Although Umphrey's McGee hasn't completely abandoned its jam-band tag, the eclectic Chicago-based band gets more diverse and progressive with each successive release. The Bottom Half not only features stunning artwork by Storm Thorgerson, but it also establishes Umphrey's McGee as way more than just the rightful heir to the Phish throne. A two-CD set, The Bottom Half is split between one disc of 10 songs that did not find their way on to 2006's critically acclaimed third studio album, Safety in Numbers, and another disc of 28 studio outtakes, alternate versions (including a cappella and instrumental tracks), and other bits from the Safety in Numbers sessions. Thankfully, the music here does not reflect the condescending album title; much of this stuff is first-rate material that most bands wouldn't have even considered leaving on the studio floor.
The original plan was to make Safety in Numbers a double album, with one electric disc and one acoustic disc (a la Foo Fighters' In Your Honor). But after band friend Brian Schultz was killed by a drunk driver, the focus of the album's sessions shifted to more emotional terrain. The result was an album heavier than initially anticipated, while plenty of solid acoustic, upbeat and progressive material got left behind. At times during Disc One's 51 minutes, the six members of Umphrey's engage in something bordering on alternative country ("Memories of Home" and the instrumental "Great American," featuring Bela Fleck). Two of the most effective acoustic pieces include "Red Room," which could be characterized as "Steely Dan goes country," and "Divisions," a 10-minute, Kansas-like epic. On both, singer and guitarist Brendan Bayliss takes the band's vocals into uncharted territory, releasing his inner Steve Walsh on the latter. Elsewhere on Disc One, the title track explodes into one of the band's most progressive pieces, while the following song, "Bright Lights, Big City," slams into a Prince funk. The esoteric pop electronica of "Atmosfarag" fuses distant voices, sonic pop and a chill vibe before indulging in muscular power chords and a pervasive guitar solo. The disc's overall vibe is laid back and even peaceful — and would have seemed out of place on to the sometimes feisty and often provocative Safety in Numbers.
Disc One is a tough act to follow, and Disc Two plays more like a typical album of alternate, odds-n-sods tracks. Highlights include different versions of several Safety in Numbers tracks ("Words," "End of the Road" and "Liquid"), as well as the proggy "Alex's House." Several pieces clock in at less than three minutes, but the disc still holds together better than expected.
At this point in the band's career, Umphrey's McGee should embrace the intriguing musical ground covered on the first disc of The Bottom Half. Those songs reflect a band reaching out to new listeners while still holding on to the core sound that's catapulted Umphrey's McGee to a summit occupied by only the most entertaining and diverse of today's so-called jam bands.
(Note: Disc One deserves four-and-a-half stars and could stand on its own, while Disc Two earns three-and-a-half stars. Hence, four stars.)
Track Listings
Disc One:
1) The Bottom Half
2) Bright Lights, Big City
3) Great American
4) Higgins Sir
5) Higgins
6) Memories of Home
7) Atmosfarag
8) Red Room
9) Intentions Clear
10) Home
110 Divisions
Disc Two:
1) Words (a cappella)
2) Great American/Believe the Lie
3) Believe the Lie
4) Time Eater
5) Never Cease
6) Rocker
7) Ready Noodles
8) Higgins (instrumental)
9) Heart of Rock 'n' Roll
10) Fresh Start
11) The Browning Special
12) Ocean Billy
13) Intentions Clear
14) What Else?
15) Alex's House
16) End of the Road
17) Red Room Disco
18) Rocco
19) WWS
20) The Weight Around
21) Liquid
22) Atmosfarag
23) Words (chorus)
24) Memories of Home
25) Browning Family Creed
26) Biscuits & Gravy
27) Words (intro)
28) Words (instrumental)
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