Well, 1997's barely on its way, but if current trends continue, this will be a year to enjoy. Last month gave us the release of two of the best southern rock albums to be released since the last Allman Brothers outing: Widespread Panic's "Bombs and Butterflies," and Cravin' Melon's "Red Clay Harvest."
Both of the group's sets not only remain true to their grass roots -- echoing the Allmans themselves, as well as Stevie Ray Vaughn and others --but also produce a groovin' southern sound that is uniquely their own.
As much as there is to tie the bands together, there are tremendous differences between the two, and it shows. While "Red Clay Harvest" is Cravin' Melon's major label debut, Widespread Panic are seasoned artists, and the distinction surfaces in the depth of the albums.
"Red Clay Harvest" grabs you immediately with charming hooks and catchy choruses -- a strong rhythm section polishes it off to make the majority of the album's songs irresistable.
Lead singer Doug Jones' voice is perfect for Cravin' Melon's brand of poppy Southern rock; soulful in the way of the Black Crowes' Chris Robinson, but a touch smoother.
The group's backing harmonies are never revolutionary or shocking, but that is just their intention. Instead, they compliment Jones's vocal lines, beautifully adding to the stripped down groove of the songs.
The album opens with "Come Undone," a song which is sure to be stuck in your head for years after the first listen. From the outset, the guitar line is as entertaining as the melody is addictive. The same straightforward groove is present in many of the other tunes, particularly "Sweet Tea," a tribute to a staple drink of South Carolina, the group's home.
Other songs, like "Pretend" and "Hey Sister" are just as catchy, but are a little harder edged. Here, the rhythm section makes their strongest appearances as they drive the music. Conversely, ballads such as "Post Office" and "Simple Man" are slow moving at times, but enjoyable on the whole.
As for the band's technical playing skills, they are not virtuosos, nor do they try to be. On the contrary, the album is consistent with simple parts fitting together to make a wonderful whole.
Fear not though, the band is extremely competent at what they do. Lead guitarist Jim Chapman's tone drips of legends like Warren Haynes and Dickey Betts, and mixes with the combo of Rick Reames on drums and J.J. Bowers on bass to produce a sort of 'if Hootie and the Blowfish wasn't boring'feel.
"Bombs and Butterflies" takes longer to get into, but the rewards are great. The counterpoint between the guitar, bass and keyboards is complex, and never interferes with the band's funky groove. The songwriting is better on this album than on any other. Repeated listens are necessary in order to get lost in the music and appreciate the depth of the tunes.
The album ranges from funk, to hard-edged, to acoustic rock. "Rebirtha" is by far the best track on the album -- the bass line alone could make anyone get up and dance, and its mix with two intertwining guitar parts and the backing synthesizer floats on top of the drumbeat in an irresistable way. Other songs, such as "Tall Boy," take more of a bar room rock feel, with bouncy honky-tonk piano and simple lyrics.
On the opposite side of the spectrum, the album features "Hope in a Hopeless World" and "Aunt Avis," two slow and brooding songs which become more entrancing with each subsequent listen.
As innovative as they are, the band does pay reverence to its Southern roots. John Bell's lead vocals, as well as the rest of the band's, harken back to the tunes of Eric Clapton and Gregg Allman. However, the tremendous playing abilities of the group shine through as melody lines swarm around one another, and the traditional classic rock style is expanded to be experimental in that way that only bands who are good buddies with Phish seem to achieve.
Pick these two up -- you will not regret it.
