Committee of Vultures, a collection of world-class musicians centered in New Jersey, has assembled to create new, original material that captures the distinctive musical soul of the region. This powerful collective utilizes an eclectic mix of genres that spans the full spectrum of roots music ranging from rock ‘n’ roll, blues, soul and swamp boogie to Americana, alt-country and gospel.
They’ve been recording since 2012 and amassed a vault of recordings featuring 30-plus musicians and vocalists who give Committee of Vultures an ever-changing sound from one session to the next. Loosely configured but bound by a common musical thread, the brothers and sisters of Committee of Vultures are dedicated to their shared musical promise to serve the music and to honor the mystical traditions of the “Jersey Delta.”
Digging deep into the roots of their shared musical heritage and returning with richness, wisdom and groove, Committee of Vultures is a force to be reckoned with on their new album Everybody Wants the Blues, out via Jersey Delta Records in early 2022.
Being roots music, there is a sense of the music having originated in one region. Everybody Wants the Blues is heavy with tradition and human themes. There are essences of Tom Waits in the music, but also sounds which remind one of London bands of the 1970s and 1980s, with the feeling of camaraderie, and the sense of lessons being related after a few beverages at the bar in a dark, slightly off main street club after a gig perhaps.
The tales are intriguing, often centered on relationships and mostly on women: Everybody Wants the Blues is packed with stories and a sense of shared understanding.
Contributors to Committee of Vultures in various configurations include: Benny Harrison (keyboards, guitar, vocals), Robert Van Kull (songwriter, vocals, guitar, harmonica), Rob Paparozzi (harmonica, vocals), Ada Dyer (vocals), Kevin Hadley (guitar), Dave Halpern (drums), Jack Daley (bass), P.K. Layvengood) (guitar), Al Chez (horns), Jimmy Ryan (pedal steel), Kenny Aaronson (bass), Tim Carbone (violin), Steve DeAcutis (guitar), Glen Burtnik (bass, vocals), Patti Maloney (vocals), Robert Mills (guitar, vocals), Lisa Lowell (vocals), Sheryl Marshall (vocals), Joe Bellia (drums), Charlie Torres (bass), Brandon Morrison (bass, backing vocals), Lee Falco (drums), George Unverzagt (backing vocals, Charlie Torres (bass), Kraig Greff (accordion), Darrell Hendricks (trombone), Baron Raymonde (saxophone), Robert Mills (vocals, guitar), Jimmy Ryan (pedal steel), Jerry Babo (bass), Tony Servedio (bass), Andy Kenopensky (drums) and Leslie Wagner (backing vocals).
Everybody Wants the Blues begins with “Lightning Struck the Fairgrounds,” a powerful, full-throttle blues number with a rocky backdrop underpinning the arrangement and vocals. Ada Dyer demonstrates lyrical storytelling as her majestic voice intones the song’s tale well, while the backing remains steady and uplifting. From the opening introduction to the final fading notes, this is a solid and sassy number.
The title track has an entirely different feel – that of life lessons being delivered. All of this probably unfolds in a backroom bar in the middle of Nowheresville, where the experienced man is lecturing the younger one in the ways of dealing with life’s fights, women and the importance of associating with friends. “Jenerosty” is laid back, and tells of the dangers in being too generous with your heart, and money. The beautifully arranged music and the standard of delivery add to the uplift, but on a second or third listen, it becomes clear the words tell the story of death and sadness, which is slightly disconcerting.
“Criminal Music” is about the effect of overindulging, maybe putting on a heck of a performance but not taking it too seriously: “He’s got the looks; he’s got the hair, his pretty face is everywhere, a jack of hearts, a man so rare.” There is a touch of the Feelgoods about this number, in no small measure. “Dressed to Get Naked” is driving blues with solid and powerful vocals, again provided by Dyer, some good harmonies behind her provided by Lee Falco’s backing vocals, and some terrific trumpet from Al Chez. The horn section of trumpet, trombone, and sax do a tremendous supporting job and interact with the vocals.
“Across the Thorny Country” speaks of times gone, historical trails, long journeys made, and reasons behind these – fights with wives, seemingly prominent. VanKull’s vocals do justice to the rough-and-ready characters contained in the lyrics, and the tight backing from the band, including the harmonica and guitar solo interludes, create an atmospheric and creative number. “Crossroads Dancing” is slightly strange, as the lyrics make little sense, and it is more about the connection of Committee of Vultures’ vocals and the instruments. The lovely violin solo is a surprise as it rises out of the background, and suddenly the band sounds like an Irish pub ensemble after a few Guinness beers, inhibitions lost, talent to the fore, and the music flowing freely.
“Terrible Driver” sees the blues return with a vengeance, as the vocalist tells us about a terrible (lady) driver. “But I’m the one who pays the fine sir, so please let it go,” the Committee of Vultures singer explains – because she is his girlfriend and he is a married man! “Our Lady of Angles” sees a change of vocalist and a song that pushes Ken Darcy’s range to the limit. It’s ultimately a pretty mundane track that tells the story of a woman getting slightly drunk, which is about all that happens. However, “Book of Kings” more than makes up for it with its bluesy, strolling lines, Dyer’s supers supporting vocals, and the well-worked guitar.
“Vainglory” sees VanKull add banjo and mandolin to the instrumentation, which makes for a lighter feel, adding contrast to his smoky vocals. “Expert on Grease” is a ballad, telling the tale of two people – he the expert on grease, she the expert on grief – and their journeys in a small town.
There is nothing extraordinary, devastatingly different, or experimental about this new Committee of Vultures album. Everybody Wants the Blues delivers what it promises, and the empathetic confluence of musicians is a delight to the ear. This perhaps is the point – not to be different but to emphasize the traits found within the genre the collective has chosen to highlight.
It’s a good listen, make no mistake. This is the sound of musicians enjoying each other and their roots, delivering stellar, exemplar performances.
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