The Upshot: A trip over to Memphis to record their new album was just what the doctor ordered, as it most certainly has injected a new, creative energy into the N.C. band. (Vinyl fans will also want to know that it is available on eye-catching purple wax—check the photo, below.)
BY BARRY ST. VITUS
The notorious Spider Bags have been rocking the Tar Heel state for a dozen years, led by (doesn’t appear too) ‘Dangerous’ Dan McGee. After a four-year drought of fresh Spider squeezin’s—go HERE to read our review of their 2014 gem, Frozen Letter—we’re blessed with a deluge of juicy tunes, perhaps their tastiest to date. Boy howdy!
Recorded and mixed on vintage equipment at Bunker Audio in Memphis, rejecting new-fangled editing software, and purposely try and create a danceable, roots of rock ‘n’ roll record, which is what you do in Memphis. According to McGee, “Rock and roll just sounds better there. I swear.” The trio now features Steve Oliva on bass and Rock Forbes drumming, but, being in Memphis means having lots of other talent on hand to incorporate. Helping fan the flames are Matt Hoopengardner of the Golden Boys, Patrick Stickles from Titus Andronicus, Jack Oblivian, multi-instrumentalist Seth Moody, and most of the Memphis Dawls. On top of this gaggle, a Moog and an old synth modulator guitar pedal were liberally used throughout, providing a fresh flavor to their sound. It’s been said that if you can’t dazzle them with brilliance, then baffle them with bullshit. There is no bullshit to be found here.
The Moog is skillfully brought to bear in the kick-off number, “Reckless,” a heady, mid-tempo rocker, a perfect taster of stuff to come. Classic ‘Bags velocity is achieved next with “Oxcart Blues,” followed by “Alligator.” Good, pounding beats, showing you how it should be done.
You can lose your heart in “Burning Sand,” prominently featuring the aforementioned synth modulator noodling around and embellishing the number to great effect. “Cop Dream/Black Eye (True Story)” is sheer sharp-stick-in-the-eye punk, lasting an entire minute. Much fury is unleashed. Shorter-faster-louder! Another drastic shift in tempo brings up “My Heart is a Flame in Reverse,” a throwback to some early twangers like “Waking Up Drunk” and “So Long A Rope,” dripping with regret and remorse.
“Tonight, I Walk On the Water,” is another quick-but-efficient head-banger. “Ninety Day Dog” whips up a frenzy with an electro-hoedown, replete with wild fiddling and soaring pedal steel that could raise Gram Parsons. Probably my favorite cut. Striking out in rather new direction, “Apocalypso” plods slowly along as in a syncopated dream sequence. An impressive departure from what they’ve done previously.
Like it started, the album ends with an equally impressive piece, “Rollin’ With the Flow,” a great closer, where lots more synth is utilized in the outro, to walk it out the door. A damn tasty song on what is most certainly a very scrumptious record.
It’s obvious that a trip up to Memphis was just what the doctor ordered, as it most certainly has injected a new, creative energy into the band. Of course, the chemistry imbued by the helping hands and producer were significant to the end product. Let’s hope that McGee doesn’t require four years to produce the next one, but, he’ll know where to go to make it happen.
DOWNLOAD: “Ninety Day Dog,” “Apocalypso,” “Rollin’ With the Flow,” “Burning Sand“