Liverpool Sound and Vision Rating 8.5/10
Not only is Heather Crosse a girl with a guitar, she is a woman of absolute sterling quality and one whose musical adventure on the highway is certain to have others trailing in her wake and with attitude of allowing the music to blast loud and with purpose.
Being groovy is a cool state in which to be in. For Heather Crosse, fresh from her musically mouth watering experience as part of the Girls with Guitars triple bill, alongside Eliana Cargnelutti and Sadie Johnson, to find her Groovin’ At The Crossroads, her thumb placed against a racing and energetic wind and with a smile that alludes to a harmony, an accord with nature, that is one stretch of road anyone worth their sense of direction would gladly take and offer a lift to a happening and talented woman.
Groovin’ At The Crossroads is an album of statements, of declarations that require no answer because they are open, honest and full of feminine affirmations but ones that strike at the very point at being her own woman, her own sense of self never being called into question. She is a woman who can play songs as if the whole world should know them and revel in their excellent attitude.
It is this wonderful attitude that makes the album such a pleasure to listen to, to take the message of one who carries her individuality and ability with pride and to whom no one, male or female can own, take apart, destroy but who can be loved and be loved back.
In tracks such as Why Does A Woman Need A Bass Guitar, Walkin’ In their Shoes, Bad Boy Kiss and You Don’t Move Me No More, the music gravitates and pulls the listener to a course in which they might be unprepared to acknowledge but to which soon has them grooving and howling with delight as the simplicity of the message hits them. It is a message that runs throughout the entire album and one that just states fairly, this is my life and if you don’t like it, get out of the way of my car.
Heather Crosse has not stopped still in 2015, Groovin’ At The Crossroads is a defining moment in her career and it one that ploughs a distinctive furrow, a tremendous listen.
Ian D. Hall