The Volebeats Albums (7)
What The Critics Say
It would seem that years of being in four or five bands at once has started to confuse Matthew Smith just a bit -- while Like Her is credited to the Volebeats, the results sound less like the sadly beautiful country-shaded music he crafted on Up North and Sky and the Ocean than the bright and dynamic psycedelicized pop of another of his many projects, Outrageous Cherry. Of course, Like Her lacks the deep echoes and noisy freak-outs of Outrageous Cherry's hallmark recordings, but for a change Smith has given the Volebeats their fair share of his gorgeous and infectious melodies, and the results seem to agree with the band, especially vocalist Jeff Oakes, who sounds strongly engaged and enthusiastic on these tracks. Smith's guitar work also seems to lean more towards a Byrds-esque jangle on many of Like Her's best songs, and even the sadder songs (such as "Can It Really Be?" and "September Spell") boast a lush undertow that's pure rainy-day perfection. The band's country influence does bubble to the surface on the litany of cool girls that is "Touch Me One Time" and "In the Garden"'s pledge of summertime love, but most of Like Her finds Smith and his cohorts blurring the lines between their pop and roots influences, and the results confirm this is a very good thing -- this is a great set of atmospheric and heartfelt pop music that satisfies on every level. Ryan Adams, another guy with a knack for a hook who also likes the Volebeats, co-wrote one song, " "Everytime," with Smith and Oakes. ~ Mark Deming, All Music Guide
'Country Favorites'
Release Date 11/18/2003
Tracks 12
Label Turquoise Mountain
See Album Tracklist and Review
What The Critics Say
As a cover-heavy album, Country Favorites was something of a stopgap disc, issued as the Volebeats readied a proper new full-length release. It's a pretty respectable one, though, and not purely a covers exercise, as it's actually half-comprised of original material. It's the covers that might raise the most eyebrows, though, as they're not what you'd expect from a band lumped into the alt-country bin. Among the tunes tackled are the 13th Floor Elevators' "I Had to Tell You," ABBA's "Knowing Me Knowing You," Funkadelic's "Maggot Brain," Slayer's "Die by the Sword," and Serge Gainsbourg's "Manon." Not yer average staples of the alt-country repertoire, no siree, though the York Brothers' "Hamtramck Mama" is less of a surprise. The treatments are appealingly imaginative and low-key, and not always in the country-rock bag either, with both "I Had to Tell You" and "Knowing Me Knowing You" bearing a distinctly Byrds-ian ring. More adventurously, "Die by the Sword" sounds like a Chocolate Watchband-ish slice of acid folk in their hands, while "Maggot Brain" has a spaciness reminiscent of Pink Floyd's gentle side. That's not to discount the generally more country-slanted originals, which usually have a nicely downcast aura, the twangy "One I Love" being an exception. ~ Richie Unterberger, All Music Guide
What The Critics Say
New country sounds not found on the FM dial hold the interest of both the converted and ears from the alt-rock, indie, and singer/songwriter streams. Often lumped into this category, the Volebeats strive as much for affinity with classic Canadian pop. Blurring distinctions, their excellent release Mosquito Spiral is quintessential song-oriented craft. To ears raised on pop and rock there will be something rural about these unpretentious songs that achieve so much success through delicate harmony vocals and acoustic arrangement. The Volebeats transform each simple theme of lost love, nostalgia, and more to heart-inscribing sonic memorabilia that could be the unforgettable piece playing during the credits of that worldview-changing film of character transformation you saw last summer. ~ Tom Schulte, All Music Guide
What The Critics Say
The CD reissue of the Volebeats' debut album (originally released on the Relapse label in 1989) will probably be most appealing to those who already love the band. The production is scrappy, more like a demo than a professional recording, and the same is unfortunately true of the singing. The danger of making twangy country-rock is that unless you play really, really well, your music is going to be received as parody, and that's exactly what the uncertain vocals and clumsy two-step rhythm of "And You Know It" sounds like. Ditto for "Fool's Castle" and the plodding "Magic Town." "Everytime I Smoke a Smoke" is both better sung and better played, and "Halfway to Nowhere" is even better. Two of the three bonus tracks, however, are even worse than the missteps on the original program. Recommended for completist fans only. ~ Rick Anderson, All Music Guide
What The Critics Say
Detroit's Volebeats specialize in a sort of classic pop (à la the Walker Brothers) form of north woods country music. Each record is a statement of bittersweet longing couched in lovely harmonies, ringing guitar waves, and bountiful tides of reverb. However, if not the "bitter" half of bittersweet, Solitude may at least be the road map toward the dark side of Middle America. The album is bookended by the instrumentals "Desert Song" and "Music Box" -- the latter an exercise in collapsing wide open spaces, the former a muslin-wrapped sepia-toned portrait of a Main Street dime store gone ghost town. In between, the Volebeats work in their familiar palette of dual vocals (the angelic twang of Jeff Oakes and the plaintive '60s-tinged croon of Matthew Smith, both in fine, subdued form here), echo chamber sonics worthy of any pipeline-riding surf outfit (but at quarter speed and recorded in the depths of February), and the muted wallop of Scott Michalski's drumming (itself a main character in many of the songs' casts of sounds). The Volebeats often border on bleak but never give in to the darkness, even when exploring the maddening inner dialogue of traitorous love lost, as on "Back in a Minute," amidst the backdrop of "cold nights and scattered stars." There's always the comfort in sadness. And, when the suburbs of Detroit with their bleak, seemingly interminable winters and endless, intertwining highways are the environment in which your psyche is formed and your songs are crafted, borderline bleak is totally honest. There are moments of instrumental joy here, or at least nods toward rocking out for fun and frolic -- such as the Link Wray-esque "Speed Boat." But on Solitude, the prevailing winds blow toward the kind of sentiments expressed on "Just as You Are Beautiful" -- unrequited love observed with painful detail. No depression? The Volebeats may have redefined the term with Solitude. ~ Chris Handyside, All Music Guide
'The Sky and the Ocean'
Release Date 3/7/1997
Tracks 14
Label Safe House
See Album Tracklist and Review
What The Critics Say
Detroit's Volebeats' third full-length album, The Sky and the Ocean, is a standout effort demonstrating that their songwriting chops just continue to improve with each album. Once again bandmembers Jeff Oakes (vocals), Matthew Smith (lead guitar, vocals) and Bob McCreedy (guitar, vocals), serve up unforgettable melodic hooks with thoughtful lyrical content. The Volebeats' arrangements are uncluttered and the laid-back, acoustic-based country-folk grooves are embellished mainly by Smith's haunting Shadows-style lead guitar. And that style is particularly gripping on the stunning title track, underscoring artful lyrics with an eerie musical vibe that resembles a '60s movie theme. The band steps it up on an uncharacteristic, although fittingly welcome, rockabilly-tinged number "Warm Weather," which features some rollicking ivory-tickling by one-time bandmember Keir McDonald. Although any of the group's records would be a worthwhile choice, The Sky and the Ocean showcases an extremely ear-pleasing and talented band that has hit its stride. ~ Jack Leaver, All Music Guide
What The Critics Say
The Volebeats' Up North is a folky, country record that's inviting and likable in its simple and uncomplicated presentation. Songs of longing, such as "Back in Your Heart," are driven with the locomotive shuffle of brushes on a snare, and garnished with the lonesome cry of a lap steel or Matthew Smith's single tremolo lead guitar lines. But what really elevates this record is songwriting that is ripe with memorable melodic content and an acute sense of lyrical phrasing. Just as important is the way in which the two principle writers and singers Jeff Oakes and Smith work off of each other vocally. Whether in unison or tight harmony, together or in counterpart fashion, their voices, backed by the low-key instrumentation, create a mood that captivates and brings these deceptively simple songs to life. ~ Jack Leaver, All Music Guide
