GIRL IN THE MIDDLE: GITM

Recorded in 2019, shortly before COVID hit and then the band apparently went on hiatus, this choice nugget of rootsy, rollicking Americana was only released this past March.

Whatever the reasons that led to its finally seeing the light of day, music fans should simply be grateful that it IS now available: Tight songwriting, great playing, this is a dynamite set of music. It’s got a kind of timelessness to it, as all great music does, yet calls to mind some of the great country rock of the early 1970s (Poco, Pure Prairie League) and the roots revival of the late 1980s and 1990s (Jayhawks, Eve Selis).

The quartet here consists of Carol Rider and Tim Edwards on guitars and vocals, Maria Maccari on bass, and Gregg Henning on drums and percussion. Rider and Henning teamed up to write eight of the 11 songs, with Edwards teaming with Henning on two, and writing “Chicken Bones and Voodoo” by himself.

The album starts strong with “Not the Right Town.” Rider’s world-weary vocals start off in a straight-up country vein before she kicks into a more rocking mode—honing an edge to her story of disaffection and alienation.

“Sunset Moon” is a decadent bit of ear candy, with a melodic hook the size of the USS Midway’s anchor. The quirky arrangement, with slowly picked out guitar lines atop percolating bass work, provides an effective contrast with the gorgeous vocal harmonies. The tasteful guitar solo after the break sets up the closing chorus just right. It is one of those rare combinations of song and arrangement where after listening you realize there isn’t one thing you’d want to change.

Rider and Edwards achieve another gem of two-part vocal harmonies on “Glad You’re Mine,” which calls to mind the Jayhawks’ best work in its combination of soaring voices and twangy guitar leads.

Edwards’ and Henning’s “Sweet November” is more countrified than the previous songs, with some nice slide guitar (maybe on a lap steel?). It’s followed by “Walk Away Suzi” which is, along with “Crow,” one of the hardest rocking songs on the release.

“Chicken Bones & Voodoo” is more entrenched in the blues, with a mesmerizing guitar solo that then fades into some tasty fills behind Edwards’ vocals.

On “Anything but Pretty,” Rider dips into the low register of her vocal range in the opening verse, lending it a certain gravity. The guitar solo toward the end rocks harder than would seem to be predicted for the arrangement, but it absolutely works.

If not quite as luxuriant as “Sunset Moon,” “17″ is still full of melodic ear candy. And its variation of tempo, slowing down at the end of the verses before jumping into the rollicking chorus, only adds to the catchiness.

The album closes out with Edwards on vocal for “It’s Only Me.” an aching yet gorgeous tale of self-reflection.

Co-produced by Sven-Erik Seaholm, the mix is as clean as one might expect from his studio. Every pluck of a string comes through like you’re in the studio with them. And Cathryn Beeks designed the cover and took the photos, showcasing yet another side of her multifacted talents!

It’s unclear from the band’s online presence if they’re performing in support of this release. But whether they are or not, this recording is a stupendous snapshot of a band firing on all cylinders.