Umphrey’s McGee has been in and out of the studio for the last couple months working on their newest album due out early next year. This will be their first studio album since Death by Stereo. Since then they have developed quite a few new tunes that truly encapsulate the essence of Umph. There are also dozens of songs fans have fallen in love with over the years that have yet to endure a studio treatment.
As far as the debut bust outs for this album, we are guaranteed to get a couple tracks that scream live potential and will hopefully explore new jamscapes for Umphrey’s McGee, much like “Miami Virtue” did after Death by Stereo was released or “Cemetery Walk” after Mantis. By creating a limitless platform of music, Umphrey’s can gear their sound into any direction they choose at any given show, which is the true beauty of this magnificent jam machine.
Joel tweeted in August that the new album was geared towards a heavier rock sound with at least 9 songs that have already been introduced into the live rotation along with seven debut tracks never heard before. While this may change as the album starts coming together, I would like to share my predictions on what I hope to see on the new album.
A bust out debut tune from this past year’s Umbowl, “No Diablo” has only showed its sassy face at special events like Chautauqua the day after Red Rocks and in Chicago during this summer’s STUMP run. This tune has classic written all over it with a motown essence that the whole band grooves to. It was originally written by Bayliss for Jake’s son and holds a lot of passion in its obscure meaning. Ultimately, it is a crockpot of advice from a mentor to a young grasshopper.
Room to Breathe
First played at Summer Camp 2011, “Room to Breathe” has a definite Umph sound. It’s a progressive tune with angsty content that captures an energy of frustration. The song builds until it reaches it’s final chorus and you just can’t help but sing along. Almost everyone can relate to the sense of time in this song and the reality that a ticking clock is one of the strongest sources of pressure we all face.
Another bust out from Scamp 2011, “Puppet String” immediately became part of Umph’s rotation and has continued to gain momentum over past last two years. In fact, there was a ton of upset that it didn’t make it onto Death by Stereo, which came out only a couple months after the song’s debut. Stasik’s baseline in “Puppet Strings” demands your attention while Bayliss’s lyrics help everyone relate to the song’s message. You can’t help but thrash your head as the song’s build up eventually explodes, breaking down the walls that surround it as it makes the listener rethink reality as it’s been presented.
“Loose Ends” was made to be a studio track and will sound great on the next album. It has a post grunge rock sound that has been polished up since it was first played in 2012. Bayliss’s lyrics and delivery are perfectly complemented by song’s meaning and sound. It is basically about moving on, or rather refusing to move on when the past still holds you back.
First played at Summer Camp 2012, “Crucial Taunt” showcases Umph’s technical side. It is lyrically complex and Jake’s guitar spits out a stream of notes that makes you wonder if he is an alien from another dimension. The song’s name came from a fan after Bayliss shared they couldn’t decide on a title for the track and they were open to suggestions. If you are unaware, “Crucial Taunt” was the name of Cassandra’s band in the movie Wayne’s World.
Cut the Cable
It may be a long shot, but I can’t help but hope for “Cut the Cable” to be on the next album. Originally a lyrical stew, this song got everyone all hot and bothered right off the bat. It was labeled a 30db tune by Bayliss at first, yet kept popping up in Umph setlists as a Jimmy Stewart. Fans have practically demanded it be kept in Umph’s live rotation yet it has only been played a handful of times. It’s hard to say if “Cut the Cable” has reached enough maturity to be put on a studio album… but I’m still keeping my fingers crossed!
Originally debuted in 2010, this song quickly became a impov vehicle for Umph. The long, expansive jams that come out of this beastly tune helped it land a spot on Umphrey’s Hall of Fame 2010. “The Linear” has already been played 20 times in 2013, often anchoring a setlist, and usually filling more than 15 minutes of a set. The lyrics flow with an almost rap-like quality to them and the composition of the song showcase’s every members skills, especially Joel’s souful keys.
The Triple Wide
After ten years of perfecting this instrumental song, it is about time it made it onto a studio album! “The Triple Wide” is a dance party through and through. It has been played over 300 times by Umphrey’s, never failing to provide the perfect platform for an unforgettable, hip swaying, freak nasty, dance party.
Wizard Burial Ground
If you are not familiar with “Wizard Burial Ground”, it is a creation that was birthed in the depths of hell. This song has an amazing ability to turn you to the dark side in a matter of seconds without ever looking back. I could go into more detail about the ups and downs of how this jam flows but I would rather show you….
This video s a “Wizard Burial Ground” from Summer Camp 2009, one of Umph’s most epic moments to date!