Umphrey’s McGee – Live At The Murat (Review)

Live at the Murat ArtworkThis is the longest I have taken to write a review of an album. I received the promo for Umphrey’s McGee’s newest live album Live At The Murat back in October of 2007. Unfortunately, at the time I received the promo I didn’t feel I was informed enough about the band to give this album a fair review so I “lived” with it for a while.

I was fairly familiar with the band, and liked parts of The Bottom Half, which was their last studio release (also released in 2007). The Bottom Half was the remains of the studio work from the previous 2006 release Safety in Numbers. As a result, I was pretty interested to hear this release, but was immediately overwhelmed by it in that I realized that the release didn’t have many songs from either of the last two releases so I wasn’t familiar with the songs.

In my review of Keller Williams’s album Dream, which was also on SCIFidelity, I told a story of my first Phish concert. This was the tour supporting Farmhousein 2000 and by then, Phish had already been together for seven albums. I hung with Phish until shortly after the hiatus before the subsequent breakup in 2004. During the time I was a fan I had a lot of catching up to do with Phish. While Farmhouse was regarded as Phish’s most accessible album, the albums to date were generally not as nearly as accessible and usually based on some amount of fleshing out of the material on tour. So, the previous releases had their own established history with the fans and the live shows. As a music fan who loves to dig in with a band– it really was a very daunting idea to do this with Phish. You had the officially released catalog as well as all of the taped shows and the volumes of information and statistics that were kind of a hold over from the Grateful Dead’s fanbase. I jumped in with both feet and even bought all of the LivePhish releases with the costume Halloween shows as well as the official releases. After the Hiatus, and the release of Round Roomin 2002, I kind of fell out of the collecting mode with Phish and I really even became sort of tired of listening to their stuff. I eventually sold off the LivePhishseries as well as some of the promos and other items I had. I still have the studio releases which are really allI feel I need. I didn’t follow the solo careers of the members after the first two Trey Anastasio albums and the Vida Blue release from Page McConnell.

And, so it is with Umphrey’s to an extent. Like Phish, Umphrey’s is a band with history of a growing and fervent fanbase. 2007 is nine years after their formation, and Live at the Murat is an attempt by the band to capture where they are these days with their live show. It is their first official live release since Local Band Does Oklahoma in 2003 and one the band spent time preparing for. While the album itself is based on two nights at the Murat Egyptian Room in Indianapolis, the show had some prepwork done ahead of time to plan some of the performance.

The album itself is a collection of new material, some of the planned “interludes” as well as some “fan favorites.” Since I got this album, I have had the opportunity to download some other shows to kind of catch up on what Umphrey’s shows are like. Like Phish and the Grateful Dead before them, a live show from Umphrey’s McGee while largely improvisational has a meticulously planned setlist with a focus on not repeating themselves. While this is great and guarantees that a fan gets a different show every time, this makes comparing a live album against any given show sort of pointless (unless you want to get down to discussing different dates of “In The Kitchen” which I’m not interested in doing).

In my opinion, the first five tracks on Disc One set the bar pretty high for the album with one of the strongest sequences of material I’ve heard in a while. There is a reason that “In The Kitchen” is one of the fan favorites and we get a cool transition of an acoustic version which after a couple of improv segments turns into an electric version. Very nice and I listen to this part of the album the most when I return to it. I really like the dramatic piano at the end of “Electric Improvisation” and the chord change that leads back into the reprise of “In The Kitchen.” This is followed with the only song on a studio release in two years, “Higgins” from The Bottom Half. I would have expected to hear more material from the last two albums as this is what most bands do with their live albums. This makes the album essential in the catalog since it provides many unreleased tracks.

I listen to my fair share of music in the course of a week and between my CD player and my iPod I always have something playing. I have found that Live at the Murat really stands up to repeated listenings for me. To that end, I might even recommend this album to anyone who was interested in hearing the band for the first time. It shows off the band’s astounding live chops as well as their ability to craft a song. One thing that this band has going for it for me is that their influences draw from some progressive bands that I listen to. The Wikipedia article on Umphrey’s lists Pink Floyd, King Crimson, Yes, Genesis as well as bands like the Police. I have pretty extensive King Crimson and Pink Floyd collections and I picked these influences out right away. One track that took me by surpise is “The Triple Wide” which is a dancey, electronic instrument propelled partially by an 808 beat carrying a buzzy synth line to a dual with guitar at the 4-minute mark.

Since last year I’ve been following the very excellent and recommended Podcast. In addition to the selected live shows provided we get to hear the very laid back sense of humor that seems to contrary to the virtuosity of their performance. We are provided with their sense of humor on this album as well even without stage banter. The band gave the audience some chanted cues which show up in the recording. One notable one is the “This album sucks!!” that closes out disc one. We also get some “FUCK YEAHs” during the great Fripp Guitar Craft-alike “Angular Momentum.” We get the requisite stoner humor in “The Fuzz” (“There goes my BOOOONNNG!”), bathroom humor in “40’s Theme” with the warning “Tomorrow you’ll be on the shitter.”

Of course, this isn’t really what Umphrey’s McGee is about at the end of the day. Umphrey’s is ultimately a band who is all about the music and really about bringing great shows to the fans and Live at The Murat is a great portrait of the band in it’s element. The twin-guitar attack of Umphrey’s provides a well-adapted and flexible tone surface. The band likes to stretch out in searing guitar solos and soaring anthemic building bridges. While I’m not part of the regular in-the-know fanbase, yet, at the end of the album I find myself looking forward to seeing a show.

Visit the Murat Mini-Site for streaming tracks.

Calexico New Album News: Carried to Dust due September 9th

Joey and John visited the KXCI studios on Friday, May 23rd to perform songs, talk about their new album and to promote the benefit show they played Friday night at the Rialto in Tucson to send Mariachi Aztlan de Pueblo High School to Washington DC for the National Independence Day Parade.

During Friday’s Home Stretch show hosted by Kristi Lloyd which I heard thanks to a fan on the Calexico Yahoo group who snagged the Internet feed of that show it was announced that the new album is finished and will be called Carried to Dust and will be released September 9th in the U.S.

Calexico played three songs (I think) but I only heard two of them. The first song was new and they didn’t announce a title for it, but it was a slower song with a road or driving theme, and they played another new waltzy song titled “The News About William” played on acoustic guitar and brushes on drums. No earth-shattering change in direction in my opinion, but more strong music in the familiar Calexico vein.

The tour dates are filling in for Calexico this summer and it looks like they might be holding most of the U.S. dates until after the album release. There are three dates, though, Detroit on 7/5, The Newport Folk Festival in Newport, RI, and the World Music Festival in Chicago on 9/25. The World Music Festival will be a free one, so I might consider making a long weekend in Chicago for that one.

Scion A/V’s New Singles: Ghostface Killah, Rhythm Roots All Stars and 45 King (Review)

Back in December, I reviewed an incredible collection of Daptone Records artists that was put out by Toyota/Scion’s Scion A/V record label. Continuing in their pursuit of turning out promotional releases that appeal to their target Scion-driving audience, Scion A/V released three singles in May– all of them hip-hop titles. According to the PR, these releases will become available as downloads as well, but you should be able to pick these up at any events that Scion would participate in like car shows and Hot Import Nights-type events. I assume you can get these at the dealership as well, but I’ve never been to a Scion dealer.

Ghostface Killah vs. Rhythm Roots All-StarsThe first release (SA/V 003-01) is the Ghostface Killah vs. Rhythm Roots All-Stars “Charlie Brown” single. “Charlie Brown” is apparently a previously unreleased track from Ghostface Killah. You can hear the original track apparently produced by MF Doom HERE. Apparently never officially released due to sample clearance issues. Although, apparently it showed up on the “More Fish” EP. So, the track gets a new lease on life by pairing the acapella with L.A. Funksters Rhythm Roots All-Stars. The RRAS is a collection of long-time LA session players and members of the amazing Breakestra.

The track contains a typically fast rap from Ghostface explaining that he’s going to save us from the bleak landscape of hip-hop. The chorus says it all “This is real hip-hop on the line today / It’s worth more than any label or what they pay / I’m gonna save hip-hop because it’s dying away.” RRAS provides sliced and diced bass and horn stabs over the beat to move it. The only bummer with this track is that they had to edit out the profanity. I find the gaps in the rap distracting. But this is where the remixes help out, I think.

Ghostface Killah SA/V 003-02 is the “Charlie Brown” Remixes EP with knob-twiddling by the likes of DJ Mehdi, Yuksek, Orgasmic, and Guns N’ Bombs. I’ve got to hand it to Scion A/V, they really know their underground artists. I hadn’t heard of any of these remixers before this release! Something interesting I found out while researching this review is that Mehdi, Yuksek and Orgasmic are all French producers, and while Guns N’ Bombs are from Cali, they signed to Kitsune, which is a French label.

First up is Mehdi who took the whole acapella vocals from the track but also adds Sewdish female MC Mapei to it giving Ghostface a duet of sorts. The production is a stripped-down Electro 808 plus new bass line that really provides more melody to the track than the Rhythm Roots All-Stars did.

Yuksek is up next who transforms the track to a Garage-style with dirty synths and a slamming 1-2 beat. He mostly used the chorus otherwise it’s a completely new track, really.

Orgasmic is also known as the producer for French Hip-hop act TTC. His remix which harkens back to the late 80’s and early 90’s club music. DJ Orgasmic also kept all of the vocals on this acidhouse-ish version. This one is my favorite out of all of the mixes on this EP.

The last remix by Guns N’ Bombs is a big beat dub with 4-on-the-floor. It reminds me of Roni Size or a bit like The Chemical Brothers. I really dig the fun analog synth break they included.

45 KingThe third single (SA/V 003-03) features 45 King. 45 King aka “DJ Mark the 45 King” is the producer of a lot of groundbreaking Hip-Hop work including “Stan” by Eminem and “Hard Knock Life” by Jay-Z. As high-visibility as those tracks were, I’m surprised I hadn’t heard of him. Looking over his Wikipedia article, one gets a sense of his career and how important he is to the scene.

So, this EP acts as an introduction and an update for 45 King. It is comprised of 8 tracks– actually four tracks of 45 King production and four tracks of remixes of those.

The first track is “Roof” and utilizes MC Wale, who we saw on the Scion Sampler 19 remix track of The Budos Band song “Chicago Falcon (Washington Square Lads Remix).” 45 King’s production hangs a simple guitar loop around the lyrics and you’re left with the hook “This is how we wind it down the line” stuck in your head long after the song stops. The remix is done by DJ Ayres and picks up the beat as well as speeds up the lyrics while adorning the mix with bongo, bass and maracas. Although Ayres removes the chorus hook from the song, it ends up being a real toe-tapper and an improvement over the original.

The next track is appropriately titled “Strings” and also features Wale on the vocals. Light beat with a string quartet loop floats the lyrics. The remix by Brooklin producer Inflagranti strips the track of the string quartet and– I’m pretty sure– inserts the guitars from “Love Is Like Oxygen” by Sweet and speeds it up a bit.

Tracks 5 and 6 are based on the classic “The 900 Number” which effectively brought fame to 45 King in 1987. In this “2K8” version, we have the original squonky sax and beat used in the original, which was sampled from Marva Whitney’s “Unwind Yourself.” On the mic is Pase Rock. DJ Eli Escobar returns with the same sample but flips it to a four-on-the floor beat and adds analog synth for his take on the track.

The last two tracks feature MC 4th Pyramid on the track “P-Y-R-A-M-I-D” in a funky bravado tale. 45 King brings the classic acapella from “Sissy Strut” by the Meters to really cement the tune. I have a bit of a distraction with this song in that I keep expecting to hear “The Magic Number” by De La Soul from 3 Feet High and Rising which used this sample as well. DJ Sammy Bananas (what a great handle!) flips this with a chunky stomp-and-clap beat and switches the focus to the “P-Y-R-A-M-I-D” lyric by distorting and slicing it up and creating a building pressure with it. I dig the synth line in his version.

So, Scion is doing themselves and the music community a service by matching up established artists with up-and-comers. I think the best part of reviewing these releases is that they don’t come with much of a guide, so I end up doing a bunch of googling and finding out about the artists who work on them. Find these releases when you can!

For a limited time, Scion is allowing free downloads of the Ghostface Killah Remix EP and the 45 King one. Don’t sleep on these! Do yourself a favor and follow all of the links I made in this review to learn more about all of these very talented producers as well.

Upcoming Show: Wye Oak & Pontiak at The Mill 6/15/08

While I was out doing some research on the new Thrill Jockey signees Pontiak, I noticed that they are going to be playing at the Mill in Iowa City along with new Merge Records act Wye Oak. I wasn’t familiar with Wye Oak— they looked like a folk act which seemed puzzling to me considering the grungy distortion brought by Pontiak.

Well, a bit more research and listening to the album stream of If Children on Merge’s website revealed a band with its feet in a more shoegazer-y location. At times they sound like Low to me with the layered sounds and the dreamy delivery. Another band from Baltimore– what’s up with the insurgency of Baltimore bands all of a sudden?– Wye Oak is a two piece with Jenn Wasner and Andy Stack playing all instruments on the album and able to deliver this in a live setting.

Pontiak– although NOT from Baltimore– are getting a helpful boost from Baltimore band Arbouretum. Arbouretum and Pontiak are going to release a split LP on 7/22/08 on Thrill Jockey Kale which will be a tribute to John Cale. Vinyl only, thank you! TJ doesn’t have any streaming samples to listen to for Kale, yet, but they do have samples of Pontiak’s 2007 release Sun on Sun, which will be re-released on Thrill Jockey September 9th. You can purchase mp3’s and apparently the 2007 Fireproof Records vinyl before then, though!

Wye Oak and Pontiak will be joined by Ames, Iowa band Poison Control Center, and the surfy good vibrations of The Botticellis for a night of Indie goodness sponsored by Mission Creek— all for a measly $7! I’ve provided enough links below that you should be able to memorize the words to all of these band’s songs so you can sing along.

I’ve included links below to the Daytrotter sessions that both Poison Control Center and The Botticelli’s have done. Not to be upstaged, Wye Oak and Pontiak are scheduled to record a Daytrotter session before the Iowa City show.

Download four songs from If Children by Wye Oak

See a bunch of live videos of Wye Oak on YouTube

Listen to tracks from Sun on Sun and Valley of Cats from Pontiak’s website.

Poison Control Center’s Daytrotter Session

The Botticelli’s Daytrotter Session

Grace Potter and the Nocturnals on “Live From Sun Studio” on Blip.tv

No one can accuse Grace Potter and the Nocturnals for not doing enough to promote themselves. They are touring constantly both as a headliner and as a supporting act for bands like The Black Crowes and frequently Gov’t Mule as well as hitting most of the festivals.

One really cool gig Grace and Co. got was a seven-song set at the Legendary Sun Studio in Memphis which was videotaped and will be posted over time as part of series on blip.tv called “Sun Studio Sessions.” “Sun Studio Sessions” gives up-and-coming acts an opportunity to record in the birthplace of recorded Rock and Roll.

The inaugural episode of this series was Grace and the Nocturnals performing the Rock and Blues standard “Mystery Train” originally recorded at Sun in 1953 by Junior Parker and later covered by Elvis Presley. So far three songs have been posted from the band, “Mystery Train,” “Outta My Tree,” and “Night Rolls On.” It’s cool to see some of the studio banter as the band works out how they want to perform each song. I’d really love it if there would be a DVD or even an album released with these sessions on it! Or, maybe even a Sun-Labeled EP or set of singles?!?! Sorry, my inner-collector got out for a minute.

So, interspersed between the other artists who have recorded sessions, we’ll get the remaining four songs so stay tuned.

Sun Studio Sessions on Blip.tv

Live From Sun Studio on Blogspot

Just the Grace Potter Posts on Blogspot with links to the episodes as they’re made available

Free Download: The Black Keys Cover Beefheart

The Black Keys have made available for a short time a FREE download of a song they recorded this week at “Dan’s House” on their MySpace Page. Their cover of Zappa-BFF Captain Beefheart’s “I’m Glad” from their 1967 debut Safe As Milk was recorded on Thursday and made available on Friday! The track will be available for one week (May 9th) and then removed (hopefully with another Free gem like this one!!). Although with a pedigree like Beefheart, you might expect crazy dadaist freakouts, this song is a bluesy soulful slow dance with a great psychedelic buzzing guitar solo in the bridge.

By the way, if you haven’t bought the Dangermouse-plus-Black Keys effort Attack and Release you should. The reviewers on Amazon are very mixed about this album since it is more “produced” than their last albums, but I really like it. I think it was a good idea for this two-piece to let some outside influence in.