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By: Alex Borsody
Since 2006, The Waybacks rarely get a mention without referencing their stellar collaborations with Grateful Dead legend Bob Weir. Moving past that, their new album, Loaded (Compass) , contains a creative mix of Celtic, bluegrass, folk and roots. The Velvet Underground created a record of the same name as Lou Reed's response to his label's demand for an album with hits. There is something similar going on with this record, given the variety and polished appeal of each track here. Loaded expands beyond the realm of bluegrass, mixing in heavy doses of genre mishmash.
"Black Cat" is quite possibly the best track on the album, an appeal to the blood, heating it up like a shot of vodka. A violin solo that rises and falls, inching faster toward a climax, conjuring images of Gypsy musicians captured in black and white photos. Distinctly Gypsy style guitar with hints of jazz rounds out one of the most unique cuts in their catalog. Adding to the eclectic stew is "Savannah," a '60s lounge jazz inspired tune with a walking bassline. "Nice To Be Alone" is a classic pop song without any hints of bluegrass. "Beyond the Northwest Passage"; is a Celtic sea shanty that critiques environmental degradation in a salty, oceanic history lesson.
The Waybacks don't let us forget that at heart they are a roots band, based in folk and bluegrass, leaving a sprinkling of these genres throughout the album, including the hard living miner's tune "Russell County Gorge and "City Boy," a song with trimmings of country and Americana. The Waybacks weave tales of comedy and tragedy, or in the case "City Boy," both. The title track has a rolling, country chorus, telling the story of a young man out late at night. Seemingly a magnet for trouble, he is lured into a bar and chaos ensues. This track pays homage to the classic Dead theme of impending tragedy.
Proving to be proficient in a variety of musical styles and offering an album packed with unique, catchy tunes, The Waybacks display great roots music range and beyond.
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