7-Song EP From An Accidental Alliance — Features Sparkling Retro-Girl Group Harmonies

This 7-song collection is a bit of an ambitious see-saw. An economical perfume that smells great but wears off quickly with the possibility of a distant whiff later in the day — and still a pleasant aroma. So, I am befuddled.

The trio of women who formed from an accidental alliance – Rebecca Loebe, Grace Pettis and BettySoo make up the band Nobody’s Girl. They have solid moments of sincere sweetness, retro girl-group richness, and some period authenticity. They also sound like they’re having fun which is good, especially since it comes through quite well in the recording. Allow me to offer an instance of that potent perfume that dissipates but returns.

Track one is the rock-edged “What’ll I Do,” that features Grace Pettis’ lead vocal and opens with a real dynamic guitar sweep and then…trails off suddenly when the vocals begin. What happened? From chugging black train smoke to losing steam. Nice tick-tock drum beat clear and clean. The vocal is consistently good, but the energy, the lift it just slows. It needs caffeine or a sugar-fix. The kick starts off hard at the beginning and while drummer J.J. Johnson maintains the jabs on snare — the initial kick is gone and I don’t believe it’s the drummer. The melody is good, very 60’s with some nice percussion added. It has a rich 60’s girl-group sense and some excellent chiming lead guitars by David Grissom. At least the song is more creative than The Bangles, but I’m not sure about better than the best of The Go’s Go’s who knew a thing or two about tantalizing melodies that seldom lost steam.

Nobody’s Girl needs to check the energy that is maintained in songs like Kellie Pickler’s “Red High Heels,” with its Keith Richards’ type rhythm and riff – ignited like a roman candle and just keeps on sparkling. Kellie rides the riff right into her song, slows down for a mini-second to hook the listener into the second verse. But the drive just stays steady and then it elevates with the second hook of the song and the guitars come back to the original riff. OK, it does have a suggestion of the classic Rolling Stones riff from “Get Off of My Cloud,” but not enough to call it a steal. The idea is there. Songs like “White Heat,” by John Waite and “Hold on Me Tonight,” by Nick Gilder are good suggestions of that grab the listener by the throat guitar lasso. Maybe these are too rock-oriented as viable suggestions — but it’s the dynamic that maintains the energy that I’m suggesting. Dynamics to keep the interested piqued HIGH. “What’ll I Do,” is a very good song, yes, it is – but — it could’ve been great(er).

Nobody’s Girl is a creative trio and there is no mistaking that. The guitars work mid-song because the guitars aren’t always just sweet and tidy. The melody is credible and has a good hook overall. The steady beat could’ve used more fills because I believe the melody structure offers open spots to be more percussive. At least as the tune proceeds to its conclusion.

Grace’s vocal here is reminiscent of an inflection application style also used by Lisa Marie Presley as the song progresses. It’s not a singing style that knocks me out the way Lisa’s fathers’ did. But if it works for Grace – so be it. The song is repetitious, but the damn thing does work as a piece with low-class charm (this does not mean cheap).

In another era – this should’ve been an instant hit that a strong aggressive female vocalist like Lesley Gore (It’s My Party”), Mary Weiss (The Shangri-Las), an angst-filled lead vocalist like Reparata and the Delrons (“Whenever A Teenager Cries”), or the angry lead vocalist of The Angels (“My Boyfriend’s Back”) could’ve scored high with. Nobody’s Girl does have some winning tunes — the song is a delightful confection. You, the listener, will walk away from this one and find yourself singing — “what’ll I do…what’ll I do…” a half hour later while pouring Pepsi and spooning vanilla ice cream into your mouth.

Grace Pettis contributed two songs to two-time Grammy Award winner Ruthie Foster’s LP “Joy Comes Back.” She is quite accomplished.  

So, these Austin, Texas singer-songwriters who came together, bonded and recorded their songs before the group even had a name – managed to launch a tour and called their first 7-song EP “Waterline.” That’s invigorating enthusiasm for you.

The title track “Waterline,” unfortunately, is a fine little song but it does follow a typical commercial standard pop tune recipe. I just think with a little more work – the song could be even more expressive. A phased sounding guitar strums, BettySoo’s lead vocal is good. Phil Spector was a master at producing such material year after year. His stable was filled with these types of artists and vocals. Many had hits, so I can’t criticize. All the instrumentation on the track is good. The material is nonetheless – standard fare. Not Godiva chocolate – just a Milky Way.

“Queen City,” comes on also as standard fare follow the map commercial pop BUT…it is more compelling. It has that 60’s girl-group tendency but the music is rooted in the 40’s big bands sans the big brass. It has Cab Calloway stride, cool instrumental hide and seek with a clever Rebecca Loebe vocal with a tinge of the Squirrel Nut Zippers and Bette Bright’s Deaf School dance hall vocalizing. At times, it’s just short of novelty but it holds a Hoagy Carmichael wink of the eye and toothpick between the teeth attitude. David Grissom (guitar) and Ricky Ray Jackson (pedal steel) trade-off nice guitar work. Nothing here is cute – just listenable and this is one of their best. There’s class to this arrangement. This is the future of Nobody’s Girl. Nice dark accordion – very Bertolt Brecht-Kurt Weill noir. That’s pretty daring. 

So, I thought that’s it – the little trio can’t possibly maintain anything past “Queen City.” But along comes “Bluebonnets,” which is extravagant. Grace Pettis’ vocal on this ballad is exquisite. The song is quite good and Grace’s performance is riveting – especially toward the finale. All the musicians on this track are subtle and poignant. It’s well-sung, the background vocals add a rich mood and atmosphere. This song suggests a lot of life is in this trio if we are patient. Everything here is worth the price of admission – bravo.

Track five is another good one vocally. “Riding Out the Storm,” features BettySoo’s lead vocal and here no doubt — is Godiva chocolate now. The vocals together are enchanting and hypnotic with dynamic yet simple drums. This song will crawl into your ears and tickle you in the middle of the night. Excellent.

A credible cover with a nice groove and is a cool test of diversity — is Blondie’s “Call Me,” and it’s a little more laid back with an edge. The combination of the vocals is strong and BettySoo does assert herself as a rocker. She’s not Blondie — but she doesn’t have to be. This was a good choice of covers and they made the right choice. Blondie (Deborah Harry) has nothing to worry about but it’s nice to hear a great old song fitted with a new set of musical clothes. The vocals have charm, and the colors all remain within the lines.

Track 7 is a live reprise of track 1 – “What’ll I Do.” This maintains good vocalizing in a sparer acoustic guitar (Grace) manner. Grace Pettis does the honors again on lead vocals and it’s performed in the tradition of another female trio The Refugees (Cidney Bullens, Wendy Waldman & Deborah Holland). There are moments when they trade off their feminine vocals in a manner where they resemble the often-energized sisters — The Roches without the idiosyncrasies and eccentricities.

There’s still some work to be done if this trio wants to be a signature group – there are some wonderful hints of what could be. There is a nice balance of pop sweetness, edginess, angst, and humor in their performances and I believe this trio has only shown us the musical tip of their iceberg.

Are they going to be The Bangles? The Go-Go’s? Katrina and the Waves? The Cranberries? Or, The Andrews Sisters? They must focus a little. Personally, I have my favorite songs – based not only on the melody and lyric but how they actually performed it. That may not be where Nobody’s Child ultimately will be. But I like their direction. Their harmonies. They are on the right track because together they are three ladies who are interesting as musicians and as vocalists.

The almost 25-minute CD was produced by Michael Ramos and recorded by Kelleigh Flynn. All songs were written by the three ladies except “Bluebonnets,” by Raina Rose & “Call Me,” by Deborah Harry & Giorgio Moroder. The CD is a four-panel foldout designed by Hannah McLeaish. The cover combo B&W photos are by photographers: Peri Kay (Rebecca), Valerie Fremin (BettySoo), & Nicola Gell (Grace).   

Website: https://www.nobodysgirlmusic.com/

Facebook: https://www.facebook.com/nobodysgirlmusic/

Disclaimer: The opinions expressed in this review/commentary are those of the author and do not necessarily reflect the official position of No Depression. All photography is owned by the respective photographers and is their copyrighted image; credited where photographer’s name was known & being used here solely as a reference and will be removed on request. YouTube images are standard YouTube license.

John Apice / No Depression / September 2018