The New Mastersounds Take Its Funky Baggage To Iceland For ‘The Deplar Effect’ (ALBUM REVIEW)

Photo by Jim Mimna

The New Mastersounds, while new to this writer and maybe some of you, have been plying their craft of soul and funk for over two decades now through seventeen albums. If the band name is unfamiliar, at least a couple of the band members won’t be. Leader and guitarist Eddie Roberts was an integral member of the organ-guitar trio we covered last year, WRD and their album Hit. Like that one, this is a Color Red project, this time in conjunction with the debut of a boutique label, Eleven Experience. The quartet often collaborates with different vocalists and mixers. The vocalist for this outing is Lamar Williams, Jr., son of The Allman Brothers bassist, Lamar Williams. Williams Jr., a respected soul vocalist, also appeared on their charting 2019 Shake It and on the latest North Mississippi Allstars 2022 release, Set Sail. Band members include organist and keyboardist Joe Tatton, bassist Peter Shand, and drummer Simon Allen. The album will be available in streaming formats as well as a CD and 2LP Vinyl.

As the stunning album artwork attests, the band recorded in the icy realms, specifically the brand-new Floki Studios located down the valley of Eleven Experiences’ Deplar Farm in Troll Peninsula, Iceland. (Good luck finding it).  The location inspired several titles such as “Let Me in From the Cold,” “Hot Tub,” and “Northern Lights” most directly. The leadoff track “Watchu Want” is the mood-setting introduction to their soul-jazz and boogaloo sound, as they customarily pay tribute to The Meters with the first track of every album they have recorded. “Hot Tub” is (no pun intended) a scintillating instrumental mid-tempo simmer with guest Sheter Pand’s trumpet and trombone being the lone track with horns. Shand’s sturdy electric bassline drives it. “Could’ve Been Good” is as straight-forward a soul-jazz guitar-organ workout as any.  As you listen to the remarkable and prominent organ on these tracks, you’ll notice that the instrument is listed as a Hammond C-3, not the customary B-3.  There isn’t much of a difference in sound between the two with the latter being heavier in terms of its wooden encasing and more often found in Europe than here in the states. 

Williams Jr. sings on seven of the thirteen tracks, first appearing on the already released single “Gonna Get in My Way,” a slow groover written for the band by songwriter and vocalist Shelby Kemp of the Mississippi-based roots-rock band Royal Horses, about a working musician trying to find himself. The song has some lyrics such “I’ll try to fly if you do the same” that played to the environment they found themselves in – the mountains, open spaces, and plenty of birds. That’s the case with the play-on-words “Let Me in from the Cold” which doubles about the frosty environment and the man trying to reach through to his icy woman. “Highlining” begins with a funky bassline and chattering snares from Allen before Williams Jr. imparts yet another irresistible dancing groove. “Meet Me in the Sunshine” is lighter R&B excursion, featuring some nice piano from Tatton while “High on the Mountain” purposely nods to Motown Curtis Mayfield-like soul with a hopeful, optimistic message. You’ll want to sing along with Williams Jr. as he floats above the syncopated rhythms of “Hey, It’s Alright.”

The feel-good spirit of the sessions imbues titles such as “Georgie Famous,” obviously a nod to Georgie Fame. The New Mastersounds are not out to break any new ground and they have plenty of fun while doing an excellent job of lifting our spirits. There’s got to be some magic in those Icelandic environs.  Thus, the Deplar effect.

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