Werewolf, the fourth album from the Brook and the Bluff, is a title that suggests something a little fiercer than what this record contains. The band are mostly not looking to blow listeners away at full volume, although there are a couple of songs that at least get into that neighbourhood. Instead, Werewolf is more of a tour through their classic rock influences.
The press materials mention Creedence Clearwater Revival and Little Feat, which are there, if oblique. The two that really land, though, are Tom Petty and the Eagles. Petty’s easygoing, straightforward, but extremely catchy sound is all over this album. Meanwhile, the Eagles’ country-tinged rock comes to mind every time there’s a little bit of twang covered in three-and-four-part vocal harmonies.
Fortunately for the Brook and the Bluff, while their influences are easy to pin down, the strong songwriting displayed on Werewolf stands on its own. The album opens with the title track and a simple, Southern-fried guitar riff. Frontman Joseph Settine enters almost immediately, singing in a clear but powerful voice about a crumbling relationship. He warns his girlfriend, “Run away after midnight / You ain’t gonna wanna see me like this.” Interestingly, the lyrics stay just oblique enough that the listener can’t quite pin down whether the werewolf is literal or a metaphor for bad decision-making. The music, though, remains upbeat and bright throughout.
The Brook and the Bluff keep things moving like this through the first chunk of Werewolf. “Get By” is just as upbeat, but it brings in layers of vocal harmony, occasional organ, and a very distinctive cowbell part. “Can’t Figure It Out” is more relaxed, as Settine sings about his anxiety and the difficulty of dealing with people. The contrast between the lyrics and the music is strong here, as the band sings the chorus, “Don’t come looking for me / I don’t wanna be found,” in gorgeous multi-part harmony.
“Super Bowl Sunday” is the clear highlight of the first half of the record. It’s a full rocker, one that starts with the tension of a one-note rhythm guitar and a steady hi-hat cymbal pulse with no other drums. The band kick in after about 30 seconds and take it to a higher level when it hits the chorus. The Brook and the Bluff manage the peaks and valleys perfectly, bringing the energy level back down after the chorus and changing it up for the bridge. “Super Bowl Sunday” could not be more straightforward, but it works because of how well-written and performed it is.
“Baby Blue” is the first ballad, and it’s a strong one. After the highs of “Super Bowl Sunday”, a song driven by a simple acoustic guitar riff and tight vocal harmonies is a nice change of pace. Quiet electric piano and occasional country guitar leads add to the track’s atmosphere. The next-closest thing to a ballad, “Change My Mind”, still has a little more oomph to it than “Baby Blue”, but Settine’s clear, high vocals give the song a very gentle feel.
The rest of Werewolf slots in stylistically nicely between “Super Bowl Sunday” and “Baby Blue”. “105” is a fast rocker that starts high energy and stays that way throughout. “Gone for the Weekend” finds the Brook and Bluff experimenting with some 1980s-style blues-rock. The track winds around to a country-rock chorus, though, making it a relatively interesting combination of two contrasting styles.
“I’ll Have It Down” begins with the band doing a cappella harmonies before launching into a Southern rock jam. That opening is the song’s most memorable section, though. Finally, the album wraps with the folksy acoustic song “Moving Along”. With the lyrics, “Well, it’s time to get moving along”, putting it as the closing track was obviously a no-brainer.
Werewolf is a solid record from start to finish. There are no poor songs amongst its ten tracks. There are really no surprises, either. If listeners are looking for a Tom Petty or Eagles fix but don’t want to hear the same old stuff, the Brook and the Bluff has you covered. It isn’t a record that feels fresh, but the group are strong players, good songwriters, and excellent singers. The true highlights, the aforementioned “Super Bowl Sunday” and “Baby Blue”, come smack dab in the middle of the proceedings, but it’s worth listening to the rest to get to those songs.