The self-titled debut album from NYC psych-folk outfit, GreenLady takes inspiration from the pioneers of the 1970s British folk revival and throws in a few healthy dashes of alt-country and psychedelia.
A SPECIAL BLEND
From Gravesend, Brooklyn, GreenLady are husband-and-wife duo Joseph Milazzo and Sylvia Herrera, together with their buddy, John LaMaccia. Sylvia and Joseph share vocal duties, Joseph drives the bus, with his strident acoustic guitar lines and John provides an extra sparkle with his fluid, Richard Thompson-esque electric guitar. GreenLady take their inspiration from the pioneering bands and artists of the early-1970s British folk-rock movement and add their own special blend of alt-country, psychedelia and more to produce a sound that is uniquely theirs.
The band came together in 2021 and they’ve spent the past four years or so perfecting their style and sound in the venues of Brooklyn and the greater New York area and, now, they’re ready to fly. The debut GreenLady album is a 10-song collection of dark folk tales, murder ballads and songs steeped in esoteric mystique.
ESOTERIC MYSTIQUE
And esoteric mystique is the phrase that springs immediately to mind from the first bars of opening track, Hidden World. Joseph’s crisp acoustic guitar is joined by John’s smooth, fluid electric. Sylvia’s voice is low in the mix but carries tones of mystery and mysticism that are guaranteed to lure the listener inward.
A nice, choppy guitar motif brings a 21st century twist to lead single Bella in the Wych Elm – a song that otherwise projects imagery of medieval England. The song actually tells the story of the discovery of a woman’s body inside a hollow tree in Worcestershire, England in the early 1940s but GreenLady transport the tale to a far earlier epoch. John’s guitar evokes the sound and fluency of Richard Thompson – and we all know how well THOSE tones suit a song like this one.
And it’s John’s electric guitar that provides the ghostly overtones to Joseph’s gentle fingerpicking on Pinelands, the second of the album’s two singles. With lyrics like: “Draw a circle in the sand, in the ashes of the Pinelands…,” Sylvia and John tell their witchy story and the sweetness of their harmonies belies the sinister content of the tale.
FAMILIAR FAVOURITES
John’s guitar chimes behind the voices of Sylvia and John in the short, traditional-flavoured The Bells of Winter. And, that same guitar adds a touch of sparkle and colour to a sublime interpretation of the traditional ballad, Poor Murdered Woman. I’ve always considered Shirley Collins’ 1971 to be definitive and GreenLady’s version is faithful to Shirley’s reading. Sylvia takes centre stage for the dreamy Mountain Mary. The tune, and Joseph’s harmonies add to the dreamlike feel, as the song builds relentlessly towards the final chorus, in which Sylvia and Joseph plead: “Take me to the moon, and leave our bones behind!”
There’s more mystery, mysticism and magic in The Blue and Silver Queen. Once again, John’s guitar sparkles and shimmers, before GreenLady settle down to tackle a familiar old favourite. The haunting murder ballad, Sanctuary Shore, originally appeared on Midwinter’s 1973 album, The Waters of Sweet Sorrow. It’s a song full of drama and symbolism and GreenLady perform it with evident relish.
PSYCHEDELIC INTENSITY
The guitars of Joseph and John dominate the sound on Morning Glory – another dreamlike ballad. Sylvia’s vocals – low down in the mix – have a secretive element to them. The atmosphere is psychedelically intense. And, to round off a short-yet-enjoyable album, GreenLady step up the pace. Indeed, closing track Fare Thee Well could almost be described a ‘rocky.’ John plays a bright riff on his electric guitar, whilst Joseph provides a galloping rhythm. The end result? A nice, upbeat closing number that effectively combines Olde English images with the spirit of the wild west.
GreenLady have produced a debut album of which they can be justifiably proud.
Watch the official video to Bella in the Wych Elm – the album’s lead single – below:
GreenLady: Bandcamp