I did not know who Kathy McCord was six months or so ago and then her brother Billy Vera posted something on Face Book talking about his sister’s album which was being released. I must confess that my first motivation was Kat, as she is known to friends, is Billy’s sister and Billy is a talented singer – songwriter, so maybe the other family members inherited the same genes. Those hopes were confirmed when the reissue of Kathy McCord’s music from the seventies and the decade beyond, was released under the title New Jersey To Woodstock. The two disc collection has us listening to New Jersey, The 80s Recordings on Disc One and Woodstock, The 70s Recordings.  There definitely was something in the family genes, as Kathy and Billy’s mother Ann McCord was a member of the Ray Charles Singers, sang backup on Perry Como’s TV show and on hit records such as “Catch A Falling Star,” “Round and Round,” and “Magic Moments.” 

There is a dreamy quality to Kathy McCord’s vocals, on New Jersey, The 80s Recordings, yet not ethereal as one might expect, instead there is a bit of an earthiness to them, without any bite. All of the songs on these two CDs were crafted by Kathy McCord, with the exception of the Beatles’ song “She’s Leaving Home,” which has been renamed “I’m Leaving Home,” and “Velvet Smile,” which she co-wrote with her brother Billy Vera.

Whether you are listening to McCord sing “I’m Leaving Home,” in a fashion, which would make Lennon and McCartney proud or the fun “Baby James,” with good horns, you listen in awe to Kathy McCord’s effortless singing, never straining to reach a note, with phrasing that is impeccable and a tranquility that seems other worldly. Clearly, Kathy McCord deserves to be mentioned in the same breath as other prolific songwriters like; Joni Mitchell, Laura Nyro and Carly Simon.  

Because the collection of songs from New Jersey To Woodstock are from various sources it would have likely been an unwieldy venture to try and list all of the musicians who played on every single tune, however, just a few of the talented artists whom you may recognize include; Harvey Brooks, Kal David and Marty Grebb of the Fabulous Rhinestones, Levon Helm, Rick Danko, Amos Garrett, Tom Malone, Randy Brecker, Michael Brecker, David Sanborn, Hubert Laws and guitarist John Hall, who would later go on to record and perform with Orleans.

One of the prettiest songs in this collection is the strings enhanced “Jennipher,” which is very minimalist and is carried by a delicate acoustic guitar and the gentle, quiet vocals of McCord. “Jennipher,” is followed by “Take Away This Pain,” a song about impenetrable walls that have been built and the singer bids her lover to draw close, cause her to smile again and “won’t you take away this pain.” Oh how I wish I knew who was playing guitar on this track, because the bridge is played splendidly. On both “Jennipher,” and “Take Away This Pain,” Kathy McCord’s vocals are breathtaking in their beauty.

The second CD from New Jersey To Woodstock, features Kathy McCord’s music from the seventies and opens with the slightly funky – pop “New Horizons,” and features backup vocals by the Voices of East Harlem. At one point in the song, McCord gives us a growl with her voice that works very well. Unlike Joni Mitchell, who penned her song “Woodstock,” after watching reports on television and she never actually attended the epic Woodstock Festival, Kathy McCord was there and she formed friendships with Maria Muldaur, Paul Butterfield, Bobby Charles, Rick Danko, Levon Helm and Richard Manuel, to name a few Clearly the feel of the music on the second disc reflects the culture of the seventies. In listening to “New Horizons,” one cannot help but think that some of Kathy McCord’s songs could still be released to radio and do quite well. This is one of the songs that suggest AC or AAA attention.  If FM radio snubs you Kathy, there are quality online radio stations, which pay royalties and which will play your music.

The fourth track on Disc Two, “That’s A Love That’s Real,” is soulful and Kathy McCord gets the growl back in her voice with a song that mixes R&B with Pop. The song has a good rhythm and gets your hips swaying.  There is no doubt when you listen to the versatility of Kathy McCord’s music and her vocals that history did her a disservice by not putting her at or near the front of the line during the seventies and eighties, when we deserved to hear her songs. We can thank Tony Rounce of Ace Records for compiling the songs, with of course Kathy McCord’s help, and some quality mastering to bring the songs up to modern audio standards.  A loyal fan base provided the inspiration and the push to bring these songs to our attention.

“No Need To Wait,” has a softer rock edge, horns and has gospel influenced backup vocals. This is a love missive, not of the romantic kind; rather the tone is communicating love to others.

Kathy McCord is white however in listening to her soulful vocals on “I’ll Be Lovin’ You Forever,” one is left with the impression that she would have been quite comfortable on the Stax Records label. Strings introduce us to “I’ll Be Lovin’ You,” and the backup vocals are fabulous.  This is such a good song to get down to and which to groove.  If you are sitting while listening to this song you will be chair dancing, if you are riding with the top down and the wind whistling through your hair, you will be singing along and if you are standing you will be dancing.

The ordering of the songs on both discs is excellent, as the pretty love song “Magnolia,” appears as the next track. One is struck with the emotive quality of Kathy McCord’s vocals and again this is a timeless song, which deserves to be heard on today’s airwaves. Are you starting to sense a common theme in this review? This writer believes that some of these songs have a place in today’s music and we should be listening to them.

“Captain Cody Memorial,” is slightly reminiscent of The Band with its Folk – Rock lilt and McCord paints images of “wailing dogs,” “the band plays after midnight,” “and bullfrogs sing.”

“Keep Peace In The Family,” has sass and attitude, with a horn section that adds punch to compliment McCord’s soulful vocals. The cheeky attitude continues with “You’d Convince The Devil,” and snoring, yes snoring introduces us to the bluesy “Who’s Been Coolin’ You?”  With the later song, McCord demonstrates she is also the consummate storyteller.

We barely scratched the surface of the twenty-eight songs that comprise this collection from Kathy McCord from New Jersey To Woodstock and if you want to enjoy some well crafted songs from start to finish and which will give you plenty of diversity for your listening pleasure, you cannot go wrong with purchasing Kathy McCord’s New Jersey To Woodstock.