Jam band freak returns.
On the 17th album by Virginia’s own eccentric oddball, Keller Williams, he decides to try something different. For the first time ever, there is absolutely no guitar heard at all; all Keller plays is bass with a keyboardist and drummer backing him up. From the very first track, the album is a much mellower affair than Keller’s previous records. It’s surprising to see him so mellow, but after years of humorous tracks and epic-length live jams, it’s rewarding to hear something different. With the longest song topping out at just short of seven minutes, it’s the change of pace that makes this album more interesting for the uninitiated. Scattered amongst the other tracks, a Beck cover and a superb version of Morphine’s “Buena” really show what Keller’s capabilities. In the end, some people may say this is just another Keller album but they’re not listening close enough.
We all know how critical it is to keep independent voices alive and strong online. Please consider a donation to support our work as an independent publisher devoted to the arts and humanities. Your donation will help PopMatters stay viable through these changing and challenging times where advertising no longer covers our costs. We need your help to keep PopMatters publishing. Thank you.
// Sound Affects
"Natalie Hemby's Puxico is a standout debut from a songwriter who has been behind the scenes for over a decade.READ the article