Album cover for Funerals for Fun by Alex Blum and the Roadside Quartet, featuring a white ghost standing on a two-lane road

Alex Blum and the Roadside Quartet: Funerals For Fun – Album Review

Reviewed by Harry Kaplan

Joe DiMaggio had a 56-game hitting streak, Orel Hershiser pitched 59 consecutive scoreless innings, and the UCLA men’s basketball team won 88 consecutive games between 1971 and 1974. Added to the list is Patrick Storedahl with at least 12 great releases in a row that he was either the lead or a contributor. That is significant and you can add Funerals For Fun to the list. Astoundingly good writing, vocals, musicianship, and production is the hallmark of this release. I keep waiting for one Storedahl release that maybe isn’t quite as good as the others, but it hasn’t happened yet.

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Talk Talk’s Spirit of Eden album cover featuring a colorful illustrated tree against a white background

Talk Talk: Spirit Of Eden (Parlophone (EMI)) – Album Review

Reviewed by Harry Kaplan

This album was released on September 16, 1988, which was my very first day working at an independent record store. Yes, record stores were a thing in 1988 and I was lucky enough to score a gig working at one. I had listened to almost nothing voluntarily apart from Grateful Dead music for the previous four and a half years. My horizons needed expansion, only I didn’t know it yet.

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Album Review: Tony Rice (Remastered 2026) – Craft Recordings

Reviewed by Harry Kaplan

Where has this album been all my life? How did I miss this one? I guess my love of bluegrass didn’t fully develop until later in my life. As a youngin’ I was much more moved by loud rock, electric and aggressive music. Shame on me! This is absolutely stunning. Nothing outlandish, nothing experimental. Just absolutely pristine bluegrass adjacent music. I say adjacent because it differs from straight bluegrass in its presentation with more pop sensibilities. But still sublime.

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Uncle Lucius: Live In ’25 At Gruene Hall (Boo Clap Records) – Album Review

Reviewed by Harry Kaplan

There are a handful of storied concert halls that when performers play there, they know they’ve made it. You’ve got The Ryman, of course, Red Rocks, The Garden, and Gruene Hall. Yes, Gruene Hall in country music circles is the fulcrum of playing music. It’s been around since 1878 and has hosted Willie Nelson, Townes Van Zandt, Loretta Lynn, Asleep At The Wheel, and too many others to mention them all.1 So to play there and release an album from this storied location is a big deal and Uncle Lucius has played there numerous times. The album cover echoes the importance of this institution because the center of the cover – in a 72 bold font is “Gruene Hall” with a white background. Uncle Lucius and Live in 25 appear bottom center in a smaller font. Nothing else has to be said and no pictures are necessary. A true motion of the utmost respect for this historic musical landmark.

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molly BANG: She Caught My Fancy (A Country-ish Tribute to Ween) – Album Review

Reviewed by Harry Kaplan

This is what the band wrote about themselves on their Bandcamp page: “We’ve been booed. We’ve been banned from establishments. We’ve emptied entire venues by the end of our first song. We are the worst band in Portland… ” In the words of Nurse Ratchet, “Those are some very challenging observations you made, Randall.” And indeed, they are. Worst band in Portland, which could mean worst overall worldwide? Nahhh. They’re actually pretty good. If you like a side dish of weirdness with your music, this is very enjoyable. After all, this is a country tribute to Ween, who were pretty “out there” musically in their own rights. If however, your idea of a good mix tape includes Achy Breaky Heart, Livin’ La Vida Loca, Macarena, and Who Let The Dogs Out?, this is a hard pass.

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Wes Youssi And The Country Chanps: High Diver Album Review

Reviewed by Harry Kaplan

Wow! What a great sound Wes Youssi and the Country Champs have created. These folks have created an incredible gumbo. I will try to pick out all the elements I hear: garage, psychedelic, rockabilly, blues, honky tonk, outlaw country, and early rock and roll. I’ll take a bowl for now and one for later. It seems like a lot of “stuff” to pack into an album, but Wes Youssi and company does a perfect job putting all of the influences and genres into one package that is cohesive and well played throughout.

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Nick Stockton: You Made Me Leave – The LA Demos

Reviewed by Harry Kaplan

The idea that quantum theory suggests time is not linear means time is not a single, straight line moving from past to future, but may be a more complex, multi-dimensional landscape where past, present, and future are interconnected or can coexist. You Made Me Leave – The LA Demos by Nick Stockton may be the proof of this theorem. After giving this a few listens, I am firmly convinced that time is not linear or Nick has a time machine in his basement. If you told me that this album was written and recorded in 1959, I would believe you. There is nothing, other than the recording quality that would indicate that this collection was from 2025. It is authentic and genuine as possible and although conforms to old standards, sounds completely fresh and relevant today.

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Shinglers: Hit The Head! Album Review

Reviewed by Harry Kaplan

A fine release from Shinglers who hail from Austin, Texas. And it’s Shinglers, no “the.” Clearly, these fellas are very well-schooled in Texas country, rock, and blues music. All the boxes are checked: great vocals, pitch-perfect harmonies, and twang out the wazoo. You can definitely hear very strong flavors of Roy Orbison and Doug Sahm, as well as other Texas music dignitaries. Additionally, there is a strong swig of Tejano music that runs through this album like a main circuit cable, giving it a rich and diverse flavor that pays homage to the region’s musical heritage.

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Barry Walker Unit – At The 13th Moon Gravity Well Album Review

Reviewed by Harry Kaplan

Sun Ra exclaimed, “space is the place,” and I think he was on to something profound. The Barry Walker Unit seems to live in a realm that is not just physical but ethereal and nebulous. They challenge the very concept of structure in music and flirt with chaos; in doing so, they create new lines and new borders that have yet to be defined. Their sound, infused with unique twang and innovative use of pedal steel, offers a fresh take that is both avant-garde and deeply comforting at the same time.

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Robyn Hitchcock ‘n’ The Eqyptians: Queen Elvis (A&M Records) Album Review

Reviewed by Harry Kaplan

There is at least one exception to every rule, or so the saying goes. I am officially exercising my option on my own rule to only review albums within a year of release. So what am I doing reviewing an album that is 37 years old? I will tell you. It is so darn good and still holds up in today’s musical spider web. I heard this quite a bit in 1989 when it was released, but lost touch with it over the years. A few years ago, we reconnected and I gave it an earnest listen and was completely gobsmacked by how incredible it still sounded after all these years.

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