Back to Thee
On this Valentine’s Day 2026, in this strange and unpredictable time, tunes like this can keep the soul grounded. There is beauty, calm and kindness out there.
“Back to Thee” by the Bros. Landreth – just gorgeous.
Yesterday’s Burn
Oh, the availability of music today. Virtually every recorded piece of music available to us at any time. On these tiny computers in our pockets. Adding music here and there over the days, weeks and months. Cool tunes are heard, saved, and stashed on the back burner of a library or playlist. Forgotten until that day somewhere down the road when it sneaks out in a random shuffle, striking your senses and washing over you again.
All that to say, holy shit, I forgot about this great tune!
Silly of me that I haven’t jumped further into the music of Michael and Tanya Trotter, aka The War and Treaty. “Yesterday’s Burn” comes from 2023’s Lover’s Game, which I will now add to my “Need to Listen To” playlist on Apple Music. Or Spotify. Or maybe Tidal if I resubscribe for a month – because I’m a maniac with these streaming services, and aren’t we just spoiled rotten as music lovers…
Bruce Springsteen’s “Farewell Party”
Bruce Springsteen.
The emotions… the instinctual, primal feelings that his music can stir up in me never ceases to amaze. It’s not every one of his songs, no. It’s rare, actually. It’s songs like “Brilliant Disguise,” “Dry Lightning’ and “My Beautiful Reward.” It’s the instant I first heard “This Hard Land” on the radio in 1995 (yes, I love the Greatest Hits version!). It’s those moments in The River – “Drive All Night,” “Point Blank,” “The Price You Pay,” the title track.
You know it when you hear it.
So with the release of Bruce’s epic Tracks II set a couple of months ago, I suspected I’d probably have one of those moments. I mean, 7 unheard albums with 83 songs? I figured the odds were good.
Well, that moment came with the last song on The Streets of Philadelphia Sessions album. It was “Farewell Party.”
It tells the story of a lost love. The object of his affection isn’t typical in any way. With the very first line, we’re introduced to one wild and unique woman: “She rode a ’48 Panhead hardtail / First time I seen her she was skiddin’ over a bed of nails.” No idea what the setting for this would be, seeing your future love laying down a classic Harley on a bed of nails? But what an image!
From there, typical of Bruce, he keeps the story ambiguous enough for listeners to dream up their own conclusions and backstory:
“We held a farewell party at the station there in the hour of her transfiguration.“ Did she pass away?
“Don’t we all dream of a life somewhere / Untouched by our failures?” Did she skip town to get a fresh start somewhere else?
“You change your name and your face / But here your fears find you out.” Did she transition genders? Join the witness protection program? It’s all up in the air for interpretation.
I love the poetic imagery of the lyrics. And what’s equally great is the way Bruce delivers the song. The rhythm and cadence of his singing is almost conversational. It feels like you’re bellied up to the bar, hearing it from the stranger next to you over a couple of beers.
The delivery is heart-wrenching, tender, bittersweet. It ebbs and it flows, grows louder and softer. His verse meanders through the rhythm and tempo of the song in a way that’s poetic in and of itself. Now, I’m a sing-along type of guy, and I must’ve listened to this song dozens of times in the last few weeks – yet I still can’t nail the sing-along right in step with Bruce. It’s so brilliantly delivered.
Add to the mix the hauntingly beautiful keyboards that lay the foundation of the entire song, along with Shane Fontayne’s fuzzed-out guitar parts that hit just right, and you have one powerful piece of music.
The song is a journey through our fragile selves, our hopes and dreams, the fears that “come like old ghosts in the night.” That aching for companionship, and ultimately the acceptance of loss.
By the last verse, it’s clear she’s gone, as he rides her Harley out into the desert night:
“Tonight I got your ’48 up, two kicks and she starts
I’m rushin’ out ‘neath a canopy of empty stars
All I’m thinkin’ of is you, babe”Chills.
I hope you can spend some time with this song. Pull up these lyrics and take it all in. Jump on the ’48 Panhead and go for a ride.
In Appreciation of Robert Plant’s “Big Log”
Let’s jump back 42 years to one of my all-time favorites, Robert Plant’s “Big Log.” In 1983, Plant convened a group of musicians in the serene and remote setting of Rockfield Studios in Wales. His solo debut ‘Pictures at Eleven‘ had been released the prior year. This time around, much of his focus was to step further away from the Zeppelin brand, seeking a “big sound without sounding heavy and tough,” as he put it in his 2019 Digging Deep podcast. John Bonham had sadly passed away in September of 1980, and Plant had found his footing and fresh inspiration in the ensuing months by singing 50’s/60’s style rock & roll with the Honeydrippers (whose members included guitarist Robbie Blunt, who looms large in this song).
‘Coda,’ Led Zeppelin’s final studio album – consisting of extras and live tracks from the band’s 12-year career – was released in late November 1982. So, by early ’83 it’s fair to say that Plant was ready to strip away the heavy baggage and expectations of a dozen years fronting one of the landmark rock outfits. The studio vibe at Rockfield in south Wales was more structured and relaxed than his Zeppelin studio experience. The result from these sessions was ‘The Principle of Moments,’ released in July 1983. Of the eight songs on the album, Phil Collins played the drums on five of them (that’s Phil on “In the Mood”). “Big Log” was not one of them. In fact, as you’ve probably figured out if you’re familiar with the song, “Big Log” featured no human drummer at all, but a drum machine. This was the Roland RM-808, a staple of 80’s pop and hip-hop.
The origin story of “Big Log” includes Gerald “Jezz” Woodroffe, Plant’s keyboard player, who programmed the drum and handclap sound into the 808. Guitarist Robbie Blunt quickly picked up on it and formed the beautifully melodic, perfectly toned guitar parts on the spot. Add in the lyrics – the haunting imagery of a road-weary and love-sick traveler; a desert highway and a far too distant love….
An excerpt:
My love is exceeding the limit
Red-eyed and fevered with the hum of the miles
Distance and longing, my thoughts do provide
Should I rest for a while at the side?…And what you have is an 80’s pop/rock masterpiece. For me, the electronic 808 drum pattern only enhances the tune, juxtaposed with Blunt’s gorgeous, Spanish-influenced guitar tones and Plant’s inimitable vocal stylings (“Your loooove is cradled in knowiing…”). Completely unique! And to this day, a song that stops me in my tracks, bringing a smile and a satisfied sigh. It’s reminiscent of “The ’80’s” while still managing to sound fresh all these years later.
I’m sharing the Storm Thorgerson-directed video, which was filmed in desert locations around Death Valley, California and Nevada. Storm also designed the ‘Principle of Moments’ album cover and the “Big Log” single cover above. It’s worth taking a look at Storm’s staggering list of album cover and video work – credits that include a little album called ‘Dark Side of the Moon.’ Yeah, slightly iconic.
“Big Log” was Robert Plant’s highest charting single, reaching #20 on the Billboard Hot 100 over that summer of ’83 (when “Every Breath You Take” ruled the #1 spot).
Now, back to trying to learn the Robbie Blunt signature guitar parts!
Matt Vasquez – “Salt in the Wound” on the river
Happy New Year to everyone! It’s 2025. I’ll be 55 this year. This site passed its 20-year milestone in December, and although I’ll never churn out music posts the way I did in those blog-crazy 00’s, I sure do love that Ickmusic is still here, and continues to persevere through these wild times we live in. When a great artist or tune or live music moment occurs in my life, I love that I can come here and share/document the experience.
Tonight, it’s another visit with the very talented Matthew Logan Vasquez, who captured my attention back in 2010 with his band Delta Spirit. Their standout album History from Below was released that year, and among the great tracks was “Salt in the Wound” – an introspective, philosophic, and quite poignant look at this life we live, and this beautiful earth we tread upon.
Last year, Matt released Frank’s Full Moon Saloon, a stripped-down reimagining of many Delta Spirit tunes, including “Salt in the Wound.”
In this video from last May (back in ol’ 24!), Matt performs the song on the banks of the Blanco River near San Marco, Texas. It’s simply Matt, his Martin guitar, and a gently rolling river. It hits just right for me, and maybe it will do the same for you.
- Check out Frank’s Full Moon Saloon on Bandcamp.
- Visit Delta Spirit’s site.
P.S. As some of you may know, Matthew is very close to both the boys from Deer Tick and Dawes (check out Middle Brother). Brothers Taylor and Griffin Goldsmith of Dawes both lost their homes last week to the awful fires in the Los Angeles area (they live in Altadena). Even with all they’re going through, they took time to visit Jimmy Kimmel Live last night to perform an acoustic version of “Time Spent In Los Angeles,” while raising money for Musicares. It was moving, and you can watch it here.
A Leif Vollebekk Masterpiece: “Sunset Boulevard Expedition”
Brand new Leif Vollebekk!
Leif released ‘Revelation‘ on September 27th, and it took me until today to make it to “Sunset Boulevard Expedition,” the penultimate track on the album.
Sir. Inject this into my veins and let me live in this track for a few days, please! A slow-building melancholic monster of a tune, 8 minutes and 19 seconds of bittersweet and wistful beauty.
The transition mid-song to the dreamy refrain: If I have to live without you / I’m just gonna dream about you / I’m not gonna let you fade away / I’m not made that way – with accompaniment by the Brooklyn Youth Chorus and the heavenly swells of Sara Pagé‘s harp.
The spoken words of the final moments. The genuine ACHE he feels, and the way the song just washes over me as I listen.
The drummer on this tune? The legendary Jim Keltner, honorary Traveling Wilbury, who has played with so many popular musicians in the business. Please check out Leif’s story about calling up Jim out of the blue, and how the song came together. It’s here on his Instagram post.
Listen to this song. Find and take in the lyrics and the imagery they evoke.
Just stunning.Christopher Owens is back with new music
After a (close to) 10-year hiatus of new music, Christopher Owens is back with the recently announced ‘I Wanna Run Barefoot Through Your Hair‘ (due in October). Chris was a founding member of Girls, who split in 2012 after releasing their stellar standout album ‘Father, Son and Holy Ghost‘ in 2011. He released a few solo records over the next few years (his first, Lysandre, is my favorite), then sort of receded into the shadows. This 2023 piece by Adrian Spinelli sums up Christopher’s story, and a lot of the struggles he’s been through. On top of that, his Girls band mate and friend JR White passed away in 2020.
After leaving San Francisco last year, it appears (based on his Instagram) that he’s moved to the Washington Heights area in NYC, gotten married, and has clearly rekindled that creative musical spark.
“No Good” is one of the first released singles, and definitely captures the Owens/Girls sound – the blend of sunny & melancholy guitar with Christopher’s vulnerable vocals.
“I Think About Heaven” continues to grow on me. I can’t help but hear “Ventura Highway” in the guitar melody, but after more listens, I’m finding more and more to enjoy – it’s a sweet six minute meandering journey (in a good way).
You can pre-order the album on Bandcamp. Welcome back, Christopher!
Album cover photo by Sandy Kim.
Ick’s Pick: Dave Alvin and Jimmie Dale Gilmore’s ‘Texicali’
A dozen years has passed since my last “Ick’s Pick,” so why not pick it back up? I’ve been combing through the HTML wreckage of my web site for the last few weeks – fixing dead links, images and such. Why? Because I’m a music loving tech nerd, and I find value in this web site (almost 20 years in!), which at the end of the day is my documented journey through my love of music. My ‘Ick’s Pick’ series was/is a way for me to focus on new music, some with artists I’m familiar with, others brand new to me.
So it’s 2024, I’ll turn 54 in a few short weeks, my kids are grown-ups now (bonkers!!), and I feel like Ick Pickin’!
Scouring my weekly AllMusic New Release email earlier today, my eyes were drawn instantly to this new release from OG roots-rockin’ troubadours Dave Alvin and Jimmie Dale Gilmore. It’s midafternoon, and I’m closing in on two listens through this record. As you’d expect if you’ve spent any time listening to Dave or Jimmie over the years, you’re in store for 51 minutes of quality roots / country / blues & ballads. The album title is a nod to the gents’ home states – Jimmie’s Texas and Dave’s California. They trade verses throughout – Dave with his low & lonesome register, Jimmie with his signature higher pitched delivery.
Four tunes are highlights for me so far. Three of them consecutively (4, 5 and 6 on the album):
“Trying To Be Free” – This is how I love Jimmie Dale Gilmore – a mellow, mid-tempo melodic tune (track down “Tonight I Think I’m Gonna Go Downtown“); this is a plaintive plea to love him or leave him. They’re two like-minded souls with an independent streak, that itch to be “free.” “If I lose you here perhaps I’ll find you there.”
“Blind Owl” – Dave strips it down with some bad-ass boogie blues, in honor (I’m assuming) of the late Alan Wilson, aka “Blind Owl.” Wilson was the leader, cofounder and co-lead singer of Canned Heat. Wilson, I didn’t realize until today, is sadly a member of the “27 club” along with Hendrix, Joplin, Cobain, etc. He died in September 1970.
“Death of the Last Stripper” – Dave and Jimmie team up on this achingly beautiful ballad about the death of a woman, neglected and forgotten by family and friends. “We’re the only ones in the world who even know that she died.” From the first notes to the last second piano flair, this one is just gorgeous and sad.
“Down the 285” – Here’s another slowed down tune featuring Dave and Jimmie. It’s infectious, and you’ll be singing along by the end – “I’m making the drive down the 285, and I can’t take my eyes off the moon.” And Alvin’s line “And I will not cower in my darkest hour…” Sublime.
This, friends, is why you listen to new music. Many of your old favorites, God bless ’em and keep ’em, never stop delivering. I woke up today oblivious to this album, but I now have it (and especially these 4 tunes) etched into my music loving soul.
Buy Texicali on the Yep Rec store.
Dave Alvin‘s site.
Jimmie Dale Gilmore‘s site.
The Light Nights – Camera Obscura
If my Tuesday night hadn’t been spent catching Kamasi Washington’s Mesa gig, you would have found me Wednesday night at the intimate & awesome Crescent Ballroom watching Scottish band Camera Obscura. I fully realize I missed a terrific and rare opportunity to see a great band live, and most notably to hear the voice of Tracyanne Campbell in the flesh. But alas, I am old, I’m a working man, and yada yada didn’t happen.
I can report though that I’m instantly smitten with a tune off their new album, Look to the East, Look to the West. The song is “The Light Nights,” and it hits all the same sweet spots for me that “Honey in the Sun” did a few years back.
The band is currently winding their way through the southern and eastern U.S., and will wrap their U.S. leg at Webster Hall in NYC on June 20th.
I highly recommend this great tune.
Let Tracyanne’s smooth, flawless voice wash over you like a cool babbling brook in the Torridon Hills…
” I want to be sun-kissed and put on your wish list immediately.”Photo: from https://www.camera-obscura.net/
Recap: Kamasi Washington at the Mesa Arts Center
Kamasi Washington wrapped up the US leg of his Fearless Movement tour on Tuesday (June 11) with a stop at the Ikeda Theater (Mesa Arts Center) here in Mesa, AZ.
I became aware of Kamasi Washington back in 2015 with his release of The Epic, which introduced a lot of us to his unique brand of spaced out jazz, funk and R&B. He’s a breath of fresh air in the music landscape, someone unapologetically unique. So when I heard he’d be playing an excellent venue 25 minutes from my home, I couldn’t pass it up.
Fearless Movement was released earlier this year, and the ensuing tour has focused solely on songs from that collection. The band is made up of Kamasi on sax (& some keys), Brandon Coleman on keyboards, Miles Mosley on bass, Tony Austin on drums, singer Patrice Quinn , DJ Battlecat on the rig, Ryan Porter on trombone, and Kamasi’s father Ricky Washington on flute and soprano sax.
Kamasi Washington 6-11-2024 As you’d expect, the musicianship is top shelf, premium-caliber stuff. The rhythm section alone had me spellbound at times. Tony Mosley on upright bass, three stripes painted on his face, dressed like a counterculture paramilitary badass, whipped out his bow and effects for a couple of really cool solos. Tony Austin, behind the kit, with his varying tempos, fills and rapid fire attacks. Each song tends to go several different directions style and tempo-wise, and Tony was on point, tapping and crashing and filling and just complementing the musicians so well.
Although the set list has been static during the tour, it’s clear that each song is an adventure in improvisation. It had been a long time since I was up close and personal with a jazz group, so from the 5th row, watching Kamasi and the band trade measures was something to behold. There were some cool moments during some solos when Kamasi and trombonist Porter would talk on the side and coordinate their next horn part – Kamasi playing a little sample off-mic into Porter’s ear. Nods were exchanged, and they’d roll into that next horn part a few moments later.
Kamasi took some time to introduce some of the tunes. The intro I enjoyed most was his story behind “Asha the First.” Kamasi has a 3-year old daughter named – yep, Asha. He told the story of her love for playing around on the keyboards at home – at all hours of the early morning and day. Kamasi witnessed an epiphany for Asha one day when she figured out that she can go back to the same notes and repeat them. Kamasi then played a little sample on the keys of what she played that day. Five notes followed by a slightly different five notes, then repeated (and repeated). Kamasi recorded her that day, and turned her tune into “Asha the First.”
Kamasi Washington and band 6-11-2024 Another tune that resonated with me was the opener “Lesanu” – which Kamasi mentioned is a prayer in gratitude… to Music. I can relate, as can those of you who find yourself at this web site , or in the crowd at live shows. Music doesn’t hit everyone the same way. For people like Kamasi, myself, and probably you the reader, music is life itself. It’s woven into our DNA and our thoughts at every waking hour.
The new record also features a cover of Zapp’s “Computer Love” – one of my favorite old school joints from the mid-80’s. Kamasi mentioned his admiration for late Zapp frontman Roger Troutman (I was lucky enough to see Roger & Zapp on that ‘Zapp IV’ tour way back then). Patrice Quinn did the female vocal honors (Shirley Murdock was the singer on the original), and DJ Battlecat was on the talk box. Great to hear!
“Interstellar Peace (the Last Stance)” was a journey out to the cosmos – written by keyboardist Brandon Coleman, Kamasi mentioned that he and Brandon share a love for all things space, and are buying up “bootleg rockets.” In my quieter moments, I listen to a lot of ambient “space” music, so this was cool to hear.
All in all, just a great night for a music lover. The Ikeda Theater is a beautiful venue. It was probably 40% full and I was sitting in the 5th row. There was room to sit back, stretch out, sip a little Maker’s Mark on the rocks, and just be surrounded and awash in amazing musical talent.
Kamasi and band will play the Hollywood Bowl Jazz Festival on June 16th, and then, other than a couple of one offs, they have some time off until October, when they kick off their European tour. See Kamasi and the band if you can!
- Kamasi Washington’s site.
- The show on Setlist.fm.
- My Flickr album from the show.
