The Lion the Beast the Beat

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Editorial Reviews

All Music Guide - Thom Jurek
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 ...
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Editorial Reviews

All Music Guide - Thom Jurek
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.
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Product Details

  • Release Date: 6/12/2012
  • Label: Hollywood Records
  • UPC: 050087277536
  • Catalog Number: 001729092
  • Sales rank: 10,987

Tracks

Disc 1
  1. 1 The Lion the Beast the Beat (5:26)
  2. 2 Never Go Back (3:40)
  3. 3 Parachute Heart (4:08)
  4. 4 Stars (3:35)
  5. 5 Timekeeper (4:39)
  6. 6 Loneliest Soul (3:36)
  7. 7 Turntable (4:01)
  8. 8 Keepsake (3:36)
  9. 9 Runaway (3:19)
  10. 10 One Heart Missing (4:21)
  11. 11 The Divide (5:22)
  12. 12 [CD-ROM Track]
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Album Credits

Performance Credits
Grace Potter & the Nocturnals Primary Artist
Grace Potter Indexed Contributor, Organ, Guitar, Percussion, Piano, Keyboards, Tambourine, Vocals, Hand Clapping, Mellotron, Pipe organ, Synthesizer Bass, Wurlitzer, Finger Snapping, Casio, Tack Piano, Hammond B3
Jacqueline Brand Violin
Michele Richards Violin
Jim Scott Percussion
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
Alyssa Park Violin, Concert Master
Andrew Duckles Viola
Steve Richards Celli
Scott Tournet Acoustic Guitar, Bass, Guitar, Electric Guitar, Rhythm Guitar, Keyboards, Vocals, Hand Clapping, Noise, Slide Guitar, Lap Steel Guitar, Wurlitzer, Ambience, Echoplex
Tamara Hatwan Violin
Mario De Leon Violin
Matthew Funes Viola
Michael Libramento Bass, Drums, Tambourine, Vocals, Hand Clapping, Wurlitzer, Agogo Bell, Moog Bass
Benny Yurco Acoustic Guitar, Bass, Guitar, Electric Guitar, Sitar, Vocals, 12-string Guitar, Hand Clapping, Synthesizer Bass, Ambience, Echoplex
Technical Credits
David Campbell String Arrangements, String Conductor
Bob Ludwig Mastering
Brian Reeves Engineer
Jim Scott Producer, Engineer
Jeri Heiden Art Direction
Lincoln Wheeler Marketing
Lane Gibson Engineer
Dan Auerbach Composer, Producer
Scott Tournet Composer
Grace Potter Composer, Producer
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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