molly BANG – She Caught My Fancy album cover

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 Champs – High Diver album cover

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 album cover

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 cover

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 cover

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 and The Egyptians Queen Elvis album cover

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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Emily Love – Heart of a Fool album cover

Emily Love: Heart Of A Fool Album Review

Reviewed by Harry Kaplan

I just experienced the most incredible honky tonk tonight, and I must say it was a mesmerizing journey. The atmosphere was alive with twangy music that echoed through the air, inviting everyone to lose themselves in the rhythm. Alongside the captivating melodies, the venue offered an array of cheap American beer, enhancing the rustic charm. The smoky dance floor became a sanctum of joyous energy, where people moved in unison, swept away by the music.

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Jimbo Mathus – Live at the White Water Tavern Vol. 1 album cover

Jimbo Mathus: Live At The White Water Tavern Vol. 1 Album Review

Reviewed by Harry Kaplan

Jimbo Mathus and company deliver a high-octane, hard-driving release that is pure, unadulterated rock and roll. This album is loud and invigorating, exuding an element of complete destruction that encapsulates the raw energy of live performance. The production quality is outstanding; in fact, without the applause at the end, the listener would never know it was a live album. This speaks volumes about the band’s ability to capture the electrifying atmosphere of their shows, allowing fans to get a taste of that energy even when listening from home.

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Love Rat – Southern Shaman album cover

Love Rat: Southern Shaman Album Review

Reviewed by Harry Kaplan

Birmingham’s Love Rat delivers an album that continues the rich history of Alabama’s irreverent and raucous brand of southern rock in the tradition of The Drive By Truckers and The Dexateens. Throughout its tracks, the band deftly navigates the nuances of the human experience, tackling love, laughter, and the occasional foibles. The musicianship on Southern Shaman is on display, showcasing the individual talents of each member. Mandi Rae Trott brings her unique flavor to rhythm guitar and vocals, setting a rich foundation for the songs. Warren Amos’s lead guitar work adds a layer of emotional depth, while Jon Breland’s bass provides a steady heartbeat throughout the album. The driving force of Brant Benefield’s drums and percussion propels the music forward, creating an infectious energy that is hard to resist.

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Grateful Dead – Angel’s Share: The Blues for Allah Sessions 1975 album cover

Grateful Dead: Blues For Allah – The Angel’s Share (Rhino Entertainment Company) Album Review

Reviewed By Harry Kaplan

So I had read the title, The Angel’s Share, but never really paid too much attention to its deeper significance. As I was doing my research for “Blues For Allah: The Angel’s Share” release, I decided to Google the exact meaning of “angel’s share.” It is a term used in winemaking or whiskey making and refers to the two to three percent that is lost in the barrel to evaporation. I was awestruck; what a creative name! To take something with such a powerful moniker and apply it to Grateful Dead music, creating a memorable correlative objective, is truly a feather in the cap of the marketing team. The Angel’s Share is that part that was supposed to evaporate; we aren’t supposed to be experiencing it now. However, through tape recordings and modern-day techniques, this lost music has come back to life. The irony of the resurrection, when dealing with so many themes relating to death, is not lost on me, either.

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