Analog recording is a lost, if not a dead art. In a digital age, even vinyl pressings aren’t necessarily created in analog fashion from start to finish. The Clubs however, are attempting to bring it back while also bringing their brand of funk, soul, and R&B to today’s music scene. Founded in 2008, The Clubs primarily consist of vocalist/songwriter/keyboardist Ian Kirkman, bassist Yvans Jean-Michel, drummer David Varriale and saxophonist Ben Golder-Novick. At its core, the band’s set-up draws a lot of influence from jazz outfits and sure enough, jazz elements are present through much of their self-titled debut album.
The Clubs is, far and away, an astoundingly good album because of its consistency on several levels. The performances by the band members are tight from beginning to end. Trying to pick out a defining moment for any of the band members is a task in itself because of how consistently well performed each song is. The structure of the songs is exemplary as well with variation being brought in by performances from other musicians such as Tim Beattie and Heather Hardy whose harmonica and electric violin playing on “Heartbreak” and “Down n Out” respectfully are riveting. Performances like this are scattered about the album in such a fashion that the sound never grows stale.
The pacing of this eponymous debut is another strong point. Most of the songs are mid tempo or slightly quicker, but sizzle with a driving energy that makes the songs fly. Much of this can be attributed to Jean-Michel, whose bass playing is nothing short of exceptional. The blurring of the genre lines between jazz, funk, R&B, etc. is largely thanks to his playing, which simultaneously incorporates elements of those various styles into a rhythm that is as groovy as it is funky. The other part of this equation is saxophonist Golder-Novick who adds a great deal of excitement in his soloing and ability to take a song beyond its original melody and make it something more.
The staple holding it all together is Kirkman’s smooth voice and atmospheric keyboards and organ playing. The keyboards are very seldom the center of any of the songs; take “American Brat” for example. The song is built around bass and saxophone, but as the song enters into its later half you can hear the keyboard flourishes backing the melody and establishing a fuller effect. Kirkman’s voice doesn’t express much of a range but it doesn’t have to either; the music itself is intensely soulful and Kirkman sings it only as much as he has to, helping to keep the groove.
As for individual songs, standouts are hard to come by with everything being so consistent. “And Ya Know” is notable as an unrelenting six and a half minute groove-fest with more saxophone work than an Average White Band piece. The Clubs also throw in a cover of the Otis Redding piece “I’m Sick Yall”. Guitarist Pete Pidgeon’s lead guitar lines add a bluesy element to the song that does credit to Redding’s original while adding in the sense of funk and groove The Clubs are great at capturing.
“Blue Janet” takes these blues elements and expounds upon them creating a track that’s truly unique, driven by excellent lap steel lines and pulsing keyboards. The vinyl edition of The Clubs self-titled album ends here, but the downloadable version continues with two bonus tracks, “By My Side” and “Go Bragh (On The Waters Edge).” If there’s any problem with these songs its that they’re too good to be omitted from the vinyl edition. The latter of the two bonuses converses between the harmonica and saxophone while Varriale’s drums snap their way through the fills.
The Clubs manage to combine some old school sensibility and recording techniques with a refreshing take on the genre by combining elements of Funk, R&B, Jazz and Soul. The sound on this self-titled album is reason enough for music enthusiasts to cherish it, but the music itself is full of substance and originality as well. The first track, “Got Ta Work,” says everything about the album in general: funky, lyrically down to Earth, impeccably performed, and exciting to listen to. This is a virtually flawless album and perhaps the best thing to happen to vinyl in a very long time.
Review by Heath Andrews
Review Score: 5 stars (out of 5)
