[rating=8.00]
It’s not always imperative to hunt for meaning when considering the virtues of an album. Sometimes, the situation in which a band finds itself is enough justification for a release. That’s certainly the case with Umphrey’s McGee’s The London Session. Recorded in 12 hours at the famed Abbey Road Studios, the album finds the veteran sextet banging out some of their most familiar material in a highly pressurized setting. A couple of recent songs are given slightly different treatments, a few old favorites are perfected for posterity, and one indulgent cover wraps the whole thing in reverence.
This isn’t a collection to ponder endlessly, like their last studio album, Similar Skin, or the far-reaching 2009 release Mantis. The main impression one gets from The London Session is that Umphrey’s has a nearly inhuman ability to play together. That they laid down nearly an hour of pristine music in such a short time is remarkable. Without the time to dote over details and make instrument choices and strive for painstaking perfection, they still managed to produce the most pure studio representation of their musicianship yet.
“No Diablo” and “Cut the Cable”, which were recently released on Similar Skin, are given treatments featuring more acoustic guitar, highlighting the piano work of Joel Cummins and the band’s neatly arranged vocal work. The standout tracks, though, are longtime live staples that find new life in the album’s unique setting. They’re so good at playing “Bad Friday” that this version sounds as flawless as if it were constructed over days, not hours. “Rocker Part 2” practically leaps from the speakers, bursting with energy and rich, rumbling dynamic shifts that culminate in a furious ending. “Out of Order” is gorgeously rendered here and the tone is slightly reminiscent of how the band sounded 15 years ago, when the song was new and they had fewer toys. “Plunger”, which first appeared on 2004’s Anchor Drops, is presented in its more forceful, fully-evolved state here, and “Glory” proves once again to be one of the most versatile tunes in the band’s catalog.
When a band finds itself on hallowed ground, the best tendency is to channel that energy. Umphrey’s tapped into the spirit of Abbey Road by tackling a Beatles tune they’ve been covering for years, if infrequently. “I Want You (She’s So Heavy)” is a perfect choice as a closer here, its crushing main chorus playing right into the band’s hands. With The London Session, Umphrey’s have captured a moment in time, much like they do during their concerts. The band’s last two studio releases have been triumphs, but this collection might be the most indicative of exactly how far they’ve come.
4 Responses
I applaud your review, but a minor correction. Between “Mantis” and “Similar Skin”, there was “Death by Stereo.” While it a bad album, it doesn’t hold up as well as other albums in their history.
The London Sessions will require lots of re-listening.
Thanks. I’m well aware of DBS. I was referring to their albums that are more complex and thought-provoking, which are Mantis and Similar Skin, IMO. I personally wouldn’t put DBS in the same realm as those albums, in quality or complexity.