Co-written by Carolyn McCoy & William Wayland

The music of Physical Suicide Deterrent System Project (or PSDSP for short) is complicated. We could easily plop them into the genre of “grunge," but it’s more than that. The trio, guitarist/singer Eli Carlton-Pearson, drummer Michael Pinkham and bassist Brian Wilkerson pull from jazz and psychedelic genres while adding some hardcore ass-kicking punk for kicks. The songs the band creates often eschew the typical “verse/chorus/bridge” construction to create a river of sound that takes you on a sonic journey with intelligent and poetic lyrics that uphold deep imagery to tell a story of both darkness and hope.
 
The band’s songwriting process is definitely a collaborative effort. “I write all the songs, though several come about from jams, or at least evolved within them,” states Carlton-Pearson. “Michael and Brian contribute a lot in the way of arrangement, rhythmic conception, and what's perhaps the most significant thing, how much fire they cook up playing. That then permeates the whole ‘thing’; it changes the way I sing the lyrics I wrote; it gives the song more real-life meaning. {The song} has to be a living thing, and that happens because of the band.

​PSDSP has just released their latest album, Luddite, on vinyl, an old trend that seems to be resurfacing as a common practice among musicians lately. The album culls from new and old songs that have never been recorded before. Inline with the definition of “Luddite” (one who eschews or is mistrustful of technology when creating), the band decided to record in analog, raising funds via a Kickstarter campaign so that they could make the sound they were looking for.

​The band traveled to New Paltz, NY, to work with Tom Deis at Pineapple Room Studio. “I've known Tom for 16 years now. We've been in bands together and worked together a fair bit, but moreover, we're just really good friends,” says Carlton-Pearson. “Tom worked so fucking hard on this record it's ridiculous. He signed up for one of the gnarliest hazings an engineer could go for, going into a 100% analog recording process from a largely digital workflow and buying several pieces of equipment specifically for Luddite. All the technical limitations we experienced just wound up being the magic on the tape at the end, which is why we chose to do the whole thing as we did.”
 
“I wanted to work with Tom basically because I trusted him. I trusted him musically, and I trusted him personally. He gets it. He gets that music is a spiritual entity you access through the physical world. I guess this whole recording was way more intense and vulnerable than I'd like to admit. I trusted his understanding of how to use technology to capture the spirit of things.”
 
When asked why the band decided on analog, “Because it sounds better,” replies Carlton-Pearson, “It just does.“ 

It’s one of those warm, early autumn evenings here in Northern California; the crickets chirp away, the stars sparkle in the sky, and summer begins to drifts off into the past. In the wake of the vast West Coast fires, we now have a respite from smoke and fear, and I breathe in the fresh night air. As I sit and experience all this, Marin County singer/songwriter Jeremy D’Antonio’s new album Spinnin’ Wheels wafts softly from my room, seemingly in conjunction with the multi-faceted songs of local crickets. It’s a fitting venue, the night, to listen to this fantastic EP.

D’Antonio is most known as part of Marin County’s Americana band, San Geronimo. His first solo record is a refreshing breath of fresh air in a time of fires, lockdown, pandemic hell, economic collapse, and political upheaval, yet has nothing to do with any of that. It’s a journey unto itself that helps one forget the woes of the world for a while. For D’Antonio, Spinnin’ Wheels is a detour from San Geronimo’s sound in many ways, taking a healthy dose of Country and mixing it in with D’Antonio’s hard-hitting songwriting. 

“I never intended to write a country song or have a ‘country vibe’. I actually mostly listen to old soul music,” states D’Antonio. “Only recently have I dug into some of the ’60s and 70’s country classics, mostly because people assume I know all that music and request me to play it live. I think any music that is honest is good; you can immediately hear the difference. I grew up in New Mexico and Colorado, and I guess there is something about that landscape or the blue-collar lifestyle that comes out in what I do.”  

“Lyrics stem from feelings more than physical experiences. A feeling can make you experience a thousand different emotions without ever physically doing anything. I think this allows me to write about scenarios that have happened in my head but not in the physical realm,” D’Antonio states on his songwriting. “I know a lot of people write a story and put down the words first, but I usually start with a feeling. I get so deep that it is hard to be around others, and I am able to dive down pretty far and extract what is most honest about whatever “funk” I am in. From this usually comes a melody and the words follow.”​

When a musician channels music and brings it into the corporeal world, sometimes there is no rhyme or reason for what kind of music they create. When Brooklyn-based singer-songwriter Zephaniah OHora
started his musical career, it was Country music that somehow manifested itself through his being. I am sure Zephaniah will credit his spiritual upbringing as well as the circuitous circumstance and available opportunities to play music in NYC for maneuvering his career towards traditional Country. But whatever fates drove his train, he is now on the fast track towards becoming a star in the Country world. 
 
“I’ve been influenced by so much music because I listen to quite a variety,” states OHora. “But as far as Country music artists, I’ve spent many hours studying Jimmie Rodgers, Ernest Tubb, Lefty Frizzell, Marty Robbins, and more recently Bobby Bare, Don Williams, and Merle Haggard.”
 
OHora has just released his second album, “Listening To The Music”. It upholds classic, old-school Country in the true tradition, but with the flavors of modern New York tossed in for kicks. “Listening To The Music” is a great album not only because of OHora’s songwriting skills, but the album hosts such big-time players as harmonica player Mickey Raphael (Willie Nelson) and guitarist Norm Hamlet (Merle Haggard). 

What do you do when your life falls apart, loved ones die, and you find yourself in a place of loss? Do you succumb to the demons at hand; let them pull your sanity apart? No, you don’t. You use that energy to create. You put forth all that you feel into your art, making something immensely positive when all else is going to shit. Within that, you’ll not only survive, but you’ll come out with something incredible, most likely.
 
North Carolina-based songwriter Kenny Roby has had a crazy couple of years similar to the scenarios described above. He lost his longtime friend and fellow collaborator Neal Casal (Chris Robinson Brotherhood, Circles Around The Sun), dealt with the demise of his relationship, and realized his life was changing in ways that were difficult beyond measure. Yet he didn’t let all this craziness get the better of him. He channeled that loss and made a record; a really incredible and beautiful record, no less, in the form of The Reservoir, his first solo release (outside of albums with his main band 6 String Drag) since 2013.  The songs on this album reflect his recent experiences, drawing the listener into the story in profound ways.
 
“I think it’s less difficult to put (challenging experiences) into words than it is to get out of the way and not censor yourself too much,” Roby states. “To be as honest as you can about what you are experiencing. It’s also riding that fine line of sharing the human experience but not getting bogged down too much in the details. This record is more a sharing of what my experience was of being ‘one of us humans’ than it was a memoir, as far as I can tell.”

Check out more on Kenny Roby:
http://kennyroby.net/

His single "Old Love" is gorgeous: Check it out!
​

I think it’s genuinely brilliant that one may go into their bedroom, turn on their computer and record an album. I think it’s incredible that with the technology we have at our fingertips in this day and age, musicians can be in complete control of what they produce with a flick of a mouse, some good lyrics, and melodies inside their heads. BAM! Magic happens, and songs are made and digitalized for all to hear.
 
Bay Area musician and songwriter Colin Schlitt has done just that. Schlitt’s side project, Peppermint Moon, is a complete DIY one-man-band that has produced an airy and grungy album, A Million Suns. Schlitt is best known as the bassist for the Marin County band El Radio Fantastique, but his talents range far and wide when it comes to music. Schlitt is an accomplished musician on not only bass but also piano and guitar starting at a young age.
 
“I started writing songs in my early 20’s. That’s also when I started playing bass in bands where a lot of the songwriting was collaborative. I focused mainly on the bands I was in, but my own songs were more of a hobby at that point”, states Schlitt. 

Check out the music and more info on Peppermint Moon
Bandcamp:
http://peppermintmoon.bandcamp.com/

​Spotify:
​http://open.spotify.com/album/2vV0M13iYva7vJkKJB1htA?si=pSQ8CAGaQGWC8-n5KdwK4A

Marin singer/songwriter Darren Nelson is a striking presence. He is plastered with tattoos, has a long and wild mane of hair, sports a scruffy, mountain man-style beard, and a heart-melting grin. In any given song, his expressive face may go from a wide-mouthed scream to a peaceful Buddha. His songs are lyrical stories telling of runaway convicts, drinking, love & heartbreak, and how a hard life can turn out to be a fun adventure. His onstage presence is both dynamic and genuine as he sets his focus on making epically awesome rock and roll with any one of his numerous bands that include Honeydust, San Geronimo, and now, the 421’s.

At this point in time, most of us are experiencing a bit of the Lockdown Blues, and even though it seems as if we are coming out of it, we are entering back into a world that has changed drastically. It is sad to say that the music scene in the Bay Area may be in a state of a significant overhaul with massive shutdowns and closures of all music venues, bars, and clubs. Most of us have not gone to a live show since mid-March, and bands and musicians are struggling to find a place (and an income) in the new paradigm.
 
The future of our local music scenes is uncertain. Will we ever be able to gather in large groups again? Are small clubs and bars a thing of the past? Who knows? But the truth is, we still need live music in our brains, and we still need to rock and roll, so how do we do that when we can’t gather? Well, kids, welcome to the New Age of the music industry, Live Stream shows via the Internet.
 
I like to say, “When the going gets wacky, the wacky people get creative and innovative.” It seems that the new version of a “live music venue” is in our own backyards, literally. Backyard (or garage, front porch or front yard) live streams are the new clubs, the lawn or patio is the latest idea of a stage and countless viewers sitting at home with their computers are the modern audiences. The simplicity of cell phone technology has made it massively easy to bring people together to experience music, now that’s what I call making the best of a bad situation.

Here we are, Lockdown day number “whatever”, and by this point, most of us are cranky, broke, scared, and frustrated. Every one of us has seemingly let go of “the old normal” and we are fast embracing “the new normal”. Sadly that means that we are no longer going out to experience live music in our local clubs and bars. But, alas, there is still music being made and released, probably even more so now than before. And so with that segue, I will tell you a story about this exact subject of making music.
 
Many moons ago, deep in the heart of West Marin, California, a young man named Frankie Bourne discovered his calling; music. It was in the small town of Nicasio that this man first heard music coming out of the local roadhouse that would greatly influence his life. “I grew up regularly exposed to rootsy, blues-rock bar bands playing at Rancho Nicasio. I loved the sass of blues music, the soul in the stories, the crunchy telecaster guitars, and the attitude-driven grooves,” states Bourne. “A turning point for me was when I was 15. I saw Jackie Greene play a dinner show at Rancho. It was a trio, just Jackie and a cocktail kit rhythm section. I remember having a moment of reverence that night. I was so inspired. This light turned on. It was a moment of monumental clarity. I said to myself: “that is what I want to do”.
 
Bourne started his musical life on drums and taught himself guitar. As a teen, he began writing songs and has since become an amazing and prolific songwriter. “Lyrics have fortunately always flowed very naturally for me,” states Bourne. “I guess you could say I cull from personal experiences about the basic human condition, about personal experiences that we all share. It's about the shit that makes us human, and characteristically imperfect; relationships, friendships, family, loss, anger, love, curiosity, confusion, envy, jealousy, identity.”

I have heard much hubbub over the last year over the Americana folk-rock band The Wood Brothers. Friends and colleagues have expounded on their playing and their performances, telling me over and over, “You really gotta check these guys out, they are something else!” Ok, fine, twist my arm. When the three men who make up The Wood Brothers walked onto the stage of Oakland’s Fox Theater recently, I did not know what to expect as I wasn’t familiar with much of their music. It was kind of like a blind date in the sense that even though I was told I would like them, I didn’t know if it would be a love connection. But I was ready to experience what they had to offer. Most of the time, I trust the suggestions of music lovers like myself to point me in the right direction of bands I need to hear, and I am happy to report I was not misled.
​
From the first song to the last, I could tell they were my kind of band; rootsy, rocking, dynamic, and intelligent. The Wood Brothers are solid players, and I did my best to understand what was going on before my eyes and ears. At first, I couldn’t quite tell why I liked them right away, but then it began to hit me. It was as if they were all playing separately to what their spirits told them to play, but they are also able to meld that separateness into this tightly wound package of cohesion with each man’s playing style coming into sync with the others. I was aware of all three playing individually while hearing what they did together. That, to me, is brilliant, like three colorful fireworks going off in the sky simultaneously while creating this majestic display of BOOM!​

The band is pure talent. Oliver Wood is the eldest, a guitarist, and a songwriter by nature and birth. His stories come across beautifully when translated into song. Younger brother Chris Wood is a musical genius with his focus on bass, either with is his standup, electric and vintage instruments, as well as harmonica. His time with Medeski, Martin Wood solidified his technical prowess and his jazz influences. Multi-instrumentalist and percussionist Jano Rix is not a brother in the familial sense, but definitely one in the spiritual sense. His expertise at playing drums while laying down funky keyboard licks AND singing all at the same time was wicked to witness, and I began to think he had extra arms.
​
Opening the night, the band laid hard into songs from their newest release Kingdom Of My Mind, showing that they have not lost their touch lyrically or musically. “Alabaster” has crunchy feedback, and a bluesy vibe and “Glad” brings a funky groove with a killer baseline. Oliver’s voice has a hint of twang when he sings, and in conjunction with his brother Chris’s higher voice, the harmonies rip on songs like “When I Was Young” and “Little Bit Broken”. “Snake Eyes” totally rocked with a freight-train force. Mid-point of the show, opening act Birds Of Chicago gathered around the mic with the band on “Sing All About It” and sang their hearts out. With the end of the evening, The Wood Brothers busted out the gorgeously sung “Luckiest Man”, “Lil Blue” and an excellent cover of The Band’s “Ophelia” before their encore of “Happiness Jones/Express Yourself”.​

An interesting thing happened during the show, one that I wish would happen more often. As the band was set to play a quiet song, Oliver Wood kindly shushed the very chatty audience, stating that now was the time to hush up your neighbors and listen. I almost cheered but felt that would not help the moment. So the audience stopped talking, and when it was quiet, the three men sang in harmony, all acoustic and lovely, encouraging the fans to not only listen but to sing.

​Once again, I am blown away by a band I didn’t know much about. Once again, I leave the venue going, “Holy cow, that was FUN!” and once again, I open myself to the magic at hand when I hear live music. I would have to say that for a “blind date” with a band, this was a very successful love connection.

Texas country crooner Lyle Lovett is a bit grayer with his famous hair than the last time I saw him. He is probably a bit wiser too, I would imagine, given the fact that he has been at the professional music game for over 30 years. At his recent Uptown Napa show, in support of his current tour, Lovett stated that when he was a kid, he realized he could make a living at songwriting because it was easier than mowing his parents' lawn, and from there, things took off on a long and winding career that has spawned so many songs.
Lovett has a dedicated fan base, and I'm part of it. His music has been part of The Soundtrack Of My Life for almost as long his career itself. His songs have carried me through love and heartbreak, too many bad decisions, and countless road trips. His music is as much a part of my DNA as any other profound force in my life. His songs are stories, poetic journeys that deliver humor, sadness, and joy.​