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by Seuras Og

Western Seeds Record Company – 27 August 2021

It feels like I See Hawks in L.A. have been around forever, so it comes as quite a shock to discover they are almost entirely of this century, coming together in 1999. With an intrinsic feel for the ‘cosmic Americana’ that defined and delighted Gram Parsons. Their music, especially with the latest offering, ‘On Our Way‘, occupies a timeless space where ideas and influences jostle freely, unrestrained by fashion or fortune, contributing together a potent message for the moment.

Still featuring original members Rob Waller and Paul Lacques, who together write the bulk of the material with big contributions from Victoria Jacobs, now on drums, alongside longtime member Paul Marshall. All four sing, with Waller and Lacques playing a wealth of stringed instruments, handling guitars, dobro, lap steel, autoharp and mandolin between them. Oh, and jaw harp, which features memorably on one track. With Waller nominally the lead vocalist, all contribute to the backing without being averse to taking the occasional lead. As with most of their work, a host of friends and associates are also present, fleshing out the sound with fiddle, keyboards, accordion, pedal steel, and lots more guitars.

Like many 2020/1 releases, the unmistakable shadow of covid hangs over its gestation, and astonishingly, this entire ensemble piece was put together remotely. Waller and Lacques regularly got together online to flesh out and form the songs; the contributions and backing came in from all sources, iPhone included. The sleeve notes denote the recording credit to ‘Hawks in houses’. That it sounds so tight, in a homespun ‘live in the studio’ way, is no small miracle and is a credit to the skills of the performers and the production, which is also by the band.

When opener, ‘Might’ve Been Me’, starts with the lyric, ‘If you’re walking thru’ Sonoma’, you know already where you are likely to be heading. A mandolin led jangle, with swoops of steel shooting about Waller’s comfortable buckskin baritone, this is prime country-rock of a style before Americana was a word. It’s glorious, evocative of the latterday Byrds. This leads swiftly into the title track, which continues this mood, the melodicism, a dreamy summoning of times gone by, with electric 12-string making an appearance for good measure. Marshall’s bass is integral here, as it is throughout, never flashy, a steady, reassuring hand on the tiller that sounds simple yet is anything but.

A freeform wail of electric fiddle beckons in ‘Just Know What To Do’, demonstrating these are no one-trick ponies, then some backward electric guitar, ahead of a gentle ballad breaking through, over a strummed acoustic. But the background threat implied by the opening remains implicit, building gradually in the hinterland, the controlled vocal battling out the fiddle, a whirlwind just out of eyeshot. I don’t know if a pandemic theme is being invoked, especially within the raga-like middle section before the calm prevails, but that’s the sense it gave me.

I didn’t expect to find the spirit of Jim Morrison in this record, but ‘Mississippi Gas Station Blues’ certainly has his flavour, the song, a strange bastard cousin of the Beach Boys’ ‘Student Demonstration Time’. But Mike Love could never snarl like this. Scuzzy guitars and organ swagger around to put a faded leather jacket on the song. By complete contrast follows ‘Kensington Market’, which, yes, is that London one. With Victoria Jacobs on lead vocal, this is a delightful piece of 60s whimsy, with burbles of synth sneaking through in the background, paired with a baritone guitar. ‘Check out all the crazy people’, she sings, and you can bet there would be flowers in their hair.

‘Kentucky Jesus’ occupies a more old-timey feel, a story song, in waltz time, an oblique tale that asks more questions than it answers. At a faster lick, ‘Geronimo’ is another in the procession of songs about the prominent leader and medicine man from the Bedonkohe band of the Apache people, who, following his arrest, was pitifully paraded around by the authorities, and it is a worthy companion, with a very western feel and twang to it.

‘Stealing’, like ‘Kentucky Jesus’, channels the vocal ambience and songwriting of Canada’s Gordon Lightfoot and is a further sturdy construct of a song about living in the present, with a tune and message that lingers long after the closing bars. In the same vein is ‘If I Move’, which is full of classic two-part harmonies in the chorus, and steel counterpoints, on top of a gentle canter that is all Arizona and campfires.

I guess radio songs are thin on the ground these days, so it is the spirit of the truckers that are being kept alive with ‘Radio Keeps Me On the Ground (Slight Return)’, and the sort of station we are more familiar with from films and boxsets than our own UK experience. It always used to be a sure-fire way of getting your song played, but I am less sure that still applies. Perhaps the weakest song here, it risks an overall sense of comfiness that is, thankfully, totally dispelled by the final track, ’How You Gonna Know’. Entering with the aforesaid jaws harp and some decidedly solid and soulful drumming, before a hypnotically chanted harmony vocal, and spiky guitar: ‘And there’s no-one here to tell us what to do, we’re all on our own”. At his most Horse Latitudes, it is Jim Morrison again, but funkier and with more of a tune. Growing onward and upward, at over eight minutes, it is a transformational show-stopper. The drums have a hypnotic presence throughout, with the feel of a primaeval forest ceremony. Immaculate, fading into keyboard reverie.

Even ahead of the final track, this is a special record, crafted carefully and with love. Little surprise that no less than Dave Alvin has called the band ‘one of California’s hidden treasures’. But, with the eyes-wide and open-mouthed climax of ‘How You Gonna Know’, and the effect it leaves on you, a good and special record has become great and especial.

EXPAND

Best Country Group
I See Hawks In L.A. are a house band of the Hippie diaspora. Twenty years and eight albums on (with a ninth en route), the country-rock quartet has supplied pot anthems (“Humboldt”), political profiles in courage (“Byrd From West Virginia”) and ecological laments (theme song “I See Hawks In L.A.”). Baritone lead singer Rob Waller and virtuosic string slinger Paul Lacques scribe these literate, pointed contemporary classics, while drummer Victoria Jacobs contributed the loopy hoot “My Parka Saved Me.” With bassist Paul Marshall, the front line’s close harmony is reminiscent of The Byrds — both flocks being rootsy and psychedelic avian-christened Los Angeles-based freaks. —Michael Simmons

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“Raised By Hippies”… “I Fell in Love With the Grateful Dead”… “Humboldt”… You’ve probably heard these songs from this Southern California band on our airwaves; they’ve become ‘NCW classics. Their latest album is another great collection of Cosmic Americana stories, once again invoking classic Byrds and Flying Burrito Brothers, and it’s a rare opportunity to see the Hawks in Carolina! They’ll be at the Albino Skunk Festival on Friday, an outdoor house concert in Charlotte on Saturday, and another outdoor show in Black Mountain on Sunday (details on their website https://www.iseehawks.com/.) We’re pleased to welcome them back on Monday morning before they take flight back home.

Hawks + polka virtuoso accordionist Alex Meiner

by Michael Doherty
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I’ve decided to do my best to avoid giving even another dollar to the greedy music-devouring demon known as Ticketmaster/Live Nation. My focus will be on smaller venues, more intimate music experiences. And what stronger antidote to Live Nation is there than a house concert? And when the band is I See Hawks In L.A., well, things just couldn’t be much better all round. Last night the Hawks gathered in Sierra Madre to deliver two wonderful sets in a back yard that became one of the coolest venues I’ve been to recently. There was a great, inviting and relaxed vibe about the place, sort of how I always imagined my back yard would be if I could ever afford to own a home.

To start the evening, Victoria Jacobs did a short set of mostly new songs. Apparently, she’s not only been writing new material, but recording as well. So I am hopeful there will be a CD release in the near future. If the songs she played last night are an indication of her direction, then it is going to be a powerful and moving and personal album. “Trying to live my life without you/It’s not easy to do,” she sang in her first song of the set. Her set was approximately twenty minutes, ending at 7:20 p.m.

Ten minutes later, the whole band was on stage. There was a short delay as Paul Marshall rearranged a couple of things. While he was doing so, Rob Waller told the story of a show a long while back in Pasadena where the entire band nearly got electrocuted and their amps were fried. He then explained that just now Paul had gotten a little shock from his vocal microphone and so was creating a grounding system. It was the briefest of delays, and within a minute, perhaps two, they were ready to give it a go. Paul joked, “Tell me if my lips light up.” They began the show with “Hope Against Hope,” a perfect choice to open the set, to put things in motion. I was digging Paul’s bass line, and Dan Wistrom delivered a really nice lead on pedal steel. Dan then switched to electric guitar for “White Cross.” It’s interesting to me how sometimes different lines from a song will stand out to you, or hit you in some way. From songs you’ve heard many times, I mean. For example last night from “White Cross,” it was these: “Well, the good times didn’t suit me/I had to taste the pain.” And for a moment I thought of how certain people can’t seem to accept when things are good, when things are actually going their way.

The band then delivered an especially fun rendition of “Poour Me,” Paul Marshall counting the others in. “Coming in on the one,” he reminded them. Dan was back on pedal steel for that one. “Pour me more wine.” And indeed, Paul Marshall had a little more wine after that song. They followed that with “If I Move,” with Rob Waller first saying, “You know, if you live in Los Angeles, and you’ve lived here a while, you can’t really afford to move anymore.” At the end of that song, Dan Wistrom was adjusting his microphone stand, and Rob joked, “We gave Dan the ‘new guy’ stand.” There was then some joking about Paul Marshall’s secret family in Burbank, and the band went into “Highway Down.” Dan had switched to electric guitar for this song. This is still one of my personal favorites, and I saw I wasn’t the only one singing along. Then during “Live And Never Learn,” the song suddenly became funky in the middle there, thanks to Paul’s bass work. It was a delightful surprise. I know I’ve said before that one indication that a concert is something special is if there are several musicians in the audience, and such was the case last night. Rob even mentioned that half of Old Californio was there.

Paul sang lead on his “Truth Is You Lied,” a song that he included on his Weed And Water album, and one that was another highlight of the set. Victoria Jacobs then sang lead on “Kensington Market,” a totally enjoyable song. For some reason, the line about the mods hanging around delighted me. Again, different lines from the songs were striking me last night, and I just felt completely immersed in the music and mood of the evening. It was a beautiful spot, among good folks, and with one of the best bands playing. Dan switched to pedal steel for “Still Want You,” delivering a lead that received applause from the audience. I love hearing this song, in part because of its humor, in part because of its sweet vibe. “Please love me if you can.” The first set then concluded with the always-appreciated “Good And Foolish Times.” The set ended at 8:30 p.m.

Just after 9 p.m., they kicked off the second set with “Raised By Hippies,” with Dan on pedal steel. The lines that stood out to me last night were those about Reagan being president, and not knowing what to do. We are in some kind of twisted fantasy land these days with regards to the Republican Party, but one of the things that has alarmed me is that the few so-called “normal” Republicans look back to Reagan as being what their party should be striving toward again, forgetting just what a complete and total bastard that guy was, and all the harm he caused. So, yeah, I’m sure adults in the early 1980s looked around, and said, what they hell should we do? But all that played in my head for only a moment, as I was thoroughly enjoying the energy of the song. And they followed that with what was possibly the answer for many folks dealing with those Reagan years, “I Fell In Love With The Grateful Dead.” I myself fell in love with the Dead during the early 1980s. Paul Marshall dedicated the song to a guy named Art who was wearing a Grateful Dead shirt. This was Dan Wistrom’s first time playing the song, at least the first time in concert, and Rob joked about how this one has more chords than all their other songs put together. Well, it was wonderful hearing this song again, and Dan did a great job with it. “He did it!” Rob exclaimed at the end.

They followed that with “Carbon Dated Love” and “California Country.” Dan delivered some really nice work on guitar on “California Country.” And then we were treated to “Ohio,” which is always fun. Whenever I hear it, I think about where home is for me, whether it’s here now in Los Angeles or back in Massachusetts. But the music seems to tell me it doesn’t matter, that it’s all home. Still, that conversation continues for many of us, doesn’t it? Are we going to eventually go back to wherever it is we came from? The set then took a beautiful turn with “Laissez Les Bon Temps Roulet” and “Salvation,” the latter with Paul Marshall on lead vocals, and one I don’t think I’d seen these guys play since April. Glad to have back in the set list. It was then time for Victoria Jacobs to sing another one, and you could feel the excitement among the crowd, for almost everyone there knew which song was next, and folks were eager to hear it. It’s one of my girlfriend’s favorites too, and that is “My Parka Saved Me.” The band delivered an especially delightful rendition last night, with what seemed like an added backing vocal bit. There is so much about this song to love, and I hope all music fans get a chance to see the band perform this one at some point.

Rob mentioned seeing John Cougar Mellencamp, Bob Dylan and Willie Nelson at the Hollywood Bowl recently, and from the reactions of some people in the audience, I’m guessing a good portion of last night’s crowd was at that show too. The band then played Willie Nelson’s “Me And Paul,” a song that has been a part of the Hawks shows lately, done in tribute to Paul Lacques. Last night’s rendition featured lots of great pedal steel work. Rob then told the crowd the band had “one more song for you, then we’ll send you off into the Sierra Madre night.” That song was the high-energy number “Humboldt,” which rocked in all the right ways. But it was not the last song of the show. They ended it at 9:59 p.m., thinking that 10 p.m. was a strict cut-off time. But everyone was having too much fun to adhere to that, and so the band did one more, “Hippie On The Road,” fitting as the band will be hitting the road this week. The show ended at 10:04 p.m.

Set List

Set I

1. Hope Against Hope
2. White Cross
3. Poour Me
4. If I Move
5. Highway Down
6. Live And Never Learn
7. Truth Is You Lied
8. Kensington Market
9. Still Want You
10. Good And Foolish Times

Set II

1. Raised By Hippies
2. I Fell In Love With The Grateful Dead
3. Carbon Dated Love
4. California Country
5. Ohio
6. Laissez Les Bon Temps Roulet
7. Salvation
8. My Parka Saved Me
9. Me And Paul
10. Humboldt

Encore

1. Hippie On The Road

Tickets were $20 (or, rather, that was the encouraged donation amount).

We want to stay a band.  We believe that’s what Paul would‘ve wanted. We are a family. The songs should live on.

We will never replace Paul Lacques because he’s irreplaceable. But as we have very slowly and gently begun playing the songs together again we’ve found healing for us while also summoning Paul’s spirit. We want to share that now with our fans and friends and family so beginning in August we will start playing shows again as the Hawks. 

So far several dear friends have been joining us in different combinations. Brother Richie Lawrence on accordion. Dave Zirbel on pedal steel. Rick Shea and Tony Gilkyson on guitars. We’ve been having a wonderful time playing for the first time with the amazing Dan Wistrom who has been adding gorgeous pedal steel, guitar, and his natural harmonies. We feel lucky to get to play these songs with these players for all of our friends, family, and fans. 

There will be more.

Love, 
Victoria, Rob, and Paul

By Michael Doherty
April 13, 2024
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Friends and family gathered at McCabe’s last night to celebrate the music of Paul Lacques. It was a beautiful, touching and joyous night featuring some of southern California’s best musicians, people that Paul Lacques had played with throughout the years in bands like The Underthings, Rotondi, Earthworm Ensemble, Double Naught Spy Car, and I See Hawks In L.A. And the money raised from the tickets to this sold-out show went to help Victoria Jacobs pay remaining medical bills (same is true of all money made at the merchandise table). This night provided a much-needed opportunity for people to come together to show their love and appreciation for the music, for Paul, and for each other.

Even before the doors were opened, folks were meeting in line outside, greeting each other with hugs,  checking in with one another and sharing fond memories. It was the kind of night where you knew everyone else there, or at least their faces were familiar to you, and so you were comfortable when the tears came. The music began at 8, Victoria Jacobs opening the night with “Clever,” a song she wrote when she and Paul Lacques got engaged. She stopped when there was feedback, a moment that actually lightened the mood for everyone. For this song, she was joined by Paul Marshall on bass and Dave Zirbel on pedal steel. It’s a beautiful song, and its last line, “There’s no end to our love,” was especially moving last night.

Rob Waller said that the celebration would move largely in chronological order, giving a taste of the different music that Paul Lacques gave to the world. One thing that was striking was the wonderful diversity, the great range, of his material. I had first heard Paul in Double Naught Spy Car in the late 1990s, followed quickly by I See Hawks In L.A., two bands that themselves are quite different from each other, and was only vaguely aware of what had come before. But when Richie Lawrence and Katie Thomas took the stage, along with Simeon Pillich and Shawn Nourse, to play a couple of waltzes, it quickly became clear how wide Paul’s musical tastes spread. And those songs – “Leaving You,” from the Rotondi album Preaching + Confessing, and “The Wonderful Waltz” from the Goin’ South Band album Home In My Heart – were absolutely wonderful. Anthony Lacques, Dave Markowitz and Mike Stinson then joined them for the delightfully playful “Corn.” A fun number from Earthworm Ensemble’s self-titled album that had folks smiling and laughing.

It’s interesting to me how Paul Lacques worked with certain musicians on multiple projects. Richie Lawrence and Simeon Pillich remained on stage as The Underthings, led by Stefanie Naifeh, continued the celebration with a fantastic rendition of “Home In My Heart.” I know my girlfriend will say the last thing I need to do is buy more records and compact discs, but how could I not want to add all this music to my personal collection? They followed “Home In My Heart,” with “Voulez Vous Danser,” a song written in French. Stefanie said that the lyrics translate, in part, to “There is no reason to dance/I will dance.” Wonderful! That seems to be the philosophy of the music right there. Peter Lacques then joined them on harmonica for “Brand New Mind.” By the way, Marcus Watkins of Double Naught Spy Car played guitar on these songs. Then Double Naught Spy Car followed, with Danny McGough on keyboard. They played “Danger High!” (and, yes, the crowd shouted out the song’s title at the end), “Kay Sara Sarah” and “jan-michael vincent rehab.com,” Marcus Watkins on lap steel for those last two. McCabe’s doesn’t really have enough room for dancing, but those around me were bouncing in their seats.

Paul Lacques was part of a musical family, and four of his brothers came together last night to perform the I See Hawks In L.A. song “California Country.” They were then joined by the fifth brother, Gabe Lacques, for an energetic rendition of “Hecker Pass,” also an I See Hawks In L.A. song. Anthony Lacques switched from bass to drums for “Teresa,” with Bubba Hernandez (of Brave Combo) joining them on bass and vocals, and Richie Lawrence was on accordion. What a fun song! It raised my spirits tremendously. Bubba Hernandez encouraged people to dance if they wished, and through there wasn’t much room, some people did. This song was on Rotondi’s Play On album, which I need to pick up at some point. Tony Gilkyson and Rick Shea then took the stage to deliver a couple more Hawks numbers. Tony sang lead on a beautiful, slow, touching rendition of “Hope Against Hope,” a song from Grapevine.  Rick sang lead on a pretty rendition of that album’s title track, the audience singing along at the end.

I See Hawks In L.A. is one of my favorite bands, and last night Rob Waller, Paul Marshall and Victoria Jacobs were joined by Rick Shea, Tony Gilkyson, Richie Lawrence and Dave Zirbel. They started with one of the band’s more recent songs, “Salvation,” with Paul Marshall on lead vocals. In the introduction, Paul said it was the last song he and Paul Lacques wrote together. It’s an excellent song, and after the show a guy looking at the CDs for sale asked which one had that song on it. Unfortunately, it has not been included on any album, though I know a new album had been planned. They followed that with an energetic rendition of “Humboldt,” with Mike Stinson joining them on vocals. A seriously great jam. They kept the spirits high with “Good And Foolish Times,” with Rick, Tony, Dave and Richie all taking turns at leads. “We certainly had some good and foolish times,” Rob said before they started that song. Indeed. You could feel everyone in the room reflecting on some of those times, remembering and even rejoicing at those memories, and thankful to have experienced them. Then, in introducing “The River Knows,” Rob mentioned writing that song with Paul Lacques one morning while they were staying in Ireland. It was a beautiful and moving rendition. A certain number of songs had been planned, but the Hawks decided to add two more – “Carbon Dated Love,” which Victoria mentioned had not been rehearsed by the folks playing with them, and “I See Hawks In L.A.” The moment Dave Zirbel began that one on pedal steel, everyone in the room recognized it.

The Lacques Brothers, along with their sisters and the other musicians, joined the Hawks for the final song of the night, “Ride My Soul,” a song that was included on the Rotondi album Preaching + Confessing. Everyone in the audience was singing along too. It was a wonderful conclusion to the night. When the music was over, no one was in any particular hurry to leave. Eventually, an announcement was made asking folks to move to the front room so that the chairs could be put away. It was in that room that the merchandise table was set up, with all the money from sales going to help Victoria Jacobs covers the medical bills. I added two Rotondi records to my collection – Preaching + Confessing and Polka Changed My Life Today – as well as a cassette copy of the self-titled release from The Underthings. Obviously, there is a lot more music that I wish to explore, and that makes me happy, knowing that there are other Paul Lacques recordings that I have yet to hear. It’s not the same thing as getting to see him perform, but it is a way to keep that spirit going. His music is going to live on in these recordings, and in all those who continue to listen to the magic.

Set List

1. Clever
2. Leaving You
3. The Wonderful Waltz
4. Corn
5. Home In My Heart
6. Voulez Vous Danser
7. Brand New Mind
8. Danger High!
9. Kay Sara Sarah
10. jan-michael vincent rehab.com
11. California Country
12. Hecker Pass
13. Teresa
14. Hope Against Hope
15. Grapevine
16. Salvation
17. Humboldt
18. Good And Foolish Times
19. The River Knows
20. Carbon Dated Love
21. I See Hawks In L.A.
22. Ride My Soul

I See Hawks In L.A. is brokenhearted to announce the passing of Paul Lacques, the driving force of the band.  Beyond his virtuoso guitar and lap steel playing, Paul was a vocalist, songwriter, arranger, and producer of prodigious talent and energy. A successful playwright, a committed political activist, a satirical cartoonist, a tender and loyal friend.

Never shy about sharing his opinions with anyone, he was averse to sharing his personal pain and problems.  Few knew of his battles over the last several years with the cancer that finally took his life.  That was the way he wanted it.  

He leaves behind an astonishing body of work, not just with ISHILA, but with Double Naught Spy Car, Earthworm Ensemble, the historic polka rebels, Rotondi, The Bonedaddys, The Underthings, numerous other bands, and the many, many artists for whom he contributed sometimes blazing, sometimes sensitive, always appropriate guitar, lap steel, jews harp, drums, production, songwriting, and more.

His ear for detail combined with a tireless mission for work provided the impetus for the Hawks’ 10 albums and steady touring and gigs.

Forever curious, often challenging, occasionally contentious, at his heart of hearts he was a gentle, sweet man, whose default was caring for others, not just his family and friends, but frequently complete strangers.

To say we will miss him is a monumental understatement.  But we hope and pray, and believe that his spirit will soar, like the hawks he loved to watch, free from pain, while his body rests in peace. He is survived by his beloved wife and Hawks drummer Victoria Jacobs, eight brothers and sisters, nieces, nephews, and all who loved him and his music. 

9/11 was a dark day for America, and a lighter shade of darkness for the self involved artiste known as me. Four hours after landing in Osaka, Japan, I watched the twin towers collapse on the TV in a performer’s dorm lounge, surrounded by bewildered Australians and Brits and numbed American musicians.

I was recently married, and cosmically coincidentally, my various music incomes abruptly dried up. We were broke. I abandoned my new and exciting project, an experimental country band called I See Hawks In L.A., for exile to Japan and performing a really horrible mishmash of American songs on really horrible instruments for Japanese tourists at the brand new Universal theme park in Osaka. An artistic nadir heralded by a national nadir we may never recover from.

Japan turned into a delightful two months respite from the military madness and ocean of red white and blue engulfing Los Angeles, and we didn’t want to come back. At LAX the change in atmosphere from enlightened and polite society to surly nihilism was palpable. Welcome home. What are these, sir?

I needed a job. My brother Anthony nepotized me into the lowly tape logging position at a History Channel production company, and I graduated to researcher, interviewing climate scientists, fusion scientists, anthropologists, candy makers, bomb makers, for the Modern Marvels series.

Seven years flew by and the company became a second family, full of stimulating conversations among the producers and writers, Quiznos and yogurt shops fulfilling your every Ventura Boulevard culinary need. I felt strange enjoying a day job as much as I did, even as my music projects also blossomed. Brother Anthony and I had been saving strange National Archives historical clips over the years just for fun, and envisioned a series of between-show non sequiturs showing up between History Channel shows. At a production meeting I finally proposed just that, and the execs said, yeah, let’s do it. And you’ll be the host. Logger Paul.

Putting coherent modulated sentences together was never my strong suit, and I begged off from the host job. But the powers that be insisted. I gathered raw footage of Mussolini’s son and Our Gang communing in Hollywood, dangerous early flying machines, twisted beauty pageants, bombs, Hitler puppetry, and a POW choir singing about their torture in elegant harmony at a White House dinner. This should do it. We shot 15 episodes, which were to appear once an hour between commercials around the clock on the History Channel. Yes. I was to be a nationally known talking head.

One episode aired, a long clip of the radically dense U.S. bombing of the Ho Chi Minh Trail, with minimally moralizing commentary. But the long haired mush mouthed hippie and volatile content was too much for the East Coast exec. Logger Paul was pulled after one airing, to zero surprise from me. But the clips have survived, and in retrospect I think they fulfill our goal: to be immersed in a tiny facet of human activity that illuminates the bigger times from which it was plucked. There’s some crazy things going on out there. Always were, always will be.

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I See Hawks in L.A., On Your Way. There were the Byrds, then the Flying Burritos and a few other notable music excursions emanating from Los Angeles in the 1960s into the ’70s that really paved the road for those who followed in that Southern California realm, but no other band has found the thread like I See Hawks in L.A. Their sound might be embedded in the Hollywood Freeway, but underneath it’s really torqued by the Mojave Desert. There is something just hallucinatory enough on new songs like “Might’ve Been Me,” “Know Just What to Do” and, really, everything on this ear-opening new album that it feels like a new day of music is rising. Band members Rob Waller and brothers Paul and Anthony Lacques formed the group going on 20 years ago, of course on a desert trek, and haven’t looked back. Now featuring Paul Marshall and Victoria Jacobs as the rhythm section, there is really no one like them, still, as they mix in visions and musical veracity into a style which opens a door full of surprises right below the surface. As each album has become more and more assured, I See Hawks in L.A. has now hit that point where they’ve cut the cord on influences and are spinning out in an orbit all their own. The quartet is all breathing as one, and the clear night sky full of stars is the limit. Listen and hear not only what has come before, but what is also right around the next bend. See the Hawks.

Bill Bentley