell whispery thing on these moany and groany sad girl songs. It’s a collection of musical observations about complicated relationships, the pain of seeing that pesky ex out and about – just trying to figure out what went wrong before it all became songs. `For My Friends’ is We-Have-To-Talk 101 as KP admits that `loving me takes patience.’ It probably also takes massive amounts of drugs and alcohol. `Change The Locks’ is a not so subtle hint that it’s over and `Let Us Die’ is the party ender because `the only way to lose you is to let us die.’ A singing trainwreck never sounded so good. (1/5/23).

John Fullbright’s fourth and latest is `The Liar,’ out since 30 September on Blue Dirt Records. The singer/songwriter out of Oklahoma is well rested as this is his first new album in eight years, and it’s a country rock, Americana keeper. The title tune explores the tenuous relationship between whiskey and the truth, making it unlikely to find favor with Jim Beam and Orange Twitler. There’s words of wisdom on `Social Skills,’ when explaining his behavior involving elbow bending and popping pills: `…and the pain it causes is the pain it kills – it’s because I don’t have social skills.’ A lot of these are sad guy introspective piano songs, some like `Gasoline,’ explores the relationship between gas, whiskey and Miss Take, while `Poster Child’ is an anthem-like rocker performed with real religious fervor. One of the best from 2022. Boomer Sooner. (1/5/23).

`Alpha Zulu’ is the seventh and latest from Phoenix, out since 2 September on Glassnote Records. This is the first new music from this French band since 2017, so they should be well rested. It’s also their COVID album. Thomas Mars is a most compelling yet understated frontman on these smooth techno/pop rockers that are simple yet satisfying. If it were 30 years ago, these guys would be touring with Howard Jones, leaving miles of smiles in their wake. `After Midnight’ is a typically perfectly crafted pop gem. (1/2/23).

`Palomino’ is the fifth and latest from First Aid Kit, out since 4 November on Columbia Records. Making us all feel better, this one contains two basic ingredients – Johanna and Klara Soderberg – Swedish sisters that create heavenly harmonies on these folk rock tunes, often vulnerable girl stuff as on `Out Of My Head,’ `Ready To Run,’ `A Feeling That Never Comes,’ and like that, trying to figure out if they’re `rock stars or nervous little kids.’ Roll with the former as these two know how to write a song but why do they sing in English better than we can speak it? (1/2/23).

The fourth and latest from Rayland Baxter is “If I Were a Butterfly,’ out since the end of summer on Ato Records. Nashville-based Baxter made his COVID album by moving to the country and waited for the songs to come to him. It’s an artist doing what they do – being arty. He asks the Big Questions: Why are we here? Why do we die? How ‘bout those Dodgers? These are (mostly) the same questions that people have forever been unable to satisfactorily answer. His reach does not equal his grasp. This one begins with two screaming kids – we find out that it’s Baxter and his sister – does anyone find this amusing, besides Baxter? I go berserk whenever I hear the first note of that ultra annoying Kars For Kids commercial. I can’t change the channel quick enough. Anyway, Baxter creates oddball pop with some catchy lyrics now and again - `Tadpoles’ is a cool piano pop song. Here’s an original guy making original music – worth a listen. (1/2/23).

The sixth and latest from The Murlocs is `Rapscallion,’ out since last summer on Ato Records. That’s a lot of music for a band that’s just over a decade old; it’s also happy feet music, especially if you like crazed, fuzzed out guitars going off all over the place, perhaps emanating from a garage nearby. Raggedy and righteous and all the way from Down Under, these guys would be a wise choice for your next backyard soiree as this is one of those party bands that get better the more you drink. Dream gig: The Murlocs and Rolling Blackouts Coastal Fever – actually it’s probably already happened and they had fun without us - both bands are from Melbourne. A rapscallion is one who causes trouble, and finally, it’s always better to be a Murloc than a Morlock – can’t take them anywhere. (1/2/23).

`Lucifer On The Moon’ is the latest from that popular, melodic and handy utensil, Spoon, out since 4 November on mighty, mighty Matador Records. Just as any musician that ever played a note, sang a song or wrote one will either come back or refuse to go away. To that end, every song could easily be a rock song, a reggae song, a country song, a folk song, whatever. Spoon released an album in October, 2021 – this one is a remake of that one. They got big time producer Adrian Sherwood to do the honors – he doesn’t call the new versions remixes but rather, `reconstructions.’ Whatever. The results are more subdued than anything and not nearly as bitchen as the trippy alt rock originals. With that said, Spoon fans will still want this one. And finally, the title reminds me of how much I miss `Lucifer.’ What a great show that was. (1/2/23).

`Heartfall’ is the debut album from Miles Hewitt, out since last summer and it’s self-released. Hewitt is a poet out of Harvard but as a musician he offers unfocused weirdness with nothing close to a good song. His band bio admits/boasts that few songs have recognizable verse/chorus structures. To me, that’s a practice session unfocused on unfinished songs. `Art Of War’ has nothing to do with Sun-Tzu and it’s all wimpy and weak. (12/26/22).

The fifth and latest from Two Door Cinema Club is `Keep On Smiling,’ out since early September on Glassnote Records. It’s a trio out of Ireland which has been at this since 2007. The band plays quirky pop rock, relentlessly pleasant but nowhere near life changing or mind boggling but they have carved out their own musical niche which allows them to keep at it – the whole point of being a musician; well, that and drunk girls and free beer. This one kicks off with `Everybody’s Cool;’ well, no they’re not. And you’d have to be `High’ to want to hear that one again. This band is solid if uninspired. (12/23/22).

`Angels & Queens – Part 1’ is the debut album from Gabriels, out since 29 September on Elektra Records. It’s a soul trio out of Compton – these guys can really sing and you can’t hide anyone in a trio - but their release sked is odd to say the least. The first part – this part – comes in at under 30 minutes but in true cliffhanger style, Part II won’t be out until March of 2023, should we collectively live that long. This is potent Hoping-To-Get-Lucky 2 am music that will elevate your chances exponentially - beautiful music smartly done – can’t wait until Part II makes the scene. And Elektra Records? Long time, no nothing. I remember they gave us Love back in the ‘60s and then the greatest band of the ’90s, the Old ‘97s. (12/23/22).

Early James’ third and latest is `Strange Time To Be Alive,’ out since last summer on Easy Eye Records. He sounds old but he ain’t – James, out of Alabama, is not yet 30 years old but he got the blues and he got them good. Or bad. Whatever. The title tune is a totally Or What Moment, but it’s probably a timeless observation that’s makes sense always. James has a raspy and raw voice on these blues lite songs that come straight from the heart. (12/23/22).

`Spin’ is the latest from Triathalon, out since 3 December on Lex Records. According to Billboard, this NYC trio’s new one is `brooding, romantic, lush and deeply sensual.’ I would counter with brooding, unfocused, maybe lush but nothing close to a good song and not so far removed from the Firesign Theatre’s distorted destination, `gas music from Jupiter.’ (12/23/22).

Weird Nightmare’s latest is self-titled and out since 22 November on Sub Pop. This is the side gig from the frontman and guitar player of Metz, Alex Edkins. This guy knows what a propulsive rock song should sound like, making this one a pleasantly recurring nightmare. Imagine Social Distortion with better songs and perfectly raging guitars. The song, `Lusitania’ is a better experience than the ship of the same name torpedoed by a German U-Boat in 1914, killing a bunch of civilians and helping to get Americans fired up about participating in the War To End All Wars. Actually, the Germans were right – the liner was carrying munitions. There’s a couple of slow ones that can’t hang with the rockers. (12/23/22).

`Paralysed By The Mountains’ is the latest from The William Loveday Intention, out since 2 December on Damaged Goods then evidently distributed by mighty, mighty Sub Pop out of Seattle. This is the musical project of one Billy Childish, a prolific British recording artist since the late ‘70s, and the peerless purveyor of about 100 albums – yup, a hundred. He’s also a poet, a painter, a photographer – if it’s arty, he’s done it – and as to music this is one of two albums released in 2022. A lot of this is garage folk – imagine if Bob Himself could sing – then there’s down and dirty blues on `Too Many Things That Mean Too Much To Me’ and `You Gotta Move,’ an oldie from Fred McDowell and Rev. Gary Davis. There’s stream of consciousness stony rock as on `Joe Strummer’s Grave.’ Every time I saw the Clash, the opener was always better – usually the English Beat but also Oingo Boingo. Never heard of this guy until now, but finally I have and I’m glad I did. Good stuff performed with real religious fervor. (12/23/22).

Brett Wiscons has a new album, `Late Bloomer,’ out since last summer on MAD Diamond Entertainment. Yet another COVID album, Wiscons plays brash and ballsy rock `n’ roll from the Heartland with the spirit of but not quite like John Mellencamp and Ike Reilly. This is meat and potatoes rock out of Indiana – probably too scary for a phony American Taliban hypocrite like Mike Pence, but the rest of us will enjoy the passion of this solid effort. (12/23/22).

Seasoning’s debut is a 6-song EP, `Condensation,’ out since 22 July, and it’s self-released Down Under by Lachlan Buckle. Out of Brisbane, Buckle offers lo-fi, high quality pop rock that hits that sweet spot and stays there as the songs just wash over you. His soft, whispery voice is another plus, and the guitars are subtle and perfect. This could be the soundtrack for Pleasantville, as these half dozen songs over 23 minutes create a wonderful diversion. (12/23/22).

`Can I Take My Hounds To Heaven’ is the fifth and latest from Tyler Childers, out since 30 September on RCA Records. Country Rock – heavy on the country - kicks off with a factual reality as in `Old Country Church.’ My son and I took a Confederacy tour a few years ago – nine rebel states, all but Virginia and Flor – eh -duh - anyway in the rural areas, there seemed to be a church every mile or so, presumably making competition for the rubes intense. As to the title tune? Hope not – the cat people will clearly be disappointed. Evidently Childers never got the memo: Dogs think people are like gods – cats know better. Plenty of gospel flavored anthems, clearly a thing indigenous to the South. A master of his craft – Childers has a gig up here this spring at the Santa Barbara Bowl. I’m sure there’s enough west coast cowboys to fill the place. (12/22/22).

The latest from Suki Waterhouse is `Milk Teeth,’ a 6-song EP – a collection of her non-album singles - out since 4 November on Sub Pop. The coolest Suki since Sookie Stackhouse, this one has a clear and powerful haunting voice, turning each of these songs into a trip. `Good Looking’ seems to re-evaluate a mostly meaningful one-night-stand with that hunk that is still attractive before he becomes that non-responsive lump on the couch. That’s probably because, `…my core vibrates in an opium haze,’ which probably explains the notion that `I’m not who I am to anyone anymore, these days, not at all.’ Then there’s `Johanna,’ all about a girl Suki is after but knows she cannot have – clearly a work of fiction since Suki is a model, and I’m guessing, she rarely hears the word `no.’ The `Coolest Place In The World’ is a very romantic song since that place is wherever She or He is. This one ends with another take on ain’t-love-grand-not, that would be `Brutally.’ Suki is way cool. (12/22/22).

`Under The Midnight Sun’ is the eleventh and latest from The Cult, out since 7 October on Round Hill Records. They should’ve been well rested as this is their first new stuff since 2016. They should’ve written some better songs. It’s still Ian Astbury overamping on the vocals and Billy Duffy making those arena rock guitar sounds. There’s nothing here I’d want to listen to again - clearly their old stuff from the ‘80s was better when it was new – just as I heard them on Sirius today coming back with cat food. (12/22/12).

`And In The Darkness, Hearts Aglow’ is the fifth and latest from Weyes Blood, out since 13 September on Sub Pop. This is the project of Natalie Mering, who has a beautiful voice and also that perennial we-have-to-talk look – then again, everyone in El Lay is too busy and in too big of a hurry to talk. Maybe she should go to a Dodger game. When it all gets to be too much, Mering seeks guidance from the sky on `God, Turn Me Into A Flower,’ because, `…It’s such a curse to be so hard…’ OK, great idea, but what flower? They’re all pretty awesome in their own way but consider the zinnia, the rose, the jacobina, the passion flower. None of these songs rock – they just sort of roll on – an artist lurking but taking good notes, giving us her original take on what’s what. English Lit majors all dressed in black will love Weyes Blood and, no doubt, take good notes. While `Grapevine’ is moan-y, groan-y and too long, most of her songs stress mood over melody, a heartfelt take on being lonely. (12/22/12).

`Inner World Peace’ is the fifth and latest from Frankie Cosmos, out since 21 October on Sub Pop. Behind her musical alias, guitarist Greta Kline fronts her band playing Pop Rock Lite using that somewhat little girl voice of hers. `Empty Head’ makes a case for the believers that ignorance is bliss – the same sentiment once echoed by the mighty Thor who noted that `The world can be a great place if you ignore everything going on around you.’ And for some reason `Wayne’ seems to be common name for murderers. Hmmm. This one is pleasant enough but could use more hooks, but great album cover. (12/22/22).

`Double Album’ is the latest from NOFX, out since 2 December on Fat Wreck Chords out of the Bay Area. Funny is always a good thing, and NOFX is up there on the Hilarity Scale. Check out these album titles: `Darby Crashing Your Party,’ `Gone With The Heroined’ and `Is It Too Soon If Time Is Relative?’ Everything is typically played at Warp 20, or enough to give Captain Kirk the whirlies. Frontman Fat Mike had to suffer for his art as explained in `Fuck Day Six,’ while getting clean in seven days sounded easier than it turned out to be. Years ago while on the Vicodin Vacation, the VA lost my script for a week or two leaving me with cold turkey, a preview for death. And now for the bad news, the band is gonna break up in 2023, but don’t worry, they’ll be one of those endless, mindless and senseless farewell tours + NOFX has given 40 years of music and laugher. (12/22/22).

`Songs Of The Highland, Songs Of The Sea’ is the 14th and latest from those Real McKenzies, out since 18 November on Fat Wreck Chords. There’s been enough former members so that a thorough reunion would feature a McKenzies Orchestra. The band started in 1992 in Vancouver playing Celtic punk rock – in other words, there’s bagpipes that are not annoying, but even more guitars; in fact complicit in wild dancing and sweating. These guys rock sufficiently to heat British Columbia for the winter. When they turn nautical, there’s a great version (with an accent) of `Sloop John B,’ appropriately followed by `Drunken Sailor.’ There’s others than even land lubbers will recognize - `Blow The Man Down’ and `Dead Man’s Chest.’

And finally, I shot a guy once for playing the bagpipes. I was at a Civil War event in SoCal and imagine this – we were drinking and built a bonfire so large that the moon was sweating – then suddenly this guy appears on a large rock above our camp playing (badly) `Amazing Grace,’ so I grabbed my musket and shot him (blanks) and one of my boys a split second later, threw a stick at the offending musician – that’s what happens to bad bagpipers. (12/22/22).

The latest from spelling skills averse Hunny is an 8-song EP, `Homesick Deluxe,’ out since 18 November on Epitaph Records. COVID really fucked up the music scene as well as those that make it. Forced inactivity as to live shows found them at home with too much time on their hands – we’ll be hearing those results for a while. Hunny recorded almost 100 demos during the pandemic and edited down their labors to 8 songs in 20 minutes – actually five songs – they like the title tune, `Homesick,’ so much, they give us three versions. The album opener, `JFK,’ sets the tone with exuberant pop punk smartly done. It’s also a reminder of how history teachers have failed us along with their students who believe nothing of note happened before they were born. `JFK,’ the 35th president was murdered in Dallas almost 60 years ago today (22 November) and hardly rates a mention in the press these daze. All the way from Newbury Park up here in the 805, the band has been around since 2014 and frontman Jason Yarger and his mates sometimes are reminiscent of Something Corporate when they were new. `Loser’ is one of the keepers and could adequately serve as on-hold music at Mara-Loco. Then there’s `Speed Dial,’ a direct enabler of Drunk Dialing, a character flaw of which I have much experience. These guys are fun – hope they make lots of munny - and I look forward to hearing more from them; but did Attila’s armpiece call him Hunny? (11/22/22).

`Payday,’ (the greatest of all days) is the debut from Lowlife, out since 18 November on Hellcat Records. It’s hip hop and classic rock while the singers seem to be lecturing or yelling at the audience. I never liked stuff like this. Why start now? `American Dreamer’ is best and closest to a typical rock song – the rest is mostly harsh and abrasive. (12/22/22).

`Carving Canyons’ is the fifth and latest from Lissie, out since 16 September on Lionboy Records. Hoping to find one name fame along with Moses, Madonna and Godzilla – Lissie accomplished that in short order, moving west from Rock Island, Illinois, with a stop in Colorado to Hell-A and then up here in the 805 to hippie-happy Ojai. Now she’s back in the Midwest – Iowa, actually – too bad she didn’t take a million people east with her - the burrito stand was so crowded this morning that I kept driving, but that’s another story. This is Lissie’s sad girl COVID album. First of all, never cross a songwriter, whatever stupid shit you did will not have the shelf life of a song - `Sad.’ Better sad songs include `Wish We Never Met’ by Kathleen Wilhoite and `Coast’ by Eliza Gilkyson, but Lissie’s take is still worth a listen. Then there’s `I Hate This,’ the final step following lust, love and love lousy – all part of the Ain’t Love Grand Not scenario. From the introspective rocker, `Unlock The Chains,’ a sample line, `…Everything I thought I knew about what I want might not be true…’ Hate when that happens. (12/22/22).

The fifth and latest from Sunny Sweeney is `Married Alone,’ perhaps the theme song for all only children, out since 23 September on Aunt Daddy Records. `The Lone Star State’ should give us all cause for alarm. They just re-elected Governor Greg Abbott, crippled in both body and mind; the Lt. Gov. Dan Patrick is a whistlehead and Ken Paxton, the AG, has been indicted for being a crook for years – then there’s idiot Congressman Louie Gohmert plus they have two of the worst senators – the smarmy John Cronyn and superjerk, Ted Cruz. It’s enough to make one think that the one star is a review – good thing Texas has a zillion great musicians. Sweeney has just what the politicos don’t like – a female that knows what’s what, not afraid to tell everyone – Sweeney should be the governor – the next Ann Richards. It’s pretty clear that old white guys have fucked shit up – time to give the ladies a chance. In the meantime, while all that testosterone is boiling within a two block radius and Sweeney is exuding enough energy to cool Houston for the summer, she still plays hard to get - `All That I Don’t Need,’ makes it seem unlikely there will be a meaningful one night stand with a horizontal audience of one. `Leaving Is My Middle Name’ is the voice of experience - of course, it is. Me, too. Whenever a telemarketer calls and asks, `How are you?’ I just say, `Leaving’ and then hang up. It works. Sweeney play impassioned country rock – heavy on the country. `Someday You’ll Call My Name’ is the rocker. (11/26/22).

The latest from Jack White is the height of optimism, `Entering Heaven Alive,’ out since last summer on Third Man Records. A prolific singer/songwriter with time on his hands – this is White’s second album of ’22, and this one, for some reason, is 11 songs on two discs. The album opener, `Tip From You To Me’ is an only child’s anthem, proclaiming, `I don’t need nobody’s help now anymore.’ Then there’s `All Along The Way,’ which seems to require more practice, and `I’ve Got You Surrounded’ goes on too long and becomes annoying. Best is `Love Is Selfish,’ a wistful and thoughtful look at the ups and downs of love – the same love that `messes up all my plans.’ It’s acoustic and near perfect. `If I Die Tomorrow’ is a companion piece to `When I’m 64,’ but without the fun. `Queen Of The Bees’ is a weirdo’s plea to get lucky, requiring just the right kind of girl. Good luck with that. `A Madman From Manhattan’ could be yet another possibility for Trump’s on hold music. White is a rich rock star playing at it and evidently, having fun. Lucky him. (12/10/22).

The fifth and latest from the Yeah Yeah Yeahs is `Cool It Down,’ out since the summer on Secretly Canadian. A trio out of NYC with 22 years experience and fronted by the steamy Karen O, they kick it off with a wall-of-sound anthem, `Spitting Off The Edge Of The World,’ which ends as abruptly as the place in the song. KO gets all steamy on `Lovebomb,’ in heat as much as any tom cat, just more melodically. On `Fleez’ KO yelps as if one of those misspelled irritants is putting the munch on her. Half a dozen of the eight tunes have one word titles which suggests editing. I suggest better songs while interesting, this is only mildly melodic. Yeah Yeah Yeahs? Eh Eh Eh. (12//10/22).

`I Walked With You A Ways,’ is the debut from Plains, out since 14 October on Anti Records. It’s country rock – extra on the country – from two ladies that can really sing – Jess Williamson and Katie Crutchfield, both of whom easily passed Country Rock Songwriting 101. The songs are all perfectly crafted and the harmonies are heavenly. Best here is one that won’t make the tourism brochures as `Abilene’ gets better by leaving that big lump that once seemed to have so much promise, if not, a job. Oh, well – next. Did I mention that these two are prefect?

Probably not named for Plains, Georgia, but I’ve been there and saw the giant peanut with a smiling Jimmy Carter face. It’s not that far from Andersonville – home to no smiling faces. (12/10/22).

One of the Avett Brothers is evidently not busy enough in one of the great American bands, giving us his fourth solo album, `Seth Avett Sings Greg Brown,’ out since 4 November on Ramseur Records. Brown is the son of a preacher man (just like Paul Thorn), and he plays low key, high intensity folk music, doubtlessly beloved by lady English majors all dressed in black taking good notes. Actually, Brown’s fan base is well beyond that – he’s recorded nearly 30 albums, and Avett felt compelled to spread the word. `Just A Bum,’ reminds too many of us that we’re just a paycheck or an illness away from life on the streets - `…time ain’t money when all you got is time.’ I’d be the long haired weirdo camping out in a geodesic dome made of Dodger baseball cards with three worried cats. This is acoustic music smartly done by a man on a mission. (11/26/22).

`Asphalt Meadows’ is the latest from Death Cab For Cutie, out since 16 September on mighty, mighty Atlantic Records. The opening title tune is mostly bad poetry that makes little sense except to lay out the Chamber of Conrete’s plan for our future. Ben Gibbard, alternately moody and vulnerable, totally gets it right on `Foxglove Through The Clearcut,’ a total stranger in a strange land scenario after which the white guy realizes that they fucked things up – he channels Black Kettle’s death song – a Cheyenne chief murdered by the 7th Cavalry in 1868. On `Roman Candles,’ Gibbard asks the impossible in a capitalist country: give up your stuff: `But I’m learning to let go of everything I tried to hold.’ Somehow, we have become our stuff. While the Bonzo Dog Band often makes more sense that Death Cab, there’s definitely something there that we should be aware of. Just as no one ever saw Ringo and Yasser Arafat together, has anyone ever seen Gibbard and Morrissey at the same time? (11/26/22).

Out since the summer on Banjodad Records, it’s the tenth and latest from yet another cool Minnesota band, Trampled By Turtles, and the album is `Alpenglow.’ It’s acoustic music tighter than a boa necktie – bluegrass, country rock, folk rock, Americana, swell vocals and as the label name would indicate – yup – there’s banjos, thus guaranteeing their popularity – banjos being up there with waterfalls, butterflies, firemen and your team winning. They also have guitars, mandolin and cello – imagine Split Lip Rayfield chilled out. These six Turtles flow seamlessly and effortlessly – a bunch of pros atop their game.

And finally, last summer we found ourselves driving across southern Minnesota en route to Wisconsin. Naturally, we had to stop at Blue Earth – how could we not – they had a giant statue of the Jolly Green Giant – also a free outdoor xylophone and a bike repair station. OK, then. Dream gig: Trampled By Turtles and the Gear Daddies. (11/26/22).

`American Cult Candy’ is the latest from Joybomb, out since last summer and they did it themselves. Out of Memphis, the band headed northeast to Nashville – en route having to pass through Bucksnort, Tennessee – where. a couple of years ago during our summer roadtrip my son and I got off the freeway – how could we not – and found a porno superstore and a gas station. In any case, this is their COVID album – and something/whatever took its toll on the band. We all know that you can’t hide anyone in a trio – well, two of the three guys that made this album are missing, leaving frontman Grant Beatty as the last man standing/rocking. They play pop punk, thus, probably no Grand Ole Opry gigs for them. It’s all entertaining enough but there’s no grabbers, mindblowers or anything remotely life-changing, so they end up with a shrug and a smirk. `Blueprints’ is probably the most memorable, while `High Crimes & New Lows’ could be on-hold music at Mara Loco. (11/25/22).

Rachel McIntyre Smith has a new 6-song EP, and that would be `Glory Daze,’ out since 30 September and she did it herself. The first impression of the title tune is `Wow – that young lady has a great voice.’ She has a killer band behind her – tighter than your boss – playing country rock – heavy on the country. Smith gives a first person perspective from a small town in Tennessee trying to Figure Things Out. She explores the relevant subjects as to her age group – her hometown, her first love, her class reunion, not to mention the most annoying bimbo, `Miss Highfalutin,’ who gets her musical comeuppance. Smith is gonna be around for a long time – she’s gonna be great.

I remember my first high school reunion – I had grown a beard and everybody thought I was somebody else. Cool. I went to Ventura High as did my son and both my parents. I still go to their basketball and football games – go Cougars. And finally, Tennessee is a most beautiful state – very green – a few summers ago, we camped at a park called Frozen Head, a place where the indigenous homies from `Avatar’ would feel relaxed. Too bad Tennessee still celebrates Nathan Bedford Forrest Day every July – he founded the Klan. Maybe here in California we should have Charles Manson Day. Maybe not. (11/25/22).

Doriana Spurrell has a new 5-song EP, `Forward,’ out since 19 August and she did it herself. This one is introspective folk rock – with equal amounts of each – out of North Carolina by this classically trained guitarist. She’s blessed with having a cool and unusual name and when they called the roll in school, unlike Brandi, Gavin, Morgan and Taylor – there probably weren’t any other Dorianas – and not many others can concoct such heartfelt songs. Spurrell is easy on the eyes and solid musically – a winning combination. And `Sunday’ is a viable alternative to watching and hearing how bad the Rams are – football with the sound off and Spurrell on could lessen that gridiron pain. (11/25/22).

`Floor Plan’ is the debut EP from Trevis, out since last summer and he did it himself. Out of Norway, but now in El Lay, Trevis is hoping to achieve one-name fame on a par with Madonna and Godzilla. He just might make it as he offers this low-key r&b, pop vibe – the soundtrack for subtle. On `Company For Now,’ Mr. T reminds her that `Yer bad as fuck and you know it,’ and promises `a night of a lifetime,’ I’m guessing his chances of entertaining a horizontal party of one are pretty good. The theory behind `Let Me Know’ (the first single) is similar as Trevis demonstrates focus. It’s six songs in 17 minutes and perfect 2 a.m. hoping-to-get-lucky soundtrack. (11/25/22).

The latest from the prolific Reds, Pinks & Purples is `They Only Want Your Souls,’ out since 14 October on Slumberland Records – one of the coolest labels out there. This one is an example from the days when brevity was king – it’s 10 songs in 28 minutes - and another DIY project of Bay Area pop rocker, Glenn Donaldson. Pick one – this is melancholy, jangle, plaintive pop that is both soft and serious. If it was 1985, Donaldson would be like a god on KROQ. The music is relentlessly pleasant as all the songs sort of sound the same – not a problem – that direction worked for ZZ Top and the Ramones. The album opener, `I Should Have Helped You,’ is a smooth pop song reminiscent of Carol Burnett’s good advice: `Would’ve and should’ve are words we don’t use/they only upset us and give us the blues.’ Then there’s `Workers Of The World,’ a worker’s movement in the early 1900s, ruthlessly eradicated by greedy, paranoid capitalism and all the mean cops under their control. Big Bill Haywood, Joe Hill and Mother Jones were right – check them out. Last summer in Illinois a road sign alerted us to the fact that Mother Jones was resting nearby. She’s buried in Mount Olive – we stopped to pay our respects – how could we not? The magazine named for Mary Harris Jones lives on and is a must read; and this colorful band is definitely worth a listen. (11/25/22).

`Mississippi Bound’ is the third and latest from Ivor S.K., out since 14 October, and he did it himself. Out of Australia, I. Simpson-Kennedy is much closer to his stated goal – he’s in New Orleans now and `The Magnolia State’ is just a doable roadtrip away. This is Ivor’s COVID album – it’s all about acoustic blues smartly done that will have you movin’ to the music that features good pickin’, smart talkin’ that’s always rockin’, in short, this is all the cool shit about the blues in one place. Nothing close to a bad cut and Ivor even showcases his throat cancer croak appropriately on `Sex, Drugs & Cigarettes.’ A couple of years back, we were driving along the Tennessee/Mississippi border – we all had to pee and we found a dirt road just inside the Mississippi state line. That was the scariest pee ever – I noticed our California plates and imagined 700 years on a Mississippi chain gang – or longer than Ivor would ever want to stay in `Mississippi. There’s a reason why they invented the blues. (11/25/22).

Jesse Malin decided to re-issue his 2007 classic `Glitter In The Gutter,’ out (again) on 30 September on Wicked Cool Records. Good move. I haven’t listened to this one for 15 years until just now. It’s Malin’s third solo album and one of his best, in fact, it’s better than his new stuff, featuring enough hooks to propel another scary TV season for Jeremy Wade. Malin is one of those under-the-radar-why-ain’t-he-rich singer/songwriters along with Ike Reilly, Paul Thorn and Steve Poltz that should have bank accounts in the ballpark with Bruce Springsteen, who appears on this one. This one kicks off with `Don’t Let Them Bring You Down,’ or a musical equivalent of e.e. cumming’s classic advice to be yourself no matter what; then again, who else you gonna be? Malin expects noble goals `In The Modern World,’ where in proposes `…to fuck forever.’ The fallacy of `Tomorrow Tonight’ is exposed since all we really have is right now. Malin is a rocker and all these songs do that most convincingly as on `Prisoners Of Paradise,’ `Black Haired Girl’ (a potential keeper since she’s a `…seven day weekend.’) Malin is a clever lyricist and `Little Star’ and `Bastards Of The Young’ will live in your head for daze. He reimagines my favorite Malin song, `Happy Ever After,’ which was better in its original state, `Since You’re In Love,’ off his best album, `The Heat,’ from 2004. I hear Malin on Sirius FM now and again but they never play any of my favorite Malin songs – what about `Wendy?’

And finally, Malin is a guy that loves his job. A few years ago and pre-COVID, he came up to play in my hometown of Ventura, Ca, to appear solo at a cool, small club call Zoey’s on a Tuesday nite – he did that twice. (11/25/22).

`The Classic Symptoms Of A Broken Heart’ is the tenth and latest from the Architects, out since last summer on Epitaph Records. All the way from Scary Olde England, this is big beat, big guitars, big vocals, big deal – arena rock just right for the metalheads – the fist in the air, head in the ass, too much testosterone rockers, dude. It is smartly done if your head craves some bangin’, and several of songs scream for quieter introspection later, maybe. `Living Is Killing Us’ suggests Bugs Bunny’s sound advice: `Relax – you’ll never get out of this world alive.’ Then there’s `Born Again Pessimist,’ which could be anyone who reads the newspaper or watches the news – social media doesn’t count – that’s a different song, `Born Again Stupid.’ The Architects’ music reminds me of Arthur Schopenhauer, the philosopher of pessimism. Always be a pessimist because when things don’t work out, you won’t be shocked because you knew it was coming; and if by chance, things work out fine, well, all right then. These Architects, while loud enough to explode a Buckminster Fuller geodesic dome, have nonetheless built a solid career. (11/23/22).

`Baku’s Revenge’ is the debut from Magnolia Park, available since 4 November on Epitaph Records. Out of Orlando, where they would scare Governor Ron Deathsentence, there’s 11 songs on this one – three of them named after punctuation. The album opener, `?,’ features some loudmouth whistlehead claiming his turf – the same turf nobody else would want, and `!!’ features Ronzo scare mongering even as he was selling America to its mortal enemies, the corporations. `Feel Something’ is noisy, energetic and raunchy classic rock 50 years later. On `Misfits,’ we discover that `we’re fuckin’ done,’ a common sentiment that is too scream-y but also the inspiration for half of all songs – never done better than Harry Nilsson on `You’re Breaking My Heart.’ A definite keeper is `Drugs,’ as in `…are you ready to die?’ As a veteran of the Vicodin Vacation for many years – I had a blast – hey, 50 million junkies can’t be wrong, but now it’s all different – why is there fentanyl and why would anyone do that? It’s 50 times stronger than morphine, and the Sackler family who own Purdue Pharma killed thousands and made billions? WTF? Then there’s `Addison Rae,’ who I had heard of vaguely but knew nothing of her until I looked her up. The band is right - `She’s a big girl and wears a tight sweater,’ I love her almost as much as they do – she only had 88.5 million followers on Tik Tok, and parts of her are good. And finally on the album ender, `I Should’ve Listened To My Friends,’ we hear the bad news - `You got me fucked up in my head.’ OK, here’s what – don’t get in this situation to begin with but if you do, it’s better to be the fucker than the fuckee. These guys definitely have their moments. (11/22/22).

The new one from Nikki Lane is `Diamonds & Denim,’ out since 23 September on New West Records. Lane is a country and bluesy rock (mostly country) singer/songwriter based in Nashville with a firm grasp on a winning program. An easy-on-the-eyes frontwoman with attitude and a kick-ass band behind her – that is a set-up that always works, especially if she is talented. Lane is. There’s 10 songs clocking in at just 33 minutes – several of them such as `Try Harder’ and `Live/Love’ offer sound advice from `a big-hearted girl,’ to, pretty much to listen to the Grateful Dead and `keep on truckin.’ She assures us that patience is a virtue which seems sketchy to me, especially when I’m stuck in traffic. Lane raises enough questions to have the rednecks think twice when even once would be good. And the irony on `Faded’ was not lost on this writer as I was faded while listening.

If Ruth from `Ozark’ had a band, it would be something like this except with 37,000 more f-bombs. And finally, Tennessee is a beautiful state – too bad they still have Nathan Bedford Forrest Day every July. You can look it up. (11/11/22).

If Lucifer released an album, he might’ve used his last name, `Morningstar,’ but he did not and his show lasted for six seasons. Canadian bluesman Chris Antonik used the name for his fourth album, out since last summer on his own label, Second Half Records. It’s rockin’ blues with an all-star cast of astute helpers and Antonik co-wrote all 14 songs, unfortunately, too many of them are of the generic blues persuasion, and there’s not that many on this one you’ll want to hear again. Despite having Chris Isaak’s hair, Antonik does not have the songwriting hooks. (11/11/22).

`Abstract Truth’ is the latest from Billy Truitt, out since last summer on JT Dream Wave Music. This guy has been around a long time and has been in a lot of bands – he definitely picked a winner for this back-up band – most of the Vegas Strip Kings. You’ll become a fan after the first five seconds of the first song, `Who’s Been Trying,’ an impossible to refuse foot tapper with Jimmy Carpenter raging on sax. Right off, he outlines the order of things: thinking, drinking, sinking – gee, that’s never happened before. Originally out of Idaho but for years based in Vegas, Truitt did not forget his roots or that cool groove on `Salvation Or Hell And Famous Potatoes.’ Last summer, I stopped by the Idaho Potato Museum (how could I not?) in beautiful downtown Blackfoot. In `Life Like Art,’ she may’ve been a major pain in the ass but now she’s a great song. Abstract Truth is not like alternative facts – the truth is Truitt has made a keeper of an album. (11/11/22)

`Fresh Fruit For Rotting Vegetables,’ a punk rock classic from the Dead Kennedys in 1980 has been remastered and is born again 42 years later on Manifesto Records, out (again) since 30 September. Frontman Jello Biafra’s nervous, shrill, quivering voice is the band’s hallmark, not to mention the Warp 10 wall of noise. Kicked out of his own band these days but back in the day, JB actually ran for mayor of San Francisco with a memorable partial platform: Politicians must wear clown suits. Channeling Jonathan Swift as the solution to homelessness and poverty – that would be `Kill The Poor,’ in the same vein as the Dils’ `I Hate The Rich.’ Then there’s `Forward To Death,’ which is still relevant because things are worse now than they were in 1980. One of the memorable classics is the satiric `California Uber Alles,’ as they cap on the Zen PC Police with cause but Cali does set the tone as to what’s cool – that’s why everyone wants to be us or move here – but don’t – it’s already too crowded. `I Kill Children’ was inappropriate then and even moreso now. What was that movie about destroying the White House? Why give angry morons more bad ideas? Then there’s perhaps the most useful DK’s song – their crazed, hopped up version of `Viva Las Vegas’ would easily clear the room of the last call, elbow bending rubes.

I saw the band once, whenever it was – I was drunk, and standing in the back of the Ventura Theatre, glad I was far enough away from the stage because the noise was enough to make my liver quiver – not Phil Spector’s `Wall of Sound’ but rather a wall of noise – somewhere between an artillery barrage and thunder. Then all of a sudden JB began croaking `Holiday In Cambodia,’ which sent me down toward the mosh just in time to witness the chant of `Pol Pot Pol Pot,’ couldn’t take him anywhere.

And finally, even though the DKs have been around for so long, and we’re probably used to it – but their name is inappropriate, is not funny and has no redeeming social value, much like Death Cab For Cutie. (11/10/22).

`The Boule Oui’ is the sixth and latest from Churchwood, out since 22 September on Saustex Records. Their label not surprisingly loves them: `…They are the apex…a truly brilliant band;’ and if you staggered into a bar and Churchwood was playing, you’d stay longer than you should. Out of the People’s Republic of Austin,’ the band plays country rock, roots rock, Americana and other stuff, all smartly done. If your mind starts to wander – it won’t last – these guys change gears quicker than a high school driver’s ed class learning the intricacies of the clutch. For example, `Secular Sinner,’ could be Trump’s on hold music or similarly for 88% of evangelicals that voted for Herschel Walker in Georgia – anyway, this one begins as an Irish rave-up, then goes into hardcore blues. Then there’s `Ghost Of A Flea,’ a great idea as all fleas should become ghosts as soon as possible. They take a hit novelty song from 1958, `Witch Doctor,’ and make it their own. And let’s not forget the esoteric lyrics. `Walla walla bing bang,’ indeed. (11/10/22).

`Sons Of’ is the debut collaboration between Sam Prekop and John McIntire, out since 22 July on Thrill Jockey, which much like the Cubs and Sox, is out of Chicago. So is this one an EP? Not sure. It’s only four songs, but it’s almost 55 minutes long. According to the band bio, `…the duo have crafted an album abundantly vibrant, an intoxicating exploration of pure inspiration and intuition.’ No, they didn’t. This is ambient background muzak suited to an elevator gig at 3CPO’s timeshare condo. Once again, the Firesign Theatre had it right when it comes to `gas music from Jupiter.’ They do offer a pic of two pretty black cats – almost as cute as my black cat, Pam Grier. (11/9/22).

Rick Berthod’s ninth album is a `Tribute To Peter Green,’ out since 29 October, and he did it himself – he even put a pic of a chilled out Green on the cover. OK, so hopefully you know about Peter Green – he was one of the three awesome guitar players for Fleetwood Mac – back when they were really good, but probably with thinner back accounts. Green croaked in 2020, but thanks to technology, his music lives on. Once upon a time, the Mac was a blues band that, to this reviewer, hit their stride from 1968 to 1971, and made a classic album in 1969, `Then Play On,’ fueled by the guitar pyrotechnics of Green, Jeremy Spencer and Danny Kirwin. Berthod covers a couple of Green’s Mac’s greatest songs off that one, `Oh Well,’ and `Rattlesnake Shake.’ Santana’s big hit, `Black Magic Woman,’ well, that was a Green song – anyway the point being – Fleetwood Mac used to be waaaaaay better than they are now and to assume that you can mimic Green is the height of arrogance – well, unless, you can pull it off – Berthod, all the way from Nevada – a state that needed to and did stay blue - definitely has honored Green’s memory and made that stuff his own. This one seriously shreds – oh, and you need `Kiln House,’ which is Kirwin’s mighty Mac 1971 album, and maybe even better than `Then Play On.’

And finally, I did see the band in 1971 at the Swing Auditorium in San Berdoo when the Mac was at its peak, and the pernicious weed was still a thing. What I remember most about that show was the light from the door at the side of the stage constantly opening and closing as the narks escorted countless potheads out of the show for having too much fun and thinning the herd was definitely the theme of the night. `Oh, Well,’ or what? Also, as I recall, Green who had mental issues, freaked out for no apparent reason and that was the last gig he played with his band. I remember the show because we all took acid (how could we not?) but since I was theoretically less stoned, I got to drive back. Again. Evidently, we made it, and so did Fleetwood Mac. They’re rock `n’ roll tycoons but the band used to be better. (11/3/22).

The ninth and latest from Spiritualized is `Everything Was Beautiful,’ out since last spring on Fat Possum Records. Jason Pierce more than lives up to his musical persona, J Spaceman as he takes his propulsive wall of sound to outer space and beyond – so surreal that the listener could conceivably fail the drug test surprise at work thanks to the corporate zombies of the HR Department. Spaceman plays 16 different instruments (maybe all at once – who knows?) and there’s 30 other musicians to make this headful of hooks and harmonies memorable. While the lyrics are obtuse and sometimes make as much sense as trying to explain the infield fly rule to my cat – it won’t matter as this succeeds on a visceral level. It kicks off with `Always Together With You’ which is baroque, and symphonic – like a rock `n’ roll church choir – apparently dedicated to some lucky lady, hopefully worthy of a love song of this intensity and sensitivity. The king of the psychedelic guitar, imagine Spaceman as Love And Rockets meets the Moody Blues. You won’t get the whole effect if you use Spiritualized as background music or driving music – rather, you need to park your fat ass and let this roll over you as it takes you somewhere cool where you need to be. I saw Spiritualized live twice – don’t miss them if they come around. (10/8/22).

The ninth and latest solo album from the prolific Old 97’s frontman, Rhett Miller, is `The Misfit,’ out since last summer on ATO Records, still too cheap to send me a copy to check out despite my score of reviews and interviews over the years. First off, I think the ever clever Miller is about the best writer in rock – smart, funny, and sad enough to make Dick Cheney tear up (well, shrug maybe). BritPop meets folk rock from Texas, Miller has a ton of memorable songs from his solos and all those dozen band albums. The Old 97’s are my favorite band.

With that said, this one is a clunker from start to finish. Remember the episode of `River Monsters’ when Jeremy Wade was in the South Pacific fishing with the locals without hooks? This one, too, has no hooks – just a bunch of hokey classic rock back-up music from Miller’s New York neighbor, Sam Cohen. The music is just all wrong on every song, making this whole thing out of step and out of focus. And there’s no lyric sheet and nothing close to any of Miller’s keepers such as `Meteor Shower,’ and `Fireflies.’ Much as I hate to say it, but this one should be `The Mistake.’ (10/6/22).

The Krayola’s first and latest and oldest is `Happy Go Lucky,’ and you’ll have to wait until 1 July – but it’s all happening on Box Records. Actually you (and we) have waited already – this stuff is 40 years old, back when the sundowns were in black & white and Ronzo was just beginning the GOP sabotage of 80 years of progressive legislation and the slow death of the middle class. This one was recorded in January 1982 but feared lost in a Houston flood but found in 2020. Out of San Antonio, the Krayolas were four young Texans who knew what pop rock was all about – each of them could sing lead and/or harmonize on what they called `bubblegum soul.’ They brought along the Westside Horns for the appropriate and timely emphasis. I’m partial to `All Of The Time’ and `Roadrunner John,’ but there’s no bad cuts. A dream gig if time and the calendar were able to coordinate would be the Monkees, the Turtles, Shoes and the Krayolas. (6/28/22).

Cliffwalker has a new 6-song EP, `Painted Grey Sky,’ out since 24 June, and they did it themselves. From the People’s Republic of Portland, Cliff Hayes and A. Walker Spring created these ambient instrumentals that may have a future home in an elevator or waiting room near you. Hayes’ musical thing is the bass, and is known for compiling a library of bass riffs. Then again, probably even more unwelcome than the endless, mindless and senseless drum solo, the bass solo is the part of the show where many in the audience go for another beer or return a previous beer. This is background music for who knows what, and why do we need background music? (6/26/22).

The Groove Krewe has a new one, and that would be `Run To Daylight,’ out since 28 May on Sound Business Services. Nothing to do with the Packers, this is extra spiffy bluesy New Orleans party music created by three pros with Nick Daniels III getting top billing, as he should with that perfectly gritty, been-there-done-that soulful voice. All the songs are equally uplifting and food for the feet. Oh, and great name for a label.

And finally, a few years ago, my son and I did a Confederacy tour down Hwy. 10 and beyond, and I’m paraphrasing but a sign entering Louisiana from Texas said something like this: `Visiting Louisiana? Planning on committing a crime? Don’t get off on the next 107 exits.’ And naturally, a Louisiana cop shadowed our vehicle for many miles – we did have California license plates after all, but unfortunately for him, no warrants. (6/26/22).

You In The Nothing’ is second and latest from Motorcade, out since 15 April on Idol Records. This is BritPop out of Texas with nary a twang in earshot, so the sophomore jinx definitely does not apply here as we all fall for that old motorcade through Dallas trick once again. This one begins with `Shift,’ a lush, baroque techno pop tune that rocks and sets the tone for what follows as three out of the four guys create these soaring harmonies – always a good thing. `Static,’ `Slip’ and that propulsive rocker, `Retreat’ are all songs that you’ll want to hear over and over. These guys would fit perfectly on a bill with Depeche Mode and Echo & The Bunnymen, and if this one had’ve been released 35 years ago, Richard Blade would’ve been all over it. (6/26/22).

The debut from the Sloan Brothers is `System Update,’ out since 13 May on Science Project Records. Evidently not so good at counting brothers, it’s just Sloan Simpson and his musical pals – maybe they count – anyway, it’s classic rock meets pop rock with Sloan wailing away on guitar at the appropriate moment on these dozen songs. This one kicks off with the title tune – with a retro beat, a robotic voice which quickly becomes a foot tapper. Putting it all on the line on `Cryin’ Shame, Sloan begs his next future ex-girlfriend, `Let me be your cryin’ shame;’ he’ll even close the gate. Will she or won’t she? The propulsive guitars on `Amplified’ would qualify Sloan to share the bill with the Leaves, the Electric Prunes and the 13th Floor Elevators about 60 years ago. `Love You So Good’ has that easy groove and hooks that work – in fact, so well, the vibe continues into the next song, `So Good.’ There’s a couple of instrumentals that aren’t really grabbers but there’s plenty to like on this one. Out of the Redneck Athens – the one in Georgia – here’s hoping that Senator Warnock is re-elected and Stacie Abrams becomes the new governor as Brian Kemp stole his election, aided and abetted by Brad Raffenspurger – bring on the rematch. Save the country again, Georgia, please. Oh, and thanks for Freddie Freeman. (6/25/22).

REQ’D has a new one and that would be `Dressing Wounds By Candlelight,’ out since 17 June on Saustex Records. This is folk punk cranked up to speeding ticket levels with thoughtful lyrics by Sluggo Cawley (of Grannies fame), a man who clearly reads and watches the news. While the album title could be sadly applied to the Ukraine, `Unfuck This World’ correctly sees the problem – too many asshole white people worshiping greed and power, channeling the American Taliban as democracy-hating fascists; well, Republicans. Sluggo along with Michael Moore thinks we should give the ladies a shot – real women – anyway, a sample line: `You gotta be less like a dick/And more like a girl/Gotta have a great big heart/If you’re gonna unfuck this world.’ Not only are they serious but they’re seriously fun – and affordable, too – the soundtrack for cheap date would have to be `Heaven In Wheelbarrow.’ This one has more good lines than the playing field at Dodger Stadium. Here’s a few: `…I could’ve loved you more/If I understood you less;’ and `…Hanging out with you/Ain’t a shitton of fun/Lucky I’ve got a low threshold/For satisfaction…;’ and `…The sky has plenty to say for itself/In the Christ-haunted south/Like the bricks in a lobster trap/I’m a little bit west of myself…’ If you floated into a bar and these guys were playing, you’d stay for too many beers and forget about tomorrow and work. My new favorite band, REQ’D ROX. (6/25/22).

`Live Down Underground’ is the latest from Matty Wall, out since 10 June on Hipsterdumpster Records. As far as walls go, there’s the Great, Hadrian’s and the Berlin, but this Australian Wall leans toward the Great as he is the real deal – explosive incendiary blues with enough power to cool or heat half of Down Under and could convince the salties to make nice and become harmless beach hodads just chilling out. This one kicks off with `Broken Heart Tattoo,’ offering further proof that you can’t hide anyone in a trio as Wall’s guitars literally explode out of the speakers, creating an instant fire hazard as well as the realization that this is your new favorite album. There’s been few guitarists this powerful since Dave Hole and Love Sculpture-era Dave Edmunds, and – whatta surprise – Hole Himself left adjectives of admiration on the liner notes. Wall makes his case further with a reverential (but still his own) version of `Voodoo Chile.’ Blast furnace blues – just like we like it. (6/25/22).

`Heavy Load Blues’ is the latest from the prolific Gov’t Mule, out since last September on Fantasy Records. These jam band legends have been at this since 1995 with a double digit number of albums, the band – the ruling class as obstinate farm animals – are led by guitar legend Warren Haynes who has a resume longer than that fish that drunken Uncle Ernie caught back when the sundowns were in black and white. Haynes has played with the Allman Brothers Band, the Dickie Betts Band, the Dead and a vast and weighty resume of past guitar heroics with any number of cool bands. A sterling example of truth in advertising, this one is all about the blues – a lot of blues - a 2-disc set with 21 tunes, including the classic `Good Morning Little School Girls,’ over seven minutes of it. The songs are all long with plenty of time for guitar pyrotechnics, which is why we tune in. Not even close to those generic one song, one beat, one week blues songs – Haynes proves once again why the blues is vital. (6/17/22).

Meredith Lazowski has a new one and it’s her debut, `Other Way Home,’ out on 17 June and she did it herself. She has a tight band with a twangy twist, making this sort of a downbeat country noire effort that’s sad, sensual, slow, sexy and steamy. Out of Toronto, Lazowksi already has a real day job, but judging by that beautiful voice, she might very well live long and prosper on the night shift as a musician. Canadiana, maybe? The title tune rocks the most – a subtle winner. `Old Friend’ is one of those encounters that elicit a flood of memories. English Lit chicks all dressed in black – much like the ones that told me to shaddup 30 years ago at a Rickie Lee Jones show in Ventura – they’d love this stuff. Me, too – even though Lazowski probably wouldn’t be nearly as drunk as Jones was - I’d still tell myself to shaddup. On `Navigator’ when Lazowski proclaims with sufficient steam that `…you’re my navigator and I love you so,’ you’d consider filling out an application for any future openings, probably promising to lie only when necessary. This is one of those albums that gets better every time you hear it. It’s brilliant. (6/11/22).

`Weird Nightmare’ is the latest from Weird Nightmare – out since 20 May on SubPop out of Seattle. While their name suggests the events in `Stranger Things,’ it’s neither weird nor nightmarish, but rather it’s intense garage pop rock, a side project of Metz guitar player, Alex Edkins. This stuff fluctuates between raucous, screechy, pretty and often awesome – whatever it is, your feet will know what to do. `Sunday Driver,’ as with so many other songs, makes we wish for James Bond’s car that obliterates everyone in front of him – and why are these people always in front of me? There’s just three reasons for bad driving – cellphone, drunk or oral sex. `Darkroom’ is the pretty one here – sounds sort of like Modern English. There’s even a quick history lesson here - `Lusitania,’ a passenger liner sunk by a German U-Boat in May, 2015, killing almost 1200 people including 128 Americans. The Germans claimed the ship was full of armaments. It was – this disaster helped swing American opinion against Germany and our eventual entry into WWI. It’s fuzzed out froth that’s fun, and this is supposed to be fun, right? (6/11/22).

`The Sleepwalker’ is the debut from Noah Deemer, out since 6 May and he did it himself. He conveniently lists his influences – none of which I’m familiar with- just as he wouldn’t know any of mine should I have any. Deemer is an interested and involved spectator of life…and the present? Wow – interesting, crazy times, or what? This stuff is frequently spectacular on several levels although much of it is instrumental guitar histrionics – best example would be `Please Life.’ The appropriately menacing `Outlaw’ should be the soundtrack for those greedy fossil fuel assholes and those democracy-hating fascists that are today’s GOP. It’s hard to decipher the title tune – is he telling us to wake the fuck up? The New York Rock Ensemble put it thusly: `…many men have come and gone that never really got it on. Don’t wait…’ Or then there’s `If you cruise, you lose,’ or words of wisdom from John Lee Hooker, `Don’t forget to boogie.’ This one ends with what the Firesign Theatre used to call `gas music from Jupiter.’ This one, while worth a listen, earns a smirk and a shrug. (6/11/22).

`With People’ is the fourth and latest from Diane Coffee, out since 29 April on Polyvinyl Records. Diane Coffee is the stage name of a dude, Shaun Fleming, once upon a time a voice over kid for Disney and lately the drummer for Foxygen. He sorta looks like Steve Poltz and he does sound like a chick – one that knows what a good hook-filled pop song should sound like – for example, `Forecast’ is such a sweet bubblegum pop gem that your ears might get cavities. `The Great Escape’ has nothing to do with the WWII Steve McQueen movie, but rather beating feet from Agoura Hills, NYC and Bloomington. `Sharks’ is a doo-wop, pop gem with heavenly harmonies, perhaps convincing enough to transform `Jaws’ into `Flipper,’ or not; in any case, my new favorite song. Jellyfish would approve; oh, and quit killing them – dolphins, that is. And finally, `Little ditty about Shaun and Diane…’ they know would a good pop song should sound like. (6/11/22).

Angie Goeke has a new one, `If I Were Honest,’ out since 29 April and she did it herself. Not getting the memo from Echo & The Bunnymen years ago cautioning us to `not be blinded by the lie that there’s an answer in the sky,’ Goeke kicks this one off with `So I Pray,’ an activity she makes convincing while not a member of the American Taliban who believe it is their right to tell women they have no rights. `Whiskey In A Teacup,’ while light on the dosage is heavy on the hooks as Goeke gets all sassy and brassy on this bluesy rocker that rocks. She has a swell voice utilized to the max on a variety of styles on this, an instant Americana classic. Her back-up band is as subtle as it is perfect. Half the songs have one word titles, suggesting focus if not editing skills. For the geography lesson, there’s `Fayetteville.’ All I remember about Arkansas is that it took us three stops to find some Yuengling as they have dry counties. In 2022. Anyway, Goeke’s talent trumps my search for a suitable adjective beyond `wow.’ (6/4/22).

Eloah Jones has a new one, a 5-song RP, `Drunk Words, Sober Thoughts,’ out since 29 April, and she did it herself. OK, let’s do the math: She has a cool, original name, she’s easy on the eyes, has a cool voice and even covers a Red Hot Chili Peppers’ song, `Under The Bridge,’ but as is often the case, she could use some hooks. Then again, she does sing as well and those other ladies with larger bank accounts. Best from this Texas indie artist is the title tune in which she doesn’t want to be, can’t help being, wish he wasn’t…`more than a drunken crutch.’ This evokes Homer Simpson’s timeless observation: `Here’s to alcohol, the cause of and solution to all of life’s problems.’ (5/30/22).

`Every Shade Of Blue’ is the fifth and latest from the Head And The Heart, out since 28 April on mighty, mighty Warner Brothers Records. Gee, this is all about the blue that is not the color of the sky or even Dodger Blue, but evidently they’ve been watching the news and this is that other kind of blue. So what could go wrong? The Trump Virus has killed a million Americans, the Republicans have turned into lying, amoral anti-American fascists, the American Taliban has a plan for the ladies, Putin may start World War III, climate change is killing us and pizzas are almost 30 bucks, and why does anyone care about the Kardashians – WTF? The 16 songs here might take your mind off that stuff for a while as pretty voices make beautiful pop. `Virginia (Winds In The Night)’ and `Hurts (But It Goes Away)’ feature intense, swirling intricate harmonies that are almost choir-like and thus, heavenly; and `Shut Up’ will work as a 2 a.m. hoping-to-get-lucky soundtrack. `Taking My Time (Wrong Woman)’ is an ode to Miss Take – she’s gone and you’re glad but the sex was likely memorable. Anyway, more good stuff from a good band. I saw ‘em at Coachella a few years ago and I bought a shirt. (5/30/22).

The third and latest from Rolling Blackouts Coastal Fever is `Endless Rooms,’ out since 6 May on Sup Pop Records. Too many bands don’t have one good guitar player – this band has three – Fran Keaney, Joe White and Tom Russo – just like Fleetwood Mac - back when they used to be good. Although nothing like the Big Mac, this is ‘60s garage band guitar pop that rocks from Down Under, Melbourne, in fact. Oftentimes, they create this always welcome chimey guitar thing while other times they’re jazzy and spacey and a bit out of focus, but the guitars always refocus your ears and reel you back in. Trippy is the operative word here. `Caught Low’ and `My Echo’ groove easily into happy feet moments. No doubt, this would be a great live band. (5/30/22).

`We Are The Masters Of These Levels’ is the latest from Pocket Fishrmen, out since July, 2021. Not the thing that was a thing too often interrupting late night TV movies, this is a punk rock band from the People’s Republic of Austin that pushes all the right buttons if you happen to be of the liberal persuasion – unlike most Texans who have made that Lone Star seem like a review. `I Believe The Woman’ is all about Anita Hill who credibly testified against future Supreme Court lump, Clarence Thomas – he of the fascist wife who dabbles in insurrection. `Civil War’ discusses the upcoming, which may already be here except with lots more gunfire. This time it’ll not just be the North against the South, but the smart against the stupid, who have more guns than ideas. Since 1865, the Confederacy has grown exponentially to now include the Midwest – so it’ll be all those idiots against the East Coast and West Coast. Finally, there’s `Humans,’ the best and a most prophetic song which clearly explains how humans have basically fucked shit up for the last 10,000 years and we’re about `to get what we deserve.’ It’s punk rock smartly done. (5/30/22).

`The Pandemic Songs’ is the latest from Hamell On Trial, out since June, 2020, and it’s on Saustex Records. OK, so it’s old but I just got it and it is Hamell, who is sort of timeless and outside the law of gravity. So, how much damage can one guy and one guitar inflict on the listening public? A lot. Hamell is rude and crude and not for the prude, but also, screamingly funny. It’s sort of rapid fire spoken word so listen fast – all based on current events with guitars – this is Hamell’s thanks-for-not-dying moment. On `No Problem,’ he makes it clear that there is a way to end the pandemic – get the fucking shots – and those dying are mostly overweight Trump supporters who didn’t get the memo. Since they rejected science, hospitals should reject them and allow them to die alone in the corner. They are, after all, too stupid to live – why else would they believe a fat, stupid, lying traitor specializing in raging insincerity? On `This Is A Hamell Show,’ the singer answers a fan letter/request for a dedication of sorts to an eight-year-old, leading to the obvious and inevitable reply, `What the fuck was your dad thinking?’ I got to see Hamell On Trial years ago in Santa Barbara and he’s great but probably still without any prospects for any GOP fundraisers. Dream gig (if everyone was available and willing, and time and the calendar allowed it): Tom Lehrer, the Fugs, Randy Newman, Hamell On Trial, Mojo Nixon, Steve Poltz and the Reverend Billy C. Wirtz. (5/29/22).

`Paint Me Blue’ is the debut from the Semantics from Down Under, out since 20 May on Side One Dummy. This one kicks off with `Carousel,’ itself kicking off with a cat scaring, why-didn’t-the-drummer-die sonic assault – the first of many pleasant enough but unmemorable guitar pop punk tunes. `This Love Could Kill You,’ could’ve been Bluebeard’s theme, and `Didn’t Wanna Hurt You’ becomes an atonal screech. I was looking forward to `Embrace Monotony,’ but it quickly became clear that the title is catchier than the song. These guys are on the right track but this one is energy seeking a better direction. (5/21/22).

`Deja Hoodoo’ is the latest from Lew Jetton & 61 South, out on 29 April on Endless Blues Records. Jetton has been at this for 30 years, so we know he’s got some stories. He’s got some songs, too – he’s released four albums over the years, and this one has 16 songs, and Jetton wrote and produced all of them. This is a near perfect blues album – two other guys help Jetton with the vocals and there’s two guitars. JD Wilkes blasts on harmonica on seven songs, most memorably so on `Homegrown Tomato.’ Woman troubles fuel the debate on `I Been Cheated,’ `Keeping Me Awake,’ and `Who’s Texting You;’ while the smooth groove on `Sandy Lee,’ would encourage `Drinking Again.’ Then there’s `Tattoo Blues,’ a song that evokes all sorts of painful and hilarious memories. I knew this guy in the army named Collins. We served in Panama, and for some alcohol-related reason everyone in our squad got a Playboy bunny tattoo on our backs. I had my own name written below the rabbit on my back, but Collins was warm for her form and got `Consuela’ tatted on his back. A week later Consuela told Collins to beat it – he’s probably still one of the few people in Pennsylvania with a Consuela tattoo. Another time in jail school, one of the homies came to class with his jaw jutted out, showing off his new tattoo on his chin. All of us stared at him for a few moments like the RCA dog, trying to figure out what SOCOL meant? After a few minutes, we figured it out – he meant it to say LOCOS but he flunked Mirror 101 as he spent a couple of hours giving himself a tattoo. Since tattoo removal is long, lengthy and painful, a beard is probably his option. Anyway, Jetton leads a bunch of veterans showing why they’ve been around so long. (4/22/22).

`Live From Memphis’ by Ann Peebles & The Hi Rhythm Section is a flash from the past – performed in 1992 and released for us in this new millennium on 22 April on Memphis International Records. Peebles is an old school soul belter backed by an all-star band. Originally billed as `An Evening Of Classic Soul,’ the promoter lost his shirt when an across town, same night Michael Bolton concert captured the majority of Memphis music fans. A nod to random mischief gets its due on `I Feel Like Breaking Up Somebody’s Home,’ the album ender, `I Can’t Stand The Rain’ is `the best song ever’ according to John Lennon. Despite their evident perfection, the songs are way laid back. (4/22/22).

Popa Chubby keeps on rockin’ – he’s released over 30 albums - his new one is `Emotional Gangster,’ out since 18 March on Dixiefrog Records. This one kicks off with a musical fire hazard – it’s a rager fueled by incendiary guitars - `Tonight I’m Gonna Be The Man.’ This one has a dozen tunes on it – PC wrote 10 of them. `Why You Wanna Make War’ reduces conflict to a personal level and PC does it nice cuz he does it twice – there’s a French version as well. `Save The Best For Last’ is rock solid and `I’m The Dog’ features that immortal boogie beat that your feet will recognize right off – it could also be the theme song for Larry Talbot, Willow’s Oz, Lassie and all those other famous canines. The covers rage extra. `Dust My Broom,’ a classic from Robert Johnson is a barnburner of the first magnitude, and PC goes off plenty on `Hoochie Cootchie Man,’ a biggie from his idol, Willie Dixon. Once upon a time, my friend and I got faded almost beyond repair and went to Hollyweird to see the Lucy Show and Love & Rockets. The show was sold out so we pled our case to the door people – evidently we were less than convincing as they called the cops on us. At a wobbly double quick down the street, we ducked into the nearest bar. Inside, Willie Dixon was playing `Hoochie Cootchie Man’ with his nephews as the back-up band. There’s a couple of slo mo clunkers on this one, but mostly this one is a keeper and PC seems good to go for another 30 albums. (4/22/22).

`Let’s Straighten It Out!’ is the latest from The Sully Band, out since 10 March on Blue Elan Records. This one is 10 classic soul and blues tunes covered by the Sully Band out of San Diego. A stage filling outfit, there’s 10 of them – almost enough to scrimmage the Chargers and enough for two teams to practice with the Clippers. Both teams should’ve stayed in San Diego – that way, the Sully Band could play at halftime. While not one of the focus songs, `I Wish It Would Rain,’ is always a good choice and Sully Sullivan’s gruff vocals give it a new edge; plus that song could be the theme song for SoCal. And Sully is fearless – he covers most convincingly `Higher And Higher,’ a memorable song from Jackie Wilson.

Rebecca Jade adds blast furnace vocals on four songs, making her presence known right off on the first song, `When The Battle Is Over.’ Battles are horrible and afterwards to many, even worse. After a particularly destructive battle in Europe with Napoleon’s French army against everybody else, the clean-up crew showed up after the fact, collecting the bones of horses and heroes alike, shipping the remains to England where they were ground up for use as fertilizer. Sorry, I digress. The Sully Band has done a competent job on a labor of love. (4/22/22).

While solid advice, `Life’s For Livin’’ is also the title of the latest from Richard Wilkins, out since 26 January, and he did it himself right there in the People’s Republic of Portland. So, how could anyone get the blues in Portland where they have strip clubs with no cover and bad-ass beer? Wilkins plays kick-ass blues – four originals and eight covers on this one. Wilkins plays tenor sax, bass and he sings (not all at once), and Kevin Selfe just shreds on that guitar. A Sonny Boy Williamson classic, `Help Me,’ which I first heard by Ten Years After, gets a solid treatment from Wilkins, and two Jimmy Reed covers are epic, especially `Honest I Do.’ Once upon a time, I knew a `Hydraulic Woman,’ the gorgeous Monica, a dancer at a bikini bar. I put her through law school a dollar at a time. She had mind-bending independent control of each boob, a convincing demonstration of human hydraulics. `I Don’t Drink No More,’ if true, makes playing blues for a bunch of drinkers nothing but strange. I’ve promised myself the same thing every morning during spring break. (4/22/22).

Lynne Hanson has released her ninth album, `Ice Cream In November,’ out since 22 April on Panda Cave Records. Out of Ottawa, Hanson is sometimes referred to as the `Canadian Queen Of Americana,’ or do I hear Canadiana? She uses the title tune as a synonym for loneliness as Ben & Jerry perhaps find winter to be a downer when it comes to the bottom line. Hanson is the master of all sorts of styles, has a beautiful voice and writes witty, thought provoking lyrics. She can do it all – slo mo lite rock, girl and a piano, girl and a guitar and her band, the Good Intentions are tighter than a python necktie. The songs are superbly well crafted and there’s memorable lyrics in every song. For example, from `Hundred Mile Wind,’ a sample line: `…I put words on paper because they don’t talk back. It’s a one way street and I like it like that,’ from a love lost/lousy perspective but there’s still some estrogen boiling on the back burner for that pesky but unforgettable ex. Another song features some words that go something like this: `…There’s a little bit of truth in every little lie,’ which somehow clicked with me over the 10 to 20 e-mails I get every day from Orange Twitler – one of them actually mentioned Trump and truth in the same sentence; so clearly someone is hiding that lobotomy scar. Hanson is as good as it gets. (4/21/22).

*****************FLASHBACK*************

Sirius is costing me money, but worth every penny my son pays for my driving pleasure. Let me explain. So, a few months ago I heard a catchy song, `Reform School Girl’ on Little Steven’s Underground Garage Channel 22. It was by a guy named Nick Curran – the album is `Lowlifes’ from 2010 on Electro Groove Records. For some reason this CD was pricey to say the least – it cost me 30 George Washingtons. I have three Curran CDs now – and why wouldn’t I? A guitar player out of Maine fronting his band, the Lowlifes, this guy rocks; oftentimes and especially on the album opener, `Tough Lover,’ he seems to be channeling Little Richard, and that’s always a good thing. Curran is right there with under the radar singer/songwriters such as Ike Reilly, Steve Poltz and Paul Thorn.

As one with some knowledge of Bar City, the title cut resonated exponentially. In the song, `she just got out’ and became the poster girl for Miss Take,’ compelling me to buy the CD. The tune ends with a great guitar solo and piano pounding exclamation point. Hey forget that bullshit that we don’t need jails anymore – plenty of people that are in jail belong in jail. Curran has the beat, the attitude and a couple of sax players. Unfortunately, we no longer have Curran – he died of cancer in 2012 when he was only 35. Fortunately, his music lives on. (4/21/22).

`Technicolour Shakedown’ is the latest from Velvet Starlings, out since 8 February on Robot Kitten Records. This is garage rock from seemingly out of the timewarp, but conveniently available and accessible right now. Some people hear British Invasion – I hear the Seeds and the Paisley Underground from the beach. It’s a power trio fronted by excitable guitar player/keyboard player Christian Gisbourne (who seems to be channeling the Seeds’ Daryl Hooper on the organ), while ably assisted by brothers Foster and Hudson Poling on drums and bass respectively. This is inspirational stoner pop that sounds old, but obviously it’s not, and should go a long way towards replenishing the ranks of the hippies who got haircuts and became realtors. The title tune is typically raucous and impatient – just like rock `n’ roll should be – and with a cool and trippy ending. `Turn It On’ is the last song and probably their live set ender – a wild, overindulgent jam that’ll leave the dancers panting just before they go out to smoke their dinner in the alley. More sandpaper than velvet – these birds rock. (4/20/22).

The 13th and latest from Mississippi Heat is `Madeleine,’ out since April Fool’s Day on Van Der Linden Recordings. This is the project of happening harmonica player and bandleader Pierre Lacocque. It’s working. Maybe the best blues band anywhere, they’re celebrating their 30th anniversary, having successfully extracted the best thing about Mississippi – the music – while foregoing the heat and Mississippi itself. This venerable Chicago blues band has had a revolving cast of characters – pretty much, the best blues musicians anywhere. You’ll be hooked within the first 10 seconds of the album opener, `Silent Too Long,’ a blues rock rager that could rival Mrs. O’Leary’s cow as to incendiary potential. These guys should be headlining Coachella. (4/20/22).

William Ryan Key’s latest is a 5-song EP, `Everything Except Desire,’ out since 12 February on Equal Vision Records. Best known as the frontman and rhythm guitar player for pop punk heroes, Yellowcard, Ryan has been involved in all sorts of collaborations with other artists since the band gave it up in 2017. This is his third release as his own man – forget about Yellowcard – this has nothing to do with that. This one starts off with `The Swim Back,’ ambient background music with is beautiful but too boring to hear again. The other four songs have vocals but are of the slo mo, lounge lizard persuasion and are not very memorable, unlike Yellowcard. Then again, we should not expect the same sound from musicians forever. They’re artists and their art changes.

Years ago, I was subbing at Camarillo High School, and I was about to interview Yellowcard for the local paper. Since the band was based in Camarillo, they had a serious fan base among the students. So I’m in this classroom with about two thirds, young ladies, and I asked them rhetorically, `So who would wash my car for Ryan of Yellowcard’s phone number?’ Immediately about 10 hands went up. Of course, I was only kidding and the collective groan is still memorable. (4/20/22).

Oceanator has released her second album, `Nothing’s Ever Fine,’ out since 8 April on Polyvinyl Records. The Big O in question is no one but Elise Okusami, who rocks it up in fine style on this 11-song effort which begins with `Morning’ and ends with `Evening,’ in short a solid day’s work featuring zero bad cuts. There’s plenty of giant, arena rock guitars going off on songs shared with Oceanator’s big vocals. `Solar Flares’ starts off slow relentlessly building into something you’ll want to hear many more times. `Bad Brain Daze’ is probably her set ender at a show featuring a wild sax solo in the middle. This is rock `n’ roll smartly done. (4/20/22).

Animalweapon has a new one, `Set Of Constraints,’ out since 15 April on Polychromatic Records. This is the project of one Patrick Cortes and his friends – all of whom are machines – they’re out of `The Tarheel State,’ one of the most gerrymandered states in these here United Snakes. This is basically elevator music with some vocals now and then – sometimes, indeed beautiful, but it doesn’t take you anywhere. `Deserve’ and the title tune are the first singles from the album, but this stuff could convince Adderall to take five. The band bio suggests, `…hopeful electronic dream pop.’ Gotta give that one a smirk and a shrug. Then again, I do wish animals had weapons – it would clearly redefine hunting, a euphemism for murder. (4/19/22).

`Crisis Actor’ is the debut album from Sandman Sleeps, out since 26 March, and they did it themselves. This is gentle and subtle guitar pop featuring swell vocals from guitarist Cristina Peck. Her sister, Alex, plays bass and they added two dudes to form the quartet. Firm believers in the concept of brevity – the first six songs have one-word titles. Overall, this one is solid throughout but could use some hooks and some grabbers. `Feet’ rocks best and when I look down I see those checkered Vans that made Jeff Spicoli a cultural icon and the company rich – thanks for the Warped Tour – too bad those shoes definitely ain’t ten bucks anymore. `Fellini’ also rocks extra, but `Summer Rain’? What’s that? They must not be from SoCal. OK, they’re not – they’re from Flori-duh – home to several of the most despicable politicians – Senators Scott and Rubio and Governor Ron Death Sentence. (4/19/22).

`You Will Hear Thunder’ is the third and latest from Mensa Deathsquad, out since 12 April. This is the brainchild of one Brandon Phillips who does techno pop/BritPop with an attitude. Swaggering, snarling and squirming among the ample hooks, Phillips is a confident and commanding frontman for this, my new favorite band. To quote the band bio, `Mensa Deathsquad wants you to live in a world without shame or guilt…wants you to dance and think and fuck and cry in a state of total liberation from your pressures, your hang-ups and your social anxiety.’ And why not? To quote John Hadl, `If you think long, you think wrong,’ but while you’re thinking to this band, you’ll probably also be dancing even as you process the witty lyrics. If you appreciate the Jesus & Mary Chain, the Dandy Warhols and Franz Ferdinand, you’ll love these guys. This one is a brilliant tour de force, and a deal with 14 songs with no clunkers. Dream gig: Mensa Deathsquad and I Voted For Kodos.

And finally, what a great name for a band, but it won’t make any difference if you’re dead – put into the past tense by either a smart or dumb trigger puller. (4/19/22).

`Badder To The Bone’ is the latest from Eliza Neals, out since 22 April on E-H Records. This one should come with a dangerous heat warning sticker as this one is a blazer. Neals prowls the stage like a panther in heat with estrogen fireworks going off everywhere with vocals on blast, and the guitars by Lance Lopez and Michael Puwal are positively incendiary, a sonic fire hazard. `Got A Gun’ is the female version of `Hey Joe,’ as her loser boyfriend would be well served to invest in some Kevlar. Then there’s `King Kong,’ evoking the monkey-see-no-one-knows-what-the-monkey-is-gonna-do conundrum. Will Kong squash her like a bug or sense some sort of kinship with Ann Darrow and buy a CD? This is attack blues smartly done. (4/19/22).

`CRY MFER’ is the latest from My Idea, out since 22 April on Hardly Art. It’s goofy and alluring pop rock, simple yet infectious, featuring steamy yet innocent vocals from Lily Konigsberg, ably assisted by the band – mostly her significant other, Nate Amos. If the calendar were different, this band would have a residency at the Bronze in Sunnydale. Amos gets his chance to let it all hang out on `I Can’t Dance,’ which could be problematical when it comes to procuring that urgent horizontal audience of one at closing time – the conventional wisdom being if you dance with them, you’re in there, which brings us to `Breathe You.’ OK, I’m sure you’re aware of that regrettable but common misstep – drinking yourself out the window of opportunity. It happens. Anyway, on the band’s song, the two principals were nearly too faded to fuck, but somehow succeeded and now it’s a song – actually it’s two songs. They do it nice cuz they do it twice. `I Should Have Never Generated You’ captures perfectly that smooth beat, beloved by most feet. Love this band. (4/19/22).

`A Higher Place’ is the latest 6-song EP from Tombstones In Their Eyes, out since 26 April on Kitten Robot Records. You’ll love this band after the first 10 seconds – the soaring harmonies can do that; also there’s plenty of firepower – there’s six of them. John Treanor is the band leader in pursuit of that perfectly fuzzed out guitar sound which could inspire jam band fans to swirl in endless ecstasy. `I’m Not Living In Fear’ is nearly endless at nearly seven minutes long, and applies to those who don’t watch Fox News. This song could also have a future as on-hold music at your local pot dispensary. This stuff is so stony it could cause you to flunk the next random drug test the HR zombies spring on you at work. This is dance/trance music for stoners, the spiritual descendants of Vanilla Fudge and the perfect soundtrack for a non-fatal opioid buzz. (4/19/22).

`Eighty Nine’ is the latest from Charlie Gabriel, out in a digital format since 25 February on Sub Pop. You’ll have to wait until 1 July for a physical copy. Down in New Orleans, he’s known as Charlie G, a fourth generation jazz musician and a master of the sax and the clarinet. Here’s why I can’t relate to jazz – I never know when a song is supposed to end and they never do. It sounds like a guy noodling around in the garage, then again, if turned down low this could be background muzak in the dentist’s waiting room. Most others will surely disagree. (4/18/22).

Guerilla Toss has a new one, `Famously Alive,’ out since 25 March on Sub Pop. This is East Coast techno pop punk out of Boston but now in NYC with a decade worth of experience, featuring propulsive tunz as sung by exuberant front gal Kassie Carlson. With song titles such as `Mermaid Airplane,’ the title tune, `Heathen In Me,’ the Goofball Factor remains healthy – some songs would seem to suggest you wear a beanie with a propeller on top if you’re really connecting to these asymmetrical rockers. To guys, the jury is out on `Excitable Girls,’ many preferring drunk girls but be careful what you wish for. The album opener, `Cannibal Capital,’ is all about vulture capitalism – something Michael Moore knows all about – but probably has little chance for on-hold music on Wall Street. When and if homophones come back, we might be trying to calculate Kong’s QB rating after winging three T-Rex’s way out of their comfort zone. This is shimmering weirdness smartly done. (4/18/22).

Father John Misty is a busy guy – he’s just released his zillionth album - `Chloe And The Next 20th Century,’ out since 8 April on Sub Pop, and not surprisingly, you’ll be needing this one. This one kicks off with `Chloe,’ a retro sounding lounge lizard lullaby that you might hear on the 40’s channel on Sirius, but all I think about is Detective Chloe Decker – Lucifer’s elusive squeeze on his TV show. Probably not a rebuttal to the `Mr. Blue’ by the Fleetwoods from 1959 and I don’t see any Harry Nilsson connections, but `Goodbye Mr. Blue’ is a superbly well-crafted acoustic tune; in fact about one of my least favorite things – a dead cat, always a tragedy. Cats invented cool and always make me smile – they’ll do the same for you unless you’re an asshole – cats ID them quickly. So is FJM smarter than all of us, funnier than us (especially to the smart people), fucking with us or just an artist being artsy? FJM astutely notes, `…and now things keep getting worse while staying so eerily the same…’ Everything is fucked up pretty much, and FJM is just trying to make sense of it all. He even reveals his sources: `...the wisdom of the ages from Gita to Abraham was written by smitten lonely sages too wise to ever take a chance.’ OK, then. This one has a definite retro flavor and a bill with FJM and Harry Connick Jr., and Chris Isaak from 25 years ago would’ve been epic. (4/18/22).

`Once Twice Melody’ is the eighth and latest from Beach House, out since 18 February on SubPop out of Seattle. How appropriate that I’m listening on Easter Sunday – the day of all those looooong movies – this one is 18 songs over 84 minutes. Once upon a time in my little slice of 805 SoCal, a beach house was doable as the beach was the ‘hood and rent was cheap. Obviously, that’s over as beach houses now rent by the weekend, the hour, the minute or some shit and the hoodlums are the landlords, thus, this Beach House is much more accessible. Once again, it’s the project of Victoria Legrand and Alex Scally, who do this mesmerizing, whispery vocals thing – footgaze cuz we’re barefoot on the beach? Musically, they run the gamut from A to B as all the songs pretty much sound alike and this could easily have been one 84 minute song. It’s almost like the soundtrack for nodding out on the couch at the Norco convention. But they’re not without interest – there is definitely something there – note the eight albums. Then again, `Illusions Of Forever’ sounds like a Michael Moorcock book, `Hurts To Love’ could’ve been Buffy’s theme song and we all know that bad love makes for good songs. And finally, why is `Finale’ the 14th song and not the 18th and final tune? Trippy and relaxing – perhaps that’s the point. (4/18/22).

`The Water Comes Back’ is the sophomore effort from Katie Callahan, out since 22 October and she did it herself. Callahan has written these anthem-like rockers that quickly become contagious – even necessary – as inspired by her spiritual amigos – Jars Of Clay. `Witches’ reminds us that old school American Taliban used to burn women suspected of being witchy, and outlines bad attitudes that evil men have institutionalized in order to keep the ladies subservient. It’s well past time to give the women a chance to run the show – old, fat white guys have fucked shit up almost beyond repair. By French-kissing Big Oil, they’re inadvertently letting the other side win – that would be Mother Nature, who might just kill us all for being greedy, destructive jerks. Callahan, raised military and religious, lets it all hang out on `I Miss God,’ a song with no future as on-hold music at Bill Maher’s or Ron Reagan’s or my house. She has a song, `Notre Dame,’ all about that iconic cathedral being rebuilt after a disastrous 2019 fire. The other Notre Dame? Hate ‘em – they snapped the Sooners’ 47-game football winning streak in the ‘50s and UCLA’s 88 game basketball winning streak in the’70s. Callahan makes a compelling case to `Burn It Down,’ a more sensible alternative to Mojo Nixon’s epic, `Burn Down The Malls.’ This is really a great sit-down-shut-up-and-listen album. Callahan has a powerfully perfect voice – what comes after `wow’? (4/17/22).

The latest from No Monster Club is `Deadbeat Effervescent,’ out since 11 February on Emotional Response. First of all, what a great album title and album cover – the music is dopey, dork pop by some nerds that aren’t afraid to be unafraid and let it all hang out while hanging out Down Under. Imagine if the calendar was so aligned that Gilbert Gottfried (if he was still alive) and Jerry Lewis (from the ‘50s) had a band. It’s actually the brainchild of one Bobby Aherne who’s been at this since 2009 and this is album number 13, which includes both solo and band stuff. They’re a trio these days but the songs mostly lack hooks and are more annoying than ingratiating. (4/16/22).

`Fingers Crossed’ is the debut from Artsick, out since 21 January on Slumberland Records. Christina Riley is the chick in charge fronting a tight band - a set-up that almost always works. It totally works on the pop punk rocker, `Despise,’ a perfect song for Buffy when Angel misbehaves, but unfortunately a few decades too late, yet people still get mad at each other, so this one will no doubt live long and prosper from now on. Out of NorCal, Artsick has one foot in the garage and the music and vocals are a bit out of focus but the sheer exuberance and energy, upbeat and uplift – and jangly guitars are always a good thing. `Living A Lie’ should have along life as Republican on-hold music, and `Be OK’ is therapy made easy and would’ve made `Awakenings’ a much shorter movie. Artsick should have their fans footsore from all the jumping around they’re liable to incite. Most of the songs are just around two minutes long so they’ll be over before you get tired of them, but you probably won’t. (4/16/22).

`Further’ is the title of a 5-song EP from Dwight + Nicole – out since 22 October and they did it themselves – whoa, did they! Out of Burlington, and well known throughout the Northeast – hopefully on Bernie’s playlist – this is soul, blues, gospel and rock performed to perfection. This one kicks off with `The Next Go Round,’ on which Nicole Nelson sings with a steamy, primal sigh that could melt your speakers and instigate testosterone boiling all around. When Dwight Ritcher gets his turn – he’s every bit her equal. These two are the best boy/girl duo since Janiva Magness + Jeff Turmes – not there yet, but on the right track. (4/16/22).

Claudia Combs Carty has released her debut, and that would be `Phases,’ out since 22 October and she did it herself. A new CCC for the new millennium, Carty was born in Barcelona, raised in Boston but now in the Bay Area and perhaps torn when the Red Sox come to play the StinkinGiants. She’s a piano playing knockout with an evocative, clear voice who went to school for this – the Berklee College of Music. Clearly she learned plenty and took good notes. Pretty much just a gal at her piano occasionally but subtly enhanced with guitars and stuff as this is a sit down and listen offering. Those chicks that told me to shut up at a Rickie Lee Jones concert 30 years ago – they’d love Carty. (4/16/22).

Regina Bonelli has a new one and that would be, `Truth Hurts,’ out since 18 February on True Groove Records. Bonelli has a Richter Scale voice which she uses to great effect, putting the `Hurt’ in `Truth Hurts,’ and `Love’ is often a four-letter word often unfit for Valentine’s Day. A keyboard player backed by a tight band, Bonelli wrote most of the songs and fairly lights it up with the album opening title tune. Remember Timi Yuro’s song, `What’s A Matter Baby’? Bonelli has that power all tangled up in blues. `The Last Tear’ is so potent that even a statue of the world’s most evil man – Dick Cheney – might even get misty; well, maybe it was just the fog, but you know what I mean.

Years ago in ’65 maybe, I saw the Yardbirds playing in the corner of a gym in Santa Barbara. They had Jimmy Page and Jeff Beck playing guitar and were so loud they almost knocked me on my ass. Regina Bonelli can do that with her voice and woe be to any of those skinny wine glasses in the back. (4/16/22).

`Somewhere’ is the latest from Warden & Co., out since 8 April and it’s a DIY project, and further proof (if any be necessary) that you can’t hide anyone in a trio. Seth Warden is the guitar playing, singing frontman, and Doug Moody is the violin-playing other singer while Brian Melick hits those drums. This Company has invested heavily in Folk Pop 101 and have mastered the concept of simple, perfect pop and Moody’s violin moments are awesome. Nothing to change your mind or your life but music reduced to excellent simplicity – just like what Ben Vaughn used to do – in spirit. `Stay Strong’ could be the Democrats theme song as our country is under siege by the most dangerous group in the world – the Republican Party. They tried to overthrow the government before in 1932, and now – since they can’t win an election on the issues – they’ve decided to cheat – choosing their voters (and not the other way around) and controlling who counts the votes – all in the service of a lying traitor who already incited a coup on January 6. Oh, and they don’t believe in climate change, either. Then there’s `Middle Of Madness,’ which will make sense to anyone who follows current events. `Somewhere’ is another perfect pop gem featuring a rising star in the Company – Warden’s young daughter, Louvella. (4/16/22).

`Death Of A Hummingbird’ is the debut from 14-year-old singer/songwriter Jack Barksdale, out since 4 March and he did it himself – how could he not? He started taking music lessons at the ripe old age of seven – that’s right, seven – and now, Barksdale is gonna show us what he learned. This one kicks off with an acoustic instrumental – yeah, he can play, so…then what? Then this – on the second song, `Sideways,’ the kid sings – his voice is wimpy and weak – oh, but he’s only 14, and you’ll get used to it. Actually, he’s 14 going on 40, and he must watch the news which might’ve inspired `World Full Of Nothing,’ which is exactly what’s gonna be left of all this in short order. People have screwed up this world almost beyond repair and we’re circling the drain as Mother Nature is treating humanity like the annoying, destructive parasites that we are. Pretty much a kid and an acoustic guitar, of which he is a master, Barksdale is gonna have half a dozen albums before he’s old enough to vote; well, if Texas lets him vote. That lone star? It’s a review. This is no pity party, how ‘bout that kid – no, none of that – Barksdale is the real deal, and now you know. Oh, and humming birds are assholes – if they were as big as we are, they’d rule the world. Now and again, my cats kill them, and I am utterly opposed. (4/15/22).

Erinn Peet Lukes has a new EP, `EPL,’ out since 4 March and she did it herself. From everywhere else but now a Nashville-based singer/songwriter, EPL kicks this one off with `Stung,’ which is not a sequel to `The Sting.’ On `Piece Of Land,’ EPL proclaims upward mobility in Tennessee, `I got me a gun and a piece of land.’ If they weren’t already `The Volunteer State,’ that would be a good license plate slogan. EPL definitely has that twang thing going – she must be from South Redondo Beach. `Loneliness Or Solitude’ states the obvious, but Capricorns and only children actually are down with Superman and mostly appreciate solitude. Her band is tighter than your boss, she has a great voice – as good any country singer – so why ain’t she rich? EPL can clearly hang with the varsity in Nashville, and Tennessee is a beautiful state; then again, they do still have Nathan Bedford Forrest Day on July 12. Yikes. (4/15/22).

`A Non-Aggressive Extreme Violation Of Boundaries’ is the debut from Ivy Ryann, out since 4 March and she did it herself. Clearly, one of the best album titles in a while, Ivy appears to be one of those young folks who have too many consonants but not enough adjectives as we’re going to have to invent some new ones to describe Ryann’s Richter Scale, room-filling vocals. Based in Norfolk, home to tons of awesome summer-blooming viburnums all over the site where the Revvy War ended and the Battleship Wisconsin lives there as well – looking ready to rock `n’ roll. There’s something happening here throughout on a visceral level – Ryann is the shit – a brilliant, overwhelmingly emotional mindbender – the `Best I Can’ could make Dick Cheney tear up; well, at least stop sticking pins in democracy for a moment to snarl. There’s a way cool cover of the Man in Black’s `I Walk The Line.’ Ms. Ryann? In a word – wow. (4/15/22).

`The Longing’ is the latest from Jon Tyler Wiley, out since 25 February, and it’s a DIY project. Really it is - Wiley played all the instruments, engineered and mixed it himself. Based in Fredericksburg, site of a very bad day for the Army of the Potomac back on December 13, 1862, Wiley is a guitar player who has heard Bruce Springsteen before; he kicks this one off with `Wolves,’ a rocker that would scare said canines (and obviously felines) – just a lotta shit going on for one guy. OK, so why are wolves released back into the wild only for hunters to murder them? On `Whiskey’ we learn that `whiskey doesn’t work’ when trying to get over Miss Take who has been reduced in rank from The One to a song. Then again, drink more, and whiskey will work somehow someway. Just ask Homer Simpson: `To alcohol: The cause of – and solution to – all of life’s problems.’ Wiley hits it outta the park with `WannaBe,’ which hooks you right off: `I wanna be in Austin, Texas – taco trucks and future exes…,’ and the guitar breaks are fierce. On `Cake,’ Wiley reveals his dinner of choice unheard of by Nutrisystem, `whiskey and chocolate cake.’ I can totally relate, I used to live on Pabst Blue Ribbon and Skittles. Wiley has plenty of good lines of thought-provoking lyrics - he definitely has his moments…when he’s not busy missing Hank and Merle. (4/15/22).

`Stardust + Satellites’ is the latest from prolific living art masterpiece slash trainwreck Steve Poltz, available since November on Red House Records. Poltz is a Canadian from San Diego, now outta Tennessee where watching Padres games would require much effort and/or expense. `The Volunteer State’ is truly beautiful – also the home of Nathan Bedford Forrest Day – you can look it up, and soon to be no-age-limits for marriage. Anyway, the former frontman for those – can’t take them anywhere, Rugburns – Poltz has been a solo artist forever and he knows what’s really going on. This must be his zillionth album – maybe more – for years, he brought a technical assistant to his shows who recorded the festivities then sold a CD to the fans less than an hour after the show they just saw. That’s pure genius for an independent artist – good thing he has a zillion great songs. A master of funny and sad, Poltz offers examples of each – it’s worth a listener just for the album opener, `Wrong Town,’ a life on the road riot act by one who’s been there. `Conveyor Belt’ confronts the Big Issues and later on Poltz rhymes Baryshnikov and Kalashnikov. In short, it’s another Poltz album that you need. He’s one of those super talented, why-ain’t-he-headlining-Coachella artists along with Ike Reilly, Paul Thorn and Jesse Malin.

I survived a Rugburns show once in Santa Barbara back in the ‘90s and have seen Poltz solo about half a dozen times – always different, always memorable. Don’t miss a live Poltz show. There’s not too many musicians that can have a crowd of strangers shouting, `I want my fuckin’ house back,’ providing the chorus on a song from an artist they just met 10 minutes prior. (4/9/22).

`Multiverse’ is the third and latest from Reptaliens, out since 21 January, and it’s self-produced. This is comfortable, bar band rock amenable to elbow bending, which is popular pastime in their hometown, the People’s Republic of Portland. It’s a husband and wife team of Cole and Bambi Browning – she of the little girl voice. Then again, like too many bands, they could use some hooks as too many songs are same-sounding plodders on this fairly forgettable collection of Pop Lite. The Alien, the Predator and the Gorn would, I assume, prefer something a bit more animated. (4/9/22).

`Younger At Most Everything’ is the latest from Kyle Morgan, out since 25 February on Team Love Records. Keeping it close to the basics, this is pretty much a guy and an acoustic guitar singing mostly sad, introspective songs. A vulnerable dude always appeals to all those English majors all in black taking careful notes. Morgan does have an excellent tenor but the songs are mostly uninvolving. (4/9/22).

`Don’t Talk To Me’ is the debut effort from Dropper, out since 11 February on Dirt Dog Records. So imagine this: A hard driving rock band, fronted by a compelling and beautiful female lead singer, Andrea Scanniello – yeah, that always works. Helping it to happen is the shredding guitar player, most adept at concocting speeding ticket music. `Drive Thru Jesus’ is a cool rocker, although clearly unappreciated by the American Taliban. `Two Dollar Beer’ reminds me of a memorable new low – Quarter Beer Night and a Wet T-Shirt Contest at the Ventura Raceway back in the ‘80s. `OK OK OK’ is a tale within the tune as she runs into that pesky ex, who has faded from an option to merely a song. A veteran of lotsa other bands, Scanniello has now found her calling – center stage. She’s worked a lot of crappy jobs and is older than her years, but fortunately took good notes. If Buffy Summers had a band it might be like Dropper. (4/9/22).

The Reds, Pinks And Purples have released their fourth album, `Summer At Land’s End,’ out since 4 February on Slumberland Records. The brainchild of one Glenn Donaldson this is earnest, baroque pop from the Bay Area in NorCal – imagine Roxy Music’s Bryan Ferry as a Giants fan. The title tune is a laid back instrumental that goes on way too long, and at seven plus minutes is the soundtrack for I-wish-this-song-would-end; but the others are mostly highbrow pop but I can’t imagine Donaldson playing in a bar as he makes sit-down-and-listen music. You might want to wear a tie to their gig. Then there’s `Dahlias And Rain,’ another (but shorter) instrumental – dahlias are awesome but what’s rain?` There used to be an old lady a few miles away that had a front yard of dinner plate dahlias – spectacular or at least until the gophers ate them. I just had my lilacs bloom – one of them is like, eight feet tall covered in purple flowers, but for only two weeks…really? `Pour The Light In,’ which fortunately was not the soundtrack for one of Trumpty Dumpty’s COVID cures, is a representative rocker from this artist doing his own art thing. Good man. (4/9/22).

Mild Orange has released their third album, `Looking For Space,’ out since 11 February on AWAL Records in New Zealand - just like Bilbo, Frodo, Gandalf and Strider came before them. On `F.E.A.R.’ they suggest you run toward your fear, which here would mean, of course, those gnarly punks from the Valley, fronted by Lee Ving. Anyway, on `The Time Of Our Lives,’ they fail to generate sufficient energy for such a momentous idea. One can hear vestiges of the Dandy Warhols, Spiritualized and the Velvet Underground but they don’t quite pull it off, although the Big Ending on `Aurora’ is nice. On `Hollywood Dreams,’ and one who lives 60 miles north, I have different dreams – don’t get towed and get me the hell outta there. This is a band on the rise that ain’t there yet – I’d prefer some Wild Orange. (4/9/22).

The debut effort from Howless is `To Repel Ghosts,’ out since 18 February on Static Blooms Records. Out of Mexico City, their bio refers to them as – pick one – noise pop or zapata-gaze. I vote for the latter. There’s dual vocals from Dominique Sanchez and Mauricio Tinejro plus bunches of droning yet alluring guitar pop or as the bio suggests, `beguiling yet distant.’ There’s some truth to that as I can’t even tell if they’re singing in Spanish or English – thus, this one succeeds on a visceral level. So all this brings up the question, if the Mayans in `Apocalypto’ were actually Aztecs, would a tune from Howless save Jaguar Paw just as the solar eclipse did? I’m thinking definitely maybe. The band name refers to a stealth Larry Talbot, maybe? (4/8/22).

The latest from Ombiigizi is `Sewn Back Together,’ out since 11 February. The band members – Zoon (Daniel Monkman) and Status/Non-Status (Adam Sturgeon) are actually Anishnaabe – members of the Ojibwa tribe and first Americans – so yeah, of course they can use too many vowels if they’re so inclined. They’re also inclined to have made a wonderful roots rock/stoner pop album of groovy tunz. A prime example is `The Once Child,’ which reminds one of Rimbaud’s classic quote: `Genius is the recovery of childhood at will.’ This is haunting guitar pop throughout; and if the Deadheads were not dead or otherwise occupied, they’d swirl to dizziness/ecstasy over songs such as `Yaweh.’ These guys are definitely Spiritualized-friendly.

And finally, the white men have clearly fucked shit up beyond repair, and now fascism is back? Way past time to let the Native Americans and the women have a go at control. In the meantime, Omigiizi? What a great band, and I’d like to see how it would go if Zoon met my cat, Zoom. (4/8/22).

The sophomore effort from Beshken is `Pantomine,’ out since 18 February on Math Interactive. Once again, I must call upon the Firesign Theatre, who once mentioned `gas music from Jupiter,’ which is pretty much what this is. It’s ambient muzak bringing to mind Van Gogh’s ear for music. Beshken is, in fact, one Ben Shirken, and if you were at a venue where he was performing, you would stare off into space for a bit, then get up and leave – well, unless you were too faded to move. Too jazzy and spacey for me, although some tunz such as `M.I.A.’ have an electronic allure. (4/8/22).

The first new one in 19 years from the Ziggens – the greatest surf band ever from Wisconsin - is `Oregon,’ a 19-song epic – out since 23 September. OK, so it’s been a few months, but – hey – it’s the Ziggens – so kowabunga - and it’s all the original guys – Packer fans living behind the Orange Curtain, who clearly, are well rested. As self-advertised, the Ziggens play `cowpunksurfabilly,’ and we’d expect no less. There’s a number of finhead-friendly instrumentals as they seem to channel Dick Dale and the Ventures. There’s a couple of country songs such as `Fun’ and `Jesus I Trust In You’ that are cool but John Prine’s Jesus songs are better. Basically, the Ziggens are showing off – they can play anything and so they do; but better yet, they’re funny – best example here being `The Goys Are Back In Town,’ sure to have the skinheads goose stepping all over Central Park in Huntington Beach. Not as good as their epic `Chicken Out’ from 1998, but more Ziggens is always a good thing.

I saw them once in the ‘90s at Nicholby’s in Ventura – they all came out wearing Star Trek uniforms. The drummer threw a drumstick at my psycho ex-girlfriend and hit her in the leg. I still have the drumstick somewhere, and she is thankfully elsewhere. (4/8/22).

`Planet’ is a 7-song EP from Squirrel Flower – out since 28 January on Polyvinyl Records. Named for two of my favorite things – there’s never enough flowers and I hand feed ground squirrels at work (better there than at my house – they’re cute but they dig like gophers on crank). SF is, in fact, Ella Williams, who has a great voice but is no barrel of laughs; actually, no one that watches the news can be too much fun; but – check it out – the titles of the first three songs provide a not-so-subtle hint as to what’s in store: `Open Wound,’ `Your Love Is A Disaster’ and `Unravel.’ Once again, this blooming rodent has a great voice but the songs are not that musical – there’s a serious lack of hooks and if she wasn’t singing, she’d be wailing. Even the song about one of my least favorite things, `Sitting In Traffic’ is too slo-mo and mellow – if any topic should call for fiery screeching, that would be it. I find myself wishing for 007’s Aston Martin so I could blast aside everyone in front of me. SP is like Mazzy Star on downers. (3/31/22).

The latest from the iconic Ike Reilly

The latest from Another One Down! is `A Bitter Descent,’ out since 5 November, and they did it themselves. Out of Rhode Island, this is power pop fueled by the heartfelt vocals of Marcus Simonini and Brandon Teh on guitar. Imagine Bowling For Soup not funny as a lot of the songs deal with the aftermath of the relationship with Miss Take. This one kicks off with `Please Don’t Walk Away,’ a plaintive cry of one who will be sleeping along tonight.; and by the third song, `Sulk;’ well, there you have the rock `n’ roll stages of grief. By the seventh song, `Erase Your Existence’ makes it clear that her eradication didn’t work or this would be the last song on the album, which is by now, becoming a whine-o-gram. First of all – what – at least half of all songs are about love lousy – if you’re feeling low, get lower with Rhett Miller and Eliza Gilkyson for starters. While the sound is solid, these guys could use some hooks. Then again, they have a ready-made on-hold song for Orange Twitler’s lastest grift, `Chump Charity.’ Why are poor, stupid people giving money to a rich guy? (12/22/21).

`Savage’s Life,’ is the debut effort from The Sugar Roots, out since October on Lightning In A Bottle Records. Out of the People’s Republic of Portland, these Roots are a bunch of veterans of the local scene, unfortunately, doing those generic blues again with the possible exception of the Ray Bradbury-inspired, `Something Wicked This Way Comes.’ Otherwise, it’s that one song, one beat, one week scenario – competently done but nothing to get excited about. (12/22/21).

`No Way Out But Through’ should be the Democrat’s favorite theme, but it’s also the 11th and latest from Face To Face, out since the summer of ’21 on Fat Wreck Chords. Out of Victorville in the desert in SoCal, these guys have been at this for three decades, which would account for the double digit output of albums. Frontman Trever Keith has got it going on and Dennis Hill shreds on guitar making this a perfectly representative Fat Wreck release which, when cranked up, will inspire you to clean the entire house in 58 seconds. The momentum is never interrupted by any soulful ballads – it’s rock, rock, rock. (12/21/21).

`Marriage Material’ is the latest from Lorkin O’Reilly, out since 20 August. This is a low budget, low tech, low energy guy with an acoustic guitar offering droll, deadpan songs that are sad and/or surreal. Out of Upstate New York by way of Scotland, O’Reilly comes off as a lurker who took good notes, and his live shows would doubtlessly command pin drop silence + he’s a hundred more times more entertaining than Bill O’Reilly. `Still You’ is a love lost lullaby as moving as any ever written, and on `Napoleonic Complex,’ O’Reilly promises to end World War Ii as definitively as Quentin Tarantino, bringing to mind Randy Newman’s `Short People’ and sportswriter Jim Murray’s timeless observation on the vertically challenged: `If big people acted like little people, there wouldn’t be any little people.’ Basically, never put a shrimp in charge. And finally, seldom has an album cover so perfectly represented the album title. (12/21/21).

The latest from Jonathan Paull Gertler is `No Fear,’ out since 22 September on Rock Ridge Records, masters of introducing us to music that we should be hip to. Gertler is an acoustic singer songwriter out of Boston. His guitar work is masterful and he has some lines that’ll have you take a double take, for example, `…You can live as you’re told or how you should’ is from `Just Another Day,’ and that’ll get you thinking, yes? Despite the fact there’s an `l’ too many in Paull, that’s OK – this is America. While earnest, the songs lack hooks, so while I appreciate his craft, I wanna rock. (12/20/21).

`All The Blues’ is the latest from Willie Jackson, out since last summer and he did it himself. This one kicks off with yet another song about those eternal antagonists – the owners and the renters – the song is `I’m Your Landlord’ and it compares favorably with John Lee Hooker’s `House Rent Blues’ and Paul Thorn’s `Burn Down The Trailerpark.’ Jackson as the landlord is seeking a barter system with his female renter to unknown results. This much is clearly known: Jackson is a kick-ass bluesman with a perfect bluesy voice, who has written clever lyrics and features a band tighter than your boss; especially guitarist Eric Winbush who shreds appropriately when called upon. Jackson is out of Georgia, where it is entirely too hot in the summer (except for the crepe myrtles) – a state that needs to vote out shady governor Brian Kemp, who is forcing Stacey Abrams to beat him twice, and they also need to retain Senator Warnock, and then indict and hopefully imprison Orange Twitler for trying in plain sight to overturn a free and fair election. Anyway, Jackson has a bunch of serious blues songs, not to mention seriously funny blues songs such as `The Old Man Luv’ striking a blow for geezer rights and why ladies need an old boyfriend. Any why not? There is no we-have-to-talk scenario on the horizon because he won’t go to the bar because he’s barely alive. Then there’s `She Need Satisfied,’ wherein Jackson has a heart-to-heart with his doctor demanding that little blue pill in order to prolong the joy rather than guarantee the agony as he’s dreading being the weak link in a pending threesome. Solid throughout – this is one of the best albums of the year. (12/20/21).

The fifth and latest from Ryan Hamilton is `1221,’ out since late November on Wicked Cool Records. It would be hard to give him a 90 on the wicked part, but cool? Definitely – this is an epic and perfect pop rock gem. Hooks for daze, great sing-a-long, foot tapping melodies – what else is there? Evidently Hamilton released a song a month for the year, and if so, he clearly has mastered the concept of focus, plus he knows what a good song should sound like. `My baby is a rattlesnake – more venom than a heart can take…’ that’s a sample line from `Shots Fired.’ Whatever – this guy is a genius, forcing us to invent some new adjectives to describe the enjoyment in store for the ears of the listener, which will hear zero bad cuts. Then there’s `Banditos,’ no offense to Alfonso Bedoya, but this one is on Sirius with the memorable line, `…the world is full of stupid people.’ That’s right – they’re called Republicans these daze. Also, how long before you crash changing channels on Sirius, where there really is too much good stuff? The bio writer suggests comparisons to the Old 97’s and Matthew Sweet – yup, this is that good – and maybe the best album of 2021, Top Five, anyway, and my new favorite album. If I participated in Xmas (I don’t because every day is Xmas), but if I did, I’d would give this CD to everyone. (12/20/21).

Luca Kiella has a new one and that would be `Ready For You,’ out since October 22 on Cypress Road Productions. Kiella is a singing keyboard player who has decided to address some of the Big Issues, most of which are blues inducing. On `Immigration Song,’ he empathizes with the zillions of Hispanics that want to move north, mostly for economic reasons because where they live sucks – often as the result of U.S. policies that prop up asshole but compliant dictators. The fact is, we cannot allow open borders any longer – it’s a winning issue for the Republicans – and they’re right but for the wrong reasons. We need to close the border not for racist reasons but for the simple fact that America is all filled up – no more Mexicans, but also no more Chinese, no more Irish, no more New Yorkers at Dodger games – no more nobody. Stay home. Then there’s `I Hate My Boss,’ a sentiment thoroughly explored by Mojo Nixon. As to the power of the boss – there’s no need to be a fascist or make it `unnecessarily miserable’ since we’re all fellow sufferers, so be nice. This tune falls apart at the end when Kiella sings, `I wanna shoot him.’ Not even, it’s never a good idea to give stupid people bad ideas, much like Orange Twitler’s traitorous activities on 6 January. Anyway, Kiella plays enjoyable, serviceable blues. (12/19/21).

Aeon Station’s debut effort is `Observatory,’ out since 10 December on SubPop Records, out of the People’s Republic of Seattle. A firm believer in brevity, half the 10 songs have one-word titles and most of the others have two word titles – a sentiment that would’ve found favor with Calvin Coolidge, who unfortunately, did not rock. This is the result of the brain of one Kevin Whelan, a former bird – actually a member of the Wrens, beloved in New Jersey. When I want to love New Jersey, it’s hard to get past the Feelies and Ben Vaughn. According to other reviewers, this is, essentially, the fourth Wrens album, brought to life by Whelan and guitarist Charles Bissell, who are now, evidently, mad at each other – good thing there’s such a thing as recordings. This a heartfelt collection of pop rock gems – mostly chill but always compelling – with happening harmonies that enliven beautiful songs. No bad cuts. Any questions? Any answers? (12/19/21).

The fourth and latest from Shannon Lay is `Geist,’ out since 8 October on Sub Pop. Now, there is an episode of `River Monster’ wherein manic fisherman Jeremy Wade finds himself in the south Pacific where the locals show him how to fish without hooks. Lay, a singer/songwriter out of El Lay has a cool voice that’s wasted on songs that have no hooks (or why we remember songs) and the songs themselves all the sound the same, and by then, you won’t care about the lyrics. (12/19/21).

`Hey What’ is the 13th and latest new low from Low, out since September on Sub Pop. The opener, `White Horses,’ begins with a cacophonous din as if all the kitchen appliances were staging a coup while low on oil, sure to scare the shit out of horses of every make, model and color. It ends in a similarly discordant manner. The Low lives in charge here are the same as always since Bill Clinton was president – Mimi Parker and Alan Sparhawk for the last 27 years – they provide the cool harmonies while tightly controlled chaos swirls around them. Sometimes, it’s almost like medieval church music and will have your gaze locked onto your checkered Vans (or shoes of your choice). Trippy, trippy, trippy and a double bill with Spiritualized would be epic. That’s what.

Oh, and this: Why do I ever read a Pitchfork review? I never know what the fuck they’re talking about. If I was a musician, I wouldn’t know whether to send them a Christmas card or hire a hit man. I’m done with them. We do this because we want to share great music and not invent new adjectives. The musicians are the stars – we are merely the happy conduits…well, unless they suck. (12/17/21).

`S/T’ is the fifth and latest from La Luz, out since 22 October on Sub Pop. La Luz is an all girl trio fronted by Shana Cleveland out of El Lay – everybody sings. La Luz means `The Light’ and `S/T’ stands for self-titled. This one is mostly pop rock songs, light on the pop and easy on the rock leading to that familiar refrain: Need better songs. (12/17/21.

Lala Lala’s third and latest is `I Want The Door To Open,’ out since October on Hardly Art. Despite the fact that there appears to be a few too many la’s, this is the project of Lillie West from Scary Olde England, then El Lay and now Chicago. She offers weird, electronic, ethereal art rock with that whisper-y singing voice on these low intensity but high quality songs. Then there’s this: Three albums in five years – clearly she’s onto something. Oh, and great album cover. (12/17/21).

The fifth and latest from Coleen Green is `Cool,’ out since 10 September on Hardly Art. The thirtysomething singer/songwriter out of Hell-A must be doing something right – five albums is a career for many musicians – and her reach equals her grasp – she is cool, especially if catchy pop rock, pop punk and folk rock works for you, as it does for me on this, my new favorite album. Either she’s getting philosophical with us or else that Big Stupid Ex is gonna get his on ``You Don’t Exist,’ as in `…nothing matters if you don’t exist.’ Then again that could be true even if you do exist – don’t piss off a songwriter – oh, and the guitar solo is way – here it is again – cool. One of the album videos is `I Wanna Be A Dog,’ but evidently she didn’t get the memo: Dogs think people are gods – cats know better. There are sufficient hooks on these 10 songs for a fishing trip with the Go-Go’s and the Bangles, with whom Green would more than hold her own. One of the memorable rockers is `How Much Should You Love A Husband,’ while `Pressure To Cum’ implied more fireworks than it delivered. It’s an instrumental and if played half as loud could be the soundtrack for that nice Chinese lady’s work site, the Happy Endings Massage Parlor. `I Believe In Love,’ dispels any notion of where Green is coming from although the Old 97’s ended that line most convincingly by adding, `…but it don’t believe in me.’ Then there’s `It’s Nice To Be Nice,’ and of course, it is. I love the way Green’s mind works. I wish I had met her instead of other singers I’ve met. I’d take her to the drive-in if I could find one, but for now I’ll take her to heart. (12/17/21).

`Wriggle’ is the latest from Clipping out since last June on Sub Pop Records out of Seattle. At this since ’09, this is a trio of dudes from Hell-A, Jonathan Snipes, William Hutson and Daveed Diggs – creating some dystopian raps about places you should be glad you’re not at. Much like heavy metal guitar gods where speed thrills – these guys are similar except they use their voices. And these guys are clever, especially when they’re not getting shot at or getting laid. Stuff like this always reminds me of a lecture rather than hearing a song as there’s minimal music and maximum motormouth activity. (12/17/21).

`The Serpent & The Tiger’ is the latest album from Cartel Madras, out since mid-August on Sub Pop. This is the hip hop hallucination of a couple of Indian sisters out of Calgary – Eboshi and Contra Ramesh – who make it right clear damn quick that they can rhyme as well as the boys with a minimal amount of music but an extra helping of attitude. See above review. (12/17/21).

Belaver’s latest is `Lain Prone,’ out since 22 October on Niles City Records. This is the art of one Ben Godfrey, a NYC-based singer/songwriter with a droll, deadpan, seemingly pained voice whose words seem to have been extracted rather than flowing outward – all wrapped in a frequently hilarious style. Most often, it’s just a guy and a guitar – electric or acoustic – and some subtle percussion, certain to cause zero mosh pit action. Belaver creates more of a sit and laugh situation. From `Here It Comes,’ as in the end of the world, a sample line: `…If we don’t drown, we’re gonna burn – either way, it’s gonna hurt…’ And `Death To The World’ should be Big Oil’s on-hold music. A cool oddball who took good notes, Belaver’s favorite day is `Monday,’ the one most people hate – this is just an obtuse take on what’s what and definitely worth checking out. (12/16/21).

Foghorn Leghorn’s favorite album, `Barnyard,’ is the sixth and latest from Good Morning, out since 22 October on Polyvinyl Records. It’s two guys from Down Under – Liam Parsons and Stefan Blair – doing the folk rock thing with lots of hooks, making it instantly ear-friendly. Nothing jumps out and nothing makes you want to hit the Next button, and as far as duos go – this is more Chad & Jeremy than Peter & Gordon, or maybe the latter on downers, but pleasant throughout. One their best songs, `I’ve Been Waiting, is all about my least favorite thing, which is why you should always bring a book. They save the best for last, a song called `Country’ a folk rock rocker that even the Feelies would be proud of. And finally, hey Aussies, sure you don’t want that international asshole Rupert Murdoch back? We’ll throw in his bozo boys free of charge – all of whom have committed crimes against humanity over and over again. Screw them, but love Good Morning. (12/16/21).

`Back To The Blues’ is the latest from The Mick Schafer Band, out since 3 October on Lightning In A Bottle Records. Out of the People’s Republic Of Portland, Schafer wrote all the songs and kicks this one off with a grabber – the shortcut to incarceration, `Over In The Corner,’ wherein a kid is trying to figure shit out despite his mudflap parental units with the child rearing skills of a stump - `Daddy’s high on women, mama’s high on gin.’ What could go wrong? Imagine the Stones’ version of `Little Red Rooster’ as a vibe – the slow ones are down and dirty and you’ll be hooked by the second song. Ken Scandlyn and Jason Thomas each rage appropriately on guitar – no doubt causing the audience to nod approvingly, drink excessively and slow dance passionately. Then there’s `Husband Blues,’ the male side of WTF or maybe we actually DON’T have to talk – Tom Esch makes it even better since he was thoughtful enough to bring his fiddle. Check Schafer out. He lived the blues for decade, took good notes, and he’s the coolest Mick since Jagger and Cronin. (12/12/21).

`Let There Be Light’ is the debut from Sun Atoms, out since 1 October on Little Cloud Records. These Atoms are actually a singular atom, Jsun Atom, out of the People’s Republic Of Portland, and produced by Peter Holmstrom of the Dandy Warhols, so the Stoner Factor is well covered. In fact, these could be outtakes from still the greatest album of the new millennium, `13 Tales Of Urban Bohemia’ by the Dandy Warhols, and Atom does sort of sound like Courtney Taylor Taylor faded while channeling Tom Waits and Darth Vader, making subdued stoner pop that’ll hook you right off with the opener, `The Cat’s Eye.’ On one song, Atom confesses to being `Lost in a book I read back in the day;’ hey, it happens all the time – I’m on my 73rd book so far in 2021. Only one clunker out of eight tunz - `Praying Mantis,’ but seven out of eight will get you into the hall of fame. Enjoy the trip. Dream gig: Spiritualized, Dandy Warhols and Sun Atoms – even your grandkids 40 years from now will fail the drug test. (12/12/21).

`Mo Betta Blues’ is the latest from Miss Lady Blues, out since 17 August, and it’s a DIY production. This is big, brash and brassy, all in your face effort by MLB who also wrote all the songs. She’s out of Alabama but now is in Atlanta, where the Braves were better than the Dodgers, giving all of SoCal the blues. Georgia went blue for a change – thank you Fulton County – now we’ll see if Orange Twitler can get enough of his toadies in place to count the votes until the Republicans win. Brian Kemp cheated Stacey Abrams last but she’s gonna give it another time – this time against crooked Trump toadie, David Perdue. And don’t forget to re-elect Senator Warnock in ’22 – c’mon, rednecks, save us. As to this music, she’s cool but the songs are sort of pedestrian, but I’m sure she’s way better live. (12/12/21).

`SUNDAYS’ is the latest from Nate Mercereau, out since 24 September. He’s a multi-instrumentalist out of El Lay who’s worked with a lot of big names. This is a collection of instrumentals that sort of just noodle along – just right as background for a massage from that nice Chinese lady, or as the Firesign Theatre once so astutely noted, `Gas music from Jupiter.’ After a full day of listening to rock `n’ roll, songs like `Absolute Sensitivity,’ absolutely does not work for me. No. (12/11/21).

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