"I Have A Circular Saw & A Miter Box, You Have A Recording Studio. Let's Make A Record!"

 

I wasn't really a fan of Juliana Hatfield, not with the Blake Babies or solo. I'll admit, I hadn't listened to much, but what I did hear went in one ear and out the other. But then I fell in love with her tributes to Olivia Newton-John and Jeff Lynne. So, at the suggestion of a few readers who were indeed Juliana fans, I listened to a few of her records again. Nothing. In one ear and out the other.

And now there is "Bets," her new surprise record with her contractor Eric Payne. And I am in love again.

Common denominator here- Juliana didn't write the music on any of these three records I love. Maybe that makes her a fantastic interpretor. 

"Best" is a quick 29 minutes and there isn't a bad second to be heard, at least not to my ears. Eric Payne wrote all the music and plays all of the instruments, while Hatfield sings and plays a few guitar parts. It's unclear from the Bandcamp page if these are her lyrics.

The songs are chunky and hook-filled. Payne's guitar playing occasionally veers into Verlaine (or Nels Cline) territory and the sound of it all simply slays me.

Unless I am really dense, none of the songs are on YouTube. So you'll have to fend for yourselves. 

 

How To Make A Black Crowes Record

The Brothers Robinson have been getting along so well, they wasted no time getting back into the studio. Almost two years to the day since their reunion album was released, The Black Crowes have released "A Pound Of Feathers." It sounds like The Black Crowes. As a matter of fact, it sounds almost exactly like the last record, "Happiness Bastards." The boys stuck to the template, and I am not complaining.

If you are fan, there is plenty to love here. If you're not, I don't imagine this record will change your mind. Still, I write about these guys because I love these guys. They remain one of my favorite live acts of all time and I'm thrilled that they are back in the game.

Take a listen to a couple of my faves from "A Pound Of Feathers.

Songs Of The Week, 2026: 3/7-3/13

 

Ram On- Paul McCartney
Talking Parrot- Count Lasher
Colonel Brown- Tomorrow
Street Walkin' Woman- Donnie Jacobs
Over, Over & Out- Davey Lane
Children Of Rain- The Electric Prunes
Kaya- Bob Marley & The Wailers

zip

Something for everyone here, including some early calypso and mento (Count Lasher, a very cool track, by the way,) two psych tracks (one from the U.K. featuring Steve Howe four years before Yes, and one from the U.S., by the Prunes), a little bit of groovy Louisiana blues from Donnie Jacobs and Jin Records, and some pop perfection from Davey Lane, whose record "Finally, A Party Record" gets better with each pass, all bookended by two legends, Paulie and Bobbie.

Dig in and dig it!

BW's Saturday #77

 

Beady Eye: Infinitely More Interesting Than Oasis And Easier On The Ears...At Least My Ears

 

I can't recall why I don't recall listening to Beady Eye when the records were released, but if I was under oath I might say, "I was so over Oasis by 2011, I didn't care about any more music from either Gallagher." 

Well, they do sound like Oasis, but only because the singer is the same. And they write songs influenced by 60's Brit Invasion and psychedelia, like Oasis. But there is something else going on, or should I say, something less. 

My biggest issue with Oasis was that they had no finesse. It was all too much. Too many guitars. Too many layers. Too loud. Every inch of tape utilized whether or not it was a good idea. Plus, I just don't think they had enough great songs per album. I still think "(What's The Story) Morning Glory" is a classic. But everything before or after left me cold. That said, I regret not seeing them on the recent reunion tour, as I haven't heard one bad thing from anyone about those shows. I did see them twice around "Morning Glory" and both shows was fantastic.

But that's sorta not why I am here 

I am loving Beady Eye. They are easier to swallow. They are far more interesting to me, more melodic and not as hamfisted, and if wasn't for White Trash Soul and his excellent singles compilation, I might not have heard a note.

 

Labelled With Like: "Trixies," A Good, Not Great Squeeze Album

 

I have listened to "Trixies," the new old record from Squeeze, four times, giving it an old school spin on the last go around, holding the inner sleeve with the lyrics, and reading along like the grand old days. My feeling on all four spins has not changed. It's a good record. It's not great.

"Trixies," without an apostrophe, is a concept album written by Difford & Tilbrook when they were teenagers, I believe three or four years before Squeeze's debut. To my ears, it's the least Squeeze sounding album in the catalogue and I can't decide if that's due to the material pre-dating when they became a band or due to the legendary duo getting older.

One problem for me and what makes "Trixies" good and not great, is Side Two. After a strong start, the record seems to fizzle out, especially with the three songs that close the record. "The Jaguars" is a simple nothing of a rock and roll song. The title track, in two parts, has little going for it. The song right before that trifecta, is a song written solely by Chris Difford called "It's Over," which is a lovely bit of music that sounds more like Richard Hawley than Squeeze. Reading along and following the "story," the record should have ended bigger. Though, maybe Chris and Glenn thought it did.

Most of my pleasure came from Side One which has the type of melodies and wordplay that made me love this band in the first place, though there is one bright spot on Side Two, a song called "Why Don't You," the one track that is most reminiscent of the band in their prime. 

A friend was telling me that he heard Glenn Tilbrook mention on a podcast that this might be the last Squeeze record. There had been a new record already in the works while finishing up the "Trixies" project, but as Tilbrook explained, people don't care about or buy new music anymore, so why bother completing the project. I hope he changes his mind. The last two Squeeze records "Cradle To The Grave" and "The Knowledge" were both excellent, and going out with "Trixies," without an apostrophe, just ain't fittin'.

 

 

"You're Getting Married"

 

 

First released as a bonus track on the 2008 reissue of "Stink," and then again, buried deep on 2021's deluxe boxed set of "Sorry Ma, Forgot To Take Out The Trash," Paul Westerberg's solo demo "You're Getting Married" is an intense piece of work. This popped up while my iPod was doing the shuffle a few weeks ago and it left me frozen in my subway seat as I made my way into the Manhattan.

The rest of the band hated it, with Bob Stinson telling Paul to "save it for your solo album." But listening to it a few more times since it first surprised me on that train made me realize two things- Westerberg doesn't get talked about enough when discussing songwriters and I miss him.

 

You're like a guitar in the hands
Of a man that just can't play
You're like an inmate countin' off the days
You're like a student on vacation
That's waitin' for school to resume
Like a flower in the dark,
Never gonna bloom

You're getting married
You're getting married
You're getting married--oh no...

Well, you say that you'll both be real happy
You forgot to tell your eyes
You're like a bird in a cage
Watchin' the flock fly on by
You're like a student who's on vacation
Just waitin' for school to start
I don't know what's in it for you,
But it ain't in your heart...

You're getting married
You're getting married
You're getting married--oh no.oh no...

You're like a guitar in the hands
Of some fool that just can't play
You're like an inmate countin' off the days
Well, you say that you'll both be happy
Hey, you forgot to tell your eyes
You're like a bird in a cage
Watchin' the flock fly on by

You're like a student on vacation
Just waitin' for school to resume
You're like a flower in the dark,
You ain't never gonna bloom
If you get married
If you get married
Don't you get married
No, no, no no...