The vocal approach carries a strong classic-folk character. There’s an expressive roughness to the singing, at times echoing the cadence of early Dylan, where phrases tumble out in a slightly conversational, slightly melodic manner. It adds personality to the songs and reinforces the traditional lean of the record. The simplicity of the lyrics works in their favour; rather than drowning the listener in poetry, the band keeps the writing grounded and approachable, letting the delivery do the heavy lifting. These are songs designed to be understood immediately, sung back quickly, and remembered easily.

Instrumentally, the trio showcases real musicianship. Every player brings skill and intention to the table, and even when the arrangements feel a bit loose, there’s a genuine spark in the performances. Some tracks have moments where the instruments don’t quite knit together seamlessly, like each part is doing its own lively thing without always syncing perfectly, but the enthusiasm behind the playing gives even the rougher edges charm. When everything does lock in, there’s a palpable groove, the kind that gets your foot tapping before you realise it.

The production is another area where the album reveals both strengths and quirks. The overall sound is warm and organic, fitting for the genre, but the volume balance occasionally wavers. Certain instruments or vocals will spike slightly above the rest, hinting at a mix that embraces authenticity over polish. These small inconsistencies don’t derail the experience, but they do make the record feel more like a true folk document, human, imperfect, and unfiltered.

What Animal Style excels at most is generating movement. The majority of the songs carry a buoyant, dance-friendly rhythm. You can clap to them, spin to them, or just sway along without thinking about it. It’s an album built for community spaces: festival fields, backyard gatherings, late-night jam circles, and anywhere people want music that brings them together. There’s a natural groove woven through the record that makes even the simplest arrangements feel engaging.

In the end, Animal Style captures MoonCats in their most confident and spirited form. It’s not an album obsessed with technical perfection; it’s one rooted in feeling, joy, tradition and the openhearted camaraderie of folk music. The band blends strong vocals, lively playing, and earnest songwriting into a collection that’s fun, accessible, and unmistakably theirs. Even with its occasional roughness, the album’s charm lies in the way it invites listeners not just to hear the music, but to participate in it.

SCORE / Excellent – The imperfections end up enhancing its personality rather than distracting from it, giving the record a lived-in warmth that feels genuine. In the end, Animal Style stands as a lively, heartfelt celebration of folk tradition; an album that reminds you music is often at its best when it’s meant to be shared, sung along with, and felt in your bones.

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A doctor by day, this is Aditi Babel’s first release – a song she describes as an upbeat acoustic offering that speaks to a new and fragile relationship.

The track opens with a calm guitar. Instrumentally, the song doesn’t do much; so I think it fair to focus more on Aditi Babel’s voice and lyrics. It’s a voice that garners your attention. Coupled with guitar, you start thinking of musicians such as Zahara and Tracy Chapman – musicians who are more voice and guitar than anything else. Aditi Babel’s voice is not deep; it retains its pop and perhaps feminine nature.

In terms of the lyrics, this is a song where we get a character who’s fallen in love. This is more of your ‘I’ve fallen in love for the first time/ This time I know it’s real’. In short, Aditi Babel’s lyrics remind me of Queen’s classic.

Aditi Babel paints a story of what’s happening to her lyrical persona: a friend of hers has gone to Bristol and bought her crystals, which she puts on the persona’s window sill. Afterwards, a lover buys the persona some flowers.

We are then taken inside the persona’s mind: she’s not a believer in voodoo and magic, but the crystals and flowers can’t be a coincidence; they feel. In other words, it appears to me that they now want to start believing in voodoo and healers.

In other words, not only have the personas fallen in love, but they are on the brink of changing their spiritual ideas. This enriches ‘Superstitions’ from just being a song about love; it also becomes a song about navigating issues of spirituality as well.

The lyrical person goes on to talk about issues of fate. These are philosophical topics, and while we see a person in love, perhaps happy that they’re in love, another striking theme is that of never wanting the happy thing to be over. In short, there’s tension in that the persona thinks that the love might not last. In fact, they want the relationship to last longer. And they try to do their part in making sure the relationship lasts.

Vocally, Aditi Babel is dynamic. She’s soft on this song, but her voice can soar.

SCORE/Outstanding: Guitar-wise, Aditi Babel doesn’t do much. You can also argue that her sweet or beautiful voice is common. Be that as it may, I think her lyricism is deep and thoughtful. Moreover, it tackles issues you might not have thought of.  

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Resilience – nice fingerpicking acoustic guitar riff. Fallon has a nice voice. The theme of the song is that it takes resilience to be your real self in this world. Nice bridge melody in the song. I’m enjoying the finger-picked guitar. I can see this type of song going over well in folk festival song circles.

I Choose Peace – starts with a heavier acoustic guitar strum, with drums. A darker-sounding song. “While some may choose darkness, I choose light.” All of these songs have cleverly written lyrics. The message is a central part of each of Fallon’s songs. I love it when she and the background singer break into a higher register, harmonizing on “I choose love, I choose peace.”

Leaving Carolina – the initial line is a bit cliché – “nothing could be finer than to be in Carolina.” Finger-picked acoustic guitar. Loving the background vocals, they add depth to Fallon’s lovely voice. The song describes some good and bad sides of living in and leaving Carolina.

I Don’t Know Why – starts with a heavier acoustic guitar strum. Clever use of the song title as the first lines of each verse. Fallon has a pleasant voice. The structure of the song is solid, even if this one is not one of my favorites.

Mendocino Girl – Another finger-picked acoustic guitar song about a Mendocino girl ending up in New York City. The lyrics contrast the lights and commotion of the big city with her Mendocino redwood roots. A second guitar steps in to play some interesting lead guitar lines. Small town girl that wound up in NYC “where the buildings are higher than my heating bills.” [As a personal note, I live in Humboldt County, the next county North of Mendocino County on the Northern Coast of California.]

Not Even Maralago – starts with an interesting lead guitar intro. This song is a political statement – rich v. poor, citizen v. immigrant – you get the picture. I like the lyrics about climate change and that “not even Maralago” will escape. “These houses are not for the likes of us.” Floods rolling in.

Cotton Jenny – very nice guitar intro on this one and a little more reverb on the voice. Sounds like a male background singer. “Love go round, joyful sound.” Very nice lead guitar picking on this song. Well-written love song.

Leaving Wisdom – sounds like a slide guitar in the intro of this song. Some nice picturesque lyrics in this song. A song about a nomad and America. I’m really enjoying these folk songs. Reminds me of my formative guitar player years sitting around a campfire in folk song circles, trading songs. Loving the reference to Steinbeck in this song. A well-researched writer. Definitely a dobro or slide guitar throughout this song, nice performance.

Mama Can I Go to School Today – starts with a dark finger-picked acoustic guitar. Loving the lead guitar lines in this song. The songwriting on this one reminds me of Slaid Cleeves. Some sad tales in a very well-written song.

Montague Street – starts with a brighter acoustic guitar motif. I like the chord changes and the electric lead guitar in this song. The instruments, including the voice, play off each other, creating a very tasty composition.

Little Single Wide – Very nice slide guitar starts this one off. Here, Jane’s voice sounds in a lower octave. A song about life in a single-wide trailer and packing up the memories. Lovely song with very impactful lyrics.

Blood Money – starts with a nice, simple, but effective electric lead guitar solo, over the acoustic guitar strumming away. Very heavy lyrics in this song. A song about selling your soul. I like the simple drums in this song. And the electric lead guitar is very tastefully played throughout the song. “You can’t wash your hands of blood money.”

Where the River Meets the Trees – this song starts with a cello and acoustic guitar on “the beautiful green river” … “and talk about the house you’d build for me, where the river meets the trees.” I like songs that paint a lovely picture with words. The cello really makes this song.

You Put a Spell On Me – I have to admit I thought this was going to be a cover version of the famous song with this title. But instead, I was pleasantly surprised at this unique folk composition. I like the lyrical interplay using discussions of witches and wizards, druids, and other mythical creatures casting spells and creating an enchanting vision.

Me and Stevie Z – starts with an acoustic guitar and a short electric guitar lead. I like how when she mentions “mandolin” in the lyrics, one appears in the song. “I got up on the stage and did my thing, and got some applause for the songs I chose to sing.” And being in love with the mandolin player.

SCORE/Excellent: Jane Fallon’s new album “Sweet Resilience” is packed full of clever and complex songwriting, tasteful performances, and nice production. If you like sitting in on a campfire song circle, you will love this album. Much love, Beth

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I’ve previously reviewed one of Allen’s songs, “We’re Here, We’re Queer,” a glam anthem, and gave him a good rating. You can read that review here.

So let’s have a listen …

Stay – Starts off with guitar strumming, then enter the drums, mainly a snare. “What would I be doing, if I wasn’t here with you.” The chord pattern is fairly pleasant. Barry’s voice takes some getting used to, nothing off pitch necessarily, just a different tonality that you hear from most singers. Very British in tone. “Stay in this moment forever, together”.

Beautiful Thing – “and he’s been had by some old queen” – I like that line. The song has a lilting melody, with an arpeggiated guitar and piano line. I like the backing vocals, they reinforce Barry’s voice nicely. A plaintive cry of “beautiful thing, let me in.”

Perhaps – The track starts off with a drum intro followed quickly by the strum of an acoustic guitar. I like how the melody and chord changes move in this song; it’s a nice arrangement. The song is about opposites. I like the string section that moves along with the chord changes, floating on top of the acoustic guitar’s strumming. It’s a clever song, well-written. “Perhaps.”

Secrets – starts with Barry’s voice a capella. Joined by a keyboard playing sparsely. Very cinematic sound to this track with strings in the background. I like the ethereal sound of the keyboards in the track. All of these songs have sort of a “Broadway sound” like you might hear in a musical. “The same man I have feelings for” … “it’s the secrets I cannot bear.”

We’re Here, We’re Queer – The song starts with a delicately played piano vamp. Shortly thereafter, Barry Allen joins in singing “It’s a boy!” First impressions, I’m not a huge fan of the voice. But, on the other ear, it is a very British voice, which I like. Eventually, strings join in as Allen says we all demand “an apology.” The song is written, lyrically, to be a gay anthem. Eventually, the song moves to a higher plain, with strings, drums, and even the strum of an acoustic guitar to ramp up the energy of the track, which is moving along fairly slowly. Singing, in the final refrain, “We’re here, we’re Queer, we’re not going away.” A fine sentiment. I would love to hear this song with a female vocalist. In its present form, it reminds me a bit of an old Irish march.

The Life of Jesus – starts with a simple drum pattern, then Barry comes in singing the Lord’s Prayer. With Barry’s additional words thrown in, e.g., “Come sing a song, and let’s celebrate the life of Jesus, and celebrate his words.” I like the arpeggiated keyboard in the background of the track. The songs ends with Barry singing “Thank you, Lord.”

The Two of Us – starts with a keyboard swell and then a harp being plucked, or perhaps it’s an acoustic guitar played very sweetly. The harp or maybe a keyboard set to a harp sound is very endearing and draws your ear into the track. Barry’s singing is more talking for most of the piece. A very short song.

Marvellous – starts with an arpeggiated piano line, then the vocals join in. Singing “I can be romantic”. The song does have a very romantic feeling. The song’s chord structure reminds me a little bit of a church hymn.

Envy – “I cannot share you with another.” A song about envy in love and life. Starts with a nice, heavier, guitar strumming along in the background. “I envy your car and your swimming pool.” Loving the electric steel guitar in the mix. Barry is a talented songwriter, but I think his voice keeps these songs from going further. I would love to see these pieces in a play.

No Time to Dance – starts with a piano vamp, then the vocals join in, mirroring the notes being played by the piano. It’s an enchanting song about coming back from war, or the daily wars and battles we all fight. The song breaks down to Barry’s voice just hanging, and then ends abruptly.

In the Darkness – the song starts with church bells in the distance. Then the song starts proper with an arpeggiated acoustic guitar singing sweetly. A piano joins in, reinforcing the progressions being played on the guitar. A song which lyrically is talking about the lights of the Christmas tree “in the darkness.” The song is very somber, but does have a Christmastime feel.

High and Lowly – “All things bright and beautiful … the Lord can make them all.” A song of praise and worship. “He made their tiny wings”. Nice change to a minor motif when talking about rich v. Poor. The song has clever lyrics that are describing the beautiful things we overlook daily. The song returns to the minor motif with drums beating and cymbals crashing in the background. This is a very nice song, well-constructed, nice lyrics.

SCORE/Good: Barry Allen delivers an interesting, quirky, album with 2022’s “Perhaps.” Nice production and a very clever, well-written songs. Give it a listen and contemplate on the lyrics. Much love, Beth

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From the opening moments, Marck establishes a sound that nods to classic folk rock influences like Led Zeppelin’s acoustic side and the reflective tones of George Harrison’s solo work. The production is clean yet warm, allowing the guitars and harmonica to breathe naturally. The simplicity of the arrangements becomes their greatest strength. His acoustic guitar is often the anchor, steady and grounding, while his voice trembles at the edge of confession. The instrumentation may not vary dramatically from song to song, but subtle choices, like the addition of harmonica or layered guitars, create small but meaningful emotional shifts.

The album thrives on contrast. Many songs sound bright on the surface, even buoyant, yet they carry themes of despair and self-doubt. Marck sings about anxiety, personal failings, and the futility of trying to change the world, but his melodies and phrasing give these heavy ideas a strangely comforting texture. The result is music that doesn’t wallow in sadness so much as it accepts it as part of living. It’s folk music for those who have learned to live with their ghosts.

There’s an unmistakable sense of poetry throughout the record, perhaps unsurprising given Marck’s background as a published poet. His lyrics often feel like diary entries, but not in a confessional or performative way, they’re closer to quiet observations, honest lines written at the end of a long night. He manages to express the weight of experience in simple, grounded language. Lines like “Hard times never go away, they just smoulder underground” and “I am a cautionary tale, the kin who tried and failed to bring back his country’s youth” show how he turns everyday sorrow into verse.

The use of harmonica in several tracks adds emotional dimension to the otherwise spare instrumentation. When it enters, it’s not decorative but transformative, infusing songs with warmth and nostalgia. It’s particularly effective in the album’s more sombre moments, amplifying the ache in Marck’s delivery. Backing vocals appear only briefly but to great effect, deepening the atmosphere without distracting from the raw honesty of his singing.

What makes Songs for the Bog Queen compelling is its consistency. Marck doesn’t chase variety for its own sake; instead, he builds a cohesive sound world where every song feels like it belongs to the same emotional landscape. It’s an album about continuity, how sadness lingers, how memories resurface, how beauty and pain are often inseparable. Even when the lyrics edge toward despair, there’s a quiet resilience in the music, a sense that expression itself is an act of endurance.

By the time the final track fades, Songs for the Bog Queen leaves you reflective rather than defeated. It’s not an album for escapism or easy comfort. It’s a work of emotional realism, patient and deliberate, that rewards listeners willing to sit with its moods. Marck has crafted a deeply human record, unvarnished, poetic, and quietly powerful. It’s music for grey mornings, long drives, or nights when memory feels too heavy to hold alone.

SCORE / Excellent – By the time the final track fades, Songs for the Bog Queen leaves you sitting in quiet reflection. It isn’t an album that offers comfort or easy resolution, but one that feels deeply honest about how it hurts to be alive and to keep going anyway. Marck has made something unvarnished and real, an album that hums with the soft persistence of human feeling, still flickering even in the bog’s dark water.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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The track opens with a slow, deliberate guitar intro, setting a reflective tone before John W. Sanders’ warm, grounded vocals enter. His delivery feels effortless yet deliberate, embodying the kind of sincerity that folk music thrives on. There’s a poetic undercurrent running through every line, imagery like “the entire spread of northern lights captured in a single bead of Alaska morning dew” conjures an almost cinematic visual, grounding emotion in nature’s grandeur.

As a lyricist, melody writer, arranger, and artistic director, Sanders guides the song with a painter’s sensitivity. Each word and instrument feels hand-chosen, like brushstrokes on canvas. The production is clean and balanced, allowing the listener to sit within the song’s gentle pulse, the steady beat and lush acoustic texture supporting the vocals without overpowering them.

Lines such as “Love it when it’s easy, love it when it’s rough” speak to a philosophy of acceptance, a love that endures through contrast. The refrain “Shine on through” becomes both mantra and invitation, urging listeners to embrace the fullness of experience, the soft and the harsh, the bright and the shadowed.

“L O V E I T V I O L E T” feels like a meditation on love as an all-sensing, all-consuming force, seen through the eyes of an artist who not only writes songs but paints, sculpts, and directs. It’s slow and impactful, a piece that asks you to stop, listen, and feel.

SCORE / Excellent – A beautifully crafted, introspective folk song that shines with honesty, artistry, and emotional clarity. L O V E I T V I O L E T proves that simplicity, when handled with care and vision, can be the most profound form of expression.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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The song starts with a delicately played piano vamp. Shortly thereafter, Barry Allen joins in singing “It’s a boy!” First impressions, I’m not a huge fan of the voice. But, on the other ear, it is a very British voice, which I like. Eventually, strings join in as Allen says we all demand “an apology.” The song is written, lyrically, to be a gay anthem.

Eventually, the song moves to a higher plain, with strings, drums, and even the strum of an acoustic guitar to ramp up the energy of the track, which is moving along fairly slowly. Singing, in the final refrain, “We’re here, we’re Queer, we’re not going away.” A fine sentiment. I would love to hear this song with a female vocalist. In its present form, it reminds me a bit of an old Irish march.

SCORE/Good: Barry Allen delivers a gay power ballad with his new single “We’re Here, we’re Queer”. Lyrics of overcoming oppression on the journey to becoming your true self. Empowering. The music is majestic. Have a listen for yourself. Much love, Beth

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The artist makes the songwriting mistake of making the lyrics too straightforward, not clever in its use of rhyme. That being said, I like the fingerpicked acoustic guitar part and the flute that plays throughout the song. I think the voice sings flat, not nearly as pretty as the flute, so maybe take the voice out altogether and resubmit as a flute instrumental?

SCORE/Mediocre: This song needs work, but there is hope. The instrument bed is fine, but the vocals need work. Either find a new singer or let the flute act as the voice for the piece, and resubmit. Much love, Beth

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Several years later in 2008, Mike started to frequent the local open mic at the Catbird Café in South Weymouth, Massachusetts where he met host, Stephen Martin, who has performed on Mike’s three previous albums, and produced Drifting to The Right in 2021 and also Light Still Shines The Same at the end of 2024. That creatively fertile environment reignited Mike’s passion as songwriter and a performer, and he would go on to hone his craft through songwriting and singing workshops at the Blackstoe Valley Music school in Uxbridge, MA.

Mike released a nine-song album titled “Drifing To The Right” in Dec. 2021. It’s an impactful album delivered with warmth and humanity, and it speaks to the qualities valued and embodied by the artist himself.

The new album, “Light Still Shines The Same”, was released in December 2024 and has been described as a “luminous journey through history with heart and humor” by Whitney Miller of Vocal Media. The two singles, Destiny and She was My Angel can be found on Spotify, Pandora and other streaming platforms and the title track Light Still Shines The Same is currently featured on the World Music platform Ethnocloud, where it is #19 in the Top 40 for the month of March.

So let’s have a listen …

The first song on the album is Destiny. Starts with an acoustic guitar and then straight into the vocals. This is a folk song. The singer’s voice has a quirky, eclectic feel. Nice chord changes, arrangement, and flow to the song. “My mother was a hippie, and she named me Destiny.”

Light Still Shines The Same, the title cut, starts with a nice electric guitar solo. The singer’s style is more talking over the changes, rather than full-on singing. The electric guitar gives a sort of swamp blues feel to the track, which I say in a good way. “The light still shines the same, on everyone.”

She Was My Angel starts with a finger-picked acoustic guitar. It features the same type of talk-singing male voice, but includes ethereal female backing vocals. A nicely constructed song. “She was my angel, but she passed away.”

Two Stoplights starts off with a two-chord vamp, which is the main structure of the song, although it has a chord-lift when the chorus hits. The two-chord structure gives the song a very dark folk feel. I like the strings that are present in this track. The vocals are in the same talk-singing style.

Fortunate starts off with an acoustic guitar strumming along, with an electric guitar playing lead softly over the top. “Looking at this from afar, how fortunate we are.” Same type of talk-singing vocals. Very nice chord changes in the bridge of the song.

When Dawn Comes To The City starts with an upstroke strum on the guitar, which gives way to a heavy two-chord acoustic guitar strumming pattern. I like the sound of the acoustic guitar on this one, very folky. Same style of talking vocals. The song lifts throughout the bridge, then into the verse chord pattern, singing “Remember that it’s dark before the dawn.”

Hello I Must Be Going starts with a lifting guitar vamp and the same style of talk-singing. Not really digging the lyrics to this one, particularly the main rhyme of “going” with “Boeing”. The song tells a story. I think here, the talk-singing style does not serve the song well. I like the plane landing sound at the end of the song.

Five Twenty Four is a very slow folk song. Finger-picked acoustic guitar vamp. Same talk-singing style. A song about our journeys through life.

Marijuana Gummy Bears Picnic starts with children laughing, then a two chord vamp “with the smell of cannabis in the air” and gummy bears. Same talk-singing style in this one and consistently throughout the record. I like the Burning Man reference in this song. I get the impression that the many characters in the song are all marijuana gummy bears, who melt.

Overnight. “Tonight I’ll be traveling overnight.” “I’ll be coming late, sorry about the wait.” A song about driving at night, and how we contemplate our lives while we are on the journey. Horns and a flute add ambiance.

Apology Song is one long apology to “the person in my past … due so long ago.” The song features a finger-picked acoustic guitar throughout.

Last One On The Bus starts with a tale about standing around, waiting to catch the bus. He tells details of the trip, but not with the type of flowery language that you expect from a songwriter; the lyrics are a little too straightforward. The song then goes into a slightly quicker bridge. “I’m getting older” as he looks at the different life choices he could have made. 

The mix, mastering, and production are very nice on this record. Hats off to Executive Producer Stephen B. Martin and Joe Clapp, the Recording Engineer. The playing and performances on this album are all pretty good. My only real issue with the album is that I don’t particularly like the talk-singing style or the voice of the lead singer. That being said, if you like talking folk, storytelling type of songs, you may really like this album. It’s very mellow throughout. Some nice music to listen to while working.

SCORE/Good: Michael Gutierrez-May delivers a musically interesting folk album. He has a talk-singing style that is good for storytelling, and the album is full of good stories. If you’re a fan of this style of folk, this might be a nice album for you to check out. Much love, Beth

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The performers of this conception include Cale Moon ‘Hound-Dog’ Dobro with no distinguishable act, Denise Stewart-Baker on backing vocals, JMAN on Drums and percussion, Pipes of Valinor on Gaelic Pipes and Woodwinds, and the elusive Dez Maree on Guitars, Bass, Arrangements, Lead and Harmony Vocals, Composing, Engineering and Producing.

The song presents itself as a mix between country, folk, psychedelia, baroque pop and soul. It’s an extremely eclectic song with depth and emotion that bleeds through even though it has some slight issues with the mastering and the balancing. There is enough motivic variation within the instruments present within the song: the keys, the acoustic section, the strings, the synths, the vocals to keep you interested in the song as you listen to it.

One of the redeeming parts of this song is definitely the emotional structure that goes hand in hand with the chord structure of the song itself, presenting a dynamic but emotionally compelling sequence for one to emote to. In some instances, this song is almost like a neo-Western song, with enough amendments to make the genre modern. It’s exciting, complex, and filled with mini-motifs and solos from each instrument to keep your ears peeled.

The harmonized vocals also provide the song with a strong backing to the main vocals, which have been filtered off to provide an interesting and futuristic effect. It’s a track that definitely passes the test of musical variability, crossing between compositional and presentation techniques to give you a pleasant listening experience that goes beyond a ‘simple song’.

SCORE /Excellent – NIGHT STAR (Because of You) is a compelling track that simply unwinds with more possibilities the longer that you listen to it. It has a complex structure with a lot of motivic variation and a unique form of presentation, giving itself an edge over other releases out today.

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