That isn’t to say that it flatlines or even plateaus. While it may not be as weird as “Get Stoned and Go Garden”, which comes later in the album, it’s odd enough to tell a story without much of a story arc. It’s a prolonged moment of standstill uncertainty. Keeping a steady tempo, “Man from Memphis” is contemplative at most, lingering on the slurred recurring line “What am I s’posed do?” like it’s a rhetorical question, like the only appropriate answer to its low-key howl is “It really do be like that sometimes.” Spoilers: the song never finds a resolution, perhaps in part because it doesn’t try to hunt one down. In one breath, he hopes for a wind to fill his figurative sails to get him the heck out of Dodge, but in another, he senses the ship is already ablaze and sinking.ĭespite the dire circumstances, the music doesn’t seem too bothered by them. Once the lyrics enter, guitar riffage carries from verse to chorus and back again as lead singer-songwriter Tanner Miller recounts an ill-fated gambling play, foreseeing little escape from his debts to the titular character.
#Contraband band full#
Featuring Taylor Crittenden, Michael Rose, James Wyrick, and Stephen Baker in the lineup, The Contraband sounds as full as ever. Opening with mere percussion–the sizzle of shaker, the smoke of cymbal, and the amble of kick and rim–“Man from Memphis” soon swells in guitar, keys, and bass. Streaming today in this Make Oklahoma Weirder exclusive premiere, you can listen to “Man from Memphis”, a debtor’s tale from the new LP. With the release of Étouffée, Brute? around the corner complete with spicy dashes of funk, blues, and horn-bellowing soul, an appetizer is in order. “3rd and Walsh”, for example, benefits from in-the-moment jam band solos on stage, but crisp mixing and overdubbed arrangements make the studio version the superior take. That the two records share a few songs highlight the strengths of each approach. The new nine-track project releases this Monday, May 23rd, but while it’s the group’s in-studio debut, it is technically a sophomore release following 2019’s Greetings from Norman, a live album recorded at Norman’s oldest bar, the Bluebonnet. In Ali Harter‘s shadowy, masculine cover art, the absurdity is played straight to amplify it.
#Contraband band code#
While there may be some deeper meaning behind Étouffée, Brute? involving bro code betrayal and culinary peace offerings, it mostly plays as a surface-level jest. Tipping a hat to its soothin’ southern stylings, the title of the band’s first proper studio album starts with a cajun dish and spins it into a Shakespearean pun. In terms of how it surveys its vices, The Contraband is less “Carry on Wayward Son” and more “The Boys Are Back in Town”. There needn’t be one, per se, especially in a town where weed is not only legal but also generally accepted in the mainstream. As its name implies, the group has a soft spot for recreational substances and activities of various sorts, and it uses the old songwriting standby of referring to “mama” as a purer counterpoint. The Contraband, though, feels like comfort food.
Chris, Belinda, Robert, Janet and Mark, serve up some awesome vocal harmonies and seasoned musical skill on songs like With A Little Help From My Friends and Love The One You’re With.Drinkin’, druggin’, and gamblin’ used to be the thing of seedy outsiders, the muse of the disreputable. You guys, change anything you want, ….or just go ahead a write you own damn bio if you don’t like it. Or, maybe they are simply a group of people having fun, and one of the few bands in VMI ROCKS who can say, “You can’t tell me what to do,” without being put on restriction. THE TEMPATIONS of fame moved their RESTLESS HEARTs to gaze into the LOOKING GLASS as TOM WAITS behind closed DOORS with the TAYLOR, SWIFT with the NEEDLE as she listens to VARIOUS ARTISTS. Maybe a CARPENTER from NAZARATH who summoned EAGLES carrying STYX to build a JEWEL of a STARSHIP to send THE BAND on a fanciful JOURNEY to AMERICA, the home of CHICAGO, BOSTON, and ALABAMA to meet with JOHN DENVER who served them BREAD on THE PLATTERS he stole from the COOK, DAVID. Did they float in on a LED ZEPPELIN, after living on a Yellow Submarine with a PRINCE and a QUEEN, or, at one time were they a rock? An island? If the island were sloped and the rock broke loose, would they have then become a ROLLING STONE? Perhaps, but then again, no.
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