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ANCHOR DROPS
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Anchor Drops
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MP3 Music, June 29, 2004
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Audio CD, Import, August 10, 2004
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Product details
- Is Discontinued By Manufacturer : No
- Product Dimensions : 5.57 x 5.04 x 0.36 inches; 3.04 Ounces
- Manufacturer : Sci Fidelity Records
- Original Release Date : 2005
- Date First Available : January 29, 2007
- Label : Sci Fidelity Records
- ASIN : B0002ABT80
- Number of discs : 1
- Best Sellers Rank: #323,823 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #878 in Jam Bands (CDs & Vinyl)
- #5,497 in Progressive Rock
- #157,595 in Pop (CDs & Vinyl)
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Top reviews from the United States
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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!!
Top reviews from other countries
Umphrey's McGee, die US-Progrocker aus Indiana, haben 2004 mit "Anchor Drops", ein ganz dickes Ausrufezeichen gesetzt. Die Band um den Mastermind Brendan Bayliss (Vocals, Guitar), schaffen es Progrock komplex und trotzdem mit einer spielerischen Leichtigkeit zu zelebrieren, dass man einfach nur noch begeistert zuhören kann. Das Album ist von Anfang bis ende sehr gut durchzuhören und der Gesamteindruck ist fabelhaft. 14 (!!) Stücke sind auf satten 64:41 (!!) Minuten verteilt und bieten intelligenten Progrock von Musikern, die ihr Handwerk absolut gut beherrschen. Obwohl ich ein großer Progrock-Fan bin, war mir diese Band bis vor wenigen Jahren unbekannt. Aber wie heißt es so treffend: Besser spät, als gar nicht.
Fazit: Neben den beiden ganz starken Alben: "Mantis" und "The London Session" ist "Anchor Drops", dass dritte sehr gute Output der US-Progger. Von mir eine ganz klare Empfehlung.
Out of the fourteen tracks here there are no duds, but individual songs tend to slip in and out of focus from time to time. It took me a while, for example, to see the power of "Wife Soup", the longest song on the album, but I can't think why, as it's a perfect example of the album's strength. Beginning with a light-hearted moment of cocktail jazz, it slides quickly into a jaunty verse that again gives little sense of direction. Only with the gorgeous piano chords that set up the massive chorus (emphasized by sax and trombone) does the grandeur of the song become evident.
The way that songs quickly change in feel can be seen from "Robot World", which has the feel of early synthesizer music until the guitars crash in with dark, angry chords adding a human dimension to the starkness of the keyboards. "Plunger" - startlingly - has sections one of which is mainly piano and maracas, one of which features laid-back acoustic guitar and another of which has a pumping, thrash metal riff. Stick these "lego bricks" (the band's term for them) together and you shouldn't end up with a coherent song at all, yet strangely it does work, and doesn't feel forced.
Moments to catch your breath and reflect come in the album's Country ballad "Bullhead City" and a tender guitar sketch called "The Pequod": neither is essential, both are good. Importantly, they add some variation in pacing to an album where urgent, neck-snapping changes of direction can become wearying. For sure, this is not in general a laid-back album, so moments of calm are welcome.
With this album you don't get any of the long, exploratory jams that add a meditative depth to the material in a live context. To that extent, none of the band's studio albums to date have been representative and Live At The Murat becomes the obvious recommendation. That said, if you just want to sit back and ask the band to impress you, this album should do very nicely.
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