Lion the Beast the Beat [Deluxe Edition]

The Lion the Beast the Beat [Deluxe Edition]

4.5 2
by Grace Potter & the Nocturnals
     
 

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Grace Potter & the Nocturnals' self-titled 2010 album raised the band's profile. It traded heavily on their concert strengths, and while not perfect, it more or less shored up their reputation with fans and spread their rep globally. The Lion the Beast the Beat is a creative leap. With the band having enlisted producer Jim Scott, most tracks were cut live from

Overview

Grace Potter & the Nocturnals' self-titled 2010 album raised the band's profile. It traded heavily on their concert strengths, and while not perfect, it more or less shored up their reputation with fans and spread their rep globally. The Lion the Beast the Beat is a creative leap. With the band having enlisted producer Jim Scott, most tracks were cut live from the floor of his studio with strings, effects, and backing vocals added later. The sound here is big, sometimes bombastic, but never slick; it's wildly varied, too. Collectively, the songs have a very loose thematic link about the gray areas between perception and reality, looking at everything from relationships to time's passage. The title track contains the band's signature big guitars and drums roaring above an organ and strings. It nods -- without winking -- at the Go-Go's' "We Got the Beat." Dan Auerbach co-wrote and co-produced "Never Go Back," the album's first single. It's a tricky, quirky number with an off-kilter funk riff à la mid-period Talking Heads. Its chorus is infectious and Potter's singing, alternately seductive and authoritative, grabs the listener by the throat. The ballad "Stars" looks directly toward country radio with its pedal steel and lilting hook. That said, it's warmer and more natural-sounding. Auerbach and Potter also co-wrote the Doors-influenced "Loneliest Soul," an uptempo groover with pulsing organ, slinky Rhodes, and a popping bassline that pushes it above imitation. The psych-tinged "Timekeeper" is an unlikely pop song, but its distinctly retro feel and Potter's exquisite vocal -- which is far more disciplined than on any previous recording -- are irresistible. "Runaway" is punchy, nasty, funky rock & roll -- one keeps expecting horns, but they never appear. Co-produced by Auerbach and Scott, it contains the former's feel for live distortion and the latter's layered ambience and dynamics, and combines them to great effect. The guitar break is smoking; it pushes Potter to her limit in response. The closer, "The Divide," is the set's best track. It's a slow-building, apocalyptic rocker, whose three guitars create menace and drama. They are balanced by a careening organ and a large string section, arranged to carry the proceedings from the abyss to transcendence. While Potter's melodies and hooks are solid on The Lion the Beast the Beat, some of her lyric choices are still a bit clunky. However, she and the Nocturnals compensate with passion, execution, and smart production choices and arrangements. With its exponential musical growth, this might indeed be the record that moves the band from the merely recognizable into the pop mainstream. [The Deluxe Edition contains four bonus cuts, including "Roulette," "All Over You," a duet version of "Stars" with Kenny Chesney, and "Ragged Company," a duet with Willie Nelson.]

Product Details

Release Date:
06/12/2012
Label:
Hollywood Records
UPC:
0050087282134
catalogNumber:
001773492
Rank:
47673

Tracks

Album Credits

Performance Credits

Grace Potter & the Nocturnals   Primary Artist
Alison Krauss   Background Vocals
Willie Nelson   Vocals,Gut String Guitar
Mickey Raphael   Harmonica
Jacqueline Brand   Violin
Pat Buchanan   Electric Guitar
Kenny Chesney   Vocals
Chad Cromwell   Drums
Dan Dugmore   Steel Guitar
Larry Franklin   Fiddle
Kenny Greenberg   Electric Guitar
John Jarvis   Piano
Michael Rhodes   Bass
Jim Scott   Percussion,cowbell
Josefina Vergara   Violin
Natalie Leggett   Violin
Nico Abondolo   Bass
Matt Burr   Percussion,Drums,Tambourine,Vocals,Hand Clapping,Shaker,Trash Cans
Gerry Hilera   Violin
Erika Duke   Celli
Dan Auerbach   Vocals,Hand Clapping
Geoffrey Weiss   Claves
Alyssa Park   Violin,Concert Master
Andrew Duckles   Viola
Steve Richards   Celli
Michele Richards   Violin
Scott Tournet   Acoustic Guitar,Bass,Drums,Electric Guitar,Rhythm Guitar,Keyboards,Vocals,Hand Clapping,Noise,Slide Guitar,Lap Steel Guitar,Wurlitzer,Ambience,Echoplex
Grace Potter   Organ,Guitar,Percussion,Piano,Drums,Keyboards,Tambourine,Vocals,Hand Clapping,Mellotron,Pipe organ,Synthesizer Bass,Wurlitzer,Finger Snapping,Casio,Tack Piano,Hammond B3
Tamara Hatwan   Violin
Mario de León   Violin
Matthew Funes   Viola
Michael Libramento   Bass,Percussion,Drums,Tambourine,Vocals,Hand Clapping,Wurlitzer,Agogo Bell,Moog Bass,Univox
Benny Yurco   Acoustic Guitar,Bass,Drums,Electric Guitar,Sitar,Vocals,12-string Guitar,Hand Clapping,Synthesizer Bass,Ambience,Echoplex

Technical Credits

David Campbell   String Arrangements,String Conductor
Buddy Cannon   Producer
Butch Carr   Engineer
Kenny Chesney   Producer
Brian Reeves   Engineer
Jim Scott   Producer,Engineer
Jeri Heiden   Art Direction
Tony Castle   Engineer
Lincoln Wheeler   Marketing
Lane Gibson   Engineer
Dan Auerbach   Composer,Producer
Scott Tournet   Composer
Grace Potter   Composer,Producer
Bryan Dondero   Composer
Nick Steinhardt   Art Direction
Collin Dupuis   Engineer
Justin Goldberg   Management
Nate Erwin   Management
Kevin Dean   Engineer
Matthew Burr   Composer
Sharrin Summers   Publicity
Deedee Cheriel   Illustrations
Benjamin Yurco   Composer
Oliver Gebhardt   Engineer

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