Buffalo Killers Albums (2)
What The Critics Say
The Buffalo Killers narrow their range and sharpen their sights for their sophomore set. Riding roughshod over R&B in a distinctly late-'60s/early-'70s vein, the trio creates an album that's mostly downbeat and bad-tempered. That's evident from the get-go, as the band launches into the anti-unity "Get Together Now Today," a song that musically nods to both the Rolling Stones and Cream. That number sets the stage for the rest of the set, with its midtempo rhythms, murky production, and down-and-dirty delivery. The title track is even more ramshackle, deliberately so in order to capture the jammy feel of the period, while "It's a Shame" is so intense that one could swear it was recorded live -- except it wasn't. The production blurs the edges of all the tracks, suggesting the band is either trying to re-create the muddy sound of period bootlegs, or has spent too much time listening to them. Either way, it gives Let It Ride a surprising authenticity, even when the Killers occasionally wander into other fields. "Give and Give," for example, features bright harmonies and lustrous acoustic guitar, bringing a touch of '60s folk to the set, while "Heart in Your Hand" tips a hat to the California scene. "On the Prowl," in contrast, stalks around a honky tonk. Yet even these excursions fold R&B into the brew, while other numbers are tinged with psychedelia or -- in the case of "Black Paper" -- prog rock, with the vocals adding a touch of glam to the mix. The lyrics are awash in melancholy, with loneliness strewn throughout the set and lyrics that suggest the bandmembers are grappling to express inexplicable emotions. The strong melodies and occasional anthemic choruses, however, act as a counterweight for a heavy set of hard rock delights. ~ Jo-Ann Greene, All Music Guide
What The Critics Say
In their days as members of the Shams, the Gabbard brothers kicked out down and dirty, high adrenaline rock, slamming the Rolling Stones straight into the heart of psychedelic garage. Now with their new project, Buffalo Killers, the brothers are joined by drummer/pianist/harpsichordist Joseph Sebaali and have closed the garage door and embarked on a journey into classic rock. "San Martine des Morelle," which opens the Buffalo Killers eponymous set, makes their evolution crystal clear, presenting a slowly simmering track that's bluesy to the core, but lashed with Jimi Hendrix-esque wah-wah guitar. "Down in the Blue" is even slower-paced, all the better to luxuriate in the heaving blues riff, while "Children of War" is even heavier, a pointed reminder of that time in the late '60s when bands discovered the power of slowing R&B down and thrusting up the bottom end. But these Killers aren't totally detached from their old roots, "SS Nowhere" adapts the riff from the Stones' "Jumping Jack Flash" twining it through Rubber Soul-era Beatles (now that's an inspired match), "River Water," in contrast, sounds like the Stones covering Gregg Allman's "Midnight Rider." "Fit to Breathe" and "The Path Before Me" move strongly into Cream territory, although the former drags the Stones along for the ride, while the latter's ringing guitars remind you of U2. And that's the incredible beauty of this set: rock fans will recognize all of these influences within virtually every vocal inflection, guitar riff and solo, and many of the rhythms as well, but each is lovingly showcased in an entirely new context. And for all its "classic" sound, the Buffalo Killers incorporate more modern ones as well, a shade of Brit-pop atmosphere here, a tinge of the New Wave of British Heavy Metal there. What the Jesus and Mary Chain were to the '80s, Buffalo Killers may well be to this decade, brilliantly bringing the beloved sounds of yesterday into a new millennium. ~ Jo-Ann Greene, All Music Guide
