Bart Moore - Wild Flora

Bart Moore 

Wild Flora
self-released; 2024

By ​Dino DiMuro

Almost anyone can sling an acoustic guitar and make up songs, but Bart Moore is the real deal, an artist that even other singer-songwriters would respectfully stand back for (I know I do!). When that voice and that strumming hit your ears, it goes straight to your brain while also warming your heart. There’s not a doubt in the universe that this guy has lived every word he’s sung, and then some! His newest album is called Wild Flora.

Bart Moore is a folk artist and veteran of the San Francisco alternative rock scene, and is now based on a farm in Lansing, Michigan, “to escape the big city club scene and postpone ultimate deafness.” His music in the past has shown the influence of the Pogues and Warren Zevon, while this new album features the mark of artists like Bob Dylan, Shane MacGowan, Robyn Hitchcock, the Beatles, and early Ian Anderson. Recording took place at the Troubadour Studio in Lansing and features eight guest players.

I previously reviewed Moore’s Graveyards, Winds and War, but if anything, this one leapt out at me even faster, grabbing my lapels and repeatedly slapping me in the face! Moore was kind enough to send detailed notes on each song, so I’ll be referencing those as we listen. “Molly Bloom” opens the album with an upbeat “Irish Reggae.” Apparently, this is based on the heroine of James Joyce’s Ulysses, which is a book I own but have never read! Moore reminds me a bit of Great Big Sea’s Alan Doyle here, nailing the Irish flavor with ease with help from Craig Cole (bass) and Corey DeRushia (piano). A classic couplet only Moore could come up with: “Molly Bloom! / Why did you cheat on your poor old man on the 16th day of June?”

“Heavenly Daze” takes a BIG U-turn south to Spain, with classical-style guitars and castanet-like percussion. Moore wrote this song for his wife, and she sounds quite amazing from the joy in his voice. Cody Wilson helps on guitar, with Corey DeRushia on bass and Ian Levine on percussion. “Comanche Land” shares subject matter of the American West with Moore’s mentor Warren Zevon. This track has the gravity of a movie epic’s concluding scene, helped immeasurably by the cello of Skip VonKuske and Tamiko Rothhorn’s backing vocals.

“The Railyard Ghosts” is one of my favorite tracks, and not just because I love trains. Moore calls it “fast-moving” and he’s not kidding! It’s about latter-day musical hobos and definitely recalls some of the great upbeat tracks by Dan Hicks, especially with the incredible fiddle stylings of Grant Flick and the background harmonies of Tamiko Rothhorn, who also adds chilling chorus vocals for the almost holy “October.” Only Moore could list heavenly bodies by name and make them work as lyrics. This may be my top song.

And speaking of heavenly bodies, “God Is Just Plain Lazy” is a bluegrass romp with a very simple explanation of why our universe is so messed up (after igniting the Big Bang, the Almighty is taking a nice long nap!). David Mosher stands out on chiming mandolin and violin. “La Paloma” recounts a dream Moore had about waking up in Madrid and trying to find his way home, and the ragged background vocals by Moore himself make this track a real delight. I would note that this is the second track with a Spanish flavor, and Moore seems quite comfortable there. Cody Wilson helps out on second guitar.

​This is one of those albums where whatever song is playing is my new favorite, and they all seem to go by in a flash. Get to know this man and his music—Bart Moore is truly a unique talent.

bartmooremusic.com

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