Grooves & Cuts – Mailbag Roundup Reviews May 2025
Spilled Mercury:
The Davenports – You Could’ve Just Said That
While the majority of other writers compare this “band” to Weezer, Ben Folds & the Fountains of Wayne the actual roots of this musical approach were planted in 1978 by Cliff Wade & Geoff Gill of The Beaver Brothers (YouTube) from their sole LP (“Ventriloquisms”) beginning with the song “You’ll Never Believe It.”
Sans The Beaver Brothers orchestrations, Scott’s “I’m Not Going To Bother You (Today),” is quite good. Evident as well on “We’re Talking About You” with Scott’s catchy mainstream route, where he lays down a heavier bass, sharp snare, while the cutting lead guitar comes from his brother Matthew Klass.
The danger in this music is when they come close to the bright & sunny Abba-like manner (at first listen). However, it’s not too saccharine-filled & does have a good, unified vocalizing color. “Their voices” on this showcase excel. What’s surprising is that the majority of the “vocalists” & the group itself, The Davenports on You Could’ve Just Said That (Dropped Jan 31/Mother West) is Scott Klass (guitars/keys/percussion/drum programming/bass).
The songs are composed skillfully. “If You Put Me Next To Patti” (I’ll hang out at the bar) is clever. Songs are composed with care & sung well. Songs like “I Am Lying” almost touch upon a Beatlesque melody with Eleanor Norton’s cello.
Impressively, the entire 10-track with its clever vignettes was recorded at home professionally & produced by Scott in Brooklyn, NY. Not one tune is schlocky. Even your strictest opinionated college buddy will find something to like.
Image courtesy of Phillip Price. CD @ Amazon & https://www.thedavenports.me/home
Andy Hanson – Roots
This was released in August 2024, so it’s quite late. Wisconsin’s Andy Hanson has a strong folky voice. Not as deep as the late Fred Neil, but not as thin as others. This debut & lead-off track, “Foresight,” is poignant & accessible.
There are 10 engrossing tales in the mold of singers Jefferson Ross, Eric Andersen & David Ackles. Andy attempts to get clever with his lyrics & at times succeeds. It’s an attempt to sound a little different from mainstream folkies. But 3-syllable lyrics can be tricky. “Rose Blossoms” has a gentle harmonica touch & some strong lines. At times, Andy dips a finger into the Phil Ochs oeuvre. But his songs are not as controversial.
Produced by Andy, the bulk of Roots (Dropped Aug. 2, 2024/Independent) does need editing, sharpening & smoothing. Too many wordy passages, long syllables that play heavily on the ear. The guitar picking is nicely applied & the melodies (“Bluff”) are still strong.
It has a warmth of production & his voice is his forte. “Roots” can be melodramatic. It doesn’t have the creative, heavy lyrical application that P.F. Sloan’s “Eve of Destruction” (1965) held together. The horns are a nice touch, keeping the song warm & serious. Not all the words are issues. Just a few. The lyrics should be sung with the ease that those horns play their notes.
“Maybe” & No-Man’s Land (The World You Want)” are good. However, words like “inconvenience” are not good lyrics unless you’re Gilbert & Sullivan. And I question their sanity at times. “Breath of Life” has far better lines. The best cut on the album. Whereas, vocally, “All The Way” is Andy’s best performance. His intonation & tonality are wonderful here. If folk-Americana music doesn’t work out he would be a viable ballad singer.
B&W image courtesy of Bandcamp. CD @ Bandcamp & https://andyhansonmusic.com/ & Hemifran
Leaf Rapids – Velvet Painting
A pleasant, quirky female vocalist with a plaintive approach is warmly captured on this 9-track Velvet Painting (Dropped Nov 8, 2024/Independent). Released late 2024, it’s worth listening to. It’s compelling, beautiful & with her Patti Scialfa-type tone appealing.
The title track opens “Velvet Painting,” followed by the satiny smooth & melodic “Starling To a Starling.” The voice is borderline juvenile, but it works. The band consists of Keri Latimer (lead vocals/acoustic guitar), Joanna Miller (drums/vocals), Devin Latimer (bass) & Christopher B. Dunn (electric guitar). Guests are William J. Western (pedal steel), Nathanielle Felicitas (cello), & Geoff Hilhorst (Rhodes/Hammond A-100). The album was produced in Canada by John Paul Peters (violin) & Keri Latimer.
The music isn’t bombastic. It’s arranged with care & sung with character. If The Band decided to include a female vocalist, they’d probably sound close to this. They’re rootsy, easy-listening, their quirkiness isn’t “strange” just different, & their instrumentation is wonderfully coherent. Each composition is planted in its uniqueness & formality. “Night Shift” is dark, with lots of presence. The whistling finale is almost as haunting as Vivabeat’s classic whistling on “Man From China.”
The recording itself is well captured with its vocal clarity. Their lyrical structure is poetic & when applied to their melodies, descriptive. The cello-poised “Paramjit’s Sonnet,” accompanied by gentle violin sawing, is moving. From this atmosphere to the steady beat & acoustics of “In the Woods” & what sounds like a theremin. It’s atmospheric, moody & embodies an interesting musical cohesion.
The closest thing they do to American country music is the finale “Insomniac Show” that rings out with a fine pedal steel & old-fashioned drum. Vocally? That’s the whole show. Excellent country singing.
The CD package is a full-color 6-panel die-cut fold-out. CD @ Bandcamp & https://leafrapids.org/ & https://www.hemifran.com/artist/Leaf%20Rapids/
Marc Miner – Secret Session, Vol. 1: At The Creek
This effort is the work of Marc Miner, who sings, plays guitars, kazoo, claps & manages to squeeze out 6 tracks on his Secret Session, Vol. 1: At The Creek (Dropped Dec. 6, 2024/Between Music) produced by Marc in Europe’s “Nashville” Vienna, Austria.
This is a short set that begins with an acoustic guitar on a song that isn’t Neil Young’s “Down By the River.” Instead, using the same title, it’s a short instrumental that leads to “Rum, Sugar & Me,” a folky tune that introduces Marc’s seasoned voice. He sounds like a folk-country driven veteran who’s been on the road for decades. A convincing performance because it’s not highly polished the way George Strait or Garth Brooks would be. It’s authentic.
Marc sounds like he bumped into Roger Miller & Waylon Jennings & merged. “Better Man” has clarity on the acoustic guitar & Marc’s voice has a bluesy tint that’s being applied to country-folk tunes instead of the blues. A bit of a conflict for mainstream country record companies, for sure, but Marc makes it work.
The songs are fairly good. Nothing radical or different from the average well-heeled singer-songwriter. His vocal range is limited, but it’s the tonality & his projection that is most interesting. He’s not as rough-hewn as the late Dave Van Ronk out of New York City, or as rugged as Barry McGuire (“What’s Exactly The Matter With Me”). He does have some interesting stuff in “Get Up.” This one even has a kazoo, which probably scared the Austrian engineers.
The songs have simplistic titles & unimaginative tales. The entire album is a single musician’s effort. He has a voice that deserves more robust accompaniment. “Rowboat” displays Marc’s best vocals. Marc possesses a good outlaw country voice. I suspect he’s an American who’s found a niche & loyal fanbase in Europe. Good for him.
CD @ Amazon & https://marcminer.com/atthecreek/ & Hemifran
Michael Henchman – If the Sky Fell
This collection has some excellence & blemishes. Produced by Bryan Daste (upright bass/pedal steel) & Michael Henchman (vocal/piano/synth vibes/acoustic, high-strung guitar & electric guitars/bowed lap steel/bass/drums/percussion/virtual strings). There are 12 tracks on If the Sky Fell (Dropped Jan. 24/Independent) about reminiscing, nature, home & living a good life.
The songs are gentle, with a northwestern American feel. The musicians all have a gentle touch, though on some songs like “Wildest Sea,” a tad too much echo on the voice. If you want a natural feeling, the effects need to be at a minimum.
Vocally, while Michael has a good voice, it’s not a distinctive voice – not as bold a signature as John Prine, Lyle Lovett, Jackson Browne, John Denver, or Steve Forbert. Michaels’ musicianship is stellar & his songwriting is well done. However,…
Henchman has good melodies, although his lyrical structure is basic. One of the more compelling tunes is “Hunger.” Michael sings it with heavy melodrama & would’ve been better narrating it. Holding notes on words like “bender” is not advised. The tune has lots of good guitar & darkness. Michael does his best to tell the story with believability. But he doesn’t have that kind of timbre. Tom Waits, Tom Jones (“Daughter of Darkness”), Van Morrison, & the late Kinky Friedman.
Now, with jazzier elements, “Days By Degrees” is where Michael finds his voice. This is excellently rendered by Michael with Greg Garrett’s trumpet. This is more to his comfort zone. A more middle-of-the-road, easy listening to a smokey saloon narrative. Some good lyrics with an ambitious performance. This is where Michael should be. “Ghost Pines” is another winner. Perfectly done.
Lyrics like “oncoming locomotive,” “exploded” (forced rhymes) & “absolution” — are not very musical. This is where “Burning Bush” fails. Too wordy, too many syllables, too many cliches. This is why Rodgers had a Hammerstein. Ok, if it’s a religious song, certain Biblical words will lock you in — but the locomotive & exploded don’t work.
Michael could be a viable songwriter (composer), but he needs a wordsmith who would complement his good messages. The sweet pieces of banana are getting lost in the cereal. And Henchman has lots of ideas (“Love Always Finds Someone”).
A handsome 12-page lyrics insert is included. Color image courtesy of Michael’s website photo gallery. CD @ Apple + https://michaelhenchman.com/home & Hemifran
Edelston & Dulcimer – Making Waves
Quite tardy in getting to this latecomer, but — worth a mention. This was an ambitious debut showcase with 16 tracks gracing the groundbreaking Making Waves (Dropped Aug 21, 2024/Independent) produced by Sam Edelston (vocals/Fretted & Hammered dulcimer) & featuring covers of classic rock songs performed excellently by the clarity of a dulcimer fronting a rock band.
There are tunes made famous by The Beatles, the Rolling Stones, Billy Joel, Paul Simon, Neil Diamond, James Pankow of Chicago, Queen, Bruce Springsteen, Blondie & a few others. But what’s amazing about the dulcimer is that it’s 3 strings, not 6 or 12.
Musicians who join Sam to enhance the validity of this mountain approach to rock music are Teddy Parker (vocals/viola), Kevin Kelly (bass), Chris Howard (percussion), Shawn Murray (drums) & Chesney Snow (beatboxing).
The lead off is an Edelston original, “Looking at the Waves,” — a rollicking melodic performance with close ties to traditional Appalachian-oriented tunes. Some covers apply to the genre the dulcimer serves, while others are not so much. But it’s interesting, nonetheless. The songs all have energy, no sleepers.
The old Chicago hit “Colour My World” gets off to a slow introductory start, but when vocalist Teddy Parker begins to sing the song, it brightens. Another slow intro comes on The Beatles’ early hit “Please, Please Me,” but once the musicians get into the melody, it wakes up. “Call Me” is all fire. “Born To Run” tries hard but has no lift. Move to “Ace of Spades.” Ah, that’s better.
Highlights – “Looking at the Waves,” “Me & Julio Down By the Schoolyard,” “Sweet Caroline,” “Colour My World,” “Please, Please Me,” “Call Me” & “Ace of Spades.”
CD @ Bandcamp & https://www.samthemusicman.com/
Barry Oreck & Friends – We Were Wood
This is an old-fashioned folk set in the tradition of 1966’s Richard & Mimi Farina. Barry Oreck & Friends are good on these 10 that encompass We Were Wood (Dropped Feb. 28/Independent).
All songs are original & produced by Barry (lead vocals/percussion/guitar) & Bob Harris (mandolin/percussion/keys). “Just Enough Pain” opens the LP with Barry’s lead vocal & tasty harmony from Jesse Miller (guitar/mandolin) & violinist Rima Fand. These songs may not be for everyone since it’s vocals are folky & breezy with the kind of intonation that Peter Yarrow & Paul Stookey provided Peter, Paul & Mary & singers like Tom Paxton.
There are some preachy songs (“Build Me a City”) about NYC urban planner Robert Moses & how he built the city — but it’s laid down musically with little fanfare. While these performers aren’t as entertaining as the Kingston Trio they’re musicians who would appeal to fans of Pete Seeger, Phil Ochs & Oscar Brand. There are no aggressive performances or anything to rattle the brains.
Some songs are too lyrically knotted & wordy. The most poetic is “The Norris Dam, the cleverest is “The Crabbit Wee Tailors of Forfar,” & the best was saved for last. Beautifully rendered “Trust” & “She Was Supposed To Cry.” Late career Crosby, Stills, Nash & Young would’ve done both well, but CSN&Y didn’t have songs like this.
Highlights – “Just Enough Pain,” “Build Me a City,” “The Norris Dam,” “The Crabbit Wee Tailors of Forfar,” “Ten Million Tears,” “Snake Bones,” “Trust,” & “She Was Supposed To Cry.”
The CD includes a 12pp stitched lyric insert. Color image courtesy of Bandcamp. CD @ Bandcamp & https://www.hemifran.com/artist/Barry%20Oreck/ & https://barryoreckmusic.com/
Alice Howe & Freebo – Live
The performers on this set are Freebo (vocals/acoustic guitar/bass), a session musician for decades & played with Ringo Starr, Bonnie Raitt, David Lee Roth, Willy DeVille, Dr. John, John Mayall, Aaron Neville, CSN&Y, Maria Muldaur, Kate & Anna McGarrigle.
Alice Howe (vocals/acoustic guitar/bass) has recorded in Muscle Shoals, Alabama, at legendary FAME Studios. Jeff Fielder (electric guitarist) worked for 25 years with Mark Lanegan (Screaming Trees, Queens of the Stone Age), solo Amy Ray, The Indigo Girls & many others.
Produced by Freebo & Alice, the 14 tracks captured on Live (Dropped Jan. 2025/KnowHowe) were recorded before a small audience in June 2024 at Rainshadow Recording Studio in Port Townshend, WA. The showcase mixes original songs with classic covers by Lowell George, Joni Mitchell & John Prine.
Alice possesses a voice of clarity similar to the late folk singer Mimi Farina (who sang with both the late Richard Farina & Tom Jans). She also sounds a little like English folky Christine Collister (who was teamed with Clive Gregson). Evident in tunes like “Twilight.” Beautiful singing.
The guitars chime on this recording. Freebo is captured well (“She’s My Personal GPS” & “She Loves My Dog More Than Me”). He’d probably be a good blues singer; he has tonality & timbre. If not, he’d do well to be a John Prine-oriented storyteller since he has the sense of humor & delivery. Though the dog song sounds like something the late Roger Miller would’ve done.
The tune “You’ve Been Away So Long” is wonderful & was captured lyrically like the lyric in the 1966 Geoffrey Stevens song “The Girl That Stood Beside Me,” which Bobby Darin recorded.
Highlights – “Twilight,” “She’s My Personal GPS,” “Somebody’s New Lover Now,” “She Loves My Dog More Than Me,” “You’ve Been Away So Long,” “If Not Now When,” & “Angel From Montgomery.”
It’s not clear if this is a one-off performance or if a possible studio album may be down the line.
CD @ Amazon & https://www.alicehowe.com/store/p/alice-howe-freebo-live-cd & https://www.hemifran.com/artist/Alice%20Howe/
Bob Mosley – Self Titled / Reissue
Bob Mosley was a founding member of the 1966 band Moby Grape, which was supposed to be a major band in the realm of The Beatles since Columbia released 5 singles simultaneously. But that was market saturation. There are issues with this band’s launch, but despite all the talent that grew out of the band’s ability to play with merged styles of R&R, folk music, pop, blues & country.
All members were lead vocalists & songwriters. The first era of the Grape ended in 1969, with one reason being serious health issues for both Bob Mosley & Skip Spence.
While my favorite songs were often the Peter Lewis tunes, Mosley (bass/vocals) had several wonderful songs. On this album there’s a revised lost classic “Gypsy Wedding” (which had been on Moby Grape’s “20 Granite Creek” but driven by a wall of guitars). On Bob’s solo LP, it’s packed with horns.
Bob had grown up in San Diego & had the rugged rock voice of the Moby Grape crew, while Lewis had the deeper country-inflected voice. The Warner/Reprise solo release has 11 rollicking entries on the self-titled Bob Mosley reissue (Dropped Dec. 6, 2024/OMAD Records) produced by Mosley & Michael O’Connor & recorded in Hollywood, Nov. 1971.
Despite health issues, Mosley wrote & recorded good tunes for Moby Grape. Subsequently, several for his solo efforts. The musicians on this set are The Mill Valley Rhythm Section & Choir of Frank Smith (guitar), Allen Wehr (drums) & Woodie Berry (guitar). Horns by Wayne Jackson, Andrew Lewis & the Memphis Horns. Ed Black added pedal steel guitar.
Certain songs like “Thanks” sound as if they could’ve been polished up by Gram Parsons & turned into a good country-rock tune. The sound on some is countrified in that Parsons manner. Bob’s voice shines well on “Where Do The Birds Go.” While “Hand In Hand” sounds dated, the musical workout sounds like prime Moby Grape. There are some tight, wonderful moments. Mosley sounds closer vocally to his cohort Peter Lewis on “Gone Fishin’” — an upbeat, simple song.
I sometimes wonder what it could’ve been.
Highlights – “Gypsy Wedding,” “Squaw Valley Nils (Hocked Soul),” “Let the Music Play,” “Thanks,” “Where Do The Birds Go,” “Hand In Hand,” “Gone Fishin,’” & “So Many Troubles.”
CD @ https://www.omadrecords.com/store/bobmosleyremastered
Miss Georgia Peach – Class Out the Ass
This set of music contains music to sing, jump, shake & shout to in a classic country tradition encompassing the ‘50s through the ‘70s. The musicians are adept in country, punk & hard rock & they bring all of those ingredients to cook a stew that has a kick.
14 tunes lubricate this sophomore effort that’s deemed Class Out the Ass (Dropped Feb. 14/Rum Bar Records) produced by Travis Ramin (drums/percussion) & recorded in Lexington, KY & Minneapolis, MN.
Miss Georgia Peach started her career in 1991 in NYC & developed an aggressive vocal delivery with her well-toned voice. This is country music on high-octane fuel. The first intro to this new set is “Shut Up & Drink Your Beer,” which could become a standard in beer joints. Ms. Peach comes across a little more humorous than her NYC counterpart, Christine Ohlman, “The Beehive Queen,” whose songs are a bit more serious (“The Deep End”).
The songs have a little novelty attraction, but Georgia plays it straight with a serious rendering on the majority of her tunes. The band is tight & reliable. Georgia’s recorded quite well on these songs. The songs sound like Miss Georgia Peach is an entertaining artist.
Some are all-out rock n’ roll beauties. Then, some dip heavily into country – “I Don’t Care,” “Let Me Be There” & the hot “Luxury Liner” are keepers. “Bang Bang” is a mess. “Some of Shelly’s Blues,” & “Somewhere Down the Line” — superb.
Miss Peach glides across musical styles that were explored excellently in the ‘50s by the remarkable Brooklyn cowgirl who had two personas – she was both Mimi Roman & Pussycat Kitty Ford. Mimi/Kitty worked with legendary producers Owen Bradley & Chet Atkins & she knew Elvis. Quite a history.
I think Ms. Roman would like these Georgia Peach efforts.
Highlights – “Shut Up & Drink Your Beer,” “Dusty,” “Honeywagon,” “I Don’t Care,” “Let Me Be There,” “Some of Shelly’s Blues,” “Somewhere Down the Line,” & “Luxury Liner.”
Color image courtesy of Miss Georgia Peach. CD @ Bandcamp & Apple & https://missgeorgiapeach.com/home
All Things Swamp – Dressed
A little jazzy Cajun/Creole warmth comes in a half hour’s worth of superb brass showcasing a sharply tuned band with sparkling arrangements. It’s excellently recorded & captures solos with finesse. Sometimes a listener unfamiliar with the music knows with the first notes they’re in for some good entertainment for the soul.
The first track, “Sidewalk Strut,” comes on like an Italian pastry filled with cream. This introduces the players with individual solos that bristle. There are 9 musicians providing magic on these 8 tunes that are smartly Dressed (Dropped Feb. 24/Little Village) & produced by Luke Kirley.
Recorded in San Jose, CA, the New Orleans Dixieland strut of the first tune comes across with all the jambalaya Louisiana could’ve mustered. This band reminds me of the many superb outfits of the ‘70s – Tower of Power, Arthur Conley, the Bar Kays, the Meters & Allen Toussaint. With drummer Gary Novak filling in with creative beats, it’s as tight as any Buddy Rich, Doc Severinsen band. “Bah-Duey-Duey” even glides in with a funky groove & heavy-duty organ notes. Impressive.
My grandfather was a 1920s valve trombone musician (I still have the trombone) & his charts. So, I always like to see if that instrument is ever featured in modern-day sessions. I caught one trombone player during a YouTube 1958 Newport Jazz Festival (Jazz On a Summer’s Day) film using a valve trombone. I loved it. I don’t know who the trombone player was. Probably Bob Brookmeyer.
These kinds of arrangements are like the instruments talking to one another in a language only a few can understand, but novices can “feel.” People talk about great inventions, like the telephone, automobile, light bulb, record player, washing machine, TV, motion pictures, gas stoves & escalators. But few people ever mention great inventions like saxophones, trombones, guitars, pianos & trumpets. What soothing joy these “machines” give in capable hands. This album provides it.
Highlights – “Sidewalk Strut,” “Bah-Duey-Duey,” “Mercy, Mercy, Mercy,” “Rocking Chair,” & the masterful “Blues For Ben.”
CD @ Apple + https://allthingsswamp.hearnow.com/
Patrick Rydman & Mark Davis – You Plus One – EP
This interesting 23-minute showcase of 6 songs recorded in Denmark & Sweden is where Americana-roots & folk elements proliferate. The opening tune with its acoustic guitar jangle finds the duo singing harmoniously in a Crosby, Stills, Nash & Young style, & effectively. “You Plus One” is well-arranged & performed.
The duo is Sweden’s Patrick Rydman (vocals/acoustic guitars/keys/drums/bass) & Denmark/California’s Mark Davis (vocals/electric guitars) on the delightfully bright songs that add up to You Plus One (Dropped Feb. 28/Independent/Moonscape/Inkling) an EP produced by the duo.
At times, like on “Sailing Time” & “To Be Home,” the duo remarkably sounds like the teams of Lowen & Navarro, or Vigrass & Osborne. Their sound is a little more laid back, but the sonics they do project are disciplined. The songs are all melodic & there’s no mediocrity. It’s not folk music, though; it’s more country-pop in the tradition of the artists mentioned, with musicians like Loggins & Messina. “Home” sounds like it has more production & it’s memorable.
“Who’s Got the Time” is a slick tune that’s imaginative. The group is not wholly harmonic because there are some good ballads sung solo – “The Box” is strong & dramatic. It all has a Southern California feel – that old Laurel Canyon atmosphere with the Hippie-isms subtracted from the more artistic endeavor that’s evident here.
The music’s soothing has a compelling edge like good spice & unlike much of California-type folk-rock music, it’s not superficial. It all goes down easily with good vocal clarity & music that has a clear complexion.
Highlights – “You Plus One,” “Sailing Time,” “Who’s Got the Time,” “The Box,” & “To Be Home.”
CD @ Bandcamp & https://www.hemifran.com/artist/Patrick%20Rydman/ & https://patrickrydman.com/
Hannah Rose Platt – Fragile Creatures
Peculiar opener with dialogue & female vocals crossed between Kate Bush & Julie Cruise. Ethereal & sublime with a whispery percussive glint in waves. Interesting since it’s not something you’d hear every day. The voice on “Ataraxia” is ghostly, but benevolent.
There are 11 exquisite pieces found on Fragile Creatures (Dropped April 25/Xtra Mile Recordings) that inhabit this showcase. Hannah Rose Platt (lead vocals/electric, acoustic & classical guitars/synths/bgv) has a unique tone whether she sings or narrates, decorated with percussive wisps, otherworldly background tones that dominate “Curious Mixtures.” Ingeniously played.
More layered is the Bangles-cum-Go-Go’s-type vocal on the more commercially flexible “Young Men Need Their Wives.” It’s well-arranged & driven by cellos & a steady snare. If this is a throwback to the ‘60s girl groups, it’s done respectfully. There’s a haunting Shangri-Las vocal that’s soaked in this 3rd track. It has its own simpering “Leader of the Pack” type atmosphere in the undertow. Hannah’s voice is perfect.
“Magdalene” & “Radiant” are two cleverly written songs. Wonderful intonation. Nothing’s bombastic or pretentious. Songs like “The Yellow Wallpaper” have musical stripes drawn from groups like This Mortal Coil. As well as the similar placid landscapes, followed by the late composer Angelo Badalamenti. The jazzy percussive “La Grande Hysterie” has the ghost of Gene Krupa’s “Sing, Sing, Sing” drums throughout.
The sole rocker is “The Edinburgh Seven,” which has its textured vocal tone bristling nicely. Used as well in a Donna Dean song “Rain Fall On Me.” Hannah’s voice goes from deviant, to seductive, to adolescent & always in varying degrees of whispery felicity. She absorbs the moisture of every musical note. Quite a unique showcase. Lyrically perceptive, like a piece of cloth at once smooth like satin, or coarse as burlap — never boring. Ed Harcourt provided drums & other instruments. Freddie Draper provided bass guitar, double bass & other instruments.
Highlights – “Ataraxia,” “Curious Mixtures,” “Young Men Need Their Wives,” “Magdalene,” “The Yellow Wallpaper,” “La Grande Hysterie,” “The Sick Rose,” & “The Edinburgh Seven.”
A 16-page stitched lyric insert is included. CD photo courtesy of Ester Keate. CD @ Bandcamp & https://www.hannahroseplatt.com/
Berries – Self-Titled
This isn’t exactly Americana-Roots, but it has a garage-rock mid-60s aesthetic that runs hot through the first song “Barricade,” similar to music made by 1965’s The Castaways (“Liar, Liar” “Sam”) down through the decades until you reach Blondie & The Pretenders.
There are 10 crates of unwrapped Berries in this self-titled LP (Dropped Oct. 2024/Xtra Mile Recordings) performed by Holly Carter, Lauren Cooper & Lexi Clark. The album was recorded & produced by Antony Smith in London.
The music is heavy-laden but spare at the same time. The guitars ring out with some nice riffs, the drums are simple but precise, the bass is thick & the trio of female vocals relentlessly rock on with a dash of whimsicality. What’s cute about this outfit is their ability to go from straight rock n’ roll to quirky as they do on “Blurry Shapes.”
Good fun stuff aimed either at, get this, 70-year-old nostalgia-driven old rock ‘n’ roll fans from the mid-60s or, it’s intended audience, I would guess, the grandchildren of those rockers who would appreciate the rawness of the tradition. “Where are we headed now…where are we headed now?” Terrific hook.
Another quirky tune, “Watching Wax,” finds the vocalists singing in unison with good aggression & authority. The guitars creep along note by note & the drums pound with a tribal beat. It’s all reminiscent of the uninsulated energetic music of bands like The Honeycombs (“Have I The Right” – with the late, great Honey Lantree — female drummer) & The Rocky Fellers (“Killer Joe”).
They go cool & acoustic on “Balance” & their trio singing is good on one of their quieter & appealing songs. It’s hard to calibrate who they’re going to lasso into their musical corral. Older people who will like hearing something familiar in style to their youth, or to younger kids who have never heard this female rock assault.
This isn’t punk, it’s garage rock. And these ladies are damn good. I can hear it now as we approach Piccadilly Circus in our knickers with our bare feet sticking out of the car windows…yelling…“Pass the Coca-Cola bottle, I got some rum under this passenger seat where all our old chewing gum is stuck. I have the new Berries CD — want a sample of that too, Percy? Watch that lorry!”
Highlights – “Barricade,” “Blurry Shapes,” “Balance,” “Jagged Routine,” “Narrow Tracks,” & “Control.”
A 12-page stitched lyric insert is enclosed. CD @ https://www.berriesband.co.uk/
Moonrisers – Harsh & Exciting
This is the Michigan duo’s debut as Moonrisers — with electric & acoustic guitarist/electric banjo player Libby De Camp & drummer/percussionist/ Adam Schrieber. The opener is vintage roots & they manage to inject a cool-sounding retro sound into their set. They play antique instruments to ensure the sound is dusty, delicately spread with a yesteryear ambience.
They succeed immediately & set the tone with “Circle of the Seasons.” Libby plays a 1930s Slingerland May Bell parlor guitar, & Adam’s drum sound emits itself from a hundred-year-old calfskin drum kit (I had one, sounded great in the day). If I’m not mistaken, the calfskin is the drum’s head & maybe even the ”snare” under the drum instead of today’s metal.
The 10 instrumentals were recorded in a house in Nashville, TN (Buddy’s Honky Chateau) that predates Country music. Makes an interesting backstory. Produced by Dave Auerbach, Harsh & Exciting (Dropped May 30/Easy Eye Sound) encapsulates lovely, primitive sounding musical jewels (“Muddy Shores,” “All Your Hiding,” “Start On Foot”).
The majority were written by Elizabeth Ann Nowick, except for the medley. The most mainstream sounding ear-grabber is “Run Up Time,” with its heavy percussive beat & the crystal-clear Libby guitar strings. Adam on all percussion with Tim O’Brien on mandola & Chris Scruggs on baritone guitar & pedal steel.
There are earthy tunes reminiscent of Appalachian traditional tunes & the playing of John Fahey & even Leo Kottke. Particularly atmospheric songs such as “Further Down” with its pensive guitars. The other musicians contributing are Mike Rojas (all keyboards), & Tom Bukovac (guitars/baritone guitar).
This is like late-night music — it may work as good as hot milk with a spot of rum. It also has an inspiring effect if you write poetry. It’s down-to-earth & good. You can almost smell seasoned wood pine, Cherry-blend pipe tobacco & the scent of old books. Use your imagination & play “Harsh & Exciting” by Moonrisers. You can thank me later.
Highlights – “Circle of the Seasons,” “Muddy Shores,” “All Your Hiding,” “Run Up Time,” “Further Down,” “Only the Lull I Like,” & “Harsh & Exciting.”
Color image & CD photo courtesy of Jim Herrington / Chromatic PR. CD @ Bandcamp & https://www.moonrisersband.com/
Schmoon – Pretty Darn Pretty
Another late entry I found interesting, though vocally it isn’t perfect…but it’s appropriate to the kind of song & stories this Portland, Maine indie folk-singer-songwriter Matt Cascella sings. Schmoon is his childhood nickname…his performing moniker. The songs, like “Sadly County Fair,” have an innocent nostalgic curve with inventive lyrics. Matt draws his inspiration from his childhood, its time-worn memories, anxiety & uncertain futures.
There are 10 quirky originals on Pretty Darn Pretty (Dropped Dec. 13, 2024/Baby Robot), but don’t let that word “quirky” concern you. These are well-thought-out melodic fun songs that are not novelty or camp. They’re like little plants that have been fertilized & watered with care & they grow on you.
Schmoon has quite a cast of musicians who play & sing with him like a theatrical company. What’s captivating about this artist is his creativity & originality. Oh, there have been others in the past, Sam Leno back in the late 70s, released “Ordinary Man,” which is a little more vaudeville. Matt (drums/acoustic guitar/glockenspiel) sings his songs with a touch of theatricality. “Not a Girl” has this wonderful touch.
It could be considered a comical album, but there’s too much seriousness to the musicianship for it to be considered comedy. “Made It Up” is a nice rocker with howling lead guitar. But the LP is genuinely humorous. The LP was started in 2019 & it took this long to finish after delays due to Covid. There’s plenty of varied instruments throughout the album, including some bodily sound, special effects, gargling, wine glasses & breadsticks.
“Table For One” has Spanish-flavored horns injected with Herb Alpert notes. It’s sung/narrated with a Beat Generation hipster type voice. Rather cool. And that’s where the humor is most evident. Schmoon’s voice is about as different as Dr. John, or Leon Russell’s. You could call it eccentric, but it’s still an interesting vocal approach.
A silly titled song like “To a Butthead” turns out to be a poignant piano heavy ballad sung seriously. Troubadour quality. Want something different? Schmoon is a good choice.
Highlights – “Sadly County Fair,” “Wait For the Mystery,” “Bowlegged Rider,” “Made It Up,” “Not a Girl,” “Table For One” & “To a Butthead.”
Schmoon album images & color portrait image courtesy of Bob Woodard. CD @ Apple & https://schmoon.bandcamp.com/album/pretty-darn-pretty
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Grooves & Cuts – #1 – 2025
CD & Digital Links can be bought at the artists’ respective websites. No photography will appear without a photographer’s credit or the source.
All pictures, images & CD art displayed in any review were sent from publicists, the artists themselves, their websites/Facebook, or PR reps. When available, all photographer credits will be noted.
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Mailbag Roundup Reviews May 2025
