Indianapolis-based The Born Again Floozies have now released their third album, Street Music. With their previous two releases, the Floozies wowed us with their unique musical approach, which consists of joining one fantastic guitarist (Joey Welch) with tuba and trombone players (presently Melissa Williams and Charles Krone, respectively), a tap dancing percussionist (Amy Gilmore Andrus), and an additional percussionist and singer (Nancy Moore). I'm unaware of any other group in the world with such a line-up. As one might expect, such an amalgam of instruments (is tap dancing an instrument?-see below) can lead to rather eclectic results. And while their first two albums were very fine, it was this eclecticism that was front-and-center. On Street Music, however, their unique approach has become much more incorporated into the songwriting, itself, resulting in an album that coheres together brilliantly, and even, yes, rocks. Opener "We Got The Power (Love Letter From America)" starts with Andrus' tap dancing, which, here and throughout the album, acts much more as a traditional percussion instrument (with a unique sound) than as an "added attraction". Andrus' tapping is followed by tuba, more percussion, and finally Welch's guitar. Taking a chant-like approach, the Floozies sing, "We got the moves/We got the power/We got the lash/To break the wildflower/We got the fear/We got the light/We got the darkness/To define the light". Here and throughout the majority of Street Music's tunes, Welch uses metaphor and allegory (even in the liner notes introducing each of the songs) to put forth a series of political narratives that circle the points being made, rather than bludgeoning you over the head with them. "Tough Guy" comes next, beginning with guitar chords and feedback, again joined by tap, horns and vocals. Additionally, Welch unleashes some great guitar riffs that have muscle and punch. "Dumb It Down Now" follows and is one of the album's highlights, with some very funky guitar licks, fantastic percussive accompaniment from Andrus' feet, and a tuba lick that would make James Brown proud. As the songs continue, unfurling sounds that recall southern rock (the title song), street parades ("Legislate Me Straight"), and gypsy music (I'll Be True To Thee"), a constant element is Welch's brilliantly varied playing, taking in everything from blues licks to pop melodies, funk beats to feedback drones. Indeed, it is Welch's guitar work (often sounding like two guitarists at once) that ties all the diverse elements of the Floozies sound together on Street Music in a way that is much tighter than on their previous recordings. This may be partly because Welch lets his rock demons take a much firmer hold on proceedings, especially on songs such as "Prince Of 38th Street (Freak Flag)" and album closer "Up The River, F**ker". It's always nice (and increasingly rare) to be able to follow a group's career as it grows and progresses from album to album. Latch onto the Born Again Floozies, for they are a group that makes such a musical adventure possible.

The debut album by Seattle 5-piece The Moondoggies calls up echoes of Crosby, Stills, Nash & Young, The Band, and current hot-shots Band Of Horses, as the group takes their seats in the church of country-rock riffs and harmonizing. More so than the aforementioned groups, however, a strong element of the blues is present in their songwriting and playing, and the "churchiness" of their 3- and 4-part harmonies cannot be denied. The Moondoggies can rock one minute and be very mellow the next, throw out 50s riffs in one song ("Ol' Blackbird"), honky-tonk piano in another ("Night And Day"), and straightforward gospel (just singing, piano, and hand-claps) in another ("Jesus On The Mainline"), with the group sounding completely in their element regardless of the approach. Certainly the beauty of their vocalizing is the key element in the Moondoggies beautiful sound, but chief songwriter Kevin Murphy's guitar work and Caleb Quick's keyboards also showcase chops and variety throughout the album. The group has that all too rare "lived-in" sound, somewhat ragged but always right on the beat, perhaps stemming from their longtime bonds as high-school buddies. Regardless of the reasons, Don't Be A Stranger is a fantastic album for alt-country/country-rock lovers, as every song showcases their talents (no filler is present) and every harmony conveys the spirit of an intensely enjoyable campfire singalong, one with both depth and a carefree spirit. Very enjoyable, indeed.