The Slip Albums (8)
What The Critics Say
Jam band the Slip chose their 2006 release Eisenhower to show that they're capable of stepping outside the boundaries of hippie-hash college music, and maybe they shouldn't have. The disc shows the band cunningly embracing alt pop conventions almost completely one moment, and becoming lost in a quagmire of their own wanderings the next. A few tracks, like "Even Rats," leave the Slip's roots behind altogether and embrace an indie rock sound almost completely -- and with great success. A handful of others plod headlong into the group's jamming past, like the eight-minute opus "Paper Birds," a rambling monument of improvisation with barely a discernible refrain. Most of the songs on the album are built on a musical idea of melding these two genres. The group does not always achieve this hybridization very gracefully, as on "Suffocation Keep," where a perfectly nice, spacy ballad gets stretched into mopey, sad-bastard music. The formula works on the majority of the songs, however, where the jamming style brings something distinctly nonlinear to the traditional pop song format, creating something delightfully unconventional and unique. The tone of these tracks avoids silliness or kitsch -- even when singer Brad Barr careens into flying falsetto -- but it never really feels serious or self-important, either. This brand of laid-back, often danceable rock holds steady at a level of emotion that never steps within ten feet of emo; the music's expressiveness, though far from cold, lies in an intimate and cerebral space rather than a cathartic one. This sound shares a stage with everybody from Phoenix and Under the Influence of Giants to Coldplay and My Bloody Valentine. The Slip's experiment in absorbing these poppy influences is basically a success, at best providing a pensive, emotive soundtrack to a quiet day and at worst, making you want to listen to Phoenix or Coldplay. ~ Cammila Albertson, All Music Guide
'Live at Lupo's: Providence, RI 06.12.04'
Release Date 1/4/2005
Tracks 13
See Album Tracklist and Review
What The Critics Say
This two-disc live collection from an engaging Boston-area pop-jazz-jam trio is something anyone with a pulse could enjoy. Although a couple of tracks stray deep into an extended jam, the opening "Old George" has the trio led by Brad Barr going down a funky, acoustic roots road that engages the listener and the appreciative Rhode Island audience. Think of the Band mixed with the Kinks and that's what you get -- a joyful, folksy rock-pop meld. The strength of the Slip is the band's knack for finding a groove and riding it long enough to create a great offshoot from that. "More Intense Surveillance" takes a while to start up as the tuning is found and a distant, spacy guitar lick is played under a light, slow tempo. You know that it's going to break open; it's just a question of when. Drummer Andrew Barr adds his touch and this slow, classic Floyd-ian prog rock gem oozes out slowly. There are also trip-hop elements going on, giving it a contemporary vibe. The bass and guitar drive this song's second half, which leaves as easily as it entered. "Fear of Falling" is just as pristine as they build on a fine tempo before venturing off into an almost lo-fi indie college rock mold in a style equally XTC as it is a sullen Nirvana. The first epic-length tune is "Nellie Jean," which is 20 minutes of fine music, beginning as a cross between Mark Knopfler and David Gilmour's solo work and then building on top of that. Thoughtful and introspective, the almost improvisational jazz-roots music rarely loses its flow, although it's not quite a loud, rock-oriented track. And there is no guitar noodling just for its own sake. It changes roughly halfway through into an even mellower, percussion-oriented frame of mind, coming close to falling off the rails but never doing so. "The Air, the Body" is the highlight of the first disc, a lengthy calypso-tinged, hip-shaking tune with Peter Barr playing the steel pan. The second disc, or second set, delivers the same well-crafted songs, with "If One of Us Should Fall" bringing to mind Ry Cooder at his best as it creeps along in an alt-country manner. "Children of December" has a quasi-Sonic Youth college rock hue. The Slip slip into whatever style is necessary, including a bolero-cum-Americana domain during the pretty "Seranetta" and a sparser, warmer arrangement on "Proud," which has the crowd clapping along. Although the disc ends with a subdued cover of John Lennon's "Imagine," the group's synergy and musicianship make this album shine. ~ Jason MacNeil, All Music Guide
What The Critics Say
Jam bands like Phish and Widespread Panic make music that's carefree and fun. Others like Dave Matthews and Medeski, Martin & Wood take things further with a complex rock twist. The Slip, a Boston-based trio, have qualities of the aforementioned bands, but are in a class all their own. On their third album, the self-produced Angels Come on Time, the Slip deliver a tight structure around sophisticated jam rhythms. Their musicianship is consistently clean -- guitarist/vocalist Brad Barr is an impeccable player, especially on the woozy cool "Sorry." Brother Andrew Barr (percussion) and Marc Friedman (bass) are equally impressive as they take an improvisational approach to mixing jazz, blues, and worldbeat. "(Take A) Beetle to the Badlands" and the countrified good time of "Love and Tears" blend emotional positivity and a freshness that's reminiscent of what the Dave Matthews Band did with Remember Two Things, and the Slip are slick in their presentation. Angels Come on Time reflects upon the Slip's musical growth as a band, but also as producers. They steer clear of what's commercially appealing and deliver a solid rock effort. ~ MacKenzie Wilson, All Music Guide
What The Critics Say
Live Is My Jumby is the first record by The Slip to capture their dynamic improvisation in mid-flight. During more than hour an of instrumental music spread over five songs, the New England based trio engages in rhythmic and melodic tag teams that vary wildly from the songs' heads and spin far away from their starting points. Though the band - and drummer Andrew Barr in specific - is more than capable of extending a jam through simple use of groove, and occasionally do, they are more apt to follow polyrhythms into the ether. Generally speaking, the band - which also includes Brad Barr on guitar and Marc Friedman on bass - will have one member hold down a steady part while the other two head off an improvised excursion. Occasionally, such as during the playful rendition of "The Lucky Dragon," the band is probably a little too cute for their own good, but the playing is so focused that it hardly matters. With few exceptions, the band's choice of sounds is utterly tasteful. There are few effects used and few conceits given to any genre. While the music might be filed with "fusion", the music is so earnest and unpretentious that it makes one hesitate to use the comparison. The result of this is a completely transparent kind of improvisation where each instrumental move is clearly traceable as the direct result of something somebody else played. It is obvious that the band is listening to each other intently. The music - especially the jams on "Wolof" and "Yellow Medicine" - is a rich example of what musicians in this strain of music (jamband jazz) are capable of. ~ Jesse Jarnow, All Music Guide
What The Critics Say
Following up their mostly instrumental, somewhat schizophrenic self-released 1996 debut From the Gecko, Does tracks the Slip on two separate courses. The first is a continuation of the sparse, original fusion sound the band developed through constant touring. The instrumentals on this disc, unfortunately, lack the cohesive energy needed to keep the quiet momentum going, though bassist Marc Friedman contributes some wonderfully melodic lines throughout. The second course is the development of an original pop music songwriting style fronted by guitarist Brad Barr. Barr reveals a wonderfully sweet voice through lyrics that delve into abstract hippie mystic philosophy. The melodies have their charm, though, and arr's voice matches his doubled guitar lines so well that it is relatively easy for one to tune out and simply listen to the vocals as articulated melodies. Bright spots on the disc are provided by drummer/percussionist Andrew Barr, who contributes highly expressive rhythm work throughout. ~ Jesse Jarnow, All Music Guide
What The Critics Say
In performance, Andrew Barr's Carnivale percussion and brother Brad's wild guitar stabs and muted chops, mixed and enhanced by sharp DiMeola-esque riffs rolled over bassist Marc Friedman's solid rhythm in ever-burgeoning scapes of salsa, blues, soul, and the Grateful Dead. On album, the trio demonstrates a similar mix of confidently handled sounds. The featured sax work of tenor Timo Shanko and sopranos Gus Zuesing and Daiske add a fluid vocalism to many of the tracks, but the brass and human vocals sometimes ramble a bit and get in the way of the tighter base rhythms and overall enjoyment. Though there is at times little demarcation between pieces, the talent and maturity of the overall production is undeniable. In addition to the aforementioned comparisons, Gecko is also reminiscent of Traffic, Santana, and the Police. However, whether they come from "Spice Groove" or "Honey Melon," the trio is always able to slip in their own special flavors. ~ Matthew Robinson, All Music Guide
