Feef Mooney returns with her bold new album, ‘ The Really Real’, out now, which, at first listen, seems to be a cross between Rosie Vela and Martha Wainwright; however, after repeated listening, the album feels genuine and original. Produced by Mooney with journeyman, multi-instrumentalist Fernando Perdomo, Mooney has honed the twelve original compositions into an introspective delight.

The album opener, “Waiting for Love is a case in point.  Is a layered and vividly descriptive joy. Mooney’s vocal delivery shines, supporting her delightful and equally vivid lyrics. Acoustic guitars shine, as do the melodic touches of electric guitar. This makes you sit up and take notice. 

Acoustic guitars, congas, and guest flutist Fuzzbee Morse add swagger to the mid-tempo “In Love With Free”.Mooney’s melodic solo passages add to the drama about a relationship with a partner who falls into money. The song is clever and accessible. 

Mooney’s voice phases in and out on this mystical and foreboding song. “The 25th Hour.” The song does not rely on sonic trickery as Mooney’s lyrics are strong, disturbing, and graphic. Drummer Nick Vincent steps up in the mix, and the electric guitars by Mooney and Perdomo match the intensity of the theme. This song is my favorite gem among gems.

Mooney’s “Underground” feels like 70’s era California rock. The song’s touches of lead guitar complement the bright Martin-sounding acoustics, as do Perdomo’s mighty organ textures. The groove is so infectious that it’s initially easy to overlook Mooney’s storytelling. The song begs for repeated listening. 

The title track, “The Really Real,” is an uptempo and descriptive look at the roller coaster ride of love. Again, Mooney pairs dark, evocative lyrics with a jaunty melody. It’s effective and irresistible. Add in her melodic, Mike Campbell-like guitar solos, and you walk away with a smile on your face despite the subject matter. 

Kaitlin Wolfberg provides strings on “Just Where You Are (No Country)”. The moody, sad song touches on familiar relationship themes of absence and loss; however, the producers wisely let the lyrics and subtle arrangements invite the listener to share the setting with the protagonist. This is a good crying in your beer song. 

“Blue State Of Mind” ends “The Really Real’ with a healthy dose of Leon Russell-like swagger courtesy of Mooney’s lead guitar and guest Matt Lomeo’s harmonica. The groove, enhanced by guest drummer Adam Steinberg, is so infectious you almost overlook the tale of woe told by the lyrics. Mooney can even make a breakup sound fun!

‘The Really Real’ is a nifty touch of 70’s-era California/Laurel Canyon rock with modern sensibilities. Feef Mooney’s songs are insightful, mystical, and well-crafted. The arrangements and productions are sympathetic, enhancing each of these fine compositions. You can’t go wrong with Feef Mooney’s ‘The Really Real’.