Pops Fletcher & The Hucksters – Almost Live
Self-Release -2025
11 tracks; 51 minutes
Wisconsin-based Matthew (Pops) Fletcher Goodwin has been playing in bands since the mid-60’s. In the beginning he was the main vocalist but over the years became accustomed to a supporting role. When he set up this band it was with the intention of being the front man and writing his own material. The band is now well established, but as most of the members play in other bands they do not perform live a lot and, when they do, they tend to improvise, so the original intention to record a live album fell through in favor of a studio album with minimal overdubs, hence the album title. Pops wrote all the songs here and produced the album with bassist Tim Walter. The band is Pops on vocals, guitar and occasional bass, Tim on bass, Nic Fugate on drums and percussion, Todd Phipps on keys and JD ‘Mitch’ Mitchell on lead guitar; Glenn Davis adds slide to two tracks, Wally Ingram and Dave Allen play drums on a track apiece and Todd Michael Goodwin takes over lead vocals on one cut. The band held a record release party November 7 at The Grand Avenue Pub in Beloit.
Opener “Trickle Down” is an uptempo shuffle with funky guitar and sweeping keys behind Pops’ clear vocals, the song seemingly about the power of genetics in how we are: “thank your Mama, thank your Daddy too”. “Johnny Gets Around” is a strong number with the addition of some tasty slide from guest Glenn Davis, the Johnny of the title being a familiar character at the band’s gigs, before two songs recorded at a different studio (with Pops on bass and the different drummers). “Red Canoe” is a funky tune about an unusual invitation (“I asked little sweetie, what you wanna do, she said I wanna take you riding in my red canoe”), from which love (and a fine guitar solo) soon develops! “Try” is a slow blues with good harmonies on the chorus.
Pops is upset that “You Don’t Write”, the stop-start rhythms aided by more slide work from Glenn while “Rearview Mirror” is driven by excellent percussion and the keys and features a really strong guitar solo. “Anyone Could Love You” is sung by Todd, a bouncy, uptempo number whilst “The Pleaser” slows things down as Pops describes a man who appears to hold an amazing attraction for the ladies – is it a confession, we wonder? Good guitar work here again and some interesting changes in pace across the number. In contrast the next song uncovers a person who “might be good for you, she ain’t no good for me, the woman is… Toxic”. The last two numbers are both keepers: a rousing number with great guitars and lyrics that decry the excesses of the rich, concludes that in the end it is “All About Love”; “Trouble Comin’” runs over six minutes and may be the closest we get here to the band’s live repertoire as the band stretches out, especially the two guitarists, driven by the rhythm section.
Pops is a good, clear vocalist and the experienced band members provide excellent support. The album sounds good and is well produced and mastered, making for an enjoyable listen.
