Holly West – ‘Mokita’


Holly West - vocals & bass
Gary Hoey - guitar
Brady Blade - drums



1.) “Memo” – This track opens withy two sixteenth note cymbal crashes.  Along with two guitar riffs.  The song goes right into the musical intro section.  Gary plays a very simple rhythm guitar blues riff for the musical verse.  This along with the bass line gives the song a very nice hook.   After the first lyric line Gary added a few extra notes to the rhythm guitar riff.  There was a snare drum fill along with a rhythm guitar arrangement change for the pre-chorus of the song.  The musical chorus consisted of two different rhythm guitar arrangements.  For one of these arrangements Gary used an effects pedal.  The chorus consisted of a very sweet hook.  There was a tom-tom fill connecting the first chorus with the second verse. To connect the second chorus with the third verse there was a short tom-tom solo.  After the third chorus there was a lead guitar solo.  Gary played a minor solo underneath the vocal lines of the last chorus of the coda.
2.) “Mokita” – (
The word Mokita is a fantastic word taken from a language called Kivila.  It is spoken in Papua New Guinea.  The best English translation you can get of Mokita is, “the truth we all know but agree not to talk about.”  A good example of the wood is elephant in the room) Holly’s bass line of this intro had a sixties Funk Brothers of Motown feel to it. Underneath her bass line there was a hi-hat pattern along with tom-tom patterns.  In some way her bass lines feel reminded me of the classic Temptations song “Papa Was A Rollin’ Stone released as a single on September 28, 1972.  Please keep in mind this was in feel only not in sound.  As far as sound goes it had its own.  In between the third and fourth tom-tom eighth-note Holly change the bass line just a little then after the fourth tom-tom eighth-note she changed it back.  Gary opens the third measure of the intro with a few lead guitar licks played with a wah-wah pedal.  This gave this opening guitar arrangement a Jimi Hendrix sound.  After the lead guitar effect the bass, guitar and drums are all three playing the same rhythm.  Brady is playing the rhythm just using his hi-hat and bass drum after two measure there was a snare fill connecting the musical intro with the musical verse.  For the musical verse the music engineer turned the drum and bass up to where they were equal with Holly’s vocals and 2.) “Home” -This intro opens with two alternating sixteenth-note tom-tom/snare beats followed by a cymbal crash after each one.  After this opening pattern Gary and Holly kicks the guitar arrangement and bass line in.  Brady also switches to a standard drum rhythm.  There was a couple of times through the musical verse when Gary’s guitar was double-tracked with a different rhythm over the top of the main rhythm. With all this the song takes on a seventy Heart feel.  The was a rhythm guitar and bass line change for the musical verse.  Gary and Holly gave the musical verse one Hell of a hook!  Between the second and third lyric line Gary added to the rhythm guitar arrangement.  Then done it again through the fifth through the eighth lyric lines. The main guitar rhythm of the verse reminded me of the main riff of The Band’s song “The Shape I’m In” released as the B-side to their single "Time to Kill," in October 1970.  It isn’t so much that the main riff of this song sounds like “The Shape I’m In” it just has that same type Blues feel to it.  There was a snare drum fill connecting the verse with the chorus.  There was a rhythm guitar change for the musical chorus.  Gary mainly just used rhythm chords for the musical chorus.  He double-tracked his rhythm guitar parts using two different effects pedals.  One of the pedals was the wah-wah pedal and I have no clue what the other one was.  There was a snare drum fill connecting the second verse with the second chorus.  Then a tom-tom fill connecting the second chorus with the third chorus.  After the third chorus there was a lead guitar solo. Underneath the fourth chorus there was a short minor lead guitar solo.turned Gary’s guitar track down.  In laymen’s terms he turned the bass up and the treble down.  Gary real is just playing a very real simple rhythm riff however, I think he turned it down almost to much.  After the second lyric line Gary overdubbed a lead guitar lick.  This lead guitar lick kicked off a second rhythm guitar arrangement over the top of the first one.  There was a tom-tom/snare fill connecting the first verse with the first chorus.  There was a musical chance for the musical chorus.  The chorus consisted of several walking bass lines on a few of these bass lines Gary follows suit on his guitar.  After the first chorus there was a tom-tom fill this fill lead to a musical arrangement that you really couldn’t call a verse or a breakdown.  Either way it consisted of some of the coolest ZZ Top influenced musical arrangements I have ever heard.  This lead to the lead guitar solo.  After the solo the song repeated itself.
4.) “Home” – Gary’s mean sounding guitar arrangement this track has makes the song!!!!!
5.) “Justified” – This track opens with a bass line.  Over the top of the bass line the second measure Gary begins playing several lead guitar effects.  Gary plays four lead guitar effects.  The bass line in conjunction with the lead guitar effects lead to a snare/tom-tom fill that connects the musical intro with the musical verse.  At this time the drum line kicks in.  For the musical verse Holy wrote the song where the guitar arrangement along with the bass line stays the same for the musical verse.  Over the top of the rhythm guitar of the intro section Gary overdubbed a minor lead guitar solo.  There was a snare drum gill to connect the musical intro with the musical verse.  The drum line of the musical verse consisted of the use of a cowbell rhythm.  Gary’s drum line reminded me a lot of older John Bonham.  After the second chorus there was a lead guitar solo.    
6.) “When The Levee Breaks” -is a blues song written and first recorded by husband and wife team Joe McCoy and Memphis Minnie in 1929. The song is in reaction to the upheaval caused by the Great Mississippi Flood of 1927.  In December of 1970 the still then relatively new heavy metal blues band Led Zeppelin recorded it for ‘IV’ (However the real title is just Led Zeppelin).  The song along with the album was recorded at Headley Grange, where the band used the Rolling Stones Mobile Studio.  Led Zeppelin was not the first to record this song and by far will not be the last.

Mokita- The word Mokita is a word taken from a language called Kivila.  It is spoken in Papua New Guinea.  The best English translation you can get of Mokita is, “the truth we all know but agree not to talk about.”
    There is a whole generation of men out there whom have laid in their bed in  their parents’ home and fantasized about Joan Jett & Lita Ford in their painted-on leather outfits.  Accordingly, the first thing you will notice when you pick up the Holly West ‘Mokita’ release will be Holly standing there wearing a one-piece leather suit that looks like she was poured into it.  However, the similarities do not stop there.  Just like Joan and Lita, Holly can play.  In fact, there are a lot of reviewers out there who compare the songs on ‘Mokita’ to The Runaways.
    A celebrity hairdresser who played bass with Love Stricken Demise a sleaze/hard rock band put together by actor Billy Blair and then with a band called Honey.  Holly made the decision to branch out on her own and release her first CD.   ‘Mokita’ consists of five original songs and one cover of a cover, Led Zeppelin’s – ‘When The Levee Breaks’.  Not only pulling bass and vocal duties however she also produced it.  This gave Holly %100 control over the way the songs sounded.  Rounding out the band is guitar wizard Gary Hoey (he has recorded 20 albums and had five top-20 Billboard hits) and drummer Brady Blade (who has played with Jewel, Steve Earle and Emmylou Harris).
    There are times when Holly’s playing style sounded a lot like that of Bob Babbitt of The Funk Brothers (musicians on every Motown song).  Like on the title track, “Mokita”. 
    The CD is soulful, bluesy and just dripping with attitude.  ‘Mokita’ is a step in the right direction for Holly.  If Holly stays on this road it will not be long and her name will be right up there with some of the all-time great female singer/songwriters.