The Limbeck Band’s sound has evolved since their original punk release This Chapter is Called Titles, which was followed by what would be considered a Southern California, Beach Boys sound. Their latest album, Let Me Come Home, has changed course again with a style fiting of a more country-fried pop feel. I think you could country-fry anything, serve it with mashed potatoes smothered in gravy and it will taste great, perhaps even an album.
If you happen to be a regular reader of my reviews (I doubt it), then you know of my distain for power pop. My main qualm is that very little of it stands out as better than okay. I bring this up because Limbeck has some power pop tendencies, but I would like to hold them up as an example of something that stands out from the pack.
Let Me Come Home, with its twangy guitars and vocals, sounds very much like a cheerful Lucero. The album was recorded in Minneapolis where they tend to excel at this type of music. Producer Gary Louris had the band play all together in the studio, a rarity these days, which helped capture the energy and sound of a live show.
“Everyone’s in the Parking Lot” is one of my favorite songs, where mandolin is added to the instrumentals and a female voice on the chorus, giving it a complex and cheerful sound. The song talks about playing a show at a venue where everyone is outside in the parking lot. I’ve been to shows like that.
Another standout is “Sin City” (which reminded me to buy the DVD of the same name), which is a lazy, slow tempo track. Singer/guitarist Patrick Carrie sings his vocals with a raw southern tinged voice, sliding along with harmonica and is combined with guitar hooks, making it the perfect song to enjoy on the porch in the comforts of your rocking chair.
The Limbeck Band is a foursome that has an uncomplicated and straightforward sound. Mostly it’s just flat out good. Listening to Let Me Come Home can’t help but put you in a cheerful mood.
