Bentley’s Bandstand: January 2026
Ed Alstrom, THIS IDEA OF HUMANITY.There are moments in anyone’s life when the Hammond organ sounds like the only instrument that could possibly rule the world. Its notes are ready for action, no matter the mood, and it swings with a fullness that sounds like the holy ghost has taken over the necessary decision-making to keep people all on track. Ed Alstrom is a musician who found the secret key to the ability of Hammonds to set people in the right direction of desire. Alstrom took over the keyboard seat at the age of five, and has never looked back. The man has progressed to be a savant, and continues to discover new places to spread the truth. One of the psalms he sings, “See, I loved this idea of humanity / it’s these humans I just can’t tolerate.” That sounds like a truth that could take over a religion and turn things around completely. Of course, it also sounds like the most offbeat philosophy anyone has taken to sharing. Which shows just how it’s going to be every person for themselves, once again, and Alstrom’s idea of “The blues keeps on coming back, unlikely as it sometimes seems.” Which down the line likely seems like we’ll have to figure life out for ourselves, and the wondrous sound of a Hammond organ will be one most soothing thing for trying to figure out that which can’t be figured out. Once again music can save us again. Turn it up.
Charlie Barath with Special Guest John Burgin, ISSAQUENA GETAWAY. There is something about American blues, no matter where it comes from or who is playing it now, that allows the truth of it to instantly come out when it’s real. Which is obvious with Charlie Barath’s new album. Right from the first song, “I Get Around,” Barath is off to the races. His voice is right in the pocket, allowing listeners to hear a true sound from a man who believes in what he is living, Barath isn’t fooling around. He swings like mad, and has a band that never lets a false note creep through the window. The man is for real. Barath wrote all the songs except two, and he could easily have penned those two. Ike Turner and Joe Josea did “Cuban Getaway” and Stanley Turrentine composed the jazz groover “Sugar,” bringing the perfect jazz instrumental to mix into the blues crew, both of those fitting right in with the other dozen Barath keepers. This is the kind of album might be underexposed now, but will be a permanent addition to any cool album regular for the next 50 years. Do not miss.
Dogs in a Pile, DISTROID. This mesmerizing quintet is one of those musical amalgamations that eschew definition. Yes, Dogs in a Pile have strong shades of jazz-funk, but not to the extinct you want to run from the room. Instead, they are well-acclimated to playing songs that slip and slide and sometimes scream and shout without ever becoming annoying. Instead, these Dogs sound close to perfection while not getting too close. There is still a mystery in them, and even when their roots in New Jersey become proudly obvious there is always hints of overt funk and even backyard picking to keep things heated up. Vocalist-keyboardist Jeremy Kaplan is never far from a sense of mystery in his swinging applications, which is a very good thing. And guitarist-vocalist Brian Murray fits in just right while making sure nothing ever becomes too thin. In truth, Dogs in a Pile has carved out a real sound of their own, obviously American, but never too easy to tag. This is a band that throws open the door so the Dogs get to run just wild enough. With drummer Joey Babick, vocalist-guitarist Jonny Law and vocalist-bassist Sam Lucid all jumping on the sonic hill, this is a priceless shot at another Asbury Park aggregation flying from the Jersey Shore in a totally original way that is catching on and being heard nationwide. And, wonderfully, their ballads make sure a supreme sense of singularity is there for the feeling. All their own.
Lil’ Ed and the Blues Imperials, SLIDEWAYS. Sometimes the blues needs to be stripped down to its essence. Bass, drums and two guitars is all that’s needed. But when that happens, it’s of utmost importance that all four slots are filled with players and singers who aren’t up to any silliness. Which is absolutely the case on SLIDEWAYS. Lil’ Ed Williams has always been a player who knows just how powerful a combo can be when the blues is where each musician knows exactly how to set mini-explosions on their instruments. Each one of these players started out young, and saw that there didn’t need to be more than a few people on the bandstand. Lil’ Ed may have a nickname noting size, but the blues has always been about music that comes from an explosive feeling, one that can not only be heard but felt. And since the beginning for Lil’ Ed, and his half-brother James “Pookie” Young on bass, they’ve adhered to less-is-more when called for. Which is exactly what their dedicated audience adheres to as well. And write songs that fit that belief to a T. And there will be no veering from that belief now. These lucky-13 songs are blues at its best. and Lil’ Ed Williams knows exactly how to bring his audience to fulfilment. It’s all in the moves. Wear it out.
Melinda Hagan, BACK IN TOWN. It’s a refreshing thrill when an artist picks four long-lasting standards for their first recording. On BACK IN TOWN, the songs “If Teardrops Were Pennies,” “Mule Skinner Blues,” “Sweet Things” and “Viva Las Vegas” are performed like the singers know exactly the long-time importance of these songs. The other two original tracks, “Letting Love Grow” and “Mountain Top” fit right into the set, as originals to possibly someday become classics. When new songs get presented, there is very often a feel to them that makes the songs appear to be right in the same groove with the ones that have become some of the nation’s regulars. The Hagans fit together like they’ve been making music together for the past half-century, adding to America’s proud tradition of songs that help explain what the country has been about. And while the duo isn’t nationally known–yet–their dedication to what they are doing is instantly heard. It could happen, which is what the dreams of making music is all about. So now would be a good time to remember these names: Melinda and Clark Hagan
The James Hunter Six, OFF THE FENCE. Out of all the many blue-eyed soul singers of, let’s say, the past 60 years, Englishman James Hunter made his way to the top. And while he hasn’t made the Top 10 of best-sellers in that realm recently he sure has swept up true-blue fans. moving now to the Easy Eye Sound label and big wheel there Dan Auerbach, This is heartbeat music from the beginning, and it sure doesn’t hurt to have Van Morrison singing on one song. There is such a reality of sound on all the songs that it’s a thrill to know that there are those who value that world, and aren’t afraid to keep the realness strong. Hunter’s voice is one that has a thrill to it, and at the same time he never oversupplies any of the feelings past the limit. James Hunter keeps to the working-class side of the street in a way that says he knows the difference between delivering and showing off. On songs like “Two Birds One Stone,” “Believes It When I See It” and “One for Ripley,” everything feels like these are working people spread all through the band, and there is no showboating allowed. And when Van Morrison joins in on “Ain’t That a Trip” about halfway through the set it feels like a new light has been plugged in. A few dozen years ago there were a dozen of these singers keeping rhythm & blues alive in the UK and USA, but times have changed. Fear not: there’s always a chance for a resurgence in true blue soul music. It’s too great an accomplishment to turn away from. Turn it up.
Teresa James & the Rhythm Tramps, BAD AT BEING GOOD. Some of the best rhythm & blues bands started their climb up the ladder playing local clubs by pushing through the nights with cover songs and tough attitudes. Sometimes things got rough but that was the way things went. Teresa James and her players were some of the superior examples of how that all worked in Texas joints and anywhere else they could find work. And, by the sound of BAD AT BEING GOOD, they learned all their lessons just right. This is a band that knows exactly how to push the monkey nerve button and let the good times roll. The second step in this climb is to learn how to write their own songs so they forge their own sound and deliver the goods that their audiences want. These dozen tracks are the perfect example when the band hits the sweet spot so nothing can stop them. Starting with singer Teresa James, it’s clear she knows exactly where she’s going. There is just enough sultriness in her sound and songs to exhibit exactly nobody in this crew is guessing where the bullseye is. Everything is right on the mark. This woman has been living these songs for a few decades and hits these lyrics right out of the park. And every play doesn’t waste a note. They’ve been to where this music is born, and nourish it right into the sky. She and bandmate Terry Wilson don’t need to figure anything out when it comes to the songwriting and the delivery. They’ve got it all, and when they need an album ender, they wisely turn to Gary Nicholson’s “Close Down the Blues Bar” and shoot out the lights. It’s all over.
Lonnie Mack, LIVE FROM LOUISVILLE 1992. This man was a guitar revolutionary. He started with the most trustworthy style around in the 1950s when he was coming into his own, and once the guitar moved into the reverential instrument of belief in the 1960s with players like Eric Clapton, Jimi Hendrix, Jimmy Page, Michael Bloomfield and beyond, the cast was set: from then on the American religions got reconfigured and everything was arranged to begin with guitars. The heroes started with them, and it really hasn’t changed since. There is something that just isn’t as exciting watching someone play a keyboard. Maybe because sitting down to perform just doesn’t cut it. Ask a drummer. But Mack was such a hero at what he did that he never lost his spot. But again, he didn’t quite make it beyond midlevel stardom, possibly because he kept a lot of his rural America riskiness. And staying true to his musical styles. But listening to the music on this 1992 live album makes it obvious Mack was one of the greatest guitarists of the electric era, even if he didn’t chase modern styles. Instead, the man tuned in on the lustiest rock & roll songs of that era, instrumentals or with vocals, and burned a hole through any style of songs he fancied at the time. He toured the country as he wanted, and brought some of the greatest players anywhere. His work in the 1992 era on this set includes Hoy “Bucky” Lindsey on bass, Denzil “Dumpy” Rice on keyboards and Jeff McAllister on drums. It was easily one of the strongest bands of those years, and finding this live tape to release is like coming across a diamond in a cave. Unfortunately there won’t be any more discoveries like this, so listen while you can and remember how some of the truest wonders of rock & roll are often not recognized at the time. Now they are.
Parlor Greens, EMERALDS. Organ trios are in many ways their very own construction of life. The three instruments–Hammond organ, electric guitar and drums–are a somewhat sacred combination that players invest their philosophical beliefs in. It takes a true inspiration of soul to bring it all alive. Which is why Parlor Greens is such a great example of how a tri-sided belief works. The organ supplies the flourishes and constant movement, the guitar plays with the deep-seated edges and the movement of chords progressing while the drums, well, the drums are the essence of the human movement of life. Parlor Green fits it all together with such soulfulness there can be no doubt that life is moving forward. It’s in the front, the middle and the bottom of sounds that brings everything to a feeling that the three musicians have found their call to living. Jimmy James, Adam Scone and Tim Carman have found their musical way forward, and now it’s just a matter of sharing their sound to spread the way a real band brings new feelings alive. Parlor Greens took a gamble on their sound, and made the advance forward. Groove and move.
Charles Tiner, GOOD SOUL. This is a soul man who is ready for anything. With college degrees in criminal justice and theology as well a truly full-time ability to play almost any style of music, he is someone to be ready for it all. Not to mention his second stage-name is N-Treble. If that doesn’t fill the bill then what does? GOOD SOUL is such a winning set of songs that it is one of the very best albums so far in this short year. Tiner is clearly ready for any style and instrument. He writes songs that sound like they are on tomorrow’s hit parade, and has a way of turning his music into visual challenges. Hearing how Tiner answers the call is the kind of excitement that music is meant to rise to. The incredible level of ability the man possesses makes it seem impossible he isn’t better known now. He has a way of taking every song he writes and turns it into a modern classic. Which means this complete album is almost entirely a one-man accomplishment which hasn’t escaped into the world all the way. That is going to change. There’s no way it can’t. And just to be safe in the information department, the photographer’s contact number is included. Now that’s readiness.
REISSUE
Johnnie Taylor, ONE STEP FROM THE BLUES. There is no doubt that for many years soul singer Johnnie Taylor was at the top of the mountain. The Arkansan was one of the best-sellers on Memphis label’s Stax Records, and was always on the highest level of live singers in rhythm & blues. No doubt about it. And he drove the female audience totally wild. During all these years he had a deep tinge of the blues in his music that made Taylor an all-around switch-hitter. This collection stretches the Texan’s blues cred around the world, and taken together puts Mr. T. where he belongs on any list: stone solid. Songs like “Steal Away,” “I’d Rather Drink Muddy Water,” “Cheaper to Keep Her,” “Somebody’s Sleeping in My Bed” and “Part Time Love” drove his audiences crazy. Johnnie Taylor stayed in the highest ring into the 1990s and in some areas beyond. Stax Records knew how to market Taylor to two audiences at once, as they believed all the way in their roster. A star by any test. “Stop Doggin’ Me.”
Bentley’s Bandstand: January 2026