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Free the Bees
Released: Aug 17, 2004
Label: N\A

{$Band of Bees} second album {^Free the Bees} is a rollicking, breathtaking romp through the Sixties, calling to mind classic band after classic band but also conjuring up a modern and original... Continue[+]

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{$Band of Bees} second album {^Free the Bees} is a rollicking, breathtaking romp through the Sixties, calling to mind classic band after classic band but also conjuring up a modern and original sound of their own. {&"These Are the Ghosts,"} the CD's opening track, gives us echoes of the {\psychedelic} era {$Small Faces}, {$the Kinks} circa  {^Village Green Preservation Society}, and even, at times, {$Pink Floyd} circa {^Piper at the Gates of Dawn}. There are moments on {&"No Atmosphere"} where they sound like {$the Small Faces} quoting {$the Beatles} obliquely from {^Rubber Soul}, and elsewhere it suddenly sounds as though the ghost of {$George Harrison} has stepped into the studio to throw in some licks from a {^White Album} jam. And incidentally, the studio in question where this album was cut was, indeed, {@EMI Studio No. 2}, the very same that {$the Beatles} used, so {$the Bees} re-creating elements of {$the Beatles}' sound is no accident. {&"Chicken Payback"} sounds like some discovery from the vaults of {@Stax Records}, except that it's not -- it's an original, and it <i>is</i> original, and could pass for some 40-year-old {\Northern soul} discovery. {&"The Russian"} comes off like a piece of {\soundtrack} music in search of a movie, circa {#Blow-Up}, like for a chiller ({#The Deadly Bees}, perhaps?) or {\spy} picture where the producers couldn't afford {$John Barry}. And {&"I Love You"} shows off a lyricism and elegance that recalls the {\soul} and {\psychedelic} heyday at {@EMI}, all shimmering guitars, sweet understated harmonizing, and a horn section. {&"Hourglass"} carries us into a rarefied trippy territory somewhere between {$Pink Floyd} and {$the Small Faces}, with an exquisitely memorable chorus accompanied by electric piano, organ, and drums, and some vaguely {$Byrds-ish} guitar, and {&"Go Karts"} recalls {$the Small Faces} at their cheerful, Cockney-inflected best. And the album finisher, {&"This Is the Land,"} melds radiant choruses, a trippy melody, and little touches of guitar copped from {^Between the Buttons} and keyboards off of the first two {$Floyd} albums except it's all a lot more cheerful than {$Pink Floyd} ever was. {^Free the Bees} is all worth hearing, a lot more than once, and it could be the Album of the Year -- the only question is if that year is 2004 or 1968. ~ Bruce Eder, All Music Guide

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Sunshine Hit Me - BONUS TRACKS
Released: Oct 15, 2002
Label: N\A

{$The Bees} prance around the same {\psychedelic pop} themes and tones of {$the Beta Band} on {^Sunshine Hit Me}. But somehow they take things to a whole other level, as their familiarity with... Continue[+]

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{$The Bees} prance around the same {\psychedelic pop} themes and tones of {$the Beta Band} on {^Sunshine Hit Me}. But somehow they take things to a whole other level, as their familiarity with vintage instruments and addictive laid-back swagger help them avoid the pretension that sometimes follows {$the Beta Band}. Where the Isle of Wight duo's peers might name-check {$the Beach Boys}, {$the Bees} simply use them as a subtle starting point. Gentle harmonies mix perfectly with ornate horns that seem straight off a {$Stereolab} album. It's hard to say what's more compelling about the great {&"Punchbag"}: Is it the lyric "I'm too much for caged monkeys" or the utterly warped beat that shuffles back on itself like a stoned boxer? {$The Bees} don't linger in one musical genre like so many {\neo-psychedelic} bands. Instead, they perfect one style and then move on to another, and somehow it all fits together perfectly. The lazy throwback {\jazz} of {&"Angryman"} fits snugly alongside the sublime, wobbly {\dub} of {&"No Trophy."} The latter really is stunning, sounding as if it were recorded in the heart of Jamaica rather than on a semi-desolate island. {&"A Minha Menina"} gives {$the White Stripes} a run for their money, as dollops of mad {\blues} energy and a fuzzy guitar beg for inclusion on some future {^Nuggets} compilation. The final five tracks are surprising in their adherence to mellow dynamics, showing that {$the Bees} are wholly confident to end their debut with peaceful pianos, somber organs, muted trumpets, and a general sense of serenity. {&"Zia"} is even reminiscent of contemporary slow-drip songs from {$Lambchop}, only without the irony. {$The Bees} emerge as true masters of atmosphere with the swirling, delightful {^Sunshine Hit Me}. ~ Tim DiGravina, All Music Guide

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Sunshine Hit Me
Released: Mar 25, 2002
Label: N\A

{$The Bees} prance around the same {\psychedelic pop} themes and tones of {$the Beta Band} on {^Sunshine Hit Me}. But somehow they take things to a whole other level, as their familiarity with... Continue[+]

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{$The Bees} prance around the same {\psychedelic pop} themes and tones of {$the Beta Band} on {^Sunshine Hit Me}. But somehow they take things to a whole other level, as their familiarity with vintage instruments and addictive laid-back swagger help them avoid the pretension that sometimes follows {$the Beta Band}. Where the Isle of Wight duo's peers might name-check {$the Beach Boys}, {$the Bees} simply use them as a subtle starting point. Gentle harmonies mix perfectly with ornate horns that seem straight off a {$Stereolab} album. It's hard to say what's more compelling about the great {&"Punchbag"}: Is it the lyric "I'm too much for caged monkeys" or the utterly warped beat that shuffles back on itself like a stoned boxer? {$The Bees} don't linger in one musical genre like so many {\neo-psychedelic} bands. Instead, they perfect one style and then move on to another, and somehow it all fits together perfectly. The lazy throwback {\jazz} of {&"Angryman"} fits snugly alongside the sublime, wobbly {\dub} of {&"No Trophy."} The latter really is stunning, sounding as if it were recorded in the heart of Jamaica rather than on a semi-desolate island. {&"A Minha Menina"} (an {$Os Mutantes} cover) gives {$the White Stripes} a run for their money, as dollops of mad {\blues} energy and a fuzzy guitar beg for inclusion on some future {^Nuggets} compilation. The final five tracks are surprising in their adherence to mellow dynamics, showing that {$the Bees} are wholly confident to end their debut with peaceful pianos, somber organs, muted trumpets, and a general sense of serenity. {&"Zia"} is even reminiscent of contemporary slow-drip songs from {$Lambchop}, only without the irony. {$The Bees} emerge as true masters of atmosphere with the swirling, delightful {^Sunshine Hit Me}. ~ Tim DiGravina, All Music Guide

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A Band of Bees

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