Bentley’s Bandstand August 2026
The Afghan Whigs, Soft Control. There really aren’t that many rock bands in 2026 as long-lasting and still-great as The Afghan Whigs. Leader Greg Dulli has been in the rock game a long time, and even when it’s disconcerting to realize time rolls on, he continues to get greater and greater. The band’s new concoction, SOFT CONTROL, arrives like a musical hammer, throwing their power into a world of delight. It’s not always easy to thread rock & roll into such an invincible sound. Maybe that’s because Dulli doesn’t accept anything but the very best. These are songs that answer to themselves, and never get recorded until they’re just right. Sometimes it seems like Dulli is actually a prophet, the way he can put loose-assed rock & roll right in the middle of a near-classical call to pure artistic achievement. And, somewhere in the middle of all this, can shut down a bar fight to everyone’s approval. This isn’t a talent that is learned or studied. Rather, it’s one that comes from the skies and finds a place to reside in an artist’s ability. The Afghan Whigs are here to rattle up what they want to, and then move on to whatever grabs their whim next. They go from felonious fury to the light from the moon without ever seeming they’re in the wrong place. And if that sounds hard to do, it is. But it’s also why Greg Dulli knows what he’s doing. And what the man doesn’t actually know he guesses, and always guesses right. SOFT CONTROL is no joke, and when you’re big enough to win a fight it all comes in handy. Do not miss.
Alabama Shakes, I MUST BE DREAMING. One of the very best Americana outfits from the past period of American music, the Alabama Shakes seem like they are on a whole new time of full-on projection. Lead singer Brittany Howard is in the band up to the top of head and ready to give it all she’s got. There’s a new band member here and there, which in some ways gives the group a chance to try out new ways. And it works gloriously. This is sounds for those who aren’t afraid of facing the future, even if they have to invent it themselves. On some styles, it sounds like this is a serious reboot for one of the best bands of the past two decades. And at this rate, life feels also like it’s going to work out okay even if we all have to go for broke in the soul department. Without any doubt, singer Brittany Howard has all the goods she ever had and has no intention of not keeping them close to her heart. This is a revelatory record that will not be denied. It might be different in some places than expected, but that really is the glory of popular music. And even if it feels like a true left turn in some spots, the best advice is take the full ride with Alabama Shakes. As they say, everything must change. And for those in a hurry, it’s interesting there is no photo of a human being on the whole album. But it is important that the producers are the band and Shawn Everett. What a trip.
Dallas Burrow, MODERN DAY VAGABOND. Country music albums have a way with greatness. Because of the succinct audio wonder heard on the very best ones, it feels like they jump out of the bushes. The strength is just there to feel and hear right away. Dallas Burrow has that greatness on MODERN DAY VAGABOND. His voice is right there. It never overdoes it, as it crawls inside the soul and stays there. And the songs themselves are clearly ready for forever. It’s like a dirt road philosopher put their hands on them to imbue the feeling with spirit. Dallas Burrow truly does have this greatness. He’s from New Braunfels, Texas, which is almost shouting distance from Austin but luckily far enough away from the massive blanket of urban fame that is now blanketing the Lone Star state capitol. There can be no doubt Burrow is his own person. Songs like “Let it Shine,” “Oldest Secret” and a dozen other tracks walk onto the world stage with a wondrous strength that will clearly last forever. It doesn’t hurt that Burrow’s band has a unique feel and sound that isn’t easy to achieve. And achieve they do. Something serious is going on with this Burrow man and it would be a major mistake to miss out on what he’s doing. As his new super song says: “Time is now….”
Bruce Cockburn, THE BLOOD OF OTHERS. Here’s someone who’s made the kind of vaunted reputation that musicians pray for. Fifty years of music making without missing a chance to show his talents is the kind of career that can only be hoped for. But Bruce Cockburn is that person. He’s traveled a lot of different roads and never really gotten lost. And THE BLOOD OF OTHERS is such a shining star in his life that it’s hard not to holler “Hallelujah!” The travel along the musical highway here is stunning. For starters the man has been an amazing acoustic guitarist his whole life. It’s like Cockburn never wasn’t great on guitar. And to bring out total classics like “As Time Goes By,” “God Bless the Child,” “I’ll Be Seeing You” and a few left-fielders like “Louis Collins,” and “Laplegged Drunk Again” make the kind of album in Cockburn’s hands and voice a set that will last forever, ready to be heard when modern life needs a lift. Producer Colin Linden does an amazing job so that this is the kind of music to be listened to wherever and whenever. The present shenanigans need a major lift and we stay convinced there is plenty of goodness ahead as long as we all can keep our eyes on the road and not crash into the ditch. These trying times ahead in the next few years might be tough. But we can’t be pulled off-road all the way. On we go.
Mary Gauthier, RECKONING. Every few years or so an artist walks into a recording studio and changes the tune on life. About 20 years ago Mary Gauthier did that for me. Her voice was totally her own, her songs came from another sphere and the woman herself was redesigning her thoughts about life and love. And, yes, the times passed and Gauthier got more and more amazing. Telling people about the greatness of this artist has been a life’s delight, and even when the responses are few and far between doesn’t matter. Because when true blue greatness walks into a room there is nothing else to do but try to share. That’s because this world needs her and her songs. That’s a given. This singer-songwriter’s new collection of nine songs is a breath-stopper. This is a stripped-down primer in how to see and hear staying alive. The nine songs on RECKONING start with “Alcohol and Adderall” and end with “I Thought I Heard a Train,” and have a way of rearranging the molecules in the heart and soul. Seriously. It’s an album that can get aboard your inner being now and stay there the rest of life. There are a minimum of instruments and maximum of thought turning life now into a different way to go forward. All aboard forever.
Terry Haggerty, FAMILY. There was a time in San Francisco near the end of the 1960s that the band Sons of Champlin took hold of the rope and pulled themselves up. Their horn section was unbeatable in the Fillmore crowd and the vocalists had it going on. They just couldn’t quite make a name outside the Bay Area. Guitarist Terry Haggerty drew in a strong fan section and for a bit it seemed like the next stop of America. But the band has stayed at it off and on all these years, and now guitarist Haggerty with his six-string burning is ready to take another walk around the nation. FAMILY is a stone-cold solid affair that allows Haggerty plenty of room to show his strengths, and the rest of the band a bright light to join him. The music has a burning feeling of strength, and even if the songs are immediate classics, they pull plenty of punch. There are several vocalists onboard now, all right in the pocket, and it sure does sound like Tom Haggerty is ready for another ride around the ring. The spirituality the man has embraced after several health scares gives everything a shining glow, and makes for inspiring music that gives life a new promise in a time that can surely use it. Harmony for all.
Mark Hummel Allstars, ROAD DOG. One of the truly great beauties of the blues is how the style is able to repower itself. The music is so fundamental that it isn’t in danger of destroying itself. And one evidence of that is Mark Hummel’s recordings and performances. He is a solid core bluesman who didn’t have to go in for fancy bands or intricate production. Give this band a working studio, mics and amplifiers that plug right in and plenty of time to light a fire, and Hummel’s blues groove will kick up the dust. There is something that captures the low down feeling of righteous blues without making a big fuss of it. One thing for sure: the bandleader has the great sense to employ Junior Watson and Anson Funderburgh on electric guitars and get out of their way. Watson is one of those players whose reputation always causes some electricity, and Funderburgh is right there with him. The two string-stingers have a way of making bigtime excitement without having to push the show-off button. And add on Hummel’s harpisms and it’s time for take off. And, yes, it’s hard to grab attention these days with hardcore working man blues, but on ROAD DOG it’s all about the style and deepness of what they play, and it comes across bigtime. And, of course, it’s the choice of songs that also bring it all home, and this band knows exactly how that works. There are ong originals, of course, but also covering Walter Jacobs, Johnny Otis, Sonny Boy Williamson and, yes, even Van Morrison, which is always a smart move. And here it pays off in diamonds. Blues or lose.
Robin Katz, HYPNOS. This musician is one of the world’s most strongly followed on guitar, and on HYPNOS gets the most supreme accompaniment with Nathaniel Ledwidge on Hammond Organ. The area of open spaces on these songs is a joy all its own, and shows how recording with plenty of open space for the players can be a surprise all of its own making. Katz has a way of fitting with Hammond Organs like magical sounds, and never gets in the way of others. Ledwidge is also a player of pristine sounds, and always stays to the minimal side of the street with a clear and straight-ahead feeling. It’s not always easy to do. For close listening or background pleasure, HYPNOS is a collection of Robin Katz originals, and an album for any occasion. Loud or soft.
Eli Paperboy Reed, GETTING THERE. Here’s a first-born Massachusetts singer who couldn’t risk getting bit by the soul bug and going the distance. His new album is produced by Swamp Dogg, aka Jerry Williams, who proceeds to take Reed into deep soul territory and make sure the funk is spread all over the songs. It works like a charm too. Reed can’t help but take everything to the river in Memphis and make it dunked in the funk. Reed’s voice is pure and real, no matter where he grew up, and these are the perfect songs to make sure everything is real. There is simply a way for drummers getting recorded in Memphis so there is no confusing where the boogie comes from. Plus these recent songs are good to the bone. There simply isn’t anything hanging on the trees that isn’t used. And the vocals are pure and powerful. The promise of “Paperboy” Reed has been strong since his first release, and now with the latest disc it’s all there. No forgetting this man. He’s got it all to fix what’s needed for a straight trip to soul a go go. Go with him.
Mitch Woods, A NIGHT IN NEW ORLEANS. There is no doubt that at its core New Orleans is a piano city. And nobody knows this more than the 88-key whitz Mitch Woods, who has been coming to the Crescent City for most of his life. For this album, Woods went the solo strut and picked some of his very favorite songs to show the city’s song list off. Recording during one of the off-racetrack days during the New Orleans Jazz Festival, a near-religious gathering of some of the greatest musicians in the world who all look at the city as home sweet home of keyboarditis. Woods’ song list this night swings from originals to stone-cold classics, and the way he swings is an absolute joy to hear. From Fats Domino and Huey Smith staples to Woods’ originals the feeling of a live album of that certitude is a no-miss grooveathon that doesn’t happen that much these days. But Mitch Woods isn’t going to let this opportunity down on disc without going for the wall. And hit it out of the park he does, not letting the opportunity go by. So when its time to get a full-on get-down of Crescent City piano boogie, hit for this collection. Muffeletta or bust.
REISSUE OF THE MONTH
Marvin Gaye, LET’S GET IT ON. This is an A-one all-time soul album in anyone’s book. Gaye, of course, had few equals and after WHAT’S GOING ON was ready for the next chapter, and this was it. Now, awesomely, this new version is the DSS One-Step edition, which is a mouthful and for right now is beyond my world until I get new equipment. I’ll quote the information: “Mastered all-analog (AAA) master tapes using the Definitive Sound Series One-Step process. The first edition is limited to 3,000 individually numbered copies.” Hoping to find the best equipment soon to hear the results. Of course, this is one of Marvin Gaye’s seriously incredible albums, which is really saying something.
BENTLEY’S BANDSTAND August 2026