The Silks and Sam Morrow Band
The Silks are a true grit rock and roll band out of Providence, Rhode Island. You could say The Silks are the rock and roll band from Providence. With two consecutive Boston Music Awards for Blues Artist of the Year 2016 and 2017 The Silks are well on their way to achieving a rightful place in rock n roll history, or at least folklore. Wait til you read the book, you cant make this sh*t up!
The Silks deliver honest sounds of the blues-based rock n roll variety. Youve got guitar pyrotechnics galore from frontman Tyler-James Kelly. Chicken-pickin or taking a soaring lead break, its quickly apparent Kelly is on a wholenother level. It makes you wonder just when did he get his first real six-string? Then theres the voice. Bluesy, however you want to describe it, it just sounds like ripping a telephone book in half and feels like scratching a really good itch.
I never wanted to be a solo artist, with a backing band, says Kelly. You can always get pros who can play behind you. But it doesnt have the organic feel of a band. I dont know what it is about playing with these cats. But we all totally lock in when we play. At the end of the day, were just a bunch of animals who want to rock. Its not a careerist thing. We got together so we could f*ckin play music together. Tyler-James Kelly
The Silks nail down the groove with its rhythm section of Uncle Sam Jodrey on drums, Jonas Parmelee on bass and Johnny Trama on rhythm and lead guitar. Fast songs, slow songs, it doesnt matter. For this humble group of seasoned players, its all about the dance floor, and with the right chemistry, the dance floor reciprocates.
With his career-defining third record, Morrow should cement his place as a member of Los Angeles' country elite. Concrete and Mud is a confident album, rooted in Texas twang, southern stomp, and old-school funky-tonk. Recorded largely live in the studio on a vintage Neve 8068 console with producer/engineer Eric Corne at the helm, it also shines a light on Morrow's strength as a songwriter, front-man, and bandleader. At 27 years old, Morrow's found his footing as an artist and appears poised to join the ranks of West Coast heavyweights like Sam Outlaw, Jade Jackson, and Morrow's friend and label mate, Jaime Wyatt whose vocals can be heard on three songs here.
Musically, this is Sam Morrow at his electrified, energetic peak. The sad-eyed sounds of Ephemeral and its 2015 follow-up, There Is No Map both written during the early years of Morrow's sobriety have been replaced by something more representative of Morrow's live show, in which he fronts a band of plugged-in roots-rockers. Accordingly, Concrete and Mud doubles down on a blend of countrified funk and guitar-fueled southern rock, shot through with train beats, Telecaster twang, bluesy slide guitar, swirling organ, with Morrow's big, booming voice front and center. There's balance, too. For every swaggering country rocker like "Heartbreak Man" or "Good Ole Days," there's a gorgeous, emotional punch to the gut like "San Fernando Sunshine" or "The Weight of A Stone."
"Paid by the Mile" is full of 70s-worthy stomp and Southern swagger. "Quick Fix" is an infectious hook laden stew of syncopated beats with bubbling clavinet, slinky guitars and doubled vocals. Morrow croons one minute and growls the next with a sly nod to his influences while staking out new territory. From Lynyrd Skynyrd-friendly rockers like "Heartbreak Man" to the Little Feat-worthy grooves of "Cigarettes," Concrete and Mud boldly explores a wide range of styles and sounds.
There's also an undercurrent of classic country running throughout the mix. On "Skinny Elvis," Morrow sings with his longtime friend and frequent tour mate Jamie Wyatt, resulting in a throwback duet worthy of Gram Parsons and Emmylou Harris' "Ooh Las Vegas." [Jay Dee Maness, who performed alongside Parsons during the recording sessions for the Byrds' Sweetheart of the Rodeo, plays pedal steel on the track.] Elsewhere, Morrow evokes Billy Joe Shaver's "Georgia on a Fast Train" with the sly yet cutting "Good Ole Days", proving you can take the man out of Texas, but you can't take the Texas out of the man.
Like his previous albums, Concrete and Mud was produced by songwriting partner Eric Corne, with Morrow playing a more active role in the recording process. The two took an experimental approach. Wurlitzers were run through phaser pedals. Farfisa organs were recorded through revolving Leslie speaker cabinets. Songs like "Cigarettes" were reinforced with throbbing mini-moog synth, while murder ballads like "Weight of a Stone" were laced with looping percussion and timpani flourishes. On "Paid by the Mile," Morrow and his band-mates kept the tape running during the song's final moments, stretching their legs during a long, loose jam session before segueing into the ceremonious intro of "San Fernando Sunshine." The result is the most adventurous album of Morrow's career, and his third release for Corne's label, Forty Below Records.
ATWOOD'S IS A MIX OF SEATING AND STANDING ROOM. PURCHASING A TICKET DOES NOT GUARANTEE SEATING.
21+ / POS. I.D. REQ
FINAL SALE, NO REFUNDS/EXCHANGES
Atwood's Tavern (View)
877 Cambridge Street
Cambridge, MA 02141
|Minimum Age: 21|
|Kid Friendly: No|
|Dog Friendly: No|
|Wheelchair Accessible: Yes!|