Eight Track Parade is back! Divide & Conquer reviewed their 2016 self-titled release Eight Track Parade. The Columbia, SC band has returned with Babylon Gold. It’s a light concept album with a loose science-fiction storyline.
The group is eight members: keys, two guitars, bass, drums and a three-piece horn section (trumpet, trombone, sax). Lead vocals are handled by keyboardist Stephen Stokes. With that lineup, and their self-described “analog funk-rock” that’s “inspired by the late ‘70s oil crisis and the Atari 2600,” they deliver what we’d expect: groovy, funky tunes reminiscent of that era. In the previous review Jamie Robash mentioned Steely Dan, and that’s a good place to start drawing parallels. There are lots of parts, layers and textures to enjoy here. Half of the ten tracks on Babylon Gold are instrumentals, and the album kicks us off sans vocals with “Babylon Gold Pt. 1.” They grab us from the start with layered percussion underscoring a raga-sounding riff. It recalled a Western-toned version of the Beatles “Within In Without You” with Eight Track Parade using guitars and horns in lieu of a sitar. Stokes’ Hammond organ (or its Nord equivalent) burbles underneath and the groove builds into something Santana would have enjoyed. The first vocal track “The World Starts to Swing kicks off with a Motown-style drum pickup and horn lines, but settles into a more modern chord pattern and band sound. Chance Glass’ guitar solo is a highlight, sounding a bit like Mark Knopfler. “Drift” which is up next is an eerie, one-chord-special instrumental driven by the keyboards. It leads right into “Come Back to You,” a bass-driven dance cut. Here, the spoken-word verse vocals contrast nicely with the sung vocals on the chorus. But Eight Track Parade really gets it going during the solo break: a melodic guitar solo brings us into an orchestrated middle section with the horns wailing away. This is one of the high points of the record. There are other high points, too: “Big Booty” is an instrumental cut which could be the theme music for a '70s blaxploitation TV show. It’s got everything you want from the genre: rock-solid drums, butt-shaking bass and horns holding down a bluesy lick against guitar figures my old bandmate Tim called “wikki-wikki.” Super fun. The ending instrumental cuts, parts 2 and 3 of “Babylon Gold”, are a nice cap to the album. Part 2 is a bit heavenly with fingerpicked guitar style. Part 3 reprises the musical themes from Part 1, but with a party-time, ska feel (and nice drum solos from Tommy Embrich). Babylon Gold is a worthy follow-up for Eight Track Parade. Put the needle on the record and get your groove on!
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