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Fever in the Road
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Fever in the Road
Current price: $10.99
Barnes and Noble
Fever in the Road
Current price: $10.99
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After 2012's lush
Medicine Man
,
the Bamboos
' de facto leader and chief songwriter
Lance Ferguson
decided to focus his attention on writing for the core group on
Fever in the Road
. Rather than a slew of guest vocalists, those chores have been equally divided between
Kylie Auldist
and
Ella Thompson
to excellent result; the group feels more like a touring unit than a studio construction. The basic sextet is appended by horns and strings in places, but the band's sound, though multi-textured, is more stripped and immediate. Co-produced by
Ferguson
John Castle
(who also worked on
and plays guitar and other instruments), the real beauty of
is that virtually any track here is a potential single. Opener "Avenger" is the set's first. Fronted by
Thompson
, its rough-and tumble psych-pop is kissed by Baroque organ, spacey sunshine soul, and cracking drums, with a nice snare break tossed in for good measure.
Auldist
reveals the other side of the proposition with "Rats," a garagey, rave-up soul number with a swaggering guitar line that engages in call-and-response with the singer on the verse. Organs, bells, and a trumpet buoy the explosive chorus pulsed by the drumkit. "Your Lovin' Is Easy" is slippery '60s pop performed by
, and
Castle
. Its rock trope gets slipped by the
Motown
-esque chorus.
Stax
-era soul is evoked in the gospel groove on "Truth," with
in full, gritty wail pushed on by horns and strings. "Harbinger" is breezy, spacey pop.
's breathy delivery is adorned by a tight, shuffling snare, two organs, guitars, pulsing bass, and shimmering violin and cello. "Jump My Train" is hard-strutting, B-3-drenched soul with clattering breaks, a thrumming bassline, and
in full-throated scorch. The instruments, including punchy horns, electric piano, and chunky guitars, are put through just enough distortion to make it sound live.
presents
as more electric and forceful on record. Though there is less production sheen here, great songs and energetic, truly inspired performances make them sound bigger and badder than ever. ~ Thom Jurek
Medicine Man
,
the Bamboos
' de facto leader and chief songwriter
Lance Ferguson
decided to focus his attention on writing for the core group on
Fever in the Road
. Rather than a slew of guest vocalists, those chores have been equally divided between
Kylie Auldist
and
Ella Thompson
to excellent result; the group feels more like a touring unit than a studio construction. The basic sextet is appended by horns and strings in places, but the band's sound, though multi-textured, is more stripped and immediate. Co-produced by
Ferguson
John Castle
(who also worked on
and plays guitar and other instruments), the real beauty of
is that virtually any track here is a potential single. Opener "Avenger" is the set's first. Fronted by
Thompson
, its rough-and tumble psych-pop is kissed by Baroque organ, spacey sunshine soul, and cracking drums, with a nice snare break tossed in for good measure.
Auldist
reveals the other side of the proposition with "Rats," a garagey, rave-up soul number with a swaggering guitar line that engages in call-and-response with the singer on the verse. Organs, bells, and a trumpet buoy the explosive chorus pulsed by the drumkit. "Your Lovin' Is Easy" is slippery '60s pop performed by
, and
Castle
. Its rock trope gets slipped by the
Motown
-esque chorus.
Stax
-era soul is evoked in the gospel groove on "Truth," with
in full, gritty wail pushed on by horns and strings. "Harbinger" is breezy, spacey pop.
's breathy delivery is adorned by a tight, shuffling snare, two organs, guitars, pulsing bass, and shimmering violin and cello. "Jump My Train" is hard-strutting, B-3-drenched soul with clattering breaks, a thrumming bassline, and
in full-throated scorch. The instruments, including punchy horns, electric piano, and chunky guitars, are put through just enough distortion to make it sound live.
presents
as more electric and forceful on record. Though there is less production sheen here, great songs and energetic, truly inspired performances make them sound bigger and badder than ever. ~ Thom Jurek
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