Album Spotlight: Zac Brown Band, Jekyll + Hyde
Zac Brown – lead vocals, acoustic guitar, electric guitar, banjo, programming; Coy Bowles – electric guitar, slide guitar.and
After hearing two of the record's tracks, "Homegrown" and "Heavy Is the Head," it's safe to say that fans can expect the band's signature sound, as well as something a little different, playing into the disc's title. Jekyll and Mr. The story follows a London-based lawyer who investigates strange occurrences between his old friend, Dr. Henry Jekyll, and the evil Edward Hyde, focusing on the fight of good vs. So we got one of the best rock photographers of all time, Danny Clinch, to shoot the video, and one of his guys came up with the two colored eyes.
Nearly three years after Uncaged , which won the Grammy for Best Country Album, the Zac Brown Band unveiled the next chapter in their crossover country revolution. Instead, ZBB double down on their commitment to deliver as many different kinds of songs as they possibly can. Whereas the Jay Joyce -produced first single, "Homegrown," is characteristic of the band's feel-good, home-and-heart, back-country groove, it's not nearly representative of everything that's here. Opener "Beautiful Drug" may feature a meld of acoustic guitars, banjos, and snare drums, but loops, synths, and a hook straight out of a Katy Perry single govern its flow. The metallic guitar is appended by a distorted bassline that comes right from the Geezer Butler playbook. The guest tunes are solid additions, but they're not the best things here.
Brown and company know exactly where their bread is buttered: country radio. Good luck finding a more batshit succession of songs on another album that comes out this year. Whether this combination really needed to exist is another matter, but unlike virtually all of their mainstream-country contemporaries, Zac Brown Band at least refuses to continue churning out the same old formula—for better or worse. But Antonoff has proven capable of pushing other female artists into the darkest corners of their respective pop worlds, and he allows Del Rey to explore her most indulgent inclinations here. Distilled to their barest elements, the songs on this album reveal themselves not to be hollow vessels for vapid self-absorption, but frank assessments of the psychic effects of a world spiraling into chaos. Del Rey has long cemented her status as a cult icon in the vein of a Tori Amos or Fiona Apple, whose influence on the title track is unmistakable, and she inspires the kind of fanaticism that often leaves her detractors perplexed. The result is often a follow-up that plays it safe or tries to recapture past triumphs, which is then either exalted by critics as a return to form or ridiculed as an attempt at damage control.
More by Zac Brown Band
Ever since , when the Zac Brown Band made its first overtures toward the country mainstream, it has stealthily tried to remake the genre from within. But as those stages became larger, the Zac Brown Band became less interesting. Brown is, at best, a meaty, un-nuanced singer, and the less complex the song, the fewer places he had to hide. As the Zac Brown Band churned, mainstream country was changing, finally. For the group, that was a win and a loss: Country has become more diverse and open-eared, but not necessarily in ways that benefit the Zac Brown Band. Rather than follow the hip-hop hybrids of the day, the album offers a huge amalgam of soft rock, country-rock, hard rock, heavyish metal, big band music, bluegrass and, yes, a touch of electronic music. Brown turns into lounge singer over an unremarkable big band arrangement that concludes with a battering ram of horns.