NYS Music 20​17

Category: Album Reviews

  • Hearing Aide: Wild Adriatic ‘Feel’

    Saratoga Springs’ Wild Adriatic has logged a good deal of miles on their way to many well deserved accolades as a live act. On their latest LP, Feel,  they looked to their touring experience both for inspiration and style. In a recording session in Austin, with Grammy-nominated producer Frenchie Smith, they kept it simple. They avoided production bells and whistles, opting for a more organic and in-the-moment sound. The songs themselves were born on the road as well, in various writing retreats around the country, from Wisconsin to Virginia to Texas.

    But this journey begins in Appleton, Wisconsin, site of some of the band’s most memorable shows. The opening track, “Appleton,” starts things off with an unexpectedly funky nod to Sly and the Family Stone. They ease into their more muscular moments with the slinky and soulful “Runnin’ Thru” and the infectious and poppy “Come Back Baby,” where guitarist Travis Gray works a gorgeous falsetto backed by the West End Horns.

    There’s no looking back from there. Fueled up, the trio –  Gray, Rich Derbyshire on bass and Mateo Vosganian on drums – step on the gas, letting loose on their energetic and soulful rock engine. When all three cylinders are firing, Wild Adriatic commands attention.

    “Same As It Ever Was” establishes their ability to elevate a simple blues into a grooving and fist-pumping rocker – a formula they find more success with on “Hurricane Woman” and “Some Nerve.” Thumping bass, rollicking drums, ripping guitar riffs are all tied together with Gray’s unmistakable voice.

    “Blaze of Love” blends their knack for funky grooves, powerful beats and soaring leads perfectly. The album closes with “Busman’s Holiday,” a deep rocking blues number that calls to mind Led Zeppelin and the Black Keys. Gray repeatedly sings, “I’m going back on the road.” This excellent collection of songs is ready to go with them there. Back where they all began.

    Key tracks: Blaze of Love, Same As It Ever Was, Come Back Baby

  • Hearing Aide: Peter Karp ‘Alabama Town’

    New Jersey native Peter Karp has returned to the studio realm with his latest effort, Alabama Town. Beginning his career as a teenager in the blues band They Came From Houses, Karp has been musically inclined from a young age.  Growing up near New York City and later moving to backwoods Alabama left him with a unique perspective of the sounds of folk and blues, hearing acts such as James Brown, the Beatles, the Animals, and the Temptations live at a young age. After a foray into the film industry in the 90’s, Peter officially returned to the music world with the independently released Live At The American Roadhouse in 1998 with his band Peter Karp and the Roadhouse band. It’s been many years and many releases since then, including 2004’s The Turning Point with Mick Taylor of the Rolling Stones, but Karp’s old school blues-oriented folk rock still forces reminiscence of the founding fathers of American roots music.

    The album begins with the title track, “Alabama Town,” which immediately transports the listener to the slow moving pace of Southern living with an ambling blues riff and lyrical imagery that includes grits and grandpa drinking Jack Daniels out back. “Blues In Mind” also sounds as though it’s from an earlier time while maintaining a modern edge. One could almost imagine it coming from the radio of a ’59 Chevy Impala as it comfortably cruises through town on a warm Sunday afternoon. The other half of the sound that comprises the album is a bit softer, a slide guitar kind of folk music that exemplifies how the less is more concept can sometimes work in the musical world. “Lost Highway” has a poetic rhythm to it, with more of a story telling vocal performance. “Beautiful Girl” wraps it up with a mournful harmonica whine in a tale about a lost love.

    Anyone interested in celebrating the album release with Peter and his Roadshow Band can do so at the release party at Roy’s Hall in Blairstown, New Jersey on February 4.

    Key Tracks: Alabama Town, Blues In Mind, I Walk Alone

  • Hearing Aide: Marco Benevento ‘Woodstock Sessions’

    Marco Benevento is the latest artist to record his Woodstock Sessions at Applehead Recording in Woodstock. The live album, recorded in a single take in front of a sold out studio audience with his band consisting of Karina Rykman on bass and Andy Borger on drums, features tracks spanning his career – from “Bus Ride” off his debut album Invisible Baby through the entire title suite from The Story of Fred Short.

    The album kicks off with Marco giving the audience his permission to dance as he jumps into “Dropkick” off The Story of Fred Short, setting the tone for this often bouncy and highly danceable set of music. While the pièce de résistance is the entire “The Story of Fred Short” suite, the 22 minute opus spanning styles, the instrumental tracks “Bus Ride,” “Coyote Hearing,” and “Greenpoint” all show off the band’s musical talent. He returns to the bouncy dance music with “At the Show” to close out the album.

    While the band is tight and musically talented, Benevento’s vocals are a bit lacking and almost a distraction. However, they aren’t enough of a distraction to prevent this from being a fun collection of tunes. Any Marco fan is sure to enjoy the album, and new listeners can hear a great career-spanning collection of his music. Woodstock Sessions will be released on Feb. 17.

    Marco Benevento is currently on tour. He plays New York City’s Brooklyn Bowl tonight followed by The Hollow in Albany tomorrow night. He’ll also be at Higher Ground in nearby South Burlington, Vermont on Saturday. After a few more shows in the Northeast this month, he heads west starting in late-March.

    Key Tracks: Dropkick, The Story of Fred Short, Bus Ride, Coyote Hearing

  • Hearing Aide: Andy Suzuki and The Method ‘The Glass Hour’

    Andy Suzuki & The Method (Kozza Babumba) are on the verge of releasing something incredible. It’s called The Glass Hour and it’s going to get them the recognition they deserve. Their past work, unfortunately, blended in among other folk-rock/pop bands, but they have taken a new direction that will definitely make waves in the New York music scene and it’s only a matter of time before they reach national recognition. They’re slowly finding their niche, now focused around future-pop with heavy R&B and soul touches, garnished with rock undertones. There are a wide variety of tones and attitudes and one could imagine these songs fitting seamlessly in between today’s popular music radio stations.

    The Brooklyn based bunch have known each other for some time and have been producing music for about 10 years now. They first met in college and knew that they would fit together perfectly musically. Their unique backgrounds made them gravitate towards each other with Suzuki, being half Jewish and half Japanese, practicing music in both languages, and Kozza, being the son of Grammy-winning percussionist Babatunde Olatunji. They teamed up, created three albums and on February 3rd they will release their fourth one which  is arguably their best work.

    Their prior album, Born Out of Mischief,  is very heavy on the folk/country side and it slipped under the radar. It was creative, well thought out and well produced. It showed that they knew what they were doing and could work their way around a studio and recording process. It was great work but it just wasn’t special and wasn’t worthy of great recognition. Going above and beyond, trying new techniques and combining sounds that have not been fused together before is what gets the name out there. Mischief didn’t do the trick, but The Glass Hour sure will.

    The album starts off with “Run Away” and the attitude and tone is such an incredible change compared to Mischief. It’s a giant leap towards today’s pop music direction. The Method, who will be referred to as Babumba, has a keen ear for an addictive beat. That, paired to Suzuki’s sultry voice, is the perfect recipe for a not too distant future-pop sound that feels familiar but has enough flare to keep things interesting and unique. This track is a softer entry into the album but things get even more interesting as it goes along.

    “I Can’t Live” is one of the singles they released and it’s one of which they seem to be particularly proud. They say it’s one of the tracks that sounds like a cross between Jack Garratt and Michael Jackson. That’s a bold statement, but it’s arguably true. The song is more impressive because of its properly balanced mix of pop and rock. Both clean and distorted guitar sounds ring throughout the entire song which gives the heavy pop beats and licks a nice flare.

    Andy Suzuki“Shelter” is definitely a notable track because of it’s heavy R&B and gospel  influences which makes for a very emotional song. It seems that it’s about trying to convince a girl that he will take care of and “shelter” her, which is very R&B-like lyrical content. One of the best phrases of the song is when it climaxes and they bring in a beautiful gospel/church-like chorus line and it can send chills up and down the spine of listeners.

    “Fire” is more typical pop, filled with tribal drum beats and plenty of vocalization. It brings to mind a movie montage of a group of friends on their way across country via a VW Microbus. It’s well made, but lacks direction. It’s very predictable and can be uneventful to those who don’t enjoy this type of sound.

    Once listeners hit “I Need You More” they’ll see that he group is still in experimental phase as they toy around with a very 90’s pop sound. The tone stems from the beat mainly with it’s peppy and upbeat grooves and recognizable synthetic snare hits. They again combine this sound with a gospel chorus line that adds a nice flavor to an old sound. And it works pretty well, but more than likely for a small demographic. But society is full of surprises and may eat this stuff up.

    “Come Forward” is very well done and has one of the most aggressive attitudes on the record. It carries a primarily minor tonality all the way through and it makes for a very unique track. Once again, Babumba creates a very cerebral and intriguing series of beats. It’s very busy and complicated but listeners can still feel the beat and that’s not something that’s easily accomplished.

    “Overtime” will definitely be a crowd pleaser. It was another one of the singles they released so it’s obvious they’re very confident about it. The chorus is so well done and it’s hard to explain why, but Suzuki hits a perfect series of notes over a super smooth, laid back and spacey beat. Again, a bluesy and distorted guitar solo makes a for a fantastic and addicting climax.

    If listeners weren’t perplexed by the album’s diversity by this point, then they will be by the time they hear “Digging My Way Out.” It almost sounds like a modern chain gang song. It’s march with a “four on the floor” beat with a jingling tambourine on the upbeat to give it an authentic chain gang song feel. Once again, their guitarist absolutely crushes the solos and adds a fantastic emotional flavor to the song that separates it from other genres and bands alike.

    The album is highly experimental, but it seems that there is one central theme among all the songs and that’s the intricacies of the music and how they propel the songs forward. Suzuki’s voice is immaculate, there’s no argument, but a lot of the focus is directed towards how addictive the song is musically. Hopefully, they will stay with their influences of R&B and rock because these flavors obviously work with so many different genres.

    Key Tracks:  Overtime, Shelter, I Can’t Live, Digging My Way Out

    https://www.youtube.com/watch?v=R_CH_FhCKb4

  • Hearing Aide: Left Hand Shake ‘8-Track Mind’

    Left Hand Shake 8-Track MindOne day, I was given the task of reviewing this album, a debut, no less, from a band I had no idea what to expect from. All I got was a set of audio files from the album 8-Track Mind, and a brief description of Left Hand Shake’s members, David Decker and Blaze Sepowski, and the previous projects they’ve been involved with, featuring names like Bang Zoom!, Picture This, and Bottle of the Dog. Initially, I thought this would just be something I could sit through and move on.

    Even the album cover itself led me to think anything could be inside. It’s of a suit with an old speaker where the head should be with an 8-track of the album loaded inside. Upon further research, I saw it was named album of the year by WVCR, the radio station for Siena College. Okay, I thought. College-age people like this. I finally got around to listening to the album, which started off with the various synth noises of “F.S.B.” until 45 seconds in when the slow drumbeat and guitars finally kicked in. And from there, I was hooked.

    The album comes across as a breath of fresh air because it delves into a particular genre I don’t think gets enough credit: dream pop. There are definitely artists nowadays influenced by this particular underground scene, M83 comes to mind, but it’s rare to see an act fully embrace the mindset. The mid-tempos that put listeners in a state of bliss. The sweeping, soaring guitar lines. The echo-y vocals less concerned with singing clear lyrics and more with being another texture of the song.

    In terms of extent of what Left Hand Shake is willing to do, it’s on the second song, “Being There (Django).” Along with the ethereal 80’s dream pop guitar work happening, there are also hints of violin and a mandolin underneath. Of it’s eight and a half minute runtime, the last five are purely instrumental. And it’s not only more guitar work that gets to shine, there are harmonica, saxophone, and trumpet solos dispersed in that time. And oddly enough, though it sometimes feels it goes on for too long, it all works in making the dreamy atmosphere stick.

    There are also songs that tone down the dream atmosphere considerably. “Right Hand Shake” reminds me of “She Bangs the Drums,” by the Stone Roses, with the similar guitar tones and echo-y vocal work. “Fly” is pretty much a condensed version of the longer songs, but notably more down to earth.

    In terms of shortcomings, I’d say Decker and Sepowski get a bit too experimental with their instrumentation. The songs that are 7 to 8 minutes long have a good chunk made up of solos that serve only to continue the state of euphoria. “People Like,” starts off sounding like a dated 90’s industrial act before it really gets going. “Fabreeze” has a muted trumpet solo while “Path Less Taken” essentially ends with a violin solo taking up the last third. The lyrics, when you can make them out, at times come across like they’re trying too hard. Lines like “Life is a garden, I’m sowing all the seeds, when something starts to grow, it comes out as weeds” (“Fly”). And “People like you, people like me, we can change the world” (“People Like”) Then again, lyrics were never the emphasis of this genre.

    So, if you’re a fan of the works of The Cocteau Twins, Slowdive, and Lush, give Left Hand Shake and 8-Track Mind a chance. We should look forward to whatever efforts these guys have planned in the future, if they continue this direction or move on to something else.

    Key Tracks: Being There (Django), Because/Second Hand Shake, Fly, Iced & Alone

    Listen to Left Hand Shake 8-Track Mind below.

  • Hearing Aide: Adoration Destroyed ‘Ritual Damage’

    Austin, Texas may have found it’s industrial groove with Adoration Destroyed and their debut album Ritual Damage, which is released via Cleopatra Records.  This album restores the old school, trippy, psychopathic sound that is similar to the Pretty Hate Machine-era of Nine Inch Nails, Mindless Self Indulgence, and Combi-Christ with the vocal style of Orgy.

    This album makes you feel like you’re taking a dark path into a mind of a disturbed loner, which is not a bad thing.  The synthesizers and trippy beats on this album will be a treat for the true industrial lover to listen to.  You can argue that the sound from this album is unoriginal, but it’s industrial in its purest form.  And that’s all you can ask for.   You will be curious to see this band live after listening to this album, and you will want to know if they can truly bring the essence of the album live to stage.  Ravers will love this album.

    Opening track “Here To Bleed” and the uber dark track “Lost” are real stand outs, and they managed to squeeze in a cover of Marilyn Manson’s “Coma White” as well as a cover of Till Tuesday’s “Voices Carry,” which is a testament to what this band is all about.  The album closes with the title track to finish on a very slow and dark note.  Overall, this album is consistent, but an easy listen.  It doesn’t take any risks, but it stays true to its theme and has great production. You can purchase the album here.

    Key Tracks: Here To Bleed, Lost, Coma White

  • Hearing Aide: Seth Yacovone Band ‘Shovel Down’

    The red-bearded guitar slinger from Vermont, who cuts his teeth in the cozy confines of Nectar’s, reunited with his band to release a new record. Yes, after 12 years, the Seth Yacovone Band finally put music to tape and set it free for the world to hear this past December. The band, drummer Steve Hadeka and bass player Alex Budney, has been playing live again together for the past few years. But when his bandmates bought him studio time for his birthday, it was time for Yacovone to finally reenter the world of recorded music.

    Yacovone picked the shovel up for Shovel Down, a workingman’s rock album that digs deep to satisfy all of your rock cravings. What your favorite track is will depend entirely on how you like your rock cooked.

    If you like it grooving and jammy, you’ll dig album-opener “Playing Patterns.” Zappa fans will gravitate toward “Caveman Guerrilla,” where Yacovone delivers it’s off-the-wall lyrics like “I’ve got the wherewithall of a Neanderthal” with a Zappa-like cadence punctuated by angular guitar blasts. “Falling on Deaf Ears” will not fall quietly to those that enjoy their rock with a pulsating melodic blues and Gov’t Mule fans will find a lot to like in the power trio blues jam “A Question Mark to Answer.” For those that like to enjoy it with their head on a swivel and their devil fingers raised high, “The Snake” descends into the depths of metal, complete with speedy runs down the fretboard and slithering reptilian lyrics. “Mr. Reed” will appeal to anyone who wants their rock raw, anthemic and fist-pumping while “Open the Door” bookends the album with more of that groovy funk.

    For those that just want to hear some quality guitar playing, Yacovone has sprinkled plenty throughout this near-50 minute set that showcases a band, while quiet in the recording world, has clearly been putting the work in on the live stage.

    Key Tracks: Caveman Guerrilla, Falling on Deaf Ears, Mr. Reed

  • Hearing Aide: Creamery Station ‘Creamery Station EP’

    Connecticut isn’t known to pump out world renowned musicians like New York, Seattle and California do, so it’s refreshing to see a group of guys emerge from the backwoods of the state with some true talent and passion for the art. Over the past three years, Creamery Station has been cooking up a collection that’s surprisingly good.

    Creamery says they’re a combination of the Grateful Dead, Allman Brothers, The Band, Little Feat, Railroad Earth, David Grisman, Doc Watson, Jimi Hendrix, Stevie Ray Vaughan and their first album is a fantastic representation of all these legendary groups. They manage to sound unique while giving glimpses of the defining characteristics of their inspiration rather than a copy of them. Some songs sound more familiar than others, but this is their  first compilation and it’s thoroughly impressive.

    They started from humble beginnings as a small band playing for a few house parties and slowly grew to a full seven-man group that brings a classic and a universally enjoyable country/ jam sound to the stage. They are based in CT but are making their way to New York City for the very first time and are definitely worth checking out.

    A lot of the inspiration came from the adventures some members endured, as well as a love for playing and performing music. All of the tracks were written and contributed to by every member of the band, which makes the connection between the musicians something truly exceptional, says singer and mandolin player Dylan Kader. “The energy between us when we play is something special and the crowd can feel that and they respond to it,” said Kader.

    This album is a bit all over the place, and that’s meant in the best way possible. Every song has a tie to country music with most of the tracks being based in that genre. But then some can, arguably, even have a reggae feel to it which is a combination that works surprisingly well.

    Things start off with “Ramblers Delight” and it’s about as country as it gets. It has a pretty straightforward chord progression with spices of mandolin a violin/ fiddle and relatable lyrical content. The feel of the song changes a bit when a very bluesy and fairly distorted guitar solo rings over the group that reminds listeners that a lot more is in store for the rest of the album. Country sounds are the basis of their musical content but that’s just the ground floor, and it’s a sturdy and simple one to build upon, giving Creamery free range to experiment with all sorts of genres.

    “Kansas City Blues” is appropriately named and placed at a  slower pace and even more like the typical melancholy country song. It’s the same sound as “Ramblers Delight” in terms of country sounding instruments, but the pace and chord progressions and lyrics make it a little more somber with just a few hints of uplifting major chords.

    “Walking for miles just to get a drink, then resting when we could find the shade, it’s hard to find the time for this poor boy to think, when he only eats if he sings and plays.” It’s still a well done song but this isn’t something that changes the minds of people who don’t like country.

    “Railroad Blues” is another very well-performed and professional sounding track. It’s comparably more upbeat and will definitely hit home with anyone willing to give Creamery Station a shot. There are light hints of country style instruments and it is based on a 12 bar blues chord progression which makes this one feel more rock and roll than anything else.

    Now “Sam the Clam” is where things get interesting. Harmonica player Don DeStefano dreamt up this song years ago in a separate band of his own while rehearsing backstage of a blues club called “Sam the Clam’s.” John Coltrane and Miles Davis were a big part of the inspiration behind this track as well as renowned harmonica virtuosos like Toots Thielmans and Little Walter. The combination makes for a jazzy, bluesy and damned smooth recording. It’s all instrumental to give keyboardist Jon Truelson, guitarist Jim Kader and DeStefano a chance to strut their stuff. The guitar is set to a perfectly smooth and warm tone, Truelson nails his time in the limelight and DeStefano absolutely kills his solo. It’s definitely the most fascinating song on the album and should be the go-to for first time listeners and those not soon keen on getting into the country scene.

    And just like that, “You Did Me Wrong” jumps on and the listener is thrown back into the world of country. Unfortunately, like the first three songs, it blends into the rest of the old-school country scene, but they still absolutely nail the style.

    “Out of Reach” is one of the most interesting songs on the album being that a country group created a pretty in-depth reggae sounding song. Everything about it is quintessentially reggae; a down beat, loads of percussion and funky guitar but a little hint of blues with a flavor of harmonica that sets this track apart from other songs of the same style. The best part of this song has to be the guitar solo. It’s a little dissonant and very similar to the styling of Carlos Santana. It’s a phenomenal track considering the roots of the band

    The album ends on a bit of a bittersweet note with “Sleep Late,” a very lazy country sound that leaves a little bit of an odd taste in the mouth of the listener, but again, as far as EP’s go, this one was really, really well done.

    Again, Creamery Station is coming to New York for the very first time and is going to blow the socks off of anyone that attends. This is a band that will be appreciated most in a live  setting, so see them on Friday, January 20th at American Beauty in Manhattan, find their free first album online, and keep an eye out for their soon to be released full length album, Pastures of Plenty.

    Key Tracks: Sam the Clam, Out of My Reach, Railroad Blues, Rambler’s Delight

  • Hearing Aide: Dave Fields ‘Unleashed’

    This coming Valentine’s Day, New York City-based blues guitar player Dave Fields will release his seventh studio album, Unleashed. In a career that spans writing jingles for the likes of IBM and Publishers Clearing House, working with legendary British bluesman John Mayall, and getting inducted into the NY Blues Hall of Fame in 2012, Fields is definitely making the most of his musical talents. And with an album title like Unleashed, he’s certainly building up some kind of anticipation. And I must say, Unleashed is a fitting title.

    The album opens with “Anticipating You,” an instrumental jam more on the jazz side of things. It also starts what’s a regular occurrence on the album. Though he bills himself as a blues player, Fields goes on long shredding passages like he’s an 80’s hair metal guitarist.

    If you want an idea about what kind of lyricist Fields is, look no further than “Child of the World.” The song is about having to deal with all the bad things currently happening in the world, like terrorists and people who have extremist thinking. And Fields says he’s on a “love crusade” to try and right these wrongs. It’s the kind of lyrics you’d hear from a 1960’s artist, but trying to specifically address modern day topics in that exact way sounds odd.

    The blues aspects really come out on songs like “My Mama’s got the Blues” and “The Boy Wants to Play,” the former sounding like it comes straight from Memphis and the latter having backing singers and more of a soul/gospel feel, even if it is about a boy wanting sex. Meanwhile, the two-parter “Jagged Line” probably gives the best example of Field’s attempt to blend these varying styles together. The rock guitar, backing organ sounds, and blues lyrics about growing up with a hard life, gives any passive listener a good idea of where modern blues music is heading or what it’s trying to be.

    Starting at “Better Be Good,” another song about trying to love one another in the face of terrorism and corrupt governments, the album suddenly transitions to a live set at a NYC blues club. From there, he makes his Jimi Hendrix influences bright as day with a faithful cover of “Hey Joe” and his own rendition of the Star-Spangled Banner. It wasn’t a note-for-note recreation of the Hendrix version (I don’t think that’s possible), but he does make some impressive runs that leave any fan of shredding pleased.

    The two songs that end the album couldn’t be further from the rest of the album. “New York City Nights” is the only real ballad here, with Fields switching to acoustic guitar and backed by synth strings. Meanwhile, “Les Hoedown” is easily the fastest song here. An instrumental featuring very fast guitar plucking that sounds like Jeff Beck doing rockabilly, with the drum fills and bass managing to keep up.

    I have no doubt an audience for this music exists, for those who like frequenting establishments who play blues, roots, or Americana music. And if you do appreciate shredding and fretting guitar playing, Fields is worth a listen.

    Key Tracks: Jagged Line (Pts. 1 & 2), The Boy Wants to Play, Pocket Full of Dust (live)

    [embedyt] http://www.youtube.com/watch?v=fd3zvlvoLuo[/embedyt]

  • Hearing Aide: The Wood Brothers ‘Live At The Barn’

    Over the years, The Wood Brothers repeatedly visited Levon Helm at his barn in Woodstock, New York for the popular Midnight Ramble. These visits eventually led to a cherished friendship between the trio and Helm. The group made a trek back to the barn on August 19, 2016, for their first Ramble since the passing of Helm, where they recorded their latest album, Live At The Barn. Helms’ influence reached well beyond the notes of a song. Guitarist Oliver Wood named his son after the late Levon, adding that “since we actually got to know him, his influence was more than musical—it was personal. He was one of those unique and powerful personalities, and I’ll always remember how gracious he was.”

    Live At The Barn revisits 9 songs that run the gamut of The Wood Brothers’ musical catalog. The trio also consists of bassist Chris Wood, and drummer Jano Rix. The opening track, “Mary Anna,” gracefully eases listeners into the album. The deep, rich tones fill the barn with warmth and purity, as whoops and hollers are chimed in from the audience. Right away the song brings you into the barn among the crowd sitting alongside the band. With eyes closed, the faintly familiar smell of barn wood and slight chimney smoke in the air also teases at the senses.

    A spirited “I Got Loaded” captures the electrified audience as lyrics are playfully sung back and forth with enthusiasm. Mystifying tones gently tiptoe into “Tried & Tempted” before the melody curves into a head swaying blues jam. The vibe in the room can only be envisioned with a dancing crowd to this melody.

    A crisp guitar cools off the barn with a gentle “Trouble In Mind.” Resonating with heavy, psychedelic undertones, this delicate melody keeps the ears filled with colorful imagery. Picking up the pace, “Who The Devil” is tightly stacked with thick bass, vigorous drums, and guitar that rocks the hell out of this soaker of a tune.

    In your face bass bombs stealthily glide into “Wastin’ My Mind,” before picking up hitchhiking guitar and drums. The song builds with increasing intensity and mischievous rhythm, creating a musical ambiance filled with empty whiskey bottles and lingering cigar smoke. A massive fan favorite, “Postcards From Hell,” is fittingly dedicated to the memory of Levon Helm. This track takes its time building. Midway through it explodes with massive energy, pumping the live audience, as well as the listener, with shake your bones vibes. It’s impossible not to react to the intensity of this song, as swinging arms, bobbing heads, and dancing legs instinctively react to the beat. Expect to hit the repeat button over and over.

    “Honey Jar” twists around funky rhythms to bluesy tones and back again. Crunchy guitar and full bodied bass envelop the melody, as drums keep the pace, creating a lush and smooth ride for the eardrums. Wrapping up the album, “Ophelia” takes the live experience at the barn to a close. This dynamic track strides along, with the notes practically high-fiving each audience member before closing out the music for the evening.

    If you’ve never seen The Wood Brothers perform, this is the perfect album to capture their energy in a live setting.  It’s highly suggested to throw on the headphones, crank the volume, and soak in the songs with eyes closed. Within the first few minutes, don’t be surprised to be tapping and shaking along to the beats. This is one album that will fit perfectly in any musical collection.

    The Wood Brothers will be kicking off a U.S. tour in Philadelphia shortly following the release of their new album.  Full tour dates and information can be found on their official website.

    Key Tracks: I Got Loaded, Who The Devil, Postcards From Hell

    https://soundcloud.com/thewoodbrothers/ophelia/s-VMAu3