Freddy Trujillo Never Threw A Shadow Self-Release
I NEVER THREW A SHADOW is the fourth solo album from Freddy Trujillo, the bass guitarist with The Delines and Richmond Fontaine. The Simi Valley, California-born artist currently lives in Portland, Oregon. Not surprisingly, all the members of The Delines feature on the record, which was produced by The Delines' Cory Gray and recorded at his Old Unconscious Studios.
Written and recorded during the pandemic, the album's backstory is the real-life experiences encountered by Trujillo as a Chicano growing up in Southern California. With time on his hands during lockdown, Trujillo cast his mind back to his early years, and, stimulated by The Black Lives Matter movement, wrote a collection of songs based on his account of living in the United States. He puts down a marker with the song I Didn't Cross The Border, The Border Crossed Me, a fitting reminder that Mexican culture existed in the Southwest long before it was regarded as American.
The story of the title track is taken from a real-life situation of racism when Trujillo, the victim of an attempted robbery, was subsequently treated by the police as a criminal because of the colour of his skin. Semi-spoken, it's backed by a funky backbeat and horns, giving it a worldly border vibe. The opening track, Corpus Christi, is a driving rocker written initially by Willy Vlautin for The Delines but has yet to be recorded by them. Trujillo's version is pacy with a driving rhythm and livelier than the original composition.
World There Haunting Me puzzles the so-called 'land of opportunity', recalling how that 'opportunity' was not always an option for Chicano people when basic family demands called. Despite the many obstacles faced, the strength of community is spoken of in Mexican Hearts. Julio Jones is a glorious spaghetti western-style instrumental with twangy layered guitars to the fore. Shades of Carlos Santana enrich Remember Me, and a final reflection on the good and not-so-good of Trujillo's life in America is detailed on the album's final track, Many Years of Minding. His emotions are summed up in a few words: 'I feel indigenous. A Mexican American, do I have to explain.'
Musically, as expected, the album embraces Trujillo's many influences, including Chicano-rock, soul, border-flavoured country and R'n'B. However, the fundamental dynamic is the stories within the songs, which explore racial rejection and ignorance encountered during the author's lifetime. Unfortunately, little has changed since then, and the situation has become even more pronounced in recent years. Attentive listening is the key for maximum return on this meditation of the life challenges facing many people worldwide today. Trujillo reflects on those struggles elegantly in this hugely satisfying listen.
Declan Culliton
Prinz Grizzley Dear Leftovers Self-Release
Emerging from the picturesque landscapes of a small mountain village in western Austria, Chris Comper, known by his stage name Prinz Grizzley, first caught our attention with his band, The Beargaroos, at the Kilkenny Roots Festival in 2017. A relatively unknown artist at the time, he quickly made a name for himself there, performing six shows and solidifying his position in the Americana genre. Since then, he has graced stages at prestigious events like AmericanaFest in Nashville, SXSW in Austin, and Static Roots in Oberhausen, where he is set to perform again in July this year. His latest offering, DEAR LEFTOVERS, is a self-produced gem, marking his seventh studio album, the first four having been recorded with his indie rock band, Golden Reef.
Anyone with culinary skills and even the most celebrated cooks marvel at the challenge of creating dishes from leftover food. Celebrity chefs have dedicated books to its challenge and the ultimate rewards. Musically, Comper has taken on a similar mission with this latest project, using songs initially written for his 2020 album TO MY GREEN GARDEN HOME and remodelling and reworking them for this eleven-track record. Credited with writing up to fifty songs a year, it's little surprise that Comper had a war chest of previously written songs to draw from. However, to even his surprise, many of the songs that didn't suit his last album had a common thread of broken and falling apart relationships. Using that concept for the album has resulted in a consistent flow of songs that shift comfortably between country-influenced shuffles and unhurried ballads.
Trucker Love is a raucous helping of cowpunk, and Comper's reverence for Credence Clearwater Revival rings true on the jaunty toe tappers Got Nothing To Prove and Wicked Heart. The album's country shuffles in the lower gears are exceptionally high points, where Comper's booming vocals and Johannes Bischof's pedal steel playing earn the laurels. The looming heartbreak expressed in Where Did We Go Wrong, Watch The Embers, Don't Blame Me For Loving You and Much Too Sober hit the bullseye in that respect, all depicting classic tears in your beer scenarios.
DEAR LEFTOVERS may get planted in the Americana pigeonhole, but make no mistake, it is Comper's most complete 'country' album to date. That may be by design or simply down to the subject matter of broken or about-to-be-broken hearts. Either way, it is packed with lonesome and lamenting lyrics, slick lines and chords, and it is a body of work with 'career finest' stamped all over it.
Declan Culliton
Slim Cessna’s Auto Club Kinney Of Lupercalia/Buell Legion SCACUNINCORPORATED
This release from SCAC is the second in the trilogy about the Kinney Of Lupercalia, a world created by founding member, author and lyricist Munly J Munly. The first instalment was under the name of Munly & The Lupercalians and was sub-titled UNDELIVERED LEGION. It takes a different sonic route though, as with all the releases from the collective, there are members involved to different degrees in all the music. I readily admit that my main knowledge of the band’s music relates to the Slim Cessna’s Auto Club side of their releases, having been enthralled by their several albums and having had the opportunity to see them play live here in Dublin. They are unique in many respects, performing material that is more than the sum of its parts and relying on the singular vision of Munly, but delivered with a passion from all of the musicians. Since their inception Slim Cessna, Munly Munly and Lord Dwight Pentecost have been the pillars around their musical contextuality. They are, here, joined by other long-term members Rebecca Vera on keyboards, steel guitar and vocals, Andrew Warner on drums and percussion and the most recent addition, George Cessna on baritone bass.
There are undoubtedly a considered and expressive unit whose music expands beyond the label of ‘Gothic-country’ that has been assigned to them. They are a tight, focussed unit that revels in the human voice and experimental use of some traditional instrumentation. It’s not often that the use of twin banjos is taken to these levels of dynamic diversity. They are fronted by the twin vocals of Cessna and Munly, who often appear to have a strong spiritual and instinctive connection that, visually and musically ,is intuitive and engaging. There are eight tracks that tell this particular part of the ongoing story of the Lupercalian mythology.
These are Boucher, Cesare, Easter, Harris, Ichnabod, Lessing, Munly Munly, Tosspa And Tosspa’s Twin. And while it is easy enough to hear the tale as it unfolds, the overall arch of the story is, for me at least, a little more difficult to fully comprehend. Munly has published a number of books of lyrics, illustrations and stories that are available via the band’s website, including Döder Made Me Do It and Ten Songs With No Music which may help with that. The website also summarises the new album with this overview that in the new chapter of the trilogy, Munly showcases the story of Buells, one of the legions, direct descendants of the Northrops-Petr & The Wulf. An existential journey in the mythical world takes the listener to meet the creatures full of dread and heredity, accomplishing their wants against their instincts. “They should be as they sprouted from the Northrops, the miserable Three Hunters. SCAC represents the Buells, a bit more gregarious and unreserved than other Legions of Lupercalia.”
However, whether you totally follow the lyrics unfolding or not, this is not a barrier to immersing yourself in the overall experience in what is an album that perfectly reflects the band as it is now, and a pretty good indication of how their music has grown and developed into something that is immediately identifiable and unique. It has a layered intensity that is both melodic and yet full of interesting sonics that perfectly sit with the multi-textured vocal delivery that has found its epitome here.
The spiritual and sensual overtones of Slim Cessna’s Auto Club may not be something that will, both on record and as a live experience, appeal to everyone but it is undeniably an ‘experience’ - one that is largely unforgettable. This is a band, to exercise a pun, firing on all cylinders. They are, in many ways, largely listed under the wide umbrella of Americana, yet equally apart from it. They join a handful of other acts exploring something that is not easily categorisable, whose music and lyrical sensibilities fall outside the parameters of the mainstream but one that draws from much earlier folk-tales, myths and manifestations of often forgotten times. And as one of their earlier albums notes “always say please and thank you” - which I’m more than happy to do.
Stephen Rapid
Swamp Dogg Blackgrass: From West Virginia to 125th St. Oh Boy
This release comes from the R’n’B and country-soul artist Jerry Williams Jr. who is a prolific writer and recording artist - he has some 25 plus albums to his credit that have incorporated many different musical genres. This latest release was produced by Ryan Olson at the Sound Emporium in Nashville and features some top notch players on this aptly titled album. With the exception of a handful of covers the songs are written or co-written by Williams. They include the Felice and Boudleaux Bryant song Have A Good Time, Count The Days by Yvonne Williams and Brooks O’Dell and Floyd Tillman’s Gotta Have My Baby Back.
While recognising Williams’ central placement in these recording as a soulful, passionate vocalist and interpreter they is no way to not mention the list of talent employed to give these songs their special identity. The musicians include: Jerry Douglas, Kenny Vaughan, Chris Scruggs, Sierra Hull, Noam Pikelny and Billy Contreras amongst others. Vocalists include very soulful turns from Margo Price on The Other Woman and Jenny Lewis on Count The Days. There are also backing vocal contributions from, amongst others, Harry Stinson and The Cactus Brothers. All of this talent is used to its best advantage on these twelve slices of Swamp Dogg at his finest. To a degree it reminds me, equally positively, of the Nashville production by Buddy Miller of soul-legend Solomon Burke.
Both are albums that broaden the music’s appeal without the main thrust of the music being diluted in any way. It is not, I admit, a formula I get to hear that often but, when presented in such an appealing way, it broadens the reach of country/soul to a wider audience by blending a number of musical streams into a bigger river. There are any number of moments, aside from those mentioned, that are noteworthy, such as the banjo and lead guitar interplay between Noam Pikelny and Vernon Reid in Rise Up. By way of contrast, the more acoustic closing track Murder Ballad is a reflection of death, spoken at times to emphasise its sense of purpose. Gotta Have My Baby Back has a laid back almost crooner 50s feel with strings, mandolin and hushed backing vocals. These go to show the wide variety of arrangements that occur throughout the album.
The expression that things are greener on the other side is translated here to things being equally good when the grass is black, as Williams has noted that a lot of people don’t really talk about the true origins of bluegrass music, and that its origins came from black people and their musical journeys. The banjo, the washtub - all started with African Americans. He acclaims that “we were playing it before it even had a name.” This album, along with the recent work of other African-American artists, is reclaiming that heritage, and rightly so. It is one that deserves a wide and respectful audience for what it has to offer.
Stephen Rapid
Jesse Dayton The Hard Way Blues Hardcharger
Back in a solo capacity after the release of DEATH WISH BLUES with Samatha Fish last year, this new album continues Dayton’s exploration of his various roots music interests that stem from his Texas upbringing. His debut album was released in 1995 and he has lost none of his passion for creating music. This latest album was co-produced by Shooter Jennings and Dayton. It takes a somewhat harder, bluesier approach overall, reflecting his love of bluesmen like Mance Lipscomb and Lightin’ Hopkins, as well as the electric side of Bob Dylan’s output during the Seventies, with Talkin’ Company Man Blues showing that influence perhaps more predominantly, without ever aping that era. The heavy guitar riffs are there but he still finds time to take the foot off the pedal on a number of songs like the aforementioned. Here he sings over a solid rhythmic groove with keyboard to the fore. Vocally he is perfectly able to deliver the howls and passion that one might not expect after a career spanning more than thirty years.
The band here includes Jennings on keyboards and long time accomplice Ted Russell Kamp on bass. Also Courtney Santana on backing vocals and Matt Hubbard on additional keyboards, percussion and accordion. The drum chair was filled by Jamie Douglass and Patrick Herzfeld. They rock out through many of the songs in a way that many who have seen Dayton and his band live will relate to, more than some of his earlier more country-orientated recording work. Angel In My Pocket is another song that sits back, though without losing its edge, to let the more contemplative nature of the songs surface. The storytelling continues with Huntsville Prison Rodeo, Dayton’s vocal here is one of the best of the album in its detailing the life of those drawn to rodeo events that allow prisoners to compete in the arena. Like Esther Pearl, it takes the life of a woman who helped slaves to freedom in the 1800s and gives you an insight into that character. Equally the Ballad Of Boyd Elder has that Texas songwriter connection to the likes of the late Billy Joe Shaver and others as it details the existence of someone living outside the margins.
Dayton had decided that he wanted to move away from the expectations of another outlaw country album, especially working with Jennings. He is as much a great guitar player as he is a vocalist and singer/songwriter. On this album he combines all those attributes, but with a slight emphasis on his guitar playing skills, without losing his identity or focus. Given the tour and album he completed with Fish, it’s natural that there is as much a blues and early rock ’n’ roll attitude happening here as with anything. Some of the dates played were in venues that were more open than bar-room settings and that has been reflected in the way that this album might be performed in the future. It was recorded live with the band in the studio, to retain the energy and interaction that create a necessary fusion.
There is no doubt that Jesse Dayton is now more recognised for his all round talent than he has been in the past and, with this album under his belt, he should gain a wider audience which will give him options other than always having to do it the hard way. At this point he is undoubtedly entitled to that, but you know that he will continue to do what he was meant to, by making great music either way.
Stephen Rapid
Ordinary Elephant Self-Titled Self Release
Five years since their last official album release, and one pandemic later, plus a decision to settle down into what, for Crystal and Phil Damone, could be considered something approaching normalcy; Ordinary Elephant are back, and what a winning return!
This self-titled album is a work of real quality and great substance. No matter that it clocks in at almost double the time of most albums these days, or that there is nothing more on display than harmony singling and a small number of musical instruments; the fifty-five minutes and fourteen tracks deliver such treasure that the listener remains captivated throughout. There is real authenticity here, songs from the heart and from the mind; autobiographical and nakedly personal at times, the superbly crafted lyrics hit the mark often and will find a resonance in the common experiences of many.
In a career that commenced back in 2013 and the release of a debut album, DUSTY WORDS AND CARDBOARD BOXES, their strong touring ethic in building an audience started everything rolling forward. This duo have been living on the road for a decade, crossing the length and breadth of America in a quest to bring their music into new territories and to also explore the freedom of a life that proved constantly challenging and changing with each new day.
Crystal Hariu-Damore (vocals, guitar), and Peter Damore (harmony vocals, banjo, guitar, mandolin) bring beautifully observed vignettes on life to their gentle songs, both haunting and comforting in equal turn. The songs are simple in their delivery and yet contain great richness that echoes long after in the memory. Crystal sings in a very emotive way, her vocal laced with character that draws from her depth of expression, a sense of yearning mixed with the sadness of the world and the journey. She writes all the songs and the great harmony parts with husband Peter really shine brightly here.
Peter threads the melodies with inventive playing that dove-tails perfectly into the vocal colours that lift these songs up. The lack of percussion or rhythmic beat does not detract in any way from what the songs deliver in terms of their quiet expression and power. If anything, the simple instrumentation highlights the great songwriting and the understated intensity in their delivery. The duo chose Dirk Powell to produce the album and he is considered to be an expert on traditional Appalachian fiddle and banjo styles. His studio is the Cypress House in Breaux Bridge, which is near Lafayette, Louisiana. It is a converted 1850s Louisiana Creole home on Bayou Teche and focuses on vintage gear and audio.
So, the perfect setting for a folk duo that celebrate a simple approach with an honesty that informs their creativity. Powell does not play on the album as he was so impressed with the sound on initial song run-throughs that he realised Ordinary Elephant needed nothing more than their own voices and instrumentation. A number of the songs were written through the Pandemic and the aftermath of the changes that became manifest in all our daily lives. Once Upon A Time opens the album and wonders about the sense of vulnerability and confusion felt by so many. Joy Has Not Forgotten Me looks to simple pleasures in living and Hardwood is in similar territory in expressing the value of being in the moment.
Other songs question the state of our world and Here It Is looks at a society where ‘There’s no rug to sweep it under or twist of words to make right, The truth is staring us down like a mirror in the morning light, It can’t be unseen, it can’t be undone, Can’t call it a lesson learned if it doesn’t teach anyone.’ Inner doubts and fears surface on songs such as Midlife which carries feelings of fragility and a sense of mortality with the passing days. Another song Say It Out Loud looks at the price of stress and inner turmoil where the demons of self-doubt come to play. Maybe It’s the Holidays remains on this reflective theme and has a hard look at self criticism and trying to do better ‘Cause I love the potential of a well-intentioned plan, Don’t you?’
The love song Walk With You is really poignant, as is the celebration of all we represent on the song Pigeons ‘We’re in the service of a circle, That ain’t broken yet, Everything that is, has always been, And will someday be again.’ Wise words indeed.. And the circle of life is visited on Birdie Was An Oak Tree a celebration of the changing seasons and the life-lessons that mother nature holds ‘Like unravelled strings of DNA, That rearranged and found their way, Into a new set of genes, in every one of my cells, And every word that I say.’
The final song I See You speaks of the freedom to be found in truly embracing our partners and surrendering yourself to the shared bond of love. Standing outside yourself and focusing upon others brings its own release and the music of Ordinary Elephant will bring you many such rewards once you have embraced their beautiful songs. A real contender for album of the year.
Paul McGee
Dana Cooper The Ghost Of Tucumcari Self Release
This singer-songwriter grew up in Missouri and has been releasing albums since his debut appeared back in 1972. This new release represents album number thirty-two and for an artist that has gone largely under the radar it is quite some record. Cooper straddles both americana and folk fences with real ease and never let’s a good song get bogged down by genre limitations. He has worked with numerous other more notable artists over his career, including Lyle Lovett, Hal Ketchum, Kim Richey and Kim Carnes.
On this album he co-produces with Dave Coleman who also contributes on various instruments and the sound is very bright and engaging across the eleven tracks. With the exception of a cover version of the Woody Guthrie classic This Land Is Your Land, Cooper writes all the lyrics, with co-write credits on six of the songs. He invites a number of guest vocalists to join him on the recording and they all add greatly in the harmonising and melody. Included are Hays Carll, Lyle Lovett, Shake Russell, Darden Smith, Libby Kotch among others.
Tucumcari is the largest city on the highway between Amarillo, Texas and Albuquerque, New Mexico, formerly Route 66, and made famous in songs like Willin' by Lowell George and Little Feat. The album title may well echo all the ghosts of travellers that have passed through over the years but the credits also refer to a homeless cat who inspired the lyrics. Elsewhere the message of universal peace and love rings loud in a post-Covid world on songs like Start the World Again, and Children Of A Common Mother. The enduring theme of love is also present and songs such as Beauty and Ruin, Needless To Say and What Is Love Waiting For look at various aspects of this great mystery and the need to seek it out in all its’ varying guises.
The theme continues on the excellent Song For Myself and a look at commitment in trying to reach out to another. The harmony vocal from Gillian Tuite, Irish songbird and songwriter, is particularly appealing and brings great warmth to the arrangement. Growing up with the influence of Country music and rock n’ roll is the topic on Rocked In a Country Cradle while the rock-groove of Goin’ Down To Judah references religion and our belief systems.
The album came together across four different studios and the quality of musicianship is top-drawer throughout with Cooper (vocal, banjo, harmonica, acoustic and electric guitar) joining Coleman (acoustic and electric guitar, keyboards, lap steel and percussion) in driving the project forward. Other players are Chris Benelli and Rick Lonow (drums, percussion), David Francis and Paul Slivka (upright and electric bass), John Macy (pedal steel) and Josh Leo (electric guitar).
There is no doubting the power contained in a strong song and for many years now Dana Cooper has been proving this maxim. His vocal tone is sweetly delivered and blends seamlessly with the guest vocalists that are invited to partake in this very enjoyable album. Definitely worth your further investigation.
Paul McGee
Ruth Moody Wanderer Blue Muse
Questions will always visit an inquiring mind and the search for inner meaning comes from personal reflection and growth. And so it falls for this artist who has been contemplating upon life changes over recent years. Ruth stepped away from the music business in order to focus on her family back in 2016. It is a life changing decision to bring new life into this world and she now finds herself with a son and the tug of motherhood balancing against her return to the recording studio. This new album is her first since 2013 and it was recorded at the Sound Emporium in Nashville, with Ruth co-producing alongside Dan Knobler, and Tucker Martine also mixing the ten songs included. It is great to have her return in such fine form and these songs are superbly crafted and beautifully delivered by all involved.
The list of studio musicians is impressive with a total of eighteen players contributing their talents across various tracks in support of Ruth’s return to her career. The core players are Sam Howard (upright bass), Jason Burger (drums, percussion), Kai Welch (piano, organ, accordion, synths, Wurlitzer), Will Honaker (piano, organ, mellotron, synths, Wurlitzer) Anthony da Costa (guitars, vocals) and Ruth Moody (vocals, acoustic guitar, banjo, mellotron). There are strings on some songs, plus mandolin and pedal steel to enhance others. The music is lush in the melodies that sweep along on a tide of keyboard sounds while some arrangements are stripped back and simple in their essence.
Songs of love and the joy of falling in love celebrate relationships, and the unique qualities we all bring to our search for communication and true meaning with one another. Twilight speaks of enjoying the thrill of new love as does the superb duet with Joey Landreth on The Spell Of the Lilac Bloom. Equally, The Way Lovers Move and the title track speak of finding that true connection where everything falls into place, with The Wanderer reflecting ‘I’ve been a wanderer all my life / It’s all the life that I know / I’ve never slowed down for anything much / But you had me right at ‘hello.’
Another song Coyotes examines a dream state where passion is drawing feelings out into the light ‘The dream calls me back / There’s no white there’s no black / Only colours that I’ve never known / I’m wearing your shirt and we’re covered in dirt / You smile and you me your own.’ Lost love is also visited in songs like Seventeen and Michigan where reflecting upon past memories brings perspective to the table. North Calling has a great feel to the song and examines the tug of nature calling Ruth back to her roots; cello and violin mixing with mandolin and clarinet in a merry dance. The message in Already Free is one of embracing change and not questioning too much, while the final song Comin’ Round the Bend looks to the dawning of a new day and fresh chapters to be embraced. A very strong album and packed with excellent songs to be savoured.
Paul McGee
Kim Richey Every New Beginning Yep Roc
Since her debut release back in 1995, Kim Richey has forged a very successful career that has seen her release nine albums, write for many other notable names and collaborate on recordings that include Mary Chapin Carpenter, Reba McIntire, Trisha Yearwood, Gretchen Peters and Jason Isbell to name just some of her admirers.
This is album number ten and it is right up there with the best work of her distinguished career. Her vocal tone has always been crystal clear and much admired, the passing of the years seemingly having little impact on her range and warm timbre. The songs are mainly mid-tempo and include some lovely melodies. Kicking off with an ode to growing up, Richey sings of her youth in Zanesville, Ohio on Chapel Avenue and captures special memories in the lines ‘All the gold of yesterday/ Is a debt I can’t repay / I owe it all to you Chapel Avenue.’ The next song Goodbye Ohio is about moving on and losing connection, with memories of previous times lingering.
Relationships dominate many of the songs here with the daily challenges amounting to insurmountable barriers on songs like Floating On the Surface and The World Is Flat; the former stating that ‘We don’t worry ‘cause the water’s so peaceful / We hide behind the colours nailed to the mast / Underneath a sky as blue as the ocean / Drift on the current and we never look back’ while the latter posits ‘We stand at the point / Where there’s no turning back / Once we were good / Now we settle for scraps, / So here we are too little too late.’ Both songs longing for a new beginning but waking up to the fact that things have unravelled just a little too far.
A Way Around councils someone in the middle of a heartbreak and offers a shoulder, while the character on Take the Cake is a lothario and a pretty boy incapable of commitment. Things take a turn into pop leanings on Joy Rider and a celebration of youthful disregard for the rules. The song has such a catchy chorus and the country sound of banjo and fiddle on Come Back To Me is equally engaging, even if it deals with someone close who has departed.
If Feel This Way is about acknowledging the pain of heartache, the sense of quiet contentment on Moment In the Sun brings everything back to the beginning and the sense of joy in just being in the moment. The album was produced by Doug Lancio, who does a fine job with the warm sound that wraps all the lovely melodies here. Other musicians on the project include Dan Mitchell, Neilson Hubbard, Lex Price, Sav Buist, Katie Larson, and Roger Nichols. However it’s always the engaging vocal of Kim Richey that brings the real symmetry to the songs and her delivery is a real highlight, always expressing the emotion in the song.
It's been six years since her last album EDGELAND (2018) and the years in-between has seen a pandemic arrive and the music industry try to reinvent itself in the wake of the ensuing chaos for recording artists and live performance. Kim Richey however just dusts herself down and keeps creating diamonds in the rough. She continues to search for that thin line between the light and the dark, saying that “Nothing in life is all happy or all sad.” More often than not, she nails down the emotion and delivers a song that we can all empathise with, the sweet and the sour of walking our own paths in search of common ground. This album is a fine example of all that endears Kim Richey to so many and it is a very welcome addition to any music collection.
Paul McGee
Grizzley, Slim Cessna's Auto Club, Swamp Dogg, Jesse Dayton, Ordinary Elephant, Dana Cooper Music, Ruth Moody, Kim Richey