There is certainly nothing groundbreaking about a blues album concerning the topic of love. Since the birth of the genre, heartbreak, melancholy, and sadness have been the tireless focus of blues musicians from the beltway to the bayou and beyond. But The Shams Band are built upon tradition, and they carry the confidence necessary to make their songs heard in that already crowded barrelhouse of American blues-rock.
(read the LSD interview with The Shams Band's Donnie Biggins here.)
With the release of their eponymous EP in 2009, we found the band exploring the folkier roots of Americana through acoustic ballads and gentle melodies, with only subtle hints at the blues. However, on their latest studio release, Champagne, the levy has broken. The girl is gone, and The Shams Band find themselves riding a narrative of love lost on a river of blues-rock while reeling in elements of country and R&B from the banks.
In terms of narrative, the album seems to be about ditching that pale white line on your ring finger and replacing it with a tour van and a left arm tan. Musically, The Shams Band deliver a strange, yet appropriate, hodgepodge of rock and roll history. 'Single Man' is probably the most radio-friendly of the bunch. With big swooping guitars and killer bass licks, this track glimmers with hints of Tom Petty and Heartbreakers, and possibly even a dash of Built to Spill hidden in the combination of chugging and abruptly halting rhythm guitar. Bassist Brian Patterson stands out as the unflinching backbone of the album.At times Champagne is dirty and gritty, with tracks like 'Train on Time' and 'Pour Me A Drink' evoking the spirit of straight southern highway-driving blues a la ZZ Top and George Thorogood. Other times the album is clean and contemplative. The opening melody of 'Lean Into Love' kicks off the album in an Avett Brothers fashion, and songs like 'We've Never Met', 'City Swept Away', and 'Blue Canal' make up the heart of the album, following closely in the musical footsteps of alt-country outfits like the Jayhawks and AM/Being There-era Wilco.
For the most part, The Shams Band demonstrate a nice consistency of sound and identity throughout Champagne; however, they do take a notable break about mid-album from the signature twang and drive prevalent throughout the rest of the tracks. 'Gently,' a star-dusted ballad about gun-shy and wounded lovers, catches the listener off-guard, sounding as if it could have been a 1950's prom classic penned by the likes of Paul Anka. The follow up track, 'In the Sun,' a soulful rocker complete with bayou-style horn section, makes for an interesting one-two punch. The songs themselves are well written, but they definitely stand out as an unexpected departure from the flow that guides the rest of the album. Regardless, Champagne is a solid debut for The Shams Band. Pick it up, throw it in the car stereo, and hit the road. These guys will get you where you need to go.
The Shams Band will be hosting their official Champagne CD release tomorrow, Saturday, September 18th at Fitzgerald's, a traditional country bar that has hosted many historical acts. Get there.
The LSD 'Conversation Corner'
We here at the Logan Square Dispatch pledge to provide for you, the reader, accurate transcriptions of the conversations that go into each of our record reviews, should you care to see how our reviews come to fruition.
And so in the interest of transparency, and without further ado, we welcome you, fellow Squares, to the LSD 'Conversation Corner'.
Dan: Hey Matt, just started listenin' to Champagne. Opening the album with a "Wooooooo!" Nice! Reminds me of the opening line of Wes Anderson's Bottle Rocket... "Ca-Caaaaw!" So far, lyrically, it sounds like a post-breakup album... but far enough in the future to have some perspective and optimism. First track is kinda straight bluesy, with a touch of George Thorogood… possibly a bit of a turnoff, but the second track both redeemed and contextualized it. It makes more sense now, maybe even a bit tongue-in-cheek.
Oh wait, somehow I'm listening to the album backwards. Let's start over.
Matt: Ok, lets.
The first track is a fine choice to kick off the album. The opening melody gives it a sort of Avett Brothers feel, which I dig, and the song really starts trucking when the rhythms kick in. Appropriate that the title itself ('Lean into Love') acts as a 'lean' into the theme of the album as a whole. I just love love. Also, it is a very optimistic way to start the album.
Dan: Ha! "I love love." Get real, dude! But yeah, I do like the opener. I was particularly struck by the bass lines on it. Really cool how the bassist builds on the initial line as he goes along. It's an optimistic choice for the opener, thematically, considering that some of the later tracks seem to be, like I said, post-breakup songs.
Matt: There's a bass player? Man, I need to get better speakers. But yes, it does show that there is often light at the, er, beginning of the tunnel. And I think you may be right in your 'post-breakup' songs hypothesis, particularly given the title of the second track, ‘Single Man.’ Unless that song is about baseball, I think you may be onto something. Structurally, 'Single Man' brought to mind traces of early Wilco stuff off of AM or Being There.
Dan: I'm feeling kind of weird about ‘Single Man.’ I wondered if there was a connection to The Singleman Affair, maybe a subtle nod. Any idea? But beyond that, I don't know, I think you're right about the AM Being There era Wilco stuff, but something rubs me the wrong way about that track. It's like it harkens back to those 90's jams but possibly leans a bit too close to the precipice that bands like The Rembrandts fell off of... that's gonna sound meaner than i meant it isn't it? Nonetheless, it's a solid track, and again there is the sense of optimism there. I like it lyrically a lot.
Matt: Did you just reference The Rembrandts? I haven't heard that name in forever. My favorite song of theirs was the one where Joey accidentally proposes to Rachel. Can you believe she said yes?! But yeah I hear ya...I think it's that initial strum of the guitar that draws the comparison. And yeah, good lyrics and for the most part a solid track.
Dan: The next track, ‘We've never met’ reminds me of the Goldfish cracker commercials. It's fun, lovin the banjo.
Matt: Yeah man, fantastic little track. Short, sweet. Yes, killer banjo. This would be the perfect song to start off that road trip I'm taking to go see about a girl. That was a Good Will Hunting reference. I just watched part of it last night.
Dan: Yeah, I got the reference... and I liked dem apples. And yeah, that song is great! Really tugging at the romantic inside me...ya know, that guy I've been systematically trying to kill for some time now.
Matt: When ‘Gently’ started up , I had to check to make sure I was listening to the same album. I like the song though. Totally Elvis Costello.
Dan: Yeah, drastic change of pace. Felt like calling up my lady friend and asking her to go dancing at the Clipper Bar. Definitely shows a more vulnerable side of the album. It's like the album is trying to get over that last girl, and move on, and be a stronger, better album, but every once in a while falls back into the self-pity spiral. The album's all like "dude, I just want to drink this bourbon and watch the couples that are actually in love dance, because I know what they don't know yet... that it gets tough, real tough."
How about 'In the Sun'? I'd love to hear your take on this one. But listen all the way through to the end before you cast judgment. Smoke break?
five to seven minutes later...
Matt: Ya know, I've heard a lot of people complaining about the ever-presence of horn sections in indie music these days. But those people need to get real. Horns are a party, and this song is a hit. Love when the horns go off on their own lines. I'm curious as to how this tune will play out live if horns aren't there. Either way, I like it vocally and this song's got some attitude. I dig the track...
Dan: Yeah, i was going to say the same thing about the horns.
I felt like it started weak, but by the end it rocks the fuck out… love the horns giving it that chaotic Big Easy sound. Faintly reminiscant of Dr. John. And it somewhat prepares the listener for 'Train on Time,' which I have to admit, I think is one of the weaker tracks
Matt: Yeah it’s very ZZ Top/Thorogood, and a bit of a turnoff for me personally. Also, there's my whole 'inherent hatred of the blues' thing that may be affecting my opinion here. But I understand the appeal and I think a lot of people will get behind this one. Another good driving track. Also a good whiskey drinking track.
Dan: Ya know, I'm probably in the same anti-blues camp as you. So for the sake of objectivity, I'll just say that the song sounds like the title says. A train that’s on time. And that it'd definitely go well with whiskey. Thematically, I totally get it...seems like it was worth the breakup. I mean really? She's giving him that ultimatum: get a job, be on time, bring home the bacon, or I'm outta here? Baby lose the bag! I do like how at the end the song acknowledges the importance of getting to the show on time.
The drums on 'City Swept Away' are awesome. Real good marching tune, actually another good country driver. Brings to mind Uncle Tupelo in a weird way.
'Blue Canal' is really cool. Is that a Moog or something with a pitch modulator in the beginning?
Matt: I thought it was some controlled feedback or something? But yeah man, ‘City Swept Away’ and ‘Blue Canal’ are really great tracks. Heart of the album. Uncle Tupelo in a weird way for sure, and Jayhawks in a more direct way. Also loved the vocal effects.
Dan: I actually thought Jayhawks originally but changed my mind for some reason. Both of those two tracks are stellar. It occurs to me that this really is a blues album, thematically and musically. 'Blue Canal' is a bit tough to stomach, though. She really didn't care about anyone but herself. Wow! I've been there and that feeling is absolutely terrifying...he really captures it with some of those screaming vocals (adds to the haunting feedback). Glad that song didn't decide to jump into the canal in the end. He was a good friend, I would have missed him. More optimism in a roundabout way.
And on to ‘Pour Me a Drink’, what i thought was the beginning of the album. Not a huge fan, but it makes a helluva lot more sense now that I'm hearing it at the end of the album... and for the record, shortly after hearing this song yesterday, I got drunk and got a tattoo...seriously. In the tattoo parlor they were cranking out some Motorhead. This song totally gets Lemmy. So, in that sense, I totally get this song. Ya know what, I think I really like this song now.
Matt: Yeah I bet you do, Panama Red. And that is a great tattoo! I also was initially not a huge fan of this track, but you're right...it's dirty, and it's good. Live, I think this song has the potential to break a few barstools, maybe a nose or two taboot. This one is really going to get the kids going. Now that I think about it, are there any songs directly dedicated to drinking that aren't good?
Dan: Wow, quoting Meet the Parents. Hilarious! And yeah, dirty drinking, is there any other way? This is inspiring me to extend my bender into tonight.
