Anchor
Drops lowered its boom in the post-Napster, pre-streaming music world
of 2004. The 3rd studio offering from Umphrey’s McGee's achieved several
milestones. It was Umphreys' 1st release with an established label as
the band partnered with SCI Fidelity Records,
a label supporting a host of other jam-minded artists. AD was also,
significantly, the 1st album recorded with drummer Kris Myers, who began
touring with UM in January 2003. The drummer swap reflected the band's
first lineup change since 2000, although it was the group's first
"subtraction" problem. Ultimately, the crossroads album set the course
for the next 17 years of telepathic synergy shared by the sextet.
Founding drummer Mike Mirro's decision to pursue medical school once the 2002 New Year's run wrapped left the band in a lurch as to if/how to move forward. Given the intense relationship of creating mind-expanding art together, the news was an existential gut punch. The practical quandary of finding someone who could fill Mirro's seat was daunting as well given the drummer's enduring influence as the beating heart of UM’s foundational years. Mirro's departure occurred as the band rode a tidal wave of breakthroughs in 2001 and 2002, playing inspired groupflow on a nightly basis as they harnessed new modes of musical communication. After the weighty band decision to remain intact and move forward with a new drummer, the search committee found Kris Myers, the puzzle piece that achieved a more perfect UM union.
Although Myers physically played the drums heard on the record, Mirro's figurative fingerprints were everywhere. Eight of Anchor Drops' thirteen songs were written and/or debuted live in 2002, Mirro's final year as a member of the magic. 2002 brought prolific songwriting with over 20 new original songs entering the ever-expanding live catalog. Some '02 debuts, like The Crooked One, Bad Poker, Smell the Mitten, Visions and Wappy Sprayberry, are *still waiting* their turn for the polished studio treatment. Others – Resolution (Ali Baba’s Tahini) and In Violation of Yes (Joel Cummins solo) can brag about their respective time in a studio, albeit not UM proper efforts. Then there’s Glory, which debuted 3 months before several AD tracks, then waited over a decade before UM recorded the soaring instrumental at Abbey Road for 2015’s The London Session. Finding time to record Anchor Drops was difficult during 2003's relentless tour schedule that criss-crossed 34 different states for 150+ shows. As Myers integrated into the new seat of power, he picked up the band’s improvisational language. By the time the album was released in late June 2004, UM was riding the adrenaline rush of a blistering late-night set at the 3rd ever Bonnaroo festival a few weeks earlier.
Taking a broad lens view, the album flows with confidence, shape-shifting articulately through varied moods and motifs. On re-listen, it's easy to appreciate the stylistic nuance of Anchor Drops devoid of the band dynamic perspective. Yet, the album capably tackles its two goals: (1) grappling with and paying homage to Mirro's departure; and (2) declaring loudly that Umphreys was stronger than ever with Kris Myers. Below are the tracks as presented in their double-record album format with brief commentary on each song's history and how the vinyl sounded to my ears.
The lone track credited to Bayliss and Bayliss alone. Anchor's relaxed vibe feels like you're swimming laps at the Y, the loping licks calming things down after the aggressive Plunger ending. Jake's two solos explode like fireworks, while Joel takes a sassy solo. Bayliss' cryptic wisdom serves as a second biographical statement as the meta extrapolation of UM’s identity feeling secure in calling Chicago home. For those scoring at home, Anchor Drops was the first to debut among its trackmates, way back in February 2001, the 5th new song written as a sextet, a mere five months after Cinninger joined the band. It's the only song that was in active rotation at the time Local Band Does OK was recorded in November 2001, thought, intentional or not, the band left it for a future unknown album.
Beautiful placement of the soulful, country ballad, a welcome tempo change in contrast to the first three tracks. The lyrics reiterate Mirro's looming presence, drawing inspiration from a detoured gig in the outskirts of Nevada where Mike enjoyed a nice stretch at the poker table before squandering it in epic fashion. In a nutshell, the song is a memorable Vegas story that you'd share with your buddies re-told in a harmonious manner with maximum dramatic effect. Elliott Peck adds a strong female counterpart to the melody, the only UM album that features her vocal talents. On the rare occasions this surfaces at a show (8x since Anchor Drops was released) it remains a treat to enjoy the song's magic with different women lending their powerful pipes.
A drawn-out grand piano intro ascends to Jake detonating with power chord nirvana. For those who came to rock, this is your salute for flipping to Side B. Penetrating drums, aggressively daring the guitarists to a duel. An orgasmic orchestral feel throughout, the outro groove forcing you to get outta your chair and do jumping jacks. A literal thunderstorm rolls in to end the track with a similar unexpected quality as Mirro's abrupt career change. Gentle rain washes away the onslaught of notes strewn on the studio floor before Bayliss' inner monologue wonders aloud "Why am I blowing this?"
Myers Mania! Filling spaces with angular riff cohesion, the marching band precision parades about in frenetic lockstep. Scorching sounds are practically combustible. Jake delivers two blues-tinged verses and a chorus that, in hindsight, sound like his own coming to terms with the band's near-breakup. The subsequent swirling fury is liquid hot magma, leaving your ears spent.
Born out of improvisation during Myers' first year on the road, Wife Soup joins Plunger and Kitchen as examples of the band's lego-based songwriting, whereby compelling improv sections are conjoined and massaged to find a new unity of purpose. A nifty jazz drumming clinic to open, the cross rhythms and pocket work prepping the listener for a sax-infused swinger. Farag's shaker finds maximum appeal, while Stasik drives a nail into that sweet sassy-molassey funk. Joshua Redman enters the conversation, a studio formalization of the special telekinesis forged by the sax extraordinaire's ability to improvise at UM's level and push them to explore new expressions. Redman + UM have collaborated on several memorable Soups over the years, including three thrilling versions in February 2004 around the time Anchor Drops was recorded and mixed. Goofy name aside, the personal sleights Brendan perceives about his path as a musician are poignantly internalized into lyrics dripping with irony given the band's prolific work ethic. The song extends the theme of laziness referenced in "Slacker," a live staple since 1999, though still a studio vagabond. Joel expertly works the grand as the circus chorus crashes down, another reminder that it's hard for the bandmates to believe everything that's happened to bring them to this point. The cathartic vocals releasing any residual animosity towards Mirro and having complete faith in the band's next steps together. The vinyl listen amplifies each instrument's contribution beautifully with nothing muddled in the mix, Stasik's bass being the biggest beneficiary. 11 years after Wife Soup was released, UM delivered a spinge-tingling version that utilized Chicago's secret weapon, the Chicago Mass Choir, to maximum effect, taking the circus chorus to new heights.
14. The Pequod
Music: Cinninger
Live Debut: 7/16/04; To date performed 56x
A well-needed recovery lap after a pulsating workout. Pequod serves as a prime
example of Jake's ravenous urge to constantly find new expression with music.
Despite prolifically recording at his home studio over many years, only a sliver of
this wealth of material has been publicly released and consumed. Dreamy ending
to a statement album, a fitting peaceful coda to an emotionally wrought album
experience.
Founding drummer Mike Mirro's decision to pursue medical school once the 2002 New Year's run wrapped left the band in a lurch as to if/how to move forward. Given the intense relationship of creating mind-expanding art together, the news was an existential gut punch. The practical quandary of finding someone who could fill Mirro's seat was daunting as well given the drummer's enduring influence as the beating heart of UM’s foundational years. Mirro's departure occurred as the band rode a tidal wave of breakthroughs in 2001 and 2002, playing inspired groupflow on a nightly basis as they harnessed new modes of musical communication. After the weighty band decision to remain intact and move forward with a new drummer, the search committee found Kris Myers, the puzzle piece that achieved a more perfect UM union.
Although Myers physically played the drums heard on the record, Mirro's figurative fingerprints were everywhere. Eight of Anchor Drops' thirteen songs were written and/or debuted live in 2002, Mirro's final year as a member of the magic. 2002 brought prolific songwriting with over 20 new original songs entering the ever-expanding live catalog. Some '02 debuts, like The Crooked One, Bad Poker, Smell the Mitten, Visions and Wappy Sprayberry, are *still waiting* their turn for the polished studio treatment. Others – Resolution (Ali Baba’s Tahini) and In Violation of Yes (Joel Cummins solo) can brag about their respective time in a studio, albeit not UM proper efforts. Then there’s Glory, which debuted 3 months before several AD tracks, then waited over a decade before UM recorded the soaring instrumental at Abbey Road for 2015’s The London Session. Finding time to record Anchor Drops was difficult during 2003's relentless tour schedule that criss-crossed 34 different states for 150+ shows. As Myers integrated into the new seat of power, he picked up the band’s improvisational language. By the time the album was released in late June 2004, UM was riding the adrenaline rush of a blistering late-night set at the 3rd ever Bonnaroo festival a few weeks earlier.
Taking a broad lens view, the album flows with confidence, shape-shifting articulately through varied moods and motifs. On re-listen, it's easy to appreciate the stylistic nuance of Anchor Drops devoid of the band dynamic perspective. Yet, the album capably tackles its two goals: (1) grappling with and paying homage to Mirro's departure; and (2) declaring loudly that Umphreys was stronger than ever with Kris Myers. Below are the tracks as presented in their double-record album format with brief commentary on each song's history and how the vinyl sounded to my ears.
Disc 1, Side A
1. Plunger
Music: Cinninger/Bayliss; Lyrics: Bayliss
Live Debut: 7/8/04; To date performed 324x
The
tight snap of a drum is the first sound heard on the first song
of the first album of post-Mirro Umphreys. A right proper entrance for
the new guy. Jake’s chunky descending notes draw inspiration
from his own early roots as a drummer. Brendan bares his soul revealing
the angst of losing his band brother and figuring
out the “what’s next” question. The song’s serene mood shifts to reflect
the new perspectives gleaned from facing such hard truths. Andy Farag
shines with perfect percussive fills and a Latin-tinged bridge,
spotlighting castanet ecstasy. The emotional journey also
incorporates a headbanger’s dream riff that detonates with an
exclamation point ending. Plunger’s homage title to Mirro’s backstage
antics also serves as an emphatic formal introduction to the prodigious
talent of Myers. The band’s culmination of five momentous years results
in the most complete realization of the band’s sonic spectrum
while laying the foundation for improv launchpads within Plunger’s
natural compositional structure.
2. Anchor Drops
Music: Bayliss; Lyrics: Bayliss
Live Debut: 2/1/01; To date performed 261x
Live Debut: 2/1/01; To date performed 261x
The lone track credited to Bayliss and Bayliss alone. Anchor's relaxed vibe feels like you're swimming laps at the Y, the loping licks calming things down after the aggressive Plunger ending. Jake's two solos explode like fireworks, while Joel takes a sassy solo. Bayliss' cryptic wisdom serves as a second biographical statement as the meta extrapolation of UM’s identity feeling secure in calling Chicago home. For those scoring at home, Anchor Drops was the first to debut among its trackmates, way back in February 2001, the 5th new song written as a sextet, a mere five months after Cinninger joined the band. It's the only song that was in active rotation at the time Local Band Does OK was recorded in November 2001, thought, intentional or not, the band left it for a future unknown album.
Music: Cinninger/Bayliss; Lyrics: Bayliss
Live Debut: 12/6/02; To date performed 407x
Live Debut: 12/6/02; To date performed 407x
A
swinging groove at the outset. Bayliss shares autobiographical details
about winters as a touring artist, weaveing a Chicago shoutout into his
rhythmic wordplay. Stasik's jumping bassline gives a sneak peak of the
funky floor workouts the song frequently delivers in a live setting.
Another “write
what you know” lyrical influence - the kitchen will always be cold when
Lake Michigan freezes. The band's recent surprise album drop - "Complacently Replacing a Memory" - provides an excellent glimpse into the evolution of one of UM's most beloved songs.
Music: Cinninger/Bayliss; Lyrics: Cinninger/Bayliss
Live Debut: 4/20/02; To date performed 15x
Beautiful placement of the soulful, country ballad, a welcome tempo change in contrast to the first three tracks. The lyrics reiterate Mirro's looming presence, drawing inspiration from a detoured gig in the outskirts of Nevada where Mike enjoyed a nice stretch at the poker table before squandering it in epic fashion. In a nutshell, the song is a memorable Vegas story that you'd share with your buddies re-told in a harmonious manner with maximum dramatic effect. Elliott Peck adds a strong female counterpart to the melody, the only UM album that features her vocal talents. On the rare occasions this surfaces at a show (8x since Anchor Drops was released) it remains a treat to enjoy the song's magic with different women lending their powerful pipes.
Disc 1, Side B
Music: Cinninger
Live Debut: 10/9/02; To date performed 398x
A drawn-out grand piano intro ascends to Jake detonating with power chord nirvana. For those who came to rock, this is your salute for flipping to Side B. Penetrating drums, aggressively daring the guitarists to a duel. An orgasmic orchestral feel throughout, the outro groove forcing you to get outta your chair and do jumping jacks. A literal thunderstorm rolls in to end the track with a similar unexpected quality as Mirro's abrupt career change. Gentle rain washes away the onslaught of notes strewn on the studio floor before Bayliss' inner monologue wonders aloud "Why am I blowing this?"
6. Uncommon
Music: Nolan/Bayliss; Lyrics: Nolan/Bayliss
Live Debut: 8/21/02; To date performed 168x
Teenage
buddies write a song about not fitting in, an
inward dialogue of self-improvement voiced in public. To date, South
Bend's own Mike Nolan is the only non-Umphreys individual to share a
writing credit with Bayliss. AD's shortest track cheerily alternates
acoustic and electric guitars while juxtaposing a simple
chord structure with a furious mid-section. The song serves as a palate
cleanser between rock-entree offerings. Only played a few times each
year, the live rarity demonstrates the band's early ability to write
succinct, tightly
constructed compositions that adhere to a more a radio-friendly formula,
even if
most stations aren't on board with the Umphlove.
Music: Bayliss; Lyrics: Cinninger/Bayliss
Live Debut: 9/6/02; To date performed 388x
Jake's jagged, onomatopoeic riff grabs our attention immediately as Kris and Joel play staggered notes seemingly off the beat. Like butterflies fluttering around a garden, the guitars mirror each other playfully. Chunky riffs flexing their
muscles, preening at a strongman competition. After a non-verbal chorus reminiscent of Tarzan Boy's Baltimora,
the familiar structure melts into a jazzy interlude, a brief dance
party that tantalizes with promise before the lyrics close out part 1.
As is often done live,
the song is broken into sandwich halves, maximizing the aural experience and keeping fans actively engaged with what's happening on stage.
At this juncture in the live setting, the band typically explores the
unknown and improvises anywhere from two to twenty minutes. However, the
album cuts the improvisational fat and leaps to the next track.
8. 13 Days
Music: Cinninger/Cummins; Lyrics: Bayliss
Live Debut: 8/29/02; To date performed 151x
A
lazy jazz track that mixes in a bouncy bridge and verse. Jake's given
the solo keys for a quick trip around the block. Jefferson Waful's
recent
video series dispelled several *conspiracy theories* about the
inspiration for
the song title and lyrics. No longer do we need to wonder if Bayliss is
articulating a memorable Cubs homestand or his fond memories of George
O'Leary's abbreviated tenure as Notre Dame's head football coach.
Music: Cinninger/Bayliss
Return of the Junk - the hard-charging 2nd half that is a gift passed down directly from Mt. Rökk. Cummins mixes in spacey counterpoint to the guitars revving their engines before Cinninger freefall solos from 20,000 feet without a parachute for the next two minutes. Joel's iconic turn on the keys follows, a modern tarantella with an arena rock appetite. Jake and Joel's frenzied gallop around the room provides an exhilarating end to disc 1. Bonus points for incorporating the sounds and voices of Chicago as the music trails off: "Streetwise, $1.00 help the homeless."
Return of the Junk - the hard-charging 2nd half that is a gift passed down directly from Mt. Rökk. Cummins mixes in spacey counterpoint to the guitars revving their engines before Cinninger freefall solos from 20,000 feet without a parachute for the next two minutes. Joel's iconic turn on the keys follows, a modern tarantella with an arena rock appetite. Jake and Joel's frenzied gallop around the room provides an exhilarating end to disc 1. Bonus points for incorporating the sounds and voices of Chicago as the music trails off: "Streetwise, $1.00 help the homeless."
Disc 2, Side A
10. Walletsworth
Music: Cinninger; Lyrics: Bayliss
Live Debut: 2/8/02; To date performed 338x
Disc
2 would need something special to keep pace with the consistency of
Disc 1. With nearly half as many songs, the five comprising this disc
each take an affirmative step towards exploring distinct genres -
brooding banger, abstract groove, mayhem rock, jazzy workout, and
delicate acoustic.
Bass
& bongos set an initial eerie mood before gritty guitars direct the
action. Myers and Stasik exhibit power and grace, shining a spotlight
on the dirty groove discovered on the studio floor. The chorus carries
us out in a hopeful mood, in contrast to how the song starts. Taken
together, the track reflects the band's ability to shape-shift and
explore different emotive themes, channel an array of emotions in the
course of a show, or in this case, an album's worth of songs.
11. Robot World
Music: Stasik/Cinninger/Cummins
Live Debut: 8/7/04; To date performed 110x
Lest
you forgot that this band can get *weird* from time to time. As the
dirge-like grind starts to get uncomfortable, you fall over the cliff of
sound to find yourself backstroking in a sea of digital grooves.
Another hard return to the edgy, industrial rock, before blending EDM +
space funk, filling another square on the UM genre bingo board. Robot
World is one of three tracks to make its live debut after the album was
released (Plunger and Pequod being the others). Fans anxiously awaited
to hear what/how this *different* tune would fill a room. The band
waited over a month (16 shows) before delivering for the home town crowd
at the Skyline Stage on Navy Pier (and it was spectacular). More studio
production kudos as Robot fades to additional street sounds, then a
soft, acoustic outtake of Plunger washes over the outdoor commotion,
along with the ubiquitous sound of the El Train.
12. Mulche’s Odyssey
Music: Cinninger/Bayliss; Lyrics: Cinninger
Live Debut: 10/10/02; To date performed 363x
Myers Mania! Filling spaces with angular riff cohesion, the marching band precision parades about in frenetic lockstep. Scorching sounds are practically combustible. Jake delivers two blues-tinged verses and a chorus that, in hindsight, sound like his own coming to terms with the band's near-breakup. The subsequent swirling fury is liquid hot magma, leaving your ears spent.
Disc 2, Side B
13. Wife Soup
Music: Bayliss/Cinninger/Stasik/
Horn arrangement: Myers
Live Debut: 6/18/03; To date performed 271x
Born out of improvisation during Myers' first year on the road, Wife Soup joins Plunger and Kitchen as examples of the band's lego-based songwriting, whereby compelling improv sections are conjoined and massaged to find a new unity of purpose. A nifty jazz drumming clinic to open, the cross rhythms and pocket work prepping the listener for a sax-infused swinger. Farag's shaker finds maximum appeal, while Stasik drives a nail into that sweet sassy-molassey funk. Joshua Redman enters the conversation, a studio formalization of the special telekinesis forged by the sax extraordinaire's ability to improvise at UM's level and push them to explore new expressions. Redman + UM have collaborated on several memorable Soups over the years, including three thrilling versions in February 2004 around the time Anchor Drops was recorded and mixed. Goofy name aside, the personal sleights Brendan perceives about his path as a musician are poignantly internalized into lyrics dripping with irony given the band's prolific work ethic. The song extends the theme of laziness referenced in "Slacker," a live staple since 1999, though still a studio vagabond. Joel expertly works the grand as the circus chorus crashes down, another reminder that it's hard for the bandmates to believe everything that's happened to bring them to this point. The cathartic vocals releasing any residual animosity towards Mirro and having complete faith in the band's next steps together. The vinyl listen amplifies each instrument's contribution beautifully with nothing muddled in the mix, Stasik's bass being the biggest beneficiary. 11 years after Wife Soup was released, UM delivered a spinge-tingling version that utilized Chicago's secret weapon, the Chicago Mass Choir, to maximum effect, taking the circus chorus to new heights.
14. The Pequod
Live Debut: 7/16/04; To date performed 56x
A well-needed recovery lap after a pulsating workout. Pequod serves as a prime
example of Jake's ravenous urge to constantly find new expression with music.
Despite prolifically recording at his home studio over many years, only a sliver of
this wealth of material has been publicly released and consumed. Dreamy ending
to a statement album, a fitting peaceful coda to an emotionally wrought album
experience.
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