Li'l Mo & The Monicats / Press

“One giant rockin’ leap for mankind – Li’l Mo crooning on her tune--moon, boldly dismissing all gravity,  her massively eclectic, don’t--fence--me--in music rocketing at us, trailing Gene Vincent vintage, Stax/Volt essence, new/old blues  and unpolluted country and western music… her bell-tone voice hypnotizing everyone on the cosmic dance floor…finally down to Earth,  we’re let in on Mo’s brilliant grasp of the whole formidable compendium of American music. And it’s total fun, to boot… liner notes for the album ON THE MOON --- by David Silver, writer of The Compleat Beatles”

David Silver

“Dang, girl...this record is delicious.”

“Covers are usually a good way to triangulate an act, but when NYC old school country/rockabilly singer Monica Passin draws on Marty Robbins, Baltimore’s Arty Hill and Linda Hill, The Coasters, The Nettles Sisters, Austin’s Teri Joyce, and Richard M. Jones, all we gather is that she has a very cool record collection and some talented friends. Just to help out, on the five originals, Buddy Holly is clearly the inspiration for the title track and Ellie Greenwich is actually name-checked in the girl group tribute When Girls Sing. It might sound like this album is all over the shop, but Passin’s marvelous vocals, as Bill Kirchen says on the CD cover, “Boy, can she sing,” and the sterling assistance of multi (multi) instrumentalist and co-producer Hank Bones, a long time colleague, hold this exploration of her diverse roots together, along with some choice new material. (Review of the album WHOLE LOTTA LOVIN')”

John Conquest - 3rd Coast Music

“There may be bands like Monica Passin’s long-thriving rockabilly outfit in a lot of cities, but hers, popular in NYC in various configurations for about two decades, has the benefit of her fetching, time-warp creating vocals—good for lilting jive, Buddy Holly-like original ‘billy ballads, and blues, too—and the twangin’ guitar of a Mr. “Hank Bones,” (whatever his mama named him earlier). This latest features that typical Li’l Mo mix, and reminds us that when there was still a lot of straight country boogie in rock ‘n’ roll, the vocal demands and results were often considerable.  And they still are, here.”

“The music of Li'l Mo & the Monicats, based in NYC, hovers in the memory space occupied by the 1950s through 1963 - in other words afloat a pre-Beatles vision of American pop. When not on stage or in the studio Li'l Mo is Monica Passin, who has a voice that is beautiful, funny, mournful and sexy, sometimes in an understated Wanda Jackson vein, otherwise like the lead singer in something like the Angels or the Chiffons. True, the charming title song is rockabilly, but of an easy-going, melodic kind that doesn't call for you to dance your socks off. The Everly Brothers come to mind; the melody is smooth, the harmonies hillbilly-inflected. The same can be said for the second cut, another original, "Little Heart Attacks," where producer Hank Bones's electric guitar is more punctuation than punch. Listen to the girl-groupish "Lovely Miranda" -- likely to be just about every listener's favorite cut -- and you hear pop music that's not only pre-Beatles but pre-Phil Spector...perfect pop songs”

“Boy, can she sing. Monica [Li'l Mo] is a rare triple-threat, a chanteuse who can rock and write songs that you swear you grew up with. This is the real deal, a captivating singer with soulful new material, and a voice that breathes new life into some choice classics.”

Bill Kirchen, Titan of the Telecaster - Liner notes for the new album!

“You find timeless Honky Tonk (I Could Get Used To This and Wayne Walker's I've Got A New Heartache), muscled hillbilly with a rockabilly hint on Bill Haley and The Saddlemen's Rockin Chair On the Moon and He's a Handful on which Monica's voice reminds me of the best sides of Rosie Flores. She also delivers a poignant appalachian ballad (the Boy Who Loves The Blues with a nice mandolin part and a heartbreaking fiddle) and good ol' Cajun music with Dance Crazed featuring Steve Riley of the Mamou Playboys fame. Why Don't You Live With Me is a beautiful pre-war blues with dobro and cornet. Fans of rhythm'n' blues/soul will rush on Baby Be Good (with a horn section) and those who are in a 60's mood will be delighted by I'm Here Today that features an amazing organ solo. Another highlight (but which song isn't?) is I Really Love To Love You, a Spector styled pop song (still with Hank Bones in charge of the wall of sound).”

“Passin is a deeply soulful country singer... She has a way of delivering heartbreak lyrics that puts her at some scary point at which survival through strength and complete emotional collapse seem like equally viable options at any given second. That does get your attention. On the Moon testifies to Passin's evolving taste and sensibility, now encompassing not only country traditionalism but pop classicism. If you grew up with the styles she references, you'll be charmed. Even if you didn't, I imagine you will be, too. She isn't just channeling the material. It's all in her own voice, never less than confident, powerful and fully in charge.”