Customer Reviews

Anchor Drops

5 star:		(27)
4 star:		(6)
3 star:		(4)
2 star:		(1)
1 star:		(3)

 

 

The first time I saw these guys I was at this festival in the middle of nowhere and had no idea what I was in for. It was around noon during a hot summer day, and I was already exhausted. Once Umphrey's came on stage, my total attention became fixated on the band for the next 2 hours because I was completely floored. The lead and rhythm guitarists blend their styles perfectly through their songwriting, and they can actually sing; which is a seemingly increasing rarity within the free-form rock genre. Actually, it would probably be erroneous on my part to say lead and rhythm guitarists, because they seem to trade these duties off at regular intervals during their shows as well as in the studio. Finally, the one comparison I have no qualms making towards Phish is the approach they take to doing covers. They do the artists justice and perform very admirably, not to mention picking some great tunes. (Any band that can cover both Lionele Richie and Van Halen successfully in the same show is worth a listen in my book.)

That being said, I'm pretty positive that you'd be doing yourself a strict disservice by not giving this album a listen. If you are in any way a fan of Phish, Zappa, Yes, Steely Dan, The Allman Brothers or even The Dead I guarantee there is a lot to love here. The album is very melodic guitar-wise, and there is a surprising depth to the lyrical content. The only preceding negative reviews you may read have to do with the fact that some buddy of theirs probably told them they were a jazz-rock band (to which they have influences) and wrote them off as a jam rock band instead. If you read about someone complaining about a genre of music in a review instead of actually reviewing the album, this should be a hint to write it off because they're obviously trying to prove a point instead of giving an opinion. This album is immaculate, pick it up by all means and go see a show while you can still get tickets.

Every time I listen to Anchor Drops (and to a slightly lesser extent Local Band Does O.K.), I simply glow - which I'm sure I could verify if I had a mirror near my stereo.

I'm 40-something and fairly new to the "Jam Band" scene, not to mention well into my fourth childhood. Whenever I press play on this CD I flush with memories of me and my gang of teenaged Southern Illinois outlaws setting up our rudimentary "walls of sound" in park pavilions and back yards to rattle our eardrums and neighborhood windows to the latest or deemed-classic releases from our rock idols. Exercises in pagan worship that I continue to try and live down in my prayers for mercy to this day.

The tightest and most original of the classic and legendary progressive rock bands of the late 60's and most of the 70's have nothing over UM - in fact, UM has taken it to much more than the next level, from both a song-writing and musicianship standpoint. If UM stepped into a wayback machine, the record books today would now illustrate that Yes and Rush and 10cc and King Crimson and ELP and ELO and Todd and Ambrosia and Camel and Tull and Genesis and Traffic and maybe even Zappa...(blah blah blah) had been given a run for their money. I challenge anyone of my advanced years (defined above) who did not come of age in a monastery to listen to "jajunk" and not immediately think of Yes circa Close to the Edge and Fragile.

I regret that I got in on Jam Bands too late to weep for the passing of Phish (as much as I am now a Phish fiend). And I am well into great talents such as Moe and String Cheese and Big Wu and Railroad Earth and solo Trey and Widespread Panic...(blah blah blah). But I relish the fact that I got in on the "ground floor" of UM - just in time to hopefully monitor with joy their rise to the legendary status that they so richly deserve to ultimately achieve.

These guys are freaking out-of-control!!

Welcome to the Rock Show. Umphrey's latest offering, and first with drummer Kris Myers (owner of a masters degree in Jazz Studies from Depaul University) is an absolute masterpiece. A triumph for a band often labeled a "jamband", Anchor Drops's progressive rock stylings show just how far Umphrey's has progressed in their efforts to eclipse the stereotypes of the "jam scene". Techinical virtuosos, the members of Umphrey's de-emphasize their impressive chops in favor of a focus on their brilliant genre-defying compositions, however, that doesn't mean that they don't bust out their maddest skills on a few tracks (see Anchor Drops, JaJunk pt. II, Mulche's Odyssey). What are you waiting for, get this album, and you won't be dissapointed.

I first came across Umphrey's McGee at a Deer Creek Phish festival back in 2000. It was after a Phish performance, and to say the least, my state of mind wasn't quite together. However, I was able to develop an opinion for a band with shaky vocals and a sincere love for triads and frampton-like guitar tectonics. I wouldn't go on to see them again until late 2002 after being persuaded by a friend. Something changed...

Now if you've heard Umphrey's play live anytime between 2000 and 2002, you know exactly what I'm talking about. There were signs of extreme improvement with the release of "Local Band does OK," a perfect title for a wisening group of musicians. Post-release, an ever-diversifying crowd began to follow these guys across the midwest (and beyond). The band swapped drummers in early 2003 and so the tale unfolds.

Umphrey's Mcgee have become a dynamic phenomenon who are so far outside the box it's cliche. The live shows are turning into bombastic improvisations that serve the crowd like a buffet of top-shelf narcotics. Umphrey's toy with every genre: Some thunderous drum work that pays dividends to Zeppelin, dualing guitar solos that resurrect the late Lynyrd-Skynyrd, accoustic progressions that touch even Simon and Garfunkel, and cunning keywork E(merson)LP style. In a concert favorite, the triplewide, shades of techno are brought to life on stage. But it would not do this band justiice if I continued to describe every ping of their music in words. If you haven't seen them live, pack your bags folks, because music's not in Kansas anymore.

Meanwhile, pick up a copy of Anchor Drops and turn up the volume. You'll hear singalong pop melodies, galloping hard rock (via Jake), folk-tinged blues, epic soundscapes, and swooshing climaxes all in just under 70 minutes. If this music ceases to impress, check your CD player in case you left one of your other discs in it.

My first exposure to Umphrey's Mcgee was hearing the studio version of "Wife Soup" on a friend's Bonnaroo CD - After only one listen I was hooked. On a complete impulse buy, I picked up this CD having only heard the one song, and I can honestly say that this was an impulse I am very glad I followed. When reading through reviews on this site, I was concerned about the low average it had. So basically this review is to let you know that all 5 of those stars at the top of the page should be filled in.

Anchor Drops is probably one of the best CDs I own - a pretty gutsy remark for a CD I've only owned for a week, but I could tell after one listen that this was never going to stray far from my CD player. From the very first drum beat, through 14 tracks spanning an impressive 65 mins of music, to the very last echos of the fading guitar, there is not one moment on the cd that I don't love. In a day when you're lucky if a CD is 40 mins long, and if in that there's 20 mins of music worth listening to, the album on a whole becomes even more impressive. UM has more musical ability than any emerging band I've heard - They move seamlessly between everything from smooth jazz, to phish-esque jam, to soaring orchestral, to folkish country western, to flamenco guitar and back again. The meters change, the harmonies swell in and out leaving every moment more exciting than the last.

The few reviews that rated this CD at one star really missed the point of the album. Some people complain that the studio versions can never capture the live show. Which may be true - but that does not in any way diminish the value of the album. Taking no comparisons into account and simply looking at the CD, it is still probably the best CD that has come out this year. If you want to hear a live show, go to a live show - you shouldn't expect to get a live song from a studio CD. And some others complain that UM is a misfit band that doesn't quite live up to its "jamband" reputation. Maybe mine is simply a personal opinion coming from a self-declared total music nerd, but I think it's better that they're not trying to fit in to a set description. This is a band that breaks down the walls built around it, which is more concerned with writing good music than writing "correct" music.

UM is not a band for every man. People looking for repetitive riffs, predictable harmonies, and easily accessible lyrics will be sorely disappointed. But if you are looking for music that challenges the listener, and takes you on a journey past countless styles, blistering guitar solos, catchy riffs, polyrhythms, incredible build-ups, and everything else a great jamband can offer, buy this CD today - you won't be disappointed.

Umphrey's McGee doesn't need a catchy music video or a repetitive chorus to capture my attention - their outstanding musicianship and lyrical prowess are evident throughout their second studio release, Anchor Drops. With the addition of Kris Myers on drums, their sound has grown more mature, ambitious, and richly textured. Anchor Drops' first track, Plunger, is an impressive intro to a smooth-flowing album that hones and perfects the complexity of a live UM show, proving that these guys have the chops to not only be outstanding live musicians, but diligent and committed in the studio as well. Standout tracks - Anchor Drops is an intoxicating, lyrically and musically strong piece with a sly jazz groove and soothing lyrics; In the Kitchen; Bullhead City, featuring Elliot Peck on vocals, is the kind of song that makes grown men weep, and highlights Jake Cinninger's underrated vocals and songwriting skills. Mulche's Odyssey maintains its same live intensity with fast, crisp guitar riffs that often cause drivers in surrounding vehicles to eye my headbanging with concern; Wife Soup, with Karl Denson on tasty sax, is a triumphant celebration of Umphreys' ability to soar. While those just getting into Umphrey's might be looking for the new songs of the past six months, it is a testament to this band that they have the ability to crank out so much solid material that they can't keep up. This is prog rock for ALL who rock - or relax, or jam, or twirl, or just sit still, close their eyes, and tap their toes. Everytime I get in my car or reach for my IPod on the subway, I can't play anything but Anchor Drops - it's too satisfying to miss an opportunity to hear it again.

This is the best rock album I have heard since Radiohead released Kid A.

This album is catchy, jam-packed with technical talent, and has a great flow. Definitely will knock you on your ass. Best part about it is it gets better with every listen. Many of the songs lyrics on the album are about people's failure to achieve self-fulfillment and maximize potential. The first lyrics set up the album's theme well, "Gravely now we stare, at indecision" Lyrically and musically this album shines as one of the best albums I have heard in a long time. Pick it up.

Beginning to end, Anchor Drops is a brilliant album by a band in their prime. As the first release with the band's current drummer Kris Myers - who played his first show as a band member in January 2003 - you can really tell what great progress has been made since Local Band Does OK.

A song that had never been played live as of the release date, the opening track, Plunger, is a loud, in-your-face rock song sure to please at shows. Other highlights include: In the Kitchen - which gives reference to the band's city of Chicago, Miss Tinkle's Overture, Walletsworth, and Wife Soup - all of which have become staples of Umphrey's live repertoire. A beautiful instrumental piece, The Pequod closes the album in a perfect way, leaving you satisfied - but wanting more.

With Umphrey's McGee playing around 150 shows a year, they are sure to be in your area sometime soon. Do you yourself a favor and pick up this album and check out a show. You won't be disappointed.

This is the best Umphrey's McGee release yet, and they've had some good ones in their six years as a band -- the music on this album is outstanding and Bayliss' lyrics are compelling.

Umphrey's McGee is a Chicago-based American (jam) band. From what I read on the internet, they've been around since the mid-90's and they've released a bunch of studio and live albums as well as a DVD. I haven't heard any of those recordings before; Anchor Drops is their first European release and the only one I've heard from them so far.

Initial spins of this album revealed that Umphrey's McGee are a fairly impressive jam band with heavy emphasis on improvisation, challenging and jazzy song structures, complex and funky rhythm work, bluesy guitar grooves, etc. Their style is certainly varied and quite unpredictable. After listening to this disc a good many times, I read a few interviews of the band which made it clear that Anchor Drops actually sees them playing a relatively more restrained form of music compared to their previous records. If that's the case, one can only say this band may want to go into a more defined style music-wise, as I believe they tend to branch out a bit too much during some moments. It's great their songs offer so much diversity and blend myriad of styles, but some songs being developed entirely by improvasation techniques sound a tad direction-less if you know what I mean. Other than that, the musicianship is extremely tight displaying interesting tempo changes, colourful cymbal work, complex drum patterns and melodically charged guitar solos, plus competent vocals from four out of the six members.

The songs on this 64-minute disc are deeply rooted in freeform jazz enhanced by various instruments including a separate percussion player named Andy Farag who adds tribal rhythms from South American music as well as funky beats. The first set of songs are more energetic sonically. Take the speedy opener "Plunger", it's full of gigantic guitar riffs, plodding bass lines, unison solos, and alternating rhytms between complex harmonies and improvised polyrhythms. The second half of the CD is more varied, both in style and tempo. "Uncommon" and "Jajunk Pt.1" are slow tracks with great piano melodies, tribal rhythms and interesting percussion. "Walletworth" sounds almost like a country song with female back-up vocals, whilst "Robot World", as its name suggests, contains a technically crazy funk intro carefully blended with intricate drumming (the drumming is tight throughout the whole disc and perhaps the most powerful element on this disc) and analog moogs played by guitarist Jake Cinninger. There is even an electronic piece, "Mulch's Odyssey", with small doses of electronic beats to widen the album's scope. "Wife Soup" is one of the better songs on the CD as it greatly impresses thanks to the frantic instrumental passage that runs through it. This track is contrasted by the bluesy tune, "Pequod", starting with sorrowful vocals and shifting to a groovy metal drive. All of this is backed by silent piano notes. The album ends with an all acoustic instrumental. The final result is certainly worth listening to, but a bit too broad. It's a given this band is pretty involved in instrumental improvisation and might be doing a splendid job on stage, but when put on CD, I think some of the magic is gone. Who knows, maybe my opinion will change with repeated listens or as I check out their previous albums.