I’ve long had affection for the idea of the California Honeydrops for two reasons. Any band that does a good job of channeling the quintessential New Orleans groove is all right in my book. Secondly, the quintet has long used New Orleans percussionist Scott Messersmith as an auxiliary member on the road and in the studio.

Then, I finally saw them live at Tipitina’s and my feelings were compounded. Now with the release of their post-pandemic album, Soft Spot, it felt like time to dig into their recorded work.

Besides having New Orleans music as a root source, they are also heavily influenced by Motown and other Black American music. The songs on the new album all hit a sweet spot between great vocals, killer instrumental breaks, fun lyrics and groove.

The lone instrumental cut, “The Unicorn,” sounds South African. This band is all over the musical map, but with a production ethos that reflects a coherent whole, they also sound like no other band while sounding exactly like themselves.

Guitarist, trumpeter and vocalist Lech Wierzynkski has an unmistakable voice that hovers around a high tenor. Combined with gospel-style backing vocals, many of the songs on the record would sound great on an old-time radio show.

“Tumblin’” starts with a fine curlicue guitar lick, hand claps and an irresistible groove. The chorus is effervescent—“When my love comes tumblin’ down.”

The title cut hits with horns and then a straight-out-of-the Crescent City piano figure. “I got a soft spot for you baby, there’s nothing you could do that would make me stop loving you.” Then in a clear reference, “Something you got gets me in my soft spot.”

Every song on this album is a tight little treat. A couple of songs are over four minutes, but this stuff is radio-ready for a radio format that doesn’t really exist anymore. There’s no fluff, no filler, all killer.