Photo of the Day

I'll confess, when I first heard it, i didn't think I would really like this album. I don't know, it just seemed so . . . "different". But then after giving it a few more listens, I realized that the inventive melodies and irresistable hooks had already begun working their way into my subconscious. Unexpectedly, through the day a tune might pop into my head and be playing in the back of my mind. You know the feeling? I'd think, "now where have I heard that? . . . some classic 60's song I've heard a million times?---No, wait . . . it's from the 'Verb album!".

That's when I knew I was in trouble. Almost without exception, the albums I now find I can't live without have affected me this way, and The 'Verb's "Reverberated For your Pleasure" is now in that catagory.

This album is almost epic in its scope, and ambitiously conceived. These are finely crafted pop compositions that almost masquerade as 'surf' tunes. To be sure, many do fall very solidly into that genre. Fans of dripping reverb, glissando and surf beats (and aren't we all?) will have plenty here. But there is also so much more going on. The sheer volume of melodic content is astonishing. The 'Verb apparently have ideas to burn and seem to lavish them more generously on a single song than some bands do on an entire album. Often I get the impression that these are instrumental versions of songs that originally had lyrics. To listen to this album from beginning to end is to be taken on a "musical journey" (if you'll pardon the cliche) through a mini history of modern instro/pop music. Yet while I think I can detect influences, they are so filtered through The 'Verb's unique approach that they are transformed into something new. Here are some song by song impressions:

1. The Wrath Of The Mercernary: A triumphant call to ride forth boldly into the expansive musical landscape that looms before me. Euphoric.

2. Uomini del Pistola: Sinister opening riff from who's clutches a hint of optimism in the form a soaring guitar manages to rise, before being swallowed up again in the brooding, recurring refrain.

3. Bikini Sunrise: Memorable rhythmic chordal stabs that dodge and weave with the main melody line amidst soaring oragan and a solid, rhythmic bass line. Quintessential 'Verb

4. Sixty Seconds 'Til Sunrise: Eastern minor tonalities, restless, furious double picking in the classic style enhaced by keyboards that give this a vocal like urgency.

5. Atlantic Waltz: Yes, a waltz! Brilliantly composed counterpoint with a very moving, almost balalaika sounding guitar interlude. The bass figure is nicely mixed into the front near the end, adding another dimension to the complex musical interplay. Parts remind me of the Smith's "Please Please, Please, Let Me Get What I Want".

6. Hull Breach Reef: The "verse" section of this song is the one where I can most easily close my eyes and envision the grainy, over saturated colors of classic 60s surfer footage. Then the theme suddenly changes giving the feeling, "we're not in Surf City anymore". Sort of like a pleasant side trip, only to be deposited once again on the Banzai Pipeline.

7. El Capitan: A seamless marriage of surf and spaghetti western style music. If you are one who doesn't like horns in surf instro, this will change your mind. An absolutely inspired use of the cornet in an expertly orchestrated building up of musical intensity.

8. When It Rains: I too live in the Pacific Northwest. Enough said. This evocatively captures the melancholy of a gray and rainy day. This track is all too short, but sweet.

9. Remember The Summer

10. Scarlett Fever: These two tracks are, simply put, masterpieces of instrumental/pop songcraft. They are so thoughtfully composed as to defy my ability to adequately describe how impressed I am with them. The scariest part is, I think it may only be a hint of what is to come from these writers. Superb

11. Boogie Beach

12. Surf After Sunset: It's as if after establishing their melodic pop writing credentials on the previous tunes, it's "surf's up!" on these next two tracks. "Surf After Sunset" is like The' Verbs slightly skewed take on the classic "WIpe Out", complete with a killer drum solo on the toms. Awesome.

13. Riverside Drive: My faviorite track on the album. Here Cranfield has created an instrumental anthem worthy of "Telstar" or "Because They're Young". This is a song with one foot firmly in the tradition of Duane Eddy. It's a poignant and perfectly self contained gem possessing a sweeping grandeur that is almost non-existent in modern writing.

14. Order 66: A surf instrumental tour-de-force. Some of the band's tightest and most agressive playing is reserved for this track. It sounds like the relentless pounding of the ocean waves. Those mainstays of surf music--glissando and double picking--are here in abundance along with a rock solid display of classic surf drumming.

15. All is Quiet at Sweetwater: This has a haunting Eastern European 'old world' feel. It is interesting that it is the only track on the album that fades at the end, indicative of and endlessly repeating motif, which quietly slips away like the memory of a long forgotten time and place. Very appropriate.

16. The Mercenary Rides Alone (Into The Sunset): Like a reprise that brings us back again full circle to where this musical adventure began. The way this song begins hardly prepares you of the turn the melody takes at 1:26. Once again we are the Sergio Leonesque hero, shot in Panavision and larger than life, galloping triumphantly across the Badlands. The theme ends all too soon and I wish it played on and on.

By now you are getting the idea that I like this album alot. I think you will too. In addition, there are two extra bonus tracks not listed on the album, "Don't Worry Baby" and the classic "Squad Car".

I'm sure that this album will make a great addition to your music collection. I ordered it from Jake Dobner via this forum, but I have seen it on CDBaby also.

The 'Verb are:

Eric Cranfield--Guitar and Cornet

Jacob Dobner--Guitar

Mike Ball--Guitar and Keys

Matthew Beck--Bass

Jason Aumann--Drums