Funk-tastic, funk-alicious, funk-I'm-running-out-of-adjectives
The New Mastersounds are a rip-snortin’ smoke-breathin’ funk monster hailing from England of all places. Over the course of six albums, the band has proven itself to be adept at carrying on the wah-wah pedaling, booty-shaking, bass-on-the-one’ing tradition of the almighty funk groove. Breaks from the Border, recorded in six frenetic days at a studio in Tomillo, Texas, shows the band at the top of its game, with the addition of—wait for it—vocals.
This was a smart move, because let’s face it, even the funkiest of instrumentals pales after repeated listening. This time, the band opts for chanted or shouted vocal contributions from all four members, which adds to the deliciously freewheeling party vibe without descending into, you know, ballad territory or something. Opener “Take What You Need,” sets the standard for the album as a whole, with its shuffling groove, thumping bass, and guitar accents. Follow-up track “Run the Gauntlet” increases the tempo and drops the vocals but leaves the other elements intact. “On the Border” combines a sexy, shuffling rhythm with gurgling organ, while “Freckles” and “Passport” fight it out for the Most Infectious Bassline Award. At this point you realize you’re barely halfway through the record. Fear not. Apart from the final track “Up In the Air”, which is the only big misstep, the back half of the album is as strong as the opening six tracks, maintaining the energy and musicianship while managing to avoid repetition, even on the seven-minute “Can You Get It?” Next time you’re looking for something upbeat and bouncy, this is the border you should run to.
// Sound Affects
"The man whose songs were recorded by Johnny Cash, Alan Jackson, Ricky Skaggs, David Allan Coe, The Highwaymen, and countless others succumbs to time’s cruel cue that the only token of permanence we have to offer are the effects of shared moments and memories.READ the article